Closure of the monastery 1789 (≈ 1789)
Disappeared during the Revolution.
1868
Stained glass of Saint Blaise
Stained glass of Saint Blaise 1868 (≈ 1868)
Signed Bishop (Beauvais).
1946
Glass of the choir
Glass of the choir 1946 (≈ 1946)
Scenes of Christ's life.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Key figures
Saint Sulpice - Bishop of Bourges (VIth century)
Patron of the current church.
Saint Blandin de Meaux - Ermite (VIIth century)
Founded the original monastery.
Sainte Fare - Abbesse de Faremoutiers
Represented on a stained glass window.
Origin and history
The church of Saint-Sulpice de La Celle-sur-Morin, located in Seine-et-Marne, is a religious building built in the 12th century in Romanesque style and restored in the 16th century. Dedicated to Saint Sulpice, bishop of Bourges in the 6th century, it replaces a monastery founded around the 7th century on the island of Grand Morin, linked to the tomb of Saint Blandin de Meaux, a local hermit. This monastery, closed during the Revolution of 1789, left no architectural traces.
The western façade of the church features a low arched portal and ogival bay, while the lateral walls, reinforced by 12th century foothills, are pierced with bays in the middle of the hangar. The flat bedside, redesigned during the Renaissance, has a large bay with four lancets decorated with 19th and 20th century stained glass windows, including a 1946 stained glass window depicting scenes of Christ's life. Inside, the four-span nave and the collaterals lead to a vaulted choir of medieval warheads.
The furniture includes remarkable elements such as a 11th century stone tank (former basin of the Benedictine priory dissolved at the Revolution), 16th century wooden statues representing holy bishops, and a Virgin with the 15th century polychrome Child. Two 15th-century frescoes remain in the choir, depicting the wedding of Cana and the Transfiguration of Christ. The stained glass windows, signed by the Lévêque (Beauvais) workshop, celebrate local figures such as Saint Fare (abbess of Faremoutiers) and Saint Roch de Montpellier.
The building thus illustrates a superimposition of styles — Romanesque, Gothic and Renaissance — while testifying to the monastic history of the region, which has now disappeared. Successive restorations, especially in the sixteenth century, preserved medieval elements while integrating later artistic additions, such as 19th century stained glass windows.
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