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Origin and history

The church Saint-Étienne de Val-d'Izé, located in the Ille-et-Vilaine department in Brittany, was built between 1889 and 1896 by architect Henri Mellet. In neo-Roman and neo-Byzantine style, it is distinguished by its Latin cross plan, its domes on pendants, and a tower-lantern with transept. The building, built in sandstone, granite and limestone, has a bichromy of materials inspired by Angouman Romanesque art. The old medieval church, partially preserved, was transformed into a town hall after decommissioning, while the new church incorporated elements such as a wooden and brick bell tower.

The blessing of the church took place on 27 October 1896 by Cardinal Labouré, Archbishop of Rennes. Its bell tower, surmounted by an Abadian arrow designed by Charles Coüasnon in 1925, was destroyed by lightning in 1929 and rebuilt in 1930. The interior houses major works: a high altar and an altar of the Sainte-Vierge (1896-1899) carved by Victor Augerie and decorated with mosaics by Isidore Odorico, a commemorative chapel (1920) dedicated to the 83 Izeens who died in the two world wars, and stained glass windows signed by Rault.

The sculptures of the capitals and the Way of the Cross, made by Bouvier in 1929, as well as Louis Garin's paintings, complete this eclectic decor. The organ, inaugurated in 1917, has 13 games. The church, a communal property, was listed as historical monuments in 2014 for its hybrid architecture and artistic furniture. Its history reflects both the liturgical evolutions of the 19th century and the traumas of the conflicts of the 20th century, anchoring the monument in local memory.

The ancient church, dated from the 14th to the 16th centuries, was partially preserved: its choir, its bell tower (1543), and a 16th century gate re-used in the southern transept (1824). The medieval nave, destroyed by Mellet, gave way to a renovated facade with an overflowing roof, illustrating a unique rehabilitation in Ille-et-Vilaine. Polychrome materials and decorative details are reminiscent of the Romanesque influence, while the additions of the 20th century (glass windows, commemorative chapel) reflect an adaptation to contemporary needs.

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