Louis XVIII (1755-1824) by Michael D
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Nationalism in the French Revolution of 1789
The University of Maine DigitalCommons@UMaine Honors College 5-2014 Nationalism in the French Revolution of 1789 Kiley Bickford University of Maine - Main Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Cultural History Commons Recommended Citation Bickford, Kiley, "Nationalism in the French Revolution of 1789" (2014). Honors College. 147. https://digitalcommons.library.umaine.edu/honors/147 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. NATIONALISM IN THE FRENCH REVOLUTION OF 1789 by Kiley Bickford A Thesis Submitted in Partial Fulfillment of the Requirement for a Degree with Honors (History) The Honors College University of Maine May 2014 Advisory Committee: Richard Blanke, Professor of History Alexander Grab, Adelaide & Alan Bird Professor of History Angela Haas, Visiting Assistant Professor of History Raymond Pelletier, Associate Professor of French, Emeritus Chris Mares, Director of the Intensive English Institute, Honors College Copyright 2014 by Kiley Bickford All rights reserved. Abstract The French Revolution of 1789 was instrumental in the emergence and growth of modern nationalism, the idea that a state should represent, and serve the interests of, a people, or "nation," that shares a common culture and history and feels as one. But national ideas, often with their source in the otherwise cosmopolitan world of the Enlightenment, were also an important cause of the Revolution itself. The rhetoric and documents of the Revolution demonstrate the importance of national ideas. -
The Political Story, 1814-1900
The Political Story: 1815-1900. From Monarchy to Republic, the struggle for stability and compromise • Republicanism a minority allegiance up to 1880 • Critics associate it with Jacobinism, violent democracy, “Bolshevism” in its day. • By 1880, a permanent majority of the French converted to the republican ideal (Wright, 205) • Transition was exceptional, not normal, it its day A series of experiments in search of stability and compromise (Wright) • The Bourbon Experiment (1814-1830) • The Orléanist Experiment (1830-1848) • The Republican Experiment (1848-1852) • The Imperial Experiment (1852-1870) • The Rooting of the Republican System (1870-1919) Louis XVIII, King of France (1814-1824) Louis-Philippe, King of the French, 1830-1848 Official portrait of Louis XVIII by Jean-Baptiste-Louis Gros Official portrait by Franz Xavier Winterhalter, 1839 Louis XVIII and the Royal Family Charles X, King of France 1824-1830 Official portrait François GERARD, 1825 1814-1848 Struggles for Compromise that Failed How to blend the Revolution and the Old Regime? How to bridge deep divisions created by the Revolution? • Louis XVIII (1814-1824) & the Charter—divine right and a nobility with a legislature • 1817—90,000 men of the wealthy elite had the right to vote • The Chamber: ultras, moderates, liberals (constitutional monarchists, a few republicans) • Charles X (1824-1830) “Stubbornly Unwise” • Coronation at Reims (symbol of the Old Regime) • Compensation of noble émigrés • Partial restoration of the Church—seminaries and missions • Trio of unpopular -
The Iron Marshal: a Biography of Louis N
The Napoleon Series Reviews Gallagher, John G. The Iron Marshal: A Biography of Louis N. Davout. Havertown (UK): Frontline, 2018. 432 pages. ISBN# 9781526738325. Hardcover $39.95/£19.99 This is a new edition of the classic work first published in 1976. In a new preface written in 2000 the author explains that he has not rewritten it since nothing published in the interval has made this necessary, this may well be the case, but (to get minor criticism out of the way at the beginning) it is a pity the new work was not subjected to more rigorous proof reading: apart from minor typos there are peculiarities such as referring to General Bourriene, three different spellings of Beurnonville in one chapter and the mystifying condition affecting Napoleon at Borodino, 'uroedemo'. Whether these were present in the first edition I do not know: if they were, they should have been pointed out and corrected sometime in the intervening 25 years. This is a full-scale biography beginning with Louis Nicolas Davout's aristocratic ancestry and ending with his funeral; each episode of his life is covered in detail and supported by references. A considerable amount of political and general historical narrative is supplied to provide the background to Davout's career, which is considerate to any reader previously unfamiliar with Napoleonic history. Inevitably the central portion of his life is an account of Napoleon's campaigns since he played such a significant part in them but they are viewed from a slightly different angle to the standard Napoleon-centred narratives, which adds an extra dimension: not surprisingly, this is most noticeable in the Jena-Auerstädt chapter. -
I Was Not Dull
What, Me Dull? Listen, one of the reasons those crazy French overthrew me, supposedly, was because I was dull and boring. I want you to know the truth. Just listen to a bit of my life and let me know if you think it was dull. I was born in Paris (never a boring city) on October 6, 1773. My father was Louis Philippe Joseph. He was a member of the younger branch of the royal family known as the Orleans branch. He was probably the richest man in France. Did you ever hear of him? Probably not, because he is better known as Philippe Egalite, which means Philip Equality. You see, he supported the French Revolution to such a great extent that he was elected to the most revolutionary body of that period, the Convention. In fact, he also voted for the execution of King Louis XVI. My father’s vote was crucial because the vote to have King Louis executed was close and passed by only one vote. So you see, he was a loyal son of the French Revolution even to the point that my father was guillotined (the revolution had a reputation of devouring its own children). Anyway, I also supported the French Revolution and fought in important battles. I liked our general, Dumouriez, so much that I followed him right down to the time he went over to the Austrians—the Revolution. I spent a lot of time in exile during the First French Republic and later while Napoleon reigned. Since you are Americans, it might interest you to know that among the places I lived was Philadelphia, where I stayed for four years. -
Discover the Styles and Techniques of French Master Carvers and Gilders
LOUIS STYLE rench rames F 1610–1792F SEPTEMBER 15, 2015–JANUARY 3, 2016 What makes a frame French? Discover the styles and techniques of French master carvers and gilders. This magnificent frame, a work of art in its own right, weighing 297 pounds, exemplifies French style under Louis XV (reigned 1723–1774). Fashioned by an unknown designer, perhaps after designs by Juste-Aurèle Meissonnier (French, 1695–1750), and several specialist craftsmen in Paris about 1740, it was commissioned by Gabriel Bernard de Rieux, a powerful French legal official, to accentuate his exceptionally large pastel portrait and its heavy sheet of protective glass. On this grand scale, the sweeping contours and luxuriously carved ornaments in the corners and at the center of each side achieve the thrilling effect of sculpture. At the top, a spectacular cartouche between festoons of flowers surmounted by a plume of foliage contains attributes symbolizing the fair judgment of the sitter: justice (represented by a scale and a book of laws) and prudence (a snake and a mirror). PA.205 The J. Paul Getty Museum © 2015 J. Paul Getty Trust LOUIS STYLE rench rames F 1610–1792F Frames are essential to the presentation of paintings. They protect the image and permit its attachment to the wall. Through the powerful combination of form and finish, frames profoundly enhance (or detract) from a painting’s visual impact. The early 1600s through the 1700s was a golden age for frame making in Paris during which functional surrounds for paintings became expressions of artistry, innovation, taste, and wealth. The primary stylistic trendsetter was the sovereign, whose desire for increas- ingly opulent forms of display spurred the creative Fig. -
Admirable Trees of Through Two World Wars and Witnessed the Nation’S Greatest Dramas Versailles
Admirable trees estate of versailles estate With Patronage of maison rémy martin The history of France from tree to tree Established in 1724 and granted Royal Approval in 1738 by Louis XV, Trees have so many stories to tell, hidden away in their shadows. At Maison Rémy Martin shares with the Palace of Versailles an absolute Versailles, these stories combine into a veritable epic, considering respect of time, a spirit of openness and innovation, a willingness to that some of its trees have, from the tips of their leafy crowns, seen pass on its exceptional knowledge and respect for the environment the kings of France come and go, observed the Revolution, lived – all of which are values that connect it to the Admirable Trees of through two World Wars and witnessed the nation’s greatest dramas Versailles. and most joyous celebrations. Strolling from tree to tree is like walking through part of the history of France, encompassing the influence of Louis XIV, the experi- ments of Louis XV, the passion for hunting of Louis XVI, as well as the great maritime expeditions and the antics of Marie-Antoinette. It also calls to mind the unending renewal of these fragile giants, which can be toppled by a strong gust and need many years to grow back again. Pedunculate oak, Trianon forecourts; planted during the reign of Louis XIV, in 1668, this oak is the doyen of the trees on the Estate of Versailles 1 2 From the French-style gardens in front of the Palace to the English garden at Trianon, the Estate of Versailles is dotted with extraordi- nary trees. -
Kings and Courtesans: a Study of the Pictorial Representation of French Royal Mistresses
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2008 Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses Shandy April Lemperle The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lemperle, Shandy April, "Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses" (2008). Graduate Student Theses, Dissertations, & Professional Papers. 1258. https://scholarworks.umt.edu/etd/1258 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. KINGS AND COURTESANS: A STUDY OF THE PICTORIAL REPRESENTATION OF FRENCH ROYAL MISTRESSES By Shandy April Lemperlé B.A. The American University of Paris, Paris, France, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts in Fine Arts, Art History Option The University of Montana Missoula, MT Spring 2008 Approved by: Dr. David A. Strobel, Dean Graduate School H. Rafael Chacón, Ph.D., Committee Chair Department of Art Valerie Hedquist, Ph.D., Committee Member Department of Art Ione Crummy, Ph.D., Committee Member Department of Modern and Classical Languages and Literatures Lemperlé, Shandy, M.A., Spring 2008 Art History Kings and Courtesans: A Study of the Pictorial Representation of French Royal Mistresses Chairperson: H. -
Volker Sellin European Monarchies from 1814 to 1906
Volker Sellin European Monarchies from 1814 to 1906 Volker Sellin European Monarchies from 1814 to 1906 A Century of Restorations Originally published as Das Jahrhundert der Restaurationen, 1814 bis 1906, Munich: De Gruyter Oldenbourg, 2014. Translated by Volker Sellin An electronic version of this book is freely available, thanks to the support of libra- ries working with Knowledge Unlatched. KU is a collaborative initiative designed to make high quality books Open Access. More information about the initiative can be found at www.knowledgeunlatched.org This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 4.0 License, as of February 23, 2017. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. ISBN 978-3-11-052177-1 e-ISBN (PDF) 978-3-11-052453-6 e-ISBN (EPUB) 978-3-11-052209-9 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2017 Walter de Gruyter GmbH, Berlin/Boston Cover Image: Louis-Philippe Crépin (1772–1851): Allégorie du retour des Bourbons le 24 avril 1814: Louis XVIII relevant la France de ses ruines. Musée national du Château de Versailles. bpk / RMN - Grand Palais / Christophe Fouin. Printing and binding: CPI books GmbH, Leck ♾ Printed on acid-free paper Printed in Germany www.degruyter.com Contents Introduction 1 France1814 8 Poland 1815 26 Germany 1818 –1848 44 Spain 1834 63 Italy 1848 83 Russia 1906 102 Conclusion 122 Bibliography 126 Index 139 Introduction In 1989,the world commemorated the outbreak of the French Revolution two hundred years earlier.The event was celebratedasthe breakthrough of popular sovereignty and modernconstitutionalism. -
Caroline Murat: Powerful Patron of Napoleonic France and Italy
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2014-07-10 Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Dahlin, Brittany, "Caroline Murat: Powerful Patron of Napoleonic France and Italy" (2014). Theses and Dissertations. 4224. https://scholarsarchive.byu.edu/etd/4224 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Heather Belnap Jensen, Chair James Swensen Mark Magleby Department of Visual Arts Brigham Young University June 2014 Copyright © 2014 Brittany Dahlin All Rights Reserved ABSTRACT Caroline Murat: Powerful Patron of Napoleonic France and Italy Brittany Dahlin Department of Visual Arts, BYU Master of Arts Caroline Bonaparte Murat created an identity for herself through the art that she collected during the time of her reign as queen of Naples as directed by her brother, Napoleon, from 1808- 1814. Through the art that she both commissioned and purchased, she developed an identity as powerful politically, nurturing, educated, fashionable, and Italianate. Through this patronage, Caroline became influential on stylish, female patronage in both Italy and France. Caroline purchased and commissioned works from artists such as Jean-August-Domonique Ingres, François Gérard, Elizabeth Vigée LeBrun, Antonio Canova and other lesser-known artists of the nineteenth century. -
Waterloo in Myth and Memory: the Battles of Waterloo 1815-1915 Timothy Fitzpatrick
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2013 Waterloo in Myth and Memory: The Battles of Waterloo 1815-1915 Timothy Fitzpatrick Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES WATERLOO IN MYTH AND MEMORY: THE BATTLES OF WATERLOO 1815-1915 By TIMOTHY FITZPATRICK A Dissertation submitted to the Department of History in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2013 Timothy Fitzpatrick defended this dissertation on November 6, 2013. The members of the supervisory committee were: Rafe Blaufarb Professor Directing Dissertation Amiée Boutin University Representative James P. Jones Committee Member Michael Creswell Committee Member Jonathan Grant Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii For my Family iii ACKNOWLEDGMENTS I would like to thank Drs. Rafe Blaufarb, Aimée Boutin, Michael Creswell, Jonathan Grant and James P. Jones for being on my committee. They have been wonderful mentors during my time at Florida State University. I would also like to thank Dr. Donald Howard for bringing me to FSU. Without Dr. Blaufarb’s and Dr. Horward’s help this project would not have been possible. Dr. Ben Wieder supported my research through various scholarships and grants. I would like to thank The Institute on Napoleon and French Revolution professors, students and alumni for our discussions, interaction and support of this project. -
Marie Antoinette
Louis XVII - CHILD PRISONER 0. Louis XVII - CHILD PRISONER - Story Preface 1. A ROYAL CHILDHOOD 2. THE YOUNG ANTOINETTE 3. WEDDING at the PALACE of VERSAILLES 4. DEATH of LOUIS XV 5. A GROWING RESENTMENT 6. CHILDREN of MARIE ANTOINETTE 7. THE DIAMOND NECKLACE AFFAIR 8. THE FRENCH REVOLUTION 9. EXECUTION of LOUIS XVI 10. THE GUILLOTINE 11. TRIAL of MARIE ANTOINETTE 12. MARIE ANTOINETTE and the GUILLOTINE 13. Louis XVII - CHILD PRISONER 14. DNA EVIDENCE and LOUIS XVII Jean-Louis Prieur (1759-1795) created this illustration of Louis-Charles, the French Dauphin, depicting his treatment in prison. The title of this 1794 work is: Simon le cordonnier et Louis XVII au Temple (“Simon the Shoemaker and Louis XVII at the Temple”). Once his father was executed, royalists referred to the Dauphin as King Louis XVII. The illustration is maintained at the BnF and is online via Gallica (the BnF’s digitized gallery). Louis-Charles, the orphaned son of a king and—to royalists—a king (Louis XVII) himself, would have been better off had his captors simply killed him. Instead, he endured unimaginable conditions in Temple prison, existing in a room above his sister. When first imprisoned, he was a bright, good-looking child: ...his blue eyes, aquiline nose, elevated nostrils, well-defined mouth, pouting lips, chestnut hair parted in the middle and falling in thick curls on his shoulders, resembled his mother before her years of tears and torture. All the beauty of his race, by both descents, seemed to reappear in him. (Campan, Memoirs of Marie Antoinette, Supplement to Chapter IX - scroll down 60%.) An acquaintance of Robespierre, Antoine Simon (often called "Simon the shoemaker"), was charged with caring for the young prince. -
Commerce, Glory, and Empire Montesquieu’S Legacy Céline Spector1
1 Commerce, Glory, and Empire Montesquieu’s Legacy Céline Spector1 “This book is not precisely in anyone’s camp.”1 Should we take at face value this statement at the end of the introduction to volume one of Democracy in America? Or should we see it, more subtly, as an echo of the quotation from Ovid with which Montesquieu prefaced The Spirit of Laws: prolem sine matre creatum, a work created without a mother? For Tocqueville, as for Montesquieu, the point is by no means to forgo the inspiration of past sources, but rather to announce a new method – the “new political science for a world altogether new,” which he evokes in keeping with the science of society for which The Spirit of Laws laid the groundwork.2 From the first volume of Democracy in America – weaving together geographical causes, laws, and customs – to The Ancien Regime and the Revolution, which redeploys the method of Considerations on the Causes of the Greatness of the Romans and Their Decline, Tocqueville pursues Montesquieu’s project: to determine the causes of institutions (laws, customs) and assess their effects in a comparative light, to theorize the adaptation of legislation to the “genius” of the people it is meant to govern, and to explain the deep causes of radical historical breaks, without denying any leeway to the human will.3 Nevertheless, it is not sufficient to quote Tocqueville’s famous phrase about his three “fetish authors”: Montesquieu, Rousseau, and Pascal.4 Beyond the parallels, we need to revisit an affinity that his contemporaries recognized but that has since been lost from view.5 Like the American Framers such as Madison and Hamilton, Tocqueville knew his debt to the “rarest political writer” of all time.