Showing posts with label louis charles. Show all posts
Showing posts with label louis charles. Show all posts

Saturday, March 6, 2021

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.

Wednesday, July 3, 2019

The separation of Louis Charles from his family: July 3rd, 1793.


 [image: Bibliothèque nationale de France, département Estampes et photographie]

On July 3rd, 1793, a decree from the Convention ordered the separation of Louis Charles from the rest of his family. An account of this day written by his sister, Marie Therese, describes the suffering of this separation:
‘On the 3d of July, they read us a decree of the Convention ordering that my brother be separated from us and lodged in a more secure room in the Tower. Hardly had he heard it when he flung himself into his mother’s arms uttering loud cries, and imploring not to be parted from her. My mother, on her side, was struck down by the cruel order; she would not give up her son, and defended, against the municipals, the bed on which she placed him.They, absolutely determined to have him, threatened to employ violence and to call up the guard.
My mother told them they would have to kill her before they could tear her child from her. An hour passed in resistance on her part, in threats and insults from the municipals, in tears and efforts from all of us. At last they threatened my mother so positively to kill him and us also that she had to yield for love of us.
We rose, my aunt and I, for my poor mother no longer had any strength, but after we had dressed him she took him and gave him into the hands of the municipals herself, bathing him with tears and foreboding that she would never see him again. The poor little boy kissed us all very tenderly and went away in tears with the municipals.’

Wednesday, March 27, 2019

March 27th, 1785: Detail from an allegory depicting the birth of Louis Charles de France (1785-1795)

This simple yet charming allegory depicts the infant Louis Charles de France--then 'just' the duc de Normandie, as his elder brother Joseph was still alive and thus the dauphin--being presented to the state of France on his birthday: March 27th, 1785. Marie Antoinette can be seen on her birth bed with an enraptured material expression, watching as her second son is handed over to France.

image: Detail from Lucine présente à la France Monseign. le duc de Normandie né à Versailles le 27 mars 1785. 

credit: Bibliothèque nationale de France, département Estampes et photographie

Monday, January 14, 2019

Museum Sunday: A spinning top owned by Louis Charles, son of Marie Antoinette and Louis XVI

Museum Sunday: a day for highlighting objects, books, and other items from the collections and lives of Marie Antoinette and her contemporaries.



Louis Charles de France--or Louis XVII--played with this painted wooden spinning top while he and his family were imprisoned in the tower of the Temple in Paris. It was given to Louis Charles by Pauline de Tourzel, the daughter of the governess to the royal children of France, at some point before she and her mother were separated from the family. It was one of several toys that Louis Charles had the option of playing with during his captivity, at least until he was shut up in a solitary cell with little comforts. The top was given to Marie-Thérèse Charlotte after her brother's death and she, in turn, gave it back to Pauline when she was finally allowed to visit the young princess in the Temple. The top remains in a private collection today.

Friday, March 27, 2015

Three post-18th century sculptures of Louis Charles de France

Three sculptures from post-18th century artists who were inspired by the tragic death of Louis Charles de France.

Louis XVII


Louis XVII in the Temple by Anne de Chardonnet. 19th century.
[credit: Arnaud 25]
 

Child King, Child Martyr by Catherine Cairn.
[credit: Phidelorme]

Tuesday, March 17, 2015

Harold Piffard's illustrations for Le Chevalier de Maison Rouge

Two illustrations from a London Collins Press edition of Le Chevalier de Maison Rouge by Alexandre Dumas. The illustrations in the book were done by Harold Piffard; the entire book (and rest of the illustrations) can be viewed at Archive.org.



Monday, December 30, 2013

A set of miniatures of the royal family

I'm always browsing eBay for something that catches my eye, and this antique decorative screen certainly grabbed my attention! The screen, believed to be French, features four hand painted portrait miniatures of the French royal family.

I'm not always a fan of 19th century reproduction miniatures, since the details of the originals are often lost or muted, but I love how the softer colors in these miniatures are complimented by the pattern of the screen and the gold frame.

credit: ebay

More details of the set, including individual portrait details, can be found at the original auction page.

Sunday, December 15, 2013

The Seperation of the Dauphin from Marie Antoinette by Princess Alice, Grand Duchess of Hesse & by Rhine

A composition of the terrible scene of July 3rd, 1793, when the young Louis Charles was separated from his mother and his family. This piece was completed in 1858 by Princess Alice, the second daughter of Queen Victoria.


credit: Royal Collection © Her Majesty Queen Elizabeth II

From the account of the duchesse d'Angoulême:
On the 3d of July, they read us a decree of the Convention ordering that my brother be separated from us and lodged in a more secure room in the Tower. Hardly had he heard it when he flung himself into his mother's arms uttering loud cries, and imploring not to be parted from her. My mother, on her side, was struck down by the cruel order; she would not give up her son, and defended, against the municipals, the bed on which she placed him. They, absolutely determined to have him, threatened to employ violence and to call up the guard. My mother told them they would [Page 267]  have to kill her before they could tear her child from her. An hour passed in resistance on her part, in threats and insults from the municipals, in tears and efforts from all of us. At last they threatened my mother so positively to kill him and us also that she had to yield for love of us.


Wednesday, December 11, 2013

The seperation of Louis XVI and his son

On December 11th, 1792, Louis XVI was taken from the Temple and brought before the National Convention. In his journal of the royal family's life at the Temple, Jean-Baptiste Cléry described the painful and sudden separation of Louis XVI and his son.

image: (C) RMN-Grand Palais (Château de Versailles) / Droits réservés

"At eleven o'clock, while the king was giving his son a reading-lesson, two municipals entered and told His Majesty that they had come to fetch young Louis and take him to his mother. The king wished to know the reason of this removal; the commissioners replied that they executed the orders of the council of the Commune. His Majesty kissed his son tenderly, and charged me to go with him. When I returned to the king, I told him I had left the young prince in his mother's arms, and that seemed to tranquillize His Majesty. One of the commissioners entered to inform him that Chambon, mayor of Paris, was in the council-chamber and was coming up to see him. 

'What does he want of me?' asked the king.

'I do not know,' replied the municipal.

His Majesty walked hastily up and down his room for some moments; then he seated himself in an arm-chair close to the head of his bed; the door was half closed and the municipal dared not enter, to avoid, as he told me, questions. Half an hour passed thus in the deepest silence. The commissioner became uneasy at not hearing the king; he entered softly, and found him with his head on one of his hands, apparently deeply absorbed.

'What do you want?' asked the king, in a loud voice.

'I feared you were ill,' replied the municipal.

'I am obliged to you,' said the king, in a tone of the keenest sorrow, 'but the manner in which my son has been taken from me is infinitely painful to me.'

The municipal said nothing and withdrew."

Monday, November 18, 2013

A wax Dauphin

source: Card Cow

"This remarkable wax figure was brought from France by Captain Jonathan Coffin of Nantucket in 1796. It was represented to him to be a portrait of the Dauphin, Louis Charles, infant son of Louis XVI and Marie Antoinette. The Dauphin's mysterious disappearance after the execution of the Kin gand Queen is a matter of history."

Tuesday, April 26, 2011

Book Review: Fear No More by Hester Chapman

Fear No More by Hester Chapman begins at Versailles on the eve of Revolution, as the Estates-General begin to convene. The story is not overly concerned with the politics of the France, and instead focuses on the personal life of the second son of Louis XVI and Marie Antoinette, Louis Charles. He is young and immature, but hardy and full of life. His older brother, Louis Joseph, is on the brink of death - something he doesn't quite understand - and soon succumbs to illness, making Louis Charles the new dauphin. He hardly has time to adjust to his new position, as the palace is stormed and the royal family is taken to the Tuileries Palace in Paris. He tries to please everyone at the new palace as well as the common people in the streets who are curious about the little prince, but often falls victim to politics and events that he doesn't understand. The royal family is eventually stripped of their titles and imprisoned in the tower of the Temple. There, after losing his father, Louis Charles is taken from his mother and re-educated as a "patriot." The ill-treatment given to him eventually causes a fatal illness, and he dies.

What was very unique about Fear No More was the author's decision to tell the story from the third person limited view of Louis Charles. Seeing the revolution through the childish perspective of a very young boy was a bold move, especially considering the often horrific subject matter. However, this bold move more than paid off with Chapman's excellent grip on Louis Charles' voice. Sometimes when books are written from the perspective of a very young child, they can fall victim to the "adult child" trap, where the perspective is often too advanced and mature for the subject. In Fear No More, this was never the case, and even though Louis Charles' perspective can be frustrating, I felt it stayed true to his age and maturity.

Chapman also made excellent use of the difference between what a child perceives and the reality of a situation. For example, Louis Charles' time with the Simon family was seen as almost fun through his eyes: he dances for street girls and drinks and everyone laughs and praises him when he swears or insults his family. But when Louis Charles was removed from the Simon's care, his new guardian points out that he's filthy, nearly emaciated, infested with fleas, pale, sick, and his clothing is tight and in rags.

I do feel it important to bring up a rather big departure from history in his novel. Chapman decided to invent a fictional groomsmen for Louis Charles named Colin, who had once been doted on by Marie Antoinette and has now been reduced to working in the stables. Colin was inspired by Armand, a boy Marie Antoinette actually did adopt, and who turned revolutionary in his later years. But in this novel, the fictional Colin was not just an anti-monarchist who assisted the revolution. He was a sexual abuser towards Louis Charles, beginning at the tender age of four. This sexual abuse continued throughout the novel, and was a consistent theme that attempted to explain some of the mystery surrounding Louis Charles' actions. Louis Charles eventually recreated his abuse when alone, and the Simon family discovered him "in the act." This discovery was used in order to get Louis Charles to accuse Marie Antoinette and Madame Elisabeth of sexual abuse.

The abuse and character of Colin were not written poorly, and within the context of the novel everything was written realistically and relatively plausibly. The eventual accusation against the queen didn't seem like a cop-out, but rather the result of the crescendo of lies, fear, and abuse that Louis Charles had suffered since Colin first began to abuse him.

But personally, I wish the author had left out this fictional sexual abuse. Although, as I said, it was never written poorly, I feel that the emphasis and focus on Colin took away from the emotional impact of the book. For example, Louis Charles' thoughts, even as he lay dying, return again and again to Colin -- instead of his real family or even just the jailers and people that he actually knew. It was hard sometimes to connect emotionally because of this.

Aside from this, the novel was fairly historically accurate - again, within the context of it being from a child's eyes. Sometimes characters or events are a bit muddled or mixed up, but I think most of this was intentional due to Louis Charles' young age and skewed view on the events.

I do definitely recommend this novel because of the unique and excellent perspective, even if I did not agree with the author's inventive choice.