Église Saint-Ennemond

English translation

The text above is the record as published by the Ministère de la Culture, in French. The English below is a machine translation made by TreeAlive, not by the Ministère de la Culture; it has not been checked by a person. Where the two differ, the original is the record. Report a translation error: privacy@treealive.com

History

A first chapel, which allowed families in the neighbourhood to come and pray closer to home, had been built thanks to donations made by wealthy citizens of the town in 1737. It became a parish in 1803, sponsored by a young lady named de la Veüe. This construction having however become dilapidated and too small, it was decided to erect a larger church in 1832 and work began the following year in 1833. The name of the last architect is mentioned, a certain Étienne Boisson, originally from Lyon and adopted by Saint-Étienne, but he only arrived during the long structural works before 1840. He seems to have put the operation's finances in order. However, the work of fitting out and decoration continued until 1860. The workshop of Giovanni Zaccheo was called upon to paint a copy of the Last Supper in the choir. Later, one of his successors would decorate the top of the apse with a Christ in Majesty. The interior is very rich in objects and furnishings installed at the time of construction with many donors enriched thanks to the flourishing local industry. The architectural details, ironwork and woodwork make it a complete and high-quality ensemble. The white marble altars are richly ornamented, and a shrine of Saint Ansemond remains. The painted decorations are still present as evidenced by surveys commissioned by the municipality for a possible restoration. Note a painting of a descent from the cross and a wooden Christ on the Cross not protected. The stained-glass windows are decorated with stained glass from the years 1859-1860, signed Barrelon-Veyrat and Mauvernay and present compositions of very fine quality. The rood screen was offered by Saint-Étienne forges. A collection of terracotta stations was exhumed from the church reserves which will be put back in place after restoration. The designers favoured the modern use of steel combined with traditional techniques of stone and wood. Technical details such as chandelier pulleys from the roof spaces, stained-glass window openings, etc. are still visible.

Description

The plan of the church is inscribed in a rectangle approximately 26 metres by more than 50. The nave and the transept form a Latin cross, the rest being filled by technical spaces and the vast sacristy. The designers having made no provision for side chapels. The building is austere in its perimeter and without charm. The façade, decidedly more ostentatious, displays an entrance in the manner of a Greek temple with a porch covered by a monumental portico. The church is closed by an impressive portal with two doors but curiously very manageable. All the ironwork elements are in place and particularly carefully finished. The entrance vestibule is surmounted by an organ currently being evaluated by our services. The altars and furnishings are in place. Iron is omnipresent in the structure, bands of masonry and roof structure support.