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Origin and history

The church of Saint-Étienne de Clairoix, located in the Oise region of Hauts-de-France, finds its origins at the beginning of the thirteenth century, although its subsequent profound changes, especially from the sixteenth century onwards, make it difficult to reconstruct its architectural evolution. The oldest parts, such as the first spans of the nave and the base of the bell tower, could date from the transition between Romanesque and Gothic styles (late 12th – early 13th century). Major changes took place during the reign of Henry II (mid-16th century), marked by the addition of side chapels transforming the cross of the transept, and the recasting of vaults with iconic carved keys. The Renaissance portal, later added, and the modifications of the seventeenth century (such as the partial reconstruction of the nave in 1653) complete to shape its present aspect.

The particularities of the building include the proven or projected absence of lowsides, despite the remains of blocked arcades, and a unique bell tower, combining Gothic elements (third-point bays) with Renaissance details (sculptures, eclectic capitals). The keystone of the base of the bell tower, decorated with the three crescents of Henry II, attests to the work carried out around 1550. The church, surrounded by its ancient cemetery on the slopes of Mount Ganelon, was classified as a historic monument in 1926, and remained affiliated with the parish of the Sixteen Blessed Carmelites of Compiègne.

Under the Old Regime, Clairoix was part of the diocese of Beauvais, and his church was under the name of St Stephen, deacon and martyr. The large tithe belonged to the Templars, then to the Hospitallers of St John of Jerusalem, which could explain their involvement in the construction or financing of certain parts of the building. The archives, however, are lacking to confirm the hypothesis of building monks, although historians such as Rémi Duvert or Philippe Bonnet-Lorderie have issued divergent theories on the past existence of the lower side. The 13th century baptismal fonts, classified in 1913, constitute the only element of the furniture protected as such, while works such as a 17th century tapestry or a wall painting by Jeanne d'Arc (1910-1911) enrich its interior heritage.

The exterior architecture, marked by a local white stone, reveals contrasts between the hardiness of the stone walls and the elegance of the bell tower or Renaissance gate. The massive foothills, the awning roofs of the old crucifixes, and the deep-brazed windows testify to successive construction campaigns. The cemetery, on a terrace overlooking the Oise Valley, offers a picturesque setting to this building, whose current physiognomy is the result of a mixture of untapped (bottom-down) projects, partial reconstructions, and varied stylistic influences, reflecting almost five centuries of local history.

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