Saint-Gervais-Saint-Protais

A 7th-century church on this site was dedicated to Saints Gervasius and Protasius, Milanese Christian martyrs, marking it as one of Paris's earliest parish churches on the right bank. Primarily frequented by boatmen and fishermen due to its proximity to the Place de Grève river port, it stood on the Monceau Saint-Gervais hill for protection against Seine floods. After the 1190-1209 construction of Philippe-Auguste's wall, the neighborhood enjoyed protection from attacks and witnessed population growth. Prominent Parisian guilds, including wine-merchants, financially supported the church, facilitating the construction of a larger edifice in the early 13th century.

The current church's construction started in 1494 but faced delays due to religious wars and funding shortages. Initially designed in Gothic style, its apse chapels were completed by 1530, and its transept by 1578. The facade, however, showcased the emerging French Baroque style, crafted from Salomon de Brosse's design. King Louis XIII laid the facade's first stone in 1616. From 1600-1628, additional chapels were added, including the ornate golden chapel with its exquisite painted woodwork.

Throughout the 17th and 18th centuries, the church drew numerous aristocrats from the Marais district, such as Marie de Rabutin-Chantal, Marquise de Sévigné, and Louis XIV's Chancellor, Michel Le Tellier, who has a funeral monument in the church.

From 1653, the renowned Couperin musician family found employment and refuge at the church for over two centuries. Adjacent to the church stands the former residence of these distinguished harpsichordists, organists, and composers, marked by a commemorative plaque. The church still houses the organ played by Louis and François Couperin, a masterpiece crafted by famed organ builders, François-Henri, Louis-Alexandre, and Robert Clicquot.

During the 18th century, many held the church's facade in high regard, but it was mostly hidden behind a line of houses. Voltaire commented, "It's a flawless work, if only there was a vantage point to appreciate it". It wasn't until 1854 that the obstructing houses were torn down, unveiling the church's grandeur.

During the tumultuous times of the French Revolution, the church was stripped of numerous treasures and repurposed as a Temple of Reason and Youth. It was only in 1802 that it was restored to its religious function.

Tragically, on 29 March 1918, during a Good Friday service, a German shell from the "Paris Gun" hit the church. This calamity resulted in 91 fatalities and injured 68 others, as the roof gave way due to the explosion. This incident remains the most devastating loss of civilian life from the German shelling of Paris in 1918. Among the deceased was Rose-Marie Ormond Andre-Michel, renowned as both John Singer Sargent's niece and muse.

In 1975, the church transitioned into the main base for the Monastic Fraternities of Jerusalem. Founded that year by Père Pierre-Marie Delfieu and endorsed by the Archbishop of Paris, François Marty, this order is committed to maintaining monastic traditions in a city environment. Its members often engage in secular jobs part-time. The church stands out for its unique and inclusive worship practices, integrating elements like Lutheran hymn tunes and Orthodox troparia. This fraternity has also established a presence in various locations across France and Europe, including places like Mont St. Michel, Vezelay, and Magdala Sologne, as well as cities like Florence, Brussels, Cologne, Warsaw, and Montreal.

In the 1990s and early 2000s, the church underwent aesthetic enhancements. Sylvie Gaudin designed five new stained glass windows, which were installed in the southwest chevet between 1993 and 1995. Moreover, Claude Courageux crafted another six windows, fitted in the upper region of the church in the following decade, restoring the ones lost over time.

Facade

Initiated in 1616, the church's facade was constructed after the nave, its foundation stone placed by Louis XIII. The blueprint of this structure is credited to Salomon de Brosse, also known for his significant contribution to the Luxembourg Palace in Paris. Contrary to the late or flamboyant gothic style of the nave, the facade introduced a revolutionary classical aesthetic, paving the way for French Baroque. This facade uniquely layered the three classical architectural orders. The base showcases three sections, each flanked by pairs of columns exhibiting the Doric order's simple capitals, surmounted by a traditional pediment. Above this, another three sections feature the Ionic order columns, while the topmost layer presents a pair with the elegant Corinthian order, supporting a curved pediment. To seamlessly integrate the new facade with the church's gothic section, de Brosse conceived a traverse and flanking semi-circular chapels. This facade set a precedent, inspiring designs of other European churches, particularly the Saint-Paul-Saint-Louis church in Marais, Paris, a pioneering example of this novel style.

Historically, since medieval times, an elm tree stood sentinel before the church. This tree wasn't just ornamental—it was a communal gathering spot, sometimes even serving as a makeshift court for settling disputes. Depictions of these historical trees grace the walls of nearby edifices, a testament to their significance. Over time, as these trees aged or died, they were duly replaced.

Nave

Dating between 1600 and 1620, the church's nave captivates with its soaring stature and undiluted architectural lines. The lower segment of the nave is an ode to the late gothic style. In contrast, the upper segment pays homage to the Renaissance. Here, broad semi-circular arches house expansive stained-glass windows, drenching the interior in ethereal light. These windows, crafted in the 21st century by Claude Courageux, narrate biblical tales, from Adam and Eve's chronicle to Noah's ark and stories of patriarchs with their consorts. The ceiling, where these arches converge, is intricately designed, representing the celestial vaults.

The Virgin's chapel, located at the church's rear, boasts a striking late-Gothic vaulted ceiling. It is adorned with a 2.5-meter wide stone crown and abstract patterns that evoke flames. Many churchgoers find solace in this space, using it for quiet contemplation. Some of its stained glass windows, crafted in the flamboyant Gothic style by Jean Chastellain in 1517, are among the oldest. They depict scenes from the Virgin Mary's life. In a neighboring side chapel, there's an impressive window, "The Judgement of Solomon", created by Chastellain in 1533, showcasing vibrant Renaissance hues.

The church houses several significant pieces of art:

• In the Chapel of Saint Philomene stands a masterpiece by the Venetian artist Sebastiano Ricci (1659–1734) titled "Saint Gregory the Great and Saint Vital intercede for the souls in Purgatory". This artwork was transported from Venice to Paris by Napoleon following his campaign in Italy.
• Claude Vignon's (1593–1670) pieces, "The Beheading of John the Baptist" and "The Adoration of the Magi", are beautifully displayed in the Chapel of the Virgin.
• The Chapel of the Virgin also features an oak statue of Christ, expertly carved by Antoine-Augustin Préault (1809-1879).
• Intricate statues from Michel Le Tellier's (1603–1685), the Chancellor of Louis XIV, funeral monument are the works of Pierre Mazeline (1632–1685) and Simon Hurtelle (1648–1724). The collection showcases the Chancellor in a praying pose, a 'genie' mourning at his feet, and two figures symbolizing Faith and Religion draped in clothing. Additionally, the figures representing Justice and Prudence from this assembly are exhibited in the Louvre.

The church stands as a monumental testament to organ music, largely due to the contributions of the Couperin family. This family produced eight organists for the church from 1656 to 1826. Notable figures among them include Louis Couperin (1626–1661) and François Couperin (1668–1733), who are renowned for their iconic masses and compositions for the organ. The majestic organ associated with the Couperins can still be seen on the Tribune, situated above the entrance at the rear of the church. The church's initial organ was crafted by Mathis Languhedul of Flanders in 1601. This was succeeded by a new organ from the esteemed French line of Pierre, Alexandre, and François Thierry between 1649 and 1714. François-Henri Cliquot later refurbished it in 1769, with numerous subsequent restorations. Today, this organ is recognized as a historic landmark.