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Notes
2 Geoffrey Treasure, Seventeenth Century France (London, 1981), pp. 301-06.
3 Wolf Burchard, At the Centre of the World: Charles Le Brun's Ambassadors' Staircase at Versailles: ‘YouTube’, https://youtu.be/UpvPIvRSFx4 [accessed 11 October 2017]; Burchard's work on the Ambassador's Staircase is covered extensively in his volume, Sovereign Artist: Charles Le Brun and the Image of Louis XIV (London, 2016), pp. 197-231.
4 Gérard Sabatier, ‘Beneath the Ceilings of Versailles: Towards an Archaeology and Anthropology of the Use of the King's ‘Signs’ During the Absolute Monarchy’, in Allan Ellenius (ed.), Iconography, Legitimation and Propaganda (Oxford, 1998), pp. 219-22.
5 Burke states the apparently more common belief that the iconography was readable to the elite, but Sabatier believes that it was accessible even to illiterate lower classes. See Peter Burke, The Fabrication of Louis XIV (New Haven, 1994), pp. 26-28, p. 153; Sabatier, ‘Beneath the Ceilings of Versailles’, p. 220. On publications and ideological description see, for example, Pierre Rainssant, Explication des tableaux de la galerie de Versailles, et de ses deux sallons (Versailles, 1687) [http://gallica.bnf.fr/ark:/12148/bpt6k111897x]; Ann Friedman, ‘The Art History of the Reign’, in Paul Sonnino (ed.), The Reign of Louis XIV: Essays in Celebration of Andrew Lossky (New Jersey; London, 1990), pp. 217-19.
6 Meredith Martin, From Port to Palace: Maritime Art and Mediterranean Servitude at Louis XIV's Versailles: ‘YouTube’, https://youtu.be/ZdG9x7-oMQY [accessed 11 October 2017]; See Meredith Martin and Gillian Weiss, ‘“Turks” on Display During the Reign of Louis XIV’, L'Esprit Créateur 53 (2013), pp. 98-112.
7 Friedman, ‘The Art History of the Reign’, p. 214.
8 Burke, The Fabrication of Louis XIV, pp. 50-51, p. 58.
9 Friedman, ‘The Art History of the Reign’, p. 214; Burke, The Fabrication of Louis XIV, pp. 58-9.
10 Burke, The Fabrication of Louis XIV, p. 54.
11 Bénédicte Gady, The Grands Décors of Charles Le Brun: Between Plan and Serendipity: ‘YouTube’, https://youtu.be/L4odjzLnGzI [accessed 11 October 2017].
12 Friedman, ‘The Art History of the Reign’, p. 214.
13 Florian Knothe, Artisans du Roi: Collaborations at the Gobelins, Louvre and the Académie royale de peinture et de sculpture under the Influence of the Petite Académie: ‘YouTube’, https://youtu.be/UgXXDZOHofc [accessed 11 October 2017].
14 Montagu comes to a similar conclusion regarding sculptures designed by Le Brun for works unconnected to royal patronage and concludes that, in cases where sculptors did slavishly follow Le Brun's designs, it may have been due to ‘imaginative poverty’ of lesser sculptors, and that, in most cases, artists freely adapted Le Brun's models. Jennifer Montagu, ‘Charles Le Brun and His Sculptors: A Reconsideration in the Light of Some Newly Identified Drawings’, Burlington Magazine 118 (1976), pp. 88-95, p. 94.
15 Gérard Sabatier, ‘La gloire du Roi. Iconographie de Louis XIV de 1661 à 1672’, Histoire, Economie et Société 19 (2000), pp. 527-560, 529-30.
16 Sabatier, ‘Beneath the Ceilings of Versailles’, p. 224.
17 Louis Marchesano, Strategies of Engraving and Etching in Description de la Grotte de Versailles 1676: ‘YouTube’, https://youtu.be/FE-YI9OkBVc [accessed 11 October 2017].
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Christina Clarke
Christina Clarke is an art historian specialising in the history of gold- and silversmithing from prehistory to the present day. She holds a doctorate from the Australian National University School of Art (2012) and is currently undertaking a Master of Art History and Curatorial Studies at the same institution. Her first book is The Manufacture of Minoan Metal Vessels: Theory and Practice (Uppsala, 2013), and she is currently researching precious metal plate produced for the court of Louis XIV.