Église Saint-Jean de Lapte

English translation

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History

Built at the very end of the 19th century, this church appears as one of the most homogeneous and harmonious constructions of this type of pastiche buildings in our region: executed in a fairly refined neogothic style with carefully selected materials allowing the implementation of delicate sculpture, it was the subject of a complete decorative programme, including furnishings. Its size and the slender silhouette of its bell tower make it the flagship element of Lapte's heritage. This building draws inspiration from Gothic churches in northern France, especially in the interior. It is an adaptation and not a copy of ancient forms: it is an updated vision according to the liturgical needs of the time and the sculptures are entirely novel elements. The furnishings are homogeneous and well integrated. There are very few buildings of this type in Auvergne; 19th-century religious heritage has been poorly preserved and tends to disappear. Already in 1842, the Romanesque church of Lapte was in poor condition. Lightning struck again in 1883 causing serious damage to the building. It was then that the decision was made to rebuild the sanctuary. In 1885, the project was announced and in the following years a subscription was launched. The estimate, drawn up by Ernest Tracol, architect in Valence, was approved by the municipal council. On 20 May 1888, the contract was awarded. Work began in 1889 but was interrupted in 1893 due to financial problems of the contracting firms. The work was completed in September 1896. The new church stands at the location of the former one because of its dominant situation. The plan of the new building consists of a nave with two aisles, a transept, and an apse with five bays with ambulatory and sacristy attached to the south bay. Porch tower projecting forward from the west façade. The west façade is occupied essentially by the bell tower, composed of four main storeys: at the lower level, the neogothic portal with mouldings springing from small columns with foliage capitals; separated by three rows of bands, the second storey is formed by a triple opening, surmounted by a rose and an archivolt; still above, the section housing the bell chamber is pierced also by triple openings filled with louvres. At the last level rises the octagonal spire also in stone. It is decorated by four clock faces inscribed in a sculptured frame with triangular crowning; above by a trefoil pierced on each bay and finally by four narrow openings inscribed in a kind of dormers. The entire building is in exposed dressed stone, of light colour, jointed with black mortar. The nave is composed of five bays, vaulted with rib vaults, resting on triple columns attached to the high walls and springing from large circular piers. The high walls are lit by triple high windows, surmounting a triforium gallery with circulation also with triple openings. A stone pulpit is set against the first south pier. It is quite richly sculptured. The aisles, less elevated, have an analogous structure and decoration: rib vault with key springing on the piers of the nave and on half-columns engaged in the outer wall. Large openings light them. The transept: each arm of the transept comprises two bays, is lit by triple openings and ornamented with altars set against inscribed in a sculptured frame in the form of a pointed arch. The choir is surrounded by an ambulatory vaulted with ribs. It is built in continuity with the nave, presenting like it three levels - high windows, triforium gallery and, below, pointed arches resting on cylindrical piers with capitals. These latter capitals are however more ornate than those of the nave. The high altar was executed according to the same principles as the pulpit and in the same flamboyant neogothic style. The stained glass windows are apparently due to at least two master glaziers. In the ambulatory, they are due to J.-P. Florence of Tours (1903), and in the nave, they are by Mauvernay of Saint-Galmier (1903).