A Reflection on the Jean Cocteau Murals at the Church of Notre Dame de France

Jean Cocteau: detail from his Crucifxion scene mural
Notre Dame de France (London, 1960)

ndfchurch.org

 

I. 

 

I am not what you would call a Jean Cocteau specialist: I haven't read of any his poetry, fiction, or criticism; nor seen any of his works for stage and screen, with the exception of La Belle et la Bête (1946), which I watched as a child at school; nor am I familiar with his work as a visual artist, again with a single exception to this, namely, the murals he executed for the Church of Notre Dame de France ...

 

 

II. 

 

 

I'm not French, nor am I Catholic or a Christian of any description, but I do love to enter the church of Notre Dame de France, based in Soho, London - just off Leicester Square - which was consecrated in 1868 (although the original building prior to its redevelopment into a place of worship is somewhat older). 

 

Badly damaged by German bombs during the Blitz, the church had to have extensive structural repairs that were not completed until several years after the War ended.

 

The French Ambassador, Jean Chauval, promoted the idea of creating a sacred space with a uniquely French feel and so, during the 1950s, the French Cultural Attaché René Varin was tasked with commisioning eminent artists of the time to work on the decoration of the rebuilt church.

 

One of these artists was Jean Cocteau who, in November 1959 [1], completed three murals in the Lady Chapel depicting the Annunciation, Crucifixion, and Assumption ... 

 

 

III. 

 

In the first of these, located on the wall to the left of the altar, Cocteau shows the angel Gabriel appearing to the Virgin Mary to inform her that she is to conceive the Son of God - with or without her consent [2]. 

 

The second mural, depicting the Crucifixion of Christ beneath a black sun and adorning the central wall, is arguably the most powerful, even though only Jesus's lower legs and feet - complete with bloody puncture wounds - are visible. Mary is shown alongside, united in grief with two other female figures; Marys Magdalene and Clopas [3]. 

 

There is also another small group of figures, amidst which Cocteau has placed himself and he turns to gaze at the viewer with a look upon his face of an unbeliever who nevertheless possesses a spirit that is deeply religious in nature (see image above).

 

Finally, we see the Assumption of Mary - regarded by Cocteau as the most beautiful of all God's creatures - as she is taken up into heaven, accompanied by an angelic fanfare; something which, to my way of thinking - as a Lawrentian - is literally a fate worse than death [4]. 

 

IV. 

 

Having been restored in 2012, these lovely works can still be freely viewed in the church today (although now placed behind glass for security reasons) and I would encourage readers who may find themselves passing through central London with time on their hands to go and do so.  

For even if you don't much like Cocteau or care for his art - and even if you are a passionate anti-theist - Notre Dame de France is a genuine place of sanctuary from the noise, ugliness, and vulgarity of the world outside its walls.   

 

 

Jean Cocteau looking dapper as he sets to work at the 

church of Notre Dame de France (London, 1959)

 

 

Notes

 

[1] Although painted between November 3rd and 11th, Cocteau signs and dates the work 1960.

 

[2] Some readers may recall that I have discussed the Annunciation and spectral rape of Mary in a post published on Torpedo the Ark back in March 2014: click here. 

      I still find the story of how a 13-year-old girl was selected by God as a broodmare (and doubtless groomed by him and his angelic servants throughout her childhood) somewhat shocking.

 

[3] The presence of a group of female disciples at the Crucifixion is confirmed in all four Gospels of the New Testament. However, parallel accounts have led to uncertainty as to their number and identity. I'm following the Gospel of John and sticking with the idea that the Three Marys are the Virgin Mary, Mary Magdalene, and Mary of Clopas.

 

[4] Regardless of what I might think, the Assumption of Mary is one of the four Marian dogmas of the Catholic Church - albeit one that leaves open the question of whether Mary died first, or whether she was raised to eternal life without bodily death (theologians refer to a mortalistic versus an immortalistic interpretation). The Feast of the Assumption is held on 15 August, though it's not something that all Protestants choose to celebrate.