RAPIN (T.), GOUZOUGUEC (S.), "Architecture in Paris in the second half of the14th century : The Middle Ages seen through the eyes of accountants", in Proceedings of CHS, Queen’s College, Cambridge University 29th March – 2nd April 2006, volume 2, p. 1363-1374 (original) (raw)

"The Royal Gallery at the Time of Henri IV: Architecture and Ceremonial," in Henri IV: Art et Pouvoir, edited by Colette Nativel and Luisa Capodieci, Tours: Presses Universities François Rabelais, 2016: 327-40 and XLIV-XLVI

ArchitecLu re cmd CeresnoniaL TN rnr, coNCLUSToN oF A sEMTNAL ARTTcLE on the hidtory of the French I guil"ry, Jean Guillaume observed that "in order to under$tand the French gallery one should not think fir$t of the Galerie Frangois I* (Fig. r, pl. XIV, p. LXIV) and the Galerie des Glaces , pL Xry p. LXIV), nor should one believe that the two had similar fun&ions."1 Guillaume pointed out that not only were both galleries exceptional and, therefore, not representative of the majority of galleries built in the sixteenth and seventeenth centuries, but also that their locations within their reQeCtive royal apartments charaCterized them as radically different dpaces with regard to ceremonial, accessibility, and use. Whereas the Galerie des Glaces preceded lhe chambre du roi (the king's bedchamber) and was largely accessible to courtiers and visitors, the Galerie FranEois I"'was located after the bedchamber, in an area of the apartment where access was far more limited. Using a terminological anachronism, Guillaume called the latter a "private" gallery and the former a "public" one.

?L?Affaire des Princes?: Baroque architecture and Factional Politics in Regency Paris, 1715-1723

2014

On 17 August 1661, a magnificent fête was held at the newly constructed château de Vaux-le-Vicomte, about thirty miles southeast of Paris, in honor of the French king, Louis XIV, who arrived at the prestigious venue from the nearby château de Fontainebleau. 1 The king was accompanied by a large retinue of courtiers, who marvelled at the grandeur of the château and the splendor of its formal gardens, which surpassed in magnificence all of the king's own residences. After a tour of the château's richly decorated rooms and the garden's intricate network of parterres and fountains, the guests were treated to a sumptuous dinner, followed by a performance of Molière's comedy-ballet Les Fâcheux, with music by Jean-Baptiste Lully, and a spectacular fireworks show, which illuminated the night sky as flashes of light burst over the château. 2 This astonishing orchestration of spectacle was put together under the direction of one man, the king's superintendent of finances, Nicolas Fouquet, who sought to use the château de Vaux-Le-Vicomte as a venue in which to pursue his own political ambitions. Work on the château began in 1658, after Fouquet commissioned architect Louis Le Vau to design the edifice, and put painter Charles Le Brun in charge of its interior decoration. 3 As one of the first private residences in France to be decorated in the exuberant Roman Baroque manner, the château de Vaux-Le-Vicomte (fig. 1) allowed Nicolas Fouquet to present himself as the sole legitimate successor to the kingdom's most power political figure, the king's chief minister, Cardinal Mazarin. Soon after Mazarin's death on 9 March 1661, however, Louis XIV, in a speech that would become famous, declared that he would take personal control of the French state and

Ceremonial Entries, Municipal Liberties and the Negotiation of Power in Valois France, 1328-1589

Ceremonial Entries, Municipal Liberties and the Negotiation of Power in Valois France, 1328-1589, 2016

Contents Acknowledgements ix List of Figures and Maps x List of Abbreviations xi Introduction: Framing Royal Entries 1 Sources and Perspectives 12 Geography and Chronology 18 Overview 21 1 Confirming Municipal Liberties 24 The Harangue 26 Keys and Banners 50 Changes to the Extramural Greeting 61 The Loggia 67 2 Petitioning the King 75 Gift-Giving 79 The Second Harangue 90 The Gifts 95 Designing the Gift 104 A Typology of Requests 111 Financial and Economic Requests 112 Defence 117 Urban Justice and Administration 121 Religious Requests 124 Conclusion 126 3 Accessing the King 128 Brokers and Networks of Clientage 129 The Chancellor 137 Royal Secretaries and the Ratification of Urban Grants 142 Domestiques et Commensaux du Roi 155 Royal Women and Royal Entries 163