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Choir

Built in the 15th century, it is a flat-bottomed choir called Cistercian. (cf. 1)

Until Vatican Council II, it was closed by the communion table, dating from the eighteenth century. The
The faithful knelt before her to receive the Eucharist. She has since been
more create a barrier between the priest and the faithful. (this sentence was in the original text, and did not
not transcribed). (cf.2)

In 1773, the council of Fabrique decides the realization of a new high altar. Originally planned in marble, it is built provisionally in wood and brick, as we see it today. The financial constraints since that time have never made it possible to establish its final version. (cf. 3 below)

The original decoration was painted in faux marble and gold. The crest adorning the tomb dates from 1866. It was carved by Canova, who also worked on the curial chairs, which we will see later in the tour. On the door of the tabernacle, we find the tetragram, this time placed in a triangle pointed at the paschal lamb. On each side, two medallions represent angels on a cross.

The three faces of the candlesticks of the altar are here decorated with the tetragram, but on a triangle pointing upwards, the letters "IHS", initials of Christ in Greek, and of a Virgin to child.

In the upper part of the altar, columns frame the statues of the four evangelists: Saint John and the eagle, Saint Luke and the Gospel, Saint Mark and the lion and Saint Matthew and the angel. The tools of Christ’s passion (pincers and nails) and the Holy Shroud are on the capital of angels. (cf. 4-11 below) 

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12. Stained glass behind the altar

Behind the altar, the stained glass window of the chancel is a gift from Madame Jeanne Véronique Perret in 1866. The other stained-glass windows are of the same manufacture as those of the lower nave. (cf.12 and 13)

The heads of the choir represent fantastic animals. (cf. 14)

Volute arches adorn the back of the choir. The one on the right previously had a door leading to the sacristy, now demolished. It was closed during the restoration of 1866, and decorated with a trompe-l'oeil niche. The one on the left has a niche that is probably originally a ciborium or a swelling. On either side of this niche, paintings were discovered under the 1866 decor. They probably date from the 16th century. Notice the reproduction of a hand holding a candle and belonging to a character in dawn.(cf. 15-17)

The decorations above the doors are characteristic of the flamboyant Gothic of the 15th century. (cf. 18)

The choir contains the first and last stations of the Way of the Cross. (cf. 19 below)

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20. Stalls

Since 1866, the stalls, previously in the forechoir, have been redone and placed in their current location. (cf. 20 and 21)

At the head of each stall, the chairs acting as curial chairs are much older. They were restored and transformed in 1866 by Canova, adding an armrest and a medallion at the top of the backrest. On the file, we find the tetragram, pointing upwards. The crest at the top is decorated with the SL monogram, in homage to Saint Laurent, patron saint of the parish. On the armrest, the sculpture of a mitre, a butt and a cross of Anjou suggests that the seat was originally an abbey chair, reserved for the superior of a convent. The medallion carved on the side of the chair, symbolizes the blessed wood (forest). The seat, recovered in the attic of the parish house in 1866, probably comes from the convent of the Chartreux of the same name. Bas-reliefs dress the sides. (cf. 22 to 27 below).  

The armrest of the other chair is decorated with religious motifs: book, cross, stole, etc. The sides are also very elaborate, but with different motifs, animal or floral. (cf. 28-30)

The paving is made of cement tiles. Originally white and black, they are laid in checkerboard. (cf. 31)

In the 17th century, the priory was bought by the Ursulines, who built an oratory overlooking the choir, from where they attended the services. This oratory was closed by a large wrought iron gate. But after their departure and to finance the manufacture of the high altar in 1773, this gate was sold, and the opening closed by a brick wall. Only a small window allows communication between the church and the oratory chapel today. (cf. 32)

Finally, the statue of the Virgin was originally gilded. The gilding having naturally faded, the wood has gradually blackened hence its current state. It is dated from the 18th century. (cf. 33 below) 

You can pause during the presentation.

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We have now finished our visit. To learn more about the history of this monument and its protagonists, the Safeguarding of the Church of Saint-Laurent-des-Prés has published a book that you can find at the press house of Tullins or tobacco press of Fures, or by contacting the association.

You can find the commented videos by flashing the QR code indicated on the bookmarks at your disposal at the entrance of the church, on which you will find the contact details of our association.

We thank you for your visit, and hope to see you again soon.  

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