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Origin and history

The Church of Our Lady of the Assumption of Avenas, now integrated into the commune of Deux-Grosnes in the Rhone, was originally the church of a monastery dependent on the chapter of Mâcon. Its simple Romanesque architecture is distinguished by an open-worked dome on the cross of the transept, carved capitals (leaves, human heads, bicephalous snake) and a bell tower with two abat-son. The building preserves three wooden statues (saint Joseph, Saint Claude, Virgin with the Child) and the modern stained glass windows of Luc Barbier (1956-1960), installed after the decrapping of the walls revealing the original stones.

The white limestone altar (circa 1120), classified since 1901, is attributed to the sculptor of Cluny III and has stylistic similarities with the Mâcon tympanum. His three faces carved in high relief illustrate biblical scenes: Christ in majesty surrounded by the apostles (west side), episodes of the life of the Virgin (north side), and a King Louis offering a model of the church to Saint Vincent (south side). This last sign bears a Latin inscription dated June 20, evoking a royal conflict, but the identity of the sovereign (Louis le Pieux, Saint Louis, Louis VI or VII) remains controversial. The low altar and engraved svastikas suggest ancient pagan or liturgical influences.

Several hypotheses explain the foundation of the church. The first attributes it to Louis le Pieux (824 or 830) to commemorate Charlemagne's victory over Ganelon near Torvéon, on his journey to a council in Aix-en-Provence. Other sources evoke Saint Louis (passage to Mâcon in 1248) or kings Louis VI/VII. The south panel of the altar, representing a king offering the church to the chapter of Mâcon (dedicated to Saint Vincent), feeds this debate. The building underwent major renovations in 1906 (clocher and sacristy) and 1956-1960 (restitution of apparent stones).

The sculptures of the altar detail symbolic scenes: the mandorle of Christ (west side) shows the four evangelists in the form of animals (aigle, lion, bull, man) and the twelve apostles, including Peter recognizable to his key. The north face represents the Annunciation, the Nativity (interpretable as that of Christ or Mary), the Presentation to the Temple (with veiled hands), and the Assumption of Mary, where a bust in prayer symbolizes her ascension. These representations, combined with the sober architecture and floral decorations of pilasters, reflect the Burgundy Romanesque art of the 12th century.

The back of the altar, with a door leading to an interior space, suggests the ancient presence of relics. The svastikas engraved at the corners and center of the top, as well as the hollow shape (heritage of pagan altars), add a mysterious dimension to this monument. Ranked for its movable heritage, the building bears witness to the links between royal power, Maconese clergy and medieval monastic art, while bearing traces of modern restorations aimed at preserving its authenticity.

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