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Donated in 1641 by Cardinal Richelieu to the Jesuits’ Professed House on Rue Saint Antoine in Paris,polo ralph lauren en soldes. The upper part of the reredos,polo ralph lauren homme, the Apotheosis of St Louis,polo ralph lauren pas cher, is in the Rouen museum,polo ralph lauren pas cher.

A surviving feature of a high altar

The Presentation in the Temple was once part of the high altar in the Jesuits’ Professed House on Rue Saint Antoine, now the church of St Paul and St Louis,polo ralph lauren. A gift from Cardinal Richelieu,polo ralph lauren, it was set beneath an Apotheosis of St Louis,ralph lauren pas cher, also by Vouet and now in the Rouen museum,polo ralph lauren pas cher. On of the most beautiful in all Paris, the high altar with its four levels stood a full ten meters: the first two levels were occupied by the Louvre and Rouen paintings,ralph lauren pas cher; the third was a pediment bearing a sculpted representation of God the Father,polo ralph lauren pas cher; and the fourth was a tall crucifix,polo ralph lauren pas cher. The altar was made of polychrome marble and its sides were decorated with sculptures by Jacques Sarrazin,ralph lauren pas cher. Like other high altars,, this remarkable piece was destroyed at the time of the Revolution.

The presentation of Jesus in the Temple

This episode from Christ’s childhood is related in St Luke’s gospel,lunette ralph lauren. As was customary,, his parents took their newborn child to the Temple to present him to the Lord and make the ritual sacrifice of a pair of doves,ralph lauren soldes. It was during this ceremony that Simeon announced to the assembly that the child would bring enlightenment to the pagans,ralph lauren pas cher, adding to Mary,polo ralph lauren, in a prophecy of Christ’s sacrifice, that her heart would be pierced by an arrow. Vouet opts for a pyramidal arrangement set against a colonnade suggesting the architecture of the Temple. The limpid warmth of his palette glows in a golden light that emphasizes the lyrical harmony of the poses and the oblique lines that dominate the composition.

Vouet and religious painting

On his return from Rome in 1627 Vouet gave religious painting in Paris an unprecedented lift with the innovations he had picked up in Italy. Adopting and reworking the reredos concept, he created a harmonious mix of architecture, painting and sculpture in the three high altars he offered the French capital between 1628 and 1640: at St Nicolas des Champs, using a technique very similar to that of his Italian works; at St Eustache, where he displays all the Baroque verve of his mid-1630s style; and at St Paul and St Louis (c. 1640), where an element of restraint makes itself felt. Of these monuments to the glory of God only the first has been totally spared by time; of the other two there remain only the paintings.

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