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The Ecstasy of Saint Paul
1649–1650 · huile sur toile (oil on canvas) · Musée du Louvre, Paris
For Saints Peter and Paul · 29 June
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image 17.9×24 in on a 18×24 in sheet
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All editionsAbout this painting
A book and a sword lie on a stone slab, and their owner is being carried away above them. Three angels bear Saint Paul upward, his arms flung open, his feet bare. The Louvre calls book and sword his attributes; Charles Le Brun, lecturing to the Académie on 10 January 1671, read the sword as Paul's writings, the three angels as three states of grace, prevenient, cooperating and triumphant, and the whole canvas as silent theology. Poussin painted it in Rome in 1649-50 for the poet Paul Scarron, inventor of French burlesque, and not for any altar. Below, the architecture and a level landscape run out to the horizon. His own account is in the third person: "That he was caught up into paradise and heard secret words which it is not granted to man to utter." The sword stays on the stone.
Sources: Musée du Louvre, 'Le Ravissement de saint Paul', INV 7288. · James Clifton, "The Limits of 'Mute Theology': Charles Le Brun's Lecture on Nicolas Poussin's Ecstasy of Saint Paul Revisited," in Quid est sacramentum? (Brill, 2019), pp. 580-605 · Commission by the poet Paul Scarron, inventor of French literary burlesque; painting executed in Rome 1649-1650; no ecclesiastical destination documented, painted for Scarron's private collection · Charles Le Brun, conférence of 10 January 1671, in 'The Limits of Mute Theology: Charles Le Brun's Lecture on Nicolas Poussin's Ecstasy of Saint Paul Revisited'. · II Corinthians 12:4, Douay-Rheims (Challoner).
That he was caught up into paradise and heard secret words which it is not granted to man to utter.
2 Corinthians 12:4 · Douay-Rheims (Challoner)