First construction XIe siècle (≈ 1150)
North side still visible today.
Début XIIe siècle
Major reconstruction
Major reconstruction Début XIIe siècle (≈ 1204)
Three-span nave and south side.
Vers 1500
Gothic choir
Gothic choir Vers 1500 (≈ 1500)
Vault with four strands and five ribs.
XVIe ou XVIIe siècle
Ancient stained glass
Ancient stained glass XVIe ou XVIIe siècle (≈ 1750)
Egg eye and Agnus Dei dated.
XIXe siècle
Glass of the choir
Glass of the choir XIXe siècle (≈ 1865)
Immaculate Conception, Saint Roch, Saint Nicholas.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Key figures
Raymond Collier - Local historian
Expressed doubts about the authenticity of the stained glass windows.
Saint Roch - Holy patron
Represented in a window of beef eye.
Saint Nicolas - Holy patron
Dedicated church, 19th century stained glass.
Origin and history
The church of Saint-Nicolas de Peyruis, located in the Alpes-de-Haute-Provence, has its origins in the 11th century, of which only the north side remains today. It was rebuilt at the beginning of the 12th century, with a nave of three spans and a vaulted south side. These transformations mark its medieval architectural evolution, typical of Provencal Romanesque churches of the time.
Around 1500, the choir was rebuilt in a Gothic style, with a four-paned vault and five ribs. The church as a whole is decorated with murals (false apparatus, vegetal and geometric motifs), while its stained glass windows, among the oldest in the department, date from the sixteenth or seventeenth centuries. Those of the choir, such as the Immaculate Conception or the representations of Saint Roch and Saint Nicholas, were added in the 19th century.
The building is distinguished by its ubiquitous painted décor and its historic stained glass windows, including the Agnus Dei from the north side and the western egg-eye representing Saint Roch. These elements, combined with its hybrid architecture (Roman and Gothic), make it a rare testimony of Provençal religious heritage, despite doubts expressed by some historians such as Raymond Collier about the authenticity of certain stained glass windows.
Although the source text initially mentions the church of Saint-Roch in the title, the architectural and historical details explicitly concern the church of Saint-Nicolas. This confusion could arise from an error of denomination or a fusion of sources, but architectural and artistic descriptions clearly relate to Saint Nicholas, dedicated to Saints Roch and Nicholas, as his stained glass windows attest.
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