MANUEL, Niklaus

Eligius, who was born in Limousin, has become one of the most popular saints of the Christian west. He started life as a goldsmith whose talent led him to the court of the Merovingian king, Clotar II, who prompted him to be his “treasurer”. Dagobert, who succeeded Clotar II in 629, took Eligius into service as his chief councilor and entrusted him with many missions, both diplomatic and governmental. At Dagobert’s death, in 639, Eligius became a priest before being named bishop of Noyon. He spent the last twenty years of his life administering his see, one of the largest in the kingdom, devoting himself to the poor and freeing slaves.

Ancient tradition credits Eligius with extraordinary talent as a goldsmith, notably in making reliquaries, as well as with numerous miracles. He is the patron saints of goldsmiths and blacksmiths. In addition, he is the saint protector of the horse, and patron of all equestrian crafts.

This scene from Greek mythology is transported in a highly personal fashion to a German forest with contemporary figures. Paris appears as a Swiss country gentleman who has just presented Venus with the apple as her prize. Juno and Minerva have turned aside following their defeat.

Juno corresponds with Paris in the colours of her clothes, while Minerva is similarly related to Venus. From a branch of the tree, blindfolded Cupid - a symbol of love, which blinds - shoots an arrow at Paris. The two coats of arms hanging from the boughs belong to the family of Benedicht Brunner, a councillor of Berne, who in all probability commissioned the painting.

There is a strange discrepancy between the classical theme and the thoroughly anti-classical female ideal represented by the women, whose curved bellies can be traced back to D�rer. Manuel compensates for his difficulties with anatomy in the extreme delicacy with which he draws the faces.

Employing the unusual technique of tempera on canvas, Manuel invokes a pastel-like palette of great charm. In details such as Venus’ diaphanous dress he demonstrates the sophistication of his art. The composition, in which the figures are arranged as if in relief against the shadowy background of a wood, recalls Gobelin tapestries.

Suggested listening (streaming mp3, 3 minutes):

Cristoph Willibald Gluck: Paride ed Elena, Paris’ aria