A miniature pendant of Louis Charles de France (Louis XVII)

 

A miniature pendant with a portrait of Louis Charles de France, or Louis XVII, by an unidentified artist. After a portrait by Vigee-Lebrun. [source: Adjug'art Auctions, via Auction.fr]

 

 

The 19th century was certainly no stranger to Bourbon nostalgia, and this miniature portrait of Louis Charles de France--known to many royalists as Louis XVII--is certainly no exception. Although the piece does not have a definite date, the auction house dates it to the early 19th century. It's a plausible enough date, and it's possible that the piece was produced around the time of the Bourbon Restoration or perhaps several years after the Restoration.

The Bourbon Restoration made it vogue to reproduce images of the monarchy--including images of the now-deceased members who had gone from loathed figures in the revolutionary to exalted martyrs under the Restoration. One can easily imagine this brooch pinned on the jacket or bodice of a royalist in the early years of the Restoration or beyond.

A satirical print against Louis XVIII: 'The Terrible Burden.'

 

 [credit: © The Trustees of the British Museum]

The above satirical print depicts Louis XVIII falling under the weight of a large double-labeled sack. The back half of the sack is labeled "the mistakes/faults of the Bourbons," while the much lighter front half is labeled "benefits of Louis XVIII."  

The print was released in May of 1815, during the 'Hundred Days' of Napoleon's return to French rule.

Bouquet Royal

 

credit: Bibliothèque nationale de France, département Estampes et photographie

When I saw this unique engraving, my mind went at once to the painting which was presented Marie Antoinette when she was a young dauphine, which depicted her as the center of a rose among a bouquet of flowers.

This engraving, published in 1815, puts the returning Bourbons at the center of a 'royal bouquet.' I find it interesting that the duchesse d'Angouleme is placed in the second tier of flowers, just below the right hand side of Louis XVII and on the same level as as the comte d'Artois--who was now heir presumptive. Perhaps the engraving, which was no doubt created to promote joy in return of the Bourbon monarchy, was intending to capitalize on the memory of the French. They would remember their "princess in the tower," daughter of the last king and queen, much more than her two cousins.

Can any flower aficionados identity the flowers being used in this unique engraving?