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Heritage classified

Key figures

Origin and history

The Sainte-Odile church is an emblematic achievement of the 2nd quarter of the 20th century, located in the 17th arrondissement of Paris. Initiated in 1934 by Cardinal Jean Verdier and Edmond Loutil (alias Pierre l'Ermite), its construction spanned eleven years, from 1935 to 1946. The building, inspired by Byzantine churches, was designed by architect Jacques Barge, then 31 years old. Its funding, independent of the Cardinal's Buildings, is based on donations from faithful, including those of Edmond Loutil, parish priest and writer. The choice to dedicate the church to Saint Odile, patron saint of Alsace, pays tribute to the origins of the mother of Loutil.

The reinforced concrete structure is covered with Saverne pink sandstone, a nod to Strasbourg Cathedral and the Alsatian heritage. The church is distinguished by three domes symbolizing the Trinity and a 72-metre decagonal bell tower, topped by a copper cock. This bell tower houses a unique manual carillon in Paris, composed of 23 bells melted in 1939 by the house Paccard and hidden near Chartres during the occupation. The building, 72 meters long, also evokes the 72 followers of Christ.

The interior decoration mobilizes renowned artists: Anne-Marie Roux-Colas sculpts the portal and tympanum, representing Saint Odile introduced to heaven by the Virgin Mary, surrounded by the Trinity. François Décorchemont created three monumental windows (300 m2), illustrating religious scenes and local figures such as Cardinal Verdier. Robert Barriot signs the altarpiece, inspired by Revelation, while Auguste Labouret adorns the altar with mosaics and peacocks, symbols of immortality. The organ, installed in 1950, completes this artistic ensemble.

The church was blessed in 1946 by Cardinal Suhard, in the presence of Bishop Weber, Bishop of Strasbourg, and consecrated in 1956. The parish, erected in 1953, has maintained a Tridentine cult since 1988, with Gregorian Masses. Ranked a historic monument in 2001 for its architecture and decor, the church underwent restoration in 2008. A different fact marks its history in 2014, when an individual vandalizes an altar and a statue of Saint Thérèse.

Its porch, decorated with glass grids carved by Auguste Labouret, illustrates the litany of the Virgin, while the narthex houses a bas-relief of Saint Christophe by Robert Barriot. The innovative use of moulded glass linked to cement, a first for François Décorchemont, and the asymmetry of the plan, forced by the plot, underline the boldness of this project. The church initially served a popular neighborhood built on ancient fortifications, dismantled in 1919, symbolizing the urban and spiritual reconquest of the Parisian periphery.

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