Who Was the French Sun King? What Style of Art Did He Prefer?

Mode of Louis XIV period; baroque style with classical elements

The Louis Xiv way or Louis Quatorze ( LOO-ee ka-TORZ, -⁠ kə-, French: [lwi katɔʁz] ( listen )), also called French classicism, was the style of compages and decorative arts intended to glorify King Louis XIV and his reign. It featured majesty, harmony and regularity. Information technology became the official style during the reign of Louis Xiv (1643–1715), imposed upon artists past the newly established Académie royale de peinture et de sculpture (Royal University of Painting and Sculpture) and the Académie royale d'compages (Royal Academy of Architecture). It had an of import influence upon the architecture of other European monarchs, from Frederick the Great of Prussia to Peter the Peachy of Russia. Major architects of the period included François Mansart, Jules Hardouin Mansart, Robert de Cotte, Pierre Le Muet, Claude Perrault, and Louis Le Vau. Major monuments included the Palace of Versailles, the Chiliad Trianon at Versailles, and the Church of Les Invalides (1675–91).

The Louis XIV manner had iii periods. During the outset menstruation, which coincided with the youth of the Rex (1643-1660) and the regency of Anne of Austria, architecture and art were strongly influenced by the earlier fashion of Louis Xiii and by the Baroque style imported from Italy. The early menstruum saw the beginning of French classicism, especially in the early works of Francois Mansart, such as the Chateau de Maisons (1630–51). During the second period (1660-1690), nether the personal dominion of the Rex, the style of architecture and decoration became more than classical, triumphant and ostentatious, expressed in the edifice of the Chateau of Versailles, start by Louis Le Vau and and so Jules Hardouin-Mansart.^[1] Until 1680, furniture was massive, decorated with a profusion of sculpture and gilding. In the later period, thank you to the development of the craft of marquetry, the piece of furniture was busy with dissimilar colors and different woods. The most prominent creator of article of furniture in the subsequently catamenia was André Charles Boulle.^[2] The final period of Louis XIV way, from about 1690 to 1715, is chosen the period of transition; information technology was influenced past Hardouin-Mansart and past the Male monarch's designer of fetes and ceremonies, Jean Bérain the Elderberry. The new way was lighter in class, and featured greater fantasy and freedom of line, thanks in office to the use of wrought fe decoration, and greater use of arabesque, grotesque and coquille designs, which continued into the Louis XV style.^[three]

Ceremonious architecture [edit]

The model of ceremonious architecture in the early part of the reign was Vaux le Vicomte (1658), by Louis Le Vau, built for the King's chief of finance Nicolas Fouquet and completed in 1658. Louis Fourteen charged Fouquet with theft, put him prison, and took the building for himself. The design was strongly influenced by the classicism of François Mansart. It combined a facade dominated and rhymed by colossal classical columns, below a dome, imported from the Italian Bizarre architecture, along with a number of original features, such as a semicircular salon which looked out on the vast French formal garden created by André Le Nôtre.^[4]

Based on the success of Vaux le Vicomte, Louis XIV selected Le Vau to construct an immense new palace at Versailles, to broaden a smaller palace transformed from a hunting lodge by Louis Thirteen. This gradually became, over the decades, the main work of the Louis 14 way. Post-obit the death of Le Vau in 1680, Jules Hardouin-Mansart took over the Versailles project; he bankrupt away from the picturesque projections and dome and fabricated a more than sober and uniform facade of columns, with a flat roof topped by a balustrade and row of columns (1681). He used the same style to harmonize the other new buildings he created at Versailles, including the Orangerie and the Stables. Hardouin-Mansart synthetic the Yard Trianon (completed 1687), single-story royal retreat with arched windows alternating with pairs of columns, and a flat roof and balcony.

Another major new projection undertaken by Louis was the construction of a new facade for the east side of the Louvre. In 1665 Louis invited the most famous sculptor architect of the Italian Baroque, Gian Lorenzo Bernini, to submit a design, but in 1667 rejected it in favor of a more sober and classical pillar, designed by a committee of 3, comprising Louis Le Vau, Charles Le Brun, and Claude Perrault.

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Religious compages [edit]

In the early period of his reign, Louis began building the church of Val-de-Grâce (1645–1710), the chapel of the Val-de-Grace hospital. The design was worked on successively by Mansart, Jacques Lemercier and Pierre Le Muet before being completed by Gabriel Leduc. Its picturesque tripartite facade, peristyle, discrete columns, statues, and tondi, brand information technology the well-nigh Italianate and Baroque of Paris churches. It served as the prototype for the later domes of Les Invalides and the Pantheon.^[5]

The next major church building built under Louis XIV was the church building of Les Invalides (1680–1706). The nave of the church building, by Libéral Bruant, was comparable to those of other churches of the period, with ionic pilasters and penetrating vaults, and an interior that resembled the high baroque mode. The dome, by Hardouin-Mansart, was more than revolutionary, sitting upon a structure with the plan of a Greek Cross. The design used superimposed orders of columns, in the classical way, simply the dome achieved greater height, by resting on a double tambouror pulsate, and the facade and dome itself were richly busy with sculptures, entablements in niches, and ornaments of gilded bronze alternating with the nervures, or ribs of the dome.^[5]

The finest church interior of the late Louis XIV menstruum is the chapel of the Chateau of Versailles, created between 1697 and 1710 by Hardouin-Mansart and his successor as court builder, Robert de Cotte. The decor was carefully restrained, with calorie-free colors and sculptural detail in slight relief on the columns. The interior of the chapel opened up and lightened past the use of classical columns placed on the tribune, one level above the ground floor, to support the weight of the vaulted ceiling.^[five]

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The Grand Style: Paris [edit]

Though Louis XIV was later accused of having ignored Paris, his reign saw several massive architectural projects which opened up space and ornamented the center of the city. The idea of monumental urban squares surrounded past compatible architecture had begun in Italy, like many architectural ideas of Bizarre catamenia. The starting time such foursquare in Paris was the Place Royal (at present Place des Vosges) begun past Henry IV of France, completed afterward with an equestrian statue of Louis 13; and so the Place Dauphine on the Ile de la Cité, which featured, next to it, an equestrian statue of Henry 4. The initial grand Paris projects of Louis XIV were new facades on the Louvre, peculiarly the Collonade,facing to the east. These were showcases of the new monumental fashion of Louis XIV. The old brick and stone of the Henry 4 squares was replaced past the Grand Style of monumental columns, which usually were role of the facade itself, rather than standing separately. All the buildings around the square were connected and built to the same height, in the aforementioned style. The ground floor featured a covered arcade for pedestrians.^[6]

The commencement such circuitous of buildings built under Louis XIV was the Collège des Quatre-Nations (at present the Institut de France) (1662–68), facing the Louvre. It was designed by Louis Le Vau and François d'Orbay, and combined the new higher donated by Mazarin, a chapel, and the library of Cardinal Mazarin. (Later, as the Institute of French republic, it would get the headquarters of the academies founded by the King.) The Hôtel Royal des Invalides – a circuitous for war veterans consisting of residences, a hospital, and a chapel – was constructed by Libéral Bruant and Jules Hardouin-Mansart (1671–1679). Louis XIV then commissioned Mansart to construct a separate private regal chapel featuring a striking dome, the Église du Dôme, which was added to complete the complex in 1708.

The next major project was the Place des Victoires (1684-1697), a existent estate development of seven big buildings in three segments effectually a circular square, with a standing figure statue of Louis XIV (later replaced with an equestrian statue) planned for the centerpiece. This was built past an enterprising entrepreneur and nobleman of the court, Jean-Baptiste Prédot, combined with the architect Jules Haroudin-Mansart. The final urban project became the best-known, the Identify Vendôme, also by Harouin-Mansart, between 1699 and 1702. Its centerpiece was an equestrian statue of Louis XIV (subsequently replaced with a statue of Napoleon atop the Vendome Column). In another innovation, this project was partially financed by the sale of lots around the square. All of these projects featured monumental facades in the Louis XIV style, giving a item harmony to the squares.^[7]

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Interior ornamentation [edit]

In the early Louis 14 style, the principle characteristics of decor were a richness of materials and an effort to achieve a monumental issue. The materials used included marble, oft combined with multicolor stones, statuary, paintings, and mirrors. These were inserted into an extremely framework^{[ further explanation needed ]} of columns, pilasters, niches, which extended up the walls and up upon the ceiling. The doors were surrounded with medallions, frontons and bas-reliefs. The fireplaces were smaller than those during the Louis XIII era, simply more ornate, with a marble shelf supporting vases, below a carved frame with a painting or mirrors, all surrounded by a thick edge of carved leaves or flowers.

Decorative elements on the walls of the early Louis XIV style were usually intended to celebrate the military machine success, majesty and cultural achievements of the King. They often featured military trophies, with helmets, oak leaves symbolizing victory, and masses of weapons, ordinarily made of glided bronze or sculpted woods, in relief surrounded by marble. Other decorative elements historic the King personally: the head of the King was often represented as the sunday god Apollo, surrounded by palm leaves or gilded rays of lite. An eagle commonly represented Jupiter. Other ornamental details included gilded numbers, royal batons, and crowns.

The Hall of Mirrors of the Palace of Versailles (1678–1684) was the peak of the early Louis XIV style. Designed by Charles Le Brun, information technology combined a richness of materials (marble, aureate, and bronze) which reflected in the mirrors.

In the late Louis Xiv period, after 1690, new elements began to appear, that were less militaristic and more fantastic; particularly seashells, surrounded by elaborate sinuous lines and curves; and exotic designs, including arabesques and Chinoiserie.^[eight]

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  Early Louis XIV mode; the Salon de Vénus at the Palace of Versailles by Charles Le Brun

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  Later Louis Fourteen style; mosaics in the salon of the Oeil-de-Boeuf at Versailles

Furniture [edit]

During the first menses of the reign of Louis XIV, furniture followed the previous style of Louis 13, and was massive, and profusely decorated with sculpture and gilding. After 1680, thanks in big part to the article of furniture designer André Charles Boulle, a more original and frail style appeared, sometimes known as Boulle work. Information technology was based on the inlay of ebony and other rare woods, a technique first used in Florence in the 15th century, which was refined and developed by Boulle and others working for Louis XIV. Article of furniture was inlaid with plaques of ebony, copper, and exotic forest of different colors.^[ix]

New and frequently indelible types of furniture appeared; the commode, with 2 to four drawers, replaced the old coffre, or chest. The canapé, or sofa, appeared, in the form of a combination of 2 or three armchairs. New kinds of armchairs appeared, including the fauteuil en confessionale or "Confessional armchair", which had padded cushions on either side of the back of the chair. The console tabular array also made its first appearance; it was designed to be placed against a wall. Some other new type of article of furniture was the tabular array à gibier, a marble-topped table for holding dishes. Early varieties of the desk appeared; the Mazarin desk had a central section set back, placed betwixt two columns of drawers, with four feet on each column.^[10]

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  Sofa and chairs "a la reine" (1710–xx), Louvre Museum

Ceramics [edit]

Later about 1650, Nevers faience (can-glazed earthenware), which had long fabricated wares in the Italian maiolica istoriato manner, adopted the new French Court style, borrowing from metalwork and other decorative arts, and using prints afterward the new generation of court painters such as Simon Vouet and Charles Lebrun for the images, which were besides painted in many colours. The pieces were ofttimes extremely large and ornate, and apart from garden vases and wine-coolers, no incertitude decorative rather than practical.^[11]

In 1663 Colbert, recently made Louis Xiv'south finance government minister, made a note that the other leading heart of French faience, Rouen faience, should be protected and encouraged, sent designs, and given commissions by the king.^[12] Effectually 1670 the Rouen manufacturing plant of the Poterat family unit received office of the big and prestigious commissions for Louis XIV'southward Trianon de porcelaine, a small palace whose walls were largely covered in painted tiles, in fact of faience rather than porcelain, which was demolished non long later on. Nevers and other centres shared these commissions, and others for large fittings and decorations for Louis's other palaces. Nevers garden vases in blue and white were prominently used in the gardens of the Chateau de Versailles.^[13]

The French faience industry received another huge boost when, tardily in Louis's reign in 1709, the rex pressured the wealthy to donate their silver plate, previously what they normally used to dine, to his treasury to help pay for his wars. They was an "overnight frenzy" as the elite rushed to become faience replacements of the best quality.^[xiv]

The reign also saw the primeval French porcelain in Rouen porcelain, although production was on a tiny calibration; only 9 small pieces are idea to survive.^[15] The side by side manufactory, Saint-Cloud porcelain, from mayhap 1695 onwards, was more successful,^[16] though it was only in the following reign that French porcelain was produced in quantity.

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  Nevers wine-cooler with The Drunkenness of Bacchus, c. 1680

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  Nevers pair of wine jugs, c. 1685, 56 cm high. François Chauveau's Rape of Europa is again used (left).

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  Big Nevers ewer with dancing bacchantes and satyrs, 1685

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Painting [edit]

In the first function of the reign, French painters were largely influenced by the Italians, particularly Caravaggio. Notable French painters included Nicolas Poussin, who was living in Rome; Claude Lorrain, who specialized in landscapes and spent most of his career in Rome; Louis Le Nain, who, along with his brothers, did by and large genre works; Eustache Le Sueur, and Charles Le Brun, who studied with Poussin in Rome and were influenced by him.

With the death in 1661 of Cardinal Mazarin, the King'southward prime minister, Louis decided to have personal charge of all aspects of government, including the arts. His chief advisor on the arts was Jean Colbert (1619–1683), who was likewise his finance government minister. In 1663 Colbert reorganized the Royal furniture workshops, which made a wide diversity of luxury goods, and added to it the Gobelins tapestry workshops. At the same time, with the help of Le Brun, Colbert took charge of the Royal Academy of Painting and Sculpture, which had been founded by Cardinal Mazarin. Colbert also took a dominant function in architecture, taking the championship of Superintendent of buildings in 1664. In 1666, the French Academy in Rome was founded, to take advantage of Rome's position as the leading art center of Europe, and to assure a stream of well-trained painters. Le Brun became the dean of French painters under Louis XIV, involved in architectural projects and interior pattern. His notable decorative works included the ceiling of the Hall of Mirrors in the Palace of Versailles.^[18]

The major painters of the later reign of Louis XIV included Hyacinthe Rigaud (1659–1743) who came to Paris in 1681, and attracted the attention of LeBrun. LeBrun oriented him toward portrait painting, and he made a celebrated portrait of Louis Fourteen in 1701, surrounded past all the attributes of power, from the crown on the tabular array to the red heels of his shoes. Rigaud soon had an elaborate workshop in place for making portraits of the nobility; he employed specialized artists to create the costumes and draperies, and others to paint the backgrounds, ranging from battlefields to gardens to salons, while he concentrated on the composition, colors and especially the faces.^[18]

Georges de La Tour (1593–1652) was another important effigy in the Louis Xiv manner; he was given a title, named court painter of the Rex, and received high payments for his portraits, though he rarely ever came to Paris, preferring to work in his abode town of Lunéville. His paintings, with their unusual low-cal and dark effects, were unusually somber, the figures barely seen in the darkness, lit past torchlight, evoking meditation and compassion. In add-on to religious scenes, he did genre paintings, including the famous Tricheur or card cheat, showing a young noble being cheated at cards while others look on passively. The author and later on French civilization minister Andre Malraux wrote in 1951, "No other painter, not even Rembrandt, always suggested such a vast and mysterious silence. La Bout is the only interpreter of the serene attribute of shadows."^[19]

In his terminal years, Louis 14's tastes changed once again, nether the influence of his morganic wife, Madame de Maintenon, toward more religious and meditative themes. He had all the paintings in his individual room removed and replaced by a single canvas, Saint Sebastien being tended past Saint Irene (c. 1649) by Georges de La Tour.^[20]

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Sculpture [edit]

The nearly influential sculptor of the period was the Italian Gian Lorenzo Bernini, whose work in Rome inspired sculptors all over Europe. He traveled to France; his proposal for a new facade of the Louvre was rejected by the King, who wanted a more specifically French mode, merely the Bernini did brand a bust of Louis XIV in 1665 which was greatly admired and imitated in France.

Ane of the about prominent sculptors nether Louis Xiv was Antoine Coysevox (pronounced "qualzevo") (1640–1720) from Lyon. He studied sculpture under Louis Lerambert and copied in marble ancient Roman works, including the Venus de Medici. In 1776, his bust of the Male monarch's official painter Charles Le Brun won him access to the Royal University of Painting and Sculpture. He was soon producing monumental sculpture to back-trail the new buildings synthetic by Louis XIV; he made a Charlemagne for the royal chapel at Les Invalides, and and so a big number of statues for the new Park at Versailles and then at the Chateau de Marly. He originally fabricated the outdoor statues in weather-resistant stucco, and so replaced them with marble works when they were finished in 1705. His work of Neptune from Marly is at present in the Louvre, and his statues of Pan and a Flora and Dryad are now found in the Tuileries Gardens. His statue of The Male monarch'south Fame riding Pegasus was originally fabricated for the Chateau of Marly. After the Revolution it was moved to the Tuileries Gardens, and is at present inside the Louvre. He too fabricated a series of profoundly admired portrait sculptures of the leading statesmen and artists of the time; Louis XIV at Versailles, Colbert (for his tomb at the Church of Saint Eustache; Cardinal Mazarin in the Collège des Quatre-Nations (at present the Institut de French republic) in Paris; the playwright Jean Racine; the architect Vauban and the garden designer Andre Le Notre.^[21]

Jacques Sarazin was some other notable sculptor working on projects for Louis XIV. He made many statues and decorations for the Palace of Versailles, besides as the Caryatids for the eastern facade of the Pavilion du Horloge of the Louvre, facing the Cour Carré, which were based both on a study of the original Greek models, and on the piece of work of Michelangelo.

Another notable sculptor of the Way Louis 15 was Pierre Paul Puget (1620–1694), who was a sculptor, painter, engineer and architect. He was born in Marseille, and first sculpted ornaments for ships under construction. He then travelled to Italy, where he worked every bit an apprentice on the Bizarre ceilings of the Palazzo Barberini and Palazzo Pitti. He travelled dorsum and along between Italia and French republic, painting, sculpting and woods-carving. He made his celebrated statue of caryatids for the metropolis hall of Toulon in 1665–67, then was employed past Nicolas Fouquet to make a statue of Hercules for his chateau at Vaux-le-Vicomte. He continued to live in the southward of France, making notable statues of Milo of Croton, Perseus and Andromeda (now in the Louvre).^[22]

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  The Male monarch'south Fame riding Pegasus, by Antoine Coysevox, fabricated for Marly, now in the Louvre. (1702)

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Tapestries [edit]

In 1662 Jean Baptiste Colbert purchased the tapestry workshop of a family of Flemish artisans and transformed it into a royal workshop for the manufacture of furniture and tapestries, under the name of Gobelins tapestry. Colbert placed the workshop nether the direction of the royal courtroom painter, Charles Le Brun, who served in that position from 1663 until 1690. The workshop worked closely with the major painters of the court, who produced the designs. Afterwards 1697 the enterprise was reorganized, and thereafter was devoted entirely to the production of tapestries for the King.^[23]

The themes and styles of the tapestry were largely similar to the themes in the paintings of the period, celebrating the majesty of the King and triumphal scenes of military victories, mythological and pastoral scenes. While at kickoff they were fabricated merely for utilize of the King and nobility, the factory soon began exporting its products to the other courts of Europe.

The royal Gobelins manufactory had competition from two private enterprises, the Beauvais Manufactory and the Aubusson tapestry workshop, which produced works in the same manner simply with a low-warp process, with slightly lesser quality. Jean Bérain the Elder, the royal draftsman and designer of the Male monarch, created a series of grotesque carpets for Aubusson. These tapestries sometimes celebrated contemporary themes, such equally a work designed by Aubusson An tardily 17th to early 18th century tapestry done by the Beauvais Manufactory depicting Chinese astronomers at the Beijing Ancient Observatory using new more accurate instruments brought to them by Europeans (Jesuits) which were installed in 1644.

Design and spectacle [edit]

In the early years of the King'south reign, the virtually important public royal ceremony was the carrousel, a series of exercises and games on horseback. These events were designed to replace the tournament, which had been banned after 1559 when Male monarch Henry Two was killed in a jousting accident. In the new, less unsafe version, riders usually had to laissez passer their lance through the interior of a ring, or strike mannequins with the heads of Medusa, Moors and Turks. A grand carrousel was held on June 5–6, 1662 to celebrate the nativity of the Dauphin, the son of Louis Fourteen. It was held on the square separating the Louvre from the Tuileries Palace, which after became known every bit the Place du Carrousel.^[24]

The ceremonial entry of the Male monarch into Paris also became an occasion for festivities. The return of Louis XIV and Queen Marie-Thérèse to Paris after his coronation in 1660 was historic by a thousand event on a fairground at the gates of the city, where large thrones were constructed for the new monarchs. Afterwards the anniversary the site became known as the Place du Trône, or place of the Throne, until it became the Identify de la Nation in 1880.^[25]

An function existed in the majestic household of Louis Xiv called Menus-Plaisirs du Roi, which was responsible the decoration at royal ceremonies and glasses, including ballets, masques, illuminations, fireworks, theater performances and other entertainments. This function was held from 1674 to 1711 by Jean Bérain the Elder (1640-1711). He was also designer of the Male monarch's bedchamber and offices, and had an enormous influence upon what became known every bit the Style Louis 14; his studio was located in the Chiliad Gallery of the Louvre, along with those of the royal furniture designer André Charles Boulle. He was particularly responsible for introducing the a modified version of the grotesque style of ornamentation, originally created in Italy by Raphael, into French interior design. He used the grotesque stele not merely on wall panels, but as well on tapestries made by the Aubusson tapestry workshops. His many varied other designs included the highly-ornate design of transom of the warship Soleil Regal (1670), named for the King.^[26]

In addition to interior ornament, he designed the costumes and scenery for the regal theaters, including for the opera Amadis by Jean-Baptiste Lully performed at the Theater of the Palais Imperial (1684), and for the opera-ballet Les Saisons by Lully's successor, Pascal Colasse, in 1695.^[27]

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  Bérain design for transom of the warship Soleil Majestic named for Louis 14 (1670)

The garden à la française [edit]

Ane of the most enduring and popular forms of the Style Louis 14 is the jardin à la française or French formal garden, a style based on symmetry and the principle of imposing order on nature. The almost famous example is the Gardens of Versailles designed past André Le Nôtre, which inspired copies all beyond Europe. The first important garden à la française was the Chateau of Vaux-le-Vicomte, created for Nicolas Fouquet, the superintendent of Finances to Louis 14, kickoff in 1656. Fouquet commissioned Louis Le Vau to pattern the chateau, Charles Le Brun to design statues for the garden, and André Le Nôtre to create the gardens. For the first time the garden and the chateau were perfectly integrated. A one thousand perspective of 1500 meters extended from the foot of the chateau to the statue of the Hercules of Farnese; and the space was filled with parterres of evergreen shrubs in ornamental patterns, bordered by colored sand, and the alleys were decorated at regular intervals past statues, basins, fountains, and carefully sculpted topiaries. "The symmetry attained at Vaux achieved a degee of perfection and unity rarely equalled in the art of classic gardens. The chateau is at the heart of this strict spatial organisation which symbolizes power and success."^[28]

The Gardens of Versailles, created past André Le Nôtre between 1662 and 1700, were the greatest achievement of the French formal garden. They were the largest gardens in Europe, with an expanse of 15,000 hectares, and were laid out on an east–west centrality followed the course of the sun: the dominicus rose over the Court of Award, lit the Marble Courtroom, crossed the Chateau and lit the bedroom of the King, and ready at the end of the G Culvert, reflected in the mirrors of the Hall of Mirrors.^[29] In contrast with the chiliad perspectives, reaching to the horizon, the garden was full of surprises: fountains, pocket-sized gardens filled with bronze, which provided a more human scale and intimate spaces. The central symbol of the garden was the sun; the emblem of Louis XIV, illustrated by the statue of Apollo in the central fountain of the garden. "The views and perspectives, to and from the palace, continued to infinity. The king ruled over nature, recreating in the garden non only his domination of his territories, merely over the court and his subjects."^[30]

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See also [edit]

• Louis period styles

Notes [edit]

1. ^ Ducher, Robert, Caractéristique des styles (1988), pg. 120
2. ^ Renault and Lazé, Les Styles de 50'architecture et du mobilier (2006), Editions Jean-Paul Gisserot, Paris (in French), pg. 54–55.
3. ^ Ducher 1988, p. 120.
4. ^ Ducher 1988, p. 122.
5. ^ ^{a b c} Ducher 1988, p. 124.
6. ^ Texier, Simon (2012), pp. 38–39
7. ^ Texier, Simon (2012), pp. 38–39.
8. ^ Ducher 1988, pp. 126–129.
9. ^ Renault and Lazé, Les Styles de l'architecture et du mobilier (2006), pg. 59
10. ^ Renault and Lazé, Les Styles de l'architecture et du mobilier (2006), pg. 59
11. ^ McNab, 20-21; Moon; V&A, Nevers Jardiniere
12. ^ Pottier, 12
13. ^ Moon; McNab, 22
14. ^ Moon; McNab, 30
15. ^ Munger & Sullivan, 135-137
16. ^ Munger & Sullivan, 138-142
17. ^ Munger & Sullivan, 135-137
18. ^ ^{a b} Bauer & Prater 2016, p. 16.
19. ^ cited in Bauer and Prater, Baroque, (2016) folio 86.
20. ^ Bauer & Prater 2016, p. 86.
21. ^ "Coysevox, Charles Antoine", by Hugh Chisholm from Encyclopedia Britannica 11th edition, (1911), pg. 355–56
22. ^ "Puget, Pierre", by Hugh Chisholm from Encyclopedia Britannica 11th edition, (1911), pg. 637
23. ^ "Gobelin". Encyclopædia Britannica. Chisholm, Hugh, ed. (1911). Cambridge Academy Press. p. 165
24. ^ Fierro 1996, p. 754.
25. ^ Dictionnaire historique de Paris 2013, p. 272.
26. ^ Chisholm, Hugh, ed. (1911). "Bérain, Jean". Encyclopædia Britannica (11th ed.). Cambridge University Printing.
27. ^ Chisholm, Hugh, ed. (1911). "Bérain, Jean". Encyclopædia Britannica (11th ed.). Cambridge Academy Printing.
28. ^ Prevot, Histoire des jardins, pg. 146
29. ^ Prevot, Histoire des jardins, pg. 152
30. ^ Lucia Impelluso, Jardins, potagers et labyrinthes, pg. 64.

References [edit]

• Yves-Marie Allain and Janine Christiany, 50'art des jardins en Europe, Citadelles et Mazenod, Paris, 2006
• Bauer, Hermann; Prater, Andreas (2016), Baroque (in French), Cologne: Taschen, ISBN978-3-8365-4748-2
• Cabanne, Perre (1988), L'Art Classique et le Bizarre, Paris: Larousse, ISBN978-2-03-583324-2
• Ducher, Robert (1988), Caractéristique des Styles, Paris: Flammarion, ISBN2-08-011539-1
• Fierro, Alfred (1996). Histoire et dictionnaire de Paris. Robert Laffont. ISBNtwo-221--07862-4.
• Impelluso, Lucia,Jardins, potagers et labyrinthes, Hazan, Paris, 2007.
• McNab, Jessie, Seventeenth-Century French Ceramic Art, 1987, Metropolitan Museum of Art, ISBN 0870994905, 9780870994906, google books
• Moon, Iris, "French Faience", in Heilbrunn Timeline of Art History, 2016, New York: The Metropolitan Museum of Art, online
• Munger, Jeffrey, Sullivan Elizabeth, European Porcelain in The Metropolitan Museum of Art: Highlights of the collection, 2018, Metropolitan Museum of Art, ISBN 1588396436, 9781588396433, google books
• Pottier, André, Histoire de la faïence de Rouen, Book 1, 1870, Le Brument (Rouen), google books (in French)
• Prevot, Philippe (2006), Histoire des jardins (in French), Paris: Editions Sud Ouest
• Renault, Christophe (2006), Les Styles de l'architecture et du mobilier, Paris: Gisserot, ISBN978-2-877-4746-58
• Texier, Simon (2012), Paris- Panorama de l'compages de l'Antiquité à nos jours, Paris: Parigramme, ISBN978-two-84096-667-8
• Wenzler, Claude, Compages du jardin, Editions Ouest-France, 2003
• Dictionnaire Historique de Paris. Le Livre de Poche. 2013. ISBN978-2-253-13140-three.

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Source: https://en.wikipedia.org/wiki/Louis_XIV_style

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