🏛️ Lieu
Patrimoine & Culture
Église Saint-Pierre de Varzy
📍 Varzy, Nièvre
· Rue Saint-Pierre, 58210 Varzy
À propos
Building history
As early as the middle of the 5th century, Varzy had a place of worship dedicated to Saint Peter. It is impossible to pinpoint its location, but it was restored by Bishop Gaudry (918-933). The parish then had three basilicas: Sainte Eugénie, Saint Saturnin and Saint Pierre.
In 1102, a new Romanesque building was erected, and in 1126 Clement IV confirmed its possession to the bishops of Auxerre. It later became a baptistery dedicated to Saint John.
Around 1225, builders from Auxerre were commissioned to begin work on the present-day church of Saint Pierre. Thanks to the help of the original parish priests and the local residents, work continued until 1280 (the date of the first blessing by Guillaume de Grez). The dedication ceremony did not take place until around 1350, bringing together the bishops of Auxerre, Nevers and Autun on Saint Michael's Day.
Over the centuries, the building has undergone a number of modifications:
- In the 17th century: construction of a sacrifia and a sepulchre adjoining the apse; the choir was decorated in stucco.
- In the 18th century, the large choir arches were pierced in the wall, which acts as a counter-buttress to the bell towers. Claude Poirier, the king's sculptor, created the main altar between 1728 and 1729. The town room adjoining the church was exchanged for the former chapel of St John.
- In the 19th century, the last frescoes in the nave and the aisles were covered with whitewash and disappeared. Between 1832 and 1864, the capitals and the base of the pillars were restored. The paving was restored to its original appearance. The sacristies were rebuilt in 1869. One was converted into a vault in 1975.
The various building campaigns can be summarised as follows:
- The apse was first raised to the point where the vaults began. This was followed by the right-hand bay of the choir and the transept, as well as the vaults of the apse.
- The lower sections of the nave were then built up to the level of the triforium. After a change of direction above the large arches, construction began on the first three bays of the nave, which were vaulted at the same time as the crossing and the arms of the transept.
- Meanwhile, work continued on the three western bays, which were vaulted at the same time as the bell towers.
The nave and transept are separated by a monumental grille bearing the keys of Saint Peter, executed in 1730 by the master locksmith Gueneau from Prémery.
For several centuries, burials took place in the Saint Pierre cemetery surrounding the church or inside it. Bishop Champion de Cicé banned this practice after observing "dangerous vapours" during a visit in 1767.
The church of Saint Pierre is a typical example of radiant Gothic architecture:
The facade is divided by buttresses that extend those of the nave and the aisles. The three-vaulted portal rests on columns surmounted by a large Radiant-style bay window.
The six-bay nave, bordered by aisles, rises to three storeys in the tradition of Burgundy basilicas of the period. The pointed arches are surmounted by a blind triforium and filled windows.
The polygonal apse with double lancet windows is two storeys high. The two bell towers are built on the arms of the transept as an extension of the nave, with no external projections, revealing an early Romanesque architectural layout.
A major work of the 16th century in the Nivernais region, the triptych of Sainte Eugénie, dated 1535, was donated to the collegiate church of Sainte Eugénie in 1537 by Bishop François II de Dinteville, and was transferred to the parish church during the French Revolution. It appears to be the work of a fairly young artist from Harlem (Holland) who had spent some time in Italy and was retained in Auxerre by the bishop.
Description:
In the centre, Eugénie, who has escaped all torments, accepts that of the sword. The background of the painting seems to evoke the collegiate church of Saint Eugenie.
On the left, Eugenie, accused by Melanthia of having abused her, justifies herself before her father, the governor, who recognises her as a lost daughter. She opens her dress and reveals her femininity. To avoid marriage by concealing her sex, she had been admitted to a male convent, where she eventually became the abbot. The reverse shows Saint Laurent being stoned to death.
On the right-hand side, Eugenie, carried by angels, appears to her mother, who has converted. The reverse depicts the martyrdom of Saint Lawrence subjected to stoning.
The central panel depicts François II and his brothers, as well as the Dintiville family. The painter painted his own portrait between the executioner's legs.
Some stained glass windows from the period of construction depict scenes from the Gospel and the life of Saint Peter in medallions in the upper part of the central apsidal window.
In the choir is an elegant statue of Saint Eugenie, taken from the collegiate church. The saint wears the crown of the martyrs and holds a book symbolising science or texts from the Gospels. The workmanship of this statue is similar to those produced in the Bourbonnais region around 1500.
From the collegiate church of Sainte Eugénie, this 12th-century reliquary arm containing a humerus bone of Sainte Eugénie of Alexandria, brought back from Rome by Bishop Gaudry in 923, was the best-known piece in the Varzy treasure. Unfortunately, it was destroyed during a theft. However, a copy made by CAMOSINE is once again on display in the vault containing the treasure of the church of Saint Pierre, reflecting the great importance of the cult of relics throughout the Middle Ages and well beyond.
As early as the middle of the 5th century, Varzy had a place of worship dedicated to Saint Peter. It is impossible to pinpoint its location, but it was restored by Bishop Gaudry (918-933). The parish then had three basilicas: Sainte Eugénie, Saint Saturnin and Saint Pierre.
In 1102, a new Romanesque building was erected, and in 1126 Clement IV confirmed its possession to the bishops of Auxerre. It later became a baptistery dedicated to Saint John.
Around 1225, builders from Auxerre were commissioned to begin work on the present-day church of Saint Pierre. Thanks to the help of the original parish priests and the local residents, work continued until 1280 (the date of the first blessing by Guillaume de Grez). The dedication ceremony did not take place until around 1350, bringing together the bishops of Auxerre, Nevers and Autun on Saint Michael's Day.
Over the centuries, the building has undergone a number of modifications:
- In the 17th century: construction of a sacrifia and a sepulchre adjoining the apse; the choir was decorated in stucco.
- In the 18th century, the large choir arches were pierced in the wall, which acts as a counter-buttress to the bell towers. Claude Poirier, the king's sculptor, created the main altar between 1728 and 1729. The town room adjoining the church was exchanged for the former chapel of St John.
- In the 19th century, the last frescoes in the nave and the aisles were covered with whitewash and disappeared. Between 1832 and 1864, the capitals and the base of the pillars were restored. The paving was restored to its original appearance. The sacristies were rebuilt in 1869. One was converted into a vault in 1975.
The various building campaigns can be summarised as follows:
- The apse was first raised to the point where the vaults began. This was followed by the right-hand bay of the choir and the transept, as well as the vaults of the apse.
- The lower sections of the nave were then built up to the level of the triforium. After a change of direction above the large arches, construction began on the first three bays of the nave, which were vaulted at the same time as the crossing and the arms of the transept.
- Meanwhile, work continued on the three western bays, which were vaulted at the same time as the bell towers.
The nave and transept are separated by a monumental grille bearing the keys of Saint Peter, executed in 1730 by the master locksmith Gueneau from Prémery.
For several centuries, burials took place in the Saint Pierre cemetery surrounding the church or inside it. Bishop Champion de Cicé banned this practice after observing "dangerous vapours" during a visit in 1767.
The church of Saint Pierre is a typical example of radiant Gothic architecture:
The facade is divided by buttresses that extend those of the nave and the aisles. The three-vaulted portal rests on columns surmounted by a large Radiant-style bay window.
The six-bay nave, bordered by aisles, rises to three storeys in the tradition of Burgundy basilicas of the period. The pointed arches are surmounted by a blind triforium and filled windows.
The polygonal apse with double lancet windows is two storeys high. The two bell towers are built on the arms of the transept as an extension of the nave, with no external projections, revealing an early Romanesque architectural layout.
A major work of the 16th century in the Nivernais region, the triptych of Sainte Eugénie, dated 1535, was donated to the collegiate church of Sainte Eugénie in 1537 by Bishop François II de Dinteville, and was transferred to the parish church during the French Revolution. It appears to be the work of a fairly young artist from Harlem (Holland) who had spent some time in Italy and was retained in Auxerre by the bishop.
Description:
In the centre, Eugénie, who has escaped all torments, accepts that of the sword. The background of the painting seems to evoke the collegiate church of Saint Eugenie.
On the left, Eugenie, accused by Melanthia of having abused her, justifies herself before her father, the governor, who recognises her as a lost daughter. She opens her dress and reveals her femininity. To avoid marriage by concealing her sex, she had been admitted to a male convent, where she eventually became the abbot. The reverse shows Saint Laurent being stoned to death.
On the right-hand side, Eugenie, carried by angels, appears to her mother, who has converted. The reverse depicts the martyrdom of Saint Lawrence subjected to stoning.
The central panel depicts François II and his brothers, as well as the Dintiville family. The painter painted his own portrait between the executioner's legs.
Some stained glass windows from the period of construction depict scenes from the Gospel and the life of Saint Peter in medallions in the upper part of the central apsidal window.
In the choir is an elegant statue of Saint Eugenie, taken from the collegiate church. The saint wears the crown of the martyrs and holds a book symbolising science or texts from the Gospels. The workmanship of this statue is similar to those produced in the Bourbonnais region around 1500.
From the collegiate church of Sainte Eugénie, this 12th-century reliquary arm containing a humerus bone of Sainte Eugénie of Alexandria, brought back from Rome by Bishop Gaudry in 923, was the best-known piece in the Varzy treasure. Unfortunately, it was destroyed during a theft. However, a copy made by CAMOSINE is once again on display in the vault containing the treasure of the church of Saint Pierre, reflecting the great importance of the cult of relics throughout the Middle Ages and well beyond.
