#louvois

[postcard-from-the-past]

Louvois Hotel in Paris

French vintage postcard

[postcard-from-the-past]

100 years ago:

Les dames du Bois de Boulogne Robert Bresson. 1945

Fountain 12 Rue de Louvois, 75002 Paris, France See in map

See in imdb

[lesbian-odo]

Data Slander

Characters and episodes in order under the cut

Data, S4E3 Brothers Katherine Pulaski, S2E1 The Child Admiral Haftel, S3E16 The Offspring Phillipa Louvois, S2E9 The Measure of a Man Bruce Maddox, S2E9 The Measure of a Man Christopher Hobson, S5E1 Redemption Part 2 Lore, S4E3 Brothers Gosheven, S3E2 The Ensigns of Command Kivas Fajo, S3E22 The Most Toys Data: S4E3 Brothers S7E17 Masks S6E26 Descent Part 1 S6E8 A Fistful of Datas S5E26 Time's Arrow Part 1 S3E13 Deja Q The Enterprise exploding: S5E18 Cause and Effect

[out-of-context-tng]

[filmjunky-99]

s t a r t r e k t h e n e x t g e n e r a t i o n created by gene roddenberry [the measure of a man, s2ep9]

'The Commander is a physical representation of a dream, an idea conceived of by the mind of a man. Its purpose is to serve human needs and interests.

It's a collection of neural nets and heuristic algorithms. Its responses are dictated by an elaborate software program written by a man. Its hardware is built by a man.

And now a man will shut it off... Pinocchio is broken, the strings are cut.' - riker

[dreamconsumer]

Marie-Adélaïde de France (1732-1800). By Johann Ernest Heinsius.

[roehenstart]

Madame Adélaïde par Jean-Marc Nattier.

[parisies]

Septembre arrosé à Paris.

Les passants se pressent, maugréant.

Elle a pourtant son charme, la pluie.

Elle change le square en bois charmant,

Et la fontaine des Fleuves, si jolie

Mêle ses eaux à celles des éléments.

[philoursmars]

Deuxième étape de mon périple dans l'Ouest pour retrouver des ami(e)s lointain(e)s , Brigitte et Sylviane à La Rochelle. Bri étant fatiguée, c'est Sylviane qui me fait découvrir la belle île d'Oléron.

Voici le pont d'Oléron, au milieu des zones ostréicoles. à côté, le petit îlot fortifié de Fort-Louvois.

[ficuscircus]

YES the fact that she showed up to the date in his clothes only makes their contrasting moods funnier. Morgane’s fighting for her life out there, working overtime to pay her father’s debts, meanwhile Adam’s on cloud nine (lol) going into their date. Deux ambiances. 🤣

Actually, I like to think Adam has taken so many women on a date at Ranir’s that he knows the menu in and out, wine included. Des avantages d’être un casanova... 🍷 (btw LOVING the idea Ranir watches Adam’s love life unfold like a telenovela omg 😂😂)

Ditto on the cuteness of believing in them enough to go on another date. Les premiers pas d’un nouvel Adam 👀 Also, his insistence at asking Morgane how she’s feeling during the ep reminded me of the beginning of 207, when he grills her in the car because she’s evasive 🤗 Noticing immediatly when something’s off, aw yiss 🥰

They were ready for a heart-to-heart at Adam’s place, I think, had the plot been willing. And I would’ve loved to see it. Where’s a good Brosse Adam hug when you need one?? 😧💞

And urgh, yeah, he was not thinking about the case while she went on and on about her linguistic skills. On les voit les petits allers-retours entre ses yeux et sa bouche !!

Here’s to a good episode that will carry us in times of trouble 🥹🥂🥹

on a cheerier note, shoutout to céline’s double take at morgane’s outfit 😄😏 il lui en faut peu pour oublier ses problèmes avec le préfet… (while we’re at it, prayer circle she dumps fachoman sooner than later, c’est la saison des ruptures anyway 🕯️)

let’s also note it’s the outfit morgane shows up in at the date/debrief debacle. bourge coinços vibes much? 👀 loved how out of sync they were, adam was trying SO hard and morgane just couldn’t wrap her head around what was going on 😂😂 (meanwhile, ranir hovering around them, tu crois qu’il avait été briefé sur Le Date™ ? they weren’t seated at the usual table, iirc 🧐) ahh. the way they don’t fit together… delicious. without a case to fall back on they’re completely lost!!

Idk, I’m just a sucker for the contrast between the glimpses of vulnerability they let on and their general uselessness on the day-to-day. something about the miscommunications being trumped by a deep trust, yknow? 🥹 (and I kinda loved how they talked about ~décryptage. it has a blorbo débrief ring to it)

when morgane comes for adam’s help… gaaah. 🥲❣️ (the music had me think we’d get les démons 2.0, tbh) best interaction of the ep. and then she backs out because she doesn’t want to be a burden????? sign me up for that sweet sweet angst!!!! 😱 followed by "vous avez pleuré ?"--😭😭😭❤️💔 pfiou, my hearttt ⚰️ we need more of this healthy gut-wrenching stuff, don’t we? (ils nous doivent bien ça 🥲)

I can't wait to hear your thoughts on all of this, the good & the bad. thx for reading and bye til next time! 👋💖

Lololol, I love how Céline like... freezes whenever she sees a co-worker presenting unusually. Be it Adam without a beard or Morgane in fancy clothes, it never ceases to amuse me 😅 But yea, Céliane vibes all the way 🤗

Also let's not forget how Adam's eyes were falling out of their sockets when he saw Morgane climbing off the car (in his defense, she does look amazing in his clothes lol), so it's very likely that he really enjoyed that she came to the date in her "bourge coinços V2" outfit, this man probably has a kink and now I can't stop imagining the kind of roleplay they'd be into if they were a couple 🙈

The date was SO fun!!!! I've said this before, but a few months ago I had this idea of a disastrous date fic about them, and I just LOVE that the show went this way, it was just SO them, the out-of-sync-ness, le malaise absolu, "et sinon vous êtes allée au cinéma ?", "Ninja Warrior, c'est japonais ?", somebody puts them out of their misery already 😅😅😅, the fact that they only get their chemistry back as soon as they talk shop... Ranir awkwardly standing in front of the table after bringing the wine (btw, "Ranir, le Languedoc s'il te plaît", is it me or did they imply that Adam knows all of Ranir's wines list? This man takes ONE glass of wine at a housewarming and now he's a patented alcoholic I'm losing my mind here) was HILARIOUS, as was Morgane cheering with him out of despair 😆 Also I can't help thinking that Ranir has seen Adam bring all his dates here, he must bet with himself on how many times he'll see this one again, c'est sa télénovela à lui lol!

And I'm with you on the contrast between the deep connection they share, but also their absolute incompatibility regarding mundane things, that's the kind of stuff we want in this house!! 🥹🥹 The décryptage argument was a great moment too, especially when lit up with Morgane's bad faith (but also Adam's inability to call a date a date lol), ambulant disasters 😅

But also. I love SO MUCH that he tries again. He asked her out on a date, it was a complete mess and it would be easy to give up, but he doesn't. And he asks her out again because he believes in them while I turn into a puddle of goo 🫠🫠

Finally finally, Morgane knocking at Adam's door... 🥹🥹🥹🥹 Gah indeed! Bonus point for the implication that Adam listens to love songs while eating dinner alone 🤣 but the simple fact that she comes to him. And he lets her in without even protesting. And he SEES THAT SHE CRIED AND HE WON'T TAKE HER BULLSHIT ABOUT THE RAIN AND SHE'LL QUIETLY ADMIT IT AH BAH OUAIS EN FAIT IL PLEUT PAS -> we were THIS CLOSE to Morgane openly admitting to him that she cried and ugh, my heart 😭❤️

And then cue the case-solving where Adam BLATANTLY is only thinking about kissing Morgane, and they work her way (🥹) and end up in a post-orgasmic haze (it's been two episodes in a row where the final resolution sounds like they're having/just had sex, just saying) where he ASKS HER OUT AGAIN BE STILL MY BEATING HEART ⚰️⚰️

All of this was such a great scene altogether and I agree with you, we need more of this gut-wrenching angst of Morgane taking bad decisions not to be a burden and actually making things worse 😈 Something tells me 308 will deliver in that regard...😏

I honestly can't wish you a happy finale-watch for reasons that I've mentioned too many times already, but when the time comes I'll be happy to hear your thought if you have any. Stay strong, and see you on the other side anon 😘🫂

[seventhartandothers]

If Caine truly feels emotions or not, I think it's safe to say that he feels them but in his own way, similar to Data or Doctor from Star Trek, you can't just say that everything about him is scripted AI, specially accounting how much time he has been existing.

With Doctor on Star Trek it was somewhat like this he stayed turned on beyond his own program was meant to be and over time he created a personality with hobbies and emotions, this is to say Caine is possibility learning constantly without any reboot(as far as we know), which can be shown on how he constantly tries to advance his adventures for Zooble, through trial and error, of course his programming might have a lot of limits, but as far as we can consider Caine is just as much alive as Data and Doctor are.

Caine could also pass the sentient trial Data had on the episode "The Measure of a Man" such as

"Picard points out that Data meets two of the three criteria that Maddox uses to define sentient life. Data is intelligent and self-aware and Picard asks anyone in the court to show a means of measuring consciousness.

With no one able to answer this, Louvois acknowledges that neither she nor anyone else can measure this in Data and rules that he has the right to choose."

[postcard-from-the-past]

Hotel Louvois in the 2nd district of Paris

French vintage postcard

[you-have-made-a-fatal-error]

Treasure in the Royal Tower Tapestries (some sourced more reliably than others)

17th c Aubusson Mythological Tapestry (possibly Venus and Adonis)

l'Histoire du Roi: the defeat of the Count of Marsin, ca. 1711-1715

Young cavalier executing the levade before Mercury and a gentleman, ca. 1666

The Great Yarmouth Cloth of Estate with Tudor Arms, ca. 1547-1594

Tapestry with the De Nagera family coat of arms, ca. 1550

left: 17th c. Louis XIV Armorial Tapestry with Marquis de Louvois' coat of arms (but make it dark, I guess) right: Les Grandes Armes de l'Empire Français, ca. 1808-1811 (but make it dark, I guess)

left: tapestry recreation websites my unreliable and beloathed, but they seem to be my only option. pattern is described as a 'Napolen III style, 19th c. entre fenêtre' but I have not been able to find the original design right: tapestry recreation websites my unreliable my beloathed my only option once again: I don't even have my original source link for this one because in addition to being unreliable, sites that sell handmade tapestry recreations also tend to be short lived. but hey, you can buy one on AliExpress for $3k. seriously though, I have no reliable information for this design.

[coovieilledentelle]

Le fort Louvois... Le Fort Louvois est situé à 400m de la terre ferme, en plein Océan Atlantique ! Au rythme des marées, le Fort Louvois se dévoile, et se rejoint à pied ou en bateau. Situé à Bourcefranc-Le Chapus, au pied du pont de l’île d’Oléron, le Fort Louvois est un site incontournable du bassin de Marennes. Imaginé par Vauban, il est le petit frère du Fort Boyard ! Visitez le donjon, la caserne, la halle aux vivres, la poudrière, le corps de garde… Découvrez son architecture unique et laissez-vous conter son histoire. Une visite insolite pour tout public.

[thegoldensanctuary]

Part III the creation of the 1701 King's Grand Bedchamber

3.1 The architecture

Probably exhausted by numerous years of construction, the King kept that Bedchamber for 17 years, the longest he ever stayed in a single room[32]. But the necessity to change rooms for the dressing ceremony [33]pushed the King to eventually reconsider the position of his bedchamber, and, the 8th July 1701 the he wrote the following letter to Mansart(who was now replacing Louvois and Villacerf as head of the King’s Buildings administration) :

“His Majesty has ordered the removal of the wall which separates the antechamber of Bassans and its bedroom for both rooms to make only one, to put a strong beam in place of the wall that we demolished to carry the structure above and the two ends of the two hangers, to pierce three doors in the arcades of the gallery besides those who are already there naturally to enter the said Gallery, and break the comiche of the said room of Bassans to redo one similar to that of the bedroom, which will rule all around. Pierce into said new room a large oval window under in the center arch on the side of the small courtyard to better illuminate the room. Demolish a stone dormer at the top of the building back to said little yard so it can't be herself through said window and make a bull's eye instead. Build a new marble fireplace in said room with a mirror on top, and make all the decorations of carpentry and glass marked with designs that His Majesty has regulated. To make a balustrade of carpentry carved very richly in the living room,and to place the king's bed there in order to make it the bedchamber. Seal the three doors that enter the said hall of the gallery with bricks, especially the middle one with full-thickness, the two at the dimension half the thickness of the wall, including that to the right side of the bed will make a wardrobe by the side of the bedroom, the other on the left, a dresser by the side of the gallery. Do not decorate with carpentry the faces between the pilasters so tapestries can be placed[to create an alcove]”[34]

Two days later new orders were given regarding the fireplace, who was ordered to be placed on the wall separating the new bedchamber and the counsel cabinet using the already existing pipe inside the wall from from the counsel's cabinet fireplace, who had to be relocated [35]

And so, the King’s grand bedchamber at the centre of the palace was finally born. The former bedchamber was annexed with its antechamber (called the antechamber of Bassans)(fig 32) to create the Bullseye antechamber, and the 3 archways of the central cabinet, sealed to create the alcove of the new Bedchamber of Louis XIV(his 13th and final one).

Fig 34 : The King Bedchamber between 1684 and 1701 (on the right), and the Bassans antechamber (on the left), those two rooms fused to become the Bullseye antechamber, AN O1/1768-A, fol 2

The 23rd new orders were given regarding the alcove : “His Majesty ordered to push the back wall of his new  bedchamber further back by 2 feet ,concealing the thickness of the Gallery[the hall of mirrors] wall in order to achieve a distance of ten feet and a half between the front of the baluster and the back[of the alcove wall], place a large beam at the level of the attic cornice of said bedchamber in order to carry the wall above[…] the two pilasters at the angle will keep carrying said beam and make a lowered arcade above the great beam that goes underneath the attic to held said structure.”[36]

Early drawings made at the time (fig 35) offer a clear visualisation of the intended result at that stage of the project. The drawing in question featured the respective beam and the alcove wall recessed further in relative to the attic. We can see that at that stage the attic above the alcove remained almost unchanged with its three frames and small pilaster in the same position they had for the past decade (fig 11) and with no allegorical statue in sight.

Fig 35 :Early project for the alcove of the Grand Bedchamber, 1701, AN O1/ 1768-A2

The 24th of August the King finally decided to update his plans for the room, to push attic wall further in with an arch going in at the level of the alcove wall, and,  “above the great cornice a background of mosaic richly ornate, in the middle of which would be place a beautiful figure, representing France sitting on trophies. With a rich drapery[pavillion] attached at the top of the arch and held in place by two putti, and to ornate the angles of the arch with two allegories of renown, all following the drawings and models approved by his majesty” [37]

This phase of the project is featured in one drawing (Fig 36) from that time. While the arch and the the figures of renown are present, the allegorical statue of France, the drapery, and the putti are missing, only the trophies can be seen in the center. This central piece however appears to only be a temporary placeholder as the piece of paper carrying it is detachable revealing underneath a blank medallion flanked by two female figures.

Fig 36 : Early project for the alcove of the Grand Bedchamber, 1701, Ibid

The 1st of September 1701, the King finally decided to order the alteration of the overdoor sculptures and frames: “His majesty found that the new frames made and placed in his bedchamber were too thick and ordered new ones to be made, he also ordered to make new shutters and backgrounds for those frames richly ornate with sculptures, just like the doors, and to sculpt rich and light ornaments for all the overdoor panels of the bedchamber […]

Paint with mosaic all the recess and ceiling of the three casements of the attic of the bedchamber.

Make four new frames for the overdoor paintings of said bedchamber instead of the current ones who are too heavy.”[38]

Additional details on the project for the bedchamber appear within the list of works to be performed in Versailles during the year 1701 namely:

“ 17 : Buy the sculpture in plaster of the figure, throphies and mosaic background to be placed in the arch of the King’s bedchamber

18 : rim and put in place the three casements of said bedchamber, finish all the wooden sculptures on the old woodwork, finish to put in place the upper paneling as well as the back wall behind the bed, the part above the fireplace and the trumeau on the opposite side.

19 : Place the marble fireplace in said bedchamber and the ornaments of bronze, gilded and ormoulu who must be attached to it. Place the mirror above said fireplace, at the opposite trumeau and the three casements, with all the bronze moldings supporting them.

20 : Finish the gilding of the arch, pilasters heads and bases entirely, the shafts, jamb, moldings, and sculptures of said bedchamber and add a bit of elegant white on all backgrounds for further contrast [rechampir tous les fonds de beau blanc]

21 : Purchase the baluster of the bed, gild it and put it in place.

22 : Do the all the bronze fitting and jambs of said bedchamber, according to the new model which has been agreed upon, finish the gilding and ormoulu and put everything in place,

23 : clean the four overdoor paintings and those from the attic before putting them back in place.” [39]

Payments to artisans can be used to attribute the various ornaments of the bedchamber to their respective artists, for instance:

The 25th of September and 20th of November 1701 a payment of 2400 livres are given to Coustou and Spingola for their work on the plaster attic sculptures of the bedchamber[40]

The 9th of October of that same year 400 livres are given to Nourisson, Guyot, Azmant and Jullien their wood sculptures of four children for the King’s bedchamber, likely those at the top of each of the two mirrors[41].

Other less specific payments are present and might possibly cover some of the work performed in the bedchamber, among other places :

The 6th of August Noel Jouvenet and Spingola received a payment of 7100 livres for their work on the plaster ornaments of the cornice for the King’s apartment, likely covering both the bullseye antechamber and the King’s bedchamber[42].

From the 9th of January until the 10th of February of what appears to be the following year Taupin, Marinbellan, Le Goupil and Dugoulon received a total payment of 87.950 livres for their woodwork in various royal residences including Versailles since 1697[43].

Those attribution are later confirmed by contemporary author such Felibien[44] or Bruzen de La Martinière who in his 1738 edition of the Grand dictionnaire géographique et critique, wrote in his Versailles entry about the King’s bedchamber “the sculpture who is gilded like the salon on a white background is also by Taupin, Goulon, Goupi[sic] and others […] above the king’s bed we see France sited guarding the conservation of the Prince’s sleep. The three figures are by Coustou” [45]

The ultimate design of the Bedchamber is known through a drawing located at the Stockholm National Museum (Fig 17), in it we can see the unique fireplace on the northern wall, the two mirrors, and the sculpted overdoors featuring a cartouche with a portrait at the center. While the overall appearance seems frankly similar to what can even be seen today, several oddities must be noted, however. The first one is the layout of the balustrade, which contradicts earlier drawn proposals (fig 18), the second one is the absence of composite pilasters in corner of the western wall, pilasters featuring arabesque ornamentation are shown instead, and thirdly the presence of relatively tall pedestals at the basis of each of the composite pilasters.

Fig 37 :. National Museum, Stockholm, NMH CC 174

Fig 38 : Project for the balustrade of The King’s Bedchamber, 1701 BnF, Va 448-c. H 188360-188361

There are several lines of evidence that could be used to reject those discrepancies as mere artistic alterations, which are not fully representative of the real state of the room on those very specific details (while the drawing might still be reliable on the rest). One of them is non other than the elevation already shown in fig 11, while predating the drawing it is nonetheless consistent with the current state of the pilasters as they can be seen today. Moreover, another representation of the room(fig 39) probably dating from the first half of the 18th century, depicts the pilasters as similar to the earlier elevation, it also confirms the layout of the baluster as shown in fig 18 and correctly depicts composite pilasters standing over arabesque pillars.

Fig 39 : Versailles. The northwest corner of the King’s Grand chamber, the season portiere tapestries were only used for the winter décor and the clock on the pilaster is only attested during Louis XV reign, before 1741. National Museum, Stockholm, NMH CC 513

3.2 The paintings in the bedchamber

The attic :

The attic paintings of the bedchamber seems to have remained the same, except on the western wall had been entirely filled by a sculptural composition featuring an allegory of France, the paintings and frame present in that location:  The fortune teller, the drinkers, and Hagar in the desert, were restrictively removed. The four evangelists, Caesar’s coin and the mystical wedding of Saint Catherin were left on the northern and southern attic walls as attested by later author such as Bruzen de la Martiniere, who confirms their presence in his 1738 edition of his dictionary[46]

The overdoors :

The overdoors also kept the same paintings they had at the time the room was still the central salon, namely Van Dyke self portrait, Saint Magdalene, the Marquis of Ayton and Saint John the Baptist nevertheless their frames and overdoor statues were likely a new addition in accordance to the 1st September 1701 order[47].

The Alcove Paintings

The addition of mirrors at the center of the northern and southern walls, resulted in the removal of the two paintings filling those places namely Saint Cecile playing music who removed from the room and King David playing the harp who was put placed on the alcove on the right side of the bed, additionally another large painting was added in the room to be placed on the alcove on the left side of the bed[48]

Saint John at Pathmos

Imola, Innocenzo Di Pietro Francucci dit Da, Saint Jean l'évangéliste, à Patmos, 1526/1550, 241 x 169 cm (frame: 302 x 216.5 x 14.5 cm), Château de Versailles, MV 7717.

Originally attributed to Raphaello and later to Innocenzo da Imola and painted in the second quarter of the 16th century it depicts the saint standing on an sitting on an eagle, -the animal associated with the saint- he is in the sky among the clouds writing the book of revelation on a stone tablet. The painting was originally part of the cardinal of Richelieu’s collections before being given to to King Louis XIII between 1636 and 1639[49]

Marot, François, Institution de l'ordre militaire de Saint-Louis, 10 mai 1695, 1710, 51 x 76 cm (frame: 68.5 x 93.2 x 6.8 cm), huile sur toile, Château de Versailles, MV 2149.

The use of two large paintings flanking the bed seems to have been seasonally based, indeed all the contemporary depictions of the bedchamber seems to have been of the winter state as attested by the presence of a bed with campane valances and a large headboard[50]. A letter dated from the 23rd of Jully 1759, written by Marigny and destined to L’Ecuyer and Gabriel asked to” put in safety the two paintings placed every year at the sides of the King’s bed, given that the frames are in poor condition[…]start the work as soon as possible so that two painting can go back to their usual place at the end of the coming fall”[51]

The choice of words from that letter with expression such as “placed every year” instead of “all year long”, and “back to their usual place at the end of fall” clearly suggest that they were only used alongside the winter set, probably to counterbalance the simplicity of the alcove tapestry, and were likely removed during the change from winter set to summer set to probably to avoid covering the beautiful brocades orating the alcove tapestry.

[32] Versailles - Le palais retrouvé du Roi-Soleil, ARTE, comment by Vivien Richard

[33] Christian Friedrich Gottlieb von dem Knesebeck, Récit de voyage, p. 111;

[34] AN O1/1474 f⁰ 64 r⁰-65 r⁰

[35] Ibid f⁰ 65 r⁰-66 r⁰

[36] Ibid f⁰ 64 r⁰-65 r⁰

[37] Ibid f⁰ 72 v⁰

[38] Ibid f⁰ 76 v⁰

[39] AN O1/1762 B, Memoire des ouvrages a faire en la dependance du chateau de Versailles{..]

[40] Compte des Bâtiments IV,709

[41] Ibid

[42] Ibid

[43] Ibid

[44] Felibien,Description sommaire de Versailles ancienne et nouvelle . Avec des figures, 1703, p.342-345

[45] Bruzen de La Martiniere Le Grand dictionnaire géographique et critique, 1738 edition p.158, the description it contains is fairly similar to the one from Felibien

[46] Bruzen de La Martiniere Le Grand dictionnaire géographique et critique, 1738 edition p.158-159, The same list of painting can be found in Piganiol de La Force

[47] AN O1/1474 f⁰ 76 v⁰

[48] National Museum, Stockholm, NMH CC 174;

[49] See number 11 of Le Brun's inventory

[50] National Museum, Stockholm, NMH CC 174; Institution de l’ordre militaire de saint Louis,10 mai 1695, Francois Marot,1710,muse national des chateaux de Versailles et de Trianon, MV 2149

[51] AN O1/1797 item 49

[filmjunky-99]

s t a r t r e k t h e n e x t g e n e r a t i o n created by gene roddenberry Captain Phillipa Louvois, Judge Advocate General of Sector 23, Starbase 173 [the measure of a man, s2ep9]

'It sits there looking at me, and I don't know what it is. This case has dealt with metaphysics, with questions best left to saints and philosophers. I'm neither competent nor qualified to answer those. I've got to make a ruling to try to speak to the future.

Is Data a machine? Yes. Is he the property of Starfleet? No. We have all been dancing around the basic issue. Does Data have a soul? I don't know that he has. I don't know that I have. But I have got to give him the freedom to explore that question himself.

It is the ruling of this court that Lieutenant Commander Data has the freedom to choose.' - louvois