Rising above the Fuon-Cauda district of Nice, the Église Sainte-Jeanne-d’Arc is one of the French Riviera’s most distinctive and unconventional religious buildings. Starkly white, unapologetically modern, and instantly recognizable, the church stands as a powerful example of how early 20th-century architecture reimagined sacred space. Both admired and debated since its construction, it remains a landmark that challenges expectations of what a church should look like.
The origins of Sainte-Jeanne-d’Arc reflect the upheavals of its time. Construction began in 1914, led by local architect Louis Castel, who completed the foundations and crypt before the outbreak of World War I abruptly halted progress. The project remained unfinished for more than a decade. Work resumed in 1926 under Parisian architect Jacques Droz, later joined by René Lebel, and the church’s main structure was completed in 1933. Despite this, the building was not formally consecrated until 1965, underscoring the long and complicated journey from conception to full ecclesiastical recognition.
Architecturally, Sainte-Jeanne-d’Arc is unlike any other church in Nice. Built almost entirely of reinforced concrete, a material still considered daring at the time, the structure embraces modern engineering rather than concealing it. Its defining feature is a series of oval and ellipsoidal domes — three large ovoid domes supported by eight smaller ones — that create a sense of fluidity and movement both inside and out. The forms appear almost organic, as if sculpted rather than constructed.
Perhaps the most striking external element is the campanile, rising to approximately 65 metres. Tall, slender, and angular, it contrasts sharply with the softness of the domes below. Often likened to a giant candle, the tower serves as a symbolic beacon of light and faith visible from across the surrounding neighborhoods.
The church’s brilliant white exterior once earned it the affectionate local nickname “la Meringue.” While the color and form initially provoked skepticism and even mockery, time has softened opinions. Today, the building is widely recognized as an important work of Art Deco and Art Nouveau–influenced modernism, blending decorative elegance with structural innovation.
Stepping inside reveals an entirely different atmosphere. The expansive curved surfaces of the interior are animated by frescoes created by Russian artist Eugène Klementieff, covering roughly 95 square metres. These murals draw from Cubism, Byzantine iconography, and early Italian Renaissance traditions, resulting in a vibrant visual language that contrasts with the austere geometry of the concrete shell. Color, movement, and spirituality coexist in a space that feels both monumental and intimate.
Beyond its religious function, Sainte-Jeanne-d’Arc has long served the broader community. The lower levels once housed the cinéma Jeanne d’Arc, reflecting a period when churches were envisioned as social and cultural centers as well as places of worship. In more recent years, parts of the building, including the crypts, have been repurposed into a Centre d’Art Sacré, preserving religious artifacts, historic books, liturgical garments, and archival materials that trace the spiritual heritage of Nice and the surrounding region.
Official recognition has cemented the church’s importance. In 1992, it was designated a Monument Historique, and it also carries the “Patrimoine du XXe siècle” label, acknowledging its value as an outstanding example of modern architectural heritage.
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