Esplanade de la Libération
01 July - 31 August
Sat 14.00 - 16.00
Sun 14.00 - 16.00
Tuesday : mass : 9 am
adoration till 5 pm
(till 12 am in July-August)
Sunday : 9.30 am
The church is on a newly rearranged esplanade where there is beautiful airy sculpture by Catherine Fourniau, depicting birds and entitled “Flight”.
The brick and stone building dates from 1853 and is a witness to the industrial wealth of Dison in the 19th century and its infatuation at this time with the Middle Ages.
The building is in Neo–medieval style with some Neo–gothic touches. It is topped by a large octagonal tower 47 metres high, which seems to be drawn towards the heavens, like the sculpture on the esplanade.
Inside, the long columns and high windows create a slender composition .The furnishings are also Neo-medieval. There is an ancient high altar, wall paintings, brightly coloured stained glass windows and hanging at the edge of the choir, a large cross with an expressive Christ.
This is tastefully worked out. The massive pedestals are prismatic quadrangular with an attentive base. The trunks of the columns are painted. The octagonal capitals are decorated with acanthus leaves.
In the nave of the church, three-part columns catch the ribs of the cross vault and then crush grim figures on the columns.
In the transept and the choir massive columns of different heights alternate to adapt to the two levels of the ceiling of the high choir. Lower columns make the view of the whole somewhat more flexible.
In the absis, the three-part columns depart directly from the floor to the ribs of the "cul de four", being architectural open spaces in the vault.
Translated with www.DeepL.com/Translator
As originally, in the nave, red brown, yellow ochre, white, extinct green and blue are combined to colour the geometric ornamental motifs drawn on the clerestory walls, columns and ribs. In the choir and its communicating chapels enhanced with gilding, they also colour religious motifs on the vaults: separated by crosses in medallions, the first three words of the Sanctus; against a background of flowery scrolls, about twenty angels messengers with symbolic attributes. A white, red and black marble floor adds a three-dimensional effect to the floor of the choir.
From left to right, the fifteen stained-glass windows of the aisles, partially masked by subsequent alterations and ending in the communicating right-hand chapel, (1870) depict the joyful, painful and glorious events in the life of Jesus and Mary, his mother. Three stained glass windows in the communicating chapels (1878 and 1935) show saints, from left to right: Dominique, Julienne and Fiacre. The stained glass windows of the apse (1935) retrace, from left to right, top and bottom, six episodes of Christ's childhood. The 19th century stained glass windows are the works of Charles Levêque (Beauvais s/Oise); those of the 20th century, by J. Vosch (Brussels).
In a neomedieval style, the former high altar was carved and polychromatic in stone and sandstone (rock) between 1858 and 1860, according to a project by Eugène Halkin (Liege), by Gérard (Hasselt). A rich religious symbolism decorates it: high reliefs representing the Walloon initiators of the Corpus Christi Festival on the antependium (Julienne de Cornillon, Pope Urban IV and Eve de Saint-Martin); horns of plenty, cruciform flowers and vine shoots on the predella; Sacred Heart and Tetramorph on the door of the tabernacle; cruciferous and vexilliferous lamb, surrounded by vine shoots at the bottom of the throne of exposition of the Blessed Sacrament; chrism on the tympanum of the ciborium.
The oak frames (h150 cm x l118 cm) were created in 1873 by Corneille Janssen. The neomedieval frame is reminiscent of a portal or window, with a triangular pediment, surmounted by a fleuron, and coupled columns. Scrolls, stylized flowers and a frieze of semi-circular arches decorate it. The paintings on canvas were painted in oil in the romantic style by Isidore Lecrenier . This artist, who belongs to the Liège Landscape School, highlights, at each station, a Christ suffering from the Passion with kindness through chiaroscuro and soft tones.
Dated from 1857, it is the work of Hippolyte Loret of Dendermonde. The organ has 28 stops spread over 2 keyboards and pedal. Its buffet follows the neomedieval style of the building. The three-storey oak façade is vertically delimited by five sets of decorative wooden pipes, covered with silver paint, semicircular arches, columns, pilasters and pediment. Arch friezes, diapres, scrolls, quadrilobe, acanthus leaves decorate them. Symmetrically, two palmettes crown the first level; a composer and a harpist lean against the second. A musician king David sits at the top. Today the instrument is awaiting a final decision on classification.
Translated with www.DeepL.com/Translator
4860 Wegnez (Pepinster)
The Verviers Region at the time of the Industrial Revolution (car route) - Discover to what extent the wool industry has allowed the development of the villages around Verviers.