Hugues Merle
(La Sône, 1822 – Paris, 1881)
Saint Elizabeth of Hungary, c. 1860-1865
Oil on canvas
22 × 18 in (30 x 25-1/4 with frame)
Signed lower left: HUGUES MERLE
Description
This evocative composition by Hugues Merle presents Saint Elizabeth of Hungary descending steps to distribute alms to the sick and poor. Dressed in pale rose and bathed in a soft glow, Elizabeth is flanked by attendants carrying bread, coins, and supplies. Her serene dignity contrasts with the desperation of those at her feet, including the sick, aged, and infirm.
Merle renders each figure with academic precision and emotional weight. The architectural backdrop evokes a medieval European city, reinforcing Elizabeth’s historical context while allowing the viewer to focus on the tender humanity of the scene. The triangular composition, use of light, and careful costume detail exemplify Merle's mastery of mid-19th-century French academic painting.
Saint Elizabeth of Hungary (1207–1231)
Born a Hungarian princess and married at age 14 to Ludwig IV of Thuringia, Saint Elizabeth of Hungary is revered for her extreme charity and humility. Widowed young, she dedicated her life to the poor and sick, establishing hospitals and giving away her wealth. A member of the Third Order of St. Francis, she died at only 24 and was canonized in 1235.
She became a beloved figure of Christian virtue, especially in Catholic Europe, and was often depicted in 19th-century religious art for her acts of compassion, noble sacrifice, and gentle strength—qualities that Merle highlights with poignancy.
Provenance
According to an inscription on the stretcher of the painting:
Gifted by the artist to Henriette Pétronille de Loras Bel Accueil, Marquise de Murinais (b. 1804)
By descent to Léonie Adélaïde “Adèle” du Parc Locmaria, Marquise de Murinais (1829–1923)
To her nephew Marie Charles Henri du Parc Locmaria (1869–after 1920)
To his sister Anne Marie du Parc Locmaria, Comtesse de Solages (1873–1929)
To her daughter-in-law Claire Marie Amélie Paule de Solages (1906–1994)
By descent to the most recent owner, Rome
An inscription on the verso of the frame reads:
“Painting by Hugues Merle and offered to the Marquise de Murinais in gratitude for the service through which she had enabled him to become a painter. Love, Adèle.”
Given that Henriette de Murinais lived just a few miles from Merle’s birthplace in La Sône, and considering the language of the dedication, it is likely that she played a formative role in his early development—perhaps as a mentor, sponsor, or patron—providing support that allowed him to pursue artistic training and launch his career.
