Le Couronnement de Louis, an anonymous work dating from about 1130 to 1140, is the earliest heroic epic of the William of Orange cycle and therefore lays the foundation for the entire chanson-de-geste genre. It tells the story of William's defense of Louis, son of Charlemagne, during his childhood, and William's heroic deeds as he battles Saracens and other villains. This line-by-line translation closely follows the original Old French, capturing the stylistic features that clearly mark the poem as oral literature. A discussion of the poem's background and themes, the William of Orange cycle, and the chanson-de-geste genre precedes the translation.
The ordines coronationis are essentially the scripts for the coronation of Frankish and French sovereigns. Combining detailed religious, ceremonial, and political material, they are an extraordinarily important source for the study of individual rulers or dynasties, as well as for the study of kingship, queenship, and the evolution of political institutions. Complete in two volumes, Richard A. Jackson's is the first full edition of these texts, including all the ordines from the early thirteenth century through the end of the fifteenth century, a period during which the texts shift from Latin to the vernacular, and the institutions of kingship become distinctively French.
In 1239, king Louis IX of France performed the translation of the Crown of Thorns from Constantinople to Paris. The translation celebrations became a splendid religious festivity showing sacral foundations of Saint Louis's authority and the Capetian kingship. However, the translation of the Crown of Thorns to France had already a history under Louis's reign: French hagiographers and chroniclers affirmed that the first relics of the Crown of Thorns from Constantinople were transferred to Aachen by Charlemagne, then to Saint-Denis Abbey by Charles the Bald. The book discusses Saint Louis's translation of the Crown of Thorns as seen on the background of both Carolingian historical memory in Capetian era and Carolingian and Capetian tradition of the royal cult of relics.
Crowning Glories integrates Louis XIV’s propaganda campaigns, the transmission of Northern art into France, and the rise of empiricism in the eighteenth century – three historical touchstones – to examine what it would have meant for France’s elite to experience the arts in France simultaneously with Netherlandish realist painting. In an expansive study of cultural life under the Sun King, Harriet Stone considers the monarchy’s elaborate palace decors, the court’s official records, and the classical theatre alongside Northern images of daily life in private homes, urban markets, and country fields. Stone argues that Netherlandish art assumes an unobtrusive yet, for the history of ideas, surprisingly dramatic role within the flourishing of the arts, both visual and textual, in France during Louis XIV’s reign. Netherlandish realist art represented thinking about knowledge that challenged the monarchy’s hold on the French imagination, and its efforts to impose the king’s portrait as an ideal and proof of his authority. As objects appreciated for their aesthetic and market value, Northern realist paintings assumed an uncontroversial place in French royal and elite collections. Flemish and Dutch still lifes, genre paintings, and cityscapes, however, were not merely accoutrements of power, acquisitions made by those with influence and money. Crowning Glories reveals how the empirical orientation of Netherlandish realism exposed French court society to a radically different mode of thought, one that would gain full expression in the Encyclopédie of Diderot and d’Alembert.
"Joseph Bergin explores the king's practice of appointing qualified and worthy men as bishops, and of the difficulties and tensions inherent in it. Candidates generally began their careers with theology degrees and graduated to minor clerical positions, where they might gain valuable, practical experience, prior to their appointment as relatively mature men. Rarely were archbishops chosen who had not served as bishops, but appeal was to be found in family credit as well as demonstrable ability. The author explains the provenance of this system, illustrating it with numerous well-drawn examples and examining it in detail. In addition he accounts for the deficiencies of this elastic policy of appointment, which occasioned a group of some 120 bishops, not all of whom the king and his advisers could have personal knowledge." "This book uncovers a crucial part of the reign of Louis XIV and is essential for anyone with a serious interest in early modern French history."--BOOK JACKET.
Louis XIV was a man in pursuit of glory. Not content to be the ruler of a world power, he wanted the power to rule the world. And, for a time, he came tantalizingly close. Philip Mansel’s King of the World is the most comprehensive and up-to-date biography in English of this hypnotic, flawed figure who continues to captivate our attention. This lively work takes Louis outside Versailles and shows the true extent of his global ambitions, with stops in London, Madrid, Constantinople, Bangkok, and beyond. We witness the importance of his alliance with the Spanish crown and his success in securing Spain for his descendants, his enmity with England, and his relations with the rest of Europe, as well as Asia, Africa, and the Americas. We also see the king’s effect on the two great global diasporas of Huguenots and Jacobites, and their influence on him as he failed in his brutal attempts to stop Protestants from leaving France. Along the way, we are enveloped in the splendor of Louis’s court and the fascinating cast of characters who prostrated and plotted within it. King of the World is exceptionally researched, drawing on international archives and incorporating sources who knew the king intimately, including the newly released correspondence of Louis’s second wife, Madame de Maintenon. Mansel’s narrative flair is a perfect match for this grand figure, and he brings the Sun King’s world to vivid life. This is a global biography of a global king, whose power was extensive but also limited by laws and circumstances, and whose interests and ambitions stretched far beyond his homeland. Through it all, we watch Louis XIV progressively turn from a dazzling, attractive young king to a belligerent reactionary who sets France on the path to 1789. It is a convincing and compelling portrait of a man who, three hundred years after his death, still epitomizes the idea of le grand monarque.
