Construction of church XVe ou XVIe siècle (≈ 1650)
Estimated period of initial construction.
1738
Bell font
Bell font 1738 (≈ 1738)
Bronze bell classified in 1911.
XVIIIe siècle
Interior paints
Interior paints XVIIIe siècle (≈ 1850)
Wall decoration and possible aesthetic redesign.
12 janvier 1931
Historical monument classification
Historical monument classification 12 janvier 1931 (≈ 1931)
Inscription of the façade by ministerial decree.
1978
Classification of paintings
Classification of paintings 1978 (≈ 1978)
Two 19th century canvases protected.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Façade: entry by order of 12 January 1931
Key figures
Joseph Denyar - Priest of Polignac
Blessed the bell in 1738.
Étienne Jean de La Faye d'Embérac - Lord of Polignac
Sponsor of the bell of 1738.
Marguerite Duvergier - Lady of Polignac
The godmother of the bell in 1738.
Origin and history
The Saint-Martin de Polignac church, located in the Charente-Maritime department in New Aquitaine, is a religious building built mainly in the sixteenth century. Although its appearance evokes the 15th century, its origins could be older. The church is characterized by a unique nave covered with a wooden panel, flamboyant Gothic-style windows, and a 16th-century portal decorated with Renaissance motifs. This portal, framed by torso columns surmounted by crouched lions, illustrates the transition between Gothic and Renaissance.
Inside, the church preserves murals made in the 18th century, as well as two 19th-century paintings depicting Saint Peter and Saint Caprais, classified as historical monuments in 1978. Among the remarkable elements are a bronze bell of 1738, engraved with an inscription detailing its history and its sponsors, classified since 1911. The adjacent cemetery houses a monumental carved cross, also dating from the 16th century. The collection was listed as historic monuments by order of 12 January 1931, stressing its heritage importance.
The architecture of the church, with its flat bedside and interior decorations, reflects the stylistic evolutions between the Middle Ages and the modern era. The paintings of the 18th century, although after construction, bear witness to the aesthetic and liturgical changes that the building has undergone over the centuries. The bell of 1738, with its detailed inscription, offers an overview of the religious and social practices of the Ancien Régime, while the cross of the cemetery strengthens the link between the church and its historical funeral environment.
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