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A Soul That Speaks to Our Soul
Pierre-Marie Dumont

Saint Luke (c. 1625)
Valentin de Boulogne (1591–1632)
“The most Italian of the French imitators of Caravaggio”
At the heart of the royal apartment and in the centre of the marble court in the Palace of Versailles, the “salon where the king dresses” received at the time of its creation, in 1684, nine pictures testifying to Louis XIV’s taste for Caravaggesque painting, all of them in the attic: works by Valentin de Boulogne, Nicolas Tournier (1590–1638), Alessandro Turchi (1578–1649), and Giovanni Lanfranco (1582–1647). When the room was turned into a bedroom, in 1701, only the four evangelists, The Tribute to Caesar by Valentin de Boulogne, and Hagar and the Angel by Giovanni Lanfranco were preserved in their original place. Saint Matthew, Saint Luke, Saint John, and Saint Mark, which today are still displayed in the same place, make up a cohesive ensemble. The Saint Luke was formerly placed opposite the Saint John and faced the Saint Mark, on the north wall, thus ensuring a chromatic continuity, which was modified in 1948–1949 when a new arrangement paired the Saint Matthew with the Saint Luke.
In the Saint Luke, Valentin de Boulogne, “the most Italian of the French Caravaggesques”, to quote the art historian Béatrice Sarrazin, demonstrates his debt to Caravaggio (1571–1610) as well as his personal language “marked by seriousness and melancholy”. Born in Coulommiers, the painter had no doubt arrived in Rome by 1609. With Nicolas Régnier (1588–1667), he met regularly with the Bent, asecret society of Transalpine artists, the Bentvueghels or “band of birds”, who were under the patronage of Bacchus, the god of wine. They liked to depict the lowlife of Rome, the Rome “of vice and poverty”, scenes in the taverns and the suburbs, and they developed an often irreverent and satirical art combining eroticism and morality. Valentin mixed also with other French artists, particularly Simon Vouet (1590–1649), who played a decisive role in the renewal of French painting. After his early years of production, dominated by genre scenes, Valentin became interested in religious painting.
The landscape-format compositions of Valentin de Boulogne’s four evangelists are balanced by an interplay of corresponding features. The series is based on a uniform pattern: each evangelist, together with his attribute, is depicted against a neutral, sombre background, seated at a table, as though he had been caught while writing his Gospel. Reduced to its essentials, the iconography allows the spectator’s glance to concentrate on the personality of the evangelists, and it “masterfully expresses the divine inspiration” (according to Sarrazin).
Luke’s gentleness
No doubt gentleness is what characterises Luke, who is depicted with the ox that is traditionally associated with him. On the table he is busy writing at, the viewer notices a Virgin with Child. This little picture recalls that, according to tradition, Luke was the first to produce an icon of the Blessed Virgin, thus becoming the patron saint of painters. Valentin de Boulogne chooses to paint him as a young man, absorbed in writing his Gospel, holding the ink pot firmly in his left hand and the pen in his right hand. The wise use of chiaroscuro and of a range of colours—subtle tonalities rediscovered during a recent restoration—concentrates attention on the expression of his face, on his hands, and on the manuscript. We know little about Saint Luke, who was said to be a Greek, born, according to Saint Eusebius, in Antioch in Syria; the Letter to the Colossians (4:14) mentions him as a “beloved physician”. This “beloved physician” wrote one of the four Gospels and the Acts of the Apostles, having followed all things diligently from the beginning (Lk 1:3), and was a companion of Saint Paul, who accompanied him to Rome. A remarkable storyteller, Luke manifests in a particular way God’s tenderness and mercy: he is the only one to record, for example, the parables of the Good Samaritan and the Prodigal Son, the meeting of Jesus and Zacchaeus, the dialogue between Jesus and the good thief (Dismas)—memorable passages that plunge us into the heart of God’s infinite love. “Scribe of the gentleness of Christ”, according to Dante, Luke enables us to fathom God’s love for wayward humanity, wounded by sin. A historian, intent on giving an accurate account of the events that he relates to Theophilus—in other words, to all the “friends of God”—an instructor who hopes that his reader may know the truth concerning the things of which you have been informed (Lk 1:4), Luke is also a theologian who marvels at the divine mercy and brings to light, in a particular way, the role of the Holy Spirit who is at work from the beginning, both in the life of Christ and in that of the first Christian communities.
Valentin de Boulogne depicts this patron saint of painters and physicians deeply absorbed in writing his Gospel, his face marked with gentleness. May the contemplation of this picture encourage us to immerse ourselves in Luke’s inspired writings, so as to marvel at God’s action in our lives and at his infinite mercy.
Sophie Mouquin
Lecturer in art history at the University of Lille, France.
She is a frequent contributor to the French edition of Magnificat.
Saint Luke (c. 1625), Valentin de Boulogne (1591–1632), Palace of Versailles and Trianon, France. © GP-RMN (Château de Versailles) / Christophe Fouin.
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An exact contemporary of Claude Monet (1840–1926) and the impressionists, Ferdinand Roybet (1840–1920) was, in those days, the leading master of historical painting. He was famous in France, and even more so in the United States, where his works commanded the highest prices. They can be found in the Metropolitan Museum in New York, in the Musée d’Orsay in Paris, but especially in the Roybet-Fould Museum in Courbevoie, which is dedicated to them.
After the death of Saint Thérèse of Lisieux on 30 September 1897, Mother Agnes of Jesus (Pauline Martin), having been reelected several times as prioress of the Carmel in Lisieux, took an active interest in the beatification of her younger sister. Since this prospect was becoming more certain each day, she commissioned “the most famous artist in France”, Ferdinand Roybet, to paint a portrait of “Blessed Thérèse”. The Baroness Gérard assisted with this project and offered to cover the expenses. According to Céline Martin, who was also associated with this undertaking, it cost “only” 10,000 francs. The painter’s assignment was to take as his model, as much as possible, Thérèse with Angels, which had been painted by Céline in 1913. The work was completed in 1917. Now it is displayed in the large sacristy of the Basilica Shrine in Lisieux.
Before starting to work, the painter no doubt submitted several sketches to his patrons. The painting that adorns the cover of this issue of Magnificat is probably one of these sketches. We can assume that it was not accepted, since the final work displays a figure of Thérèse that is a graphically improved copy of the Thérèse with Angels by Céline. Alas, although Céline’s work in its naïveté is not without charm, the copy of it, executed with sophistication, loses all its interest, especially when surrounded by pompous scenery that does anything but suggest the “little way”.
On the other hand, as you can see, the artist’s sketch is inspired by his free vision of the subject, which is manifested in a composition that is not only simple and beautiful but also very touching emotionally and spiritually. The face, the glance, the folded hands, the roses—everything is alive in this painting; everything enables us to contemplate the soul of the Little Flower as she speaks to our soul in her manuscripts. To mirror the beauty of such a soul, the artist managed to achieve a high artistic standard, and to do this while substantially complying with the specifications, which were to express the naïve, fervent vision that only a blood sister and a sister in religion could have of her dear little sister.
“I want to make Love loved.”
A few months before her death, Thérèse shared her meditation on the new commandment of Jesus, “his own commandment”, she insists: “Jesus no longer speaks about loving our neighbour as ourselves, but rather of loving our neighbour as he, Jesus, loved him, as he will love him until the end of the ages. Ah, Lord!... You gave a new commandment because you wanted to grant this grace to me…. Oh, may I love it [this commandment], since it gives me the assurance that your will is to love in me those whom you command me to love!”
What marvellous good news Thérèse gives us! We should repeat it to ourselves every day with our morning prayers, as the program for our day. Through his commandment of love, Jesus entrusts to us nothing less than the completion of his work through the ages, until he comes again, so that now with us in him, and him in us, our lives might be a living eucharist [thanksgiving] to the glory of God the Father.
The little way of Thérèse is the safest path to follow, so that the love of God might reach its perfection in our lives. “To love is to give everything and to give oneself,” she tells us. There is no better way of saying what we must do in order to put into practice the phrase “as I have loved you” in the new commandment.
Pierre-Marie Dumont
Saint Thérèse of Lisieux, Ferdinand Roybet (attributed to, 1840–1920), private collection. © Photo Clément Guillaume.
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