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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.
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