Vault Our-Lady-of-Oak of Blotzheim

Vault built on an old Roman oak grove, with Blotzheim (Alsace, France), having undergone many restorations during the centuries. Only vault placed under the term of Sancta Maria AD Robar in Alsace, registered with the historic buildings. The bell-tower goes back to 1494. One can see there the principal furnace bridge of time Baroque, the statues, the saved tables of the destruction coming from the founded convent of the capuchins in 1737, and especially a Orgue Callinet Frères of 1843.

History of the restorations of 1685 with 2006

Undertaken since 1999, work of restoration, interior and external, of the vault Our-Lady-of-Oak touch at their (good) end in August 2006 for the feast of the Assumptions of the Virgin Mary. The faithful ones will be able to discover the two admirably renovated secondary furnace bridges, of which one (that of left) carries a new fabric which is very strongly inspired by that replaced in 1947.

In 1685, the vault Our-Lady-of-Oak threatened of ruin! The roof and the vault of the chorus had subsided. The community engages a lawsuit in front of the sovereign Council of Alsace against the décimateurs to oblige them to fulfill their obligations to rebuild chorus and bell-tower. They are condemned there in 1699. The shortly after a judgment in call, the plans of the rebuilding of the pertaining to worship building are presented to the summer 1700. The project is not appropriate to the décimateurs. However, work begins. They are stopped, the workmen are not paid more, because the community of Blotzheim wants to protest against the execution of a chorus not arched, whereas the old one was it. A new lawsuit is committed: the décimateurs are condemned to the rebuilding of the chorus in 1711. It is the stone mason bâlois Jean-Jacques Pack who is charged with the building site. The chorus is vintage 1712. Our-Lady-of-oak was devoted on August 24th 1740, at the same time as the furnace bridge of style Baroque in the small vault under the bell-tower, currently in the course of restoration.

Work of Hugues-Jean Monnot (1717), the high altar is composed of a tomb decorated with garlands with flowers and sheets, of a step decorated with rinceaux with in the center the veil of Veronique and the reliquaries at the ends. The gate vault with niches shelter the four evangelists and a central crucifix. The Retable is framed of four grooved Corinthian columns. At the ends of the cornice are, on the left, the statue of Saint-Michel (with balance to weigh the hearts and sword), and on the right, that of an angel bell ringer of trumpet (the instrument disappeared). In the center, reliefs observers of the cherubs in the clouds. In top famous the Vierge is Pity of the 15th century. According to the legend, the furnace bridge locks up the Chêne on which the statue would have been. Installed in the vault since 1710, the side furnace bridge right with its four twinned twisted columns could come from the abbey church Notre-Dame de Lucelle. The fabrics are allotted to the Swiss painter Charles Stauder (about 1640-1714). They represent the preparation of the Martyr of Saint Sebastien on the first level and the appearance of the Vierge to the Child in a crown of pinks, tightening the Rosaire with Saint Dominique knelt with his feet, with Sainte Catherine of His. To note that the table of Saint Sebastien was carried out according to an engraving of Egidius Sadeler, reproducing a table of Jocopo Palma the young person. A brotherhood of Saint Sebastien was founded in 1610 with Blotzheim. The northern side retable presents Corinthian columns. Its ailerons were removed after 1903. Until 1946, it carried a oil-base paint on fabric, representing the Christ on the Cross, from where its name “Kreuzaltar”. In 1947, at the request of the abbot Charles Weckerlin, Joseph Gasser (of Blotzheim) carries out a Saint Nicolas of Extruded in a landscape, the great Swiss saint canonized this year. The medallion is carried by two cherubs. The table of the pediment represents the education of the Virgin Mary 18th century. In 2006, table Saint Nicolas of Extruded was replaced by a Christ in Cross, more in the tonality of the vault.

Listed monuments

the furnace bridge of the Happy Virgin Mary (high altar) of the 1st quarter 18th century and the carved group: Vierge of Pity dating from 1st half 15th century is classified with the historic buildings since 2002. the instrumental part of the organ realized by Joseph Callinet (organ builder) and François Shepherd (organ builder) (2nd quarter 19th century; 3rd quarter 19th century) is classified by the direction of the Inheritance since 1992.

Other jewels were classified by the general Inventory of 1975:

furnace bridge, retable, step of furnace bridge (secondary furnace bridge, structured retable, furnace bridge tomb) (18th century)
furnace bridge, retable, step of furnace bridge, tables (2) (secondary furnace bridge, structured retable, furnace bridge tomb, table of furnace bridge): Nicolas saint of Extruded (18th century) the
furnace bridge, retable, tables (2), step of furnace bridge (secondary furnace bridge, structured retable, furnace bridge tomb, table of furnace bridge): Sebastien saint - Author (S) Stauder (painter) (1st quarter 18th century)
martyrdom (18th century)
pulpit to be preached (of bracket) (18th century)
keystone (15th century)
tombstone: of Ursus _Gluz (4th quarter 17th century)
skirting of half-coating (18th century; 4th quarter 19th century)
Mount of Olives (2nd quarter 19th century)
organ Callinet brothers (organ builder) (2nd quarter 19th century)
statue: Christ of resurrection (18th century, 19th century (?) )
statue: saint Antoine abbot (18th century)
statue: saint Antoine de Padoue (18th century)
statue: saint François d' Assise (18th century)
statue: Jean saint the Evangelist (18th century)
statue: saint Louis (18th century)
statue: saint Leger (18th century)
statue: saint Wendelin (18th century)
glass 1, Author (S) Kuhn J. (painter and glass maker) (4th quarter 19th century)

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