5 September 2016 _ 2 January 2017 LE GRAND CONDÉ The Rival of the Sun King?

PRESS DOSSIER JUNE  Administrative Commission

Mathieu Deldicque, Curator of National Heritage at the Musée Condé, With the assistance of Astrid Grange

Collaborators

Exhibition organized with the exceptional participation of the Musée de l’Armée (Museum of the Army)

The Musée de l’Armée offers one of the richest collections of military history in the world, with more than 500,000 pieces ranging from the Bronze Age to the 21st Century. Created in 1905, the museum is located at the heart of the Hôtel des Invalides in Paris and offers a diverse range of culture programs for all, with exhibitions, concerts, screenings, confe- rences, events and theatrical displays. In 2015, it welcomed more than 1.4 million visitors, which classes the museum as the 5th most visited museum in France.

Beançon, The Musée des Beaux-Arts and the Musée du Temps Chaalis, Abbaye Royale, Musée Jacquemart-André Chambord, Domaine National Corsaint, Église Saint-Maurice Dole, The Musée des Beaux-Arts London, Victoria and Albert Museum Modena, Archivo di Stato Paris, Bibliothèque Mazarine Paris, Bibliothèque Nationale de France Paris, The Musée Carnavalet-Histoire de Paris Paris, Mobilier National Paris, The Musée des Arts Décoratifs Paris, The Musée d’Orsay Paris, The Musée du Louvre Versailles, The Musée National des Châteaux de Versailles et de Trianon

Patrons of the Exhibition

Set Arrangement Design

Translation of the Press Dossier

Pearce Denmark Groover TABLE OF CONTENTS

LETTER TO THE PRESS ...... 4

ORGANIZATION OF THE EXHIBIT ...... 6

Setting

Part One: Heroism and Glory, Despite the Rest

Part Two: Intimacy and Apotheosis

Important Works of the Exhibition

BIOGRAPHY OF THE GRAND CONDÉ ...... 20

VISUAL REFERENCES AVAILABLE TO THE PRESS ...... 22

ABOUT THE EXHIBIT ...... 24

THE DOMAINE DE CHANTILLY ...... 25

PRACTICAL INFORMATION ...... 26 LETTER TO THE PRESS

From 5 September 2016 to 2 January 2017, the Domaine de Chantilly will honour, in the Salle du Jeu de Paume, one of the most famboyant characters of French history: Louis II de Bourbon, prince de Condé (1621-1686), better known as the Grand Condé.

Prince of War, Prince of Art

This exhibition— the frst of its kind on the subject!— will allow for the discovery of the personality of the man who was both the greatest warrior of his time and a veritable hero, as well as a rebel dissenter at the time of the Fronde. The exhibit will invite visitors to ask themselves if the frst ranking Prince of the Blood truly rivalled his cousin Louis XIV in the domain of politics and military prowess, as well as in that of culture and the arts (by virtue of making Chantilly an “anti-Versailles”, freer and more tolerant); but it will also demonstrate how much this royal cousin was, after all, one of the king’s greatest admirers. The Grand Condé was most certainly an amateur art lover. The exhibition will be the occasion to discover the gems of his painting collection, where works of the old masters (Van Dyck) brushed shoulders with the greatest painters under the reign of Louis XIV (Le Brun, Mignard). The Prince was equally enamoured of literature and of the theatre, welcoming Molière, Racine, Boileau, and La Fontaine into his Château de Chantilly.

The Château de Chantilly under the Grand Condé

It was in fact the Grand Condé who transformed Chantilly in order to make of it a prestigious residence worthy of a prince. He called upon the gardener André Le Nôtre, to create the sumptuous park that has come down to us today, and upon the famous maître d’hôtel Vatel to organize remarkable parties that made Chantilly’s reputation. The public will be able to rediscover the considerable history of a Vatel who at the time was still grand master of the Prince’s entertainments, though disgraced by the tardy arrival of seafood to be consumed on a Friday amidst the festivities organized by the Grand Condé in honour of the king in 1671. His tragic end—he committed suicide by driving a sword through his body, contributed to the forging of his legend, and a document from the period never before exhibited will be displayed in order to illustrate this story.

A Ground-breaking Exhibition

The exhibit will form a diptych, honouring frst the clash of arms, the portraits of state and the paintings tracing the bellicose epic of the Grand Condé, followed by a presentation of the little known and lavish private life of the prince, where in his private domain of Chantilly, he received the greatest minds of his time and cultivated his artistic passions. It terminate with the funerary preparations and pomp of the Prince, in full Baroque style, which were the most magnifcent that one had ever known, according to Madame de Sévigné. There will be assembled 120 artistic works and historical documents of the fnest quality, buttressed by prestigious loans coming from the greatest museums, French and foreign alike (the Musée de l’Armée, the Château de Ver- sailles, the Musée du Louvre, the Victoria and Albert Museum, etc.). Exceptional portraits of state, weapons and spoils of war (of which the oldest fag conserved in France, taken in 1643 at the Battle of Rocroi), magisterial paintings of war, original and frst editions of the most famous authors and playwrights of the Grand Siècle, drawings and paintings by the hands of the masters of the period, sculptures, painted silk of more than 6 meters in length and 4 meters in width, engravings and battle plans will permit the public to embrace all aspects of this rich personality. Among the works, some will return to Chantilly for the frst time since the Revolution! In addition to being a history exhibit, this display will aim to be equally an aesthetic array of the most beautiful crea- tions of the French 17th Century: majestic portraits by Juste d’Egmont or by Pierre Mignard, large battle scenes by Adam-Frans Van der Meulen, busts by Antoine Coysevox, drawings by Jean Berain will defne an elegant style and an opulent era. The bold set arrangement, trusted to the agency Jung Architectures, will allow entry into the very battlefelds of the Grand Condé and to experience the lavishness of the interiors and of the park of Chantilly, all while exploring the cultivated life flled with art and literature that the prince lead there. A richly illustrated catalogue edited by Snoeck and coming from the most recent sources on the subject, will unite contributions of specialists and presenting completely unknown aspects of the prince’s personality.

4 DOMAINE DE CHANTILLY / EXPOSITION 5 SEPTEMBRE 2016 - 2 JANVIER 2017 The Rival of the Sun King?

This subtitle will invite visitors to refect upon the manner in which the Grand Condé was able to emulate, read rival, his cousin the Sun-King.

This rivalry manifested itself in different forms: on the political and military planes of course, with the progressive oppo- sition of the Grand Condé who lead his Fronde against the Cardinal Mazarin and, indirectly, against the Queen-Regent Anne of Austria and her son the king, Louis XIV. This antagonism saw its apogee with the “treason” of the prince who departed to seek refuge in the Spanish Netherlands in 1652: he even put his sword to use in the services of the King of Spain and fought against the French in 1652 and 1659. This was never before seen in the history of France! But, let us not forget, the onetime impertinent rebel was equally the greatest supporter of the king. As of 1643, at Rocroi, it is the Grand Condé who saved the crown of his 4-year-old royal cousin. In the same manner, Condé occupied the role of military leader for Mazarin and the king at the beginning of the Fronde in order to combat and reduce the rebellion. Finally, after 1659 and with the return of the exiled prince to France, he progressively became once again one of the king’s greatest generals, placing his military genius at the service of Louis XIV’s wars.

This emulation, or rivalry, translated itself to the visual arts. Condé was considered to be a young hero from the start of his frst victories. His myth was supported by a veritable enterprise of propaganda lead by the House of Bourbon- Condé. It was thus that he became one of the most well represented fgures of the 17th Century: a large number of these impressive portraits will be therefore displayed in the exhibition. This strict control of the construction of one’s image—which echoes very relevant practices!—was notably established in relation to that of the image of the King.

In terms of patron of the arts, the opposition between the two fgures was not apparent. At Chantilly, the Grand Condé did not seek to rival Versailles, but established another Versailles, one that was different and tolerant, where free thinking minds were welcome to express themselves (let us think of Molière, placed in a delicate position because of his play Tartuffe). There, Condé assembled the great artists active at the construction sites of his cousin the king: André Le Nôtre and Jules Hardouin-Mansart, as well as Charles Le Brun and Pierre Mignard, were active at Chantilly and put all of their talents at the service of a Prince whose chief concern was expressing the nobility of his rank. Vatel’s suicide, upon the occasion of the festivities that were to reconcile defnitively Condé and Louis XIV, can be considered, in a way, as the tragic result of the emulation between the two men: the stakes were so high— to make of Chantilly the most beautiful host of noble divertissement—and the pressure so strong that the maître d’hôtel of the Grand Condé did not survive it…

The answer to the question that the subtitle asks is therefore not so binary and permits, whatever the answer might be, to bring to the forefront and illuminate one of the most fascinating struggles of the Grand Siècle.

Attributed to Louis Ferdinand Elle II, Juste d’Egmont, Portrait of Louis XIV in Armour Louis II de Bourbon, called le Grand Condé, Metz, musées de Metz Métropole - La Cour d’Or, before an evocation of the Battle of Rocroi Inv. 11442 Versailles, musée national des châteaux © Laurianne Kieffer – Musée de La Cour d’Or – de Versailles et de Trianon, Inv. MV 3478 Metz Métropole © RMN-Grand Palais (Château de Versailles) / Gérard Blot

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 5 ORGANIZATION OF THE EXHIBIT

Framework for the Setting of the Exhibit

To highlight the duality of the fgure of the Grand Condé (the public man/the private man, the war hero/the princely aesthete, exterior/interior), the Jung Architectures Agency conceived of the exhibit as a giant diptych, articulated around a major, central feature of the setting: a great, axial, display case, the “table of the prince.” First, one will experience the “table of operations”, where the visitor will encounter battle plans presented fat on the table. Next, the visitor will be invited to discover the “table of terrestrial and spiritual nourishment” of the prince de Condé, where the art de vivre of the period will be discovered.

As if separated by a blow of the warrior prince’s own sword, the exhibition room is divided long ways by the display case. A frst panel elaborates the rise in power of the fgure up until his “zenith,” his epic political and military career. In the second half, the setting develops into a more intimate register of the prince’s life, organized in lattice joists in reference to the beamed ceilings of the period, à la française. Presented is the life of the man in his dominion, his art patronage, his tastes and his passions.

The simultaneous vision of the two worlds that the diptych presents is possible by virtue of sliding changes and evolutions along the display cases that generate different perspectives and points of view. An ambiance composed of discrete sounds (struggles in arms, sounds of festivity, music…) will revive for the visitor the glories of the Grand Condé and the resplendence of his time.

2. THE PRIVATE MAN, THE PRINCE AT HIS CHÂTEAU, INTERIOR

1. THE PUBLIC MAN, WAR HERO, EXTERIOR

© Jung Architectures

6 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 Part One: Heroism and Glory, Against the Odds

- 19 May 1643. Rocroi. The Legend is Born

The visitor fnds himself directly at the heart of the battlefeld of Rocroi, which sees the triumph of the young duc d’Enghien, the future Grand Condé, against the Spanish who threaten the kingdom of a young Louis XIV of only 4 years of age. Battle plans, weapons, suits of armour, imposing spoils of war, and magnifcent commemorative por- traits evoke the battle that forges his legend.

French School of the end of the 17th Century (?), The Battle of Rocroi, oil on canvas Chantilly, musée Condé, PE 653 (restauré avec le soutien des Amis du musée Condé)

- Under the Auspices of Hercules and of Alexander: Duc d’Enghien’s Glorious Début

After Rocroi, the duc d’Enghien does not stop after such success and multiplies his victories against the Hapsburgs. These battles are analysed and explained in this section. The prince is at that time compared to Alexander the Great and to Hercules; the myth surrounding him is broadcasted through the iconography here presented.

Jacques Stella (Lyon, 1596-Paris, 1657) Louis II de Bourbon, duc d’Enghien oil on panel Chantilly, musée Condé, PE 307

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 7 - The Governorship of Burgundy

Condé can regularly rely upon his Burgundian rule, there where his supporters render homage to him with the help of impressive allegorical paintings, of which one has never before been publicly displayed.

- The Condé Clan

A veritable family portrait gallery, hung and arranged as during the period, permits a better acquaintance with the line of the foremost Princes of the Blood and inspires an admiration for the glory of the House of Condé.

- From the Fronde to the Services of the King of Spain (1648-1659)

La Fronde, which sees the insurrection of a part of the French nobility and of the people of Paris against the Cardi- nal Mazarin, prime minister of a monarchy rendered fragile, is a veritable break in the history of France and in the career of the Grand Condé. First utilized as en effort to reduce the struggle, he then takes the head of the frondeur party before seeking refuge in the Spanish Netherlands where he offers his sword to the services of the King of Spain. This key moment, indicated as thus in the exhibit space, is illustrated by several mazarinades (pieces of sati- ric or burlesque poetry, pamphlets or defamatory slander in prose, published during the Fronde against Mazarin), as well as representations of certain battles and other protagonists.

French School of the 17th Century (after Adam-Frans van der Meulen?), An Episode of the Fronde: Fighting Beneath the Walls of the Bastille, 1652, oil on canvas Versailles, musée national des châteaux de Versailles et de Trianon, MV 6818

- In the Service of the Sun King

The return of the Grand Condé to France after the Peace of the Pyrenees (La Paix des Pyrénées—1659) allows for his progressive return onto the battlefelds under the service of his cousin Louis XIV. Enormous compositions produced by the studio of Adam-Frans van der Meulen and an impressive wall-hanging of painted silk illustrating the Crossing of the Rhine show a prince at the height of his glory. The most beautiful portraits of the Grand Condé, painted by Juste d’Egmont and widely distributed, are presented here.

8 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 Attributed to Juste d’Egmont (Leiden, 1601-Anvers, 1674) and to Pierre Mignard (Troyes, 1612-Paris, 1695)?, The Grand Condé and His Son, oil on panel, around 1666 Versailles, musée national des châteaux de Versailles et de Trianon, MV 8449

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 9 Part Two: Intimacy and Apotheosis

- Of Dominions and of Fêtes

By virtue of his rank, the Grand Condé has at his disposal an entire network of residences. The Hôtel de Condé in Paris is the central nervous system of this network, before the prince moves the centre to Chantilly, a dominion that he renders magnifcent and in which the fête plays a fundamental role. There, he can give himself to his passions and cultivate a court more liberal and more tolerant as a sort of anti-Versailles. At the heart of this section, one will largely recall the brilliant festivities that accompany the sojourn of the king and of the court at Chantilly in 1671. Despite their splendour, the maître d’hôtel of the Grand Condé, François Vatel, commits suicide, disgraced by the delay of the arrival of the fsh destined for the Friday festivities. A rare and unpu- blished letter narrating this tragic episode is presented for the frst time, with several works and documents that help rediscover the grandeur of the Prince de Condé.

- Chantilly and André Le Nôtre

After his return to France following 1659, Condé, condemned to a temporary inactivity at his retreat of Chantilly, devotes himself to the embellishment of his dominion, which takes more than 20 years. André Le Nôtre, gardener who at the time is in the service of the king at Versailles, displays at Chantilly all of his genius and is able to harness the diffculties of the topography. The ensemble of works undertaken is studied in this section with the help of engra- vings from the period that revive the gardens and fountains no longer extant.

Adam-Frans Van der Meulen (Brussels, 1632-Paris, 1690), View of the Château de Chantilly, charcoal and watercolour Chantilly, musée Condé, Inv. 2007.1.1 (Acquired within the framework of the law on patronage of 2003 with the support of the Foundations of Édouard Leclerc de La Chapelle-en-Serval) © RMN-Grand Palais (domaine de Chantilly) / Michel Urtado

10 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 - A Patron-Prince of the Belles Lettres

The Grand Condé loves and offers his protection to dissident thinkers, gifted poets, and rebel spirits, but also to literati of a more courtly nature. Extremely cultivated, intrigued by all, a man of conversation, and a great reader, he fxates on procuring the most novel pieces of literature. He appreciates the theatre. All of the great authors under the reign of Louis XIV are read to him, Molière, of course, but also Corneille, Racine, Boileau and La Fontaine. They are represented through rare editions of their works, of which certain come from the library of the Grand Condé himself.

- The Collector-Prince

Few know that behind the Grand Condé’s warrior façade there was an aesthete and art collector. The exhibit seeks to reconstitute a part of his collection, which includes as many old masters, notably Flemish and Dutch (such as Antoon Van Dyck) as contemporary artists (Charles Le Brun, Pierre Mignard).

Pierre Mignard (Troyes, 1612-Paris, 1695), The King Sisyphus and the Queen Cassiopeia Thanking Perseus For Rescuing Their Daughter Andromeda, also called The Deliverance of Andromeda, oil on canvas. Paris, musée du Louvre, R.F. 1989-8

- The Foremost Prince of the Blood Is Dead

The exhibit ends with an apotheosis. The prince dies on 11 December 1686. On 10 March 1687, a funeral cere- mony, the most grandiose under the reign of Louis XIV, is held in his honour at Notre-Dame de Paris. Bossuet deli- vers his famous eulogy of the prince, vibrating the Baroque décor of the cathedral from the foor to the vaults. The ensemble of drawings and engravings hearken back to this event, in a provocative setting, which permits the revival of ornaments and objects created for the occasion.

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 11 A Few Highlights of the Exhibit

The So-Called Flag of Rocroi, painted silk Chantilly, musée Condé, OA 3622 (Restored thanks to the support of an anonymous donor)

This fag, restored for the occasion, is one of the oldest conserved in France. It represents the double-headed eagle of the Holy Roman Empire and the pinecone of the city of Augsburg (Bavaria). One does not know with certainty the battle during which the fag was taken: Rocroi, Fribourg, Nördlingen? It is likely that it was taken during the Battle of Rocroi, in 1643, where some of the German regiments were present, and therefore to constitute a rare witness of the most brilliant military victory of the future Grand Condé. Like any standard taken from an enemy, it was taken to Notre-Dame de Paris but was offered afterwards to Condé.

12 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 Juste d’Egmont (Leiden, 1601-Anvers, 1674), Portrait of Louis II de Bourbon, the Prince de Condé, Called the Grand Condé, In Turkish Dress, oil on canvas Chantilly, musée Condé, PE 132

Coming from the same prototype as the portrait of the prince dressed in armour, this rare and extravagant portrait by Juste d’Egmont was commissioned on a particular demand linked to the Carrousel of 1662 that marks the submis- sion of Condé to Louis XIV. The prince is dressed as Emperor of the Turks. He dons the same embroidered overcoat and sash on which hangs his sword as during the ceremony of the Carrousel. He presents himself here as the worth heir of Hannibal, whose terrifying elephants can be seen in the background. It is one of the most provocative and interesting portraits of the prince: apart from the quality of its execution, it corresponds exactly to the thematic of this exhibit. The warrior-prince, a veritable antique hero, presents himself here in all of his majesty and courtly trappings.

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 13 14 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 Gobelins Tapestry Manufactories, workshop of François Bonnemer (Falaise, 1638-Paris 1689), after Adam-Frans Van der Meulen, Charles Le Brun and François Verdier, The March of the Calvary, Commanded by Condé, piece of the Wall-Hanging of Painted Silk depicting the Crossing of the Rhine, painting on fluted fabric of silk thread and linen supports Paris, Mobilier national, GMTT 104/1

The Crossing of the Rhine is one of the most glorious episodes of the reign of Louis XIV. On 12 June 1672, the Grand Condé, once again at the head of the royal armies, crosses the Rhine at the watch of French troupes in order to invade Holland, enemy of Louis XIV at that time. This show of strength merits a great deal of pro- paganda: an imposing tenture was ordered at the Gobelins manufactories by the king, after sketches painted by Van der Meulen. François Bonnemer transcribed them onto painted silk, an Italian technique that is very rare in France. One of three pieces of enormous dimensions (4.10 m x 6.42 m), honours a Condé who has found all of his magnifcence, before being wounded during combat and losing his nephew.

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 15 Pierre Mignard (Troyes, 1612-Paris, 1695) Portrait of Molière, oil on canvas Chantilly, musée Condé, PE 313

The Grand Condé was one of Molière’s patron protectors, notably during the period of the scandal surrounding his play Tartuffe. This satire concerning deceitful loyalty scandalized the more conservative members of the court. In the long dispute over the play, since its censorship in 1664 until its approbation in 1669, Condé—well known for his irreverence and his free thinking ways, publicly took Molière’s side, closely following the developments of the scan- dal and asking for private productions of the play, such as at Raincy at the home of Madame the Princess Palatine of the Rhine, sister-in-law to the king and Condé’s close friend. Molière made homage to Condé in several of his plays. This portrait painted by Pierre Mignard is one of the most well known of the playwright. The tight perspective of the composition and framework, and the naturalism of the pose contribute to the liveliness that the fgure exudes.

16 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 French School from the end of the 17th Century, View of the Château de Chantilly and of its Parterre Gardens From Vertugadin, gouache on vellum Chantilly, musée Condé, PE 350

This gouache image might represent one of the most sumptuous fêtes organized at Chantilly by Condé, notably those from 1671 that brought about the suicide of Vatel. In addition to hunting excursions, promenades in the gardens, dinners, ballets and frework shows, the guests were quite used to amusing themselves by riding in gon- dolas on the Grand Canal. Behind the embankments of the canal extend the resplendent and blooming parterres created by André Le Nôtre on behalf of the Grand Condé.

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 17 Jean-Léon Gérôme (Vesoul, 1824-Paris, 1904) Louis XIV Receiving the Grand Condé at Versailles In 1674, oil on canvas, 1878 Paris, musée d’Orsay, RF 2004-15

The Grand Condé is at the centre of a rich heritage of iconographic representation during the 19th Century, due to the popularity of the creation of the Museum of the History of France (Musée de l’histoire de France) at Versailles, and the activities of the Duc d’Aumale, its historian, at Chantilly. The most famous of these representations is by the artist Gérôme, who painted the glorious reception of the Grand Condé by Louis XIV, awaiting him at the top of the Ambassadors’ Staircase (Escalier des Ambassadeurs) surrounded by all of the court, after his last victory in 1674 at the battle of Seneffe. Condé, suffering from gout, excused his slow walk up the staircase. The king answered with the following, albeit apocryphal, statement: “My cousin, hurry not, for when one is burdened as you with so many laurel wreaths, one cannot walk quickly.” Gérôme employs an ingenious upward looking perspective, evoking the drama of cinematography. Contrary to popular opinion, it was not painted for the Duc d’Aumale, who nevertheless regretted it.

18 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 Antoine Coysevox (Paris, 1640-1720) Bust of Louis II de Bourbon, the Prince de Condé, In an Antique Breastplate, 1688, bronze Paris, musée du Louvre, département des Sculptures, MR 3343

Coysevox received 1,600 pounds in 1688 for the execution of a mo- del bust in bronze representing the Grand Condé, to be placed in the Parisian mansion (hôtel) of François-Louis de Bourbon, Prince de Conti, the Grand Condé’s favourite nephew. This posthumous bust, slightly idealized, represents Condé wearing a breastplate, or cuirass, à l’antique, with long, natural hair, and with an august demeanour. The Prince’s hawk-like profle, here perfectly rendered, underlines the keen, wary and determined character of the prince.

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 19 BIOGRAPHY OF THE GRAND CONDÉ

8 September 1621: birth of the Duc 1641: A political agreement 14 May 1643: Death of Louis XIII, d’Enghien, Louis de Bourbon, the between his father and Cardinal beginning of the reign of Louis XIV. future Grand Condé, in Paris. Richelieu forces him to marry the niece of the latter, Clair-Clémence 19 May 1643: Remarkable victory 1640: The Duc d’Enghien joins the de Maillé-Brézé. at the Battle of Rocroi, won by the French Army and participates in the Duc d’Enghien against the Spanish. siege of Arras. 26 December 1646: Death of his father, Henri II de Bourbon-Condé; Louis, Duc d’Enghien, becomes the Prince de Condé.

17 November 1652: Condé seeks 14 June 1658: Battle of the Dunes. 9 March 1661: Death of Mazarin refuge in the Spanish Netherlands Defeat of the Spanish Army near and dawn of the independent reign following the failure of the Condé Dunkerque, commanded by Don of Louis XIV. headed Fronde and is named Juan of Austria and the Grand Généralissime of the Spanish Condé against Henri de la Tour June 1662: The ceremony of the troupes. d’Auvergne, Viscount of Turenne. Grand Carrousel in the Tuileries Gardens that marks the definitive re- 27 March 1654: Loss of privileges, 7 November 1659: Signing of the entry of the Grand Condé at the court political fall and death sentence of Treaty of the Pyrenees between and initiation into the system of the prince, proclaimed the judgment France and Spain that allows for the government under Louis XIV, where of the Parliament of Paris. return of Condé in France. complete submission of the French nobility to the king was promoted.

Circa 1677- After 1682: 1684: Beginnings of work on the 11 December 1686: Death of the painting commission extended to Petit Château at Chantilly under the Grand Condé at Fontainebleau.. Charles Le Brun. direction of Jules Hardouin-Mansart (preparations for the apartments of 23 December 1686: Funeral 1678: Commission of the Grand Condé and of the Hall obsequies for the body of the Grand The Deliverance of Andromeda of Battles, highlighting his military Condé at Vallery. to Pierre Mignard. victories and exploits).

20 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017 6 March 1648: Triumphal Entry January 1650-February 1651: February 1651: Beginning of the into the city of Dijon Imprisonment of the Grand Condé, Condé headed Fronde. of his brother and of his brother-in- 1648-1653: The Fronde. law under the orders of Mazarin and 2 July 1652: Combat in the the Queen-Regent Anne of Austria. Faubourg Saint-Antoine at the January-March 1649: Blockade of gates of the city of Paris; Condé the city of Paris, fallen under during is saved by his cousin the Grande the Fronde, led by Condé. Mademoiselle, daughter of Gaston d’Orléans, frondeur and uncle of Louis XIV.

1662-1663: Beginnings of work in 1667-1668: The War of Devolution 1672-1675: The war in Holland; the park of the Château de Chantilly (Guerre de Dévolution) that sees the Condé sees his fnal battles, notably under the direction of André Le return of Condé to the battlefeld at the Crossing of the Rhine Nôtre; the work would last for 20 under the service of his cousin (12 June 1672) and at Seneffe years. Louis XIV. (1674).

1664-1669: Scandal of the play 23-26 April 1671: The magnifcent 1675: Retirement from the Tartuffe by Molière, who found activities at Chantilly on the battlefeld and beginning of his support under the protection of the occasion of the visit of Louis XIV “retreat” at Chantilly. Grand Condé. and the court to the château; suicide of François Vatel the morning of 24 April.

10 March 1687: Funerary 26 April 1687: Funerary ceremony 1687-1694: Deliveries of the ceremony and pomp at Notre-Dame for the heart of the Prince de Condé painted cycle to be mounted in de Paris, where Bossuet delivers his at the Church of the Jesuites of Paris the Hall of Battles of Chantilly by famous Bossuet. (Église des Jésuites de Paris). Sauveur le Conte.

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 21 VISUAL REFERENCES AVAILABLE TO THE PRESS

The ensemble of images is available for download on the website www.heymann-renoult.com.

1. French School of the 2. Jacques Stella end of the 17th Century, (Lyon, 1596-Paris, 1657) The Battle of Rocroi, Louis II de Bourbon, the oil on canvas Duc d’Enghien, Chantilly, musée Condé, PE 653 oil on canvas, (Restored thanks to the support of Chantilly, musée Condé, PE 307 the Friends of the Musée Condé) © RMN-Grand Palais © RMN-Grand Palais (domaine de Chantilly) / (domaine de Chantilly) / Thierry Ollivier Michel Urtado

3. Attributed to Juste 4. French School of the d’Egmont (Leiden, 17th Century (after Adam- 1601-Anvers, 1674) and Frans Van der Meulen?), to Pierre Mignard (Troyes, An Episode of the Fronde: 1612-Paris, 1695), Fighting Beneath the Walls The Grand Condé of the Bastille, 1652, and His Son, oil on canvas, oil on canvas, circa 1666, Versailles, musée national des Versailles, musée national des châteaux de Versailles et de châteaux de Versailles et de Trianon, MV 6818 Trianon, MV 8449 © RMN-Grand Palais © RMN-Grand Palais / Gérard Blot (Château de Versailles) / Droits réservés

5. Juste d’Egmont (Leiden, 6. Adam-Frans Van 1601-Anvers, 1674), der Meulen (Brussels, Portrait of Louis Ii de 1632-Paris, 1690), Bourbon, the Prince de View of the Château Condé, Called the Grand de Chantilly, Condé, in Armour, charcoal and watercolour, oil on canvas Chantilly, musée Condé, Inv. Chantilly, musée Condé, PE 131 2007.1.1 (Acquired within the © RMN-Grand Palais framework of the law on patronage (domaine de Chantilly) / of 2003 with the support of the René-Gabriel Ojéda Foundations of Édouard Leclerc de La Chapelle-en-Serval) © RMN-Grand Palais (domaine de Chantilly) / Michel Urtado

7. Pierre Mignard (Troyes, 8. The So-Called 1612-Paris, 1695) Flag of Rocroi, The King Sisyphus and painted silk, Chantilly, musée Condé, OA 3622 the Queen Cassiopeia (Restored thanks to the support of Thanking Perseus For an anonymous donor) Rescuing Their Daughter © RMN-Grand Palais (domaine de Chantilly) / Andromeda, also called Michel Urtado The Deliverance of Andromeda, oil on canvas, Paris, musée du Louvre, R.F. 1989-8 © RMN-Grand Palais (musée du Louvre) / Franck Raux

9. Juste d’Egmont (Leiden, 10. Gobelins Tapestry 1601-Anvers, 1674), Manufactories, workshop Portrait of Louis II de of François Bonnemer Bourbon, the Prince de (Falaise, 1638-Paris Condé, Called the Grand 1689), Condé, In Turkish Dress, after the work of Adam- oil on canvas, Frans Van der Meulen, Chantilly, musée Condé, PE 132 © RMN-Grand Palais Charles Le Brun and (domaine de Chantilly) / François Verdier, René-Gabriel Ojéda The March of the Calvary, Commanded by Condé, piece of the Wall-Hanging of Painted Silk depicting the Crossing of the Rhine, painting on fluted fabric of silk thread and linen supports, Paris, Mobilier National, GMTT 104/1 © Paris, Mobilier national / Isabelle Bideau

22 DOMAINE DE CHANTILLY / EXPOSITION 5 SEPTEMBRE 2016 - 2 JANVIER 2017 11. French School OF the 12. Pierre Mignard end of the 17th Century (Troyes, 1612-Paris, 1695) View of the Château Portrait of Molière, oil on canvas, de Chantilly and of its Chantilly, musée Condé, PE 313 Parterre Gardens From © RMN-Grand Palais Vertugadin (domaine de Chantilly) / gouache on vellum, Harry Bréjat Chantilly, musée Condé, PE 350 © RMN-Grand Palais (domaine de Chantilly) / Gérard Blot

13. Antoine Coysevox 14. Jean Dolivar (Paris, 1640-1720) (Saragossa, 1641-Paris, Bust of Louis II de Bourbon, 1692), after Jean Berain, the Prince de Condé, In an The Mourning Canopy, Antique Breastplate, 1688, Design of the Funerary bronze Structure for the Paris, musée du Louvre, département des Sculptures, Obsequies made for MR 3343 Monseigneur le Prince de © RMN-Grand Palais Condé, Louis de Bourbon, (musée du Louvre) / Stéphane Maréchalle Second of His Name, Foremost Prince of the Blood, in the Church of Notre-Dame de Paris the 10 th of March 1687… nitric acid and chisel engraving, Chantilly, musée Condé, EST H 1 © RMN-Grand Palais (domaine de Chantilly) / Michel Urtado

15. David Teniers 16. The Hall of Battles of the Younger (Anvers, Chantilly in its current state 1610-Bruxelles, 1690) © Domaine de Chantilly / Louis II de Bourbon, the Sophie Llyod Prince de Condé, Called the Grand Condé, oil on copper, Chantilly, musée Condé, PE 130 (C) RMN-Grand Palais (domaine de Chantilly) / Michel Urtado

17. Tournament with 18. Adam Perelle (Paris, Running at the Head and 1640-1695) the Ring Held by the King General View of Chantilly and by the Princes and from the Point of Entry, Lords of His Court in the engraving on copper, Chantilly, musée Condé, don Le year M.DC.LXII (1662) Maresquier 1238, 1971-3-37 © Bibliothèque et archives du © RMN-Grand Palais château de Chantilly (domaine de Chantilly) / Harry Bréjat

19. Medal Depicting 20. Jean-Léon Gérôme the Bust of Louis II de (Vesoul, 1824-Paris, Bourbon, the Prince of 1904) Condé in Profile Crowned Reception of the Grand with a Laurel Wreath, Condé by Louis XIV at gilt bronze, 1687 Versailles in 1674, Chantilly, musée Condé, OA 370 oil on canvas, 1878 © RMN-Grand Palais Paris, musée d’Orsay, RF 2004-15 (domaine de Chantilly) / © RMN-Grand Palais (musée Michel Urtado d’Orsay) / Hervé Lewandowski

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 23 ABOUT THE EXHIBIT

Exhibit catalog

Richly illustrated, this catalogue relies on the most recent and well-documented research. The essays, focus and footnotes of the works presented rely primarily on the works featured within, all while expanding and elaborating the research and felds of study. This research regrouped within constitutes the newest and most synthetic work, making it indispensible to whoever wishes to discover or learn more about the rich per- sonality of the Grand Condé and his century.

Under the Direction of Mathieu Deldicque, with the collaboration of: Katia Béguin, Patrick Dandrey, Léa Ferrez-Le Guet Nicole Garnier-Pelle Guillaume Kazerouni, Sylvie Le Ray-Burimi, Patricia Mary, Pascale Mormiche, Florent Picouleau, Dominique Prévôt.

Éditions Snoeck, 243 p., 29 euros

Exhibit in the Library of the Duc d’Aumale

The Historicism of the Duc d’Aumale 5 September 2016 – 2 January 2017

Philippe Murray, in his essay “The 19th Century Throughout the Ages,” explained how the act of mourning became its own cult after the revolutionary tabula rasa that was 1789. It is an obsession with the past, with inheritance, seen in the works of Darwin and Zola, Hugo and Balzac, Guizot and Michelet. The Duc d’Aumale, recognized equally for as a soldier, politician, architect and art collector, certainly did not escape this feverous fascination for history.

A contemporary of the age in which history became its own branch science, he possessed a well-respected identity as a historian who merits rediscovery, contextualization and revaluation. The example set by his father the King Louis-Philippe, whose initiative to transform Versailles into a museum dedicated to the glories of France (Musée des Gloires de France), his well-founded princely education and his bibliomania illuminate a vocation that can hardly be contradicted.

Aumale wrote books on military history, published sources, and fed the polemic against another great historian, the Emperor Napoléon III. Though his greatest work remains the monumental 8-volume History of the Princes of Condé (Histoire des princes de Condé), the work of a lifetime. From historical dialectic in recognition of his academic prowess, the exposition will hear the voice of the Aumale-historian by virtue of a presentation of books, manuscripts and cor- respondences. This is a new contribution to his biography, in addition to general historiography of the 19th Century.

24 DOMAINE DE CHANTILLY / EXPOSITION 5 SEPTEMBRE 2016 - 2 JANVIER 2017 LE DOMAINE DE CHANTILLY

Le Domaine de Chantilly is situated at the heart of 7,800 hectares of land, in the middle of one of the greatest forests just outside of Paris. Built upon since the Middle Ages by the different owners (Anne de Montmorency; the House of Bourbon-Condé, including the Grand Condé, cousin of Louis XIV; Henri d’Orléans, the Duc d’Aumale), the domaine is the repository of innumerable treasures blending art, nature and gastronomy.

The château houses the Musée Condé, which is composed of a truly exceptional collection of old-master paintings. More than 550 paintings are on display, amongst which are masterpieces of Raphael, Botticelli, Clouet, Poussin, Watteau, Ingres, Delacroix, Fouquet… At the heart of the château is equally one of the richest libraries of Europe: the Private Library of the Duc d’Aumale. Housing 13,000 works, of which 1,500 manuscripts and 500 works prin- ted before 1500 in a single room, the domaine posses, above all, the most precious and famous manuscript in the world: The Very Rich Hours of the Duc de Berry (Les Très Riches Heures du Duc de Berry) from the 15th Century.

The park is one of a kind in the diversity of the gardens that compose it: the French garden, or à la française, desi- gned by Le Nôtre in the 17th Century, the Hamlet, or Hameau, which inspired Marie-Antoinette, and saw the birth of whipped cream (crème Chantilly), the Anglo-Chinese garden from the 18th Century and the English garden, or à l’anglaise, from the 19th Century.

The Grand Stables, a masterpiece of 18th Century architecture, are amongst the most beautiful in the world. Inside is found the Musée du Cheval, which explores the relationship between man and horse, while 30 horses and a team of 8 equestrians perform year-round.

The ensemble of the Domaine de Chantilly is the property of the Institut de France since the donation made in 1886 by one of its very own members, the Duc d’Aumale, who was searching for a way to avoid the dispersal of his rich collections. In 2005, the Institut de France signed a contract with the Fondation pour la Sauvegarde et le Développement du Domaine de Chantilly, created by His Highness the Aga Khan; it will ensure the restoration, management and development of the Domaine. © J. Houyvet © J. Domaine de Chantilly

LE GRAND CONDÉ. THE RIVAL OF THE SUN KING? 25 PRACTICAL INFORMATION

Hours of Operation

26 March to 1 November 2 November and after:

Open 7 days a week, save 1 October Open 6 days a week, closed Tuesday

Open at 10:00 10:30 Closes at 18:00 20:00 17:00 18:00

Château Grand Stables Park

Prices

Exhibit Domaine de Chantilly Reduced Reduced Full Price Tickets Full Price Price Price

Basic Entry: 10 € 6 € Domain ticket 17 € 10 € Exhibit ticket includes entry to the park supplement of Park ticket 8 € 5 € Guided Tour: - Every week-end at 11:00 / 15:00 / 16:00 3 € Equestrian Group Visit (upon reservation) 150 € 140 € show and Horse 21 € 17,50 € 30 person min. Museum

School Group Visit 100 € - Domain + 30 € 22 € 30 students min. Show

Access to Chantilly

20 minutes from Charles de Gaulle airport in Paris, and 40 km from Paris city-centre.

By Car: From Paris, AutoRoute A3 and/or A1 exit “No. 7 Chantilly,” or D316 and D317; from Lille and Brussels, AutoRoute A1 exit “No. 8 Senlis”.

By Train: From Paris Gare du Nord, main lines, the Paris-Chantilly journey is roughly 25 minutes.

Lodging Within Proximity to the Domaine Auberge du Jeu de Paume - http://www.aubergedujeudepaumechantilly.fr/en

26 DOMAINE DE CHANTILLY / EXHIBITION 5 SEPTEMBER 2016 - 2 JANUARY 2017