Saint Francis Xavier Church

The church is named after Saint François Xavier (1506-1582), who once taught in Paris. He met Ignace de Loyola, the founder of the Jesuit Order, in 1553. Deeply influenced by Loyola, he became a priest and ventured as a missionary to Italy, India, and Japan, finally passing away in Canton, China in 1552. Saint François Xavier was canonized that same year and is venerated as the patron saint of missionaries, sailors, and tourists.

In 1637, during the Counter-Reformation, Bishop Dubal initiated a seminary on rue du Bac in Paris, aimed at training missionaries for far-off lands. This move received the backing of Pope Urban VIII. Between 1683 and 1689, the seminary's chapel was constructed, adorned with art from renowned artists such as Jacques Stella, Nicolas Poussin, and Simon Vouet. Amid the French Revolution, this chapel discreetly served as the parish church after the closure of the Saint-Sulpice church. In 1801, the chapel was amalgamated with the Saint-Thomas-d’Aquin church, which soon became the primary church for Faubourg Saint-Germain. The subsequent year, the "Foreign Missions" parish formally broke away from the Saint Sulpice parish.

By 1842, the parish was rechristened as Saint Francis Xavier. Due to space constraints in the chapel for both seminarians and parishioners, a new church's construction began in 1861. This undertaking was a segment of the expansive church construction initiative spearheaded by Emperor Louis Napoleon, complementing another significant endeavor, Haussmann's overhaul of Paris.

The location earmarked for the new church was poised at the crossroads of Haussmann's newly planned boulevards. The Boulevard des Invalides, alongside another proposed boulevard, was plotted to intersect and conclude at the Seine, aligning with the Pont du Carrousel. This new church was envisioned to mark the end of the freshly laid boulevard. However, not all went as planned. The construction's reins were initially in the hands of Abbé Jean-Louis Roquette, with Adrien Lusson as the lead architect. A hiatus occurred in 1861, post which architect Joseph Uchard took over.

Uchard noticed the church's design would be impeded by the new boulevards' blueprint. The planned site was a stretched hexagon, apt in length but with a narrow western front, leaving inadequate space for an apt portal and towers. He appealed to Haussman's urban developers to modify the new street layout, allowing a broader western facade, to which they agreed. Construction resumed, with the church's exterior finalized on 15 July 1874. By Easter 1875, the structure stood completed, though its interior decoration lingered. The official consecration took place on 23 May 1894, overseen by François-Marie-Benjamin Richard, the archbishop of Paris.

Exterior

Inspired by the Renaissance-era Italian basilicas, the exterior blends traditional aesthetics with modernity. This is evident in its iron framework, concealed behind the stone facades. This innovative design facilitates thinner walls, increased indoor space, and expansive windows. The triangular pediment is adorned with sculptures showcasing "Saint Francois-Xavier baptizing the residents of India and Japan".

Interior

The central nave is bordered by two shorter aisles, each accompanied by chapels. These aisles are demarcated from the nave by robust pillars topped with Corinthian capitals. While the nave's decoration leans towards Neo-classical design, the adjacent Chapel of the Virgin, located at the eastern end, boasts of a Renaissance flair. The concealed iron framework grants the church its expansive windows and bright interior.

The church's internal ambiance is marked by the prominent theatrical arch hovering above the choir and altar. This arch features a mural by Romain Cazes (1808-1881) that portrays "Two Angels upholding the Book of the Evangelists". The angelic figures contrast with the floral backdrop adorned with their symbolic motifs. This design draws its inspiration from the decorative elements of ancient illuminated manuscripts. Another significant artwork is the mural above the altar, depicting Moses with the Ten Commandments, an angel manifesting within a fiery bush, and Aaron brandishing biblical rods of retribution.

Elevated above these art pieces is a grand painting titled "Saint Francois-Xavier presenting the converted nations to Christ". The depiction of Christ resonates with Byzantine artistry, while the figures beneath exhibit the vibrant attire of the regions where Saint Francois-Xavier proselytized - namely India, Japan, and China. The dome's inner surface, as well as the ceilings, are ornately decorated with paintings that showcase the twelve apostles encircling a lamb. Charles Lemeire, employing a Neo-Byzantine approach, crafted these dome artworks.

The church's bronze altar, a contemporary creation reflecting classical elegance, was sculpted by Poussielegue-Rustand and was installed in 1984.

The church houses a chapel featuring the shrine and reliquary of Saint Madeleine-Sophie Barat (1779-1865), who established the Society of the Sacred Heart, focused on the religious upbringing of young ladies. The inaugural school of this society was inaugurated in 1801. By 2015, the Society boasted 2,600 members, with a majority serving as educators, predominantly for girls, across forty-one nations. The reliquary holds her mortal remains as well as various artifacts from her life. In 2009, the shrine was relocated to this church, bringing it nearer to her residence in Paris, which is the current location of the Rodin Museum, and one of her initial schools, now known as the Lycée Victor-Duruy.

The church boasts the renowned piece, "The Last Supper" by Tintoretto (1518-1594). This artwork captures the pivotal instance when Christ announces Judas's betrayal to the Disciples. Judas, positioned prominently in the front, clandestinely clutches the bag of coins from his treachery. Initially painted for the Scuola Dei Santissime in Venice's Church of Saint Felice in 1559, it was later transported to Paris in 1865 by Marie-Caroline of Bourbon-Two Sicilies, the Duchess of Berry.

Artworks spanning from the Renaissance through the 20th century embellish the church's chapels. In the Chapel of Saint Louis, there is a standout piece by Baroque artist Luca Giordano (1632-1705) titled, "The Crucifixion of Saint Peter". Influenced by Caravaggio and Ribera, it portrays the lifeless body of the Saint in an evocative manner, being taken down from the cross under the cloak of night.

In the chapels along the left aisle, visitors can witness other remarkable pieces. Among these is "The Apotheosis of Saint Gaetan of Thiene" by Claude Audran the Younger (1639-1684). His technique is reminiscent of his colleague, Charles Le Brun. Though Audran's classical approach aligns with Le Brun, he employed more vivid colors and poetic layouts, echoing the Baroque artistry of Simon Vouet. Additionally, Audran's masterpieces grace the grand staircase at the Palace of Versailles.

Another Baroque gem housed in the church is "The Virgin and Child with John the Baptist and Saint Genevieve" by Lubin Baugin (1612-1663), found in the Sacristy of Masses. This composition reflects Corregio's influence and was originally displayed above the altar in Notre Dame de Paris before the French Revolution.

The primary organ can be found at the back of the nave, above the entrance. Constructed in 1878 by Fermis and Persil, it underwent modifications in 1830 and 1923 before undergoing a complete restoration starting in 1993. This renovated organ was unveiled in 1996.

Henry Lerolle highlighted this church organ in his piece, "The Organ Rehearsal". This artwork was showcased at the Paris Salon in 1885 and then in 1887 at the inaugural impressionist art exhibit in the U.S. at the Metropolitan Museum. Today, the piece resides at the Metropolitan Museum, thanks to a generous donation.