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Church of St. Magdeleine à Pignols dans le Puy-de-Dôme

Puy-de-Dôme

Church of St. Magdeleine

    2 Montee Sainte Madeleine
    63270 Pignols
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine
Eglise Sainte-Magdeleine

Timeline

Moyen Âge central
Bas Moyen Âge
Renaissance
Temps modernes
Révolution/Empire
XIXe siècle
Époque contemporaine
1100
1200
1300
1400
1500
1600
1700
1800
1900
2000
Moyen Âge
Initial construction
XIVe siècle
Painted cycle of the choir
XVIe siècle
Adding frescoes
28 octobre 1993
Historical Monument
Aujourd'hui
Aujourd'hui

Heritage classified

Church (Box B 1114): registration by order of 28 October 1993

Origin and history

The Church of St Magdeleine of Pignols is a modest building of Romanesque origin, marked by a Gothic portal on its southern flank and surmounted by a modern bell tower. His major interest lies in the murals discovered in the choir: a well-preserved 14th century cycle depicting God in majesty and the apostles, as well as a 16th century cycle illustrating a crucifixion. These frescoes bear witness to the artistic and religious evolution of the region over centuries.

Classified as a Historical Monument by decree of 28 October 1993, the church belongs to the commune of Pignols, located in Puy-de-Dôme (Auvergne-Rhône-Alpes). The building, whose location is considered "a priori satisfactory", thus combines architectural elements of different periods, reflecting the transformations undergone over the centuries. Its Gothic portal and painted decorations make it a remarkable example of the local medieval heritage.

The 14th century paintings, centered on themes like God in majesty and the apostles, suggest a strong didactic and spiritual vocation, typical of the rural churches of the time. The 16th century cycle, with its crucifixion, could indicate a partial renovation or reallocation of the building during the Renaissance. The absence of references to sponsors or artists, however, limits the precise understanding of their creative context.

External links