Construction of apse XIe siècle (≈ 1150)
The oldest Romanesque part.
XVe-XVIe siècles
Building extension
Building extension XVe-XVIe siècles (≈ 1650)
Nef, bottom and bell tower added.
1861
Make bells
Make bells 1861 (≈ 1861)
Adèle Amélie and Jeanne Emma installed.
1927
First partial registration
First partial registration 1927 (≈ 1927)
Protection of historical monuments.
2009
Total registration
Total registration 2009 (≈ 2009)
Complete classification of the church.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
The entire church (C 1247): inscription by decree of 16 April 2009
Key figures
Claude Monet - Impressionist painter
Buried into the adjacent cemetery.
A. Hilderrand - Bell founder
Made the bells in 1861.
Doyen Damoiseau d'Ecos - Local religious
Blessed the bells in 1861.
Origin and history
The Saint-Radegonde church of Giverny, of Romanesque origin, dates mainly from the 11th and 15th centuries. Its semicircular apse, arched in cul-de-four, is the oldest part, decorated with grotesque 11th century modillons. The rest of the building, including the low-sides illuminated by Renaissance and flamboyant windows, as well as the nave covered with a arched arch, dates back to the 15th and 16th centuries. An octagonal turret and an octagonal steeple complete the architecture, while the adjacent cemetery houses the tomb of Claude Monet and his family.
The interior houses a 17th century painted wooden master altar surrounded by statues and paintings from the 17th to the 19th centuries, including a statue of Saint Radegonde and a wooden christ dated 1654. The stained glass windows of the lower side represent religious figures such as the Virgin with the Child and Saint Roch. The bells, named Adèle Amélie and Jeanne Emma, were melted in 1861 by A. Hilderrand, founder of Napoleon III.
The church, partially listed as historical monuments in 1927, was fully protected in 2009. Its nave combines flint, limestone and opus spicatum, while the transept and hemi-cylindrical choir illustrate medieval techniques. Fragments of statues, including a behead probably during the Revolution, testify to its turbulent history.
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