First mention of the church 1130 (≈ 1130)
Donation by Izarn de Luzech in the chapter of Cahors.
1151
Construction of a chapel
Construction of a chapel 1151 (≈ 1151)
Alloted to Dorde de Luzech.
1254
Pass under episcopal snack
Pass under episcopal snack 1254 (≈ 1254)
Management transferred to the bishop.
vers 1520
Reconstruction of bedside and chapels
Reconstruction of bedside and chapels vers 1520 (≈ 1520)
Addition of Renaissance elements to the decor.
XVIe siècle
Construction of sacristy
Construction of sacristy XVIe siècle (≈ 1650)
Embroidered window and carved decor.
18 octobre 1979
Historical monument classification
Historical monument classification 18 octobre 1979 (≈ 1979)
Official protection of the building.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Church (Box B 1122): Order of 18 October 1979
Key figures
Izarn de Luzech - Donor
Cedes the church to the chapter of Cahors in 1130.
Dorde de Luzech - Suspected Sponsor
Had built a chapel in 1151.
Jan Tysievicz - Painter
Author of a painting (1848) in the church.
Origin and history
The church of Saint-Pierre-et-Saint-Paul de Caillac, first mentioned in 1130, was given in the chapter of Cahors Cathedral by Izarn de Luzech. A chapel was reportedly built there in 1151 by Dorde de Luzech. The Romanesque nave, dated the twelfth century, is one of the oldest elements of the building. From 1254 on, the church passed under the collation of the bishop, marking a transition in his ecclesiastical administration.
At the beginning of the 16th century, the choir, bedside and side chapels were rebuilt, incorporating Renaissance decorative elements. The southern gate, of Romanesque origin, was enriched around 1520 by a carved decoration of Arabicsques, while the sacristy, added in the 16th century, bears the traces of a wooded armored window. These transformations reflect stylistic evolution and local artistic influences, including those of the Château Lagrézette.
Ranked a historic monument in 1979, the church combines a unique nave covered with a glazed ceiling with dogive vaults decorated with armored keys. The bell tower, two-storey arcades, and the painted decorations of the choir, imitating sculptures, testify to the architectural richness of the building. Several movable objects, including a painting by Jan Tysievicz (1848), complete his interior heritage.
The building also preserves traces of its Romanesque origin, such as the outer archicvolt of the southern gate, decorated with billets, while the modifications of the 15th and 16th centuries, such as the chapels forming a false transept, illustrate its adaptation to the liturgical and aesthetic needs of later eras.
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