Лебрен, Шарль (Париж 1619-1690), мастерская – Триумф религии в правление Людовика XIV Part 6 Louvre

The composition presents a complex allegorical scene dominated by a hierarchical arrangement of figures and symbolic elements. At the apex of the canvas, a radiant figure, presumably representing divine authority or religious power, is enthroned within a gilded chariot pulled by winged beings. A male portrait, rendered with considerable detail and suggesting regal bearing, occupies a central position within this elevated structure. He appears to be receiving blessings or recognition from the celestial presence above.
Below this prominent grouping, a tumultuous scene unfolds. Numerous figures are depicted in various states of distress, defeat, and subjugation. They appear to be overwhelmed by a wave of divine intervention symbolized by the chariot’s descent. A female figure, draped in flowing white fabric, raises a book aloft, seemingly proclaiming or defending a principle – perhaps knowledge or faith – against the chaos below. A male figure with long hair and beard, clad in blue robes, stands amidst the turmoil, holding another volume; his posture suggests wisdom or prophecy.
The lower portion of the painting is filled with fallen figures, broken objects (including what appears to be architectural elements), and symbolic creatures – a lion, a dragon, and other fantastical beings – further emphasizing the triumph over adversity. The overall palette leans towards warm tones – golds, yellows, and reds – which contribute to the sense of grandeur and victory.
The subtexts within this work are layered and likely intended to convey a message of religious dominance and political legitimacy. The portrait figure’s placement within the divine chariot suggests his association with or endorsement by higher powers. The subjugation of the figures below can be interpreted as representing the suppression of heresy, dissent, or opposing forces during a period of significant political and religious consolidation. The inclusion of classical allusions – the female figure holding a book evokes imagery from ancient Greek philosophy or mythology – suggests an attempt to legitimize the present order by connecting it to established traditions of wisdom and power. The overall effect is one of carefully orchestrated propaganda, designed to reinforce the authority of both the religious institution and the ruling monarch.