The parish church of Joinville, dediee has Notre-Dame in her nativity, offers with the church of Blecourt, which depends on the same cantonal district, an analogy marquee, not to say a striking identity. Older, of less correct lines and less happy proportions, it belongs as it at that time of transition or the Romance style was going to yield the place to the Gothic and or the semicircular arch, has half detrone, was still combined with the victorious warhead and envahissante1.C' is perhaps around these monuments semi-parties, known as with reason a modern writer, that east piles up the most uncertainty and of darkness. To age what is old is a pleasure which well few spirits can resist. It is it what explains the eagerness with which one is pressed on ambiguous texts or badly interpreters to give has some monuments an exceptional and marvellous antiquity.
Dubious traditions, almost dumb files and not very clear-sighted historians, here is for the foundation of the church of Joinville, as for so much of others, the only resources which one can lay out.
Edme Baugier, senior of the presidial of Trawl-nets, which wrote at the beginning eighteenth century historical memories on the Champagne province, speaks about it in these terms:
'' The church NR. - D., which is the parish, was rested by the former lords of Joinville; the frame of the chorus passes for a masterpiece as regards these kinds of works. Thibault the Large one, count de Champagne, and Mathilde, its wife, made repair this church and makes make the gate which remains still today, and which was beautiful enough for that time. One sees there the statues of this prince and this princess, who are there demeurees in their entirety with the marks of the benefactors of this church. ''
But a manuscript of 1632 that we had already the occasion to quote in a preceding note, makes go up to Jovin, founder supposes of Joinville, the construction of the parish church, '' which, said the narrator, is so old, who it would not be residence has any instrument escript. '' It gives of the two statues of the gate following description: '' One, with the coste right, is of a lord presenting has God ceste church in one with its hands, and other holding a roller during, to which there avoit some writings erased by time; icelui character portoit a crown tests some, in the shape of delta or points of rays; the other figure with the sinistral coste is of a lady having diadem in the clover shape; esquelles two crowns remain some gold vestiges. And as for vestement of the lord, it is in the shape of coat of arms of red color or pourprine according to the marks which remain about it. Of or we can conjecture, continues the writer, that they are the effigies of Jovin and sound espouse. ''
If we had has to choose between two interpretations, we would be lays out has to believe, with Baugier, that these effigies were to point out the memory of the Champagne lords or the lords de Joinville, rather than that of Jovin and his wife, who lived under the Valentinien emperor, at the fourth century of our era.
No charter, no book old speaks about the construction of the church of Joinville. One sees well, of 1250 has 1273, to appear in some acts, either '' Maistre Raous, cure, '' or '' Bertrand, senior of the chrestiente and cleans of Joinville, '' but nowhere it is not question of the Notre-Dame church.
In the absence of written documents one can only question architecture and draw from his examination of more or less conclusive inductions for the date of construction. Notre-Dame de Joinville appears to belong at the end of the twelfth century or the beginning of thirteenth.
Outside, the pink of the gate, three windows and the pink of the apse; inside, the triforium and the blind arcades figurees, are semicircular arch; the arcs of the spans, the vaults and the majority of bays offer the ogival crack.
Placee in the center of the city, but environnee of maisonnettes and shops which were established between the buttresses and which spoil its outside lines, the parish church is not without interest under the report/ratio of art; it is not vast enough any more for the population nowadays. One penetrates there by three doors: one in the north, which does not deserve to be differently mentionnee; the other at midday and third in the west. The latter, which forms the main entrance, is precedee of a gantry of approximately five square meters, decorates with pilasters of order Tuscan and going back at most to the sixteenth century. One has looks at often and well wrongly this construction as being the oldest part of the church. Undoubtedly it will have replaces some old porch which threatened ruin, and which one could still find traces, but it does not have anything which can interest the archaeologist or the historian.
In two external niches, two apostles of poor execution appear or saw formerly the two statues of which we have speaks higher; these statues were brisees in 1794. The tympanum of the principal door is widowed of its sculptures, only it remains a low-relief mutilates which presents some scenes of the life of the Virgin, sponsors church. The tori and the zigzags composing the archivolt are of a certain merit; one discovers there the trace of the painting and the gold which have to cover them formerly. The whole of this door and all the western frontage of the monument, deserve to fix the attention of the observer.
One goes down to the church by a semicircular staircase from twelve steps. The vessel does not offer inside the Latin cross which the edges of the roofs draw, it is divided into three naves succeeding has furnace bridges and finishing straightforwardly. The principal nave is composed of four spans; of each dimension, as Blecourt has, there is figure a gallery or triforium has clotheshangers geminate; ogival windows, but of a later date, were bored above this gallery. The pillars have their capitals flowering ashes of hooks and of foliages, these ornaments were mutilate or masks under the paint. The chorus is less high than the nave, the sanctuary less high than the chorus.
Formerly the apse, like the Western part, was lit by a Romance pink and three windows symbolic systems which one still sees of the outside; but, for a long time a retable hides these openings, and two large bays opened on the right and on the left of the sanctuary pour light to him.
Dimension Southerner one built, at the sixteenth century, a vault dediee has holy Crepin; the windows, of disgracieuse form, as broad as high, preserve some panels of stained glasses color in the taste of the time. In north, one also opened a vault placee formerly under the term of saint Memmie, owner of the diocese of Trawl-nets; it is without interest.
Several times the parish church was reached by the fire. In 1544, in particular, the emperor Charles-Quint, afflicts with the loss of prince d' Orange, his nephew, keep silent from the seat of Saint-Dizier, put fire has Thonnance and has Joinville; fire did not save the holy bond, the vaults of the chorus still preserve stones calcinees and other traces of the plague.
Claude of Lorraine, then lord of Joinville, helped much, by his liberalities, with the rebuilding of the buildings devastate by the flame; the castle, if one believes the-tradition of it, supported the attack of the enemy bravely and did not go. It is undoubtedly to devote this memory that one has striking of the medals or tokens at the year of 1544, presenting of a dimension the effigy of the duke of Own way, about which we speak, and other the armorial bearings of its house surmontees of a ducal crown.
About 1580, one raised the gate which looks at the place; he is flowering ash of columns cannelees in the taste of the rebirth. On a black marble plate, placee with the pediment, one reads this sentence: Do what you will want to have done when you will die. The maisonnettes appliquees against the church, built out of wood hitherto, had supports the fire of Charles Quint, one rebuilt them out of stones at the same time.
The interior of the building underwent many revolutions. The furnace bridge was tres-anciennement surrounds by columns and place in on this side wall; in 1667, a cure did all to remove; the columns were sold and the furnace bridge pushes back against the apse; one demolishes also several small furnace bridges places in the nave and the collateral ones, and one cut down a wood jube established at the entry of the chorus. However one preserved until 1770 below the jube a heavy balustrade which hardly let foresee the sanctuary. With Celt time, Mr. Petitjean, cure of Joinville, determined several pious brotherhoods and some people with the erection of an iron grid much lighter; it still today is seen.
During the demolition of the castle, the major furnace bridge of the church seigneurale was, with its crowning out of copper, place with the parish church; but soon an order of the Directory made it remove and to lead has Chaumont; metal was useful has to run two guns of the gauge of four, which resterent a long time at the city and were sent has Auxonne in 1803.
Later one bricked up a wall in front of the grid of the chorus, when one wanted to establish a club there; but the very same day or the opening of it arrived the decree abolishing was to be made all these meetings.
The most complete restoration is that which took place in 1837; paves and the benches were completely raised and given has nine. One completed to replace by iron grids the heavy balustrades which separated the chorus from the side chapels, and these vaults of the naves; all the woodworks were repainted and gildings renouvelees; he has to regret that one has then limes painting the pulpit out of wooden carves given by Nicolas Madiot and that it is had couronnee of a catch Gothic cabbage to the desk of the chorus. A coat of paint to oil also came to cover the balustrade with the organ, whose panels out of wooden carves offer the happiest varieties of the Gothic style.
Before 1789, the Notre-Dame church had a senior on which sixty cures depended. In the past, it had a title of archdeacon to the cathedral of Trawl-nets; the office was done there almost following the example the collegial ones, by five priests established in 1585. Before them, the cordeliers of Holy-Anne came to sing the high masses there. Three chaplains of Saint-Memmie of Saint Nicolas's Day and Saint-Claude united with the five priests above; but today remain only one cure and two vicars.
We will not leave the Notre-Dame church without throwing a glance of regret on its bell-tower, at one time still one of most beautiful of the province. Place on the chorus at transept crossing and rising straightforwardly on eight has ten bills of quantities of dimension, it forms two stages height unequalled of which one is up to date. Elegant and light turrets decorate the four angles; medium of the dome rose an arrow surmontee of an octogonal lantern and an iron cross richly travaillee. A few years ago, it was necessary to cut the arrow has its birth; the beams were wormeaten and a ruin appeared imminent. Since then, the city lost, for always perhaps, the charm of its aspect. The factory, the municipal council and the higher administration will never arrive undoubtedly, same by joining together their efforts, has to repair this disaster.
The bell-tower contained in the past six bells. In 1793, five were cassees, only one remained, it exists still today. Celtic inscription there is read: Marie of Lorraine, duchess of Guyse and Merry, pair of France, hereditary Champagne 1684 seneshal; it spruce four thousands. In 1823, four new bells came to populate the bell-tower; two others were ajoutees in 1850. The clock goes up has 1546.
Source: Memories, Volume 1 by historical and archaeological Company of Langres
Church, Patrimoine classé ou inscrit dit 'Eglise' à joinville (haute marne 52300). L'église paroissiale de Joinville, dédiée à Notre-Dame en sa nativité, offre avec l'église de Blécourt, qui dépend de la même circonscription cantonale, une analogie marquée, pour ne pas dire une identité frappante. joinville, haute marne
Contributions documentaries made by visitors
Lomyre says of the history of this building :
Monument d'architecture gothique construit au XIIIe siècle, incendié par l'armée de Charles Quint en 1544, réparé par les Guise à la fin du XVIe siècle.
Nef et collatéraux seuls vestiges du XIIIe.
Transept, abside et absidioles reconstruits de 1864 à 1868 par Fisbacq, architecte à Saint-Dizier, soucieux de respecter l'unité de style.
Clocher néo-gothique (1885).
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