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Origin and history

The church of Sainte-Agathe in Rumilly was founded in the 9th century, with a first primitive church replaced in 1146 by a Benedictine priory dependent on the abbey of Nantua. Dedicated to Saint Agathe, the patron saint of the city, she housed relics and played a central role in local life. Today, only the chapel Saint-Claude, founded in the 15th century by the lords of Conzié, remains of this medieval period. The priory and church were rebuilt several times, especially in the 15th century, before being deeply marked by history.

An earthquake in 1822 severely damaged the building, leading to its demolition in 1838. Rebuilt in a neo-classical Sardinian style – inspired by the models of Turin but perceived as rigid – the church was consecrated in 1843. This architectural choice reflected a desire for modernity, albeit foreign to Savoyard traditions. The 12th century bell tower and sacristy were preserved, as were the chapel of Conzié (1474), at the request of the priest.

The frescoes and decors in trompe-l'oeil, made in 1853 by painters Laurent Baud and Alberti, adorn the naves and chapels. Classified at the ISMH since 1994, they represent saints, virtues (such as Hope or Charity) and biblical scenes, such as the Assumption of the Virgin or Saint Francis of Sales surrounded by angels. Restored between 2013 and 2015, these paintings illustrate 19th century religious art. The organ, built in 1880 by Joseph Merklin, was modified in 1958 and restored in 1982 and 1990, before being ranked in 1985.

The bell tower, dating from the 12th century, houses four bells: two large from 1639, signed by the founders Humbert and Roch, and two small post-revolutionaries of the Paccard foundry. The church, registered as a historical monument in 1926 and 2009, thus embodies nearly a thousand years of history, mixing medieval heritage, reconstruction and neo-classical art.

The reconstruction plans were discussed between 1823 and 1837. The architect Ernest Melano, after several refusals, saw his second project retained in 1837. The works, carried out by the commune (owner), gave birth to a basilical plan building, with a vaulted nave in cradle and low-sides separated by Tuscan columns. The scoops and vaults of the chapels, decorated with scenes such as the Resurrection or the Jardin des Oliviers, bear witness to an ambitious iconographic programme.

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