Initial construction XIIe siècle (≈ 1250)
Romanesque base and Lombard frieze preserved.
1444
Fire by Armagnacs
Fire by Armagnacs 1444 (≈ 1444)
Partial destruction, Gothic reconstruction afterwards.
1474
Bell font
Bell font 1474 (≈ 1474)
Offered by parish priest Jean Meyer.
1734
Installation of Rohrer organ
Installation of Rohrer organ 1734 (≈ 1734)
Buffet classified historical monument.
1913
Art Nouveau Fresques
Art Nouveau Fresques 1913 (≈ 1913)
Directed by Paul Ledoux in the choir.
1931
Historical monument classification
Historical monument classification 1931 (≈ 1931)
Official protection of the building.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Le Mont des Oliviers : inscription by decree of 29 April 1931
Key figures
Jean Meyer - Curé of Blienschwiller
Donor of the bell in 1474.
Paul Ledoux - Artist painter
Author of frescoes in 1913.
Origin and history
The church of the Saints-Innocents of Blienschwiller, located in the Lower Rhine, has its origins in the twelfth century, as evidenced by its Romanesque base and a Lombard frieze. It would have been built on the model of the abbey of Niedermunster. This first building was partially destroyed during a fire in 1444, caused by the Armagnacs, before being rebuilt in Gothic style at the end of the 15th century.
In the 17th century, the church was enriched with a Mont des Oliviers, while in the 18th century, Baroque transformations were brought there, including the installation of a Rohrer organ in 1734, whose buffet is now classified. The early 20th century saw the addition of a neo-Roman choir decorated with an Art Nouveau fresco, signed by Paul Ledoux in 1913. A notable feature is his bell of 1474, offered by the parish priest Jean Meyer, bearing a Latin inscription and religious representations.
Classified as a historic monument since 1931, this church illustrates stylistic superpositions throughout the centuries, mixing medieval heritage, Baroque renaissance and modern influences. Its furniture, such as the pulpit or frescoes, reflects this artistic diversity. The building remains a major testimony of the Alsatian religious heritage, marked by successive reconstructions and varied artistic additions.
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