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L’église Saint-Laurent, à Paris, offre un bon examen de la renaissance du vitrail au XIXe siècle. Trois commandes passées successivement entre 1846 et 1888 à des artistes de renom témoignent de l’évolution de cet art depuis les premières recherches vers 1820 jusqu’à la parfaite maîtrise d’une technique, perdue au siècle précédent faute de commande. L’iconographie de ces trois séries de verrières, dont l’évolution stylistique est à mettre en parallèle avec les autres arts, reflètent les différentes dévotions d’une société liée aux pratiques gallicanes avant de rallier le courant ultramontain. Enfin, des différences au niveau des signatures témoignent de l’évolution de la perception du métier de peintre verrier par leurs contemporains. The Saint-Laurent church in Paris is a good example of how stained glass witnessed a renaissance during the nineteenth century. Three commissions signed between 1846 and 1888 with stained glass artists of renown bear witness to the evolution of this art from early researches in the 1820s to complete technical mastery, lost during the preceding century for lack of commands. The iconography of the three series of stained glass windows, which is to be compared with the evolution in other arts, reflects the different devotional features of a society linked to Gallican practices before going over to more ultramontain tendencies. Differences in the importance accorded to the signature of the artist also gives an indication of how the status of the stained glass artist was perceived by their contemporaries

Chronologie de la renaissance du vitrail à Paris au XIXe siècle : L’exemple de l’église Saint-Laurent