Pierre Le Gros the Younger

1890: 1965: 1244: 1860: 253: 1117: 2033: 1830: 2095: 2003: 1950: 2045: 408: 1875: 965: 1815: 392: 2060: 3126:"S’il fut indisposé contre l’Académie de Paris, il étoit encore plus piqué des honneurs qu’avoient procurés à Camille Ruscone les figures que cet habile sculpteur avoit faites pour Saint-Jean de Latran. Il s’attendoit à les partager du moins avec lui, et cela étoit juste; ... Une misérable croix de plus nous l’auroit peut-être conservé, car on soupçonne que le chagrin avoit avancé ses jours." Pierre-Jean Mariette, "Abecedario", vol. III, edited by Philippe de Chennevières and Anatole de Montaiglon, in: Archives de l’Art Français 6, 1854–56, p. 120. 1988: 1905: 2075: 1790:

leads by no means to a single point of view. Quite the contrary because Le Gros developed all his composition into space and entices the viewer to go around the figure. While a classicist like Rusconi linked a spatial development closely to the anatomy of the figure, Le Gros achieved this with an abundance of highly malleable drapery and extrovert gestures. In addition, he showed a keen sense for nuanced effects of light and shadow, whether it was to make the heavily polished, white as snow figure of

859: 1361:. This curtain obscures the wall behind and creates the illusion that the monument has the rare quality of being free standing rather than attached to the wall as is the norm. The composition also makes use of the monument's location in the only chapel with a side entrance to the church (to the right of the monument) by turning several figures directly towards visitors entering from there and inviting them in – an effect which today is hard to appreciate as the door is no longer in use. 642: 1103: 870: 33: 1763: 2018: 2430:(little chapels of Saint Stanislas), as they were called, looked quite different when Le Gros' figure was first placed there. Later findings indicated a slightly different location of his death, in the adjacent corridor, and lead to the first transformation of the Cappellette in 1732–33 by erecting an altar on the real spot and opening up the wall behind the statue. In the 19th century, the Cappellette were again remodelled and a painting by 1629: 1845: 1935: 1920: 1604:"If he was indisposed against the Parisian academy, he was even more piqued by the honours conferred on Camillo Rusconi for the figures this able sculptor has made for Saint John Lateran. He expected to at least share them with him, and that would have been right; ... one more miserable cross might have preserved him for us, because one suspects that the chagrin has advanced his days." 951:, he held an image of the Madonna in his left hand and a large crucifix would have extended from his right hand into the crook of his right elbow. Stanislas would be looking at the crucified Christ with eyes already delirious. With the large crucifix missing, an important iconographic dimension is lost today, i.e. the connection between Stanislas and Christ (similar to the statue of 3310: 1653:, while certainly given his dues by art historians, is not anchored in the public consciousness, much less so the following generations of Maratti or Fontana, and then Le Gros and Rusconi. During their lifetime however, they were regarded throughout Europe as outstanding figures, valued as exemplary by generations of young artists. 1186:, the pope's favourite artist, was given the task to achieve a stylistic unity by preparing drawings for each statue which were then given to the sculptors as a guideline. This forced submission enraged many of them who, in 1703, voiced their discontent, Théodon even resigned because of it, eventually returning to France in 1705.. 1668:, architects such as the Italian Juvarra and the Frenchman Oppenordt, and the sculptors Angelo de' Rossi as well his loyal students and right-hand men Campi and Gaetano Pace. In addition, the need for assistants brought a bevy of young sculptors and painters from all over Europe to his studio over the years like the Englishman 664:

In 1701, Le Gros married a young woman from Paris, Marie Petit. She died in June 1704 leaving Le Gros with his first son (a second son only lived for a week) who was in need of a mother. So he immediately married again in October 1704. His bride was another French woman, Marie-Charlotte, daughter of

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At the same time, it is impossible to characterise his art as purely Italian. His artistic training at the Académie royale and the experience in the workshops of his father and uncles gave him a very different starting point. He built on this experience and mixed it with an admiration for Bernini's

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He always tended to compose his sculptures like a relief. For his picturesque approach, an expansive shape mattered more to him than the distribution of mass and space. While the detail as well as the large form are very three-dimensional, their volume is usually tied into a system of layers. This

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The most virtuoso marble worker of his time, he excelled in convincing the eye to see the depicted materials rather than stone. His surfaces are so nuanced they nearly appear as different colours. And yet, he achieved that very rare feat of integrating these fine details into monumental sculptures

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is set against a large backlit coloured glass window and seems to dematerialise in the warm yellow orange glow. Drawings by both Le Gros and Juvarra demonstrate that each of them contributed to finding the right composition for the sculpture and tried a number of different poses. Le Gros also made

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and was to be kept strictly secret. Only after being firmly commissioned (his contract is also signed by Dorigny as a witness) was Le Gros allowed to tell the French Academy's director. La Teulière took the news with surprise, told him off for his disloyalty to his benefactor, the French king, and

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Fontana was researched by architectural historians for a long time, in particular by Hellmut Hager. Maratti has been the subject of many scholarly articles and especially been studied for decades by Stella Rudolph although her repeatedly announced monograph never saw the light of day. There is a

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That said, because of his nearly exclusive presence in Rome, he must be seen within the context of Italian art history and made virtually no direct impact on the development of French art of his own time. His French contemporaries would have heard about him but wouldn't have seen his works. His

581:(1697–99). This altar was also designed by Pozzo, and Le Gros again had a great deal of freedom to elaborate on the composition. Building on an early idea of Pozzo's, which envisages a statue instead of a relief, Le Gros carved the figure of the saint nearly fully in the round. A superbly fine 926:

The figure still moves to this day, and much of the effect is due to the aura created with the staging. The site is not something one would stumble across by accident like a chapel in a church, one has to seek it out. A visitor would enter the quiet, dimly lit rooms carefully with a sense of

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The halo and the original Madonna image and crucifix are lost. Since the hands obviously held something, the custodians placed a variety of different objects in them over the years, from a rosary to a small crucifix to flowers etc. This might vary from one visit to the Cappellette to the

1347:(one raised Ignatius to the altars, the other erected altars for Ignatius). This alludes to the facts that Gregory canonised the saint and Ludovico built the church of Sant'Ignazio. The concept is highly theatrical with a large curtain (made from coloured marble) being drawn back by two 1964: 1745:

helpful, and he adapted them for his own work, often transformed to such a degree that the prototype is hard to pinpoint. There were only very few artists who worked successfully in a similarly playful style as Le Gros in early 18th century Rome, namely Angelo de' Rossi,

538:. It was a peculiar competition as the twelve sculptors taking part had to decide the winner themselves by pointing out the best model of their competitors. When Le Gros' victory was announced his compatriots were ecstatic and carried him through the streets in triumph. 996:, of which the cardinal was the abbot. Apart from being a compatriot, Bouillon might have known the sculptor through the Jesuits as he habitually lived as their guest in the Jesuit novitiate at Sant'Andrea al Quirinale. Le Gros's work was completed by 1707 and sent to 1490:) distanced themselves from subscribing to these new rules, and Le Gros sided with them on his return. As a result, all five were unceremoniously expelled. This meant that they were then unable to carry out any more public commissions in Rome in their own right. 1046:

None of this highly original concept influenced the development of monumental funerary sculpture. Apart from a thorough inspection by royal officials to determine whether they expressed any pretentious dynastic claims, the sculptures were not even unpacked in

1203:. He was undoubtedly aware that, if he prevailed and his model was accepted by the pope's committee, all the other sculptors would have to follow suit stylistically. So this, in effect, was Le Gros' attempt to establish himself as the artistic leader of the 1462:

Back in Rome, the last sad chapter of his life unfolded. His absence had been a great excuse to give the last Lateran apostle to Rusconi. The reason given was that de' Rossi was dead, Le Gros abroad, and therefore Rusconi the only good sculptor available.

1000:, where it arrived in 1709. He worked on this project in as much a French manner as he ever would and invented a spectacular sepulchral monument, at once continuing in the French baroque tradition as well as opening up new formal and iconographic avenues. 2404:

bodies and, similarly, 16th and 17th century Roman funeral busts of clergy. In France are some medieval statues of nuns wearing habits of black marble with the best known being Marie de Bourbon (died 1401), prioress of the Dominicans of Saint-Louis de

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While Le Gros' great achievement was appreciated elsewhere, he would wait in vain for a similar adulation in Rome. Rusconi received a knighthood from Clement XI for his contribution to the Lateran project in late 1718 while Le Gros went empty handed.

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The engraver Jean Le Pautre (born 1618) has been mistaken for Marie's father due to the fact that he had a brother, also called Jean Le Pautre (born 1622), a builder and architect, who is, in fact, Marie's father. See Lepautre family tree in the

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for the regent. But he had great trouble with the art establishment, and the Académie royale would not admit him easily into their ranks despite his status as an internationally acclaimed artist. Rebuffed, Le Gros returned to Rome in 1716.

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appears like a statue, the old woman melts into the wall decoration, the man tips over the edge of the architectural framework towards the spectator and the snake, an anecdotal detail very typical for Le Gros, hisses directly at the viewer.

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as a centrepiece for the newly decorated chapel of saint Stanislas. At the same time, all efforts of deciding who should be commissioned with the last Lateran apostle were at a stalemate with, it seems, three serious contenders: Le Gros,

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was not even unpacked until the end of the 18th century and, therefore, not known to anybody. Moreover, the exuberance of Le Gros' work would have met with reserve or even disapproval in Versailles just as Bernini's did in the 1660s.

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of the same time) which would also round up the composition. The mattress, bed cover with bronze fringes and bed step are from coloured ornamental stones common to Roman baroque art but used in a highly original and effective manner.

1574:) and to be replaced on the facade by copies by a local sculptor. This flattery was probably intended to be a reminder of a similar honour which was bestowed on Bernini half a century earlier with regards to his two angels for 2589:

for the cappellette. The Jesuits countered that the cappellette would lose out if their devotional focus point was removed and replaced by a mere copy. They also argued that the marble figure would have less impact in the

825:. They were now looking to commission two large reliefs for the side walls and made a list of sculptors currently in the limelight. Their choice was to stage another head to head of Le Gros, who was to carve the relief of 1640:

Today, Le Gros is largely forgotten but shares this fate with almost all the artists working in Rome in his time. After a blanket condemnation of the Baroque period by critics from the 18th to well into the 20th century,

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and finished in 1699. A century later it fell victim to an act of barbarism when, in 1798, it was dismantled and the head, arms and legs as well as the accompanying angels melted down for their material value during the

2094: 1226:, the naturalistic rock became a flat plinth, the weathered tomb stone turned pristine and, of course, the putto vanished. A dynamic group of a saint with a putto in the landscape became a solid statue in a niche. 622:. Its main function is to contain the saint's body and make it visible to the faithful for veneration on limited occasions. Usually, however, it was to be hidden by a flap made of gilded bronze which bears his 934:

It is astonishing that one of the first things a first time visitor mentions is that Kostka looks so lifelike when, in fact, the statue couldn't be more artificial. Head, hands, feet and pillows are of white

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This rare exposition of the relics has become unfashionable in modern times and the viewing situation has been reversed: the flap is usually open displaying the body while it is rare to see Le Gros' relief.

1859: 900:(1702–03) is today Le Gros's best-known work. Since his normal practice was to evoke naturalistic impressions by an extraordinarily fine surface treatment of a monochrome white marble, this multi-coloured 329:), chosen by La Teulière as a good example for female Roman dress – which Le Gros, nevertheless, improved upon following La Teulière's instructions, by introducing dress details found in engravings after 1368:, for which Le Gros was the architect – which basically means he was in charge of all its decoration – and the sculptor of a large relief showing the saint in adoration of an old venerated image of the 1270:

in which Caunus vehemently defends himself against the sexual advances of his sister. Le Gros' creation quickly became popular and triggered a rafter of drawings, reproductions and copies by for example

1585:, hoping to introduce the two on her planned visit to Rome, Crozat described Le Gros as "without question the best sculptor there is in Europe, and the most honest man and the most endearing there is." 1737:. Imbued with the French academic practice of searching for exemplary prototypes, Le Gros looked very closely at all the art around him and found solutions by today less well known sculptors like 2032: 1189:

Le Gros went one step further and decided to challenge Maratti's authority by submitting a model which was radically different from the latter's sober, classicising style. With his model for

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in 1712, in 1714 he gave in and took on three statues for the abbey's Chiostro dei Benefattori at a bargain price. These now became his main focus. At the time of his death, the statue of

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and Éléonor de Bergh, Duchesse de Bouillon. Depicted as the main characters in the centre of the monument their grouping and gestures allude to the fact that Éléonor was instrumental in

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To fulfil all these concurrent commissions Le Gros required assistants and a suitable workshop. With the help of the Jesuits, he had found an ideal space in 1695 in a back wing of the

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Le Gros was born in Paris into a family with a strong artistic pedigree. Jeanne, his mother, died when he was three, but he stayed in close contact with her brothers, the sculptors

237:, whose workshop he frequented and eventually inherited at the age of fifteen. His initial training as a sculptor lay in the hands of his father while he learned drawing from the 1449:, so Le Gros would have had a good start had he decided to stay in Paris. He also acted as a go-between in Crozat's long negotiations (1714–21) to acquire the art collection of 1035:

of the family dating back to the 9th century, the same message Cardinal de Bouillon tried to support by commissioning a written history of his ancestry from the historiographer

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The statue was admired throughout the 18th century and judged by many as actually having surpassed its antique prototype. When a student at the French Academy in Rome in 1781,

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Chronological gallery of most of the major works by Le Gros not already illustrated - some dates are uncertain or overlap, therefore the sequence is only roughly chronological.

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as an exemplary masterpiece, the quality of which far exceeds the ancient model. The importance of Le Gros for European art in the 18th century is, therefore, beyond question.

1148:. Clement's idea was very similar to filling the niches of St. Peter's initiated at the same time: get your church embellished but find others to pay for it. So, he called on 1949: 1829: 1934: 728:, who left his substantial collection of books and an endowment for expanding his library to the Dominicans, Le Gros was commissioned to create the cardinal's tomb in the 436:

saw no other choice than to dismiss him from the French Academy, but did continue to support him. At the same time, La Teulière could not help being a little proud of his

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appears much fiercer, probably preaching, with the right arm raised. For the mellower mood displayed in Sant'Apollinare, Le Gros decided on a mirror image of that pose.

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An impartial look shows Le Gros as a driving force in an international environment. While family life was very French, close friends included painters such as the Dutch

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who frequented his workshop before 1700, both eventually becoming significant artists in their home countries. In the 1710s we find in his workshop the German painter

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and two plaster reliefs for the ceiling showing scenes from Neri's life. The exquisitely crafted chapel is one of the very few traces of Juvarra's activities in Rome.

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Le Gros "sans contredit, est le meilleur sculpteur qu’il y ait en Europe, et le plus honnête homme et le plus aimable qu’il y ait", as quoted by Vittorio Malamanni,

2438:. The situation we see today was created in 1888–89 when the novitiate was partly demolished and the Cappellette reconstructed, using old materials, but turned 180°. 1082:

together with the angel (minus Turenne's heart) and a finely detailed relief showing the duke as a battle hero never made it to Paris and are today installed at the

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into a mystical shade. All of Le Gros' work is characterised by a dynamic of far and near view. It is worth getting close up to even his most heroic-scale figures.

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While Le Gros was put in his place, he was not down and out. When it transpired that the undistinguished Florentine sculptor Antonio Andreozzi would not finish his

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as a major work identifying Le Gros in the anonymous drawing with his portrait shows that it and/or its sponsor were obviously of great importance to Le Gros.

2968: 1027:. Together with some other sculptures outside the chapel (not planned to be made by Le Gros and, in fact, never executed), the iconographic message was the 1023:

and carried towards heaven by a youthful angel who rises from a heraldic tower of white marble which links the family name La Tour to the biblical tower of

904:-like depiction is quite untypical for Le Gros. But it would be untypical for any sculptor because it is unique in the history of sculpture on the whole. 724:

He also remained the sculptor of choice for Cloche who was eager to promote the status of the Dominicans. Following the death of Cloche's friend Cardinal

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calls it, prevailed. While Le Gros was the only sculptor who was not held to work from drawings by Maratti, he must have been forced into an act of self-

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and all construction stopped. Le Gros' marbles and bronzes were stored, undisturbed in their sealed crates, for nearly 80 years. In the aftermath of the

597: 2074: 2059: 1919: 1016: 518:, carved in a much more classicising, rigid style. The rivalry between the two Frenchmen was to play out repeatedly over the next few years. The sheer 817:

in Rome, presided by the papal treasurer Lorenzo Corsini, continued the steady embellishment of their chapel which already boasted an altar relief by

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Le Gros was the most exuberant baroque sculptor of all his contemporaries but eventually lost his long battle for artistic dominance to a prevailing

286:. His time there from 1690 to 1695 was fruitful but not untroubled. The academy was plagued by a constant financial crisis, and the premises at the 1474:(both non-academicians), a protest arose in 1716 against newly introduced rules of the academy which subjected non-members to financial injustice. 2400:

garments combined with head and extremities of white marble or bronze, and none as elaborate as Le Gros'. Closest are antique portrait busts with

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In 1708–10 Le Gros collaborated with his close friend, the architect Filippo Juvarra, in the creation of the Cappella Antamori in the church of

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The rich Roman art market was effectively closed to Le Gros, and he had to settle for a few works outside. After being first approached by the

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who studied drawing with Le Gros. In addition to passing on his style through students, copies and versions of important statues such as his

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which is impossible. While precocious, Tadolini was then much too young (born 21 December 1788) and only started studying at the Academy in

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The juxtaposition of both groups based on Théodon's and Le Gros' sculptures has been replicated on several altars in the 18th century, e.g.

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In order to have an operation done and also to settle his inheritance, in 1715 he travelled to Paris, where he stayed with his great friend

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and Rusconi. The latter had already produced three apostles and was by then clearly favoured by Pope Clement XI, but no decision was made.

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and princes to sponsor individual statues but handed the task to choose sculptors to a committee created to run the project. The statue of

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and a few other 17th century artists have now been given their rightful place in the pantheon of artistic geniuses. But even the great

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and is referred to in this way in all legal documents, it has become common practice in the 19th and 20th centuries to spell the name

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from around 1703–04, the most intricate and detailed terracotta he ever produced, he harked back to the highly emotional baroque of

252: 2017: 1339:, Le Gros conceived his last work for the Jesuits between about 1709–14. It singularly combines the tombs of both the pope and his 1141: 2417:

come closer to Le Gros treatment but put the emphasis on being exotic and precious. It is difficult to come up with more examples.

669:. Witness to this wedding was Vleughels who at the time lived at Le Gros' studio. The couple was to have two daughters and a son ( 290:

were also a rather ramshackle affair, far from the grandeur the academy would later enjoy after a move in the 18th century to the

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The long and complex history of the project has been thoroughly researched by Michael Conforti in his unpublished dissertation

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From the outset it was recognised that the overall unity of all the Apostle statues was of paramount importance. The architect

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The chapel was meant to receive several family members, including the cardinal himself, but first and foremost his parents,

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acted as a consultant to work out an appropriate size of the proposed sculptures and, more importantly, the ageing painter

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from Le Gros (1702–06). It epitomises his dynamic mature style. Since no other religious order saw the necessity to hurry,

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The propaganda value for the Jesuits as well as the financial background is discussed by Büchel, Karsten and Zitzlsperger

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brings out the whiteness of the statuesque saint and gives it emphasis in the centre of the elaborately detailed relief.

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were considered too beautiful to be exposed to the elements and brought into the church's interior (1804 transferred to

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elicited a discussion whether a modern copy could surpass an antique original, an argument reminiscent of the literary

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At the same time, Le Gros was already busy with another major Jesuit commission for the monumental altar relief of the

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of this group launched Le Gros' career. He was in great demand and, indeed, the busiest sculptor in Rome at the time.

3250: 1704:. Le Gros' influence didn't end with his death as his works were also studied much later as evidenced in sketches by 1218:. While essentially the same figure, each and every exuberance was ironed out in his monumental marble figure: the 244:, the uncle of his stepmother, Marie Le Pautre. His half brother Jean (1671–1745) was to become a portrait painter. 619: 593: 734: 3365: 534:

In 1697, with his group nearly complete, he won the competition for the altar's main image, the silver statue of

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Mit Kunst aus der Krise? Pierre Legros' Grabmal für Papst Gregor XV. Ludovisi in der römischen Kirche S. Ignazio

1446: 1235:, efforts were made in 1713 to win over Louis XIV to take on the patronage and employ Le Gros, but to no avail. 354:

In the same year 1695, Le Gros took part in a competition for a marble group to be placed on the altar of Saint

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In 1713, he managed to alienate the Jesuits by stubbornly repeating his proposal to transfer his own statue of

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A canonical work of an uncanonical era. Re-reading the chapel of Saint Ignatius (1693–99) in the Gesù of Rome

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In 1714, Le Gros' father died in Paris and he himself was close to death's door, suffering from gall stones.

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Le Gros also continued to be employed by several branches of the Jesuit order for work such as the statue of

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who managed to beat the cream of sculptors in Rome. In particular he stressed that the models the much older

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Le Gros thrived on playful invention. When, some time between 1706 and 1715, he was asked by the Portuguese

2766: 1509: 948: 729: 693:. The many years of papal frugality were over, and Le Gros decided that this was the time to be ambitious. 234: 165: 1434:. In addition Le Gros renewed his friendships with Oppenordt and Vleughels. Crozat had Le Gros decorate a 1307: 1295:

but later destroyed in a fire. The most faithful impression of what it looked like is the plaster cast in

196:, both little treasures of the Roman late baroque not known to many because they are difficult to access. 193: 3370: 1975: 1387: 916: 822: 219:. Scholars frequently add a suffix like 'the Younger' or 'Pierre II' to distinguish him from his father, 309:, after much lobbying Le Gros was eventually granted permission to do so by the director of the academy 3360: 2509: 1609: 754: 276: 185: 181: 973: 310: 2540: 1450: 1426:

and established as well as up and coming artists. There, Le Gros would certainly have met the ageing

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to erect an honorary statue to their founders, Cloche jumped at the opportunity and commissioned the

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All his work so far as an independent master had a clearly defined deadline: the celebrations of the

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A "Dialogue" between Sculptor and Architect: the Statue of S. Filippo Neri in the Cappella Antamori

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of this flattering scene was telling and unmistakably expressed the high hopes Le Gros had for the

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marble which was to be integrated into the existing papal tomb monument in the Cappella Sistina in

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Correspondance des directeurs de l’Académie de France à Rome avec les surintendants des bâtiments

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who managed to arrange his travel on a royal ship. Very rich, but with humorous irony nicknamed

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and celebrates their merits from a pronounced Jesuit point of view as the inscription explains:

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is more ordered, the head lost its visionary vigour, the unruly pages of the book gave way to a

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At the end of the year 1700, it fell to Cardinal de Bouillon as the longest serving cardinal to

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high baroque. His love for fine detail is something he shared with older French sculptors like

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It was, however, of far greater consequence what happened at the Accademia di San Luca. Led by

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Unapologetically, the statue was created to emotionally move the visitor in the room where the

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in 1712) who lived to be adults while his first son with Marie Petit died as a child in 1710.

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and found himself centre stage of the two most prestigious artistic campaigns of his era, the

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in that very year 1803 when the restoration was begun. He only became Canova's pupil in 1814.

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was the very first and for decades the only monumental statue of a founder in Saint Peter's.

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Die Kapelle des Monte di Pietà in Rom. Architektur und Reliefausstattung im römischen Barock

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they were in danger of being sold as stone material together with Cluny abbey but saved by

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and had in time for the Holy Year 1700 found its architectural completion with the dome by

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attracted powerful patrons like the papal treasurer Lorenzo Corsini (much later to become

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De Paris à Rome. Jean-Baptiste Théodon (1645–1713) et la sculpture française après Bernin

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Zu Ehren Casanates. Père Cloches Kunstaufträge in der Frühzeit der Biblioteca Casanatense

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Pierre Le Gros died from pneumonia half a year later on 3 May 1719 and was buried in the

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The latest extensive collection is: Giuseppe Bonaccorso and Francesco Moschini (ed.),

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due to the fact that Cardinal de Bouillon so completely fell out with his cousin, the

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According to Gerhard Bissell, Le Gros was a sculptor of brilliant technical ability:

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who carved two marble versions. Le Gros' work soon ended up in Germany where several

1266: 1161: 1060: 1015:. Another important component was the heart of the duke's brother, the national hero 895: 778: 725: 554:

was left intact and the missing parts remade with slight variations in silver coated

295: 287: 2845: 2458: 1036: 321:, an ancient sculpture then in the garden of the Villa Medici in Rome (today in the 188:. He also played a prominent role in more intimate settings like the chapel of the 3136: 2329: 2246: 1734: 1665: 1582: 1542:

Without doubt due to the intervention of Juvarra, who was by then architect to the

1211: 1064: 834: 803: 786:, "a marvel of delicate marble work". It shows the saint reunited with his beloved 573: 432: 338: 322: 275:, where he arrived in 1690. There, he renewed his close friendship with his cousin 173: 2273:

which is not correct as both, the old woman and the falling man, stand for heresy.

1708:. Even in the second half of the 18th century connoisseurs in Paris described his 3153: 2435: 2431: 2414: 2283: 1705: 1571: 1566: 1431: 1340: 1336: 1327: 1284: 1260: 940: 705: 690: 670: 630: 578: 503: 475: 370:

who also provided oil paintings of the sculptures and reliefs as guides to their

291: 139: 2142:

Many letters between La Teulière and Villacerf from 1692 onwards deal with this.

1086:

in Cluny. A fragment of the heraldic tower is kept in the granary of the abbey.

279:, also a sculptor, and struck a friendship with the academy's other fellow, the 2803: 2308: 1467: 1415: 936: 901: 818: 799: 589: 559: 445: 241: 2038:

Chapel of St. Francesco di Paola, 1711–1714, Rome, S. Giacomo degli Incurabili

1043:

of the envisaged funeral chapel with an idealised view of Le Gros's monument.

858: 453: 337:

some twenty years later and came to Paris in 1722 where she was placed in the

3319: 2946: 2762: 2609:

monograph on Rusconi by Frank Martin and dissertations on Monnot and Théodon.

2355: 2258: 1681: 1438:

in his Parisian house and the chapel in his magnificent country retreat, the

1407: 1296: 1272: 1183: 1179: 1020: 908: 827: 760: 483: 3311:

St. Petersburg, Hermitage Museum, terracotta bozzetto for St. Francis Xavier

3048:

Wiedererstandene Antike. Ergänzungen antiker Kunstwerke seit der Renaissance

2371:

See also some notes on the statue's placement in the Knowledge entry on the

2220:

value has been discussed in great detail by Evonne Levy in her dissertation

1418:

was even wealthier, he was a renowned collector and patron of the arts. His

1136:

At the end of 1702, Pope Clement XI announced his intention to finally have

1083: 923:

site with his visit – on foot – the day following its inauguration in 1703.

641: 2771:

Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart

1669: 1528: 1519:, was hardly started and subsequently taken on by Le Gros' loyal assistant 1498: 1288: 1223: 1199: 931:

of a motionless life size figure on a bed, approachable without a barrier.

881: 615: 601: 437: 367: 299: 268: 2906:, Rome 1981, Vol. I/2, pp. 567–609, in particular pp. 572–579 (in French). 2521:

Corsini was created a cardinal in 1706. The inclusion of the sculpture of

1762: 1102: 911:(soon to be canonised) Jesuit novice died, next to a chapel in the Jesuit 32: 2558: 1515: 1494: 1423: 1358: 1312: 1032: 1028: 1012: 993: 709: 610: 606: 600:, who was a friend of Le Gros' at the Académie Royale in Paris. With the 487: 449: 224: 3271:, University Park and London (Pennsylvania State University Press) 1976. 2718:, University Park and London (Pennsylvania State University Press) 1976. 3287:

French Sculptors of the 17th and 18th Centuries. The Reign of Louis XIV

2734:

French Sculptors of the 17th and 18th Centuries. The Reign of Louis XIV

2564: 2333: 2217: 2165: 1255: 1215: 944: 928: 890: 807: 795: 686: 448:

group had to be corrected several times while Le Gros' model (today in

200: 2499:, Rome 1980, pp. 243–260 (Memoirs of the American Academy in Rome 35). 3072: 2397: 2295: 2161: 1693: 1248:

Monument of Pope Gregory XV and his cardinal-nephew Ludovico Ludovisi

1040: 912: 713: 674: 582: 280: 227: 3091:, in: Marburger Jahrbuch für Kunstwissenschaft 29:2002, pp. 165–197. 1628: 1539:

suffered less damage and remains recognisable as a work by Le Gros.

1364:

From 1711 to 1714 followed the Cappella di S. Francesco di Paola in

3033:(The Pelican History of Art), Harmondsworth (5th ed.) 1982, p. 436. 2497:

Studies in Italian Art and Architecture 15th through 18th Centuries

2198: 2130: 1318: 1052: 985: 787: 565: 551: 523: 471: 326: 238: 131:

Rome where he was the pre-eminent sculptor for nearly two decades.

2508:

A marble replica of reduced size, with some variations, is in the

1535:

was nearly completely destroyed and is now heavily restored while

2821:

Taste and the Antique: The Lure of Classical Sculpture, 1500–1900

2383:

The chapel and its decoration is the subject of: Antje Scherner,

2312: 2152: 1219: 1149: 555: 519: 491: 330: 135: 128: 3289:, vol. II, Oxford (Cassirer) 1981, vol. IV, London (Faber) 1993. 2736:, vol. II, Oxford (Cassirer) 1981, vol. IV, London (Faber) 1993. 2257:

The terracotta's previous owner was most likely Le Gros' friend

3051: 2410: 2406: 2359: 1547: 1300: 1210:

His model was not approved and the Late Baroque classicism, as

989: 947:". The saint's head would originally have been emphasised by a 623: 462: 362:

Order was erecting to its founder in their Roman mother church

359: 306: 169: 2434:

placed over the saint's head in 1825, replacing some previous

2159:. Other names the statue was given over the centuries include 1258:

to add heads, hands and legs to a fragmented antique group of

1159:

Like Théodon, Le Gros was given not only one but two statues:

2245:

As La Teulière explains with respect to the bronze relief by

1720:, a student work, arrived in France 20 years overdue and the 1555: 1349: 1156:

he intended to finance himself and had Théodon commissioned.

1048: 1024: 997: 982:

Emmanuel-Théodose de La Tour d'Auvergne, cardinal de Bouillon

920: 495: 305:

Keen to prove himself by carving a marble copy of an antique

120: 3044:

Haud dubiè Amoris & Psyches imagines fuerunt statuæ istæ

2749:, Columbia (University of Missouri Press) 1983, pp. 232–233. 514:

This work has always been compared to Théodon's counterpart

1204: 791: 498:. Le Gros based the facial expressions on examples for the 431:

Le Gros' participation was mediated by the French engraver

161: 124: 3102:

Pierre Legros and a Statue of the Blessed Stanislas Kostka

2836:, Paris 1765, Vol. II, pp. 190–191 (Minkoff Reprint 1972). 2470:

The current display can be seen at the Guide de tourisme,

2396:

There are only a few earlier examples of black, purple or

976:

after a drawing by Gilles-Marie Oppenordt, published 1708.

478:

by an old woman tearing her hair and a falling man with a

689:

his friend, the art loving Giovanni Francesco Albani, as

39:(anonymous drawing, early 18th century; unknown location) 2943:

Art and Architecture of the Eighteenth Century in France

3209:

The sculptor Pietro Stefano Monnot in Rome, 1695 – 1713

2354:

Both, composition and flatness are very reminiscent of

1941:

Frédéric Maurice de La Tour d'Auvergne, Duc de Bouillon

1005:

Frédéric Maurice de La Tour d'Auvergne, Duc de Bouillon

939:, the thin shirt is of a different white stone and the 374:

while leaving the details to the individual sculptors.

3104:, in: Burlington Magazine, vol. 97, 1955, pp. 287–291. 3087:

Daniel Büchel, Arne Karsten and Philipp Zitzlsperger,

3050:(Cyriacus. Studien zur Rezeption der Antike, Band 1), 1445:

Both Crozat and Oppenordt were on good terms with the

127:) was a French sculptor, active almost exclusively in 2307:

Pecchiai assumes that this assistant of Canova's was

665:

the outgoing director of the French Academy in Rome,

3192:

Camillo Rusconi. Ein Bildhauer des Spätbarock in Rom

2834:

Traité de Peinture suivi d’un essai sur la sculpture

988:

monument for his family to be erected in a funerary

970:

Tomb Monument for the duc de Bouillon and his family

2068:, 1714–1719, Montecassino, Chiostro dei Benefattori 2051:

St. Francesco di Paola intervening to cure the sick

1291:were made. Some time later it was purified back to 806:, presents an alternative idea in which the Jesuit 2982:Death and Dynasty in the Bouillon Tomb Commissions 2965:On the Tercentenary of the Death of Pierre Le Gros 2534:Théodon never made more than small models for the 1546:, Le Gros created two female saints for Juvarra's 980:At some point after 1697, Le Gros was employed by 3282:135:2000(no. 1574), pp. 189–214 (in French). 1558:(c. 1717–18). Upon their arrival, the statues of 1430:who lived with Crozat but also his young protégé 134:He created monumental works of sculpture for the 3317: 3224:, Thèse de doctorat Université de Paris IV 2009. 2795: 2793: 2791: 2789: 2787: 2785: 2783: 2781: 2779: 2585:Le Gros did offer to make a plaster copy of his 2151:This mis-identification, one of many, refers to 1144:filled with twelve heroic-scaled figures of the 927:apprehension and awe, and then see the striking 566:Other early works for the Jesuits and Dominicans 529: 2959: 2957: 2955: 1620:as only Trevisani was still alive at the time. 424: 349: 333:. Finished in 1695, she was finally shipped to 3169:, Rome (Accademia Nazionale di San Luca) 2017. 2984:, in: Art Bulletin 74, June 1992, pp. 272–296. 2690: 2688: 2686: 2684: 2682: 2680: 2678: 2676: 2674: 2672: 2670: 2668: 2666: 2664: 2662: 2660: 2658: 2656: 2654: 2652: 2650: 2648: 2646: 2053:, 1711–1714, Rome, S. Giacomo degli Incurabili 771: 2884:, vol. 107, Berlin (de Gruyter) 2020, p. 413. 2776: 2773:, XXII, Leipzig (E. A. Seemann) 1928, p. 575. 2747:The Sculpture of Gaspard and Balthazard Marsy 2644: 2642: 2640: 2638: 2636: 2634: 2632: 2630: 2628: 2626: 2491:1977); a brief version is: Michael Conforti, 2026:, plaster cast after Le Gros, Schloss Tiefurt 2011:, c. 1703–1712, Rome, S. Giovanni in Laterano 832:, and Théodon, creating its companion piece, 3264:online, de Gruyter, Berlin 2014 (in German). 3117:, in: Le Gallerie Italiane 4:1896–97, p. 51. 2952: 1636:, 1708–1710, San Girolamo della Carità, Rome 1600:, disappointment advanced his early death: 700:in 1700, he presented the terracotta relief 3008: 3006: 3004: 3002: 3000: 2998: 2996: 2994: 2992: 2990: 2859: 2857: 2855: 719: 604:process initiated, Cloche commissioned the 558:from 1803 to 1804 under the supervision of 265:Académie royale de peinture et de sculpture 223:, who was also a sculptor of renown to the 3269:Early Eighteenth-Century Sculpture in Rome 2939:Painting and Sculpture in France 1700–1789 2716:Early Eighteenth-Century Sculpture in Rome 2623: 2556:did not receive a Maratti drawing for his 1868:, 1700–1703, Rome, S. Giovanni in Laterano 1741:and Domenico Guidi but also painters like 1513:only needed finishing touches. The third, 1019:, enclosed in a heart shaped container of 943:is of a black stone at the time known as " 702:The Arts Paying Tribute to Pope Clement XI 646:The Arts Paying Tribute to Pope Clement XI 294:under the directorship of Le Gros' friend 203:tendency against which he fought in vain. 31: 3179:Rudolph's publications related to Maratti 3143:, New Haven (Yale University Press) 1985. 3067:, in: Stuart Currie, Peta Motture (ed.), 2894: 2892: 2890: 2728: 2726: 2724: 2710: 2708: 1996:, 1706–1708, Rome, Biblioteca Casanatense 633:which he was to occupy for all his life. 3211:, Ph.D. thesis New York University 1994. 3083: 3081: 2987: 2933: 2931: 2929: 2852: 1761: 1627: 1242: 963: 640: 251: 3031:Art and Architecture in Italy 1600–1750 2921:Kunsthistorischen Institutes in Florenz 2271:Religion Overthrowing Heresy and Hatred 2189:Quarrel of the Ancients and the Moderns 1422:was at the centre of artistic life for 1357:from designs by Le Gros) to reveal the 1345:ALTER IGNATIUM ARIS. ALTER ARAS IGNATIO 839:, on the opposite wall (both 1702–05). 794:after it had been lost in the sea. The 588:He also started his extensive work for 416:Religion Overthrowing Heresy and Hatred 3318: 2887: 2867:, Rome 1952, pp. 139–196 (in Italian). 2823:, (Yale University Press) 1981, p. 40. 2721: 2705: 2236:(University of California Press) 2004. 1956:Éléonor de Bergh, Duchesse de Bouillon 1414:(Crozat the poor) because his brother 1039:, published in 1708 and containing an 37:Portrait of Pierre Le Gros the Younger 3078: 2926: 2203:Edmond Texier, who then called her a 1958:, finished by 1707, Cluny, Hôtel-Dieu 1943:, finished by 1707, Cluny, Hôtel-Dieu 1928:, finished by 1707, Cluny, Hôtel-Dieu 344: 3046:, in: Max Kunze, Axel Rügler (ed.), 2819:Francis Haskell and Nicholas Penny, 2107:by Paolo Campi, c. 1717–1719, Rome, 1994:Statue of Cardinal Girolamo Casanate 959: 648:, 1702, Rome, Accademia di San Luca. 267:Le Gros was awarded the prestigious 259:, 1692–1695, Paris, Tuileries Garden 1581:In a letter from 6 January 1719 to 1131: 1074:The animated marble figures of the 878:, 1702–03, Novitiate of the Jesuits 842: 837:Distributing Grain to the Egyptians 790:which was brought back to him by a 745:When the new pope offered the many 317:. His model was the then so-called 13: 3231: 1866:Tomb of Cardinal Girolamo Casanate 1853:, 1697–98, Rome, S. Maria Maggiore 857: 680: 211:While he himself always signed as 206: 14: 3387: 3293: 3154:interview with João R. Figueiredo 2332:, both painters of mostly flower 2230:Propaganda and the Jesuit Baroque 2191:of the late seventeenth century. 1898:, 1702–03, Rome, Jesuit Novitiate 1692:can be found all over Europe and 541:The statue was cast in silver by 382:Altar of Saint Ignatius of Loyola 153:and the cycle of the twelve huge 3376:18th-century French male artists 2810:, vol. I-XVIII, Paris 1887–1912. 2387:, Weimar (VDG) 2009 (in German). 2362:of Valentine Balbiani (c. 1583). 2093: 2073: 2058: 2043: 2031: 2016: 2001: 1986: 1963: 1948: 1933: 1918: 1903: 1896:Stanislas Kostka on his Deathbed 1888: 1873: 1858: 1843: 1828: 1813: 1384:Stanislas Kostka on his Deathbed 1374:, intervening to cure the sick. 1250:, c. 1709–14, Rome, Sant'Ignazio 1115: 1110:Los Angeles County Museum of Art 1101: 875:Stanislas Kostka on his Deathbed 868: 494:, whose book is torn apart by a 406: 390: 3276:Pierre Legros, sculpteur romain 3214: 3201: 3184: 3172: 3159: 3146: 3129: 3120: 3107: 3094: 3057: 3036: 3023: 2980:See also: Mary Jackson Harvey, 2974: 2949:1972 and several new editions). 2909: 2870: 2839: 2826: 2813: 2602: 2593: 2579: 2570: 2547: 2528: 2515: 2502: 2477: 2464: 2451: 2441: 2420: 2390: 2377: 2365: 2348: 2339: 2318: 2301: 2276: 2263: 2251: 2239: 2210: 2177: 1608:Only in 1725, with the painter 813:Also in 1702, the board of the 732:(1700–03) and subsequently the 659: 456:) was spot on from the outset. 2752: 2739: 2269:The group is sometimes called 2183:Long after Le Gros' death the 2145: 2136: 2122: 1978:, sculpture by Le Gros, Rome, 1772:, c. 1709–1713, detail of the 1660:, the Frenchmen Vleughels and 1478:and three other academicians ( 1238: 716:of the newly elected pontiff. 516:Triumph of Faith over Idolatry 400:Triumph of Faith over Idolatry 1: 3356:18th-century French sculptors 3346:17th-century French sculptors 3152:See Montagu's remarks in her 3069:The Sculpted Object 1400–1700 2923:, Vol. 35, 1991, pp. 323–336. 2495:, in: Henry A. Millon (Ed.), 2493:Planning the Lateran Apostles 1974:, 1705–1707, architecture by 1926:The Duc de Bouillon in Battle 1883:, 1702, Rome, Sant'Apollinare 1838:, 1697–99, Rome, Sant'Ignazio 1821:Silver statue of St. Ignatius 1623: 1525:heavy bombing of Montecassino 1171:(1703–11), sponsored by King 636: 530:Silver statue of St. Ignatius 474:religion, drives out heresy, 192:and the Cappella Antamori in 2616: 2428:Cappellette di San Stanislao 2088:, c. 1717–1719, Turin, Duomo 1785:without appearing grotesque. 1523:as his own work. During the 1366:San Giacomo degli Incurabili 1069:Musée des Monuments français 972:. Detail of an engraving by 919:. The pope honoured the new 426:Religion Overthrowing Heresy 350:The chapel of Saint Ignatius 315:Édouard Colbert de Villacerf 235:Gaspard and Balthazard Marsy 7: 3262:Allgemeines Künstlerlexikon 3100:See also: Francis Haskell, 2882:Allgemeines Künstlerlexikon 1976:Carlo Francesco Bizzaccheri 1913:, 1702–06, Rome, St. Peters 823:Carlo Francesco Bizzaccheri 772:Other important commissions 735:Statue of Cardinal Casanate 313:and his superior in Paris, 168:. Le Gros' handling of the 16:French sculptor (1666–1719) 10: 3392: 3341:Prix de Rome for sculpture 3307:Pierre Le Gros the Younger 2510:Metropolitan Museum of Art 1836:S. Luigi Gonzaga in Gloria 1823:, 1697–1699, Rome, Il Gesù 1801: 1634:San Filippo Neri in Gloria 1377: 1140:'s colossal niches in the 1055:, that he was declared an 572:Apotheosis of the Blessed 562:by one of his assistants. 247: 182:Dean of the Sacred College 3300:Pierre Le Gros II on-line 3239:Pierre le Gros, 1666–1719 2696:Pierre le Gros, 1666–1719 2562:but did have one for his 2541:Saint John the Evangelist 1696:were disseminated of his 1686:St. Dominic, St. Ignatius 1680:and the still very young 1451:Queen Christina of Sweden 1308:San Girolamo della Carità 1108:Terracotta model, 1703–04 968:Le Gros' project for the 867: 856: 851: 194:San Girolamo della Carità 106: 98: 90: 79: 63: 44: 30: 23: 2115: 1757: 1743:Giovanni Battista Gaulli 1401: 1388:Sant'Andrea al Quirinale 1283:and, best known of all, 1124:San Giovanni in Laterano 1067:who wanted them for his 917:Sant'Andrea al Quirinale 782:(1702) in the church of 720:Antonin Cloche as patron 696:Elected a member of the 626:in very shallow relief. 594:Master of the Dominicans 298:, and eventually to the 221:Pierre Le Gros the Elder 3167:Carlo Fontana 1638–1714 2919:, in: Mitteilungen des 1794:stand out, or to cast 1664:as well as the Italian 1632:Cappella Antamori with 1596:in Rome. If we believe 1457: 1232:Saint James the Greater 974:Benoît Audran the Elder 830:Lending Money to Gabael 543:Johann Friedrich Ludwig 311:Matthieu de La Teulière 3366:Italian male sculptors 3280:Gazette des Beaux-Arts 3258:Le Gros, Pierre (1666) 2759:Legros (Le Gros), Jean 2373:Biblioteca Casanatense 2326:Jean-Baptiste Monnoyer 2228:1993; see also: ead., 1787: 1777: 1637: 1606: 1594:French national church 1504:Pope Gregory the Great 1484:Giovanni Maria Morandi 1440:Château de Montmorency 1324:With the vast, lavish 1310:, Rome. His statue of 1281:Martin Gottlieb Klauer 1251: 977: 862: 740:Biblioteca Casanatense 649: 506:. While the figure of 461:Religion Overthrowing 284:Gilles-Marie Oppenordt 273:French Academy in Rome 260: 84:San Luigi dei Francesi 3351:French male sculptors 3196:Deutscher Kunstverlag 3194:, Berlin and Munich ( 2832:M.-F. Dandré-Bardon, 2800:Anatole de Montaiglon 2554:Pierre-Étienne Monnot 1980:San Pietro in Vincoli 1782: 1765: 1631: 1602: 1355:Pierre-Étienne Monnot 1246: 967: 861: 784:Sant'Apollinare, Rome 698:Accademia di San Luca 644: 459:Le Gros' subject was 442:Jean-Baptiste Théodon 397:Jean-Baptiste Théodon 255: 3336:Sculptors from Paris 3014:The Lateran Apostles 2599:Meaning a knighthood 2485:The Lateran Apostles 2234:Berkeley, California 2226:Princeton University 2195:Louis-Pierre Deseine 2109:Sant'Agnese in Agone 2103:above the statue of 1752:Agostino Cornacchini 1598:Pierre-Jean Mariette 1488:Bonaventura Lamberti 1472:Michelangelo Cerruti 1173:Peter II of Portugal 1031:of a royal rank and 667:René-Antoine Houasse 620:Santa Maria Maggiore 263:As a student of the 184:the highest ranking 178:Cardinal de Bouillon 3305:Web Gallery of Art: 3135:First and foremost 2969:Italian Art Society 2328:and the brother of 2216:The chapel and its 2172:of Lebanon, Silence 1972:Cinzio Aldobrandini 1690:Apostle Bartholomew 1678:Franz Georg Hermann 1647:Francesco Borromini 1643:Gianlorenzo Bernini 1476:Francesco Trevisani 1428:Charles de la Fosse 1386:into the church of 1277:Francesco Carradori 1195:Gianlorenzo Bernini 1080:Duchess de Bouillon 380:Side groups on the 123:– 3 May 1719 3371:Catholic sculptors 3285:François Souchal, 3243:Reading, Berkshire 3207:Stephanie Walker, 3141:Alessandro Algardi 3075:1997, pp. 221–237. 3029:Rudolf Wittkower, 3018:Harvard University 3012:Michael Conforti, 2915:Gerhard Schuster, 2732:François Souchal, 2700:Reading, Berkshire 2489:Harvard University 2413:. Some statues by 2324:He was the son of 2292:Gustaf Vasa Church 2197:opted to copy the 2086:St.Teresa of Avila 1881:St. Francis Xavier 1851:Tomb of St. Pius V 1778: 1748:Bernardino Cametti 1672:and the Frenchman 1662:Louis de Silvestre 1651:Alessandro Algardi 1638: 1480:Pasquale de' Rossi 1442:(both destroyed). 1353:(both the work of 1252: 1224:carpenter's square 1057:enemy of the state 978: 953:St. Francis Xavier 863: 650: 444:submitted for the 356:Ignatius of Loyola 345:Early independence 261: 146:Ignatius of Loyola 3361:Italian sculptors 3256:Gerhard Bissell, 3237:Gerhard Bissell, 3220:Alicia Adamczak, 3156:in Forma de vida. 3063:Gerhard Bissell, 3042:Gerhard Bissell, 2963:Gerhard Bissell, 2904:Le Palais Farnèse 2876:Gerhard Bissell, 2694:Gerhard Bissell, 2523:Saint Bartholomew 2288:Uppsala Cathedral 2205:Vénus silencieuse 2024:Caunus and Byblis 1970:Tomb of Cardinal 1808: 1774:Ludovisi Monument 1769:Ludovico Ludovisi 1731:François Girardon 1722:Bouillon Monument 1674:Guillaume Coustou 1658:Gaspar van Wittel 1576:Ponte Sant'Angelo 1550:of the church of 1507:was finished and 1371:Madonna and child 1332:Ludovico Ludovisi 1267:Caunus and Byblis 1162:Saint Bartholomew 1061:French Revolution 960:Bouillon Monument 887: 886: 779:St Francis Xavier 726:Girolamo Casanate 598:Baptiste Monnoyer 577:in the church of 296:Nicolas Vleughels 288:Palazzo Capranica 114: 113: 3383: 3267:Robert Enggass, 3225: 3218: 3212: 3205: 3199: 3188: 3182: 3176: 3170: 3163: 3157: 3150: 3144: 3137:Jennifer Montagu 3133: 3127: 3124: 3118: 3115:Rosalba Carriera 3111: 3105: 3098: 3092: 3085: 3076: 3061: 3055: 3054:2003, pp. 73–80. 3040: 3034: 3027: 3021: 3010: 2985: 2978: 2972: 2971:blog, 2 May 2019 2961: 2950: 2935: 2924: 2913: 2907: 2898:Olivier Michel, 2896: 2885: 2874: 2868: 2861: 2850: 2847:Tableau de Paris 2843: 2837: 2830: 2824: 2817: 2811: 2797: 2774: 2756: 2750: 2743: 2737: 2730: 2719: 2714:Robert Enggass, 2712: 2703: 2692: 2610: 2606: 2600: 2597: 2591: 2587:Stanislas Kostka 2583: 2577: 2574: 2568: 2551: 2545: 2532: 2526: 2519: 2513: 2506: 2500: 2481: 2475: 2468: 2462: 2455: 2449: 2445: 2439: 2436:fresco paintings 2424: 2418: 2394: 2388: 2381: 2375: 2369: 2363: 2352: 2346: 2343: 2337: 2330:Antoine Monnoyer 2322: 2316: 2305: 2299: 2280: 2274: 2267: 2261: 2255: 2249: 2243: 2237: 2214: 2208: 2181: 2175: 2155:, the mother of 2149: 2143: 2140: 2134: 2126: 2101:Angels and putti 2097: 2077: 2066:Emperor Henry II 2062: 2047: 2035: 2020: 2005: 1990: 1967: 1952: 1937: 1922: 1907: 1892: 1877: 1862: 1847: 1832: 1817: 1806: 1735:Antoine Coysevox 1702:Stanislas Kostka 1666:Sebastiano Conca 1583:Rosalba Carriera 1510:Emperor Henry II 1412:Crozat le pauvre 1393:Angelo de' Rossi 1313:San Filippo Neri 1142:Lateran basilica 1132:Lateran Apostles 1119: 1105: 1065:Alexandre Lenoir 896:Stanislas Kostka 872: 871: 849: 848: 844:Stanislas Kostka 804:Hermitage Museum 755:religious orders 730:Lateran Basilica 433:Nicholas Dorigny 410: 394: 339:Tuileries Garden 323:Loggia dei Lanzi 271:to study at the 174:Pope Clement XII 166:Lateran basilica 70: 54: 52: 35: 21: 20: 3391: 3390: 3386: 3385: 3384: 3382: 3381: 3380: 3316: 3315: 3296: 3274:Pascal Julien, 3234: 3232:Further reading 3229: 3228: 3219: 3215: 3206: 3202: 3189: 3185: 3177: 3173: 3164: 3160: 3151: 3147: 3134: 3130: 3125: 3121: 3112: 3108: 3099: 3095: 3086: 3079: 3062: 3058: 3041: 3037: 3028: 3024: 3016:, Ph.D. thesis 3011: 2988: 2979: 2975: 2962: 2953: 2937:Michael Levey, 2936: 2927: 2914: 2910: 2897: 2888: 2878:Tadolini, Adamo 2875: 2871: 2865:Il Gesù di Roma 2862: 2853: 2844: 2840: 2831: 2827: 2818: 2814: 2798: 2777: 2757: 2753: 2744: 2740: 2731: 2722: 2713: 2706: 2693: 2624: 2619: 2614: 2613: 2607: 2603: 2598: 2594: 2584: 2580: 2575: 2571: 2552: 2548: 2533: 2529: 2520: 2516: 2507: 2503: 2487:, Ph.D. thesis 2482: 2478: 2469: 2465: 2456: 2452: 2446: 2442: 2432:Tommaso Minardi 2425: 2421: 2415:Nicolas Cordier 2395: 2391: 2382: 2378: 2370: 2366: 2353: 2349: 2344: 2340: 2323: 2319: 2306: 2302: 2284:Burchard Precht 2281: 2277: 2268: 2264: 2256: 2252: 2244: 2240: 2224:, Ph.D. thesis 2215: 2211: 2202: 2192: 2182: 2178: 2150: 2146: 2141: 2137: 2127: 2123: 2118: 2111: 2105:Saint Sebastian 2098: 2089: 2078: 2069: 2063: 2054: 2048: 2039: 2036: 2027: 2021: 2012: 2009:St. Bartholomew 2006: 1997: 1991: 1982: 1968: 1959: 1953: 1944: 1938: 1929: 1923: 1914: 1908: 1899: 1893: 1884: 1878: 1869: 1863: 1854: 1848: 1839: 1833: 1824: 1818: 1804: 1776:in Sant'Ignazio 1760: 1739:Melchiorre Cafà 1706:Edme Bouchardon 1626: 1610:Giuseppe Chiari 1572:Turin Cathedral 1567:Teresa of Avila 1561:Saint Christina 1460: 1432:Antoine Watteau 1404: 1380: 1341:cardinal-nephew 1328:Pope Gregory XV 1317:many putti and 1293:Amor and Psyche 1285:Laurent Delvaux 1261:Amor and Psyche 1241: 1134: 1129: 1128: 1127: 1126: 1125: 1123: 1122:Marble, 1703–11 1120: 1112: 1111: 1109: 1106: 1097: 1096: 1011:her husband to 962: 898:on his Deathbed 879: 869: 852:External videos 847: 774: 722: 706:reception piece 691:Pope Clement XI 683: 681:Pope Clement XI 671:Filippo Juvarra 662: 639: 631:Palazzo Farnese 568: 532: 504:Charles Le Brun 429: 422: 421: 420: 419: 418: 414: 411: 403: 402: 398: 395: 386: 385: 352: 347: 292:Palazzo Mancini 277:Pierre Lepautre 250: 209: 207:Name and family 144:Altar of Saint 119:(12 April 1666 75: 72: 68: 59: 56: 50: 48: 40: 38: 26: 17: 12: 11: 5: 3389: 3379: 3378: 3373: 3368: 3363: 3358: 3353: 3348: 3343: 3338: 3333: 3328: 3314: 3313: 3308: 3302: 3295: 3294:External links 3292: 3291: 3290: 3283: 3272: 3265: 3254: 3233: 3230: 3227: 3226: 3213: 3200: 3190:Frank Martin, 3183: 3171: 3158: 3145: 3128: 3119: 3106: 3093: 3077: 3056: 3035: 3022: 2986: 2973: 2951: 2925: 2908: 2886: 2869: 2863:Pio Pecchiai, 2851: 2838: 2825: 2812: 2804:Jules Guiffrey 2775: 2751: 2745:Thomas Hedin, 2738: 2720: 2704: 2621: 2620: 2618: 2615: 2612: 2611: 2601: 2592: 2578: 2569: 2546: 2527: 2514: 2501: 2476: 2463: 2459:Étienne Baluze 2450: 2440: 2419: 2389: 2376: 2364: 2347: 2338: 2317: 2309:Adamo Tadolini 2300: 2290:(currently in 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378: 377: 376: 351: 348: 346: 343: 249: 246: 242:Jean Le Pautre 208: 205: 190:Monte di Pietà 117:Pierre Le Gros 112: 111: 108: 104: 103: 100: 96: 95: 92: 88: 87: 81: 77: 76: 73: 71:(aged 53) 65: 61: 60: 57: 46: 42: 41: 36: 28: 27: 25:Pierre Le Gros 24: 15: 9: 6: 4: 3: 2: 3388: 3377: 3374: 3372: 3369: 3367: 3364: 3362: 3359: 3357: 3354: 3352: 3349: 3347: 3344: 3342: 3339: 3337: 3334: 3332: 3329: 3327: 3324: 3323: 3321: 3312: 3309: 3306: 3303: 3301: 3298: 3297: 3288: 3284: 3281: 3277: 3273: 3270: 3266: 3263: 3259: 3255: 3252: 3251:0-9529925-0-7 3248: 3244: 3240: 3236: 3235: 3223: 3217: 3210: 3204: 3197: 3193: 3187: 3180: 3175: 3168: 3162: 3155: 3149: 3142: 3138: 3132: 3123: 3116: 3110: 3103: 3097: 3090: 3084: 3082: 3074: 3070: 3066: 3060: 3053: 3049: 3045: 3039: 3032: 3026: 3019: 3015: 3009: 3007: 3005: 3003: 3001: 2999: 2997: 2995: 2993: 2991: 2983: 2977: 2970: 2966: 2960: 2958: 2956: 2948: 2947:Harmondsworth 2944: 2940: 2934: 2932: 2930: 2922: 2918: 2912: 2905: 2901: 2895: 2893: 2891: 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1473: 1469: 1464: 1455: 1452: 1448: 1443: 1441: 1437: 1433: 1429: 1425: 1421: 1417: 1413: 1409: 1408:Pierre Crozat 1399: 1396: 1394: 1389: 1385: 1375: 1373: 1372: 1367: 1362: 1360: 1356: 1352: 1351: 1346: 1342: 1338: 1334: 1333: 1330:and cardinal 1329: 1322: 1320: 1315: 1314: 1309: 1304: 1302: 1298: 1297:Tiefurt House 1294: 1290: 1289:plaster casts 1286: 1282: 1278: 1274: 1273:Pompeo Batoni 1269: 1268: 1263: 1262: 1257: 1249: 1245: 1236: 1234: 1233: 1227: 1225: 1221: 1217: 1213: 1208: 1206: 1202: 1201: 1196: 1192: 1187: 1185: 1184:Carlo Maratti 1181: 1180:Carlo Fontana 1176: 1174: 1170: 1169: 1164: 1163: 1157: 1155: 1151: 1147: 1143: 1139: 1118: 1104: 1094: 1087: 1085: 1081: 1077: 1072: 1070: 1066: 1062: 1058: 1054: 1050: 1044: 1042: 1038: 1034: 1030: 1026: 1022: 1021:gilded silver 1018: 1014: 1010: 1006: 1001: 999: 995: 991: 987: 983: 975: 971: 966: 957: 954: 950: 946: 942: 938: 932: 930: 924: 922: 918: 914: 910: 905: 903: 899: 897: 892: 883: 877: 876: 866: 860: 855: 850: 845: 840: 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The 707: 703: 699: 694: 692: 688: 678: 676: 672: 668: 657: 655: 647: 643: 634: 632: 627: 625: 621: 617: 614:(1697–98) of 613: 612: 608: 603: 599: 595: 591: 586: 584: 580: 576: 575: 574:Luigi Gonzaga 563: 561: 557: 553: 549: 544: 539: 537: 527: 525: 521: 517: 512: 509: 505: 502:developed by 501: 497: 493: 489: 485: 481: 477: 473: 469: 465: 464: 457: 455: 451: 447: 443: 439: 434: 427: 417: 409: 401: 393: 383: 375: 373: 369: 365: 361: 357: 342: 340: 336: 332: 328: 324: 320: 316: 312: 308: 303: 301: 297: 293: 289: 285: 282: 278: 274: 270: 266: 258: 254: 245: 243: 240: 236: 231: 229: 226: 222: 218: 214: 204: 202: 197: 195: 191: 187: 183: 179: 175: 171: 167: 163: 159: 157: 152: 148: 147: 141: 137: 132: 130: 126: 122: 118: 109: 105: 101: 97: 93: 89: 85: 82: 80:Resting place 78: 66: 62: 55:12 April 1666 47: 43: 34: 29: 22: 19: 3286: 3275: 3268: 3257: 3253:(in German). 3238: 3221: 3216: 3208: 3203: 3191: 3186: 3174: 3166: 3161: 3148: 3140: 3131: 3122: 3114: 3109: 3101: 3096: 3088: 3068: 3064: 3059: 3047: 3043: 3038: 3030: 3025: 3013: 2981: 2976: 2942: 2938: 2916: 2911: 2903: 2899: 2877: 2872: 2864: 2846: 2841: 2833: 2828: 2820: 2815: 2807: 2770: 2767:Felix Becker 2758: 2754: 2746: 2741: 2733: 2715: 2695: 2604: 2595: 2586: 2581: 2572: 2563: 2557: 2549: 2539: 2535: 2530: 2522: 2517: 2504: 2496: 2492: 2484: 2479: 2466: 2453: 2443: 2427: 2422: 2392: 2384: 2379: 2367: 2350: 2341: 2320: 2303: 2278: 2270: 2265: 2253: 2241: 2229: 2221: 2212: 2204: 2184: 2179: 2160: 2147: 2138: 2124: 2104: 2100: 2085: 2082:St.Christina 2081: 2065: 2050: 2023: 2008: 1993: 1955: 1940: 1925: 1910: 1895: 1880: 1865: 1850: 1835: 1820: 1805: 1796:Filippo Neri 1795: 1791: 1788: 1783: 1779: 1773: 1766: 1727: 1721: 1717: 1714: 1709: 1701: 1697: 1689: 1685: 1670:Francis Bird 1655: 1639: 1633: 1618:posthumously 1613: 1607: 1603: 1591: 1587: 1580: 1565: 1559: 1541: 1536: 1533:Pope Gregory 1532: 1529:World War II 1514: 1508: 1502: 1499:Montecassino 1492: 1465: 1461: 1444: 1435: 1424:connoisseurs 1411: 1405: 1397: 1383: 1381: 1369: 1363: 1348: 1344: 1337:Sant'Ignazio 1326:Monument to 1325: 1323: 1311: 1305: 1292: 1265: 1259: 1253: 1247: 1230: 1228: 1209: 1205:Eternal City 1200:St. Longinus 1198: 1191:Saint Thomas 1190: 1188: 1177: 1168:Saint Thomas 1166: 1160: 1158: 1153: 1135: 1092: 1079: 1075: 1073: 1045: 1002: 979: 969: 952: 933: 925: 906: 894: 888: 882:Smarthistory 874: 843: 833: 826: 812: 777: 775: 765: 758: 744: 733: 723: 701: 695: 684: 663: 660:Married life 651: 645: 628: 616:verde antico 605: 602:canonisation 587: 579:Sant'Ignazio 571: 569: 540: 536:St. Ignatius 535: 533: 515: 513: 507: 499: 467: 460: 458: 430: 425: 415: 399: 381: 368:Andrea Pozzo 353: 318: 304: 300:Villa Medici 269:Prix de Rome 262: 256: 232: 216: 212: 210: 198: 154: 143: 133: 116: 115: 69:(1719-05-03) 18: 3331:1719 deaths 3326:1666 births 2900:L’Accademia 2769:(editors): 2559:Saint Peter 2536:Saint Peter 2334:still lifes 2247:René Frémin 2080:Statues of 1911:St. Dominic 1552:S. Cristina 1521:Paolo Campi 1516:Charlemagne 1495:Benedictine 1359:protagonist 1239:Later works 1033:sovereignty 1029:postulation 1013:catholicism 994:Cluny Abbey 880:Video from 742:(1706–08). 710:iconography 611:Pope Pius V 607:Sarcophagus 550:. Le Gros' 476:personified 454:Musée Fabre 450:Montpellier 372:composition 225:French king 91:Nationality 3320:Categories 2565:Saint Paul 2472:Hôtel-Dieu 2457:See also: 2358:'s famous 2218:propaganda 2166:Polyhymnia 2157:Coriolanus 2133:of Souchal 1694:engravings 1624:Importance 1612:being its 1256:ambassador 1216:censorship 1095:by Le Gros 1084:Hôtel-Dieu 1009:converting 929:silhouette 921:devotional 893:statue of 891:polychrome 808:missionary 796:terracotta 759:Statue of 687:consecrate 637:High hopes 524:virtuosity 470:, meaning 358:which the 201:classicist 140:Dominicans 99:Occupation 67:3 May 1719 51:1666-04-12 3073:Aldershot 2617:Citations 2409:, in the 2398:alabaster 2296:Stockholm 2162:Thusnelda 2131:endpapers 1497:abbey of 1212:Wittkower 1154:St. Peter 1138:Borromini 1041:engraving 913:novitiate 798:model in 714:patronage 675:godfather 654:Holy Year 281:architect 228:Louis XIV 2806:(eds.), 2538:and the 2402:porphyry 2199:Arrotino 2185:Vetturie 1718:Vetturie 1710:Vetturie 1614:principe 1537:Henry II 1319:cherubim 1150:prelates 1146:Apostles 1053:Sun King 986:dynastic 945:paragone 788:crucifix 673:was his 552:chasuble 508:Religion 500:passions 472:Catholic 468:Religion 327:Florence 319:Vetturie 257:Vetturie 239:engraver 186:cardinal 138:and the 102:Sculptor 3198:) 2019. 2590:church. 2313:Bologna 2286:'s for 2153:Veturia 1802:Gallery 1688:or the 1436:cabinet 1416:Antoine 1378:Decline 1220:drapery 1017:Turenne 909:blessed 902:tableau 753:to the 738:in the 704:as his 556:plaster 520:panache 492:Zwingli 480:serpent 446:pendant 438:protégé 364:Il Gesù 331:Raphael 248:Student 213:Le Gros 164:of the 160:in the 158:statues 156:Apostle 149:in the 136:Jesuits 129:Baroque 110:Baroque 3278:, in: 3260:, in: 3249: 3245:1997, 3052:Munich 2902:, in: 2880:, in: 2761:, in: 2411:Louvre 2407:Poissy 2360:gisant 1548:facade 1447:Regent 1301:Weimar 990:chapel 949:nimbus 835:Joseph 747:niches 656:1700. 624:effigy 592:, the 583:polish 488:Calvin 484:Luther 463:Heresy 360:Jesuit 307:statue 217:Legros 176:) and 170:marble 94:French 86:, Rome 3020:1977. 2702:1997. 2448:next. 2170:Venus 2116:Notes 1758:Style 1556:Turin 1420:house 1402:Paris 1350:Famae 1299:near 1049:Cluny 1025:David 998:Cluny 941:habit 828:Tobit 496:putto 335:Marly 180:, as 121:Paris 107:Style 58:Paris 3247:ISBN 2802:and 2426:The 2084:and 1750:and 1733:and 1700:and 1564:and 1486:and 1470:and 1458:Rome 1078:and 1076:Duke 889:The 792:crab 609:for 522:and 490:and 162:nave 151:Gesù 125:Rome 74:Rome 64:Died 45:Born 1554:in 1527:in 1335:in 1197:'s 992:in 915:at 749:in 325:in 3322:: 3241:, 3139:, 3080:^ 3071:, 2989:^ 2967:, 2954:^ 2945:, 2928:^ 2889:^ 2854:^ 2778:^ 2765:, 2723:^ 2707:^ 2698:, 2625:^ 2298:). 2294:, 2232:, 2168:, 2164:, 1645:, 1578:. 1531:, 1482:, 1303:. 1279:, 1275:, 1207:. 1175:. 1071:. 802:, 486:, 452:, 341:. 302:. 230:. 3181:. 2544:. 2512:. 2474:. 2461:. 2336:. 2174:. 53:) 49:(

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