Initial construction 1864 (≈ 1864)
Edification by Émile Boeswillwald with metal structure.
1875-1876
Enlargement
Enlargement 1875-1876 (≈ 1876)
Extension consolidating style and technique.
9 août 2005
MH classification
MH classification 9 août 2005 (≈ 2005)
Registration of the entire church.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
The entire church (Box AB 93): inscription by order of 9 August 2005
Key figures
Émile Boeswillwald - Architect
Church designer in 1864.
Jérémy-Günther-Heinz Jähnick - Photographer
Author of a photo licensed under CC (2019).
Origin and history
The Saint-Martin church of Masny, built in 1864 by architect Émile Boeswillwald, illustrates a period of architectural innovation in the 19th century. The building is distinguished by its metal frame and carpented ceiling, while cast iron columns support the structure. Its style borrows from the Moorish repertoire, visible in the use of simple geometric shapes such as the square or double triangle, as well as in stylized plant and floral motifs adorning the interior. The stained glass windows, now missing, initially completed this decoration.
A significant enlargement was achieved between 1875 and 1876, consolidating the technical and aesthetic singularity of the church. Ranked a historic monument in 2005, it is protected in its entirety (cadastre AB 93). The location, specified as satisfactory (note 7/10), is located on Rue C.-et-L.-Fauqueux, although GPS coordinates also suggest a close address at 1 Rue Jules Caffart. Owned by the municipality of Masny (code Insee 59390), in the department of the North, it bears witness to the architectural experiments of the industrial era.
The photograph by Jérémy-Günther-Heinz Jähnick (2019), licensed Creative Commons, documents the current state of the monument. The absence of original stained glass windows and the preservation of metal structures underline both the heritage losses and the resilience of the structure. The church, open to visit according to the communal modalities, embodies a local and representative heritage of the constructive audacity of the 19th century in France.
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