Rediscovering Sainte-Anne Church: The Overlooked Jewel of Eclectic Architecture in Paris

Nicolas Thomas
4 days ago
4 min read

Would you like to discover a forgotten church in Paris? Step inside Sainte-Anne Church. Designed by the architect Prosper Bobin and built between 1898 and 1912, it stands in Paris’s 13th arrondissement. The church has been under restoration since May 2022 to reinforce its foundations and refurbish its façade. It will reopen to visitors in October 2026, once the works are completed !

Religious architecture from the late nineteenth century has long been criticized by art historians, often dismissed as a mere imitation of past models. This article aims to show that Sainte-Anne is far from a simple copy devoid of creativity. On the contrary, it draws inspiration from every period in the history of art: the earliest Christian churches, the Byzantine Empire, the Middle Ages (Romanesque and Gothic), the Renaissance, and even Art Deco.

Through this lens, Sainte-Anne reveals itself as a true example of eclecticism*, an architectural approach that brings together influences from across the history of Western religious architecture, creating a rich synthesis of symbols while introducing new and inventive combinations.

An Ambitious Vision with Limited Means

In 1887, Abbé Miramont became the parish* priest. The parish was located in the Maison-Blanche district, which at the time had only a small church. The new priest envisioned building a much larger one, despite very limited financial resources, as the neighborhood was among the poorest in Paris. His ambition, however, was considerable: to create a pilgrimage church comparable to the Basilica of the Sacré-Cœur in Montmartre.

Instead of honoring the Sacred Heart of Christ, the church would be dedicated to Saint Anne, traditionally regarded as the mother of the Virgin Mary. The building rests on a vast crypt seven meters high, necessary because the ground was extremely unstable due to landfill*. Deep excavation was required to reach solid ground: seventy-one wells were dug to anchor seventy-one concrete piles into the bedrock. Sainte-Anne thus stands on piles, pretty much like the city of Venice !

A layout inspired by pilgrimage churches on the route to Compostela

The church’s layout closely follows that of major Romanesque pilgrimage churches along the Way of Saint James to Santiago de Compostela. A wide ambulatory encircles the choir*, allowing pilgrims to walk around it and venerate the relics housed there. This design clearly reflects the priest’s intention to establish a pilgrimage site dedicated to Saint Anne.

The choir is surrounded by three chapels. The lateral chapels are dedicated to the Heart of the Virgin and to Saint Anne, her mother. The axial chapel is devoted to the Sacred Heart, echoing the priest’s deep devotion to the Basilica of Montmartre.

A Nave that Blends Architectural Styles Across Centuries

The nave* was the first part of the church to be built. The central vessel is covered by a barrel vault resting on rounded arches, reminiscent of medieval churches. These arches stand on columns and are topped by an entablature, evoking the earliest Christian basilicas.

The vault is pierced with clerestory openings that allow light to flood in, a feature inspired by seventeenth-century French architecture. It is decorated with coffered patterns, each centered with a star, motifs already present in early Christian churches.

This central space perfectly illustrates Bobin’s eclectic vision, drawing from every era. It embodies the very essence of eclectic architecture: selecting and combining the most beautiful elements from different periods. His skill is also evident in the harmony of vertical lines (columns and pilasters), curves (arches), and horizontals (entablatures).

Symbolism plays a key role as well: three columns on each side evoke the Holy Trinity: the Father, the Son and the Holy Spirit.

A monumental façade designed to welcome pilgrims

The façade was constructed after the nave and completed in time for the 1900 World’s Fair in Paris, which attracted fifty million visitors.

Its lower section is a simplified reinterpretation of the portal of Saint-Trophime Church in Arles, a masterpiece of medieval art. Inscribed on the arch of the porch are the words “SANCTA ANNA ORA PRO NOBIS” (“Saint Anne, pray for us”), a reminder of the church’s dedication. Above this level rise sixteen blind Romanesque arches, structuring the façade according to a 1/3–2/3 proportion.

A large rose window, reminiscent of Gothic cathedrals such as Notre-Dame de Paris, also functions as a clock. It is flanked by two square bell towers, each crowned with an octagonal campanile, itself topped by a dome and a large lantern. This central lantern is surrounded by four smaller Byzantine-style lanterns inspired by churches in Istanbul, including the famous Hagia Sophia, originally built as a church.

Bobin thus creates a carefully composed and monumental façade, structured around a recurring rhythm of three: three entrances, two triangular pediments, and, from the front, the dominant central lantern framed by two smaller towers.

A transept rich in symbolism

Bobin completed the church with the construction of the transept and the apse. The transept is crowned by a dome set on an octagonal drum, recalling seventeenth-century French churches. The drum elevates the dome while preserving its hemispherical shape.

This part of the building is rich in Christian symbolism. The dome is adorned with a cross encircled by a crown of thorns (the one placed on Christ’s head before the Crucifixion) and an eight-pointed star, symbolizing the star followed by the Magi to find the newborn Jesus.

The drum is pierced with eight windows, referencing the eighth day, which in Christian symbolism represents eternity beyond the seven days of the week.

Through Sainte-Anne, Prosper Bobin offers a deeply eclectic work of architecture: one that brings together the finest elements of past traditions to create a unified and enduring sense of beauty.

Nicolas Thomas

Cultural journalist specializing in art history and philosophy