Saturday, August 27, 2011

Calming the Storm

Jesus Calming the Storm, Book of Hours,
French, Paris, 1430-1435,
New York, Morgan Library,
MS M359, fol. 62r
"He got into a boat and his disciples followed him.
Suddenly a violent storm came up on the sea, so that the boat was being swamped by waves; but he was asleep.
They came and woke him, saying, "Lord, save us! We are perishing!"
He said to them, "Why are you terrified, O you of little faith?"  Then he got up, rebuked the winds and the sea, and there was great calm.
The men were amazed and said, "What sort of man is this, whom even the winds and the sea obey?"
(Matthew 8:23-27)
To all of you who may be on the Eastern Seaboard of the U.S. either enduring or awaiting the arrival of Hurricane Irene, I thought I would post some images that illustrate the story of Jesus' calming of the waves.  No great thoughts or iconographic analysis, this post will just be images, arranged chronologically.

    Jesus Calming the Storm
    from Gospel Book of Otto III 
    German (Reichenau), late 10th Century
    Munich, Staatsbibliothek
    MS Clm 4453 (detail)
  • From the Middle Ages

Jesus Calming the Storm
from Pictorial Bible of Abbey of St. Bertin
French (St. Omer), 1190-1200
The Hague, Koninklijk Bibliotheek
MS 76F5, fol. 14 (detail)

Jesus on Sea of Galilee
from Sermons of Maurice de Sully
Italian (Milan or Genoa), 1320-1330
Paris, Bibliotheque nationale de France
MS Francais 187, fol. 7 (detail)

  • To the Renaissance 
    Jan Brueghel the Elder, Christ in the Storm on the Sea of Galilee
    Flemish, ca. 1596
    Madrid, Museo Thyssen-Bornemisza

  •  To the Baroque
Rembrandt, Christ in the Storm on the Sea of Galilee,
Dutch, 1633,
Boston, Isabella Stewart Gardner Museum
  • To the Romantic Era
Eugene Delacroix, Christ in the Tempest,
French, 1853,
New York, Metropolitan Museum of Art

  • To the Impressionist Era
  • James Tissot, Jesus Calming the Storm, from Life of Jesus,
    French, 1888-1896
    New York, Brooklyn Museum
  • To the Twentieth Century
Girogio Di Chirico, Christ in the Storm on the Sea of Galilee,
Italian, 1914
Vatican City State, Collection of Modern Religious Art

So, stay safe and remember that the storm is bigger than all of us, but not bigger than God.

Thursday, August 25, 2011

St. Louis of France –Saint, King and Patron of the Arts

Charles Niehaus, Apotheosis of St. Louis
American, 1903
St. Louis, MO
Photo: St. Louis Daily Photo Blog

Saint Louis. To most Americans this name summons up the image of a city on the Mississippi River, known for its monument of the Gateway Arch. It most certainly does not summon up the image of a medieval French king, still less a saint of the Roman Catholic Church. 

Louis IX (Capet) combined in one person two kinds of people that we normally think of as incompatible, king and saint.
Near Comtemporary Image of St. Louis
from the Great Reliquary of the Sainte Chapelle_
French, 1275-1325
Paris, Musee de Cluny, Musee national du Moyen Age

He was born in 1214 and became king at the age of twelve. He was king from 1226-1270 when he died in Tunis, on his second attempt to retake North Africa and the Holy Land from the Muslim Turks.
Near Comtemporary Image of St. Louis, Head 
from the Great Reliquary of the Sainte Chapelle_
French, 1275-1325
Paris, Musee de Cluny, Musee national du Moyen Age
This statue, completed shortly after the death of St.Louis
is probably the closest we can come to an actual

likeness of the saint/king.

St. Louis Carrying the Crown of Thorns
French (Tours), 1245-1248
New York, Metropolitan Museum of Art,
Cloisters Collection
This stained glass, made during the
lifetime of St. Louis, shows Louis
and his brothers.  One of the brothers carries
the Crown of Thorns. 2
During his lifetime he was known internationally as a lover of justice, a friend of the poor, very devoted to God and to the Church. His life is very well documented, both in the historical record and from the descriptions that were written down as part of the papal investigation into his life that was carried out after his death to determine his sanctity.  He was canonized in 1297. His feast day was set as August 25, the date of his death. 

One of the witnesses in the papal investigation was the noble, Jean, Lord of Joinville, a companion of St. Louis on the Seventh Crusade. The memoir was subsequently published in succeeding decades.
Departure of Louis IX for the Crusade
from Historia of William of Tyre
Palestinian (Crusader), 1275-1300
Paris, Bibliotheque nationale de France
MS Francais 2628, fol. 328v

 Joinville relates a charming story of an event during the Seventh Crusade that demonstrates how Louis was viewed during his own lifetime.

“Journeying day by day we came to the sands of Acre, where the king and the host encamped. At that place came to me a great troop of people from Great Armenia, who were going on pilgrimage to Jerusalem, having paid a great tribute to the Saracens, by whom they were conducted. By an interpreter, who knew their language and ours, they besought me to show them the sainted king. I went to the king there where he sat in a pavilion, leaning against the pole of the pavilion; and he sat upon the sand, without a carpet, and without anything else under him. I said to him: "Sire, there is here outside a great troop of people from Great Armenia, going to Jerusalem; and they pray me, sire, to cause the sainted king to be shown to them; but I have no desire as yet to kiss your bones." He laughed aloud, and told me to go and fetch them; and so I did. And when they had seen the king they commended him to God, and the king commended them to God likewise.”1

There is, in this story, something touching and something that rings very true. Joinville’s joke and Louis’ laughter remind me of recently dead people who were widely considered to be saintly, even before their deaths, such as Mother Teresa of Calcutta and Pope John Paul II. Like them, St. Louis was aware of his own faults and amused by the idea that others found him saintly.

French, 1239-1248
However, the subject of this blog is not sanctity, per se, but art. And, in that realm, Louis was one of the greatest patrons of art in the 13th century. His record of building is extensive, but one building in particular stands out. This is the Sainte Chapelle in Paris.       

Built between 1239 and 1248 and originally part of the royal palace complex on the Ile-de-la-Cite, the Sainte Chapelle was designed as a precious container for the extremely precious relics that Louis had purchased from the Latin Emperor of Constantinople and acquired from other sources. These included a fragment of the True Cross found by St. Helena, the Crown of Thorns, a nail from the Crucifixion and other relics related to the Passion of Christ.

The chapel, which has often been compared to a reliquary, is famous for its precious stained glass windows, and is one of the finest and most influential buildings of the High Gothic style known as Rayonnant.
View of the vaults
Although the building was seriously damaged during the French Revolution, the jewel-like 13th-century stained glass windows are almost entirely intact, surprisingly thanks to that same Revolution. Apparently, following the Revolution, the relics were removed from the Chapel and their reliquaries sold off. (The relics were, however, preserved and, rehoused in new reliquaries, are now currently kept in Notre-Dame Cathedral where they can be venerated at special times.) 
Charles Viollet-le-Duc, Reliquary for Crown of Thorns
French, 1862
Paris, Cathedral of Notre-Dame

The Chapel was used as an office and high cabinets were placed against the windows. After the revolutionary period ended the Chapel was restored under the direction of the famous (and sometimes infamous) antiquarian Viollet-le-Duc.

Lower Story, Sainte Chapelle
The Sainte Chapelle now stands alone.  The palace of which it once formed a part was destroyed in later centuries, sometimes by fire, sometimes by deliberate destruction.  It now stands in the midst of the Palais de Justice, whose buildings date primarily from the Second Empire period of the mid-19th century. 

The building is small and has two stories.
The under story, which opened to the ground level, was used as a parish church by the palace staff. It has mostly solid walls, with only small window openings.

Upper Story, Sainte Chapelle

The upper story had an entrance for the king directly from the palace. Here there are virtually no walls but the glass itself. The stone elements appear to be minimal.

The tall, narrow windows are composed of figured roundels, ovals, diamonds and other geometric shapes with stories from the Old and New Testament, especially stories related to kingship. The spaces between the roundels are filled with patterned decorations.

Not only was Louis a patron of architecture, he was a patron of manuscript painting.
The Creation
From the Morgan Picture Bible
French (Paris), 1240s
New York, Pierpont Morgan Library
MS M 638, fol. 1

The Pierpont Morgan Library in New York holds a famous manuscript, the Morgan Picture Bible, that is believed to have been painted for Louis.

Creation of Adam and Eve
From the Psalter of St. Louis and
Blanche of Castille
French (Paris), ca. 1225
Paris, Bibliotheque nationale de France
MS Arsenal 1186, fol. 11v

Other libraries also have manuscripts that are associated with Louis, such as the Psalter held at the Bibliothéque nationale de France.                                       

After his death and canonization St. Louis became one of the patron saints of France and aspects of his life were frequently shown in historical books and books of royal administration.

Anonymous, St. Louis
from Register of laws of the hotel du roi
French (Paris), 1320
Paris, Archives nationales

Mahiet (Master of the Lives of St. Louis), Louis IX and the poor
Vie de St. Louis by Guillaume de Saint-Pathus
French (Paris), 1330-1340
Paris, Bibliotheque nationale de France
MS Francais 5716, fol. 137

Mahiet (Master of the Lives of St. Louis), Louis IX reading the Bible
from V
ie de St. Louis by Gillaume de Saint-Pathus
French (Paris), 1330-1340
Paris, Bibliotheque nationale de France
MS Francais 5716, fol. 86
Master of the Roman de Fauvel, Arrest of Louis IX
from Historia of William of Tyre
French (Paris), 1337
Paris, Bibliotheque nationale de France
MS Francais 22495, fol. 294v

Homage of Henry III of England to Louis IX
from Grandes chroniques de France de Charles V
French (Paris), 1375-1380
Paris, Bibliotheque nationale de France
MS Francais 2813, fol. 290

Louis IX as a Prisoner
from Speculum historiale of Vincent of Beauvais
French (Paris), 1396
Paris, Bibliotheque nationale de France
MS Francais 314, fol. 424

He was also featured as a saint among other saints in decorative projects, as for example, at Assisi.
Simone Martini, St. Louis of France and
St. Louis of Toulouse
Italian, 1317
Assisi, Basilica of St. Francis, Chapel of St. Martin

Giambattista Tiepolo, Saints Augustine,
Louis of France and John
Italian, 1740-1760
Lille, Palais des Beaux-Arts

And he was especially honored by the Royal Family, his own descendants. He appeared in paintings that present him as saint, as king and as family patron.

Gerard Horenbout, St. Louis presenting Louis XII
in Prayer
Cutting from a manuscript_
Flemish, c.1490
Paris, Musee du Louvre
RF 1699-Bis-recto

Jean de Tillet, Armes de Louis IXfrom Recueil des rois de FranceFrench (Paris), 1555-1566
Paris, Bibliotheque nationale de France
MS Francais 2848_fol. 99v

Antoine Caron. Kings of France
Extract from L'Histoire Francoyse de nostre temps
French (Paris), 1560-1580
Paris, Musee du Louvre
The album was part of a gift from Nicolas Houel, a Parisian apothecary, to Catherine de Medici
who was ruling as Regent during this period for her son, Charles IX

El Greco, St. Louis
Spanish, 1592-1595
Paris, Musee du Louvre
Luis Tristan, St. Louis Distributing Alms
Spanish, c.1600
Paris, Musee du Louvre

Charles LeBrun, Louis XIV presented by St. Louis
to the Risen Christ
French, 1674
Lyon, Musee des Beaux-Arts

Jean Jouvenet, St.Louis Interceding for the Wounded 
after the Battle of Mansourah
in Egypt in 1250

French, 1709
Versailles, Chateaux de Versailles et de Trianon
This continued right up to the very eve of the French Revolution.

Charles-Antoine Coypel, St. Louis Receiving
the Crown of Thorns (with the features of Louis XV)
French, 1745
Nantes, Musee des Beaux-Arts

Charles Van Loo, Coronation of St. Louis
French, 1770-1780
Paris, Chapel of the 'Ecole militaire

Gabriel-Francois Doyen, St. Louis Receiving
His Last Communion
French, c.1770
Paris, Chapel of the Ecole militaire

Joseph Marie Vien the Elder, St. Louis and his wife,
Marguerite de Provence, Visiting St Thibaud of Marly
French, 1774
Versailles, Chateaux de Versailles et de Trianon

During the period of the French Revolution and Napoleonic Empire (1789-1815) such images were, for obvious reasons, no longer produced. 

However, with the restoration of the Bourbon Monarchy in 1815 St. Louis rapidly made his reappearance in French painting.

Charles Meynier, Last Communion of St. Louis
at Tunis in 1270
French, 1817
Versailles, Chateaux de Versailles et de Trianon

Francois Marius Granet, Louis IX
Delivering Prisoners from Captivity at Damietta
French, 1819
Fontainebleau, Chateau

Georges Rouget, St. Louis Announcing His Decision
As Arbiter Between Henry III of England and His Barons
French, 1820
Versailles, Chateaux de Versailles et de Trianon

Georges Rouget, St. Louis Receiving the Envoys of Rachid el Din
at St. Jean d'Acre
French, 1820-1825
Versailles, Chateaux de Versailles et de Trianon

Georges Rouget, St. Louis Dispensing Justice
Under the Oak at Vincennes
French, 1824
Versailles, Chateaux de Versailles et de Trianon

Charles Thevenin, St.Louis Depositing the Crown of Thorns
in the Sainte Chapelle of Paris in 1248
French, 1825
Versailles, Chateaux de Versailles et de Trianon

However, this time there was a difference in the subject matter. Instead of iconographic scenes depicting Louis as a Christian saint, the images were drawn from historic episodes from his life. This was in keeping with both the new secularism of the French state and with the historicizing mood typical of the Romantic period.

Guillaume Guillon Lethière, Heroic Steadfastness of St. Louis
at Damietta May 1250
French, 1827
Versailles, Chateaux de Versailles et de Trianon
Charles Marie Bouton, St. Louis before the tomb
of his Mother, Queen Blanche
French, 1830-1840
Fontainebleau, Chateau

Georges Rouget, Landing of St. Louis at Damietta
in Egypt, 4 June 1249
French, c.1830-1840
Versailles, Chateaux de Versailles et de Trianon

Many of these images appear to have been commissioned for the redecoration of the royal palaces at Versailles and at Fontainebleau and patronage appears to have continued under Louis-Philippe, from a branch of the royal stock, who came to the throne as a constitutional monarch after the upheavals of 1830-1831.

While the names of most of the painters who contributed the majority of these pictures are unknown to all but specialists today, two of the greatest names in 19th century French painting also contributed their interpretations of St. Louis and his life.

Eugene Delacroix, Battle of Taillebourg, 21 July 1242
French, 1837
Versailles, Chateaux de Versailles et de Trianon

Jean-Auguste-Dominique Ingres, St.Louis
 Window for chapel of St. Ferdinand
French, 1842
Paris, Musee du Louvre

Images of St. Louis as saint, king and patron of France continued to be produced all through the remainder of the nineteenth century.

Emile Signol, St. Louis in 1226
French, 1844
Versailles, Chateaux de Versailles et de Trianon

Jean-Marie Oscar Gue, St. Louis Receiving Robert,
Patriarch of Jerusalem at Damietta_
French, 1847
Versailles, Chateaux de Versailles et de Trianon

Alexandre Cabanel, Glorification of St. Louis
French, 1855
Monpellier, Musee Fabre
Pierre Charles Marquis, St. Louis Accompanied
by his Mother, Blanche of Castille
French, 1857
Rennes, Musee des Beaux-Arts

_Sebastien-Melchoir Cornu, St. Louis
Decoration for the Chapel in the Elysee Palace
French, c, 1860
Paris, Musee du Louvre

Jean-Baptiste August Leloir, Death of St. Louis at Tunis 25 August 1270
French, c. 1870
Paris, Petit Palais. Musee des Beaux-Arts de la Ville de Paris

In 1874 the painter Alexandre Cabanel received the commission to paint part of the decorative cycle of the history of France in the Pantheon, the former church of Saint Genevieve, converted during the Revolution to a monument to French notables.  His subject was the life of St. Louis, representing the Capetian dynasty.

Alexandre Cabanel, Life of St. Louis
French, 1874-1878
Paris, Pantheon

Alexandre Cabanel, Education of St. Louis
 by His Mother
from Life of St. Louis
French, 1874-1878
Paris, Pantheon

In 1880 Charles Lameire contributed the design of a
mosaic featuring St. Louis and his predecessor, Charlemagne
(who is sometimes given the dignity of sainthood), to the
construction of the new basilica of Notre-Dame de Fourviere 
in Lyon, which began in 1872 and was completed in 1896.

Charles Lameire, Sketch for Mosaic of Charlemagne and St. Louis
for the Basilica of Notre-Dame de Fourviere (Lyon)
French, c.1880-1890
Paris. Musee d'Orsay

© M. Duffy, 2011, updated with additional images 2016
1. Memoirs of the Crusades by Villehardouin and de Joinville, edited by Sir Frank T. Marzials, New York, E.P. Dutton & Co., 1958, p. 277.
2.  Notes from Metropolitan Museum collection database at ix&fp=1&dd1=0&dd2=0&vw=1&collID=0&OID=70011727&vT=1&hi=0&ov=0