Catégorie : Sites 2018

In 2018 > Caroline Bachmann – Chemin de croix

Tradition has it that the church of La Planée is one of the oldest in the Haut-Doubs forest.However, the first written mention of it only appears in the 14th century. And if this first building has been transformed and reworked over the centuries – the nave and the right aisle in the 17th century, the choir vault in the 16th century and the bell tower-porch in the 19th century – the current church still retains some traces of it at the level of the ribbed vaults of the nave for example.

Text by Joël GUIRAUD

GPS : 46,840628 / 6,282027

In 2024 > Jeanne TARA

In 2018 > BEN – C’est écrit dans la Bible

One cannot talk about the village of Les Pontets without mentioning the local child, “the philosopher of Pontets”, Théodore Jouffroy, born in Les Pontets in 1796. Member of Parliament for Pontarlier from 1831 to 1839, brilliant academic, he taught philosophy in the most prestigious French schools, at the Faculty of Letters in Paris, then at the École Normale and the Collège de France. Today little known, even forgotten, he was nevertheless in his time a personality recognized by his peers: Ernest Renan spoke of “the beautiful pages of this desperate philosopher” and Sainte-Beuve emphasized “intelligence to an excellent degree, intelligence in that it is broad, deep and collected, perfectly clear and clarified… by Mr. Jouffroy”. In fragile health, exhausted by his duties, he died in Paris in 1841 at 45 years of age.
The Pontets church, placed under the name of the Visitation of Notre-Dame, and located in the enclosure of the old cemetery, was built in 1845 on the site of an old chapel.
The bell tower-porch, topped by a roof with a polygonal spire flanked by four pinnacles, opens onto a nave extended by an apse choir. The four bays of the nave are separated from the aisles by columns with cylindrical shafts on which groined vaults rest. Semi-circular stained glass windows illuminate the aisles and the choir. Wooden paneling covers the walls of the choir and the aisles.
We can note the presence of interesting furniture coming partly from the old building: a Christ on the cross (17th century), a preaching pulpit of which only the panels of the tank remain, a painting of the Virgin and Child known as the Rosary, a 1850 copy of a painting by Murillo made by the painter Desaugiers, the sacristy furniture, a second Christ on the cross, two gilded wooden statues (Saint Joseph and the ‘Immaculate Conception). There is no altarpiece in the choir or on the side aisles.

Text by Joël GUIRAUD

GPS : 46,719791 / 6,172172

In 2018 > Jérôme LEUBA – Bat­tle­field 126

This small building is made up of a single nave, a gallery and a choir. A few steps and a gate separate the nave from the choir. While the nave is covered by a simple ceiling, a ribbed vault painted with historic motifs covers the choir, the walls of which are decorated with woodwork bearing numerous ex-votos.
In the choir, behind the altar, an altarpiece populated with cherubs and largely polychrome, takes up the classic architectural vocabulary. A statuette of the Virgin Mary is inserted in a niche in the central part of the altarpiece. Several statues stand in the nave and on the altarpiece.
The entire building is covered by a gable roof and a small bell tower surmounts the entrance.

Text by Joël GUIRAUD

GPS : 46,861924 / 6,391762

In 2018 > Francesco Finizio – 3 points, c’est tout

This small chapel consists of a rectangular nave extended by a choir with a flat apse. Bays topped by a semicircular arch light the nave. There is no vault but a ceiling to cover the nave and the choir. No furniture in this chapel with its-more-than modest decor, apart from a handcrafted altar in the choir, chairs and benches for the faithful. A statue of Our Lady of Lourdes adorns the side wall of the choir, behind the altar. Outside, a small bell tower housing a statue of Our Lady of Lourdes tops the roof on the facade.
The entrance door is framed by two columns supporting a triangular pediment. On the apse wall, a scroll bears the date of the blessing of the chapel.

Text by Joël GUIRAUD

GPS : 46,831101 / 6,413254

In 2018 > Ariane Epars – Monument

This chapel is a completely modest building, both in its proportions and in its decor: it consists of a single nave extended by a paneled choir. A series of paintings evoking different episodes from the life of the Virgin occupy the blind walls of the nave. The chapel is dedicated to Saint Philomena: this young woman was the subject of worship from 1805 to 1961 after the discovery of bones found in 1802 in the catacomb of Priscilla, in Rome.
An inscription “Filumena” (transcribed as Philomena) was taken for the name of the buried person, herself identified as a young virgin girl and martyr in the enthusiasm of the time without however having any historical certainty. A painting representing this young woman is attached to the bedside wall of the choir.

Text by Joël GUIRAUD

GPS : 46,789706 / 6,369870

In 2018 > Denis Savary – Fumée

Located on the side of the road and placed under the name of Saint Joseph, this church was the subject of various developments and repairs in the 19th and 20th centuries. Its plan is similar to many other churches of this period and this region: a bell tower-porch covered by an imperial roof – an architectural arrangement characteristic of this region -, on a nave with three naves extended by the choir.
Several pieces of liturgical furniture are classified as Historic Monuments, including a 17th century crucifix and the tabernacle door. On the other hand, the preaching pulpit and the communion barrier were removed during work.

Text by Joël GUIRAUD

GPS : 46,728243 / 6,246291

In 2024 > Gilles FURTWÄNGLER

In 2018 > Sylvie Auvray – Les bâtons d’Alexandre

It was not until the 17th century that Chatelblanc had its own chapel built at the initiative of the lord Pierre Blondeau and consecrated in 1665 by Antoine I de Grammont, archbishop of Besançon.
This building quickly proved too cramped to accommodate all the faithful. The chapel was enlarged at the end of the 18th century but was destroyed by a fire as well as the presbytery and several houses in 1759. Immediately restored, it was partially destroyed by a new fire in the village in 1775. It was again restored then enlarged and redeveloped in 1827.
The current church, dedicated to the Nativity of Notre-Dame, was built from 1854 to 1861 according to the plans of the architect Painchaux from Besançon who had chosen a classic Latin cross plan: a bell tower-porch opens onto a single nave with 3 bays covered by a barrel vault, a transept and a choir. The architectural decor remains faithful to the 19th century tradition by borrowing all its elements from antiquity. It houses several interesting works: a statue of Saint Alexander, a painting of the Annunciation (on the wall at the apse of the choir) and the shrine containing the relics of Saint Alexander. According to the inventory of the primitive chapel it does not seem that the current furniture elements come from the first chapel apart from the side altars, the preaching pulpit, the statues and the choir painting undoubtedly recovered in the church of the Eighteenth century.
As soon as the relics of Saint Alexandre were translated to Chatelblanc (September 29, 1684), the faithful present noted various irrational manifestations considered miraculous. Each year, the anniversary of the translation became an opportunity to organize a more or less frequent pilgrimage: 8000 people in 1784, 3000 in 1834, 5000 in 1884, 2000 in 1934.

Text by Joël GUIRAUD

GPS : 46,673250 / 6,114818

In 2018 > Jérôme Hentsch – Jalousie

Until 1445 and despite often difficult climatic conditions, the inhabitants of Chapelle-des-Bois had to go to services in Chaux-Neuve or Mouthe. Hence the decision, in 1628, to build a chapel in Chapelle-des-Bois under the name of Saint-Jean-Baptiste, whose statue welcomes the visitor upon entry.
Completed in 1639, this chapel was consecrated in 1665 by Monseigneur Antoine-Pierre I de Grammont. At the request of the inhabitants, the chapel finally became a church in 1746.
Located inside the cemetery, the Saint-Jean-Baptiste church was remodeled several times and a sacristy was added in the 19th century. It is quite typical of mountain churches with its massive exterior appearance further reinforced by buttresses; several small openings light this building which remains quite low.

GPS : 46,597654 / 6,114175

In 2024 > Anne FISCHER

In 2018 > Nino LAISNÉ – 3 cœurs

Until the Revolution, the inhabitants of Oye-et-Pallet depended on the parish of Saint-Etienne de Pontarlier and had to go to services in Pontarlier. It was only in 1494 that they were granted permission to build a church which nevertheless remained vicarial of Pontarlier. It is, in its current form, the result of modifications and transformations carried out over the centuries.
It is located in the upper part of the village in the enclosure which delimits the cemetery. It is made up of an 18th century bell tower (1749) covered by an imperial roof made of glazed tiles and opening onto a nave made up of a central nave, two aisles, and a choir. The first two bays of the central vessel were built at the end of the 15th century (1494) and the other two at the end of the 15th century. The third bays of the aisles were built in the 17th century and the second and fourth at the end of the 18th century. The choir is also from the 18th century (1712). The whole is covered by ribbed vaults whose arches rest on the dividing pillars between the aisles and the central nave.
The interest of this small church lies in the altarpiece of the main altar with a pediment and twisted columns around which vine branches and golden grapes wind. In the center, an unsigned painting representing the patron of the parish, Saint Nicholas, undoubtedly bishop of Myra in Anatolia. Its legend is rich in miraculous and legendary events, the best known of which is that of the three children killed and put in the salt pan by a butcher and resurrected by Saint Nicholas (the painting on the main altar).
The tabernacle of the main altar is also a very interesting work created in 1716, by François Gagelin, carpenter and wood sculptor. The woodwork of the altarpiece continues in the aisles in the form of half-height paneling.

All of the abstract stained glass windows were made in 1956 by young master glassmaker Paul Virilio on the designs of the painter Serge Rezvani.

Text by Joël GUIRAUD

GPS : 46,854445 / 6,331968