[2] It is dedicated to the 7th century abbot of Autun Abbey, Saint Mederic, who came to Paris on pilgrimage and later died there in the year 700.

[3] Mederic, the future Saint Merri, was born in Autun in Burgundy, and is believed to have lived in the Benedictine Abbey there.

[4] In about 890 Joscelin, the Bishop of Paris, had his remains exhumed, and a particularly rich reliquary created for him, The church was constructed to contain it.

The jubé, or rood screen, between the nave and the choir was removed, and the Gothic pillars were recovered with marble or stucco.

[2] It also is the base of Académie vocale de Paris, which performs concerts in the church every Saturday throughout the year.

[7] Though the church was built in the midst of the Baroque period, its architecture is predominantly Flamboyant or late Gothic, with an abundance of floral and vegetal carved decoration, as well as sculptures of fantastic creatures, particularly on the door and window casings.

A few more modern sculptures were added on the upper levels, including cheerful images of a rabbit and a dog at the top of cornice, and an assortment of whimsical gargoyles.

[5] The interior of the church, like the exterior, shows Gothic architecture skilfully blended with Renaissance features and decoration.

It was made by Pierre-Alexis Hemon, following designs of the Slodtz brothers, whose work is found in many Paris churches of the period.

This is most visible in the arcades with rounded arches, and the pillars covered with plaques of marble and stucco in different colors.

The most imposing feature of the choir is the marble altar, which is dominated by a towering "Gloire", or "Glory" (1753), a sculptural work designed by the Slodtz brothers and made of gilded wood and decorated with the sculpted heads of cherubs.

This was given further decoration in the 18th century by large painted panels behind the altar, by Henri Lehmann (1814-1882), showing the Apostles and heads of anagels, representing Joy and Sadness.

[8] The transept displays two large paintings in classical frames of New Testament scenes; "Jesus and the Samaritan" by Noel Coypel (1628-1707) and "Saint Peter Repentant" by Joseph-Marie Vien (1716-1809).

In this work, a holy light reveals the presence of God, indicated by his name in Hebrew, "Yhwh" ("Jehovah") in the centre of the painting.

The chapel of Saint Marie the Egyptian in the disambulatory behind the altar contains a fresco by Théodore Chassériau (1819-1856), which was his first major work.