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Origin and history

The church of Saint Vincent de Bertangles, located in the department of the Somme (Hauts-de-France), originates in the early seventeenth century, probably as a chapel of the castle of Bertangles. The nave, the oldest part, bears the arms of the family of Glizy (or Glisy), lords of the place from 1524 to 1611, attesting to a construction prior to 1611. Two arch keys and a glass dated 1624 confirm this period. Originally, the building was surrounded by a cemetery and integrated into the castral enclosure, as revealed by a Napoleonic cadastre of 1810.

The major expansion took place in 1846, financed by the families of Clermont-Tonnerre and Chauvelin. The Parisian architect A. Goze designed a neo-Gothic choir with two sides, marking one of the first rural reconstructions in this style. A private chapel and a funerary crypt are added for the Clermont-Tonnerre, while the nave, vaulted in the shape of a boat carriage, is restored in 1984. The stained glass windows, dating back to the 16th century (private chapel) and 1870 (church, Darquet d-Amiens workshop), illustrate family coats of arms and saints.

The monument, protected since 2001, blends typical materials of the Picardia: brick and stone in alternating assizes, with additions in torchis (sacristy) and a structure redone after damage caused by a hurricane in 1876. The archives mention regular repairs (roof in 1908, 1929, electricity in 1922), reflecting its continuous maintenance by the commune and the seigneurial families. Its Latin cross plan and its bell tower in retreat from the western facade make it a hybrid example of rural religious architecture.

The noble families played a central role in his history: Jehan de Glisy (buried in 1586) left funds for his renovation, while Antoine de Glisy (testament of 1613) financed stained glass windows and bells. The Clermont-Tonnerre, lords from 1611, marked the building with their weapons and ordered arrangements until the 19th century. A neo-renaissance monument (1852), carved by the Duthoit brothers, honors Julian de Clermont-Tonnerre and his wife in the left side.

The interior preserves remarkable elements: an 18th-century wooden skirt (dismounted before 1747), lily-flowered murals in the choir, and erased tombstones. Modern stained glass windows, made by the Claude Barre workshop, complete this set. The church, a communal property, remains a testimony of the links between seigneurie, religious architecture and rural heritage in Picardie.

The archival sources (O series of the Departmental Archives of the Somme) and the descriptions of 1747 or 1849 specify its evolution: from a castral chapel to a parish church, transformed by liturgical styles and needs. Its inscription in the Historical Monuments in 2001 devotes its heritage value, between medieval heritage and modern restorations.

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