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Saint-Roch, Paris
The Church of Saint-Roch (French: Église Saint-Roch, pronounced [eɡliz sɛ̃ ʁɔk]) is a 17th–18th-century French Baroque and classical style church in Paris, dedicated to Saint Roch. It is located at 284 rue Saint-Honoré, in the 1st arrondissement. The current church was built between 1653 and 1740.
The church is particularly noted for its very exuberant 18th-century chapels decorated with elaborate Baroque murals, sculpture, and architectural detail. In 1795, during the later stages of the French Revolution, the front of the church was the site of the 13 Vendémiaire, when the young artillery officer Napoleon Bonaparte fired a battery of cannon to break up a force of Royalist soldiers which threatened the new revolutionary government.
In 1521, the merchant Jean Dinocheau had a chapel built on the outskirts of Paris, which was dedicated to Saint Susanna. In 1577, his nephew Etienne Dinocheau had it extended into a larger church. In the early 18th century, with the beginning of the construction of the Tuileries Palace nearby, the neighbourhood began to grow, and a larger church was needed. The first stone was laid in 1653 by Louis XIV, accompanied by his mother Anne of Austria, The church was built by architect Jacques Lemercier, first architect of the King. Lemercier's other works included the domed chapel of the Sorbonne, which served as an inspiration for the dome of Les Invalides.
The interior of Saint Roch largely followed the traditional Gothic floor-plan of Notre-Dame, but the facades and interior decoration were in the new Italian Baroque style, inspired by Saint-Gervais-Saint-Protais, the first Baroque church in Paris, which in turn was inspired by the Church of the Gesù in Rome, the first Baroque church in that city. Texier also followed the advice of the Council of Trent, which promoted the Baroque style, to integrate churches into the city's architecture. The façade of Saint Roch aligned with the street, on a north–south axis, rather than the traditional east–west alignment.
Financial difficulties arose, and in 1660 construction was halted. In 1690, the choir and the nave were completed, but had only a simple wooden roof. Work resumed 1701 under a new architect, Jules Hardouin-Mansart, who introduced a more inventive style. In the apse he constructed the Chapel of the Virgin, an elliptical space surrounded by a disambulatory. After his death, the chapel was finished by Pierre Bullet.
Work on the church proceeded slowly, due to financial problems. In 1719, thanks to a gift from the Scottish economist and banker John Law, the facade and transept were finished.
Construction of the church continued throughout the 18th century. Between 1728 and 1736, Robert de Cotte built a tower on the right side of the choir, while an existing tower on the facade was destroyed in 1735. De Cotte made a plan for a new facade with two levels. The new facade was completed in 1739, probably finished by De Cotte's son Jules-Robert De Cotte. The lower level features Doric columns, while the upper level had Corninthian columns. The church continued to have a close association with the royal family; The tomb of Marie Anne de Bourbon, the Princess de Conti and illegitimate daughter of Louis XIV, was placed there in 1739.
Jean-Baptiste Marduel, the pastor of the church between 1750 and 1770, called upon the most important painters and sculptors in Paris to give the church a new decor. In 1754 the architect Étienne-Louis Boullée built a new domed chapel, dedicated to the events of the Crucifixion. The major painters and sculptors of period, including Étienne Maurice Falconet, Joseph-Marie Vien and Gabriel-François Doyen participated in its decoration. In 1756, Jean-Baptiste Pierre painted a mural depicting the Assumption for the new dome over the Chapel of the Virgin. The sculptor Falconet made a work depicting "Glory" over the arcade behind the altar of the Virgin, modeled after the sculpture of the same subject in Saint Peters Basilica in Rome. He made two other sculptures, a group depicting the Announcation and a statue of Christ on the Cross in the Calvary Chapel, but these works disappeared during the French Revolution.
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Saint-Roch, Paris
The Church of Saint-Roch (French: Église Saint-Roch, pronounced [eɡliz sɛ̃ ʁɔk]) is a 17th–18th-century French Baroque and classical style church in Paris, dedicated to Saint Roch. It is located at 284 rue Saint-Honoré, in the 1st arrondissement. The current church was built between 1653 and 1740.
The church is particularly noted for its very exuberant 18th-century chapels decorated with elaborate Baroque murals, sculpture, and architectural detail. In 1795, during the later stages of the French Revolution, the front of the church was the site of the 13 Vendémiaire, when the young artillery officer Napoleon Bonaparte fired a battery of cannon to break up a force of Royalist soldiers which threatened the new revolutionary government.
In 1521, the merchant Jean Dinocheau had a chapel built on the outskirts of Paris, which was dedicated to Saint Susanna. In 1577, his nephew Etienne Dinocheau had it extended into a larger church. In the early 18th century, with the beginning of the construction of the Tuileries Palace nearby, the neighbourhood began to grow, and a larger church was needed. The first stone was laid in 1653 by Louis XIV, accompanied by his mother Anne of Austria, The church was built by architect Jacques Lemercier, first architect of the King. Lemercier's other works included the domed chapel of the Sorbonne, which served as an inspiration for the dome of Les Invalides.
The interior of Saint Roch largely followed the traditional Gothic floor-plan of Notre-Dame, but the facades and interior decoration were in the new Italian Baroque style, inspired by Saint-Gervais-Saint-Protais, the first Baroque church in Paris, which in turn was inspired by the Church of the Gesù in Rome, the first Baroque church in that city. Texier also followed the advice of the Council of Trent, which promoted the Baroque style, to integrate churches into the city's architecture. The façade of Saint Roch aligned with the street, on a north–south axis, rather than the traditional east–west alignment.
Financial difficulties arose, and in 1660 construction was halted. In 1690, the choir and the nave were completed, but had only a simple wooden roof. Work resumed 1701 under a new architect, Jules Hardouin-Mansart, who introduced a more inventive style. In the apse he constructed the Chapel of the Virgin, an elliptical space surrounded by a disambulatory. After his death, the chapel was finished by Pierre Bullet.
Work on the church proceeded slowly, due to financial problems. In 1719, thanks to a gift from the Scottish economist and banker John Law, the facade and transept were finished.
Construction of the church continued throughout the 18th century. Between 1728 and 1736, Robert de Cotte built a tower on the right side of the choir, while an existing tower on the facade was destroyed in 1735. De Cotte made a plan for a new facade with two levels. The new facade was completed in 1739, probably finished by De Cotte's son Jules-Robert De Cotte. The lower level features Doric columns, while the upper level had Corninthian columns. The church continued to have a close association with the royal family; The tomb of Marie Anne de Bourbon, the Princess de Conti and illegitimate daughter of Louis XIV, was placed there in 1739.
Jean-Baptiste Marduel, the pastor of the church between 1750 and 1770, called upon the most important painters and sculptors in Paris to give the church a new decor. In 1754 the architect Étienne-Louis Boullée built a new domed chapel, dedicated to the events of the Crucifixion. The major painters and sculptors of period, including Étienne Maurice Falconet, Joseph-Marie Vien and Gabriel-François Doyen participated in its decoration. In 1756, Jean-Baptiste Pierre painted a mural depicting the Assumption for the new dome over the Chapel of the Virgin. The sculptor Falconet made a work depicting "Glory" over the arcade behind the altar of the Virgin, modeled after the sculpture of the same subject in Saint Peters Basilica in Rome. He made two other sculptures, a group depicting the Announcation and a statue of Christ on the Cross in the Calvary Chapel, but these works disappeared during the French Revolution.