Statuettes of Saint John and the Synagogue, classified National Treasury, were considered lost forever or destroyed. Their discovery led to reconstruct a masterpiece of Gothic art. 4,500 donors have chosen to support the Louvre to acquire.
Saint Jean and the Synagogue before the Descent from the Cross
A Masterpiece of World Heritage
The group of the Descent from the Cross in the Louvre is one of the key works of French Gothic art, both the quality and elegance of its style and its dramatic force. The status of national treasure attributed to St John and the Synagogue reflects perfection of execution, and their remarkable state of preservation. Acquisition of two missing statuettes made this set a unique masterpiece in the world the Louvre and has the only full group carved this period reached us in excellent condition.
The group is shown an episode of the Passion of Christ. The whole forms a spectacular image by its dramatic power combined with restraint in the expression of a sharp pain. Each of the characters that comprise a defined role in a staged originally intended to build and move the viewer. Gather the entire family of characters allowed to complete the story “images” of this biblical episode.
Saint Jean and the Synagogue
Both statues have the same stylistic characteristics as statuettes already exhibited at the Louvre, which helped to establish with evidence that they belong to this group: remnants of extremely fine polychrome portraits of the very rare style, the skeleton , loops thick and abundant hair.
Jean, wearing a coat draped over her dress, holding in his left hand the book, while he brings his right hand a piece of his coat to his face to wipe her tears. Favorite disciple of Christ, it appears young and beardless. His face is both angelic and contorted with pain. Wrinkles are visible on his forehead, which is extremely rare in this type of representation. It is expected to be equal to the Virgin, on the other side of Christ.
The synagogue, according to a widespread in the thirteenth century iconography, leans her head blindfolded. She holds her left hand veiled tables overturned the Act, and held in his right hand a broken spear, now defunct. Its slender silhouette meets that of the Church and should be arranged symmetrically thereto. The figure of the Synagogue provides details of great virtuosity of execution: and the fine belt loop that holds the orfévrée her dress, the elegance of his hands, any length or mellowness drapery of her dress, which fall while flexibility.