Timeline

Heritage classified

Key figures

Origin and history

The church of Saint Lubin in Coulongé was first mentioned in the 6th century, dedicated to Saint Lubin. A Romanesque shrine was built in the 11th century, as evidenced by the ecclesia Colongiacus cited in 1045 in the cartular of Saint Vincent du Mans Abbey. This original building, with a single nave of five spans, ends with a cul-de-four apse and a dome on trunks, characteristic of Sarthois Romanesque art.

In the mid-17th century, the apse was transformed with the addition of a large stone altar (1644) and two side altars, reflecting the liturgical evolutions of the era. These elements, still visible, mark a phase of baroque upgrading of the building, then under the influence of post-trident artistic currents.

Between 1856 and 1862, architect Nourry-Blatin led a major restoration and expansion campaign. The nave is elongated by a span, a southern chapel is built, and the bell tower, considered too heavy, is replaced by a lighter arrow. This work addresses a twofold challenge: remedying the old building and adapting it to a growing community. The roofs are redone in slate, typical materials of the region.

In the 20th century, the rediscovery of wall paintings from the 12th and 13th centuries, hidden under a badigeon, reveals an exceptional decor: a Christ surrounded by the tetramorph (symbols of the four evangelists). These frescoes, classified in 1964 with the abside and the altarpiece, illustrate the heritage importance of the site.

The church, inscribed in the Historical Monuments since 1926, also houses remarkable furniture: 18th-century altarpieces, classified paintings (including The Trinity surrounded by angels), and a 16th-century painted sign depicting La Cène. These elements testify to the artistic richness accumulated over the centuries, between local devotion and regional influences.

Today, the building embodies almost 15 centuries of religious and architectural history, from its presumed Merovingian foundations to its modern restorations. His mix of styles—primitive, Baroque and neo-Gothic novel—makes him a privileged witness to the evolution of cultural practices and craftsmanship in Anjou-Maine.

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