4.2.4. A CHURCH THAT CHANGES THE WAY TO SALVATION

NEXT IS A CHURCH WHERE THE KING REPLACES JESUS

(SAINT PAUL-SAINT LOUIS) 

In the early 17th century Protestants form a veritable "State within a State." Louis XIII and his main minister, Cardinal  Richelieu, decide to definitively suppress their political and military autonomy. 

In that context of political and spiritual affirmation the king offers the terrain for a church, Saint-Louis. Its majestic architecture and grandiose decor announce that obedience to the king is necessary for salvation. 

The speed of construction shows its importance: Saint Eustache, the last "Gothic" church started almost a century before, is still unfinished when the new worksite begins.

(Saint-Louis, 1626-41; Saint-Eustache, 1532-1632)

Adapted from a plan of 1734 / zoom

                                                                              Paris, rue Saint-Antoine by Carlos Bossoli, 1884 / zoom

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The church and monarchy: 

• Louis XIII grants the terrain and comes with the queen to hear the first sermon, which Cardinal Richelieu preaches.

• The embalmed hearts of Louis XIII and Louis XIV remain there until the Revolution. 

• Louis XIII is shown twice, near the altar and at the entrance:

•  Napoleon adds the name "Saint-Paul" to "Saint-Louis" to lessen the link with monarchy.

All French kings descend from Saint Louis, a stupefying advantage. But the preceding dynasty (the Valois) did not emphasize it, because it lacked the power to live up to such an ancestor.

All the Bourbon kings are named "Louis." So are many women, bastards, cousins — 

• Anne-Marie Louise, who fired on the royal troops; 
• Louis-Antoine, eldest of Louis XIV's legitimized sons; 
• Louis XVI's sons, Louis-Joseph and Louis-Charles;
• Louis-Philippe, head of the Bourbon junior branch, whom the royalist Chateaubriand calls only Philippe because he is a usurper.

Louis XX is head of today's Bourbons of Spain. His name forbids him from residing in France. 

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Saint-Louis Saint-Paul marks the end of Gothic architecture and start of baroque: comparing it with Notre-Dame shows the tie between a monument's tangible aspects and its message: 

• Surroundings: by clustering up to the cathedral, medieval houses put it at the heart of the community, but aligned with other buildings along the street, Saint-Louis is one construction among others: 

Internet, computer-generated image

• Eternity: To see Notre-Dame as whole one had to come close to the facade and peer up. Then it loomed over daily life, reminding of immortality. To do so at Saint-Louis, one had to stand in the street and risk being run over. (The photo above shows barriers and sidewalk that separate it from the street. They are modern.) 

 Zoom

Medieval stained glass windows brought colored light that foreshadowed the next world by gleaming through the gloom, an impression that without electricity was much more powerful. In the 17th century, daylight enhanced secular grandeur.  

US Glass Magazine

• The Resurrection: The entry to Gothic churches is in the west, the chevet (the sanctuary) in the east, so that one passes from the setting sun and death to the rising son and resurrection. But Saint-Louis faces north.

• Heaven or earth? Gothic architecture reaches toward the sky. Baroque domes join heaven and earth.  

Claude Abron

• The Last Judgement and Salvation: Last Judgments are sculpted over the entries of Gothic churches. Multitudes, which originally were brightly painted, surround Jesus. All are invited to enter and be saved. 

 Internet, photographer not named

Zoom

      Stained glass windows continue the impression of a people.

                                  

At Saint-Paul the multitude is gone, austerity highlights power and the king stands alone at the summit wearing a crown instead of a halo. 

         Carolyn Ristau 

                                        Carlton Perrett

The king is Saint Louis / Louis IX, who ruled toward 1250.

• A painting of Louis XIII springs out at the entry of the nave, but the crucifix and Crown of Thorns before which he kneels are almost invisible:

Saint-Louis is about the monarchy, not Jesus. 

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For the kings themselves, being God's representative brought desolation. 

Louis XIV found the role "delicious" but it overwhelmed his father and successors. 

Louis XIII thought himself inadequate to the task, a feeling that contributed to his stuttering and ill health. Louis XV hated the public existence royalty imposed and by avoiding it hastened monarchy's demise. Louis XVI's library shows his scientific vocation.  

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Saint-Louis took up Rome's Counter-Reformation style and became the model for the churches of its day:

Il Gésu / zoom

Rome's first Baroque church, begun in 1574

 

In Paris, Saint-Thomas d'Aquin, first stone 1632 ; Saint-Roch, 1653; Saint-Sulpice 1646

With no eternity, no Last Judgement, a crucifix one can hardly see and emphasis on the king instead of Jesus, the new church announces that salvation depends on obeying the king.

These churches herald

the "Alliance of Throne and Altar."

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Next,

4.2.5. 

A royal statue for a bridge