France

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Normandy


Petit-Andely


Church of Saint-Sauveur (Église Saint-Sauveur)






 

Summary Church of Saint-Sauveur in Petit-Andely is a 13th-century Gothic church built as a chapel for workers constructing Château Gaillard under Richard the Lionheart. Featuring a rare Greek cross layout, a 47-meter spire, and a richly sculpted portal with a polychrome statue of Christ Blessing, it blends medieval architecture with Baroque and Renaissance artistry. Inside, it houses stained glass windows from the 14th to 20th centuries, a Louis XIV altar-retable with paintings by Philippe de Champaigne, and a historic 1674 organ with nearly all original pipes.

Construction of the Church of Saint-Sauveur (Église Saint-Sauveur) in the village of Petit-Andely began in 1198, following the building of the nearby Château Gaillard by Richard the Lionheart.  The church started out as a chapel built by Richard for the workers who constructed the Château Gaillard on the hill overlooking Les Andelys in order to defend Normandy against King Philip II (1180-1223) of France. The village of Petit-Andely was established to house the builders of the fortress, following its construction the village grew around the church which evolved into a full parish structure after Normandy became French when it was annexed by King Philip II in 1204.

Although the village was mainly destroyed during the 1203 siege of Château Gaillard the church itself was mainly un-affected, something that was attributed due to an order from the king himself. Construction on the church as it is now began between 1220 and 1240, during a period of intense Gothic innovation in France. The church was completed in the mid-14th century, during the Hundred Years’ War and the Black Plague, which devastated the region. This probably slowed construction and influenced its austere yet resilient design. 

During the French Revolution (1789 to 1799), it was used as a storage site for iron and lead.

The exterior architecture is considered a blend of Gothic and regional craftsmanship, with several features that give it both charm and historical significance.

The spire, made of wood and slate rises above the crossing to a height of 47 metres (154 ft).  This was rebuilt in 1978 after a tornado in 1973 destroyed the original. The spire’s slender silhouette is a defining feature of Petit-Andely’s skyline.

 

At the eastern end by the choir is the polygonal apse, a seven-sided hemicycle which is framed by flying buttresses, a classic Gothic means of providing structural support and visual drama.  

The church plan is set out in the Greek cross, with four equal-length arms each of which is 29 metres, giving it a centralised and balanced appearance.

The exterior includes stone carvings and statues from the 13th to 17th centuries; some integrated into the façade and others placed in alcoves.

Entrance is via the western façade which is both modest and dignified. It includes a 15th-century stone porch which was added during a period of local prosperity.  The porch itself contains a 17th-century timber canopy which adds warmth and texture.  

 

The porch contains the 13th-century polychrome statue of Christ Blessing, meaning it retains traces of its original painted surface. This is positioned on the trumeau (central pillar) of the main portal. The wooden canopy above the statue is both protective and symbolic. This placement makes it the first sacred image encountered upon entering, symbolizing Christ as the welcoming figure and guardian of the church.

 

The statue reflects the early Gothic style of serene facial expression, elongated proportions, and stylized drapery. The paintwork, though faded, hints at the vibrant devotional art of the 1200s, when colour was used to animate stone and deepen spiritual engagement.

The nave of Église Saint-Sauveur is part of the church’s Greek cross plan, meaning it’s one of four equal-length arms (each 29 meters), rather than a long central aisle as in most Gothic cathedrals. It features a two-story elevation: a main arcade below and a clerestory above, without a triforium which gives it a clean, open feel.

 

Cylindrical piers support the ribbed vaults, each topped with carved capitals bearing expressive busts. The vaulting is ribbed and pointed, typical of Gothic design.

 

The nave is illuminated by stained glass windows from various periods. These were damaged in World War II and replaced in 1953 by artist Max Ingrand, who depicted the Stations of the Cross. 14th-century panels are in the upper choir. The mix of medieval and modern glass creates a layered spiritual ambiance.

 

Above the entrance to the nave sits the organ. Built in 1674 for the Abbaye du Trésor Notre-Dame near Écos, it was transferred to Saint-Sauveur in 1793 after the abbey’s closure during the French Revolution. The organ is one of the most authentic surviving instruments from the Louis XIV era in all of France. The organ case was crafted by Pierre Quesnel, featuring richly carved Louis XIV-style ornamentation.

 

The organ retains nearly all of its original 2,000 pipes, as well as its manual keyboards, console, and mechanical action. Although it has undergone restorations in 1926 and in 1968 when a German-style pedalboard was installed.  The organ is listed as a Monument Historique, with both its instrumental and decorative components protected.

By the doorway is the stone baptismal font, small in size but rich in symbolism and historical resonance. It consists of a circular basin atop of a simple pedestal, positioned near the entrance, the font marks the threshold of spiritual life, welcoming the faithful into the Church through baptism.  While the exact date of the font is unclear, it likely dates from the 13th or 14th century, in keeping with the church’s original Gothic phase and is likely to have been used continuously since the church’s founding.

Set in the Chancel, the central stone altar is a modest yet symbolically powerful liturgical feature that anchors the church’s Gothic interior. Unlike the more ornate Louis XIV altar-retable, the central altar is crafted from stone and positioned beneath the ribbed vaults crossing of the nave and transept, marking the heart of the church’s Greek cross layout. Crafted from a plain rectangular block, free of elaborate ornamentation its design emphasizes purity and permanence. 

 

This simplicity aligns with medieval liturgical ideals, where the altar served as a sacred table for the Eucharist rather than a decorative focal point.

 

Located in the south transept, is a Louis XIV-era altar-retable, originally from Mortemer Abbey it is richly adorned with grisaille panels that depict scenes from the life of the Virgin Mary. At its heart is the painting Adoration of the Shepherds, attributed to Philippe de Champaigne, known for his serene realism. 

 

Another altar within the church displays above it a painting depicting Christ being taken down from the cross. 

 

The pulpit is a raised wooden structure, that blends functionality with artistic flair, and probably dates from the 17th or 18th century.
With carved panels featuring biblical motifs or floral ornamentation, it reflects the church’s Gothic and Baroque influences.  The elevated position symbolizes the authority of the Word, with the preacher speaking from a place of spiritual prominence.

Placed near the crossing of the nave and transept, this position ensures visibility and audibility for the entire congregation. With its carved support columns and curved staircase leading up to it, it contains a canopy or sounding board above, designed to project sound.

 

The statue of the Virgin with the Baby Jesus, crafted from limestone was likely created in the 16th century, during a transitional period between late Gothic and early Renaissance styles. Its softer facial features and more naturalistic drapery reflect the influence of Renaissance humanism, while retaining the devotional solemnity of earlier medieval sculpture. Positioned near the choir, it allows for quiet reflection and prayer.

 

Throughout the church are a selection of statues crafted primarily from stone, with some retaining traces of original paint or gilding.  These may be seen at ground level or as part of the capitals of the columns.

 

The church also houses stone sculptures from the 16th and 17th centuries, including plates-tombes (engraved tombstones) of Guillaume Gilles and Jehan Bernard, from the 15th century.

Externally is a monument, as a tribute to Jean-Pierre Blanchard (1753-1809), aviation pioneer who was born in Petit-Andely on July 4, 1753. He’s best known for pioneering balloon flight, including the first aerial crossing of the English Channel in 1785 with American physician John Jeffries.

 

The church became a Monument in 1840 placing it among the earliest protected heritage sites in France. This status recognizes its architectural, historical, and artistic significance from its 13th-century Gothic origins to its Baroque altarpieces and 17th-century organ.