The village of Génolhac and its architecture
In 1515, the village of Génolhac had a very limited footprint. It truly existed only within the protective fortress walls and only began to expand outward during this era, particularly towards the north.
The village was entirely surrounded by fertile agricultural land, thriving vineyards, golden cereal fields, and lush meadows. Along the evocatively named "Merdarier" river, one can still note the presence of numerous ancient watermills (the "moly"). It is easy to identify the "gourgues"—small holding basins designed to build sufficient pressure and flow—which once drove the horizontal wooden wheels that, in turn, turned the heavy rotating millstones over the fixed bedstones (the "dormante").
Our Grand'rue was originally known as the "straight street." It served as the primary passage for the famous "Voie Régordane," entering and exiting the city through two monumental stone portals. Even today, the lower part of the Grand'rue ends at "Piedeville," while the northern district, located by the bridge over the Gardonnette, is traditionally named the "town chief" (cap de ville).
It is worth noting that the Ayres square, located in front of the current pharmacy, was once entirely dedicated to the threshing of grain—a vital communal craft in which both men and women played an essential role.
Our famous Colombier square was originally a massive, open meadow owned by the Dominican Convent (situated facing the current tobacco shop).
Finally, the original castle and its protective enclosure, complete with a cemetery, church, and tower, can still be clearly traced. This entire complex was heavily fortified with thick walls and deep moats. Nearby lay the private garden of Monsignor the Bishop (who resided in Uzès). As we stroll through our winding, picturesque alleys today, we can truly appreciate the charming smallness and narrowness of these medieval homes, occasionally discovering beautiful arched vaults leading to hidden, secret gardens.
In the Middle Ages, likely between the current Café du Midi and the alley of Bouissonade, stood a seigniorial pigeon house. The neighboring field took the name "Champ du Colombier." It passed through many hands, including those of the "Patriarch," an aristocratic family, before reaching the Dominican Fathers (or "Preaching Brothers") in 1472. Every year, after the harvests, the inhabitants of Génolhac enjoyed the special privilege of gathering there to dance, play ninepins, and partake in other "honest games." In 1654, it was officially ceded to the citizens of the city.
House No. 42 on Grand-rue
This remarkable façade, carefully restored in 1979, provides a true lesson in history covering seven centuries. It strongly supports serious hypotheses regarding the significant transport that took place along the GR®700 Régordane road. This house was likely one of the most opulent in Génolhac, and today it remains the richest in inscriptions, sculptures, and traces of the past. It features four human heads, four animal heads (possibly sheep), a set of ancient inscriptions, and a central motif located above the current entrance door—all intricately carved in sandstone. More inscriptions can be found in the entrance corridor. It is known that this grand house belonged to Peire Argenson and Joahan Quarante between 1500 and 1520. Manuscripts from the 17th century indicate that the façade was later reconstructed by Pierre Bondurand La Roche.
House No. 7 on Grand-rue
Antoine del Ranc was a "peyrolier" who manufactured "peyrous"—making him a coppersmith (a very noisy profession!). He lived almost directly opposite the current town hall between 1510 and 1530. In 1533, when a new district was subdivided and created further south (past the Mallet store), he built his house and had a commemorative plaque engraved. He also crafted "ferrats," cylindrical copper buckets used for transporting and storing water (unlike the peyrous, which were placed directly on the fire).
Under a large, reduced arch, two twin round-arched doors are arranged according to a very common 16th-century regional style. Many similar examples can be found in Génolhac, Villefort, Vielvic, and La Garde-Guérin, defining what is often called "Régordane architecture." In the 18th century, owners broke the mullioned windows and created new openings with low-arched lintels to fit the taste of the day. It was during this time that parts of the large arches were destroyed to make way for wide, rectangular openings resembling garage entrances. The 19th century completed the alteration by breaking the two small twin round arches, replacing them with a single rectangular door.
The Pastry Shop
Here, you will find a superb twin trilobed window from the 14th century, elegantly adorned in the center with a lily flower and a beautifully decorated capital with carved leaves. This is believed to be the work of the "Compagnons de France," as there is no other similar stonework in the region. One can easily trace the reuse and modifications of the façade over the centuries: changes in floor levels, the obstruction of the twin portals with broken arches, and the narrowing of the windows to avoid a "tax on openings." It was only in 1978, during a careful facade restoration, that this hidden marvel reappeared. The restoration work then continued under the vigilant eye of local historian Dr. Jean Pellet.
The Rédarès was once a bustling farmhouse, with various outbuildings constructed at different times. An ancient inscription mentions a "François Gervex" (the 'G' is either mutilated or poorly engraved) and the date 1741. This Gervex family (later known as Gervais) originated from Marouls, near Saint-Etienne-Vallée-Française. One branch of this lineage lived in Rédarès during the 17th century, and another remains present today at Belle Poile. Yet another branch settled in Fesc, near Vialas. Between the houses of this active farm lay the "Ayre" (the traditional grain-threshing area).
As we continue our stroll along Soubeyranne street, we come across the imposing castle tower. This square structure played a vital role in medieval times: its upper level allowed the toll collector, a representative of the lord, to effectively monitor the merchant convoys traveling along the Régordane route. The lower levels were used to store provisions or hold prisoners. Like several other defensive towers in the region, it featured restricted access, requiring a ladder to reach the first floor, thereby greatly enhancing its defense during an assault.
Nearby stands the Church of Saint Pierre, discreetly positioned behind the tower and slightly set back from the bustling village center. This place of worship boasts a rich, eventful history, deeply intertwined with the violent religious conflicts that shook the Cévennes over the centuries. It has endured devastating fires, numerous expansions, and the gradual addition of side chapels. Its iconic comb bell tower, characteristic of local architecture, was added at the end of the 16th century by the Vicomte de Polignac, co-lord of Génolhac, eager to compensate for the symbolic damages caused by Protestants during those troubled times.
Established originally in the 12th century, the Church of Saint Pierre underwent many transformations due to the destruction and remodeling caused by the Religious Wars. Its structure features a single nave, accompanied by four side chapels, all elegantly covered with semicircular vaults.
The comb bell tower of the Cévennes is a true architectural emblem of this southern French region, its history intimately linked with that of Protestantism. In the Cévennes, comb bell towers are frequently associated with Reformed churches. During the 16th century, the rapid rise of Protestantism led to the construction of churches that distinctly stood out from Catholic architecture. The Cévennes, emerging as a fierce bastion of Protestantism, beautifully blended architectural traditions with the practical needs of the community.
The era of the religious wars (16th-17th centuries) was incredibly harsh. Churches were frequently destroyed or drastically altered, but the comb bell towers endured to symbolize the unyielding resilience of the Protestant community. Following the devastating revocation of the Edict of Nantes in 1685, these buildings were often hidden or camouflaged to escape persecution. Building comb bell towers became a powerful way to demonstrate a lasting, unshakeable identity, even in the face of profound adversity.
Architecturally, the comb bell tower is remarkable for its slender, elegant structure and its distinctive shape, which resembles a comb due to its series of open arches. These towers are usually built of meticulously dressed stone. The open arches not only add a graceful decorative touch but also allow the heavy bells to ring out unobstructed across the valleys. While the design is generally simple and highly functional, it reflects a rugged beauty, with particular attention paid to geometric motifs. Varying in height, their primary purpose remained constant: to provide the best possible acoustics for the ringing of the bells, which paced and guided everyday community life.
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