Les grands mays de Notre-Dame de Paris (1630-1707), au seuil de la notion de sublime

Does the notion of the sublime operate in seventeenth-century religious painting, even though it only appears explicitly at the end of the century in the writings of Roger de Piles ? The great Mays of Notre-Dame-de-Paris, devotional paintings offered between 1630 and 1707 by brotherhoods of craftsmen, allow us to explore this question.