"I beg you will limit yourself to this ornament, even of which your charms have no need. This present should please you the more that it has not increased my expenditure, since it is composed of diamonds I possessed when I was a dauphin."
September 29, 2008
September 26, 2008
She began working for Mlle. Pagelle at the Trait Galant. Another rumor had it that one of the costumers was the mistress of the Comte de Charolais. (I will cover that story later) She had two illegitimate daughters. Long story short, when these lovely ladies were to be married off their wedding gowns were ordered from the Trait Galant. Rose was chosen to deliver them and when she arrived at the home she ran into an older woman, a chambermaid. Rose and the woman started talking about the gowns and when the woman asked to see them Rose showed her. It was a total du Barry moment, because Rose found out she was actually speaking with the princesse de Conti! After begging for forgiveness of her informal behavior the princesse promised her 'protection' and 'good will' for the future. A star was born!
She set up shop soon after, Au Grand Mogol, on the Rue de St. Honoré. She had the shop painted yellow with purple accents, and kept pretty shop girls to help costumers. She also hung portraits of her most well to do and popular clients on the walls. Rose was a true business woman and knew how to make it work!
She made hoop skirts that would reach 18 feet in circumference, and decorated them with brocades, silks and rich velvets. She knew how to apply spangles in pleasing arrangements that would highlight ladies in just the right way. She, like Rami, could create elegant flounces of fabric and lace. She knew how to take an ordinary dress and leave it dripping with garlands and flower blooms. The designs were not always symmetrical and were all unique.
Rose Bertin met Marie Antoinette and knew that this was the business relationship she needed- had to have (of course what business man would not think that!) The date for this introduction is set at 1772. According to the Souvenirs de Leonard, which should be taken with a grain of salt, he was the first to introduce the two. On meeting (as this story goes) Marie placed an order of 20,000 livres.*Does anyone know about or been to her house? Just found this...
Two times a month Rose would put her strongest desgins on a doll / mannequin and send it to the courts of Europe. Two times a week she would bring orders and designs to Versailles to show Marie and her favorites. If you wanted to purchase an item from the Grand Mogol you might have been looking at:
Decorated Silk Hats : 60 livres
Plain Straw Hats (only a few feathers or blooms) : 20-40 livres
Court Dress: 1,900 - 2,800 livres ... no real equivalent maybe around $8,400
*Gossip. Sheer gossip!
September 25, 2008
This set is from 1785, and she was aiming for things less lavish and luxe. The simplicity of the design as a whole describes this desire, the cornflowers seem to represent the aim for nature and its simple beauty yet at the same time are an exotic bloom (I believe from North America - correct me if you know anything on that). The pearls of course valued as jewels fit for a queen (Pearl Post Coming Soon!) yet they are jewels not shaped by the hand of a stone cutter, they are jewels in their most natural state.
This last image is the design of a different set she had, not on view at the Petit Trianon. It does give you an idea of designs Marie liked.
September 24, 2008
If you are planning on heading to Versailles anytime soon its a great month to go see the grand reopening! Closed for a year the Petit Trianon has undergone an intense and dramatic restoration program, costing millions and completed in a very timely manner.
I will give you a run by of some highlights but for full awesome details go to the Versailles page.
The goal of the project was to restore the Petit Trianon to its grandeur of the years before the revolution. All changes that were made were done so in compliance with history, down to the smallest details. (Marie's library >> ) The ground floor of the building, when Marie Antoinette was there, housed her guard. It had been transformed into a modern visitor friendly venue complete with ticket booths, restrooms and a coat check. All of these modern facilities were moved and the ground floor was altered back to its original state.
Any wiring for electrical or phone lines were done so discreetly they are invisible for guests, hidden under floorboards and walls. Another goal of this project was not to create a museum but keep the feel of a historic home that you can walk through and imagine yourself living there in the 1770's. ( < < Main Dining Room ) I cant imagine visiting it any other way, I love historic homes, and you will really feel at home with the incredible attention that has been paid to all the furniture. If you do visit be sure to check out the little carriage that belonged to the Dauphin, it was a 'goat drawn carriage! (I know it looks like a little toy cart but to a child it was a total du Barry-esque berline!) Also check out the pool table in the billiard room, it was painstakingly built to meet the highest historical accuracies of both design and material. The room that housed the mechanical system for the 'moving mirrors' is right below the Queens boudoir, a system that was built for the home in 1776. The mirrors locked in place over her sitting room, covering 2 windows in total.
In the silverware room (right) there are two phenomenal sets of Sevres ware on display. I know sometimes looking at porcelain can be boring, but if you know a little about the set, trust me, it gets interesting! The first set was ordered by Louis XV in 1763 and is decorated with redcurrant. The second was Marie's and has pearls and cornflowers on it. (so pretty!) That second set dates from 1781.
If you have gone or visit anytime soon (aside from me being very jealous) you must let me know what you thought!!
September 22, 2008
Maria Theresa had her first child just before her twentieth birthday! It was a daughter and she was born on February 5, 1737. (Maria Theresa would turn 20 just a month later). The baby was named Maria Elisabeth, Maria in honor of the Virgin, and Elisabeth, named after her grandmother Elisabeth Christine. Unfortunately, as was so common, little Maria Elisabeth died at age 3, when she was just a toddler.
While there is not very much to say on the young archduchess, I can take a moment to talk about her grandma! Elisabeth Chirstine, born in 1691 was engaged when she was 13 years old to marry the Holy Roman Emperor Charles IV. At 17 she stood against the marriage because the arrangement would force her to switch her religion from Protestant to Catholic. She did make the change, and was married in 1707. Not only was she famous for her beauty but she worked hard to retain her husbands land. Her life was not the happiest, and it took a downward turn when her husband left her a widow.
Within the short span of ten years Elisabeth's beauty deteriorated, as she gained immense weight, and developed what was like erysipelas, giving her once deemed classical features a purplish and rough appearance. So sad! It was like she just didn't want to bother anymore and let herself go. The weight in her face has been described as "cascades of fat" changing the mere look of her considerably. Naturally her health began to fail with the new weight. She was prone to shortness of breath and dropsy (Edema). As well as suffering insomnia, the dowager empress had a hard time getting around. To help her stay mobile and take the strain off her swollen legs, “a machine was invented which lifts her into and out of the berlin in her sedan chair.”
Although her health was not well and her husband was gone, she did live out the rest of her life quite comfortably. She was surrounded by a staff of 197 and spent her days playing cards and chatting with her ladies. She died in December of 1750.
September 17, 2008
September 13, 2008
Vigee was beautiful and grew more so as she matured. Many books on her recall the fact that men would come to her for portraits- merely to look her up and down for a few private hours. When she felt uncomfortable she would tell them they need to look away from her because she was trying to paint their eyes. She was already earning a good amount of money from painting when her mother re-married and her stepfather began to collect all her earnings. She did not care for the man at all and he apparently even wore her own fathers clothes.
Possibly in an effort to leave her home situation, Vigee did not refuse the proposal of Monsieur Le Brun. Monsieur Le Brun owned a valuable art collection and Vigee was allowed to copy works from it. He new her talent would only develop and was quick to marry her. She soon found after becoming his wife that her husband was just as her step father had been with money. Her money. She tried to increase her income by setting up a 'school' where she taught a painting class for a few hours a day. She was just in her twenties and after a few courses felt that she was 'too lively to be a teacher.' She was in fact too busy.
Vigee-Le Brun had many sittings per month and commissions constantly came in. She had a daughter in 1779 and shortly after she painted a portrait of Marie Antoinette. Then another. And another! At first she was very timid and quiet when Marie was around. At one sitting she fumbled and dropped all her brushes on the ground. As she turned red, Marie jumped up to help her pick them up. Their friendship grew after this episode because Vigee-Le Brun was much more comfortable with Marie. The two would sometimes sing duets during sittings, and Vigee-Le Brun had confessed that the Queen was not always in tune.
Vigee-Le Brun also had the chance to meet Louis XVI. Louis remarked on her talent and, blushing, said "I do not understand much about painting, but you have made me love it."
One of my favorite moments of Vigee-Le Brun's life and career as a painter was when she was commissioned to do several paintings of Madame du Barry. Vigee had the chance to enter Mdm du Barry's salon and in front of a crackling fire Mdm du Barry told her stories and gossip of the court of Louis XV.
When the revolution dawned she left immediately for her safety and refused to hear any news on France. She settled in St. Petersburg. After the Revolution had ended she returned to Paris and was warmly welcomed. She visited her remaining friends, and at a concert the audience, "turned and applauded her. She was much touched, and answered with tears." Vigee-Le Brun died in Paris, May 29, 1842.
September 11, 2008
Heather had me watch Perfume a story of a murderer recently. I have read a few books on perfume and its art, and have tried to create some of my own concoctions! So with perfume on my mind I want to share a bill that was brought to parliament in 1770.
"That all women, of whatever rank, profession or degree, whether virgins, maids or widows, that shall from and after such Act, impose upon, seduce and betray into matrimony, any of his Majesty's subjects by the scents, paints, cosmetic washes, artificial teeth, false hair, Spanish wool, iron stays, hoops, high-heeled shoes, and bolstered hips, shall incur the penalty of hte law now in force against witchcraft and like misdemeanours, and that the marriage upon conviction shall be null and void."Imagine that! Men would have had it good. 'I have made a huge mistake! one minute we were talking at Sea World the next we were pushing each other around in shopping carts! I swear she was wearing high-heeled shoes!!'
September 10, 2008
September 09, 2008
So Marie did not worry about catching the disease, but she did worry about Louis, for he had never had the medical procedure. She pushed for him and his brothers to undergo the procedure, and this was met with upset countrymen. The vaccination was thought of as "an imprudent and perilous step," and only the "Autrichienne would have the temerity to suggest it." However, she was able to convince Louis and his brothers to get the inoculation, and they set an example as the first Frenchmen to receive it.
Apparently after receiving the vaccination an unavoidable 'pustule' developed on the skin. Everybody was stressed because no one knew if that would be the beginning of the end for the boys or if they would overcome the deadly blemish. After the 'healing' period of nine days the pustules finally cleared the boys enjoyed superior health - Hurrah!
So how do you celebrate the protected health of your new sovereign? You make a fabulous hair style and dedicate it to the occasion! And that is how the coiffure, specifically, pouf à l'inoculation was born! I reccomend wearing this style during July, as Louis was inoculated June 18th, so after June 27th, the style became all the rage. On your pouf, you must wear a serpent in an olive tree, with a bright sun rising behind them. This serpent symbolized the god of medicine and healing, the tree was wisdom and the sun was enlightenment!
September 08, 2008
I just got a fabulous new perfume, and the scent is Croquembuche. I just love it and suggest you try it! A little about the tasty treat....
Croquembouche typically looks like this (right). It is composed of light cream (mousse or custard and can be in a variety of flavors) filled pastry puffs, and they are typically towered on one another. The finished tower is then sealed with hot crack caramel (like...345 degrees super hot) and when this cools the tower can be decorated or eaten by cracking off the puffs. Delicious!
And how did this fun and fancy dessert come to be??
"It has its origins as a fanciful, edible architectural structure displayed on the medieval tables of French royalty and nobility. Antonin Careme (1783-1833), the most famous French chef of his generation, popularized the Croquembouche. He created Turkish mosques, Persian pavilions and Gothic towers. The entire genre spiraled up and out of control towards the end of the 19th century, but then subsided to manageable dimensions. During the 20th century the Croquembouche has survived as a conical construction of choux balls piled on top of one another, each on a nougat base with a decoration at the top. Demeter’s Croquembouche captures the light and sugary scent of the nougat and choux balls perfectly, in a scent far more delicate than you might otherwise expect."
*About the top image, Louis and Marie are celebrating the birth of the dauphin. The room is decorated with fabrics, and on the table are elaborate confections and decor......Marie and Louis are sitting at the head of the table with their backs to us
September 07, 2008
Vallayer was very popular, and although she was a beauty her popularity rose from her clear artistic talent. At this point she mainly focused on her still-life paintings. They were beautiful and market-able. But brighter commissions soon followed!
In the summer of 1779 comte d'Angiviller gave her a commission for a full portrait of Madame Sophie. For that she was to receive 6,000 livres!
According to Roland Michel there is a painting in the Walters Art Museum in Baltimore that is 'signed' by Vallayer and dated 1778. It is a small portrait of Marie Antoinette. It has been thought to be a 19th century copy of an original lost to time, but either way it is believable. Apparently in 1779 Marie put forth an effort to support Vallayer, "being allocated lodgings in the Louvre." And this is an action known to a Queen who was not the greatest patron of arts. Of Marie, Vallayer had painted a pastel portrait (in a private collection, sorry I don't have an image of that one!)
"Have you ever been done in pastels?" "No, I don't travel much."
She also did portraits of the Kings other aunts; Madame Victorie and Madame Adelaide. These royal commissions were an artists key to fame and fortune. If today's artist wants to show paintings in NYC galleries, the 18th century artist wanted their paintings on the walls of Versailles. Vallayer-Coster was also fortunate enough to survive the Revolution. Not only did she survive but so did her career. In 1804 she had a commission by Josephine!
September 06, 2008
Well not quite! The fashionable men wore their hair both powdered and curled, and don't think they woke up every morning and fixed their curls.
Every man had his own coiffeur ( there were over 1200 mens hairdressers in Paris by 1780!), and although your typical guy did not ask for his hair to be piled three feet above his head (see left) but they did request their hair to be styled in the latest fashion. For the men, like the ladies, hair design was constantly changing. One week it could be all the fashion to wear two horizontal curls along side the face and the next week four of these curls was the only way to go.
Average time to be styled was about an hour. They wore pomade as the ladies did, and scented powder of their choosing. Like the ladies again they would have to cover their faces when it was powder time.
Okay, now I am going to ask you to visualize this:
Prince Kaunitz chose to have 20 or so men line up in a gallery, and while making a huge cloud of powdered mist he would run quickly down the hall ensuring an even layer of fine dust on his hair-doo. Yeah.
So, were the men actually complaining about the frivolous women? Yes indeed! and to make a point that they (the men) did not fall victim to such frivolities they would often throw their hat on as soon as their coiffure had finished, messing it up a bit. This made the bold statement:
Yea, I look good and I know it. But I don't give a damn about 'fashion' or 'hair'.