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110 For the meaning of the central painting, see Thuillier, Brejon de Lavergnée, and Lavalle,
Vouet, 312.
111 Cousinié, "La constitution," 610.
112 Bernard Violle, Paris, 2:255.
113 For the paintings by Paul-Joseph Blanc, see Boinet, Églises parisiennes, 107.
114 It was common in early seventeenth-century Parisian churches to have windows with
transparent panes surrounded by stained glass borders. For more on stained glass windows
during this period, see Lafond, "De 1560 à 1789," 257-71. For the windows at Saint-Louis-des-
Jésuites, see Boinet, Églises parisiennes, 130.
115 Jacques de Lestin, who worked in Vouet’s studio, painted The Death of St. Louis, the only
work for which there is a signature; see William R. Crelly, The Painting of Simon Vouet (New
Haven: Yale University Press, 1962), 194. Saint Louis Receiving the Crown of Thorns from
Christ is attributed to Michel Corneille, who also worked in Vouet’s studio; see Thuillier, Brejon
de Lavergnée, and Lavalle, Vouet, 48.
116 All of the paintings except for Louis XIII Presenting the Model of the Church were removed
from the church during the Revolution. In 1949 St. Louis Receiving the Crown of Thorns and
The Death of St. Louis were returned. The three paintings hang in their original location with
Christ in the Garden of Olive Trees (1826) by Eugène Delacroix occupying the fourth spot. St.
Louis Leaving for the Crusade is still missing.
117 For previous research, see Crelly, Simon Vouet, 194; Montgolfier, ed., Saint-Paul-Saint-
Louis, 41-45; Thuillier, Brejon de Lavergnée, and Lavalle, Vouet, 48-49.
118 Chronicle of France, Bodleian Library, ms. Douce 217, fol. 265: Scenes from the life of St.
Louis. Other examples include Jean Pucelle’s Book of Hours of Jeanne d’Evreux, in The
Cloisters, ms. 54.1.2, and Jean Pucelle’s Romance of the Rose, in the Bodleian Library, ms.
Douce 332 (late fourteenth/early fifteenth century).
119 For Michel Corneille, the artist attributed to this work, see Yves Picart, "Michel Corneille, un
des premiers collaborateurs de Simon Vouet. Aperçus sur sa vie et sa carrière," in Simon Vouet:
Actes du colloque international, Galeries nationales du Grand Palais, 5-6-7 février 1991, ed.
Stéphane Loire (Paris: Documentation Française, 1992), 455-71. This painting bears the arms of
the Marquis de Cinq-Mars, grand écuyer de France, and Marie de Fourcy, suggesting that these
people paid for the work.
120 For Jacques de Lestin, the artist of this work, see Albert Châtelet and Jacques Thuillier,
French Painting, from Fouquet to Poussin (Geneva: Skira, 1963), 202-05; Jean-Pierre Sainte-
Marie, ed., Jacques de Létin, Troyes 1597-1661: Musée des Beaux-Arts de Troyes (Troyes: Le
Musée, 1976). This painting carries the arms of Louis Brûlart, seigneur du Broussin and
120