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26 Although the interior of Saint-Louis-des-Jésuites was only completed in the early 1640s, plans would have been underway by the time the Augustins Déchaussés chose the subject for their high altarpiece. 27 For the imagery at Saint-Louis-des-Jésuites reinforcing the divine right of French monarchs, see Cousinié, "La constitution," 610. 28 On 6 January 1638 Louis XIII granted the Parisian monastery the right to include the royal arms in its insignia. Other than this privilege, no additional services were provided to the Augustins Déchaussés. For this event, see Barbiche, "Augustins déchaussés," 40. 29 Le Pas de Sécheval, "Politique artistique," 438; Schieder, "Fondation royale," 208-09. 30 Le Pas de Sécheval, "Politique artistique," 438. 31 For example, the church of the Jesuit Noviciate was begun in 1630 and Notre-Dame-des- Anges for the Visitandines was begun in 1632. 32 For the fire and the events that immediately followed it, see Sauveur-Jérome Morand, Histoire de la Sainte-Chapelle Royale du Palais (Paris: Clousier et Prault, 1790), 205-06. 33 For the relics endowing the Sainte-Chapelle with the status of the locus sanctus and Paris the New Jerusalem, see Weiss, Art and Crusade, 11-77. 34 For the relics as protectors of the dynasty and kingdom, see Claudine Billot, "La fondation de Saint Louis. Le collège des chanoines de la Sainte-Chapelle (1248-1555)," in Le trésor de la Sainte-Chapelle, ed. Jannic Durand, Marie-Pierre Laffitte, and Dorota Giovannoi (Paris: Réunion des Musées Nationaux, 2001), 99. 35 Le Pas de Sécheval, "Politique artistique," 415-17. 36 For the Sainte-Chapelle in comparison with Notre-Dame-de-Paris, see Claude de Varennes, Le Voyage de France, dressé pour la commodité des françois et des étrangers (Paris: N. Le Gras, 1687), 198. For sources noting the collection of relics, see Félibien, Histoire, 1:294; Antoine Martial Le Fèvre, Description des curiosités des églises de Paris et des environs (Paris: Cl. P. Gueffier, 1759), 68; Piganiol de la Force, Description historique, 1:71; Sauval, Histoire, 1:445; Varennes, Le voyage, 198; Philippe de Villers, Journal d'un voyage à Paris en 1657-1658 (Paris: B. Duprat, 1862), 93. 37 The list of Passion relics held at the Sainte-Chapelle varies among the authors, but each source mentions the crown of thorns. For the lists, see Félibien, Histoire, 1:294-96; Morand, Sainte- Chapelle, 40; Piganiol de la Force, Description historique, 1:71; Sauval, Histoire, 1:445. 38 For the architecture representing royalty, see Sauval, Histoire, 1:445. For a “hand more than human” designing the building, see Le Fèvre, Description des curiosités, 68. 181
39 Jean-Pierre Camus, Premières homélies diverses (Cambrai: De la Rivière, 1620), 12-14; as cited in Thomas Worcester, Seventeenth-Century Cultural Discourse: France and the Preaching of Bishop Camus (New York: Mouton de Gruyter, 1997), 193. 40 The Sainte-Chapelle has two separate floors, while the Versailles chapel’s interior is defined by a ground floor topped with a tribune. For the suggestion that both chapels have two interior levels and for the other similarities, see Edmunds, Piety, 79-80. 41 Ibid., 197. 42 The sculptural reliefs were made by Guillaume Coustou between 1699 and 1710. Some of the relics depicted in the ceiling painting are the reed, the cross, the lance, the sponge, and the crown of thorns. For discussion of the reliefs and the painting, see ibid., 131-52. 43 For the relationship between the depictions of the Passion in the Versailles chapel and the Sainte-Chapelle, see ibid., 195-202. 44 Jannic Durand, "Heurs et malheurs, XVIe -- XVIIe siècles," in Le trésor de la Sainte- Chapelle, ed. Jannic Durand, Marie-Pierre Laffitte, and Dorota Giovannoi (Paris: Réunion des Musées Nationaux, 2001), 239. 45 For the reliquary and its symbolism of St. Louis, see Magalie Lenoir, "La châsse en forme de Sainte-Chapelle, 1625-1791," in Le trésor de la Sainte-Chapelle, ed. Jannic Durand, Marie- Pierre Laffitte, and Dorota Giovannoi (Paris: Réunion des Musées Nationaux, 2001), 257. 46 For the damage to the treasury during the sixteenth century, see Durand, "Heurs," 236-38. 47 The only discussion of this print is found in Edmunds, Piety, 200. Suggesting that the print is a source for a sculptural relief at Versailles featuring the crown of thorns, Edmunds describes the image. Many of Huret’s prints are not dated. By 1623, while living in Lyon, he was already making prints of Louis XIII. In 1635 he moved to Paris, where he soon began making works depicting religious themes. Considering these points, it is entirely possible that Christ Giving the Crown of Thorns to Louis XIII was made not long after the fire at the Sainte-Chapelle. For Huret and his work, see Emmanuelle Brugerolles and David Guillet, "Grégoire Huret, dessinateur et graveur," Revue de l'art, no. 117 (1997): 9-35. 48 For Louis IX’s attributes, see Anne Giraudon, "Louis XIII et saint Louis dans la gravure française du XVIIe siècle," in Regards sur le passé dans l'Europe des XVIe et XVIIe siècles. Actes du colloque organisé par l'Université de Nancy II, ed. Francine Wild (Bern: Peter Lange, 1997), 390. 49 For the king’s monetary gift, see Durand, "Heurs," 239. 182
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FLORIDA STATE UNIVERSITY COLLEGE OF
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ACKNOWLEDGEMENTS The completion of
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Jacobins of the rue Saint-Honoré 1
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14. Clément Métezeau and Jacques
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45. Simon Vouet, Apotheosis of St.
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79. After Claude Chastillon, Carose
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ABSTRACT This study examines early
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The Buildings Of the ten newly-buil
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The Patrons: Maria de’ Medici and
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has been the focus of a wealth of a
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Although studies employing contextu
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the Society. By dedicating royal fu
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1 Marie-Laure Deschamps-Bourgeon, "
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de' Medici (Princeton, New Jersey:
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CHAPTER 2 THE HISTORICAL CONTEXT: F
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in the last twenty years as a serio
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pattern that would be repeated in e
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The Reign of Henri IV The move from
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The king’s second major accomplis
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etween Philip IV (1285-1314) and Po
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universal Church, he was recognized
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houses in Italy and Spain, these re
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Although concerns over internationa
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Although Maria never claimed to bel
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suggestions but leave the decisions
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as a double feast. 100 The king’s
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1 I use the terms Catholic Reform a
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20 Henri III was the third of four
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46 Beaune, Ideology, 176. 47 For th
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70 Hayden, "Continuity," 12. 71 Lou
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Jean Héroard, ed. Edouard de Barth
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which uses the seventeenth-century
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a more appropriate location. 11 In
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etween the Oratory’s founder and
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seventeenth century, prompting scho
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façade drew visual emphasis to the
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The emblem continued to be included
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esidence. Similar to its use in ant
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courts, attended a similar ceremony
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of the society were planning regici
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Upon reentering the royal council i
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emind him that at present there was
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1 Fumaroli, "Cross," 88-102; Le Pas
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the church, including the interior
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31 Archives Nationales, MM 600, Vis
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51 For twin-towered facades associa
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Marilyn Aronberg Lavin (New York: I
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99 Archives Nationales MM 562 f. 3-
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125 Archives Nationales MM 623 f. 9
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By examining the precise manner of
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arcade, replacing it with a project
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a halo surrounding his head. The me
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place, the event was the first time
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Although David and Solomon had trad
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on the robe and crown and at the en
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king, who backed the Protestant Hen
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Catholic world, any objection it ma
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The current arrangement of the apse
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L surmounted by a royal crown and f
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figure first occurred in the west o
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the façade reiterates the place of
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1 Today it is the parish church of
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discussion of the plan and its popu
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43 For Philip II as Solomon and the
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67 The Jesuit foundations building
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88 Laurence Brockliss, "Richelieu,
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110 For the meaning of the central
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135 For a discussion of Richelieu
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had exercised by the end of the reg
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King Louis XI (1461-1483) and immed
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in the fifteenth century and most r
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Page 173 and 174: eign of Louis XIII. By looking at i
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Figure 43. Edme Moreau, High Altar
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Figure 45. Simon Vouet, The Apotheo
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Figure 47. Etienne Martellange and
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Figure 51. Michel Corneille, St. Lo
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Figure 53. Studio of Simon Vouet, L
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Figure 57. Plan of the Church of th
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Figure 59. Plan of Saint-Joseph-des
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Figure 61. Saint-Joseph-des-Carmes,
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Figure 63. After Jean Marot, Eglise
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Figure 65. Jean-Baptiste-Michel Jai
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Figure 67. Jean-Aimar Piganiol de l
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Figure 69. Michel Etienne Turgot, P
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Figure 71. Nicolas-Michel Troche, F
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Figure 73. Henri de Gisors, detail
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Figure 75. Jacques de Bie, Device f
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Figure 77. Plan of the church of No
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Figure 79. After Claude Chastillon,
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Figure 81. Notre-Dame-des-Victoires
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Figure 83. Current plan of Notre-Da
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Figure 85. Notre-Dame-des-Victoires
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Figure 87. Foundation Stone of Notr
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Figure 89. Detail of a window at th
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Figure 91. E. Viollet-le-Duc, Recon
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Figure 93. Israël Silvestre, Vue d
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Figure 95. Plan de l’eglise de No
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1589 Henri IV becomes king of Franc
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Bibliothèque nationale de France D
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BIBLIOGRAPHY Archival Sources Archi
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Théveneau, Adam. Les Précepts du
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Billot, Claudine. "La fondation de
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Brunel, Georges. Dictionnaire des
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Currier, Charles Warren. History of
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Freiberg, Jack. The Lateran in 1600
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Johnson, Géraldine A. "Imagining I
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Lonergan, Walter F. Historic Church
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Montgolfier, Bernard de, ed. Saint-
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Romier, Lucien. Les origines politi
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Turchetti, Mario. "Middle Parties i
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Education: Teaching Experience: Nat
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