Catégorie : Sites 2024

In 2024 > Sylvana MC NULTY

In 2022 > Laurent Guenat

The first religious building built in Brey village seems to have been a chapel built in 1497 to avoid residents having to go as far as Rochejean to attend services. Another chapel would have been built in the 17th century at Maison-du-Bois. Built in the first half of the 19th century (1837), the current parish church under the name of Saint-Sébastien replaces these successive buildings. It consists of a bell tower opening onto a single nave separated from the choir by a three-step stairs. The barrel vault of the nave rests on columns with cylindrical shafts. A small classically inspired building is attached to the bell tower-porch crowned by an imperial roof.
Apart from a statue of the Virgin and Child dating from the second half of the 17th century, which could come from the original building, all of the furniture dates from the 19th century: the preaching pulpit, of which only the tank remains. The statues of Christ on the cross, of Saint Francis Xavier and the Virgin. The paintings of the Death of Saint Francis Xavier ; of Saint Isidore ; of the Virgin and Child with Saint John the Baptist and Saint Agnes ; all donated by the emperor Napoléon Bonaparte the Third in 1860, and that of the Martyrdom of Saint Sebastian, copy of a 17th century painting.

GPS : 46,739577 / 6,230343

In 2024 > Karim KAL

In 2020 > Line Marquis

The Gellin church replaced an older building deemed unsanitary in the 19th century. Built in 1843 to the plans of the architect César Auguste Pompée, this church adopts in many respects a classic type in the religious architecture of Haut-Doubs: a bell tower-porch covered with an imperial roof precedes the three bays of the nave which open onto the choir. Cylindrical columns separate the bays of the nave from the aisles.
Bays pierced in the walls of each of the aisle bays as well as in those of the apse of the choir, light the interior of the church. Cylindrical columns support the groin vaults of the three vessels and emphasize the slender appearance of the whole. All the walls are covered with paneling, old for the choir and recent for the side aisles. The walls of the apse of the side aisles are occupied by altarpieces with paintings: the Presentation of Our Lady in the temple (the name of the church) on the left and, perhaps Saint Christina of Tire on the right. A gabled roof covers the nave and the right bay of the choir, the apse having its own roof. The exterior walls are partly covered with metal protection plates installed during a recent restoration.

GPS : 46,733812 / 6,240353

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 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 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