Church of Saint-Jean-Bosco

Cardinal Verdier, the Archbishop of Paris from 1929, initiated a project to cater to the growing working-class parishes on the outskirts of Paris, each with populations exceeding a hundred thousand. His vision was to establish a church for every ten thousand residents, forming part of his larger initiative, "The Chantiers du Cardinal" or "The Cardinal's Building Sites". The initial plan for this particular church was grand, encompassing a technical school and dormitories. However, the onset of the Great Depression led to a downsized version, focusing solely on the church.

Architect Dumitro Rotter (1878-1937) led the design, with the foundational stone laid in March 1933 by Verdier. After Rotter's death in 1937, his son completed the project.

The church's interior featured an array of decorations - murals, frescos, mosaics, stained glass, and statues - crafted by the Parisian Brothers Mauméjean firm. Architectural historian Simon Texier later characterized the style as a blend of Gothic Art Deco and Neo-Gothic Grecian.

Financial constraints during the 1930s Great Depression prolonged the interior's completion, which involved numerous Art Deco artists. Raymond Subes, renowned for his ironwork on French ocean liners, contributed to the church's decorative ironwork. Initially meant for the church school's students, the church became a parish church in 1938, with its lower section reserved for students. The interior decoration was finalized amidst the German occupation of Paris, between 1940 and 1944.

The church, built from 1933 to 1937, features a design primarily using reinforced concrete. Its bell tower, reaching a height of fifty-three meters, showcases an Art Deco influence, reminiscent of the Église Notre-Dame du Raincy's tower, a 1923 creation by August Perret. This tower is equipped with a carillon comprising twenty-eight bells crafted by the Atelier of Pacard. Additionally, screen walls on both sides of the tower contribute to its more ethereal aesthetic.

The interior of the church features large concrete columns, which divide the space into six sections. A balcony is situated about a third of the way up the walls, supported by these columns. Stained glass windows at this level illuminate the church's interior. The columns also uphold arches, forming a series of rectangular compartments or vaults that slant inwards. These vaults are adorned with paintings and ceramics. The ceiling vaults themselves are richly decorated. A long, slender window, hidden from the ground view, runs just below the ceiling vaults, lighting the upper part of the church. The architectural and decorative elements are in harmony, ensuring that the extensive ornamentation does not appear excessive.

This church, unlike traditional designs, lacks a cross-shaped transept. Instead, its transepts are implied through large sculptures in the lower aisles. The right side features a tribute to Saint Jean Bosco with a backdrop of intricate mosaics illustrating his life. Opposite, the left transept displays a sizable altar adorned with mosaics dedicated to Marie-Auxiliatrice.

The church's architecture includes an art deco pulpit, unique for its onyx stone embellishments. Its lower aisles preserve the original confessionals, now repurposed to display the church's treasured artifacts.

The Baptistry stands out with its elaborate mosaics, narrating events like Christ's baptism, the Massacre of the Innocents, and Saint Rogatien's martyrdom, all crafted by Charles Mauméjan. A mosaic depiction of the River Jordan encircles the baptismal font, while the wrought iron grill, created by Paul Kiss, features ceramic plaques showcasing various aspects of the Saint's life and symbols.

Reflecting the Salesian order's veneration for the Virgin Mary, the church's Nave vaults house the "Mysteries of the Rosary" paintings. These include the "Mysteries of Joy," beginning with a Greek Alpha symbolizing Christ's arrival to restore the broken alliance between God and humanity. The "Mysteries of Sorrow" depict Christ's suffering and cross-bearing journey. The choir's "Mysteries of Glory" series illustrates Christ's Resurrection, ascension, Mary's heavenly ascent, and her coronation, culminating with the Greek Omega.

The church's stained glass, crafted by Andre de Brissac's workshop in Grenoble, includes one series dedicated to the Virgin Mary and another portraying the lives of French saints such as Saint Jean Bosco, Bernadette, and Joan of Arc.

The magnificent organ, situated in the gallery at the end opposite to the choir, was constructed by the Gloton company and features forty-five jeux, or pipes.