Saint-Charles church in Marseille-Wikipedia

Saint-Charles church is located in the first ^is Marseille district at n ^O 17 from rue Breteuil and n ^O 64 rue Grignan. It is dedicated to Saint-Charles-Borromée.

It is designated under the name of Saint-Charles Intra Muros, the Saint-Charles Extra Muros church being that of the Belle de Mai.

Its presbytery is located rue Breteuil.

The Saint-Charles-Borromée church was built from 1827 to 1828 thanks to the generosity of the faithful, municipal subsidies and a loan. She is consecrated the November 4, 1828 under the term of Saint Charles Borromée by M ^gr de Mazenod, the first bishop of the new diocese of Marseille restored to catering. Its construction (just like that of the neighboring church of Saint-Joseph) was necessary to serve the southern shore of the Old Port, insufficiently provided with places of worship, in particular since the destruction of the old Saint-Ferréol church (erected on the ‘Current Place Félix Barret from 1716 and destroyed in 1794) and that of the Picpus convent (located at the site of the annex of the courthouse) during the Revolution.

Located a few meters from the courthouse, the Saint-Charles church traditionally welcomes the back-to-school mass of the commercial court and hosts the statue of Saint Yves, boss of all the legal professions.

It was in Saint-Charles that the young Marcel Pagnol, however born in Aubagne, received baptism in April 1898, secretly from his father Joseph, fierce “Hussard noir” ^{[ first ]} .

It was also on the parish territory that Blessed Frédéric Ozanam, founder in Paris of Saint Vincent-de-Paul died in 1853.

Until the middle of the 20th century, the church was the local seat of devotion to Notre-Dame des Patdes, established in 1858 by the parish priest Guiol: every Saturday, a mass was celebrated at the altar of the Virgin and Prayers were said for the recommended patients.

Flourizing parish for a century and a half then almost deserted in the 1990s, the church has been assigned since 2007, by decision of the Archbishop of Marseille, to the celebration of the Roman rite in its extraordinary form (so-called Saint Pius V Mass ). She has been served since 2009 by the Missionaries of Divine Mercy.

The church built by entrepreneurs Mouren (which is also considered to be the architect) and Guieu is a curious reminiscence of French classicism at a time when it was over ^{[ 2 ]} .

It adopts a perfectly balanced plan in the form of a Greek cross extended by a shallow sanctuary, with a central dome without drum lit by a small oculus.

Of a very sober classicism, the lower part of the facade has four ioned -style columns. It is separated from the upper part by a powerful entablature bearing the dedicatory inscription: “To God very good and very large under the invocation of Saint Charles Borromée, bishop and confessor. 1828 ”.

The upper part of the facade is an almost consistent copy of that of the Chartreux church, built in 1680. It has four Corinthian pilasters surrounding a curved window, all wearing a triangular pediment surmounted by a cross , and framed by two narrow fins.

Invisible from the street, a tiny bell tower overlooks a private courtyard located at the back of the church. It has three small bells, still manually sounded (probably the only ones in Marseille today).

The central nave distributes the spaces. On the right while going up the church: the baptistery, the altar of Saint Joseph, the door of the sacristy and on its left the altar of Saint Charles-Borromée. On the left by descending the church: altar of the Sacred Heart and altar of Notre-Dame des Malades.

A short cornice around the nave, above the capitals of the columns with composite capitals. At the four angles of the church are four flattened domes, while the arms of the cross formed by the building are covered with semicircular vaults.

Above the choir, the five-sided apse is covered with half a couple, pierced at the top of a small oculus.

The wall coverings and the orderly pavement from a central medallion representing the coat of arms of Saint Charles Borromée recall the Italian Renaissance.

Saint-Charles-Borromée coat of arms

The walls and ceilings are entirely painted with frescoes with geometric or floral decorations, except the cores of the main dome which carry the coat of arms of several popes and bishops of the 19th century: in the hour, starting above the pulpit, Léon XIII (Pope from 1878 to 1903), Saint Charles-Borromée, Monsignor Louis Robert (bishop of Marseille from 1878 to 1900), Saint Eugène de Mazenod (bishop of Marseille from 1837 to 1861).

Repairs were necessary in 1843, lizards appeared in the vaults because of the instability of the soil inherent in the district. The church vaults and downs have been partially (choir and side chapels) restored in 2020. The second phase (dome, nave and tribune) will take place in parallel with the restoration of the Grand-Orgue from 2023.

Saint Charles Marseille Church – View since the entrance (after catering).

It is entirely original and therefore of great stylistic homogeneity. He thus participated, with the decor of the coatings, in the harmony of the premises.

The marble decor of the interior of the nave was made from 1850 to 1868 by the Marseille marbrier and sculptor Jules Cantini, as in 1891 the monumental master-altar in baroque style ^{[ 3 ]} . The latter is inspired by that of the Bernardines chapel produced in 1756 by Dominique Fossaty and which can be admired today at the Saint-Cannat-les-Prêchers church.

In the choir, the marble tabernacle is adorned with inlay of Siena yellow and carries two heads of angels to the corners. Four columns of red marble wear a frieze bearing the inscription “Jesus Salvator Mundi”, also of marble, surmounted by a spectacular coronation of golden and painted wood. A golden bronze crucifix yelled over the tabernacle.

On both sides of the choir and the eponymous organ placed behind the high altar, two rows of stalls made in a dark wood, backed by large woodwork panels, soberly carved with architectural elements.

Two side altars dedicated to Saint Joseph and Notre-Dame were placed on both sides of the nave, in the aisles of the church or more precisely at the end of the arms of the Greek cross. Two other side altars located on both sides of the choir are dedicated to Saint Charles-Borromée (surmounted by the inscription in golden letters “Il Divo Carolo”) and to the Sacred Heart.

Adorned with a polychrome path, the church also has four wooden confessionals placed on both sides of the altars of the Virgin and Saint Joseph.

The paintings [ modifier | Modifier and code ]

The five canvases adorning the choir since 1837, classified as historic monuments in the title “Object”, are works of two Marseille painters:

The church contains two other paintings: a “baptism of Christ” above the baptismal font and a “Christ to the outrages” to the right of the altar of Saint Charles, above the monument of Saint Thérèse de Lisieux.

Statues [ modifier | Modifier and code ]

The statues of the Virgin and Child (known as Notre-Dame des Patients), Saint Joseph, Saint-Charles-Borromée and the Sacred Heart surmounting the four side altars are made of high and golden cardboard and gilded ^{[ 6 ]} and attributed to the workshop of Honoré Coder (1784-1845).

Placed in the nave near pillar, the statues of Saint Yves ^{[ 7 ]} and Saint Antoine de Padua ^{[ 8 ]} are in marble: they were sculpted by Louis Castex (1868-1954).

These six statues are classified as historic monuments as a “object” title.

Near the statue of Saint Antoine is a Christ to the outrages, a statue reminiscent of the scene of the passion during which, after having covered him with a purple coat and crowned with thorns, the Roman soldiers spit on him and made fun of Him.

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  St Charles-Borromée chapel.

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  Chapel N.Dame-des-Malades.

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  Chapel of the Sacred Heart.

The chair to preach [ modifier | Modifier and code ]

Made from a model of the architect of Toulon origin Gaudensi Allar, collaborator of the Marseille architect Henri-Jacques Espérandieu, and of Roma-Byzantine spirit, it is wood with a five-sided tank decorated with enameled panels Representing Christ in the center framed by the symbols of the four evangelists surrounded by doves and garlands of flowers and fruit. It is classified as an object by the historic monuments ^{[ 9 ]} .

The tribune organ was built in 1859 by Aristide Cavaillé-Coll in a new Louis XV style buffet, the sponsors (the organist especially) who refused the re-use of a buffet of the XVII ^{It is} A century from the organ of Jean de Joyeuse for the Saint-Michel de Carcassonne cathedral and today sheltering the instrument of Aristide Cavaillé-Coll de Poligny. This organ replaces a first instrument from which Aristide Cavaillé-Coll deplores the poor quality in its correspondence ^{[ ten ]} .

He is harmonized by Vincent Cavaillé-Coll, brother of Aristide, and originally included 24 games on 2 keyboards and pedals with machine barker. The inauguration concert is provided by Louis James Alfred Lefébure-Wély April 18, 1859 . It is the first organ built in Marseille by the famous Cavaillé-Coll house: it is classified as a Historic monument to the title object for its instrumental part the October 26, 1982 ^{[ 11 ]} .

It was successively restored by the Marseille organis François Mader in 1883 (lifting), the Parisian Charles Mutin in 1900 and the company Michel-Merklin-&-Kuhn twice in 1913 (installation of an electric fan) then in 1933 . This last restoration brings several modernization modifications: transformations of the piping in order to widen the sound palette, replacement of the console, expansion of keyboards from 54 to 56 notes (non-mechanical transmission for these notes) and the crankset of 27 at 30 notes.

The Barker machine (by René Renevier) have since restored in 1971 and the blower (by Sals and Henry) in 2005. In 2010, François Delangue replaced the old engine with two new fans.

This superb instrument has known many dysfunctions for many years and the principle of its complete restoration in its original state (composition and console) was also accepted by the competent authorities in December 2002. A new municipal vote in September 2022 finally crowns the procedures undertaken and launches the major maneuvers: the call for tenders is launched in February 2023 (reception date: March 31, 2023). The goal is to dismantle the Grand-Orgue before Christmas 2023 for delivery before Christmas 2025 ^{[ twelfth ]} .

Among the organists: Théodore Turner (holder from 1859 to 1867 ^{[ 13 ]} ), François de Mol, Henri Messerer (holder from 1873 to 1923), André Chicane (from 1923 to 1930), Robert Lopez and Véra Gastine (at least from 1933), Raul Rochelandet (from the 1940s), Joseph Vidal (holder of the 1950s until 1987) ^{[ ten ]} , Blandine Piccinini, Jean-Marie Bonnifay (holders in the 1990s and 2000), Jean-Pierre Desmero (since 2008) or Marie Pasquier (since the years 2010).

Raphaël Boccamaïello has been the current holder since January 2022 . He is also responsible for cooperation with the public authorities for the project always during the restoration of the Grand-Orgue.

• Grand-Orgue de Tribune
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  Large organ in its current state (2022) – View of the nave.

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  Console and keyboards Michel-Merklin & Kuhn of 1933 of the great organ in their current state (2022).

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  Console Michel -Merklin & Kuhn of 1933 of the great organ in its current state (2022) – Side view.

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  Console Michel -Merklin & Kuhn of 1933 of the great organ in its current state (2022) – another side view.

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  Detail of the Grand-Orgue buffet of Saint-Charles church.

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  Grand-Orgue de Tribune seen since the nave in its current state (2022)

The eight game’s choir organ organ was provided in 1883 by Mader and placed behind the high altar, in the center of the semi-circle formed by the stalls. He has two keyboards and a pulling crankset ^{[ ten ]} . It is still in its original state and perfectly functional since its restoration in 2016 by Frédéric Thibault (Manufacture Thibault in Roquevaire).

• Choirman’s organ
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  Mader choir organ console – keyboards

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  Mader choir organ console

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  Mader’s choir organs buffet

The holders are the same as those of the Grand-Orgue.

In addition to his work on the Grand Orgue of Tribune, Aristide Cavaillé-Coll provided in 1857 a quote for a choir organ of six games (a manual keyboard and pulling pedals) which probably never been ordered or ordered accomplished.

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  The pulpit by Gaudensi Allar.

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  Statue of St Yves & Chair.

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  Lateral altar of the Virgin (before restoration of the vault).

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  The prégue de Tribune Aristade Cavillé-Coll.

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  Nave and choir of the church seen from the Grand-Orgue tribune

Note

References

Bibliography [ modifier | Modifier and code ]

• Jean-Robert Cain and Emmanuel Laughed , Marseille churches treasure: municipal cultural heritage , Marseille, city of Marseille, 2010 , 368 p. (ISBN  978-2-9535530-0-0-0-0 , BNF  42161295 ) , p. 89-90
• Jean-Robert Cain and Robert Martin , The organ in the city: Marseille of organists , Marseille, parentheses, 2004 , 472 p. (ISBN  2-86364-086-0 , BNF  39902854 ) , p. 144
• Blue guides Provence , Hachette, mars 2010 , (ISBN  978-2-01-244711-0 )

external links [ modifier | Modifier and code ]