The Revolt of the Angels · Chapter
V explained
In the chapel, Abbé Patouille, Gaétan d'Esparvieu, Maurice, and old Sariette discuss the frescoes by Delacroix, focusing on the depiction of wrathful angels versus guardian angels.
What happens
In the chapel, Abbé Patouille, Gaétan d'Esparvieu, Maurice, and old Sariette discuss the frescoes by Delacroix, focusing on the depiction of wrathful angels versus guardian angels. Patouille laments the absence of peaceful celestial messengers, while Gaétan defends Delacroix's aesthetic. Old Guinardon extols the primitives and condemns Renaissance art. Later, Gaétan vents to Sariette about Guinardon's views, championing the nude and classical art over Christian primitivism.
Themes in this chapter
Art and Beauty
The chapter contrasts classical and Christian aesthetics, with Gaétan defending the nude and Delacroix's fiery angels against Patouille's preference for serene guardian spirits.
Religion and Blind Faith
Patouille's insistence on traditional iconography and the role of guardian angels reflects a dogmatic religious perspective on art.
Human Nature and Folly
Maurice's boredom and self-interest, Guinardon's extreme opinions, and Gaétan's passionate outbursts illustrate human vanity and intellectual stubbornness.
Characters to notice
- Abbé Patouille
Examines Delacroix's frescoes, criticizes the lack of guardian angels, and discusses Christian iconography with the group.
- Gaétan d'Esparvieu
Defends Delacroix's work, later denounces Guinardon's aesthetic theories and praises classical art and the nude.
- Maurice d'Esparvieu
Yawns and expresses preference for Matisse and Metzinger, then inwardly schemes to get money from his mother.
- Monsieur Julien Sariette
Distracted by thoughts of his devastated library, briefly cites authorities on Christian iconography.
- Père Guinardon
From his ladder, denounces Renaissance art as impure and invites Gaétan to see his collection of 'honest' canvases.
Key passages
“God wishes to be feared; He wishes also to be loved. I would fain perceive on these walls messengers of peace and of clemency.”
Patouille argues that God desires both fear and love, and wishes the chapel showed angels of mercy, not just wrath.
Patouille's theological critique of Delacroix's frescoes.
“Only the primitives caught a glimpse of Heaven. Beauty is only to be found between the thirteenth and fifteenth centuries.”
Guinardon claims that true beauty exists only in medieval art, from the 13th to 15th centuries.
Guinardon's extreme primitivist aesthetic stance.
“Art is the representation of nature, and nature is preeminently the human body; it is the nude.”
Gaétan asserts that art's primary subject is the human body, especially the nude, as the essence of nature.
Gaétan's defense of classical art against Christian primitivism.