Timeline

Key figures

Origin and history

The church of Saint-Cyr, located in the heart of the village of Saint-Cyr, finds its first records written in the 13th century, linked to the cartular of the Abbey of Saint-Chaffre. His nave, perhaps built at that time, welcomed in 1299 the baptism of Pierre Bertrand de Colombier, celebrated by his uncle cardinal. The building, originally dependent on the Archdiocese of Vienna, went through the centuries with major transformations: creation of the pulpit in 1666, revolutionary closure in 1793, and reopening in 1802 under the Concordat.

In the 19th century, the church enjoyed an artistic and architectural boom. In 1857, murals in trompe l'oeil adorned the nave and the triumphal arch, while the lower side and the campo santo (inspired cloister of Italy, neo-Romano-Byzantin style) were added between 1857 and 1861. The latter, decorated with sculptures and graves, becomes an emblematic element of the site. The bell tower, restored in 1925, has a complex octagonal roof and coloured tiles forming motifs.

The twentieth century marks a period of preservation and modernization. The 1906 inventory, linked to the law of separation of the churches and the state, takes place in a tense climate, with the forced doors. The renovations followed: interior restoration in 1962, presentation of stones and paintings, and later work on the santo campo in 1955, 1982 and 1995-1998. In 2001, church objects were classified as historical monuments, including two paintings from the 17th and 19th centuries.

The parish organization evolves with the territorial mergers: creation of the parish of Saint-Christophe lès Annonay in 2003, then of Blessed Gabriel Longueville in 2021, grouping the communes of the basin of Annonay. The church, opened at events like the Night of Churches (2016), remains an active place of worship and a witness of the ardèche religious heritage, combining medieval history, 19th century art and contemporary community life.

The interior of the building impresses with its painted semi-cylindrical vault, geometric stained glass windows and liturgical elements (ambon, altar, tabernacle) from the pulpit of 1666. The wall paintings, dating back to 1857, depict local saints (such as François Régis) and biblical scenes, while the santo campo houses sculptures such as La Mise au tombeau or La Résurrection, works of the twentieth century.

Architecturally, the church combines a vaulted central nave, two sides with crossed warheads, and a flat bedside. The bell tower, square at its base, rises above the choir with a restored frame and an adorned dome. Local materials (stone, hollow tiles) and dominant ochre colours are integrated into the Victorian landscape, while gargoyles and statues (Vierge, Saint Michael) enrich its exterior decor.

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