Saint-Étienne-du-Mont

Saint-Étienne-du-Mont is a church in Paris, France, on the Montagne Sainte-Geneviève in the 5th arrondissement, near the Panthéon. It contains the shrine of St. Geneviève, the patron saint of Paris. The church also contains the tombs of Blaise Pascal and Jean Racine. Jean-Paul Marat is buried in the church's cemetery.

Not to be confused with Saint-Étienne-au-Mont.
Église Saint-Étienne-du-Mont
Overview of the building
Religion
AffiliationRoman Catholic Church
ProvinceArchdiocese of Paris
Location
LocationMontagne Sainte-Geneviève, 5th arrondissement of Paris, Paris
Geographic coordinates48°50′47″N 2°20′53″E
Architecture
TypeChurch
StyleFrench Gothic, French Renaissance
Groundbreaking1494 (1494)
Completed1624 (1624)

The sculpted tympanum, The Stoning of Saint Stephen, is the work of French sculptor Gabriel-Jules Thomas.

Renowned organist, composer, and improviser Maurice Duruflé held the post of Titular Organist at Saint-Étienne-du-Mont from 1929 until his death in 1986.

History
The early church (left) on the 1550 map of Paris

During the Gallo-Roman era, the Parisii tribe of Lutetia gradually settled a hill on the left bank of the Seine, called Mount Lucotecius. This land was less marshy than their earlier settlement by the river, and became the site of a theatre, baths and villas. In the 6th century, Clovis, the King of the Franks, built a basilica at the top of the hill, dedicated to the Apostles Peter and Paul. Clovis was buried there, along with his wife Clotilde, and several Kings of the Merovingian dynasty. Saint Genevieve, the patron saint of the city, who had defended the city against a barbarian invasion, was also buried there. The Abbey of Sainte-Genevieve was founded next to the church in 502, and the church became part of the Abbey.[1]

IN 1222, as the population of the neighbourhood grew, and particularly to serve the masters and students of the new College of Sorbonne, Pope Honorius III authorized the establishment of an autonomous church, which was devoted this time to St Etienne, or Saint Stephen. The new church was constructed just to the north of Abbey church.[2]

As more colleges were founded and the neighbourhood continued to grow, the church authorities decided to construct an entirely new and larger church, in the new flamboyant Gothic style. In 1492, the nearby Génovéfain monks donated a portion of their land for the site. The work proceeded very slowly. The architect Stephen Viguier planned the apse and the bell tower on 1494, and the first two bells were cast in 1500. The choir of was completed in 1537, and the altars of the apse chapels were blessed in 1541. but as the work continued, styles also changed. In the same year, contracts were awarded to artisans to complete the windows and sculpture, which were now to be in the new Renaissance style. The nave, also in the Renaissance style, was not finished until 1584. The construction of the facade did not begin until 1610, with the first stone placed by Marguerite de Valois. The church was finally consecrated on 25 February 1626 by Jean-François de Gondi, first archbishop of Paris, The ornate carved pulpit was installed in In 1651.[2]

During the 17th and 18th century, the church of Saint-Etienne-du-Mont enjoyed great prestige. It was the starting point of an annual procession, carrying the shrine of Saint Genevieve to Notre Dame de Paris, and back. The remains of a number of prominent scientists and artists were interred there, including Pierre Perrault, the painter Eustache Le Sueur and Blaise Pascal. Those of Racine and were transferred in 1711 from Port-Royal in Saint-Etienne. In 1744, King Louis XV decided to replace nearby Abbey with an even larger church, which, after many modifications and changes of purpose, eventually became the Paris Panthéon.[2]

  • The church (left) and Abbey church (right) in 1655
  • The church (left) in 1739, with Abbey (destroyed) to the right
  • The interior in 1864, during the Second Empire

During the French Revolution, the church was first closed and then turned into a "Temple of Filial Piety." The sculpture, decoration and stained glass suffered extensive damage, and many church treasures and relics disappeared. Catholic worship was finally restored in 1803, under the Concordat of 1801. The neighbouring Abbey church was demolished in 1804, and replaced by rue Clovis. Only the old bell tower survived, and is now part of the Lycée Henri IV campus.[2]

Under the Second Empire of Napoleon III, the church was extensively restored by the Paris city architect Victor Baltard between 1865 and 1868. THE facade was restored and increased in height and sculpture and stained glass destroyed in Revolution was replaced. He also added a new chapel the Chapel of Catechisms.

Timeline

Building works included:[3]

  • 6th century: first chapel was formed from the crypt of St. Geneviève Abbey
  • 13th century: separate church built on the north side of chapel
  • 1491: bell tower was built
  • 1537: chancel was built
  • 1545: gallery was built (see image of church interior)
  • 1580: vaults of the nave and the transept were built
  • 1624: bell tower was raised
  • 1807: demolition of the Abbey church

Exterior
  • The church seen from the cupola of the Panthéon
  • West front
  • Tympanum of the west portal
  • Detail of gable on the west front
  • Central portion of west front
  • The south transept
  • Apse at the east end
  • Bell tower on north side

The west front or facade of the church, in the Renaissance style and in the form of an elongated pyramid of three levels, was built in 1610 following the plan of Charles Guerin. The lowest level is covered with sculpture, and is topped by a triangular classical fronton, with a bas-relief depicting the Resurrection of Christ. The central feature of the level above is a Gothic rose window, under a curvilinear fronton, decorated with sculpture depicting the coat of arms of France and those of the old Abbey. On the top level, the triangular gable features an elliptical rose window.[4]

Interior
  • Plan of the interior
  • The nave, showing the rood screen, pulpit and ceiling details
  • Flamboyant vault of the transept
  • The Jubé, or Rood Screen

The interior is a that of a hall church of large proportions, sixty-nine meters long and 25.5 meters wide. The collateral aisles on either side of the nave and choir are unusually high, and have large windows, filling the church with light.[2] The interior of the church combines Flamboyant Gothic architecture, including elaborate rib vaults with hanging keystones, alongside elements of Italian Renaissance decoration, such as classical columns and arcades, and an abundance of sculpted heads of angels integrated into the architecture.[4]

  • North elevation of the nave
  • South elevation of nave, with grand arcades and pulpit

The nave has two levels of grand arcades with circular columns and rounded arches which separate the nave from the outer, or collateral aisles. These arcades have a passageways with balustrades, The balustrades are also used on special church holidays to display tapestries from the church collection. The upper walls of the collateral aisles have very large windows, which fill the interior with light.

One unusual feature of the interior is the slight curve of the axis from the nave to the transept, caused by the irregular site.[4]

  • Statue of "Charity", from the pulpit (1651)
  • Detail of the pulpit
  • The base of the pulpit, supported by Samson kneeling on a lion
  • Detail of the pulpit
  • Detail of the pulpit - "Temperance"

The most prominent decorative work in the nave is the pulpit, created in 1651 by Germain Pillion. It is supported by a carved sculpture of Samson kneeling upon a lion, and holding the jawbone of an ass with which he fought the Philistines.[4] Other statues of the virtues and other allegorical figures carved by Claude Lestocart surround the pulpit.

Jubé or Rood Screen
  • Portal of the Rood Screen
  • Detail of the Rood screen sculpture
  • The Jubé, or Rood screen (about 1530)
  • Filagree balcony of the rood screen

The most unusual feature of the church is the Jubé or Rood screen, created in about 1530, the only existing example in Paris. It is elaborate sculptural screen which separates the nave from the choir. he screen was used as a platform to read the scripture to the ordinary parishioners. TThey were very common during the Middle Ages, but were largely abolished in the 17th and 18th centuries under a decree of the Council of Trent (1545-1563) which aimed at making the ceremonies in the choir more visible to the ordinary parishioners in the nave.[5]

The screen It was designed by Antoine Beaucorps, and while its purpose is Gothic, its decoration is French Renaissance. It takes the form of an arched bridge facing the choir, and three arcades facing the choir. A tribune for readings occupies the center facing the nave. Two very elegant spiral stairways give access to the tribune from the sides. The decoration includes two statues of "Renommées", or "Reknowned ones," based on classical Roman statues, holding olive branches and crowns.[6]

The church is characterized by its curved axis of the nave to the transept, the rood screen (the sole surviving example in Paris)[5] of finely carved stone by Father Biard (1545), his chair designed by Laurent de La Hyre and sculpted by Claude Lestocart and its organ case (1631) (the oldest in the capital). The church also contains the shrine containing the relics of St. Genevieve until 1793 (when they were thrown in the sewer), the tomb of Blaise de Vigenere, of Blaise Pascal, of Racine, and Mg Sibour.[3]

The Choir and side chapels
  • The Choir on the north side
  • Side Chapels
  • The apse, at the east end of the church

Chapel of Saint-Genevieve
  • Chapel of Saint-Genevieve
  • Shrine in the Chapel of Saint Genevieve
  • Ciborium over the reliquary of Saint Genevieve
  • Chasse or reliquary for the surviving relics of Saint Genevieve (19th c.)

The Chapel of Saint Genevieve is a Flamboyant Gothic shrine to the patron saint of Paris. Her original tomb and relics were destroyed during the French Revolution. The Chasse or reliquary seen now was made in the 19th century of chiseled and gilded copper. It contains a fragment of her original tomb. Overlooking the tomb is a ciborium, an ornamental work featuring statues of the wise and foolish virgins, representing those faithful versus those who reject the church.[7]

Chapel of the Virgin
  • Chapel of the Virgin at east end of church
  • Adoration of the Christ Child by the Three Kings {Chapel of the Virgin, 1605-1609)

Behind the altar in the apse at the east end of the church is the semi-circular Chapel of the Virgin. A small cloister was built at the east end of the church between 1605-1609. It originally enclosed a small cemetery, but no longer has any tombs. The interior originally contained three galleries with twenty four stained glass windows, made with great realism with the use of enamel paints baked onto the glass. The windows illustrated scenes from the Old Testament and New Testament, as well as scenes of Paris life. Twelve of the original windows survived the Revolution and can be seen today, including The "Adoration of the Holy Sacrament" and the "Mystic Wine-Press.[8]

Cloister Gallery, Chapel of Communion
  • The Mystical wine press, (window 10, Cloister Gallery )1606-1609)
  • Detail of the Mystical Wine Press, Cloister Gallery (1606-1609)
  • "Adoration of the Holy Sacrament" in the Cloister gallery (1605-1609)
  • Detail from "Adoration of the Holy Sacrament" in the Cloister gallery (1605-1609)

Art and decoration
  • Christ placed in the tomb, (Chapel of the Holy Sepulchre - 16th c.)
  • "The Nine Choirs of Angels", by Louis Licherie de Beurie (17th c.)
  • "Saint Charles Borromée distributing alms", by Quentin Varin (1627)
  • "Ex Voto to Saint Genevieve" by Nicolas de Largilliere (1696)

The chapels along the sides of the cathedral and side walls of the Chapel of St. Genevieve display sculpture and paintings by number of important 16th, 17th and 18th century artists, many of which are protected by the French Ministry of Culture. These include:

  • "The Nine Choirs of Celestial Spirits", by Louis Licherie de Beurie (1629-1687) depicts, on a very large canvas, the hierarchy of the angels, below the word "Jehovah" in Hebrew letters, including, at the top, the senior angels, the Seraphim, down to the lowest ranks at the bottom.(Chapel of the Crucifix).[9]
  • A group of eight life-size eight stone and terra cotta sculptures representing the stages of the placement of Christ's body in the tomb. (Chapel of the Holy Sepulchre). (Side wall of the Chapel of Saint-Genevieve).
  • "Saint Charles Borromée distributing alms", by Quentin Varin (1627), depicting the Bishop of Milan distributing alms to the people of Milan during the famine of 1570 and the plague of 1576. (Chapel of Saint-Charles-Borromée)[10]
  • "Ex Voto to Saint Genevieve", by Nicolas de Largilliere (1696), a very large canvas which commemorates the annual 1694 procession of the tomb of Saint Genevieve, which was made to bring an end to a draught and famine which had struck Paris that year. According to tradition, at the end of the procession, it suddenly began to rain, ending the drought. It was commissioned by the by the provosts of the merchants and magistrates of Paris. At the top of the picture are angels, in the center is Saint Gevieve, praying, with the rain clouds she has summoned, and at the bottom are very fine portraits of the magistrates of Paris in 1694.[11]

The Presbytere
The Presbytere, clerical residence (18th c.)

The Prebytere was built next to the church in about 1725 as the private residence of Louis, Duke of Orleans, son of the Regent of France. It was purchased by the church and is now the residence of the curé of the church, and a protected historical landmark.

The Organ

In 1636, the organ was installed, the work of Pierre Pescheur. When the organ was damaged by fire in 1760, it was rebuilt by Cliquot. Further work was carried out in 1863 by Cavaillé-Coll, and the present instrument is the work of further revision by Beuchet-Debierre in 1956[12]

The case of the organ of the tribune was made beginning in 1633 by Jean BUron, and is the oldest and best-preserved original case in Paris. It is topped by sculpture of Christ surrounded by angels playing the kinnor, an ancient Hebrew variation of the lyre.

  • The organ of the tribune
  • The case of the organ, installed in 1633
  • Detail of the organ case (1633)

References
  1. Dumoulin, Ardisson, Maingard and Antonello, Églises de Paris (2010), p. 86
  2. History and description of Saint-Etienne-du-Mont, on church website (in French)
  3. Ayers, Andrew (2004). The Architecture of Paris: An Architectural Guide. Edition Axel Menges. pp. 108–109. ISBN 978-3-930698-96-7.
  4. Dumoulin, Ardisson 2010, p. 87
  5. Fodor's Travel Guides (22 October 2019). Fodor's Paris 2020. Fodor's Travel. pp. 32–33. ISBN 978-1-64097-172-1.
  6. Dumoulin, Ardisson 2010, p. 88
  7. Dumoulin, Ardisson, Maingard and Antonello, Églises de Paris (2010), p. 90
  8. Dumoulin, Ardisson 2010 p. 89
  9. Dumoulin, Ardisson 2010 p. 88
  10. Dumoulin, Ardisson 2010 p. 89
  11. Dumoulin, Ardisson 2010 p. 89
  12. Hildebrandt, Vincent. "The Organs of Paris".

Bibliography (in French)
  • Dumoulin, Aline; Ardisson, Alexandra; Maingard, Jérôme; Antonello, Murielle; Églises de Paris (2010), Éditions Massin, Issy-Les-Moulineaux, ISBN 978-2-7072-0683-1
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