Battle of the Busts:

Bernini, Warin, and Coysevox & the Bust of Louis XIV

Jennifer Potter

Dr. Westin

ARH4931 Bernini Seminar

4 December 2012 King Louis XIV, who famously proclaimed “L’État, c’est moi”, is remembered as much for his greatness as a ruler as for his vast contributions to the arts. He inherited a love of beautiful objects from his mother, Anne of Austria, and an interest in collecting from Cardinal Mazarin, who ruled alongside him until 1661 when Louis assumed personal rule of France. His development of the French absolutist state and his concern with his own glory consumed the arts as well.1

While Louis was a patron of many different artistic forms, from architecture, to gardens, to decorative arts, he had a special interest in creating monuments to himself. Throughout his reign, he had three portrait busts commissioned by three different, renowned sculptors: Gian Lorenzo Bernini, Jean Warin, and Antoine

Coysevox. These pieces very much embody styles and techniques unique to the individual artist. Today, while all three exist as exemplary representations of the

Sun King, that of Gian Lorenzo Bernini, the Italian Baroque master, is widely regarded as superior.2 However, this general consensus was not always the case, and the situation becomes complicated given the historical context of these works and the background of the artists involved. In order to fully understand the greatness of Bernini’s masterpiece, it becomes necessary to study the setting of

Louis XIV’s court, the intentions of the artists who sculpted these busts, and visual aspects of the actual works. Ultimately, Bernini’s bust of Louis XIV emerges as

1 Peter Burke, The Fabrication of Louis XIV (New Haven: Yale University Press, 1992), 223-35. R.W. Berger fully discusses Louis’ concern for the arts in The Palace of the Sun: The Louvre of Louis XIV (University Park, PA, 1993) and A Royal Passion: Louis XIV as Patron of Architecture (New Haven, 1992). 2 Cecil Hilton Monk Gould, Bernini in France: An Episode in Seventeenth-Century History (Princeton, NJ: Princeton University Press, 1992), 86-87; Getty Center, Bernini and the Birth of Baroque Portrait Sculpture, ex. cat. 2008, ed. Andrea Bacchi, Catherine Hess, and Jennifer Montagu: 267. triumphant because it expertly succeeds both in representing the individual likeness of the King while also embodying his status as the world’s most powerful sovereign.

Louis XIV was born in 1639 to King Louis XIII of France and Queen Anne of

Austria. Upon his father’s death in 1643, Louis was too young to become king so he ruled alongside a regency council, headed by Cardinal Mazarin, until 1661. When

Louis obtained personal control of the government, he immediately moved to centralize political authority.3 At the time, France was emerging from years of foreign war and disorder so the public generally welcomed this new sense of order.

Louis also appointed Jean-Baptiste Colbert as the new Contrôleur général des

Finances in 1665 to rectify the national debt crisis. He quickly established a system of national taxation, and he bolstered commerce and trade through the promotion of national industries, such as tapestry production at the Gobelins factory. Louis also moved to centralize legal matters through his implementation of many Grandes

Ordonnances that created universal laws and regulations throughout the country.

Under the reign of Louis XIV, France became the model of an absolute monarchy.4

Louis very much used the arts as a means of propagating his image as the absolute monarch. Just as he maintained political and economic authority, he also established various administrative bodies to create a state policy on the arts. He formed the head office of the Surintendent des Batiments, Arts, et Manufactures du

Roi to approve financing and direction of all projects. Beneath this title, two bodies were established to oversee art theory and teaching; the Academie Royale de

3 Burke, The Fabrication of Louis XIV, 227. 4 Burke, The Fabrication of Louis XIV, 237-46; John Merryman provides a complete discussion of the Grandes Ordannces in The Civil Law Tradition: An Introduction to the Legal Systems of Europe and Latin America (Stanford University Press, 2007). Peinture et de Sculpture oversaw painting and sculpture while the Academie Royale d’Architecture was the supreme authority on architecture.5 In general, creative work in the reign of Louis XIV was directed by two privileged artists: the Premier

Peinture du Roi and the Premier Architecte du Roi. Charles Le Brun and Louis Le Vau respectively occupied these roles for the majority of his rule. As the arts molded to the fancies of the absolute monarch, a distinctive French style came into place.

Louis, influenced by Colbert, had a preference for French classicism, marked by perfectly convex curves, simple geometrical outlines, flawless symmetry, and

Roman ornamentation that conveyed a sense of martial heroism. Through these numerous artistic media, Louis perpetuated a form of royal propaganda that served as a means of commemorating this legendary ruler.6

Interestingly enough, while a firmly established doctrine and hierarchy existed for painting and architecture, very little structure existed for the medium of sculpture. There was also no office of the “premier sculpteur” of the King. This lack of structure in the medium thus offered an opportunity for multiple artists with conflicting styles to commemorate the king through sculpture. A prime example of this occurrence is the three portrait busts consecutively created by Bernini, Warin, and Coysevox. However, in order to fully understand the success or lack thereof in their end pieces, it becomes necessary to consider their individual backgrounds as artists that led them to create such works.

5 Robert W. Berger, A Royal Passion: Louis XIV as Patron of Architecture (Cambridge: Cambridge University Press, 1994), 93-121. Also see I. Thompson, The Sun King’s Garden: Louis XIV, André Le Nôtre and the Creation of the Gardens of Versailles (London, 2006). 6 Geoffrey Treasure, Louis XIV (New York: Longman, 2001), 345-55; P. Burke, The Fabrication of Louis XIV (New Haven, 1992), 237-46. Gian Lorenzo Bernini, the Italian painter, sculptor, and architect, was the first artist to create a portrait bust for Louis. Prior to his arrival in France, Bernini had spent almost his entire life working in Rome where he had become the Master of the

Italian Baroque. Louis sent a personal invitation inviting Bernini to his court in

1665 when Bernini was 67 years old. At the time, Bernini was widely regarded the greatest living artist, and the King had certainly heard of his renown.7 Initially,

Louis wished for Bernini to create the design for his new Louvre palace. In fact, in his response letter where Bernini accepts the King’s invitation to come to France, the artist claimed that he would design for Louis “buildings grander and more magnificent than the palaces of the emperors and the popes”.8 Bernini, however, would never see this goal come to fruition, leaving behind only the bust of the King and a failed equestrian statue in France.9

Upon Bernini’s arrival in France, Louis XIV appointed a special guide, Paul

Fréart, Sieur de Chantelou, to accompany him. Chantelou, who was a staunch supporter of Bernini, faithfully kept a diary that exists as a day-by-day account of events during the artist’s stay.10 From the beginning, Bernini set to work creating his design for the Louvre. His first plan, with curves characteristic of the Roman

7 Paul Fréart de Chantelou, Journal du voyage du cavalier Bernin en France, edited by Anthony Blunt, translated by Margery Corbett (Princeton, NJ: Princeton University Press, 1985), 34-37. Also see Artists in 17th Century Rome (exh. cat. by D. Mahon and D. Sutton, London, Wildenstein’s, 1955) and R. Wittkower, Gian Lorenzo Bernini: The Sculptor of the Roman Baroque (London, 1966). 8 Rudolf Wittkower, Bernini’s Bust of Louis XIV (London: Oxford University Press, 1991), 3. 9 Chantelou, Journal du voyage du cavalier bernin en France, 335-38. 10 Chantelou, Journal du voyage du cavalier Bernin en France, edited by Anthony Blunt, translated by Margery Corbett (Princeton, NJ: Princeton University Press, 1985). High Baroque, was criticized by Colbert for its’ open arcades and flat roofs (Figure

1).11 The minister explained that these qualities would make the building unsuitable for the French winter. This initial plan would also designate the King’s chambers as the loudest part of the palace. Moreover, Colbert felt that this design would make the location permissible to trespassers. Abandoning this plan, Bernini created a second design that he hoped would please the court. While the King was reportedly delighted, Colbert once again was a harsh critic. Then, his third attempt once again returned to intersecting concave and convex curves with the support of

Corinthian columns (Figure 2). This plan was inevitably rejected from the beginning for drifting too far from French classicism. Finally, his fourth design chose to encase the old buildings with his new one, retaining some of the original form (Figure 3).

Colbert, however, expressed new concerns, stating that the space in front of the

Louvre would not be large enough to serve for battle exercises. Colbert and Bernini also argued over which buildings would be torn down and which would be kept for this new plan. As Bernini became increasingly more frustrated, he also began to experience feelings of jealousy and resentment from certain French architects for his consistently unsuitable designs.12

As Bernini worked at revising his plan for the Louvre to suit the requirements of Colbert and the French court, the King commissioned his portrait

11 Robert W. Berger, The Palace of the Sun: The Louvre of Louis XIV (University Park, PA: Pennsylvania State University Press, 1993), 146-48; J. Variano, Italian Baroque and Rococo Architecture (New York and Oxford, 1986). 12 Gould, Bernini in France, 39; Chantelou, Journal du voyage du cavalier Bernin en France, 38. bust. Bernini immediately went to work selecting the block of marble.13 He then moved to watching and sketching the King in movement, claiming that this process would familiarize him with the sovereign’s personal qualities. He created numerous sketches that he ultimately did not work from, explaining that he did not want “to copy” himself but “to create an original”.14 Bernini then created a clay model that he used to sculpt his general idea. Eventually, when only the details remained, he moved to live sittings of the King. In the end, the bust required thirteen sittings and was finished in forty working days. When he finally presented the completed work to the French court, Chantelou claims that the sculptor burst into tears and ran from the room.15 Clearly, Bernini had significantly invested himself into the completion of this piece (Figure 4).

Further evidence of Bernini’s time and energy is seen through a careful study of the bust’s visual qualities. According to Wittkower, Bernini’s greatest concern in its’ creation was how to translate colors of the human face into marble.16 This effect is especially seen in his treatment of the King’s eyes (Figure 5). Taking influence from Hellenistic portrait sculpture, he carefully carved the iris and the pupil, giving

Louis a truly royal gaze. At the same time, though, he also retained their small shape in order to re-enforce likeness to the king. Bernini also paid careful attention to the forehead, making it unusually high to accurately reflect Louis’ appearance. The artist reportedly said that he modeled this feature after that of Alexander the Great

13 Wittkower, Bernini’s Bust of Louis XIV, 6; Chantelou, Journal du voyage du cavalier bernin en France, 39. 14 Wittkower, Bernini’s Bust of Louis XIV, 7; Chantelou, Journal du voyage du cavalier bernin en France, 39-43. 15 P. Fréart de Chantelou, Journal du voyage du cavalier Bernin en France, 289. 16 Wittkower, Bernini’s Bust of Louis XIV, 9. as well, demonstrating Louis’ royal heritage.17 The nose and mouth also reveal

Bernini’s ability to combine accepted regal attributes with the realistic qualities of his sitter. The traditional Roman nose conveys a sense of pride and nobility, while the strong upper lip accurately reflects that of Louis. As reported by Chantelou, a viewer of the bust claimed that it appears as though the King is “about to speak” as if he were actively engaged in argument.18 The effect of the hair and drapery too seems to give the King a sense of movement (Figure 6). Bernini was particularly proud of the single curl that fell across the forehead. The pose of the bust also provides further suggestion of movement. Bernini angled Louis so that he left arm was placed back while he right arm moved forward. In this way, the artist seems to contradict the traditional bust that aims at reproducing the sitter’s head in a state of repose. Moreover, when the sculpture was revealed to the French court, the general impression was that the King also appeared to be “walking”, and it was met with much awe and admiration.19 It seemed as though only Bernini could achieve such mystical aesthetic qualities in his work.

The completion of Bernini’s bust in 1665 created a challenge for French portrait sculptors to do the same. Jean Warin, the French medalist, sculptor, and painter, was the first to challenge Bernini’s masterpiece in 1665. Prior to creating his bust, Warin was primarily known as a medalist among his peers.20 He came

17 P. Fréart de Chantelou, Journal du voyage du cavalier Bernin en France, 300; Witkkower, Bernini’s Bust of Louis XIV, 16. 18 Wittkower, Bernini’s Bust of Louis XIV, 16. 19 Gould, Bernini in France, 84. 20 Mark Jones, A Catalogue of the French Medals in the British Museum: 1600-72 (London: British Museum Press, 1988), 197-99. See F. Mazarolle, Jean Varin: Sa vie, sa famille, son oeuvre (1596-1672), 2 vols (Paris, 1932). from a family of engravers and goldsmiths, and he obtained his first placement at the Paris Mint in 1629. Warin’s talent garnered the interest of the French court, especially that of Cardinal Richelieu who was the chief minister to King Louis XIII, the father of the Sun King. In 1630, he cast and chased the silver medal, seen in

Figure 7, to commemorate the chief minister. Then, in 1635, Richelieu appointed him to design the seal for the Academie Française. Later, he also worked in bronze

(Figure 8), and he created commemorative medals for members of the French monarchy, including Louis XIII and Louis XIV. In particular, Louis XIV, who had an interest in commemorating his glory, had Warin create multiple medals that depicted great events during his reign. All of these pieces clearly demonstrate the influence of classical sources and loyalty to the French academic style.21 By 1665,

Warin was in control of the French Mint, and he possessed a prestigious role at the royal court. He was living in a home next to the Louvre Palace when he learned that the renowned Italian sculptor and architect, Gian Lorenzo Bernini, had been appointed by Louis XIV to create the design for the new building. This decision offended him, but Warin became even more dismayed when he was asked to execute the foundation medal for the project. His resentment of Bernini grew with the Italian sculptor’s persistent rush to return to Rome so that there was not enough time for Warin to engrave the desired medal.22

Following the success of Bernini’s bust, he was commissioned to sculpt another portrait bust of the King under the direction of Colbert. The completed

21 Sociéte de l’histoire de l’art français, Bulletin de la Sociéte de l’histoire de l’art français (Paris: J. Baur, 1907), 456-64. 22 M. Jones, A Catalogue of the French Medals in the British Museum, 1600-72 (London: The British Museum Press: 1988), 197-99. work is a frontal piece with a slight turn of the head, giving the sitter a very formal look (Figure 9). He also depicts Louis dressed in antique attire with a piece of drapery slung over one of his shoulders. On his chest, a prominent sun is displayed, creating an allusion to his title as the “Sun King”. His face is marked by glazed-over eyes that seem to mimic those of Classical statues, and he possesses the typical

Roman nose. His face is also characterized by a placid expression that is reminiscent of antique traditions (Figure 10). Upon its’ completion, the severe composition of Warin’s bust contrasted sharply with the dramatic effect of that of

Bernini. While Bernini’s bust has an implied sense of movement, Warin’s sculpture is static and composed. At the same time, the immaculately-carved details of

Bernini’s piece give the King a recognizable quality that is simply unmatched by

Warin’s generic forms. Despite its’ failure in comparison, Warin’s work did receive praise at the time, but positive feedback came mostly from enemies of Bernini who celebrated Warin’s work as “the most remarkable that had ever been made”.23

Nonetheless, Warin’s apparent success encouraged other artists to challenge the original bust as well.24

Antoine Coysevox, who is widely considered the most able French sculptor of the later part of Louis XIV’s reign, was also commissioned to sculpt a marble bust of the King.25 In contrast to the Classical style of Charles Le Brun and Jean Warin that was very typical of French sculpture up until this time, Coysevox introduced a dramatic Baroque style to the French court. He was trained as an artist in Paris

23 M. Jones, A Catalogue of French Medals in the British Museum, 197-99. 24 Gould, Bernini in France, 86. 25 François Souchal, French Sculptors of the 17th and 18th Centuries: The Reign of Louis XIV, translated by Elsie and George Hill (Oxford: Faber, 1977), 289. where he later worked as a sculptor and as a professor at the Academie Royale. He is also celebrated for creating many portrait busts for members of the French court

(Figure 11), including Charles Le Brun and Colbert. In 1681, he provided a bust of the King for the newly-renovated Versailles Palace, specifically for the Escalier des

Ambassadeurs (Figure 12).26 The resulting piece is characterized by a forward- facing form, with the King’s head and gaze directed to the left, although his eyes remain glazed over in the traditional antique style. Coysevox has also paid careful attention to the hair, creating a mass of curls that seem to lie gracefully along the

King’s shoulders. Louis is shown wearing an elaborate suit of armor, and the folds of drapery that cover his chest are decorated with exquisite lace detailing. When the bust was unveiled at the court of Versailles, it was met with approval and enthusiasm.27 Members of the court awed at the youthfulness and elegance captured in the bust, despite the fact that the King was 48 years old when it was created.28 Moreover, they also remarked that Coysevox’s work seemed to give the image of Louis a sense of power and authority (Figure 13).

While this piece certainly seems superior to that of Warin in its visual effects,

Coysevox’s bust still cannot compete with the work of Bernini.29 While Coysevox is able to give the hair and drapery a like-like and fluid quality, it does not convey the same sense of movement of that of Bernini. Similarly, the Classical eyes of

26 F. Souchal, French Sculptors of the 17th and 18th Centuries: The Reign of Louis XIV, 289. 27 Georges Keller-Dorian, Antoine Coysevox (1640-1720): Catalogue raisonné de son oeuvre (Paris: l’auteur, 1920), 18. 28 F. Souchal, French Sculptors of the 17th and 18th Centuries: The Reign of Louis XIV, 289. 29 Gould, Bernini in France, 87. Coysevox’s bust cannot match the intricately-carved expression seen in the eyes of

Bernini’s sculpture.30 Ultimately, while Antoine Coysevox could not compare to the

Master of the Italian Baroque, his sculpture still represents a fundamental evolution in French art. Eventually, his work came to anticipate the imminent Rococo period.

Having studied these individual works in detail, it then becomes necessary to return to the initial question: why exactly was Bernini’s bust the greatest representation of Louis XIV? In the end, only Bernini’s work succeeds in personifying Louis as the world’s most powerful sovereign while also expertly portraying his individual likeness.31 The bust’s sense of movement and its allegorical representation of Alexander the Great give the King a certain sense of regal splendor. However, at the same time, Bernini’s accurate depiction of facial features such as the nose and forehead maintain a sincere faithfulness to the King’s appearance. While Warin’s classical bust is certainly regal in the French sense, it is unable to reflect the unique personality of the King. Furthermore, while Coysevox’s somewhat flamboyant carving gives his bust a sense of individuality, his representation of Louis lacks the power of that of the Master of the Italian Baroque.

Only Bernini’s bust is able to convey both the Sun King and the man himself, Louis

XIV. Ultimately, the reason for Bernini’s success may come from what Cecil Gould refers to as his “near-mystic” relationship with the King.32 From the beginning,

Bernini saw in Louis a personality very much like his own. Both men, in their own

30 Getty Center, Bernini and the Birth of Baroque Portrait Sculpture (exh. cat. 2008), 23. 31 Irving Lavin, Bernini and the Unity of the Visual Arts (New York: Oxford University Press, 1980), 92; Getty Center, Bernini and the Birth of Baroque Portrait Sculpture, 267. 32 Gould, Bernini in France, 104. ways, were proud, noble, and energetic, and they held their individual places by divine right. Bernini saw the bust as a collaborative effort between himself and the

King. It was this profound relationship and sense of mutual understanding between these two men that led to one of the greatest works of portraiture of all time.33

From a contemporary standpoint, it is readily understandable that Bernini’s work is superior; however, the question remains as to why this was not as evident during the reign of the Sun King. In fact, Bernini’s trip to France is generally regarded as a complete failure.34 While the French court approved his bust of the

King, Bernini’s plans for the Louvre Palace, the true purpose of his visit, and his equestrian statue of Louis were vehemently rejected. Ultimately, the reasoning behind Bernini’s fruitless trip to France can be attributed to the constant power struggle that existed between the artist and Jean Baptiste Colbert. From the beginning, Colbert was prejudice against Bernini, staunchly stating that he believed in “French art by the French”35, and he criticized Bernini’s work for being too Italian.

He disliked Bernini’s plan for the Louvre with its’ curves characteristic of the Roman

High Baroque, and he also claimed that the open arcades and flat roofs were unsuitable for the cold French winters. Furthermore, Bernini’s equestrian sculpture that he also made for the King was the extreme opposite of French classicism, causing it to be relegated to a distant corner of the Versailles gardens (Figure 14).36

33 Charles Avery, Bernini: Genius of the Baroque (London, 1997), 84; Getty Center, Bernini and the Birth of Baroque Portrait Sculpture, 267. 34 Gould, Bernini in France, 139-40. 35 Wittkower, Bernini’s Bust of Louis XIV, 5-6. 36 Michel Martin, Les monuments équestres de Louis XIV: une grande enterprise de propagande monarchique (Paris: Picard, 1986), 47-56; Howard Hibbard, Bernini Bernini’s individualist spirit contrasted sharply with the goals of the French absolutist state, and his humanist beliefs rivaled the bureaucratic academic style in

Paris. In retrospect, it appears as though the positive reception that welcomed the busts of Warin and Coysevox was mainly an attempt on the part of Colbert to belittle

Bernini.37 If not for the artist’s close affinity to the King, it seems as though the trip would actually have been a complete failure altogether.

In the end, the most viable proof of the superiority of Bernini’s bust may be the fact that his legacy lives on today while Warin and Coysevox remain relatively unknown except perhaps to art historians in this particular field. Indeed, both Gian

Lorenzo Bernini and King Louis XIV live on as masters in their respective professions, a fact which clearly contributes to the enduring success of the portrait bust. If one travels to the Versailles Palace, where the bust has remained since

1685, Bernini’s masterpiece can be viewed. Enthroned against a marble backdrop, the bust takes a prominent position high up on the wall. It sits in a room that also houses other portrait busts of other prominent rulers, including Caesar Augustus, but Bernini’s work is clearly the most impressive. Ultimately, it seems that only

Bernini was capable of creating a bust that is simply a portrait of the King, in all of his nobility and majesty.

(London: Penguin Books, 1990), 68; R. Wittkower, Gian Lorenzo Bernini: The Sculptor of the Roman Baroque (London: Phaidon Press, 1955), 14-15. 37 Gould, Bernini in France, 86-87.

Figure 1 Gian Lorenzo Bernini, Project for the Louvre, Façade, 1664. Drawing.

Figure 2 Gian Lorenzo Bernini, Paris: Louvre elevation east façade, 1665. Detail, third design.

Figure 3 Gian Lorenzo Bernini, Louvre, elevation, front and back, 1665. Detail, final plan.

Figure 4 Gian Lorenzo Bernini, Bust of Louis XIV, 1665.

Figure 5 Gian Lorenzo Bernini, Bust of Louis XIV, detail: eye, 1665.

Figure 6 Gian Lorenzo Bernini, Bust of Louis XIV, 1665.

Figure 7 Jean Warin, Cardinal Richelieu, 1630. Cast and chased silver medal.

Figure 8 Jean Warin, Armand-Jean Duplessis, Cardinal de Richelieu, 1630. Bronze.

Figure 9 Jean Warin, Bust of Louis XIV, 1665.

Figure 10 Jean Warin, Bust of Louis XIV, 1665.

Figure 11 Antoine Coysevox, Marshal de Turenne.

Figure 12 Antoine Coysevox, Bust of Louis XIV, 1681.

Figure 13 Antoine Coysevox, Bust of Louis XIV, 1681.

Figure 14 Gian Lorenzo Bernini, Equestrian Statue of Louis XIV, 1670.

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