frenchhistory:

Gravure: la Carte du Tendre, Paris, BNF.

Allegorical map of the stages of love; starting near center top, one can go by way of the Reconaissance river (through the towns of Constante Amitié, Obeissance, Tendresse, Sensibilité, Grandes Services, Empressements, Assiduité, Petits Soins, Soumission, Compliasance) or by way of the Estime river (through the towns of Bonté, Respect, Exactitude, Generosité, Probité, Grand Coeur, Sincerité, Billet doux, Billet galant, Jolis Vers, and Grand esprit), or by way of the Inclination river (the most direct route) to arrive at the goal of Nouvelle Amitié. However, avoid Meschanceté, Médisance, Perfidie, Indiscretion, and Orgueil near the Mer d’Inimitié, as well as Oubli, Legereté, Tiedeur, Inegalité, and Negligence on the side of the Lac D’Indiference…

@credits

The Map of Tendre (Carte de Tendre or Carte du Tendre) was a French map of an imaginary land called Tendre produced by several hands (including Catherine de Rambouillet). It appeared as an engraving (attributed to François Chauveau) in the first part of Madeleine de Scudéry’s 1654-61 novel Clélie. The map represents the path towards love according to the précieuses of the time period.

necspenecmetu:

Bartolomeo Schedoni, Saint Sebastian, 1615

thestuartkings:

King Charles II, London 29th May 1660

artaddictsanonymous:

Bernini, Cathedra Petri (Chair of St. Peter’s) in St. Peter’s Basilica, 1656-66

(via historyofbaroqueart)

speciesbarocus:

Johann Ulrich Kraus  - The Christian faith through symbolic representations (c. 1676).

(Source: royalversailles, via paminamozartienne)

thestuartkings:

King Charles IIs last Sunday  by William Powell Frith

(via xxxladybluexx)

thestuartkings:

Mary of Modena

By Simon Verelst

One of the 17th Century fashion trends saw aristocratic women embracing male figure-hugging hunting costumes. This was a self-aware sexualised piece of cross-dressing, which James, Duke of York, ‘particularly admired’ when adopted by his much younger second wife, Mary of Modena.

(Source: rhinest0nes, via calantheandthenightingale)

thestuartkings:

William and Mary bring baroque architecture and style to Hampton Court

Soon after their accession to the English throne, King William III (r 1689-1702) and Queen Mary II (r 1689-94) commissioned Sir Christopher Wren to rebuild Hampton Court.

William liked both the pleasant site and the good hunting at Hampton court, but thought the buildings needed replacing. He decided to go ahead with improvement work, because he didn’t care for the monarch’s principal residence at Whitehall Palace, and needed a substitute.

Wren’s original plan was to demolish the entire Tudor palace, except for the Great Hall. Neither the time nor the money proved available for this ambitious undertaking.

Wren had to be content with rebuilding the king’s and queen’s main apartments on the south and east sides of the palace, on the site of the old Tudor lodgings.

Work began in May 1689. William wanted rapid results, but in December, because of the excessive speed of building and the poor quality of the mortar used, a large section of the south range collapsed, killing two workmen and injuring eleven.

The subsequent inquiry deteriorated into bitter squabbles. It soon became apparent that the real cause was the speed of the work.

When building was resumed, it proceeded with less haste and more care. Between April 1689 and March 1694, £113,000 was spent on the new apartments.

William was devastated in late 1694 when Mary died. Work stopped, leaving the new buildings as an empty brick shell with bare walls and floors.

No further construction was undertaken until 1697. William’s European wars had ended by then, and he could once more devote his thoughts and money to palace building.

As Whitehall Palace burned down in 1698, William stepped up his efforts to finish the new palace. Instead of accepting Wren’s estimate for finishing the work, however, the king appointed Wren’s deputy.

William Talman, who had offered a lower price, eventually finished William’s new King’s Apartments under budget.

Wren and Talman completely transformed the east and south facades of Hampton Court, replacing Tudor towers and chimneys with the grand and elegant baroque exteriors that dominate the formal gardens today.

Inside, Grinling Gibbons carved elegant fireplaces and architectural mouldings and Antonio Verrio painted triumphant and colourful ceilings.

Outside, the gardens were also dug up and re-landscaped. They were filled with new plants, including Queen Mary’s own collection of exotic plants from around the world, and bordered by gilded wrought-iron screens by Jean Tijou, and a new Banqueting House by the river, again decorated by Verrio.

Ironically, the King who did more than any other to shape Hampton Court as it is today did not live to enjoy his new palace.

William died at Kensington Palace from complications after a bad fall from his horse in Hampton Court Park in 1702. During his reign he spent £131,000 on the palace.

lyghtmylife:

Nicolas POUSSIN

[French Baroque Era Painter, 1594-1665]

Midas and Bacchus (detail)
1629-30
Oil on canvas
Alte Pinakothek, Munich

consecratio:

The Incredulity of St Thomas by Gerrit Van Honthorst, 1620

(via historyofbaroqueart)

frenchhistory:

Tenture du Prince Chinois : “le voyage de l’empereur”. Belin Jean, Blain de Fontenay (dit), Du Mons (d’après) Vernansal Guy Louis, le Vieux (d’après), château de Compiègne

@credits

Louis XIV offered this tapestry to one of the son he had with Mme de Montespan, the count of Toulouse. The tapestry depicts Emperor Kangxi in a palanquin, and an old man, who appears to be Father Schall wearing the insignias of a 1st rank mandarin, title he obtained when he became Director of the Imperial Observatory

centuriespast:

Pieter van Laer, Recalcitrant Horse, 17th century.

Kemper Art Museum