Église Saint-Médard

English translation

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History

At the heart of the village of Vigny, the church of Saint-Médard adjoins the domain of the château de Vigny with which it forms an indissoluble historical ensemble. Acquired by Count Philippe Vitali in 1867, this Venetian businessman of Greek origin who made his fortune in railways, was at the origin of a major operation to modernise the village. After undertaking a large campaign of works on the château (Cazaux arch., 1888), it was at his initiative that a competition for the reconstruction of the church designated Georges Tubeuf as the winning architect. Born in 1850, the latter was a student at the École des Beaux-arts in Paris, admitted in 1869. Better known for his work as a theorist, no other buildings by his hand are identified, except that he participated in the vast renovation work on the château. The church, like several buildings and works of public utility in the commune, were almost entirely financed by Count Vitali. The historical link between these different architectures undoubtedly explains the stylistic unity and homogeneity of the centre of the village of Vigny. Built from October 1894 and completed in 1896, the church replaces a medieval building, demolished due to its state of disrepair. The new construction also entails the demolition of the old presbytery in favour of a square, which sets off the main façade of the church. This true urban staging was presumably desired by the count to create a setting for the château and the church, two particularly coherent architectures. In this regard, the chevet of the church is buttressed against the orangery of the château (17th century), to the south-west, which is connected by a small staircase arranged against the choir, in the extension of the north aisle. The latter allowed the châtelain to access the church directly from the orangery. According to the recommendations issued by the council of civil buildings for parish churches, Saint-Médard adopts a traditional plan in the form of a Latin cross composed of three naves, with a polygonal chevet and a slightly projecting transept. The porch tower likewise evokes the common type of the rural church, whilst the covering in cement bricks of the nave and the aisles testifies to an undeniable quest for economy. At first sight, nothing seems to distinguish Saint-Médard from the numerous works of the 19th century, largely influenced by the rationalism of the members of the council of civil buildings. Nevertheless, its size, its soaring spire and its ornamental richness attest to a remarkable character. Reflecting a conception unique to the date of construction, the stained glass windows, the light fittings, the sculptures form a homogeneous, rather luxurious ensemble, rare in the outer suburbs, moreover whose authors are identified. The decorative repertory chosen bears easy resemblance to medieval commonplaces. More precisely and unsurprisingly, it is the reference to the great Gothic models of the 13th century that dominates. Finally, the iconographic programme bears the personal mark of Vitali and underlines the evident affinity with the château. Thus the imprint of the public authorities usually observed is here moderated by a specific social and financial context.