Eglise Saint-Valère
Dating from the late 19th century, and inspired by neo-Gothic architecture, the building is monumental and impresses with its size, the multiplicity of volumes and the quality of the materials used.
In 1890, plans were made to replace the old church with a new one.
In 1893, the plans and specifications of the architect Alfred Berruyer were adopted and the location chosen. The church was consecrated on October 1, 1897.
It presents itself as a very large vessel with a high nave ending in an apse, preceded by a monumental bell tower-porch.
On either side of this axis, the “western” chapels and side aisles, the transept chapels, and sacristies are grafted symmetrically.
The systematic use of three materials contributes to the “visual” unity of the building: cut tufa stone for the masonry, white limestone ashlar for the foundations and plinths, buttresses and door frames, and finally small module slate tiles for all the roofs.
On the facade, the bell tower-porch concentrates all the monumentality and the essential ornamentation.
Inside, the entire space is covered with false ribbed vaults resting on small columns. The choir is still surrounded by all of its original woodwork.
Berruyer was inspired by the architects of his time, as evidenced by the profile of the bell tower-porch (a broken arch surmounting the rose window on the facade, characteristic of the Reims Gothic style of the 13th century), a model which he applied as early as 1857 in Voreppe and in 1858 to the Basilica of Notre-Dame de l'Osier.
The interior ornamentation continued for another two decades, with the inauguration of the stained glass windows in 1902 (5 bays of the choir), then in 1922. The stained glass windows are signed by Balmet, Bégule and Gaudin.
In 1893, the plans and specifications of the architect Alfred Berruyer were adopted and the location chosen. The church was consecrated on October 1, 1897.
It presents itself as a very large vessel with a high nave ending in an apse, preceded by a monumental bell tower-porch.
On either side of this axis, the “western” chapels and side aisles, the transept chapels, and sacristies are grafted symmetrically.
The systematic use of three materials contributes to the “visual” unity of the building: cut tufa stone for the masonry, white limestone ashlar for the foundations and plinths, buttresses and door frames, and finally small module slate tiles for all the roofs.
On the facade, the bell tower-porch concentrates all the monumentality and the essential ornamentation.
Inside, the entire space is covered with false ribbed vaults resting on small columns. The choir is still surrounded by all of its original woodwork.
Berruyer was inspired by the architects of his time, as evidenced by the profile of the bell tower-porch (a broken arch surmounting the rose window on the facade, characteristic of the Reims Gothic style of the 13th century), a model which he applied as early as 1857 in Voreppe and in 1858 to the Basilica of Notre-Dame de l'Osier.
The interior ornamentation continued for another two decades, with the inauguration of the stained glass windows in 1902 (5 bays of the choir), then in 1922. The stained glass windows are signed by Balmet, Bégule and Gaudin.
Opening
From January, 01 to December, 01, open daily.
Prices
Free access.