Former collegiate church Saint-Vulfran

The Former collegiate church Saint-Vulfran, known locally as Ancienne collégiale Saint-Vulfran, stands as a magnificent testament to the Flamboyant Gothic architecture in the heart of Abbeville, France. This architectural gem, named after Saint Vulfran since the 12th century, is one of the most complete specimens of this style in the maritime region of Picardy. It is not just a church but a historical monument that has witnessed centuries of history, art, and culture.

The Origins and Etymology

Originally, the site of the Former collegiate church Saint-Vulfran was home to a parish church dedicated to Our Lady. In the 12th century, the Count of Ponthieu brought back the relics of Saint Wulfram of Sens and established a chapter of twenty-six secular canons. This led to the church being renamed as the Collegiate Church of Saint-Vulfran. Over time, the spelling of the name evolved from Saint-Wulfran and Saint-Wlfran (where W stood for VU) to the current Saint-Vulfran.

The Construction and Historical Significance

The construction of the Former collegiate church Saint-Vulfran began in 1488, set in a marshy valley near a branch of the Somme River. The construction of the nave spanned from 1488 to 1539, while the choir was completed between 1661 and 1663. Unlike many churches, its façade opens to the north rather than the west. The chapter of Saint-Vulfran aimed to create the most beautiful church in Ponthieu, seeking financial support from the King of France, the Count of Ponthieu, and the town of Abbeville.

The western part of the church, begun on June 7, 1488, was nearly finished by 1502, allowing work to commence on the eastern façade. In 1520, Jean Crétel, a master mason from Tours-en-Vimeu, took over the construction, with stones sourced from the cliffs of Beaumetz and Pont-Rémy. Despite financial challenges that halted progress in 1539, the church's towers were completed, and by 1532, they were ready to house bells.

The Wars of Religion and Spanish invasions further delayed construction. It wasn't until the early reign of Louis XIV, from 1661 to 1663, that the choir was completed. By 1691, the upper windows of the apse were adorned with stained glass, marking the completion of the church's eastern part.

The Church Through the Ages

During the French Revolution, the Former collegiate church Saint-Vulfran was repurposed as the Temple of Reason, and on June 8, 1794, a festival in honor of the Supreme Being was celebrated here. The church was classified as a historical monument in 1840. A report by architect Eugène Viollet-le-Duc in 1852 led to the prohibition of religious services due to the building's precarious condition. Restoration campaigns began in the 1860s to ensure the church's stability, with diocesan architect François Céleste Massenot restoring the chapels and aisles of the nave.

World War II brought further destruction. On May 20, 1940, during the Battle of France, German artillery bombardment caused a massive fire that destroyed much of Abbeville and the church. The vault collapsed, leaving only the beginning of the nave, the towers, and the façade standing. Restoration efforts culminated in 1998, when the church was returned to religious use.

Architectural Marvels

The Exterior

The main façade of the Former collegiate church Saint-Vulfran is a masterpiece of Flamboyant Gothic design, rising in three tiers with balustrades. Three portals provide access to three naves, with a large window illuminating the central nave between the twin tower windows. The sculpted gable is flanked by two towers, and the abundant sculptures around the portals reflect the devotion of the corporations that funded their creation.

Statues on the portals include Saint Vulfran, Saint Nicholas with three children, Saint Firmin, and Saint Germain the Scot. The tympanum once featured a statue of Christ, with the Trinity depicted in the gable's upper section. The wood-carved doors showcase scenes from the life of the Virgin Mary and the apostles. The north portal depicts the legend of Saint Eustace, while the south portal features statues representing the Assumption of the Virgin, Mary-Clopas, and Salome in Renaissance attire, crafted by Pierre Lheureux in 1501 and donated by the mercers' guild. The bell towers rise 55.8 meters above the ground.

The Interior

The nave, constructed in the 15th century, is relatively narrow at 9.1 meters wide, with vaults soaring to 31.7 meters, creating a striking sense of height. Gothic arches rest on diamond-shaped pillars with prismatic moldings. The blind triforium is adorned with a balustrade, and high windows top it. The ribbed vaults are decorated with sculpted keystones bearing the coats of arms of the church's benefactors. The nave was extended in the 17th century in a more restrained style. The main portal is topped by a gallery.

The side aisles house three chapels each. The south aisle includes the Chapel of Saint John the Baptist, featuring a polychrome stone altarpiece of Jesus' baptism, recreated in 1849 by the Duthoit brothers. The Chapel of Saint Yves and Saint Anne has an altar dedicated to Saint Anne, with a 16th-century altarpiece now in the Boucher-de-Perthes Museum. The Chapel of Saint Quiriace contains an 18th-century Christ in a tomb and Art Deco murals by Victor-Ferdinand Bourgeois from 1931. The south aisle also holds 18th-century marble baptismal fonts, a 16th-century wooden statue of Saint John the Baptist, and a painting by Charles Gleyre titled Saint John Receives the Vision of the Apocalypse.

The north aisle features the Chapel of Saint Louis, built in 1492 by the d'Ailly family, with a polychrome stone altarpiece of the Nativity, largely recreated in the 19th century by the Duthoit brothers and restored in 1994 by Arcams workshops. The Chapel of the Holy Angels and Saint Luke houses a 16th-century bas-relief of The Adulterous Woman, restored in 1843, and a 19th-century altarpiece by the Duthoit brothers depicting the Last Judgment. The Chapel of Saint Firmin contains a painting of Christ on the Mount of Olives by Abbeville artist Hermine Deheirain, donated by King Louis-Philippe I in 1837.

The Former collegiate church Saint-Vulfran is not just a place of worship but a symbol of resilience and artistic achievement. Its walls and towers tell stories of devotion, conflict, and restoration, making it a must-visit for anyone exploring the rich cultural heritage of Abbeville and Picardy.