Initial construction milieu du XIIe siècle (≈ 1250)
Romanesque building on a pre-existing chapel.
fin XVe - début XVIe siècle
Redesign of berries
Redesign of berries fin XVe - début XVIe siècle (≈ 1625)
Changes in openings and frescoes.
1753
Secondary altars
Secondary altars 1753 (≈ 1753)
Installation in absidial chapels.
1775
Forged iron fences
Forged iron fences 1775 (≈ 1775)
Addition of the choir fences.
31 décembre 1915
MH classification
MH classification 31 décembre 1915 (≈ 1915)
Protection for historical monuments.
années 1940
Pillow of the organ
Pillow of the organ années 1940 (≈ 1940)
Partial loss of instrument.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Church: by decree of 31 December 1915
Key figures
Alpin de Châlons - 8th Bishop of Chalons
Holy patron saint of the church.
Théodore Tonnelier - 19th century goldsmith
Author of a silver chalice.
Origin and history
The church of Saint-Alpin de Villevenard, dedicated to Saint Alpin (8th bishop of Châlons), was built in the middle of the 12th century on the site of an old chapel dedicated to Saint Andrew. Its architecture blends Romanesque elements, such as the nave, with later additions, including a chorus that was rebuilt in the 18th century. The octagonal bell tower, adorned with geminate berries and plant capitals, is a rare feature in the Marne department. The frescoes of the 15th or 16th century, discovered in 1934, illustrate religious scenes such as the Virgin of Mercy or Saint Nicholas.
Ranked a historic monument in 1915, the church houses exceptional furniture: altars, retables and 18th century panelling, as well as wooden statues of the 17th and 18th centuries, including a reliquary of Saint Alpin. The baptismal fonts, wrought iron fences (1775) and a bell of 1683 complete this set. The organ, dating from the early eighteenth century and originally from the Abbey of Andecy, bears witness to the musical importance of the place, despite its looting in the 1940s.
The architectural changes reflect the stylistic changes: the bays were taken over in the late 15th or early 16th century, while the choir, vaulted in cradle, dates from the 18th century. The paintings and sculptures, often classified or registered, cover various religious themes, such as the Assumption or the Descent of the Cross. These elements underline the central role of the church in Villevenard's spiritual and artistic life, from the Middle Ages to the modern era.
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