Les Bons moines, ou les motifs de la vocation.
(Good monks, or the motives of vocation.)
Order image © All images subject to copyright
A curved line of eight cut-outs, each folded so as to resemble a monk’s hooded cowl, wind their way across the page from right to left in a slight arc. Each has a name written on its base. Those names legible read from right to left, "FRERE SANS SEXE", "ANGE LUNÉ", "FRERE L'AIGUILETT", "ARCANGE L'IMPUISANT", "SERAPHIN LUNUQUE", and "FRERE ORIGENE". Additionally, the first cut-out, which leads the procession, has the letters "GAL" (with which galley slaves were branded) and a fleur-de-lys inscribed on the inside of its folded body.
Curatorial commentary
- The ironic tone of this drawing about religious vocation is in line with Charles-Germain de Saint-Aubin’s anti-clericalism. The bases of a line of paper cut-outs with hood-like tops are inscribed with names and words associated with male impotence (on which, see too the drawing close by at 675.342). 'Frere Origen' is Origen of Alexandria (c. 185-c. 254), the early church theologian who castrated himself so as better to dedicate himself to his Christian calling. ‘Seraphin Leunuque’ (‘Seraphin the Eunuch’) and ‘Arcange limpuisant’ (‘the Impotent Archangel’) are generic names for the heavenly creatures judged sexless. The name of ‘Frère l’aiguilette’ recalls the magical folk practice (“nouer l’aiguillette”) used to render husbands impotent so that their marriages could not be consummated. ‘Ange Lusé’ is more obscure (? ‘the Worn-out Brother’), ‘Frère sans sexe’ (‘Sexless Brother’) less so.
- The arrangement of paper monks derives from a game – “capucin de carte” – in which playing cards were cut and folded in such a way as to make each resemble a Capuchin Friar (see Carey, “Taking Time…, 2012, cat. no. 4).
- The 'GAL' written on the reverse of the figure furthest to the left and the fleur de lys alongside it identifies the line-up as fit only for the galleys (“galères”). Branding was a common punishment and was often accompanied with service as a galley-slave. It conceivably refers to the abbé de la Coste, who is the subject of the drawing at 675.361.
Dimensions (mm) / weight (mg)
187 x 132
Inscriptions
GAL
Inscription
Inscribed, on back of paper cut-out, in ink
FRERE ORiGENE
Inscription
Inscribed, on base of paper cut-out, in ink
SERAPHIN / LEUNUQUE
Inscription
Inscribed, on base of paper cut-out, in ink
ARCANGE / L iMPUiSANT
Inscription
Inscribed, on base of paper cut-out, in ink
FRERE / L'AiGUILETTE
Inscription
Inscribed, on base of paper cut-out, in ink
ANGE / LUSÉ
Inscription
Inscribed, on base of paper cut-out, in ink
FRERE / SANS / SEXE
Inscription
Inscribed, on base of paper cut-out, in ink
Les Bons moines ou les motifs de la / Vocation.
Inscription
Inscribed by Charles-Germain de Saint-Aubin, below image, in ink
346
Pagination
Top left corner, in ink
Translation of inscription
GAL[LEY SLAVE]
Brother Origen
Seraphin the eunuch
Archangel the impotent
Brother Aiguilette
The worn-out Brother
Brother without sex
Good monks, or the motives of vocation
Language
French
Part of
- Livre de Caricatures tant bonnes que mauvaises. 675.1-389
Collection
- Waddesdon (National Trust)
- Bequest of James de Rothschild, 1957
Related literature
- Juliet Carey; Taking Time: Chardin's Boy building a House of Cards and other paintings; The Rothschild Foundation, Waddesdon Manor, 28 March - 15 July 2012; Waddesdon; The Rothschild Foundation, RF; 2012. p. 70, fig. 42
Subject person and role
- Frère Origen of Alexandria, Named in text