This work on the religious sculptured decoration in Paris had for ambition to built the image of a partially disappeared heritage : the space interns of the Parisian church between 1660 and 1760 through the liturgical furniture, the relief decoration or in round-bump, in the nave, the transept and the choir of the churches of the capital of the kingdom. Our study so analyzes the religious sculpture in its immediate space, between monumental art and decorative art, the end of the big royal religious orders of the XVIIth century, such the Dome des Invalides, in the advent of the neoclassicism in the choir of Saint-Germain-l'Auxerrois in 1760, before the resumption of the big royal construction works, inaugurated by the works in the basilica saint-Geneviève. Even if a part of these decorations was destroyed in the Revolution, it is possible to determinate exactly their contents : the destroyed elements are analyzed from numerous iconographic and written sources which allow to restore the eye of the contemporary in a church. Thanks to the discovery of contracts of archives, it was possible to determine the conditions and the material and religious factors of the order. The study of the critical texts, stemming from the contemporary artistic and religious theory, raises the problem of the luxury of the religious decoration, as well as the problem of the organization of the internal space of the church, and on which is widely dependent the stylistic and formal evolution of the decoration. This work combine art history, history of the picture, economic history and religious history to contributes to the knowledge of an underestimated French artistic heritage.