#Duchesse de Brissac

[fawnvelveteen]

Bernard Boutet de Monvel earned much of his contemporary fame for his photorealistic society portraits. The chic Duchesse de Brissac, née armaments heiress Marie-Zélie Schneider, sat for the artist in 1945 at his Paris home wearing a silk dress and emeralds and leaning against a lacquered cabinet.

One of Boutet de Monvel’s most famous works, a 1932 self-portrait shows him smartly attired and seated in a window of the Ritz hotel in Paris, overlooking Place Vendôme.

Photos: Sotheby’s / Art digital studio

[comtessezouboff]

Louis XIV's Gallery of Beauties

A retexture by La Comtesse Zouboff — Original Mesh by @thejim07

This set of 20 portraits was comissioned by the king himself in the 1650s to Charles and Henri Beaubrun (except for a portrait of Henrietta Anna of England, Comissioned to Nicolas Mignard) The portraits comprises the queen, royal princesses and ladies of the court. They hanged at the king's appartments at Versailles. In the 1670s the paintings were progressively relegated to the king's minor residences, but in 1837, Louis-Philippe, King of the French turned Versailles into a museum and rejoined the paintings, in the Louis XIV Rooms, where they remain.

The set includes 20 portraits, with the original frame swatches, fully recolorable. The portraits are of:

Anne Genèvieve de Bourbon, Duchess d'Estouteville and Longueville

Françoise-Athénaïs de Rochechouart (later, Marquise de Montespan)

Anna Martonozzi, Princess of Conti

Anne Louise Boyer, Duchess of Noailles

Anne Marie Gonzaga, Countess Palatine

Anne de Rohan-Chabot, Princess de Soubise

Catherine Henriette d'Harcourt, Duchess d'Arpajon

Catherine de Neuville, Countess d'Armagnac

Charlotte Catherine de Gramont, Proncess of Monaco

Charlotte Isabelle Angélique de Montmorency-Bouteville, Duchess of Mecklenburg-Schwerin

Elizabeth of Orléans, Duchess of Guise and Joÿeuse

Françoise Madeleine d'Orléans (née de Valois) Duchess of Savoy

Françoise Mignot, Mareschalle of l'Hospital

Françoise de Neufville, Duchess of Chaulnes

Gabrielle-Louise de Saint-Simon, Duchess of Brissac

Henrietta Anna of England, Duchess of Orléans

Madeleine-Charlotte d'Albert-d'Ailly, Duchess of Foix

Marguerite Louise d'Orléans, Grand Duchess of Tuscany

Marguerite-Louise-Suzanne de Béthune-Sully, Countess of Gyche

Marie Thérèse of Austria, Queen Consort of France and Navarre

Found under Decor > Paintings for 940 §

Retextured from the "portrait of Anne Marie Louise d'Orléans", found here

Table, torcheres and floor by @thejim07

Rest of the decor by @joojconverts

Drive

(Sims3pack | package)

(Useful tags)

@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds

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[peaceinthestorm]

Bernard Boutet de Monvel  (1881-1949, French) ~ Madame la duchesse de Brissac en robe du soir, 1945

[Source: Sotheby’s]

[tiaramania]

TIARA ALERT: Délia de Cossé-Brissac wore a diamond tiara for her wedding to Prince Marc Emmanuel de Croÿ on 22 May 2021 at the Church of Saint Vincent in Brissac-Quincé, France.

[marquisdelaughingette]

The execution of Adrienne’s grandmother, mother and sister - one of the few reasonably detailed contemporary accounts we have of executions during the Terror.  

[echo-bleu]

Picpus Cemetery

I took advantage of the nice weather today to go somewhere I’ve been wanting to visit for a while.

Lafayette and his wife Adrienne are both buried here, as well as a number of their descendants. The plaques are all from Americans, mostly from various societies (and one from Henry Knox himself). Lafayette’s casket is apparently covered with soil he brought back from Brandywine.

The Picpus cemetery’s history is itself directly linked to Adrienne. It was the garden of a former convent (the nuns had been chased away by the Revolution) where in 1784 during the Terror, they started digging mass graves for the people who were guillotined in the nearby Place du Trône Renversé (now Place de la Nation). On July 22, Adrienne’s mother, grandmother and oldest sister were executed and buried there, among 1,306 people. Adrienne barely escaped the guillotine herself before the Terror ended.

The lot was sold and the location basically lost until Amélie de Hohenzollern-Sigmaringen found and bought part of it in 1796 because her brother was among the people buried there. Since most of those people were former nobles, it was dangerous to inquire after them. Then in 1802, Adrienne’s sister Pauline de Montaigu, Adrienne herself and a few others started a subscription to buy the entire lot and the former convent.

Adrienne chose to be buried there, and was in 1807. Lafayette joined her when he died in 1834. Some of their descendants are also buried there.

Here: Virginie's second daughter Mélanie and her husband, their two children, Virginie's youngest daughter Octavie, her son Adrien (who was Lafayette's aide-de-camp) and his wife.

The location of the mass grave where Adrienne's mother, grandmother and sister are buried, and a gravestone put up in their name:

In the chapel, there are two huge plaques with the names of the 1,306 people who were put in the mass graves. I didn't think I'd find the names I was looking for (the chapel is really dark and the plaques are like 10f high), but I got lucky, they were at eye level.

Here we have Catherine de Cossé-Brissac, maréchale de Noailles, Adrienne's paternal grandmother, Henriette d'Aguesseau, duchesse d'Ayen, Adrienne's mother, and Louise de Noailles, vicomtesse de Noailles (she married her cousin, the vicomte de Noailles, who came to America with Lafayette on his second trip and fought at Yorktown. He later fled to New York during the French Revolution), Adrienne's older sister. They were executed on the same day, just a few days before the end of the Terror.

The cemetery's park is quite a nice place :)

Tagging @nordleuchten and @acrossthewavesoftime my history pals

[wallpaperpaintings]

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[steliosagapitos]

The death of the princesse de Lamballe Portrait by Marie-Victoire Lemoine, dated 1779 Sold at Christie's in April 2012 On this day, 3rd September, in 1792 the Princesse de Lamballe, companion of Marie-Antoinette, was bludgeoned to death outside the La Force prison, her body stripped, her heart torn out, her head hacked off and impaled on a pike, and her pathetic remains paraded in bloody triumph through Paris over several hours.  Exact details are disputed and her murder was not, of course, the only act of Revolutionary violence that September, Nonetheless the brutality of her death continues to exercise a fascination due to the contrast with her privileged aristocratic upbringing and reputation for refined sensibilities. The archetypal victim, the Princess in many ways represented a substitute for Marie-Antoinette herself. The "myth" of the Princesse de Lamballe has recently been explored in depth by Antoine De Baecque in his Glory and Terror: seven deaths under the French Revolution (English version 2002).  What follows is a modest attempt to piece together what actually happened in those final hours. Who was the Princesse de Lamballe? As the daughter of Prince Louis-Victor de Savoie-Carignan  of the House of Savoy, Marie-Thérèse Louise de Savoie-Carignan (1749-1792) was a blue-blood of impeccable credentials. In 1767 she was splendidly married by proxy to the young Prince de Lamballe, huntsman of France and only son of the duc de Penthièvre, cousin of Louis XVI. Unfortunately the fairy-tale union was cut short by the premature death of her thoroughly debauched young husband, leaving the Princess to be presented at Court already a widow at the tender age of nineteen.   Various projects for her remarriage came to naught. Financially liberated by marriage settlement - 60,000 livres, plus a life interest on further 30,000 livres - she seemed genuinely devoted to her father-in-law, who had a great reputation for piety and good works.  Neither maid nor wife, she therefore continued - like Marie-Antoinette, with her unconsummated marriage - to inhabit a strange and ambivalent sexual no-man's-land. For a while she was joined in intimate friendship with the Queen - a relationship massively charged  with Rousseauist emotion; Marie-Antoinette even had her friend's image painted on a mirror to make life bearable when they were briefly parted.The impression they gave was one of thoughtless insouciance.  In the terrible winter of 1776, whilst people starved, the two famously fair-haired young women, twins in their bejewelled white furs, zooming through Paris on a horse-drawn sledge,  the Princesse de Lamballe looking, as Madame Campan has it, like "spring clothed with ermine" or "a rose in the snow". Alexander Roslin, Portrait of an unknown woman, speculatively identified as the princesse de Lamballe. In 1775 the Princess was brought to public attention for the first time, when Marie-Antoinette revived at fabulous expense for her favourite the position of superintendant of the the Queen's household, a move widely thought to be responsible for the fall of Turgot who had protested against the extravagance.  Unfortunately for her future reputation, the Princess revealed herself as both a stickler for protocol and grasping for property and sinecures on behalf of her relatives (both her brothers were given senior army posts).  Despite her considerable private income, she insisted on the entire salary for the post attracted and ill-advisedly offended courtiers when she as she demurred from issuing invitations to events as demeaning to her status. It was as part of a campaign orchestrated by members of the Court, that suggestions of an improper relationship between the two young women began to circulate: she became an iconic hate-figure second only to the queen herself, a milky-skinned blond ice-maiden of unshakeable hauteur and hidden perversity. Jean-Baptiste Charpentier,  The duc de Penthièvre and his daughter, Chateau de Versailles Ironically enough it was at this very time that the Princess was largely replaced in Marie-Antoinette's affections by the  duchesse de Polignac.  From the mid-1770s, she was to keep at a discreet distance, either with her father-in-law's at Sceaux or Rambouillet or in circle of the duc de Chartres, later duc d'Orléans, who was married to the duc de Penthièvre's daughter, Louise Marie Adélaïde de Bourbon.  It was this last association which prompted Louis XVI to discourage the friendship with his wife.  Prompted by her brother-in-law, the Princess became involved in the fashionable new craze of freemasonry at this time and was Grand Mistress of Loge du Contrat-Social in 1780.  Though later associated with radical politics, this brand of freemasonry was really little more than a pretext for balls, suppers and social events.  A number of society portraits of the Princess survive from this period -  small featured and fair, she is clearly recognisable by her pearls and the three feathers which characteristically adorned her luxuriant blond hair. By Elisabeth Vigée-Lebrun, painted in 1782, Château de Versailles The accounts give a picture of a woman who was sweet-natured but protective of her privileged status, obliging to her friends and family and a little slow-witted.  Straightforwardly and unimaginatively pious, she gave generously to the poor ("vos pauvres" as Marie-Antoinette remarked). In appearance she was small and fragile - even Madame de Genlis, who disliked her, admitted that she was "delicately pretty". Her best feature was the beautiful blond hair which, when it fell from beneath her cap after a bath, completely covered her face and shoulders.  She was also weak in health and prone to fainting fits - though whether from a definite medical problem or an oversensitive imagination is unclear. The unkind Madame de Genlis thought the faints were a deliberate affectation - for a whole year the Princess made a point of fainting twice a week at fixed hours, her doctor conveniently at hand. We learn that she fainted in a visit to Crécy when one of the servants yawned incautiously while the party were enjoying a ghost story.  It was a favourite anecdote that she even fainted at sight of a painting of a lobster. The Princess during the Revolution After the Diamond Necklace affair, the Princess regained some of her lost favour. As Olivier Blanc notes, her portraits from the late 1780s suggest a desire to appear more serious and reflective; thus Anton Hickel in 1788 depicts her at her desk, pen in hand: Portrait by Anton Hickel, 1788 Liechtenstein Princely Collections .  After October 1789, following flight of Madame de Polignac and the transfer of the Court to Paris, she once again took up her duties as superintendant in charge of ceremonies, this time at the Tuileries.  There are some hints that she was more actively involved than is at first sight apparent in the machinations of the captive court. Her name appears, for instance, in a list of recipients of secret payments from the Ministry for Foreign affairs.  At time of the flight to Varennes she embarked from Dieppe with a passport signed by Montmorin in April 1791 and successfully reached England.  If the 19th-century Secret memoirs of the Princess Lamballe are to be believed, she was involved in a whole series of manoeuvres  to discover the disposition of the Pitt government.  However,  the careful researches of Georges Bertin suggest a more modest itinerary;  the Princess was at Passy on 20th June when she heard news of the projected royal flight, went thence to Boulogne, crossed to Dover on the 23rd, took ship the next day for Ostend, and arrived at Brussels on the 27th.  After the arrest of the royal family, she progressed to  Aix-la-Chapelle, where she dictated  her will on 15 October and then,  whether by her own initiative or on Marie-Antoinette's instruction, returned courageously to Paris and her duties as superintendant.   Handwriting and signature of the Princesse de Lamballe Reproduced from Lescure, La princesse de Lamballe (1864)

Shortly afterwards the Princess was denounced by Committee of Surveillance of the Legislative Assembly and also pinpointed in the Revolutionary press for her involvement in the  the secret machinations of the Court.  No doubt at the very least she had some role as intermediary in the manoeuvres of the so-called "Austrian committee" and knew the identities of compromised Revolutionaries such as Sombreuil, Brissac, Valdec de Lassart, Thierry de Ville-d'Avray, through whom the Court had attempted to influence the decisions of the Revolutionary government. By the fateful events of the 10th August, she was already singled out for vengeance....... I Arms of the Princesse de Lamballe, Reproduced in Paul Fassy, Episodes de l'histoire de Paris sous la Terreur (1886) References Antoine De Baecque, Glory and Terror: seven deaths under the French Revolution (2002) Antonia Fraser, Marie-Antoinette: the journey (2006) Olivier Blanc, Portraits des femmes :  artistes et modèles à l'époque de Marie-Antoinette (2006),p.199-206.

[robert-hadley]

Bernard Boutet de Monvel - MADAME LA DUCHESSE DE BRISSAC WEARING AN EVENING DRESS. OIL ON CANVAS, 1945.

Source: Sotheby’s.com