SARAZIN, Jacques

Sarazin returned to sixteenth-century models for his caryatids below the dome of the Pavillon de l’Horloge at the Louvre. These tall figures, skillfully grouped in pairs, were conceived as pilasters. Both the contrapposto arrangement of the statues and the treatment of the robes indicate direct influence of classical models.

Sarazin returned to sixteenth-century models for his caryatids below the dome of the Pavillon de l’Horloge at the Louvre. These tall figures, skillfully grouped in pairs, constitute a clear homage to Jean Goujon.

Cardinal de B�rulle (1575 - 1629) was an important figure of the Catholic Reform, he founded the Oratorian Order, and introduced the Carmelites to France. Three monuments were erected for him, one for the dead body, another for the right arm, and the third for his heart. This latter was sculpted by Sarazin for the Chapel of Sainte-Madeleine in the Carmelite church in rue Saint-Jacques. The monument was begun in 1653 but finished only in 1657.

The influence of Sarazin’s Roman training can be seen in the first works which he executed on his return to Paris, such as the altar in St Nicolas-des-Champs and the sculpture for the chateau and nymphaeum at Wideville. But a more personal manner appears in his first royal commission, the decoration of Lemercier’s Pavillon de l’Horloge at the Louvre. Sarazin’s caryatids may claim to be the first works of French classicism in sculpture, and are thus the exact parallel to the work of Poussin and Fran�ois Mansart at the same moment in the other two arts. From the frontal poses, the archaeological accuracy of the dress, and the treatment of the draperies we can see that Sarazin has not taken his classicism entirely second-hand through the artists he had known in Italy but has also looked directly at ancient Roman statues.

The sculpture was executed by Sarazin’s workshop (Gilles Gu�rin, Philippe de Buyster and Thibaut Poissant) after the terracotta model by Sarazin, and under the direction by Sarazin. The picture shows the first pair of caryatides from the left.

The influence of Sarazin’s Roman training can be seen in the first works which he executed on his return to Paris, such as the altar in St Nicolas-des-Champs and the sculpture for the chateau and nymphaeum at Wideville. But a more personal manner appears in his first royal commission, the decoration of Lemercier’s Pavillon de l’Horloge at the Louvre. Sarazin’s caryatids may claim to be the first works of French classicism in sculpture, and are thus the exact parallel to the work of Poussin and Fran�ois Mansart at the same moment in the other two arts. From the frontal poses, the archaeological accuracy of the dress, and the treatment of the draperies we can see that Sarazin has not taken his classicism entirely second-hand through the artists he had known in Italy but has also looked directly at ancient Roman statues.

The sculpture was executed by Sarazin’s workshop (Gilles Gu�rin, Philippe de Buyster and Thibaut Poissant) after the terracotta model by Sarazin, and under the direction by Sarazin. The picture shows the first pair of caryatides from the left.

The influence of Sarazin’s Roman training can be seen in the first works which he executed on his return to Paris, such as the altar in St Nicolas-des-Champs and the sculpture for the chateau and nymphaeum at Wideville. But a more personal manner appears in his first royal commission, the decoration of Lemercier’s Pavillon de l’Horloge at the Louvre. Sarazin’s caryatids may claim to be the first works of French classicism in sculpture, and are thus the exact parallel to the work of Poussin and Fran�ois Mansart at the same moment in the other two arts. From the frontal poses, the archaeological accuracy of the dress, and the treatment of the draperies we can see that Sarazin has not taken his classicism entirely second-hand through the artists he had known in Italy but has also looked directly at ancient Roman statues.

The sculpture was executed by Sarazin’s workshop (Gilles Gu�rin, Philippe de Buyster and Thibaut Poissant) after the terracotta model by Sarazin, and under the direction by Sarazin. The picture shows the second pair of caryatides from the left.

The influence of Sarazin’s Roman training can be seen in the first works which he executed on his return to Paris, such as the altar in St Nicolas-des-Champs and the sculpture for the chateau and nymphaeum at Wideville. But a more personal manner appears in his first royal commission, the decoration of Lemercier’s Pavillon de l’Horloge at the Louvre. Sarazin’s caryatids may claim to be the first works of French classicism in sculpture, and are thus the exact parallel to the work of Poussin and Fran�ois Mansart at the same moment in the other two arts. From the frontal poses, the archaeological accuracy of the dress, and the treatment of the draperies we can see that Sarazin has not taken his classicism entirely second-hand through the artists he had known in Italy but has also looked directly at ancient Roman statues.

The sculpture was executed by Sarazin’s workshop (Gilles Gu�rin, Philippe de Buyster and Thibaut Poissant) after the terracotta model by Sarazin, and under the direction by Sarazin. The picture shows the second pair of caryatides from the right.

The influence of Sarazin’s Roman training can be seen in the first works which he executed on his return to Paris, such as the altar in St Nicolas-des-Champs and the sculpture for the chateau and nymphaeum at Wideville. But a more personal manner appears in his first royal commission, the decoration of Lemercier’s Pavillon de l’Horloge at the Louvre. Sarazin’s caryatids may claim to be the first works of French classicism in sculpture, and are thus the exact parallel to the work of Poussin and Fran�ois Mansart at the same moment in the other two arts. From the frontal poses, the archaeological accuracy of the dress, and the treatment of the draperies we can see that Sarazin has not taken his classicism entirely second-hand through the artists he had known in Italy but has also looked directly at ancient Roman statues.

The sculpture was executed by Sarazin’s workshop (Gilles Gu�rin, Philippe de Buyster and Thibaut Poissant) after the terracotta model by Sarazin, and under the direction by Sarazin. The picture shows the first pair of caryatides from the right.

These figures are from the tomb of Henri de Bourbon, Prince de Cond�.

Sarazin’s last work was the monument erected to Henri de Bourbon, Prince de Cond�, father of the great Cond�, in the church of St Paul-St Louis. It was begun in 1648, but the monument was not finished till 1663, three years after the artist’s death. In the nineteenth century it was moved by the Duc d’Aumale to Chantilly and reconstructed in a wholly new setting, with the result that in its present form only the individual groups and not the general arrangement represent the original intention of Sarazin. The groups, one of them the Prudence, reveal the importance of this late stage in Sarazin’s evolution; for here we see in fully developed form the style which was to dominate the sculpture of Versailles for the next two decades. It was Sarazin who invented in sculpture the peculiar mixture of classicism and Baroque which was to fit with the doctrine of Lebrun and to play its part in the style of Louis XIV.

For the Jesuit church of Saint-Paul-Saint-Louis, Sarazin designed a monument to contain the heart of Henry IV. This work was moved and reconstructed at Chantilly in the 19th century.

Henry IV (French: Henri IV, 1553-1610), ruled as King of France from 1589 to 1610 and King of Navarre from 1572 to 1610. He was the first monarch of the Bourbon dynasty in France.

The Religion is a statue from the monument for the heart of Henri de Bourbon, prince de Cond�.It shows the personification of Religion holding a heart, a weeping boy and a stork.

Sarrazin was chief among the sculptors working under Louis XIII, and one of the founders of the Academy. He spent eighteen years in Rome (1610-1628). The Temperance is one of four medallions of the cardinal virtues that ornamented the monument of the heart of Louis XIII, erected by his widow, Anne of Austria. The pictorial style of the relief is expressed through forms transposed from the antique and linked by elegant, sinuous outlines. Some of the details give the composition a picturesque and naturalistic character. The work is representative of the art of Sarrazin and his school.

Sarazin’s last work was the monument erected to Henri de Bourbon, Prince de Cond�, father of the great Cond�, in the church of Saint-Paul-Saint-Louis in Paris. It was begun in 1648, interrupted by the Fronde and only taken up again after the Peace of Pyrenees, so that the monument was not finished till 1663, three years after the artist’s death. In the nineteenth century it was moved by the Duc d’Aumale to Chantilly and reconstructed in a wholly new setting, with the result that in its present form only the individual groups and not the general arrangement represent the original intention of Sarazin.

The groups, however, reveal the importance of this late stage in Sarazin’s evolution; for here we see in fully developed form the style which was to dominate the sculpture of Versailles for the next two decades. It was Sarazin who invented in sculpture the peculiar mixture of classicism and Baroque which was to fit with the doctrine of Le Brun and to play its part in the style of Louis XIV.