Saint Germain L39Auxerrois
| Church of St. Germain l'Auxerrois in Paris | |||
|---|---|---|---|
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| Presentation | |||
| Worship | Roman Catholic | ||
| Type | Parish Church | ||
| Attached to | Archdiocese of Paris | ||
| Construction begins | Twelfth century | ||
| Work Completed | Fifteenth century (Arrangements for the sixteenth and eighteenth centuries ) | ||
| Style (s) dominating (s) | Gothic Roman (round) Baroque | ||
| Protection | Historic Monument ( 1862 ) | ||
| Geography | |||
| Country |  France | ||
| Region | Ile-de-France | ||
| Department | Paris | ||
| City | Paris | ||
| Contact | 48 51 '34 "North 2 20 '28 "East / 48.859444, 2.341111 | ||
Geolocation on the map: Paris
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The church Saint-Germain l'Auxerrois church building is located in the current I. district of Paris.
This site is served by metro Louvre - Rivoli and Pont Neuf.
Summary |
History
Church History
Saint-Germain l'Auxerrois church is located opposite the Louvre and close to the town hall of the I st district. Simple observation can see that Jacques Hittorff , architect of the mayor, wanted to achieve for the facade of Saint-Germain l'Auxerrois, which gives an effect of false symmetry quite unusual. It is named in honor of Bishop Germain of Auxerre.
If the history of Saint-Germain l'Auxerrois began in the era Merovingian , there remains no visible traces of that period. The oldest part is the Romanesque tower, which dates from the twelfth century. It was surmounted by an arrow which was shot around 1754 and replaced by the current railing. In the following century, were built on the western porch, chancel and Lady Chapel. The church was largely rebuilt in the XV century with, in particular, raising the porch. Saint-Germain l'Auxerrois church becomes of record of the royal family when the Valois moved to back to the Louvre, the fourteenth century. Parish of the kings of France , because of its proximity to the palace, the church is one of the oldest in Paris.
Plan to 1589 (north is up), Saint-Germain l'Auxerrois in right of the map
Plan Turgot (north is left); Saint-Germain l'Auxerrois right of the map - c.1740
The church was devastated in the eighteenth century : from 1745 to 1750 , under the guise of restoration, the rood screen , as well as the windows and the tympanum of the portal.
Under the First Empire , an old project to destroy the church (already initiated under the reign of Louis XIV by Colbert ), to identify the colonnade of the Louvre by a large square in the middle of which the Pont Neuf result is considered then abandoned at the Restoration.
February 14, 1831 , during the eleventh anniversary of the assassination of the Duc de Berry , the church was devastated by rioting anti-monarchists. Following the major damage, the building will remain closed for several years. Its destruction is still proposed, but ultimately directed recoveries by Jean-Baptiste-Antoine Lassus and Eugene Viollet-le-Duc , were undertaken during the July Monarchy. The monument is a Catholic church in 1840.
At the Second Empire , the Baron Haussmann once again refused to destroy it when the minister of state and home of the emperor, Achille Fould him suggested. Indeed, after demolition of dilapidated old buildings that surround it, a vast space emerges facing the colonnade of the Louvre and the church is found laid in recess on one side, giving an unsightly air to the whole. However, as a Protestant, Baron does not want to be accused of ordering the demolition of a building as symbolic in which the signal was given for the massacre of St. Bartholomew. He developed a project to balance everything: he asked the architect Jacques Hittorff construct a building inspired by the religious building to house City Hall, 1 st district. Hittorff then reproduces almost identically the main facade of the church (a porch topped by a rosette ) that flanks similar structures to the buildings of that era. In between, he built a tower (or belfry ) style gothic connected either side to two buildings with two doors giving access to the same style in a square between the two monuments, all built between 1858 and 1863 by the architect Thodore Ballu , Prix de Rome in 1840 . The set was done sometimes considered too symmetrical to the point of being compared to "a cruet and two cruets." From the outside, it is difficult to differentiate the town hall of the church , only the most general form of civil building Haussmanian differentiated from the church building.
Chronology
- 1 st half of the twelfth century : the first construction of a church under the patronage of Saint-Germain-le-Rond.
- 2nd half of the XIII century : reconstruction of the church. It remains the central nave and the first aisle of the choir, the sides of the right side of the nave and the portal.
- 1 420 - one thousand four hundred twenty-five : rebuilding the nave and aisles of the nave with the exception of the Lady Chapel.
- 1 435 - in 1439 : the master mason Jean Gaussel built the porch and the chapels of the left side of the nave.
- Early fifteenth century : the construction of the second aisle, the chapels of the right flank of the chorus and the chapels of the apse.
- 1541 : Construction of the gallery in terms of Pierre Lescot.
- One thousand five hundred and sixty - one thousand five hundred seventy : construction of the chapels of the left flank of the choir.
- 1570 : Construction of the gate giving access to the canonical cloister.
- 1710 : Removal of the central pillar with the statue of Saint Germain and the tympanum of the for the passage of processions.
- 1728 : The windows are replaced with clear glass.
- 1745 : destruction of the rood screen of Pierre Lescot to enlarge the choir.
- 1754 : the architect Claude Baccari and his brother, the sculptor Louis-Claude Vasse, put the choir of the church up to date.
- 1767 : installation of gates closing chorus by locksmith Peter Dumiez.
- In 1838 - 1 855 : restoration of the church by Jean-Baptiste Lassus and Victor Baltard.
- In 1858 - one thousand eight hundred and sixty-three : construction of the tower north side of the church by Theodore Ballu.
- 2007 : the Extraordinary Form of Roman Rite of the Catholic Church according to the Missal of 1962 is celebrated , with practical common form of the Roman rite.
In 1867
In 2011
The church and the history
Contrary to what is often said and written, this is not the carillon bell tower built in the nineteenth century , in northern facade of the building near the Town Hall, 1 st district, which struck the gathering of Catholics for disaster episode of St. Bartholomew in 1572 , but the bells in the tower located south of the church. His alarm bell signaled the beginning of the massacre of Protestants in Paris. One of these bells, called Mary, dating from 1527 , still exists.
At the beginning of the Revolution , after the forced return of the royal family from Versailles to the Tuileries, the future Louis XVII made his first communion. Under the Terror , Saint-Germain is emptied of its contents, and converted to store fodder, letters, police station, in a saltpetre factory. In 1795 , the cult theophilanthropy is practiced.
February 14, 1831 , during the eleventh anniversary of the assassination of the Duc de Berry , the church and the archbishop of Paris, are devastated by rioters anti-monarchists who perform the ceremony as a provocation.
The church of Saint-Germain l'Auxerrois is from the old regime where artists were housed in the Louvre, the "parish of artists." Here married, February 25, 1726, Jean-Philippe Rameau. The Society of St. John for the development of Christian art , founded in 1839 by Henri Lacordaire , said mass there and it meets every third Friday of the month, and the Mass according to the wish for Willette artists who die this year is called the Ash Wednesday.
Description
The church is built according to a crosshair of about 80 m long and 40 m wide at the transept . Its nave , nearly 20 meters high and consists of four bays in Gothic , flanked by two aisles of chapels housing shallow. The transept is very prominent and the chorus which is the oldest part although rebuilt in the eighteenth century includes an ambulatory sometimes double. The church ends with an apse with a flat wall. This building has stained glass windows dating from the sixteenth century for the oldest of the nineteenth and for others, as well as numerous works of art, paintings, statues and furniture.
Facade
The front porch includes a five-bay style Gothic built in 1435 - in 1439 by Jean Gaussel at a time when Paris was occupied by the British . However the statues of saints that we can see now, most copies of the works initials only go back to the nineteenth century.
Porch
Vaults of the porch
Ste Bathilde ( Louis Desprez , 1841)
Sainte Clotilde (Louis Desprez, 1841)
Saint Isabel of France (Louis Desprez, 1841)
Sainte Jeanne de Valois (Louis Desprez, 1841)
St. Mary of Egypt, a copy of an original from the late fifteenth century, today in the Lady Chapel
St. Radegund (Louis Desprez, 1841)
The portal entrance is original, and it dates from the thirteenth century. However his eardrum devoted to the Last Judgement , destroyed and not restored, is now more visible. On either side are two groups of statues of XV century , left, Solomon , the Queen of Sheba (or queen Ultrogothe King Childebert ) and St. Vincent and right, St. Germain , St. Genevieve and an angel . On the pier of the central door, you can see a Madonna holding the infant Jesus in the nineteenth century.
Main portal
Group statues north
Madonna and child center
Group statues south
Interior
The interior of Saint-Germain l'Auxerrois has suffered greatly from the "deplorable additions and restorations that took place during the reign of Louis XIV .
Nave and aisles
The high Gothic nave has four bays and double aisles. The second south aisle is arranged in a single chapel, the chapel of the Virgin, while on the left, from West to East, the outer part of the north aisle is organized into several smaller chapels, those of Notre Dame of compassion, of St. Mary Magdalene, St. John the Baptist and the baptismal font.
Does this ship, like many buildings in the late Gothic, only two levels (absence of clerestory ), the upper has large windows and high five lancets white glass since the destruction of stained glass windows and their replacement in 1728.
In the north, the fourth bay is occupied by a bench of honor, or pew , surmounted by a canopy , both in wood. Intended to Louis XIV and the royal family, this bench is sculpted by Mercier in 1,682 - one thousand six hundred eighty-four from the drawings of Perrault and Lebrun. Wounded in 1831 during the devastation of the church, this bench is restored under Louis-Philippe respecting the original design . The chair facing him, also designed by Lebrun, date of 1684 .
The monumental altarpiece Flemish located in one of the side chapels North is a gift from Count Montalivet , Minister of Louis Philippe.
North aisle
Altarpiece of the north aisle
Chair facing the pew
South aisle
Collaterals, lit by lancet openings limited to three, have however, contrary to the nave, the windows of the nineteenth century. Made in the years 1 844 - 1 847 by the master glassmakers Marshal and Gugnon these windows are, right in the Lady Chapel (south aisle), characters of the Old Testament , and left in different chapels of the aisle North, figures, mainly from New . These windows are all classified as MH.
One of the windows of the Lady Chapel, the stained glass of the Passion raised in 1839, is considered the prototype of the neo-Gothic achievements from the work of chemists, historians and archaeologists. Composed of short scenes juxtaposed in the medallions inscribed with dominant red and blue, this is a historicist stained glass, ie of a stained glass whose composition and iconography inspired by the stained glass of centuries past, in this case here, the Sainte-Chapelle and manuscripts .
The Lady Chapel also has stained glass windows, many other works of art, paintings and sculptures, including the original St. Mary of Egypt contained in the porch. This chapel was virtually closed within the side of the aisle, that is to say on his left, a "Gothic woodwork of great wealth" of about 2 meters high dating from the restoration .
Transept
The north and south transepts were held until 2009 most of the windows of the sixteenth century survivors of the vicissitudes of history. It was thus in the north arm, scenes of the Passion and the Public Life of Christ and a Heavenly Court placed in the pink of the facade. In the south arm were also beautiful pieces, a Pentecost (pink) and the Doubting Thomas executed by Jean Chastellain on boxes of Christmas Bellemare respectively in 1532 and 1533 and an Assumption of the Virgin made around 1534 - 1535. Unfortunately most of these windows, and parts of the nineteenth century , were destroyed in July 2009 during the fire at the workshop where they were restored . Today these windows destroyed have been replaced with clear glass.
North transept, canopy St. Vincent, martyr
Polychrome sculpture depicting Saint Germain l'Auxerrois dated fifteenth century
Saint Vincent
Southern Rose Pentecost (sixteenth century)
Canopy St. Germain, martyr
Canopy Doubting Thomas (sixteenth century)
Fresco (Descent from the Cross)
Choir, ambulatory and chapels
The choir is the oldest part of the church, even if it bears testimony - including splines on the pillars - the work took place in the eighteenth century. Longer than the nave, it has five bays, the oblong vaults and the high windows on one or two lancets are more elongated and stretched the building.
At the entrance of the ambulatory South, is an inscription on the inside of the pillar of the square tower recalling the vow Willette on the Mass celebrated every Ash Wednesday for artists to die within a year.
Choir organ
Stained glass in the chancel lancet
Between the choir and the ambulatory is an altarpiece triptych Marian work of the French School of the sixteenth century dated between 1510 and 1530. Confiscated at the Revolution it is initially sold and the parish of Saint-Germain l'Auxerrois bought it in 1831 during restoration work. However at this stage, the incomplete recovery has not regained its original state .
Ambulatory
Altarpiece of the sixteenth century
A chapel contains two funerary statues of the seventeenth century , those of Stephen Aligre father and son, both chancellors of France. They come from the family tomb Aligre originally in the church Saint-Germain l'Auxerrois and they were previously part of the Museum of French Monuments .
Stephen Aligre son, Chancellor of France, who died in 1677
Stephen Aligre (seventeenth century)
Altar of a chapel of the ambulatory
2 statues Charles, Marquis de Rostaing (1582) and Sir Tristan, Marquis de Rostaing (1645)
Three statues (St. Vincent, Trinidad, St. Germain) forming altarpiece (nineteenth century)
Virgin of Mercy (marble, 1859)
Jesus and the twelve apostles
St. Peter
Major Organ
major organs.
There is no record of what were the major organs of the royal parish before the Revolution. We only know that Louis-Claude Daquin was organist in around 1738. The present organ was moved in July 1791 for the Sainte-Chapelle, where it was built twenty years ago by Francois-Henri Clicquot , in a case designed by Pierre-Nol Rousset.
This award does pose some questions: first, the dimensions of the main case of Saint-Germain l'Auxerrois leave hardly imagine its integration into the Sainte-Chapelle, on the other hand, its decorative vocabulary neo- Classical and concave movement, no real other than the turret side turrets seem very modern date of the drawing of Rousset (1752). Finally, instrumental equipment was also recovered from the Military Academy and College St. Honore. The organ is then a "big eight-foot" (that is to say with Bourdon 16 ') on four manuals and pedal 16'.
Louis-Paul Dallery , who had maintained the organ since its installation in 1838 was in charge of a major restoration, following the reopening of the church is at the end of this work, 1 August 1840 , that Boly Alexander (1785-1858) was appointed organist. It was he who asked Dallery install the first pedal in the German ", to play works of Johann Sebastian Bach.
Between 1847 and 1850, he oversees new work by Ducroquet , which profoundly alter the structure of the instrument: three manuals reduction, new beds for the Grand Organ, creating a keyboard Swell top of the instrument (beginning at F 2), reduction of mutation and introduction of games with free reeds (Euphone 16 'and 8' respectively in the Grand Orgue and Positif, English horn in the story). This evolution of the instrument also shows that the taste of Boly, hitherto regarded as the conservative traditions of the French organ of the Old Regime.
Boly is returned in 1851 Vast Eugene (1835-1911), organist of the choir, "will continue to alternate functions" , without ever being named owner, until 1909.
In 1864, the instrument is still altered by Joseph Merklin : building a machine Barker for the Grand Organ and keyboards couplings, new pedal box springs, extension of the story (which now start at C 2) deleting games free reed (except Euphone Positif, renamed Clarinet), offset Bombarde 16 'Trumpet of the 2nd Great Organ. The foundation stops are pavilions.
After Eugene devastation, the organ for holding Marcel Rouher Pergola Jean Michel Chapuis, and Edward Ricardo Souberbielle Miravet.
In the years 1970-80, is with him that the organ builder Adrian Maciet replaces the Salicional Positif (Ducroquet), Flute 4 'and the Clarinet (former Euphone) by a Third, a Cromorne Full-games and, in the illusory idea of a "return to Clicquot", including a mattress remains in effect to this keyboard. More appropriately, it re-shifts the Bombarde to restore both Trumpets Clicquot.
However, the organ continues to deteriorate and becomes silent in 1995.
The current owner, Henri de Rohan-Csermak, was appointed in 2002. In October 2004, the Days of International Studies, at the initiative of the Association Aristide Cavaille-Coll, is organized around the instrument. In 2005, it is resold by Michel Goussu, through which it can operate only occasionally until 2008, the city of Paris says Laurent Plet a lift to a minimum, made in accordance with the most careful historical material, can now be understood in a correct state of wind, agreement and harmony. Maciet additions have been preserved, but realigned and regraded. The great eighteenth-reeds, which were offset by a pitch, returned to their original location, thus restoring the great game of Clicquot, since most games these pipes are intact. The background organ, however, remains marked by the harmony that has given him romantic intervention Merklin, whose dust can discover the great interest. Another rediscovery is the story of Ducroquet, who had become inaudible.
The organ being declared a historic monument since 1961, a preliminary study is underway by the technician competent counsel, Christian Lutz, for a true restoration: we know how to instrument a complex history and disparate material, the choice of an option is delicate and violent controversies.
Bibliography
- The Great Organ of Saint-Germain l'Auxerrois in Paris: history, status, prospects, Proceedings of the Workshop on 22-23 October 2004, Paris, Harmonic Flute, 2005-2006.
- Dumoulin (Peter) eds. Organs of the Ile de France, Tome IV, Paris, ARIAM le-de-France/Aux lovers of books, 1992.
- Idem, "The Breath of Boly, the organ of Saint-Germain l'Auxerrois," in New Organs No. 2, Fall 2008.
- LARTIGAU (George), "Alexandre Pierre Franois Boly and organ," in Boly (APF), Complete Works for Organ, Volumes I & II ed. BERTRAND-TURNER (Nan) & ROHAN-Csermak (Henri de), Paris, Publimuses, 2001.
- RAUGEL (Felix), The Great Organ of the churches of Paris and the Seine dpartement, Paris, Fischbacher, 1927.
The church of Saint-Germ Auxerrois and art
First Communion - Louis Broud
References
- Some fragments are preserved in the Louvre, Department of the French Renaissance
- Claude Baccari is the architect, approved by the Academy of Arts. Its destructive hammer also deteriorate the batteries of the choir and beautiful capitals of the thirteenth century (Spear, French architects)
- Memoirs of Baron Haussmann, Georges Eugene Haussmann, published by Victor-Havard, Paris, 1893 - Volume III - p. 500 and 501
- Paris Right Bank by Philippe Krief, Editions Massin, 2004, 210 p., ISBN: 2-7072-0488-9
- AFP dispatch of 16/10/2007 5:04 p.m.
- Jacques Hillairet - Historical Dictionary of Paris streets - T.2, p.60
Jacques Hillairet gives some additional information:- "The church of Saint-Germain l'Auxerrois See also
External Links
- "The church of Saint-Germain l'Auxerrois See also
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