Eglise Saint-Etienne-du-Mont, Place Sainte-Geneviève, Paris
Église Saint-Étienne-du-Montis deeply connected with the former Sainte-Geneviève Abbey, founded by Clovis around 508 AD. The church houses the tomb of Sainte Geneviève, the patron saint of Paris. Born in Nanterre in 422 AD, Sainte Geneviève is renowned for turning away Attila the Hun from Paris in 451 AD. A highly decorated reliquary near her tomb contains her last remaining relic, a finger bone.
Construction of the current church began in 1492, replacing an earlier structure, and was completed only in 1626. The names of talented Renaissance masters who contributed to its construction include Étienne Viguier, Philippe de Froncières, the stonemason Dartois, Jean Turbillon, Jean de Froncières, Jean Blandurel, Antoine Beaucorps, Pierre Merlin, Pierre Nicolle, Thomas de Greneuze, Germain Pilon, Jean Entrot, Christophe Robin, Pierre Biart, Claude Guérin, and Christophe Étoile.
The church is noted for its elegant blend of Flamboyant Gothic and Renaissance styles, exemplified by its jubé (rood screen), constructed between 1530 and 1545. This is the last remaining jubé in Paris, as most were removed during the late Renaissance due to their obstructive nature during Mass. The structure is renowned for its intricate stone lace balustrade and spiral staircases. The design reflects both Renaissance and Gothic influences, with some attributing parts of the design to Philibert Delorme and the Beaucorps family, although the exact authorship remains uncertain. The preservation of the jubé possibly stemmed from concerns that removing it might destabilise the church’s walls, necessitating costly reconstruction during a period of financial scarcity. The vault of the crossroads, completed between 1584 and 1586, illustrates the transition from Gothic to Renaissance, featuring tiercerons and hanging keys alongside putti and finely carved openwork discs.
Saint-Étienne-du-Mont also boasts the tribune organ, a masterpiece from the early 17th century. Constructed around 1631 by Pierre Pescheur (instrument) and Jean Buron (carpentry), the organ is a testament to the exceptional craftsmanship of the period.
