Initial construction XIIe siècle (≈ 1250)
Romanesque vaulting and construction.
XVIe siècle
Fire
Fire XVIe siècle (≈ 1650)
Major damage by fire.
XIXe siècle
Summary repairs
Summary repairs XIXe siècle (≈ 1865)
Restoration for parish worship.
1875
Decommissioning
Decommissioning 1875 (≈ 1875)
End of religious use.
13 mars 1935
Portal protection
Portal protection 13 mars 1935 (≈ 1935)
Registration for Historic Monuments.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Origin and history
The church of Saint-Martin de Journet, located in the village of the same name in New Aquitaine (former Poitou-Charentes), dates mainly from the 12th century, as evidenced by its Romanesque architecture. Its walled portal, decorated with columns with capitals carved from human heads, is a major artistic element. The window above the gate, surmounted by a broken discharge arch, reflects later stylistic influences, perhaps Gothic.
Inside, the three-span nave, initially vaulted in the 12th century, underwent major transformations: the first span retained its original vault, while the double and dinghy cross-sections fell on hard-walled pilasters. The building, burned in the 16th century, was summarily repaired in the 19th century to serve as a parish church before being disused around 1875. Transformed into a workshop, its interior was divided by a two-storey floor, altering its medieval structure.
The flat bedside, pierced by a triplet, and traces of missing vaults recall the past religious importance of this monument. Partially classified (his portal) since 1935, the church now belongs to an association. Its present state, between historical vestige and lay reassignment, illustrates the challenges of preserving rural heritage.
The location of the building, at 2 Rue de la Nougerie in Journet (code INSEE 86118), in the Vienna department, anchored in New Aquitaine, highlights its anchoring in a territory marked by medieval history and modern transformations. The cartographic accuracy, considered passable (note 5/10), reflects the documentary limitations on this unknown monument.