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55-591: The sculpted tympanum , The Stoning of Saint Stephen , is the work of French sculptor Gabriel-Jules Thomas . Renowned organist, composer, and improviser Maurice Duruflé held the post of Titular Organist at Saint-Étienne-du-Mont from 1929 until his death in 1986. During the Gallo-Roman era, the Parisii tribe of Lutetia gradually settled a hill on the left bank of the Seine, called Mount Lucotecius. This land

110-502: A miser character being damned, and even making comments about politics by showing Charlemagne bowing his head. Another example from France, the Coucy Doujon tympanum was carved between 1225 and 1230 and is evidence that tympanums were used in secular settings as well. The large tympanum was positioned above the door to the largest tower, as a way to tell anyone entering the building a message. The message for this particular tympanum

165-566: A pediment, however the evolution of tympanums gives them more specific implications. Pediments first emerged in classical Greece 700-480 BCE, with early examples such as the pantheon remaining famous to this day. Pediments spread across the Hellenistic world with the rest of classical architecture. Inscriptions at the time were sometimes blank but often contained statues of the gods and representations of geographic features, there are uncountable stories and messages in these inscriptions however

220-521: A son. They also forecast the destruction of the cities of Sodom and Gomorrah , shown on the above right. The chapels along the sides of the cathedral and side walls of the Chapel of St. Genevieve display sculpture and paintings by number of important 16th, 17th and 18th century artists, many of which are protected by the French Ministry of Culture. These include: The Prebytere was built next to

275-483: A thousand aisled hall churches with wooden barrel or waggon roofs , as well as other kinds of ceilings (see Commons:Category:Hall churches in England by county ), though official descriptions do not use the term hall church . In German literature on English medieval architecture, they are mentioned as a frequent type peripherally. In Devon, more than 200 churches (or a part of a church) are such aisled halls, forming

330-424: A wooden cross, which protects it from storms, illustrated by surrounding evil faces. Christ steers the ship, while the passengers include an emperor, a king, a magistrate, Saint Francis, Saint Dominic, and the donors of the window. At the top Christ is shown blessing five loaves given to him by a child. Window Three depicts Christ blessing five loaves of bread given him by a child (top), and Christ breaking bread with

385-427: Is Christ in the middle and the saved souls on the left, serving as a reminder for pilgrims of why they made their journey. The imagery on this tympanum is primarily meant to remind the viewer of the power of gods judgement, part of many ways that tympanums through the era mentally prepare pilgrims for the experience of the church. There are many more subtle messages however, such as encouraging donations through depicting

440-514: Is a church with a nave and aisles of approximately equal height. In England, Flanders and the Netherlands, it is covered by parallel roofs, typically, one for each vessel, whereas in Germany there is often one single immense roof. The term was invented in the mid-19th century by Wilhelm Lübke , a pioneering German art historian. In contrast to an architectural basilica , where the nave

495-593: Is a sort of visual textbook on that topic, and is also based on an engraving by L. Gaultier. On the top left, the Great Priest and three Levites are purifying themselves in a basin, known as the "Sea of Airan." On the right is an imaginative illustration of the Temple of Solomon . On the lower left Christ is washing the feet of the Apostles, and there is a depiction of an early Christian church. Window Seven depicts

550-639: Is considered to be the first Gothic hall church, and was probably an example for the Gothic hall churches of Westphalia . Most familiar was the construction of aisled hall churches in the late Gothic period, most notably in the areas of Westphalia and upper Saxony . In the Netherlands and Flanders , most hall churches have no stone vaults under one longitudinal roof, as is typical in Germany, but wooden barrel vaults with separate longitudinal roofs over each nave or aisle. In England, there are more than

605-627: Is lit from above by the clerestory , a hall church is lit by the windows of the side walls typically spanning almost the full height of the interior. In English language, there are two problems of terminology on hall churches: The first churches with naves and aisles of equal height were crypts. The first aisled hall church north of the Alps is St Bartholomew's Chapel ( German : Bartholomäuskapelle ) at Paderborn , consecrated c.  1017 . In western France , there are some Romanesque hall churches with parallel barrel vaults . Poitiers Cathedral

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660-566: Is relatively unknown, featuring a figure likely from Coucy family history fighting a lion. Lions had many symbolic meanings in the Romanesque era and this one is likely a reference to a king or an event from the crusades. Despite the secular theme, it has a very similar style, form, and purpose to the many tympanums on nearby churches. Retaining the shape and inscription and showing a large central character with classically inspired detail, movement and emotion. Hall church A hall church

715-407: Is the semi-circular or triangular decorative wall surface over an entrance, door or window, which is bounded by a lintel and an arch . It often contains pedimental sculpture or other imagery or ornaments. Many architectural styles include this element. Alternatively, the tympanum may hold an inscription, or in modern times, a clock face. Tympanums are by definition inscriptions enclosed by

770-733: The Concordat of 1801 . The neighbouring abbey church was demolished in 1804, and replaced by rue Clovis. Only the old bell tower survived, and is now part of the Lycée Henri IV campus. Under the Second Empire of Napoleon III , the church was extensively restored by the Paris city architect Victor Baltard between 1865 and 1868. The façade was restored and increased in height and sculpture and stained glass destroyed in Revolution

825-429: The 9th or 10th century. This transformation continued throughout the later parts of the early Middle Ages, gradually shifting into the large circular stained glass windows of the gothic era known as rose windows. Classical pediments more closely transformed into rose windows than tympanums, and when pedimental shapes reappeared over gothic and Romanesque portals, inspiration can be traced in other directions. According to

880-517: The Churches of Saint-Eustache, Paris ; Saint-Germain l'Auxerrois and Saint-Merri were transferred to the chapel for their protection. Following the war, the windows remained there, and underwent restoration, funded by the City of Paris. Unlike most other Paris stained glass windows of that period, they are at eye level and can be examined up close. The first window tells an old anti-Semitic tale. In

935-472: The Gospel of Luke, above Jesus on the cross was written "this is the king of jews" to mock his powerlessness. This inspired buildings as early as the arch of Constantine and old Saint Peters basilica which featured an engraving a Christ with a poem inscribed in second person perspective, an essential feature of later tympanum inscriptions. Early reliquaries and pilgrimage churches employed this convention, such as

990-602: The Sacrifice of Elijah, and his triumph over the pagan priest of Baal . In the window, a Celestial fire lights a sacrificial bonfire, while on the upper right the priests of Baal pray in vain. Window Eight (restored in 2021), at the top shows the miracle of Manna, where bread was delivered in the wilderness. The lower portion depicts the Monstrance holding the Host, surrounded by Angels. The "Mystical Wine Press" (1618) theme

1045-594: The Shrine of Saint Martin at Tours which in 558 installed engravings of the life of Christ and the churches patron saint (Saint Martin). These engravings situated directly above the main entrances had poems inscribed directing visitors on how they should feel entering the church. This was quickly replicated in Carolingian era churches such as the abbey of Saint Gall in Switzerland, completing the decorative style of

1100-461: The apse and the bell tower in 1494, and the first two bells were cast in 1500. The choir was completed in 1537, and the altars of the apse chapels were blessed in 1541. but as the work continued, styles also changed. In the same year, contracts were awarded to artisans to complete the windows and sculpture, which were now to be in the new Renaissance style. The nave, also in the Renaissance style,

1155-574: The bodies of Jean-Paul Marat , after he was killed by Charlotte Corday , and Honoré Gabriel Riqueti, comte de Mirabeau (1795) were removed from the Panthéon , where they had been placed as revolutionary heroes, and kept in the chapel until they were later buried in ordinary graves. During the First World War, when Paris was being bombarded by German artillery outside the city, a group of twelve 17th-century stained glass windows, belonging to

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1210-498: The capital). The church also contains the shrine containing the relics of St. Genevieve until 1793 (when they were thrown in the sewer), the tomb of Blaise de Vigenere , of Blaise Pascal , of Racine , and Mg Sibour. The Chapel of Saint Genevieve is a Flamboyant Gothic shrine to the patron saint of Paris. Her original tomb and relics were destroyed during the French Revolution. The chasse or reliquary seen now

1265-402: The ceremonies in the choir more visible to the ordinary parishioners in the nave. The screen was designed by Antoine Beaucorps, and while its purpose is Gothic, its decoration is French Renaissance. It takes the form of an arched bridge facing the choir with three arcades. A tribune for readings occupies the center facing the nave. Two very elegant spiral stairways give access to the tribune from

1320-526: The choir of Bristol Cathedral and the Lady Chapel of Salisbury Cathedral . Some Gothic Revival churches apply the hall church model, particularly those following German architectural precedents. One example of a neo-Gothic hall church is St. Francis de Sales Church in Saint Louis , Missouri , designed by Viktor Klutho and completed in 1908. A completely separate 20th-century usage employs

1375-475: The church in about 1725 as the private residence of Louis, Duke of Orleans, son of the Regent of France. It was purchased by the church and is now the residence of the curé of the church, and a protected historical landmark. In 1636, the organ, built by Pierre Pescheur, was installed. When the organ was damaged by fire in 1760, it was rebuilt by Cliquot . Further work was carried out in 1863 by Cavaillé-Coll , and

1430-556: The church is the jubé or rood screen , created in about 1530, the only existing example in Paris. It is an elaborate sculptural screen which separates the nave from the choir. The screen was used as a platform to read the scripture to the ordinary parishioners. They were very common during the Middle Ages, but were largely abolished in the 17th and 18th centuries under a decree of the Council of Trent (1545–1563) which aimed at making

1485-418: The church with light. The interior of the church combines Flamboyant Gothic architecture, including elaborate rib vaults with hanging keystones, alongside elements of Italian Renaissance decoration, such as classical columns and arcades, and an abundance of sculpted heads of angels integrated into the architecture. The nave has two levels of grand arcades with circular columns and rounded arches which separate

1540-466: The city against a barbarian invasion, was also buried there. The Abbey of Sainte-Genevieve was founded next to the church in 502, and the church became part of the abbey. In 1222, as the population of the neighbourhood grew, and particularly to serve the masters and students of the new College of Sorbonne , Pope Honorius III authorized the establishment of an autonomous church, which was devoted this time to St Etienne , or Saint Stephen. The new church

1595-450: The disciples (below). Window Four, "The Brass Serpent", dates from the 16th century, and, unlike the other windows, is made entirely of simple pieces of coloured glass, rather than glass with the figures painted with enamel pigments and then baked onto the glass. It depicts a story told in the Book of Numbers 21-19, telling how Moses made a serpent of brass, and put it upon a pole. Any man who

1650-464: The east end of the church between 1605 and 1609. It originally enclosed a small cemetery, but no longer has any tombs. The interior originally contained three galleries with twenty-four stained glass windows, made with great realism with the use of enamel paints baked onto the glass. The windows illustrated scenes from the Old Testament and New Testament, as well as scenes of Paris life. Twelve of

1705-515: The irregular site. The most prominent decorative work in the nave is the pulpit, created in 1651 by Germain Pillion. It is supported by a carved sculpture of Samson kneeling upon a lion, and holding the jawbone of an ass with which he fought the Philistines. Other statues of the virtues and other allegorical figures carved by Claude Lestocart surround the pulpit. The most unusual feature of

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1760-497: The last judgement, which was the subject of a large portion of tympanums, however, the Conques tympanum is far more detailed in its figures and scenes in a way reminiscent of Roman reliefs. This work was meant to be horrifying to the people who passed under it, on the right demons torture the souls of the damned, sinners are fed to grotesque monsters, and people are crammed into small spaces as they await their judgment. Contrasting this

1815-456: The level above is a Gothic rose window, under a curvilinear fronton, decorated with sculpture depicting the coat of arms of France and those of the old Abbey. On the top level, the triangular gable features an elliptical rose window. The interior is a that of a hall church of large proportions, sixty-nine meters long and 25.5 meters wide. The collateral aisles on either side of the nave and choir are unusually high, and have large windows, filling

1870-511: The majority of all church buildings, there. In parts of Wales, two-vessel halls are a traditional type of churches, as mentioned using terms like "typical two naves" in descriptions by Cadw . In Scotland, some aisled hall churches are Neoclassical buildings, and some aisled Gothic Revival hall churches have been built there transferring medieval English forms. There are also English hall churches vaulted with stone, such as Temple Church in London,

1925-416: The nave from the outer, or collateral aisles. These arcades have a passageway with balustrades. The balustrades are also used on special church holidays to display tapestries from the church collection. The upper walls of the collateral aisles have very large windows, which fill the interior with light. One unusual feature of the interior is the slight curve of the axis from the nave to the transept, caused by

1980-422: The nearby abbey with an even larger church, which, after many modifications and changes of purpose, eventually became the Panthéon . During the French Revolution, the church was first closed and then turned into a "Temple of Filial Piety." The sculpture, decoration and stained glass suffered extensive damage, and many church treasures and relics disappeared. Catholic worship was finally restored in 1803, under

2035-649: The now abstracted form purely for decoration. After the collapse of the Roman empire, regions with significant classical architecture quickly adopted and transformed the features. In France examples such as the Baptistry of St. Jean at Poitiers created in the 6th through 7th century CE defined Merovingian architecture. The form became abstracted in this period, replacing sculptures with geometric engravings and mosaics, and using small alternating curved and triangular pediments above windows on churches such as St. Generoux from

2090-604: The original windows survived the Revolution and can be seen today, including the "Adoration of the Holy Sacrament" and the "Mystic Wine-Press". The Chapel of Communion (also known as the Cloister Gallery or Chamber of Catechisms) adjoining the choir originally contained the remains of clerics of the church, and was known for that reason as the "Chapel of the Charnel House". Late in the French Revolution,

2145-457: The present instrument is the work of further revision by Beuchet-Debierre in 1956 The case of the organ of the tribune was made beginning in 1633 by Jean Buron, and is the oldest and best-preserved original case in Paris. It is topped by sculpture of Christ surrounded by angels playing the kinnor, an ancient Hebrew variation of the lyre. Tympanum (architecture) A tympanum ( pl. : tympana ; from Greek and Latin words meaning "drum")

2200-507: The sides. The decoration includes two statues of "Renommées", or "Renowned ones," based on classical Roman statues, holding olive branches and crowns. The church is characterized by its curved axis of the nave to the transept , the rood screen (the sole surviving example in Paris) of finely carved stone by Father Biard (1545), his chair designed by Laurent de La Hyre and sculpted by Claude Lestocart and its organ case (1631) (the oldest in

2255-465: The starting point of an annual procession, carrying the shrine of Saint Genevieve to Notre Dame de Paris , and back. The remains of a number of prominent scientists and artists were interred there, including Pierre Perrault , the painter Eustache Le Sueur and Blaise Pascal . Those of Racine were transferred in 1711 from Port-Royal in Saint-Etienne. In 1744, King Louis XV decided to replace

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2310-573: The symbolism remained closely related to the philosophy and democracy associated with classical Greek city states. These themes continued when the Romans spread the style further into Europe, picking up an aspect of authoritarian symbolism in provinces captured by conquest. Originally serving as the end of a gabled roof, in later imperial Rome the form was adjusted. Pediments started being placed above any doorway and curved instead of triangle shapes were introduced, ignoring structural value and instead using

2365-622: The term hall church to mean a multi-purpose building with moveable seats rather than pews and a chancel area which can be screened off, to allow use as a community centre during the week. This was particularly popular in Britain in inner city areas from the 1960s onwards. Some typical forms of hall churches and how to distinguish them from basilicas: Various floorplans of hall churches: Lists of almost all hall churches of Europe are available on French Misplaced Pages (incomplete for Germany) and German Misplaced Pages . The listed churches are identical with

2420-692: The top, depicting the origin of Eucharist , showing the blessing of wine and bread, and the Prophet Abraham returning home in triumph. Below are two later panels of glass, the Annunciation on the left (19th century), and the Last Supper (1612) inspired by Durer's "Great Passion of Christ". Window Twelve illustrates the story of the Oak of Moreh, based on a text of Genesis 18 1–12. Abraham receives three mysterious angels, who promise he will have

2475-472: The tympanum. The Romanesque era (1000–1200) saw massive change in church architecture. Pilgrimage required churches to rethink layouts and symbolism and the ever-rising Benedictine order changed rules on how churches should operate and appear. Architecturally the Romanesque era saw an increased appreciation for classical forms, coupled with an increase in church construction related to several factors including political turmoil and as thanks to god for not ending

2530-525: The upper window, Christ holds the sacred host. Below, a woman gives the host to a Jew named Tomthon. Tomthon throws the host into boiling water and stabs it with a dagger, but the host is indestructible. The woman rescues the host and takes it the Church of the Billettes. The second window is called "The Church as a Ship". In the upper window is Noah's ark, with animals. In the center, a ship is floating atop

2585-421: The window, the wine barrel is brought to a Church and distributed during the sacrameant of Eucharist . In the lower portion of the window, four doctors of the church, are storing the blood in barrels. On the right are Pope Paul III and King Louis IX of France (Saint Louis), Cardinal de Chatillon, and others, who are rolling the barrels into the cellar of a church. Window Eleven has one 17th century section, at

2640-558: The world in the year 1000. Tympanums are one of the most prominent features of Romanesque architecture, building on the French legacy of architectural innovation while also appearing on churches across Europe. The tympanum above the west portal of the Sainte-Foy church in Conques is possibly the most famous tympanum; carved in the early 1100s it is emblematic of the style, purpose and culture of Romanesque tympanums. This tympanum depicts

2695-554: Was bitten by a serpent could look upon the brass serpent, and live. The top left portion of Window Five depicts a traditional Jewish Passover supper, with lamb on the table. On the top right, exterminating angels are killing the first born in Egypt. The lower part of the window depicts a Christian passover, with the Holy Communion. On the right, devils are leading humans into temptation. The "Rites of Purification" (Window Six)

2750-402: Was constructed just to the north of Abbey church. As more colleges were founded and the neighbourhood continued to grow, the church authorities decided to construct an entirely new and larger church, in the new flamboyant Gothic style. In 1492, the nearby Génovéfain monks donated a portion of their land for the site. Construction proceeded very slowly. The architect Stephen Viguier planned

2805-487: Was inspired by an engraving by Jacques Lavolette printed in 1580. The subject is the blood of Christ, which is to be the mankind's salvation. In the center, Christ is distributing the redeeming blood. In the background of the window center, a barrel of the blood, accompanied by an angel, is being pulled by a lion, an ox and an eagle, the symbols of the Apostles Saints Luke, Mark and John. In the next portion of

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2860-646: Was less marshy than their earlier settlement by the river, and became the site of a theatre, baths and villas. In the 6th century, Clovis , the King of the Franks, built a basilica at the top of the hill, dedicated to the Apostles Peter and Paul. Clovis was buried there, along with his wife Clotilde , and several kings of the Merovingian dynasty . Saint Genevieve , the patron saint of the city, who had defended

2915-463: Was made in the 19th century of chiseled and gilded copper. It contains a fragment of her original tomb. Overlooking the tomb is a ciborium , an ornamental work featuring statues of the wise and foolish virgins, representing those faithful versus those who reject the church. Behind the altar in the apse at the east end of the church is the semi-circular Chapel of the Virgin. A small cloister was built at

2970-401: Was not finished until 1584. The erection of the façade did not begin until 1610, with the first stone placed by Marguerite de Valois . The church was finally consecrated on 25 February 1626 by Jean-François de Gondi , first archbishop of Paris ; the ornate carved pulpit was installed in 1651. During the 17th and 18th century, the church of Saint-Etienne-du-Mont enjoyed great prestige. It was

3025-508: Was replaced. He also added a new chapel the Chapel of Catechisms. Building works included: The west front or façade of the church, in the Renaissance style and in the form of an elongated pyramid of three levels, was built in 1610 following the plan of Charles Guerin . The lowest level is covered with sculpture, and is topped by a triangular classical fronton, with a bas-relief depicting the Resurrection of Christ. The central feature of

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