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Origin and history

The church of Saint-Pierre de Brillac, built in the late 12th century and early 13th century, is a typical example of Gothic architecture in Charente Limousine. Built of local granite, it is distinguished by its polygonal bell tower on the third span of the nave and its north gate with a broken hanger, decorated with six carved windows. A communal property since its construction, it once depended on the diocese of Limoges and the county of La Marche, a border between the possessions of the Counts of Poitou and the King of France.

The monument underwent numerous restorations, including in 1806 (roof and urgent masonry), 1866-1867 (damaged hatch), 1888-1889 (carpent and cover by Maingaud and Dabzac), and 1897 (reconstruction of the sacristy). In 1964, three stained glass windows were added, two representing saints and a third dedicated to the Sacred Heart. The building, inscribed in the historic monuments in 2001, preserves traces of its medieval past, such as the angular foothills and carved crows.

Inside, the unique nave with a broken cradle vault houses partially classified furniture, including two historic altars (Vierge and Saint John), a shawl containing the relics of Saints Peter, Mélisi, Luke and John the Baptist, as well as silver and silk liturgical objects dated 1790. The square of the transept, separated by a doubleau, leads to an apse in cul-de-four illuminated by modern stained glass windows. The archives reveal that in 1790 the church was in a state of advanced ruin, requiring major repairs.

The church played a central role in the medieval core of Brillac, called "the Fort", facing the old castle. Its public square, formerly a cemetery, still bears this name today. Until the 19th century, it attracted pilgrims during the ostensions of the Trinity, known for curing rheumatism and fevers. The sick offered wax, wool or silver in exchange for reading gospels on their heads, a practice attested in 1850.

Local materials, such as granite and hollow tiles, dominate the structure, while the 19th century archives mention the past use of shingles for the bell tower, replaced by slate. The current stained glass windows, wooden benches and wall niches recall the layout described in 1790, despite post-revolutionary losses. The building remains a testimony of rural Gothic art and limousine piety.

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