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Origin and history

The church Saint-Urbain de Courçay, located in the Indre-et-Loire department in the Centre-Val de Loire region, finds its origins at the end of the 11th century with the construction of its Romanesque base, including the bell tower and the nave. The sources evoke a first chapel mentioned in 862 under Charles le Chauve, then a church quoted in 919 under Charles le Simple, although these earlier buildings did not leave any archaeological traces. The nave, initially covered with a structure, was raised and vaulted in the 15th to 16th centuries, while the bell tower arrow and the bay reshuffle dates back to the 15th and 18th centuries, respectively. The east-west orientation, typical of Catholic churches, and its location at the foot of the hillside of Indre reflect its integration into the rural landscape of Tourangeau.

The church undergoes major transformations related to the political and religious history of France. In 1794, during the Revolution, his movable property was inventoried for sale to the State. The 1905 Law on the Separation of Churches and the State transfers its property to the municipality of Courçay. Ranked as a historic monument in 1944, it is also part of a site registered since 1942, including Indre and its shores. In the 21st century, it remained an active place of worship for the parish of Saint-Brice, while hosting concerts, illustrating its dual heritage and community vocation.

Its rural Romanesque architecture is characterized by a nave of 18,50 m long, a vaulted choir in a broken cradle, and an octagonal stone bell tower, typical of the Indre Valley. Local materials, such as the limestone tuf, dominate the masonry, while the choir modillons, decorated with plant or secular motifs, testify to medieval craftsmanship. Inside, a bell of 1533, two statues (Christ in the 15th century Cross and Virgin with Child of the 14th century), and stained glass windows of the Lobin workshops (1867-1877) are protected as movable objects. The path of the cross offered by Napoleon III in thanks for the local support during his plebiscite adds a singular historical touch.

The 12th century baptismal fonts, composed of two pools, one for immersion, highlight the liturgical anchoring of the building. Recent stained glass windows, such as that of 1959 in the abside, show artistic continuity until the contemporary era. The church, open to the public, thus embodies nearly a thousand years of history, mixing medieval heritage, modern adaptations and active parish life.

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