By Brad Miner Many readers know of my passion for art, especially painting. I'm particularly fond of the work of the great Catholic artists Caravaggio, Rubens, and Vermeer, and some examples of their work are in the collection of my favorite museum, the Metropolitan Museum of Art in New York City. What readers don't know is that nothing at the MET by those greats is my favorite. That distinction, such as it is, belongs to Jules Bastien-Lepage's Joan of Arc. In fact, when my wife and I visit the MET, I'm like a Great Dame puppy pulling her along behind me as I rush up the Grand Staircase to Gallery 827 to stand in front of Bastien-Lepage's "Joan." And I'm writing about this painting, completed in 1879, in part to figure out why I find it so compelling. Still, although this column is about the painting, Joan's story deserves a brief retelling. Jeanne d'Arc, as her countrymen know her, was born (c. 1412) in a small village in northeastern France called Domrémy, which is pronounced like the first syllables of the solfège: do, re, mi (fa, sol, la, ti) – or it is if you glide over the letter "m," as some residents of Rouen do. Rouen is where Joan died. She was a peasant girl who heard the voices of saints, telling her to find France's Dauphin, see to his coronation, and lead his armies in battle against the English. When we read "dauphin," we may imagine a young boy. But Charles VII was 19 when, by right of succession, he became "king," although he was finally crowned a decade later, and that was thanks to Joan. Just 16, she led French forces during the Hundred Years' War. She'd been hearing those heavenly voices for several years. They belonged to the Archangel Michael and the 5th-century saints, Catherine and Margaret, both of whom were virgin martyrs. Armored and on horseback, this astonishing teenage girl successfully led the French in battle – until she was captured by the English, put on trial for witchcraft, and burned at the stake on May 30, 1431, in part due to the duplicity of Bishop Pierre Cauchon, who allied with the Burgundian allies of England. His name is a homophone for cochon, the French word for "pig." Movies have been made about Joan, and books have been written – one a novel by Mark Twain, no less, who called Joan "the most extraordinary person the human race has ever produced." Her life is legendary, but she is no legend. As with any great figure of the Middle Ages, some questionable facts may adhere to her story like barnacles, but she truly accomplished incredible things. So, why do I love the painting? To begin with, the subject is fascinating, n'est-ce pas? This peasant girl who rose so grandly and fell so terribly. And Bastien-Lepage's style is compelling, marrying classical naturalism with the most popular movement of his time, Impressionism. And the canvas is BIG: about 8 feet by 9 feet. That's not the largest painting at the MET. That distinction belongs to another historical scene, Emanuel Leutze's 1851 Washington Crossing the Delaware, which is 12' X 21'. Joan of Arc is also mysterious, eerily so, with Joan's gaze elevated and distracted. And there's Bastien-Lepage's own story. Born in 1848 (he died in 1884), he came from the same area of France as Joan – essentially the ever-disputed Alsace-Lorraine, which has "changed hands" between France and Germany five or six times since the 17th century. And there was a prophecy, likely contemporary with Joan, although attributed by some to Merlin of Arthurian fame, about the rise of the so-called Maid of Lorraine, a virgin who would restore France to glory. Bastien-Lepage knew the legend: its popularity and its Hundred Years' War context. And that very much resonated with his own experience as a soldier in the Franco-Prussian War (July 1870 to January 1871). Both conflicts had been, albeit temporarily, humiliating losses for France. For one native to the area, as Bastien-Lepage was, stories about the Maid of Lorraine and the girl whom many called the Maid o...