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Maes, Godfried

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En octobre 1696, s’ébranle depuis Turin le cortège qui conduira Marie-Adélaïde de Savoie à Versailles. Le contrat de mariage qui la lie désormais au duc de Bourgogne, petit-fils de Louis XIV, scellera, quelques mois plus tard, le sort de l’Europe par la paix de Ryswick. Dès la naissance de sa fille, guidé par un cynisme lucide, Victor-Amédée II l’avait destinée à devenir une princesse française. Il y réussit fort bien. D’emblée, le monarque fut séduit par l’extraversion, le naturel et la simplicité de l’enfant ; il la trouva « à souhait ». Devenue duchesse de Bourgogne, la jeune femme bouleverse néanmoins l’étiquette de la cour de France, confite dans les dévotions. Elle devient rapidement la coqueluche de Versailles. Son caractère tempère la religiosité morose de son mari ; sa gaieté galvanise autour d’elle musiciens, compositeurs, chorégraphes et hommes de lettres. Son entrain et sa désinvolture incitent à multiplier les bals, les jeux, les représentations théâtrales, les loteries de chinoiseries… Le goût de la duchesse est éclectique. Elle danse le ballet-mascarade, se laisse séduire par le merveilleux féérique des contes, touche le clavecin avec un certain talent, applaudit au Théâtre Italien et interprète les tragédies sacrées que lui offre Madame de Maintenon. Les dernières années du règne de Louis xiv voient ainsi renaître, sous le coup de divertissements dispendieux honorés par le roi, tout un mécénat littéraire, musical, mais aussi architectural, autour des travaux d’aménagements de la Ménagerie, dont la jouissance est offerte à la duchesse. La cour sort de sa torpeur durant cette époque charnière qui relie les splendeurs éteintes de la cour du Roi-Soleil aux excès de la Régence, puis de Louis XV. En éclairant ses années de formation, en étudiant le mécénat de la duchesse de Bourgogne au sein du système de la cour et d’une politique de distinction marquée par la prégnance de plusieurs clans politiques, en interrogeant l’efflorescence d’oraisons funèbres d’où percèrent les espoirs déçus et l’imaginaire collectif de la nation, le présent volume entend combler les lacunes de l’historiographie contemporaine longtemps restée muette sur la brève destinée de Marie-Adélaïde de Savoie et le climat de la cour de Versailles entre 1696 et 1712.

Modern history to 20th century: c 1700 to c 1900 --- Princesses --- Marie Adelaide, --- France --- History --- Marie-Adélaïde de Savoie, --- 944.03 --- History France (1589 - 1789) --- Marie-Adélaïde de Savoie --- DNHISTO DNU-EUB EPUB-ALPHA-M EPUB-DNU-FT EPUB-LIV-FT LIVHISTO EDITIONS-B --- Princesses - France - Biography --- Marie Adelaide, - of Savoy, Duchess of Burgundy, - 1685-1712 --- France - History - Louis XIV, 1643-1715

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Environmental planning --- History of Belgium and Luxembourg --- anno 1700-1799 --- Brussels

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In October 1696, the procession from Turin led Marie-Adélaïde de Savoie to Versailles. The marriage contract which now binds her to the Duke of Burgundy, grandson of Louis XIV, will seal, a few months later, the fate of Europe by the peace of Ryswick. From the birth of his daughter, guided by lucid cynicism, Victor Amadeus II had destined her to become a French princess. He succeeds very well. From the outset, the monarch was seduced by the extraversion, the naturalness and simplicity of the child; he found it "at will". Having become duchess of Burgundy, the young woman nevertheless upsets the etiquette of the court of France, confided in the devotions. She quickly becomes the darling of Versailles. Her temper tempers the morose religiosity of her husband; her cheerfulness galvanises around her musicians, composers, choreographers and men of letters. His enthusiasm and his casualness encourage to multiply the balls, the plays, the theatrical performances, the lotteries of chinoiseries ... The taste of the duchess is eclectic. She dances ballet-masquerade, is seduced by the magical fairy tale, touches the harpsichord with a certain talent, applauds the Italian Theater and interprets the sacred tragedies offered by Madame de Maintenon. The last years of the reign of Louis XIV were thus reborn, under the influence of expensive entertainment honored by the king, all a literary, musical, but also architectural patronage, around the work of development of the Menagerie, whose enjoyment is offered to The Duchess. The court emerges from its torpor during this pivotal time that connects the extinct splendors of the court of the Sun King with the excesses of the Regency, then of Louis XV. By illuminating his formative years, studying the patronage of the Duchess of Burgundy within the court system and a policy of distinction marked by the pregnance of several political clans, by questioning the efflorescence of funeral orations of where pierced the disappointed hopes and the collective imagination of the nation, the present volume intends to fill the gaps of contemporary historiography long remained silent on the brief destiny of Marie-Adélaïde of Savoy and the climate of the court of Versailles between 1696 and 1712.

Princesses --- Marie Adelaide, --- France --- History

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In October 1696, the procession from Turin led Marie-Adélaïde de Savoie to Versailles. The marriage contract which now binds her to the Duke of Burgundy, grandson of Louis XIV, will seal, a few months later, the fate of Europe by the peace of Ryswick. From the birth of his daughter, guided by lucid cynicism, Victor Amadeus II had destined her to become a French princess. He succeeds very well. From the outset, the monarch was seduced by the extraversion, the naturalness and simplicity of the child; he found it "at will". Having become duchess of Burgundy, the young woman nevertheless upsets the etiquette of the court of France, confided in the devotions. She quickly becomes the darling of Versailles. Her temper tempers the morose religiosity of her husband; her cheerfulness galvanises around her musicians, composers, choreographers and men of letters. His enthusiasm and his casualness encourage to multiply the balls, the plays, the theatrical performances, the lotteries of chinoiseries ... The taste of the duchess is eclectic. She dances ballet-masquerade, is seduced by the magical fairy tale, touches the harpsichord with a certain talent, applauds the Italian Theater and interprets the sacred tragedies offered by Madame de Maintenon. The last years of the reign of Louis XIV were thus reborn, under the influence of expensive entertainment honored by the king, all a literary, musical, but also architectural patronage, around the work of development of the Menagerie, whose enjoyment is offered to The Duchess. The court emerges from its torpor during this pivotal time that connects the extinct splendors of the court of the Sun King with the excesses of the Regency, then of Louis XV. By illuminating his formative years, studying the patronage of the Duchess of Burgundy within the court system and a policy of distinction marked by the pregnance of several political clans, by questioning the efflorescence of funeral orations of where pierced the disappointed hopes and the collective imagination of the nation, the present volume intends to fill the gaps of contemporary historiography long remained silent on the brief destiny of Marie-Adélaïde of Savoy and the climate of the court of Versailles between 1696 and 1712.

Princesses --- Marie Adelaide, --- France --- History