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Clear glass with colored borders of flowers, arms, and cartouches became the standard treatment in seventeenth-century Paris. For more on the treatment of glass in seventeenth-century French churches, see Jean Lafond, "De 1560 à 1789," in Le vitrail français, ed. Marcel Aubert, André Chastel, and Louis Grodecki (Paris: Éditions Deux Mondes, 1958), 267-69. 21 For the reserved interior as a style reflecting the reforms of the Catholic Church, see Lewine, "Roman Church," 72-85. As Evonne Levy notes, Lewine’s thesis has been challenged by more recent scholarship; see Alexander, "Sacred Space," 164-79; Stefano Della Torre, "Il problema del dei riferimenti classicisti nell'architettura post-tridentina," in I Tempi del Concilio: Società religione e cultura agli inizi dell'Europa moderna, Trento 27-30 ottobre 1994 (Trent: Camera di commercio, industria, artigianato e agricoltura di Trento, 1995), 219-27; Evonne Levy, "Architecture and Religion in Seventeenth-century Rome," Studiolo 2 (2003): 223. 22 For Saint-Nicolas-des-Champs, see Agnès Bos, Les églises flamboyantes de Paris XVe-XVIe siècles (Paris: Picard, 2003), 242-47. 23 For the Bérulle family’s parish church, see Houssaye, Bérulle et les Carmélites, 81. 24 Gady, Lemercier, 235. The twentieth-century configuration of tiered wooden seats in the tribunes blocks the original elevation, which consists of three bays, each with an arched window topped by an elaborately sculpted frame. Above and still visible is a tall centrally placed arched window flanked by two decorative niches. 25 For the tribunes at Saint-Gervais, which date from the third quarter of the sixteenth century, see Bos, Églises flamboyantes, 192. 26 The paneling was transferred in 1811 from Saint-Louis-du-Louvre, a medieval church between the Louvre and the Tuilieries that Napoleon destroyed. The cross was placed in the axial bay of the gallery in 1930. Another change was the addition in 1821 of balconies in the chapels to provide more seating. For these changes, see Église réformée de l'Oratoire du Louvre, 8-10. 27 Archives Nationales, MM 623 f. 111. The property belonged to Sieur Morel and Sieur de Montreuil. No indication is given as to why the men refused to sell, but the congregation was able to acquire the parcels of land in 1627 and in 1654. 28 Ibid. 29 Germain Brice, Description de la ville de Paris et de tout ce qu'elle contient de plus remarquable. Reproduction de la 9e éd. (1752), 4 vols. (Paris: Minard, 1971), 227; Henri Sauval, Histoire et recherches des antiquites de la ville de Paris, 4 vols. (Paris: Moette et Chardon, 1724), 1: 432. 30 Archives Nationales, MM 623 f. 112, written in September 1625, states that although the church was not finished, as soon as it was in a state that could celebrate mass, people rushed to furnish the necessary liturgical items. 75
31 Archives Nationales, MM 600, Visites de l’Oratoire, 1742-1780, f. 4, states that construction stopped in the 1640s. In December 1631 Louis XIII gave the congregation 900 francs for three large windows; see Archives Nationales MM 623 f. 161. The court gave the congregation ten thousand livres in 1633 and 1634 for work on the church; see Archives Nationales MM 623 f. 182, 183. 32 Archives Nationales MM 623 f. 115. 33 The exterior elevation of the projecting rotunda had been altered by the 1889 erection of a monument to Gaspard de Coligny and by the creation of arcading along the rue de Rivoli. 34 Bérulle published four books and wrote numerous other works. For an introduction to his writing, see Deville, French School, 29-57; William M. Thompson, ed., Bérulle and the French School: Selected Writings (New York: Paulist Press, 1989). For his complete works, see Pierre Bérulle, Oeuvres complètes du Cardinal de Bérulle, ed. Jacques-Paul Migne (Paris: Migne, 1856). 35 The façade loosely follows Lemercier’s design, a version of which is in Marot’s Petit recueil. For the façade, see Gady, Lemercier, 234. 36 Le Pas de Sécheval, "Politique artistique," 408. 37 Archives Nationales MM 623 f. 94; “de son proper movement et sans en avoir été sollicité par qui que ce soit…prendre la notre pour server de chapelle à son château.” The royal brevet announcing the king’s decision on 23 December 1623 refers to the church as the king’s royal oratory [son oratoire royal]. The brevet was recorded in the congregation’s annals; Archives Nationales MM 623 f. 95. A royal arrêt from 17 July 1624, also recorded in the annals, refers to the church as the royal chapel [chapelle royalle]; Archives Nationales MM 623 f. 102. 38 The existing chapel, dating from the fourteenth century, was destroyed when François I tore down the west wing of the medieval Louvre. For a discussion of royal chapels at the Louvre during this period, see Lawrence Robert McGinniss, "Royal Chapel Projects for Louis XIV at St. Denis, the Louvre and the Invalides, 1664-1683" (Ph.D. Dissertation, Columbia University, 1974), 82-90. 39 Ibid. The chapel of the Petit-Bourbon, an hôtel owned by the Bourbon family, was then serving as the royal chapel. It should not be confused with the Hôtel de Petit-Bourbon, which functioned as the French Oratory’s first house in the faubourg Saint-Jacques. Louis XIII announced that he would raze the chapel at the Bourbon family’s hôtel upon completion of the church of the Oratory. For the razing of the chapel, see Archives Nationales MM 623 f. 94. 40 Archives Nationales MM 623 f. 94; as quoted in Ingold, Oratoire, 21-22. 76
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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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Page 95 and 96: 99 Archives Nationales MM 562 f. 3-
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Page 131 and 132: 88 Laurence Brockliss, "Richelieu,
Page 133 and 134: 110 For the meaning of the central
Page 135 and 136: 135 For a discussion of Richelieu
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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
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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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