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Origin and history

The church of Saint-Pierre de Sireuil, located in the village of Sireuil (comune des Eyzies-de-Tayac-Sireuil, Dordogne), is a Romanesque building dating back to the 12th century. Its forerunner, covered with a dome, dates from the first third of the 12th century, while the portal, in the Limousin style, was added in the 13th century. The church then depended on the archiprired of St Andrew's Allas and reported directly to the bishop, as evidenced by medieval documents.

In the 17th century, a chapel was built north of the forerunner, and the bell tower, partially destroyed, was raised with a slight withdrawal. The Hundred Years Wars and the Wars of Religion probably damaged the structure, requiring major repairs. In 1732, a repair estimate was established for the church body and the bell tower, declared in ruins. The works, carried out by artisans of Saint-Cyprien, concerned in particular a masonry breach and the screw of the bell tower.

The church has undergone numerous restorations: in 1849, then between 1901 and 1905 by architect Crouzelou, and more recently between 1977 and 1990 for roofs, ground, and electrical installation. Ranked a historical monument in 1974, it preserves remarkable architectural elements, such as its dome on pendants, its Romanesque choir, and a stained glass window of 1875 made by glass painter Jean Besseyrias, restored in 2002.

The building has a unique nave followed by a forechoir and a polygonal choir, illuminated by Romanesque berries. The square bell tower, backed by massive buttresses, dominates the whole. The historical sources mention various words for this church: Saint-Marcel (original patron saint in the fourth century), Saint-Pierre (attested in 1343), or Saint-Martin according to some databases. These variations reflect its complex history and transformations over the centuries.

The archives reveal that the church was named Sti Petri de Sirolio in the registers of Pope Clement VI (1343), and Sti Marcelli de Sirolio in 1556. These mentions underline its importance in the local religious landscape. Despite the documentary shortcomings, successive restorations have preserved this testimony of perigord Romanesque art, marked by conflicts and architectural developments in the region.

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