Erected in Montreal stands u00c9glise Notre-Dame-du-Bel-Amour. It is a testament to faith and architectural vision. This church wasn’t just built it was carefully crafted.
u00c9glise Notre-Dame-du-Bel-Amour’s story began in a time of religious renewal. The aim was closer connections between pastors and their congregations. This was achieved by dividing parishes more effectively. In 1952 Mgr Paul-u00c9mile Lu00e9ger established the new parish. A plot of land was acquired the next year. Construction spanned from 1955 to 1957.
The design of u00c9glise Notre-Dame-du-Bel-Amour and its rectory was entrusted to Roger D’Astous. This was a young architect. This commission marked his first religious building. Due to his limited experience he partnered with Robillard Jettu00e9 and Baudouin. This firm was renowned for religious architecture in Quebec during the 1950s and 1960s.
D’Astous drew inspiration from Frank Lloyd Wright for u00c9glise Notre-Dame-du-Bel-Amour. He had interned with Wright in 1952. The materials reflect Wright’s influence. Roman bricks glass tiles and concrete with a light coating are apparent. The diamond-shaped plan and soaring roof also echo Wright’s Unitarian Meeting House.
The interior design of u00c9glise Notre-Dame-du-Bel-Amour also shows inspiration from another church. It is the Saint-u00c9mile church designed by Robillard Jettu00e9 and Baudouin. Similarities include the concrete vault’s general shape and the integration of terra-cotta brick.
Several artists contributed to the interior. Jacques Paquette created the furniture. It was designed by D’Astous. Claude Vermette crafted the ceramic decor for the altar and balustrade. Sculptures by Sylvia Daoust were also featured. In 1960 a continuous frieze of the Stations of the Cross was installed. It was designed by Claude Thu00e9berge and Marcel Gendreau. Two years later a sculpture of a Madonna by Jean-Pierre Boivin was added to the facade.
Around 1963 the stained-glass window was created. The Atelier de vitraux d’art Josu00e9 Osterrath et fils created the window. It depicts the Virgin and Child. It was placed on the choir wall behind the altar.
Around 1965 the choir was remodeled. This was to better suit new liturgical needs. The balustrade made by Claude Vermette was likely removed at this time. In 1967 the basement was converted into a parish hall. This followed D’Astous’ original plans.
Today u00c9glise Notre-Dame-du-Bel-Amour stands as a historical landmark. Since 2000 it has also been known as the u00c9glise de la Communautu00e9 syriaque Saint-Ephrem. It is located at 7055 avenue Jean-Bourdon. The Conseil du patrimoine religieux du Quu00e9bec recognizes the church’s value. Its unique architecture and artistic elements make it a significant cultural and religious site in Montreal.