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attention to his patronage. 18 Within the last twenty years, several studies have revised this picture of the king, arguing instead that he was a self-sufficient leader with an active artistic policy. 19 In 1992 Anne Le pas de Sécheval wrote a doctoral thesis, based largely on archival documents, cataloging the king’s patronage of the arts, including several of the churches presented in this study. 20 A few years later Marc Fumaroli wrote an article abut the king’s rejection of the last scene of a tapestry series designed by Peter Paul Rubens representing the Life of Constantine, arguing that Louis viewed the image as a threat to his temporal authority. 21 Each of these works is critical in establishing that Louis XIII had an interest in the patronage of the arts and that he was aware of its power to convey political messages. Several studies have been devoted to individual Parisian churches dating to the seventeenth century, providing invaluable archival material in addition to reconstructing the buildings’ original form. 22 A few of these focus on the influence of individual patrons, moving beyond personal religious concerns to show that ambition and political ideals drove the construction of the building. 23 One such study that considers a church covered in this work is Martin Schieder’s essay on Notre-Dame-des-Victoires, which argues that Louis XIII’s patronage of the church played a role in the formation of the absolutist state and helped to legitimize the Bourbon dynasty. While this work is valuable because it places the building within the political context of early modern France, it ignores Louis XIII’s early involvement with the Oratory and Saint-Louis-des-Jésuites by suggesting that Notre-Dame-des-Victoires was the first church supported by the king. By far, the architectural projects of the Society of Jesus have received the most scholarly attention of the religious groups discussed here. Within the vast field of literature, scholars have traditionally focused on two themes: viewing the Gesù, the mother church of the order in Rome, as the prototypical example of Counter-Reformation church design and arguing for and against the idea that the Jesuits imposed a monolithic artistic and architectural program on all of their commissions throughout the world. Recent scholarship has done much to answer these issues by finding that the Society developed numerous solutions for the appropriate Catholic Reformation church, and that instead of having an institutional approach to design, it allowed factors such as regional styles and preferences and the influence of non-Jesuit patrons to determine the final project. 24 7
Although studies employing contextual methodologies have rarely been used for the buildings treated in my study, several of the religious groups that built the churches have been the subject of this type of scholarship. In an extensive study of the French Oratorians, Charles Williams discusses the history of the congregation and examines the evolving spiritual and doctrinal concerns of Pierre Bérulle, the group‘s founder. 25 The book provides fundamental insights into the social and political domains with which Bérulle had to negotiate as head of the Oratory, but it omits discussion of art and architecture. In a book exploring French royal support of the Society of Jesus, Eric Nelson argues that Louis XIII’s father provided ecclesiastical patronage to the Jesuit Order as part of his efforts to define royal influence over the Catholic Church in France. 26 One other field of scholarship contributes greatly to my research, that of French history. Specifically, works by authors such as Barbara Dieffendorf, Mack Holt, Michael Wolfe, and Sharon Kettering have shaped my understanding of the political, religious, and social history of the period, providing me with a basis for understanding the historical context. 27 Among these, Sharon Kettering’s studies of seventeenth-century patronage have made an especially important contribution to my work on Louis XIII. Characterizing patronage relationships, she argues that the obligatory reciprocity of the patron client exchange created expectations that led to reliance and occasionally trust and loyalty. 28 This idea is central to my assertion that Louis XIII believed he could control the potentially subversive religious groups through financial support of their church es. Organization of the Chapters My dissertation begins with a chapter that presents the religious and political context of the late sixteenth and early seventeenth centuries in France. Its purpose is to illuminate the circumstances that led up to Maria de’ Medici’s regency and Louis XIII’s reign, demonstrating that the French monarchs were in need of a powerful tool to express their individual political agendas. Using well-known historical material, I discuss the Wars of Religion, the reign of Henri IV, and the Catholic Reformation in France to show the manner in which each of these factors had a bearing on the policies of Maria de’ Medici and Louis XIII. Not only did these 8
Page 1 and 2: FLORIDA STATE UNIVERSITY COLLEGE OF
Page 3 and 4: ACKNOWLEDGEMENTS The completion of
Page 5 and 6: Jacobins of the rue Saint-Honoré 1
Page 7 and 8: 14. Clément Métezeau and Jacques
Page 9 and 10: 45. Simon Vouet, Apotheosis of St.
Page 11 and 12: 79. After Claude Chastillon, Carose
Page 13 and 14: ABSTRACT This study examines early
Page 15 and 16: The Buildings Of the ten newly-buil
Page 17 and 18: The Patrons: Maria de’ Medici and
Page 19: has been the focus of a wealth of a
Page 23 and 24: the Society. By dedicating royal fu
Page 25 and 26: 1 Marie-Laure Deschamps-Bourgeon, "
Page 27 and 28: de' Medici (Princeton, New Jersey:
Page 29 and 30: CHAPTER 2 THE HISTORICAL CONTEXT: F
Page 31 and 32: in the last twenty years as a serio
Page 33 and 34: pattern that would be repeated in e
Page 35 and 36: The Reign of Henri IV The move from
Page 37 and 38: The king’s second major accomplis
Page 39 and 40: etween Philip IV (1285-1314) and Po
Page 41 and 42: universal Church, he was recognized
Page 43 and 44: houses in Italy and Spain, these re
Page 45 and 46: Although concerns over internationa
Page 47 and 48: Although Maria never claimed to bel
Page 49 and 50: suggestions but leave the decisions
Page 51 and 52: as a double feast. 100 The king’s
Page 53 and 54: 1 I use the terms Catholic Reform a
Page 55 and 56: 20 Henri III was the third of four
Page 57 and 58: 46 Beaune, Ideology, 176. 47 For th
Page 59 and 60: 70 Hayden, "Continuity," 12. 71 Lou
Page 61 and 62: Jean Héroard, ed. Edouard de Barth
Page 63 and 64: which uses the seventeenth-century
Page 65 and 66: a more appropriate location. 11 In
Page 67 and 68: etween the Oratory’s founder and
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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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The queen would have also welcomed
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Like Saint-Joseph-des-Carmes the re
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and pierced with windows. The faça
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protector and establishing a close
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and in the entablature of the choir
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The queen certainly believed that s
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the image the rectangular foundatio
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Medici’s patronage of the Religio
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use her support of the Religious of
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1 The dates represent the start of
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17 “MARIA MEDICAEA, PIENTISSIMA E
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Baptiste-Michel Renou de Chevigné
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du Roi des Rois pour la conservatri
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Zusammenhang, ed. Joachim Poeschke
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CHAPTER 6 FROM NOTRE-DAME-DES-VICTO
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eign of Louis XIII. By looking at i
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choir are two additional rooms. Tho
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Moreover not all foundation stones
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Additional Churches supported by Lo
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palace chapel at Versailles, design
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founding, was first supported by St
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its position within the kingdom. In
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Scholarship shows that the reasons
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with Cardinal Richelieu, who refuse
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his preoccupation with the war, Lou
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12 Barbiche, "Augustins déchaussé
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39 Jean-Pierre Camus, Premières ho
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Amos, Funerals, Politics, and Memor
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cardinal; see Paul de Musset, Puyla
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One of the key contributions of thi
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Figure 1. Philippe de Champaigne, L
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Figure 3. Frans Pourbus the Younger
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Figure 5. French School, Pierre de
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Figure 7. Jean Marot, Veue de l’
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Figure 9. Clément Métezeau and Ja
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Figure 11. Michel Etienne Turgot, P
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Figure 13. Reconstructed map of the
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Figure 15. Saint-Germer-de-Fly, vie
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Figure 17. Sainte-Chapelle, upper c
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Figure 19. Jacques Lemercier, Churc
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Figure 21. Écu d’or of Louis XII
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Figure 23. Jacques Androuet du Cerc
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Figure 25. Map of territories durin
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Figure 27. Peter Paul Rubens, Trium
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Figure 29. Philippe de Champaigne,
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Figure 31. Saint Louis, obverse (le
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Figure 33. Andrea Sacchi and Jan Mi
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Figure 35. Foundation Stone of Sain
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Figure 37. G. Bonsegni, Il Gesù, r
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Figure 39. Detail of Kings rose win
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Figure 41. Etienne Martellange and
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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 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
Page 307 and 308:
Billot, Claudine. "La fondation de
Page 309 and 310:
Brunel, Georges. Dictionnaire des
Page 311 and 312:
Currier, Charles Warren. History of
Page 313 and 314:
Freiberg, Jack. The Lateran in 1600
Page 315 and 316:
Johnson, Géraldine A. "Imagining I
Page 317 and 318:
Lonergan, Walter F. Historic Church
Page 319 and 320:
Montgolfier, Bernard de, ed. Saint-
Page 321 and 322:
Romier, Lucien. Les origines politi
Page 323 and 324:
Turchetti, Mario. "Middle Parties i
Page 325 and 326:
Education: Teaching Experience: Nat
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