It all began with a wish. It was just before the start of World War II, and the village of Les Praz was living peacefully, focused on agriculture, pastoralism, and prestigious hotels facing Mont Blanc. However, one thing was missing: a place of worship and gathering.

When war broke out in 1939 and the very real threat of tragedy began to loom over the country, what had been a distant wish turned into a concrete project, fueled by a surge of hope and faith: the village of Les Praz would build a chapel to thank Heaven for sparing its children. It was my great-grandfather, Camille Tournier, a mountain guide and shepherd, who presented this proposal to the Chamonix town hall on behalf of the inhabitants. The municipal council accepted it in June 1940 and provided the land at the junction of the roads in the center of Les Praz, as well as subsidies to help with its construction.

The plans were drawn up free of charge by one of his clients, André Rostagnat, an architect from Lyon and a mountain enthusiast, who was also deeply attached to his adopted village (he had a second home in Les Gaudenays). The construction work was supervised by a well-known architect from Chamonix, Henry Chevallier.

Driven by this joint project and filled with optimism, the village committee began work in 1941… only to be quickly halted by circumstances beyond their control. The foundations were laid, and the granite walls took shape, hinting at what would one day become an iconic place of worship in the Chamonix Valley. But for the time being, it was occasionally used as a place to park animals.

It was not until the end of the war that work resumed in earnest, mobilizing craftsmen from the valley, the Rhône-Alpes region, and even neighboring Italy. The framework was carved by Michel Ravanel of Argentière. The solid oak joinery was made by a company in Sallanches, while the ironwork and stained glass windows were crafted by artisans from Lyon. Only in the 1950s began the interior work, at the same time as the sculptor Élie Pellegrin, who had recently moved to the village, took over as chairman of the chapel committee.

Among other things, he created the superb Virgin Mary statue in Baux-de-Provence sandstone, which stands above the entrance door. The altar, designed to be simple and unadorned in keeping with the building’s understated architecture, was carved from a block of Combloux granite by an Italian craftsman.

Despite the support provided by the Chamonix town hall at the outset of the project, its success is mainly due to the generosity of the community. Thanks to fairs, donations, and collections at the end of Mass, the village has managed, year after year, to raise the funds needed to complete its chapel. It was also thanks to the commitment of certain craftsmen and villagers, who gave their time or offered materials to repair and maintain the building.

Today, it stands as an emblem. Its slender spires and raw, geometric structure pay homage to Les Drus, at the foot of which it stands. Above all, it is a symbol of the soul of this village: the fighting spirit, solidarity, and brightness of its inhabitants, who were able to transform a collective will into a tangible reality. In this respect, it is admirably named a votive chapel.

Votive, adj.: from the Latin votivus. Commemorating the fulfillment of a vow.

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