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368:(1615-1753) "the Assumption of the Virgin", is displayed on the lower right side. Following the theatrical style of the Counter-Reformation, it presents two adjoining worlds; the earthly world, where the Apostles find the empty tomb of the Virgin Mary; and the celestial world, where the Virgin is transported to heaven by a flight of angels. The expressions of astonishment of the apostles contrast with the serene expressions of Mary and the angels above.
395:(1688-1737), "The Transfiguration". In the painting, a vision of Christ, accompanied by Moses and Elijah, appears in the heavens to the apostles Peter, James and John. The illusion of looking into the heavens is enhanced by the painted architecture that merges with the real architecture of the chapel below. Not long after making this fresco, Lemoyne painted a similar monumental fresco for the ceiling of the Salon of Hercules in the
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The interior follows the traditions of beauty as defined classical architecture, with symmetry and rigorous lines. expressing symmetry and strong lines. The nave is covered by a barrel vault, and the nave is separated from the side aisles by two arcades with rounded arches, supported by columns with
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began in 1789, and in 1791 the church was transformed into a parish church, and was rededicated to Saint Thomas
Aquinas. The rapidly developing Revolution turned life at the church upside down. The friars were expelled in 1793, and the abbey buildings were turned to a factory for making munitions.
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order in Paris. Construction began in 1682, and the church was consecrated in 1682. The friars were expelled and the church was closed during the French
Revolution, and was not returned to the Catholic church until 1802. During the 19th century, the City of Paris endowed the church with many fine
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The tympanum of the triangular pediment over the entrance is decorated with a relief sculpture called "La
Religion", made in 1769 by François-Charles Butteux (1732-1788). It depicts an allegorical figure of Religion, supported by Truth, holding the tablets symbolising law.
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The Chapel of Saint Louis, in the choir behind the altar, is the most highly decorated space in the interior. It was originally the choir used by the friars. It was built in 1722 and is decorated to commemorate the return of the original
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in Rome. finished in 1584. The Gesu facade was widely copied in Paris and other cities. The facade was designed by the
Dominican friar Claude Navan, and was built between 1765 and 1769. Following the style of
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classical
Corinthian order capitals. The central element in the choir is a miniature classical temple over the altar, with a series of rounded arches behind it, decorated with murals.
269:. On either side of the facade and one-story wings, connected with the facade by curving wings, and capped at the corners by Obelisques, which serve as buttresses for the upper level.
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The church was then designated as the site of the future revolutionary museum of the history of artillery (The history of artillery collection gathered for the museum is now found in
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In 1632 the friars established a small training centre with a chapel in the
Faubourg Saint-Germain neighbourhood on the left bank in Paris, named for the founder of the order,
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from the
Crucifixion to France, carried by two Dominican friars in 1239. The walls are covered with carved wood panels and confessionals from the 19th century, and by murals.
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406:(1591-1666). This painting was originally in the Church of the Rosary in Cento, where the artist was born. It depicts "The Virgin Mary appears to Saint Jerome."
228:). In 1797, the church was redesigned a "Temple of Peace" for a group calling themselves "Theophilanthropes". It then became a meeting hall for the radical
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208:. As the convent grew, in 1682 the friars decided to enlarge the monastery and build a larger church. Work began under architect
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In the third traverse is a painting by another
Italian master of the 17th century, Giovanni-Francesco Barbieri, better known as
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friar and priest, and influential philosopher and theologian in the 13th century. It was originally a chapel of an abbey of the
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The 19th-century painting under the classical pediment depicts "Saint Louis renders justice beneath an oak tree," painted by
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and other donors. In 1722 a separate choir for the friars (now called the Chapel of Saint Louis) was added to the church.
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provided decorative ceiling paintings for the church in the 19th century. His decorative work is also found in the
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421:(1692-1768), which features the figures of Saint John and other Apostles painted with a vivid chromatic palate.
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Another more recent relief sculpture is placed over the central portal; Two angels hold palms and crowns.
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232:, until their downfall. It was finally returned to the Church by Napoleon Bonaparte in 1802, under the
510:"Saint Louis, accompanied by the Royal Family, receives the Crown of Thorns" by Jean André (1714-1717)
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388:(1846-1920). Saint Louis is joined by an angel, by a figure representing Religion, and an angel.
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414:. In the painting, Saint Jerome's face shows his emotions inspired by the vision of the Virgin.
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410:(340-420 AD) was the author the first translation of the Bible into Latin, known as the
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examples of French religious art. The church was declared an
Historic Monument in 1982.
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Dumoulin, Aline; Ardisson, Alexandra; Maingard, JĂ©rĂ´me; Antonello, Murielle;
312:"Virgin giving rosary to Saint Dominique" (1867). by Théodore-Charles Gruyère
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Article in patrimoine-histoire.fr, on the history and art of the church
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Article in patrimoine-histoire.fr, on the history and art of the church
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Article in patrimoine-histoire.fr, on the history and art of the church
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Article in patrimoine-histoire.fr, on the history and art of the church
498:"Saint Peter Heals a Lame Beggar" by Louis-Vincent-Léon Pallière (1819)
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The ceiling of the chapel is covered with an 18th-century fresco by
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The facade of the church is in the classical style, inspired by the
179:, place Saint-Thomas-d’Aquin, between the rue du Bac and the
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Dome of the choir, with paintings of "Force and Justice" by
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Roman Catholic churches in the 7th arrondissement of Paris
801:; (2017); Éditions Payot-Rivages, Paris; (in French).
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Place Saint-Thomas-d'Aquin, 7th arrondissement, Paris
476:"The Virgin and Child appearing to Saint Jerome" by
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614:Palace (also known as the Bourse de Paris), the
787:(2010), Éditions Massin, Issy-Les-Moulineaux,
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650:Stained glass by Dideron and Langlade (1902)
771:Dumoulin, "Églises de Paris" (2010), p. 139
751:Dumoulin, "Églises de Paris" (2010), p. 139
742:Dumoulin, "Églises de Paris" (2010), p. 139
722:Dumoulin, "Églises de Paris" (2010), p. 139
713:Dumoulin, "Églises de Paris" (2010), p. 139
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684:Dumoulin, "Églises de Paris" (2010), p. 137
675:Dumoulin, "Églises de Paris" (2010), p. 137
666:Dumoulin, "Églises de Paris" (2010), p. 137
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300:Angels by Louis-Joseph Daumas, 1801-1887
265:while the upper level columns are in the
461:"Saint Stephen preaching the Gospel" by
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522:Saint Stephen preaching the gospel by
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640:Altar of Saint Vincent de Paul (1848)
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212:in 1683, with funding provided by
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524:Alexandre Denis Abel de Pujol
246:Italian Baroque architecture
819:Official site of the parish
799:Connaissance du Vieux Paris
643:Portrait of Saint Louis by
177:7th arrondissement of Paris
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566:Decoration of nave arcades
183:. The church is named for
445:"The Transfiguration" by
372:The Chapel of Saint Louis
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778:Bibliography (in French)
628:François-Henri Clicquot
600:Palace of Fontainebleau
181:boulevard Saint-Germain
347:The tribune and organ
259:classical architecture
175:church located in the
620:Notre-Dame-de-Lorette
433:Chapel of Saint-Louis
335:Nave facing the choir
797:Hillairet, Jacques;
635:Merry-Joseph Blondel
626:Organ originally by
618:, and the church of
604:Palace of Versailles
596:Merry Joseph Blondel
540:Merry-Joseph Blondel
397:Palace of Versailles
364:A major painting by
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185:Saint Thomas Aquinas
169:Saint-Thomas-d'Aquin
56:Archdiocese of Paris
19:Saint-Thomas-d'Aquin
850: /
825:L'orgue de l'Ă©glise
655:Notes and citations
633:Mural paintings by
854:48.8564°N 2.3275°E
645:Luc-Olivier Merson
386:Luc-Olivier Merson
288:Facade decoration
250:Church of the GesĂą
214:Cardinal Richelieu
807:978-2-2289-1911-1
793:978-2-7072-0683-1
616:Luxembourg Palace
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99:Architect(s)
93:Architecture
857: /
267:Ionic order
263:Doric order
39:Affiliation
842:48°51′23″N
612:Brongniart
485:Decoration
66:Roman Rite
845:2°19′39″E
193:Dominican
189:Dominican
141:Completed
872:Category
827:(French)
821:(French)
478:Guercino
404:Guercino
318:Interior
240:Exterior
230:Jacobins
85:Location
80:Location
51:Province
33:Religion
412:Vulgate
254:Jesuits
200:History
156:Website
146: (
131: (
120:Baroque
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637:(1841)
630:(1771)
610:, the
606:, the
602:, the
526:(1817)
75:Active
72:Status
171:is a
111:Style
803:ISBN
789:ISBN
219:The
187:, a
148:1683
144:1683
133:1682
129:1682
62:Rite
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