Construction of the chapel 2e moitié XIIe siècle (≈ 1250)
Period of foundation of the current priory
XIIIe siècle
Start of decline
Start of decline XIIIe siècle (≈ 1350)
Displacement of the population to the town
XIVe siècle
Deterioration by monks
Deterioration by monks XIVe siècle (≈ 1450)
Abandonment for the fortified village
4 janvier 1540
Papal Donation
Papal Donation 4 janvier 1540 (≈ 1540)
Bull of Paul III in Grignan
1889
Historical monument classification
Historical monument classification 1889 (≈ 1889)
Official protection of the chapel
1991
Restoration
Restoration 1991 (≈ 1991)
Return of the coverage by the Historical Monuments
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Chapelle du Val-des-Nymphes (ruins de la) : classification by list of 1889
Key figures
Paul III - Pope
Has given the chapel to Grignan in 1540
Bénédictins de Tournus - Founding religious order
Set up the Priory around the 11th century
Origin and history
The Priory of the Val des Nymphes, located near La Garde-Adhémar in the Drôme, is a 12th century Romanesque chapel, emblematic of Provencal art inspired by the Antique. Its name evokes a Gallo-Roman cult dedicated to nymphs, linked to the surrounding sources. The site, occupied from the early Middle Ages, was Christianized between the 5th and 7th centuries, as evidenced by the remains of the church of St.Martin and the necropolises.
Founded by the Benedictines of Tournus around the 11th century, the priory reached its peak before declining from the 13th century, when the population moved towards the fortified village of La Garde-Adhémar. In the 14th century, the monks deserted the site to take refuge intramural. Among the four initial churches, only Notre-Dame survived, maintained until the Revolution, then abandoned in the 19th century, losing its vault.
Ranked a historic monument in 1889, the building was restored in 1991 by the Historic Monuments. Its façade, blending 11th century rubble and 12th century stones, has a triplet symbolizing the Trinity, typical of Provencal Romanesque art. The sober bedside contrasts with the two-rowed abside of arcades, highlighting the ancient influence. The foothills, added in the seventeenth century, reinforce the structure.
The gate, adorned with an archvolt with friezes, and the docanthe leaf capitals recall the Greco-Roman heritage. After centuries of neglect, the chapel, a communal property, regained a cover and a heritage vocation, illustrating the persistence of Romanesque art in Provence.
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