L’ancien Abbaye du Val de Grâce
When Hannah of old obtained her desire, she dedicated her son to God’s service in the Temple; but Anne d’Autriche, under the same circumstances, went further, and built the church and founded the monastery of Val de Grâce, in the Rue S. Jacques. It it not often that the gratitude of sovereigns takes so magnificent a form. The Benedictine nuns of the monastery of Val Profond, which had been established near Bièvre le Châtel since the 13th century had been removed by the Queen to the Hôtel du Petit-Bourbon some years previously; but she did not commence the new buildings until she became regent. The little King laid the first stone of the church in 1645, François Mansard being the first architect; Jacques Lemercier continued the work, and Pierre Lemuet, Gabriel Leduc, and Duval finished it. The abbey is now a military hospital.
The decoration of the church points to the Birth of Christ as symbolising the birth of Louis XIV., in future years, known as the “Roi Soleil.” In the great courtyard is a statue in bronze of Larrey, Napoléon’s great army surgeon, by David d’Angers, the celebrated sculptor. The dome is exceedingly elegant, but the church below is, like the Invalides, too small as a basement. Both buildings give the impression of an elongated dome, and nothing else; hence they look far better from a point which hides the lower part of the buildings. The pavement is laid with rich marbles, and the baldachino, supported by six twisted columns, recalls that of S. Peter’s. “If you wish to see the prettiest fresco painting in all Paris, you must go in here, and look up at the dome; the chapels, too, are full of virgins, and dirty little Angels.” Why dirty, I know not; but the praise of the painting in the dome is not exaggerated. It is a mass of figures, a whole hierarchy of Saints adoring the Trinity, and Anne d’Autriche, introduced by S. Louis, presenting the model of her church. Like all Mignard’s work, it is grandiose rather than grand, with exaggerated attitudes and hurricane-blown garments. In the chapel of the Communion are some works by Philippe de Champaigne.
Many were the royal hearts placed in neat little golden and silver-gilt boxes, which formerly adorned the church. It was privileged to entertain these appendages of Bourbon bodies, but the Revolution made light of them, and carried off the casings. Poor hearts, alive or dead, they were not worth much, except for their settings.