If Christians believe in one God, their faith in the Incarnation has led them to affirm one God in three persons, the Father, the Son and the Holy Spirit. During the Middle Ages, art explored the visual resources to tell this mystery. The iconography of the Throne of Grace, highlighted here by our sculptor, is the fruit of this work. It shows, within a vertical composition, God the Father holding before him the Son on the cross, surmounted by the dove of the Holy Spirit. According to this iconography, seated on a throne bench, God the Father here holds in his open hands the cross where the body of his son lies. His face wreathed in a beard and hair with wavy chiseled locks, he offers the faithful the defeated look of a grieving Father. With wrinkled forehead, downcast eyes and half-open lips, he gazes with sadness on the inert body of the Savior. Contrasting with the authoritarian Burgudian figurations with the wrathful expression such as the Father of the famous Trinities of the Hôpital du Saint-Esprit de Dijon and the church of Genlis (Côte-d'Or), our group, by his extreme sensitivity and sustained pathetism, is similar to the sculptures produced in Lorraine in the 15th century, characterized by their strength and their soothing tenderness. A true artistic melting pot, Lorraine provides a rich artistic production, strongly influenced in the field of statuary by neighboring creations sculpted in the Rhineland, Burgundy and Champagne. This phenomenon materializes both in the composition scheme retained by our sculptor but also in his stylistic choices. Thus, more than the Burgundian examples mentioned above, our group can be compared in its implementation of the theme of the Throne of Grace, with the Holy Trinity of Louvois (Marnes), carried out around 1500, of quite similar composition. Very widespread in the nearby Germanic regions, the heavy eyelids of God of the Father as well as his small mouth with sensual lips evoke the Lorraine type of the 15th century, visible on Saint Eloi de Saulny and later on Saint John of the Magnificent entombment of Dom Julien. Finally, very influenced by the art of the Burgundian ymagiers, the treatment of the ample drape of our protagonist's coat, falling between his legs and on the ground in a set of broken folds sculpted with virtuosity, is reminiscent of those slightly more from the chasuble of a bishop from the second third of the 15th century, from the church of Saint-Julien-les Metz and now kept at the Musée de la Cour d'Or. Adorned in its center with a once painted shield, the sculpted cornice on which our Trinity rests testifies to the prestigious origin of this tender and eloquent work, commissioned from a Lorraine workshop in the last third of the 15th century by a lord, prelate or important notable, who had wished to have his arms affixed to the base. Invested by this gesture of an eschatological religious purpose but also of a social purpose, our sculpture celebrated in the eyes of all, the lavishness and piety of its sponsor.
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