Holy Trinity

The initial church of the parish, situated beyond Paris' city boundaries at 21 rue de Calais in 1850, quickly became inadequate due to the expanding population and its distance from the parish center. Subsequently, a second church emerged in 1852 on rue de Clichy, current site of the Casino de Paris, but it too fell short in size. Parish curé, Abbé Modelonde, sought Emperor Napoleon III's aid for a larger new church.

This church was a segment of the extensive Parisian renovation and beautification project during Napoleon III's reign and Baron Haussmann's tenure as Seine prefect in the Second French Empire. The undertaking introduced new boulevards, parks, squares, and landmarks like the Paris Opera. Named La Trinité, this church, designed for the developing Chaussée d'Antin residential area, was a part of Napoleon III's initiative to integrate this area into Paris and establish prominent, strategically placed buildings along new avenues.

Théodore Ballu, the chief architect for Paris' religious structures, was responsible for the church's design. His other works in Paris include restoring the Saint-Jacques Tower, constructing the Saint-Germain-l'Auxerrois belfry, and building the Église Saint-Ambroise. Construction commenced in 1861, mostly concluding by 1867, but the church wasn't fully completed and consecrated until 1913.

During the 1870-71 Franco-Prussian War siege of Paris, the church served as a hospital, owing to its rare functioning furnace. The nave housed a large stove, which blackened the ceiling, and the chapels were repurposed for medical and storage needs.

In the Paris Commune era, on May 12, 1871, the building transitioned from a religious site to the Club of Deliverance's meeting venue, a group of Communard women. During the Commune's final conflict, the Semaine Sanglante, it functioned as a barricaded fortress but was ultimately bypassed by the French army.

The church holds historical significance in French music, hosting the funerals of renowned composers Gioachino Rossini (1868), Hector Berlioz (1869), and Georges Bizet (1875). Decades later, in 1931, composer Olivier Messiaen became its organist, a position he maintained for 61 years.

In architectural influence, the church's facade inspired Quebec City's Saint-Jean-Baptiste Church and Sacramento, California's Cathedral of the Blessed Sacrament.

The church's exterior showcases a blend of French and Italian Renaissance styles, creatively merged during Napoleon III's era. Its standout element is a 65-meter bell tower. The lower part of the tower is square, leading up to an octagonal section, and is topped with a dome reflective of French Renaissance design. Symmetrical harmony is achieved with two smaller domed bell towers at the facade's edges.

The facade's niches are adorned with sculptures by renowned Parisian artists, many being Prix de Rome laureates. One set portrays church doctors countering heresies, while another set features Saints. Flanking the facade are statues representing the Cardinal Virtues: Prudence, Justice, Temperance, and Strength. The "Strength" statue, crafted by James Pradier (1792-1852), is distinguished by a sword. "Temperance," a work of Jean-Baptiste Carpeaux (1827-1875), adds to the collection's diversity.

The church, stretching 93 meters in length, is built around an iron frame, a design choice that significantly opens up the interior space. This spacious interior is adorned with opulent decorations. The upper level is illuminated by large windows, featuring minimal colored glass and predominantly white decorative glass, allowing for a flood of natural light. The upper level's walls and columns are adorned with vibrant polychrome paintings, creating a stark contrast with the pristine white walls and columns of the lower level. Additionally, the entire interior is embellished with elaborate sculptural decorations.

The main aisle of the church features a double-tiered design. On the ground floor, there are pillars paired with composite columns. Each column bears two apostle statues, distinguishable by their unique symbols. Above, the upper level hosts a gallery initially designed for Emperor Napoleon III. Dominating this area is a grand arch, showcasing a depiction of the Apocalypse from Saint John's vision, specifically "Christ and the Easter Lamb", created by the artist Jobbé-Duval.

Flanking the main aisle are several small chapels, each richly adorned. The sculptures and paintings within these chapels were crafted by Parisian artists, most of whom received their training at the Rome-based French Academy. These artworks reflect the strong influence of their Roman education.

The nave's pulpit, carved by Denuelle, mirrors the design of the pulpit in Saint-François-Xavier church in Paris, sharing similarities with the styles of that era.

The choir, elevated by ten steps above the church nave due to the underlying sloped terrain, is encircled by a walkway. At its heart stands a grand main altar, crafted by Puissielgue-Rusand, who is also credited with creating the altar at Saint-Francois-Xavier church in Paris. This altar is encircled by ten pillars, symbolizing the Ten Commandments. In its forefront, elevated on a platform, is a relatively recent crucifix from 1992, sculpted by Philippe Kaeppelin.

Above the altar, a majestic arch holds a large-scale painting by Barrias, depicting the Holy Trinity. Central to this artwork is the figure of God the Father, his cloak embracing the figures of Christ and the Holy Spirit.

The Chapel of the Virgin, the largest in the complex, is situated at the customary site in the apse, directly behind the altar. It faces eastward, welcoming the morning sun, and is reachable through a surrounding passageway. Alongside the choir, a sequence of smaller chapels is embedded within the arcades. Each chapel is adorned with classical paintings, crafted by accomplished artists from the Academy of Fine Arts. These artists, renowned for their work in the church, later contributed their talents to many new churches constructed during the 19th century.

The church boasts an impressive array of 19th-century French paintings by celebrated artists such as Désiré François Laugée and Jean-Jules-Antoine Lecomte du Nouÿ, focusing on historical and religious themes. These artworks adorn the upper walls and vaults, enhancing the interior with vibrant colors and intricate floral patterns.

In addition to paintings, the church is adorned with sculptures by renowned Parisian artists, both inside and on its exterior. Among these is Charles Gumery, known for his marble sculpture of the Virgin Mary at the church's entrance and his contributions to the facade of the Paris Opera. His work, including a statue of Circe, can also be found on the south façade of the Cour Carrée at the Louvre Museum.

The church is also distinguished for its exceptional collection of 19th-century stained glass. The Chapel of the Virgin features some of the most exquisite windows, with the upper windows crafted by Eugene Oudinot and Auguste Leloir, depicting scenes from the Virgin's life. The lower windows behind the altar, created by the glass artisan Nicod, are more abstract, radiating a kaleidoscope of colors.