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Origin and history

The church of St.Thomas of Strasbourg, also known as Thomaskirche, is located in St.Thomas Square in the historical district, near Petite France. It is one of the most emblematic churches in the city, both for its architecture and for its central role in the history of Alsatian Protestantism. Ranked a historical monument in 1862, it is distinguished as the only hall church in the region, with five equal height vessels, and as a Lutheran place of worship having retained a chapter of canons, a singularity in the religious landscape.

The origin of the church dates back to the sixth century, with a first place of worship dedicated to Saint Thomas. In the ninth century Bishop Adeloch had a church and a school rebuilt around 820. The site suffered two major destructions: a fire in 1007, which also ravaged Notre-Dame Cathedral, and a lightning impact in 1144. The reconstruction began in 1196, mixing Romanesque styles (tour-porch, transept) and primitive Gothic styles (windows). The works, interrupted several times, ended in 1521 with the chapel of the Saints Evangelists, in a late Gothic still visible today.

The Protestant Reformation, preached by Luther in 1517, transformed Saint Thomas from 1524 into a Lutheran bastion. The first vernacular cult was celebrated that year, marking a turning point. The canon chapter, preserved despite the Reformation, plays a key role in the organisation of Strasbourg Protestantism. Figures such as Martin Bucer, pastor at St. Thomas, work to unify Protestant currents. In 1681, after the Treaties of Westphalia (1648) and the restitution of Notre Dame Cathedral to Catholics, Saint Thomas became the main Protestant church in Strasbourg.

The church houses artistic and historical treasures, such as the Baroque mausoleum of Marshal Maurice de Saxony (1776), by Jean-Baptiste Pigalle, or the Romanesque sarcophagus of Bishop Adeloch (1130). His organs, notably that of Johann Andreas Silbermann (1741), were renowned: Mozart in victorious sound in 1778. The choir organ, designed by Albert Schweitzer in 1906, bears witness to his commitment to sacred music. The medieval rose of the facade (circa 1250), partially preserved, and a late Gothic fresco of St Michael (XV century) are among its jewels.

In the 19th century, under German annexation, St. Thomas became a home of Protestant liturgical renewal. Friedrich Spitta experimented with new forms of worship, and Julius Smend preached there from 1893. The Gesangbuch für Elsaß-Lothringen (book of songs) was produced between 1894 and 1899. After 1945, the church was restored and adapted for versatile uses: concerts, exhibitions, and bilingual cults (French and German). His chapter still manages the Foyer Jean Sturm and the adjacent Protestant Seminary.

Today, Saint Thomas combines heritage and modernity. Its six bells, including a bell of 1783 and four added in 2009, make it one of the largest Protestant bells in France. His contemporary stained glass windows, signed Gérard Lardeur (1985), interact with the mausoleum of Saxony. Ranked since 1862, it embodies both the medieval heritage of Strasbourg, the Reformation, and Alsatian cultural vitality.

Future

The Chapter of Saint Thomas is still in charge of the Foyer Jean Sturm, as well as the Protestant Seminary installed in the nearby baroque building. Two Lutheran cults are celebrated every Sunday, one in German and the other in French.

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