LESUER ESTACHE – St. Bruno, studying the drawing with the terms of Diocletian – the site of the future Carthusian monastery in Rome Louvre (Paris)

The composition presents a scene unfolding within a landscape imbued with historical and spiritual significance. Here we observe two figures engaged in what appears to be a study or consultation regarding architectural plans. One figure, draped in a vibrant blue robe, gestures towards a large drawing held before him. His posture suggests animation and explanation; he seems actively involved in conveying the details depicted on the paper. The other figure, clad in a monastic habit of pale cream color, stands facing him with an attentive expression. He holds a similar document, presumably a copy or related version of the plans.
The drawing itself is central to the narrative. It portrays what appears to be a Roman ruin – a structure with arches and classical architectural elements – set against a backdrop of distant buildings and a hazy horizon line. The inclusion of this ruin suggests a connection to antiquity, hinting at a continuity between past empires and present endeavors.
The landscape surrounding the figures is rendered in muted tones, creating a sense of serenity and distance. A large tree with dense foliage occupies the upper left corner, framing the scene and adding depth. The sky above is filled with soft clouds, contributing to an atmosphere of contemplation and quietude.
Subtleties within the painting suggest layers of meaning beyond the immediate depiction. The blue robe worn by one figure evokes associations with royalty or authority, while the monastic habit signifies piety and dedication to a religious order. Their interaction over the architectural plans implies a collaboration between secular power (represented by the robed man) and spiritual leadership (embodied by the monk).
The choice of depicting what seems to be an ancient Roman site carries symbolic weight. It could represent the foundation upon which new structures, both physical and metaphorical, are built – a testament to the enduring influence of classical civilization on subsequent eras. The presence of Diocletian’s terms in the context suggests a link to imperial law or governance, potentially alluding to the historical circumstances surrounding the establishment of the future Carthusian monastery.
Overall, the painting conveys a sense of intellectual inquiry and spiritual aspiration, blending elements of history, architecture, and religious devotion within a carefully constructed visual narrative.