Construction of the bell tower vers 1300 (≈ 1300)
Typical structure of the Alpine region.
1412
Parish attestation
Parish attestation 1412 (≈ 1412)
First sure mention as parish church.
1552
Paints of the porch
Paints of the porch 1552 (≈ 1552)
Decorative work on the south porch.
1653
Adding sacristy
Adding sacristy 1653 (≈ 1653)
Date engraved on the window support.
4 septembre 1913
Historical monument classification
Historical monument classification 4 septembre 1913 (≈ 1913)
Official protection of the building.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Church: by decree of 4 September 1913
Key figures
Augustins d'Oulx - Religious Order Owner
The church was from the twelfth to the fourteenth century.
Origin and history
The church of Saint-Laurent des Vigneaux, located in the Hautes-Alpes, dates from the 15th century, although its bell tower seems to go up around 1300. It is distinguished by its unique architecture: a vaulted nave in a broken cradle, a staggered ogival choir, and an arched porch. His frescoes, including an exterior illustrating vices and their punishments, as well as his wooden door decorated with a chimera-head lock, bear witness to a rich artistic heritage. The building also houses a rare mechanical clock with a needle, recently restored.
From the end of the 12th century, the Augustinians of Oulx owned the churches Beate Marie de Vinealibus and Sancti Laurenti, until the 14th century. St. Lawrence Church was already a parish in 1412. The bell tower, typical of the region, would have been built around 1300. Work was attested in 1552 (paintings of the porch) and 1653 (addition of sacristy, dated by an inscription). Ranked a historical monument in 1913, it combines Romanesque elements (pink marble door) and Gothic elements (ogival vaults, tuff arches).
The building, a communal property, is characterized by various materials: tuff for arches and warheads, limestone for corner chains, and pink marble for the gate. Its square bell tower, crowned by an octagonal arrow, dominates a nave unaxed from the west facade. The interior paintings, limited to a false apparatus, contrast with the sculptural richness of the buttock capitals. The structure reflects the influences of the diocese of Embrun, notably through its archvolt portal.
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