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Heritage classified

Key figures

Origin and history

The Church of Notre-Dame-de-l'Assomption de Livré-sur-Changeon, located in Ille-et-Vilaine, came into being in 1023 when Geoffroy I, Count of Rennes, founded a priory for the benefit of Saint-Florent-de-Saumur Abbey. This monument, built in the 11th and 12th centuries, presents a Latin cross plan with a typically Benedictine Romanesque bedside: an apse choir flanked by two apsidioles. Major transformations took place as early as the 16th century, with the reconstruction of the west facade (portal dated 1515) and the completion of the south side in 1537, replacing the former Roman collateral. The bell tower, initially a tower-lantern, was remodeled in the 18th century, while the 19th century saw significant changes under the direction of Aristide Tourneux (chœur, sacristy in 1847, then low north side built in 1889 by Aristide Folie).

The monument is distinguished by its 12th century Romanesque polychrome decoration, visible in the transept and the choir, where arches to the harpsichords alternated with russard sandstone and limestone create a striking visual effect. The southern absidiole preserves traces of 16th-century frescoes (stencil florets), while architecture blends Carolingian elements (overlayed arches of the transept) and Gothic elements (broken arches of the nave). Partially classified in 1926 (registration) and 1982 (classification of apse and apsidioles), the church has now been completely classified since 2014. Its history also reflects its institutional evolution: Benedictine priory, then property of the Jesuits of Rennes from 1606, before being assigned to the College of Rennes after their expulsion in 1762.

The building houses a set of four bells, three of which were melted by the founder Bollée in the 19th century (1853 and 1860) and one by Paccard in 1959. Their harmony (notes Ré 3, Fa 3, Sol 3, La 3) testifies to the cultural vitality of the place. The vaulted structure of the nave, the large broken arcades of the 16th century, and the Romanesque bays of the cul-de-four choir illustrate the superposition of architectural styles. The remains of mural paintings and the original layout of the arches of the transept (inspired by Carolingian buildings like Saint-Philibert de Grand-Lieu) underline its heritage importance in Brittany.

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