France
Crowns and Regalia
The Roman Era |
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Hadrian |
117-138 |
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On his
first imperial voyage Hadrian reached Gallia Narbonensis province in 121 and
Lugdunensis in 122. A silver denarius was coined to remember this visit. Silver denarius of Hadrian Obv.: Bust of Hadrian crowned with a laurle crown.
L.: HADRIANVS
AVGOS IMPR Rev.: Man in toga, codicil in his left hand and kneeling Gaul doing homage (?) L. RESTITVTORI
GALLIAE. This coin
has been taken for a long time as a proof that the fleur-de-lis was the
symbol of Gaul in Roman times. A quote about this coin reads: “It is curious
– though possible in this case it may be only a coincidence – that, on a coin
of the Emperor Hadrian, Gaul is typified by a female figure holding in the
hand a lily, the legend being, “Restutori Galliæ”. Probably this was founded
on a much worn denarius with the same scene and legend on the reverse but
with the head of Hadrian looking to the sinister. As the
helmeted man paying homage is doubtlessly a warrior, it may be the military
governor of Gallia Narbonensis of the time. |
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The Gallic Empire |
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The
Gallic Empire (Imperium Galliarum) is the modern name for a
breakaway part of the Roman Empire that functioned de facto as a separate state
from 260 to 274. It was established by Postumus in 260 in the wake of
barbarian invasions and instability in Rome, and at its height included the
territories of Germania, Gaul, Britannia, and (for a time) Hispania. After
Postumus’ assassination in 268 it lost much of its territory, but continued
under a number of emperors and usurpers. It was retaken by Roman emperor
Aurelian after the Battle of Châlons in 274. Æ More: Wikipedia: Gallic Empire |
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Postumus |
260-269 |
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Aureusof Postvmvs, 263-264 Seated ruler and kneeling
vassal. POSTVMVS PIVS AVG/INDVLG PIA POSTVMI AVG |
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Laelianus |
269 |
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Laelianus
AV Aureus. Mainz or Trier mint, AD 268. IMP C LAELIANVS P F AVG, laureate & cuirassed bust right
/ TEMPORVM
FELICITAS, female
figure reclining left, holding branch in right hand and resting left arm on
hare. |
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Marius |
269 |
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Marius (western provinces). Aureus, 269 Clasped hands, IMP C MAVR
MARIVS P F AVG / CONCORDIA MILITVM |
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Victorinus |
269-271 |
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Victorinus, Aureus, 269 Victoria, IMP CAES
VICTORINVS P F AVG / COMES AVG |
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Tetricus |
271-274 |
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Tetricus, Aureus, 271 Victoria, IMP C TETRICVS P F
AVG HYLARITAS AVG C |
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The Tetrarchy |
284-312 |
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By
Diocletion (284-305) the Roman Empire was divided in four prefectures. One of
them was Gaul which was divided into four dioceses (Brittanny, Gaul, Vienna and
Spain). On 1 March 293 the Tetrarchy was created by which the government of
the Empire was divided between 2 “Augusti” and 2 “Caesares” the last succeeding the first and being appointed new caesares. Four
tetrarchs are represented on sculptures robbed from Constantinople in 1204 at
the fourth crusade by the Venetians and now on San Marco square in Venice.
The tetrarchs are in military dress
with swords with hilts of eagle’s heads at their sides. On their heads there
have been diadems, or kepi’s (pill boxes) probably decorated with badges or
gems. Gold coins with portraits of the
tetrarchs reperesent them with a
pointed sun-crown. The
Tetrarchs on San Marco Square in
Venice The one on the right Constantius I
Chlorus |
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Constantius
I Chlorus (293/305-306) made Treves his residence in 293 be it that, forced
by political circumstances, he temporarily resided in York (Brittanny).
Treves became the capital of one of the newly created administrative
territories (dioceses) comprising the then more than 100 provinces of the
Empire. The diocese Galliarum as as
the territory governed from Treves was called, comprised eight provinces. |
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Magnentius |
350-353 |
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Magnentius
was the commander of the Herculians and Jovians, the Imperial guard units. When the army grew dissatisfied with the
behavior of Roman Emperor Constans (337-350), it elevated Magnentius at Autun
on 18 January 350. Constans was abandoned by all except a handful of
retainers, and he was slain shortly afterwards by a troop of light cavalry
near the Pyrenees. Magnentius
quickly attracted the loyalty of the provinces in Britannia, Gaul, and Hispania.
His control on Italia and Africa was applied through the election of his men
to the most important offices. Magnentius Emperor
in the western provinces, 350-353 Bronze
coin, struck in Trier. Bust and Christogram |
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The Western Roman Empire |
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Honorius |
395-423 |
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Ivory consular diptych of Anicius Petronius Probus Right part depicting the
Roman emperor Honorius, crowned and nimbused, with commander’s staff, sword and shield. On his breast a gorgoneion and the hilt of
his sword an eagle’s head Rome, 406. Museo del Tesoro
della Cattedrale in Aosta, Italy. On an
unknown moment, likely shortly before the year 400, the Prefecture was moved
to Arles. Because of the retreat of the troops in 406 the country became
almost defenceless so that the invasion of German tribes crossing the Rhine
at the turn of the year 406-407 and later moving further west, could not be
halted. Present
France comprises the roman dioceses of Galliae and Vienennesis, parts of the
larger praetorian prefecture of Gaul (praefectura
praetorio Galliarum) The
oldest diptych that can properly be called a consular diptych, held in
the cathedral treasury at Aosta, is one commissioned by Anicius
Petronius Probus, consul in the Western Empire in 406 – it is unique not only
for its extreme antiquity but also as the only one to bear the portrait of
the Emperor (Honorius in this instance, to whom the diptych is dedicated
in an inscription full of humility, with Probus calling himself the emperor's
"famulus" or slave) rather than that of the consul. |
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Magister Militum per Gallias In that
time the army in Gaul was commanded by the Magister Militum per Gallias. The title of magister militum was created in the 4th century, when Emperor
Constantine the Great deprived the praetorian
prefects of their
military functions. Initially two posts were created, one as head of the foot
troops, as the magister peditum
(“Master of the Foot”), and one for the more prestigious horse troops, the magister equitum (“Master of the Horse”). The
latter title had existed since Republican times, as the second-in-command to
a Roman dictator. As such they
were directly in command of the local mobile field army of the comitatenses,
composed mostly of cavalry, which acted as a rapid reaction force. Other magistri
remained at the immediate disposal of the Emperors, and were termed in
praesenti (“in the presence” of the Emperor). By the late 4th
century, the regional commanders were termed simply magister militum.
In Gaul there have been ten Magistri
Militum by the names of 352-355: Claudius
Silvanus 362-364: Flavius Iovinus, magister
equitum under Julian and Jovian ? – 419: Flavius
Gaudentius 425-433: Flavius Aetius 437-439: Avitus 452-456: Agrippinus 456-461: Aegidius 461/462: Agrippinus ? -
472: Bilimer 465-486: Syagrius In the
time of Flavius Gaudentius the insignia of a Magister Militum was a ivory plaque (diptych) on a credence table with a blue cloth. Such insignia are
represented by the Notitia Dignitatum for the
Magistri Peditum and – Equitum.
The insignia for the Magister Militum
per Gallias is not given but is supposed to have been of the kind of
these two. |
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Consular
Diptych of Flavius Aetius (425-433) Ivory, first half of the 5th
century. Belonged until the Revolution to
the library of the chapter of Bourges Cathedral. Gift of P.A. Bourdaloue. Musée Municipal
de Bourges inv. n° 860.3.2. On
this diptych Flavius Aetius is seated with a scptre and a scroll (folio) in
his hands. Above the ciborium of his
throne are two eagles, which are the emblems of his consular rank. |
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Childeric I (Doornik) |
460-482 |
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In 1653 a
tomb was discovered in Tournai (Doornik) which was attributed to Childeric I. Print of the
signet ring of Childeric C.69-70
Tomb of King Childéric. *) Tournai,
482 The almost complete disappearance of the objects
(in 1831) makes it difficult to value the exact meaning of the content of the
tomb of Childeric and also of its interpretation. Chiflet mentions a large
amount of golden threads, pieces of purple silk and brocade dress (the tunica
and the royal mantle). Many iron objects were also lost, in particular a
sword. The wood of the coffin with its iron handles has disappeared and also
the bones (the skeleton measured 1,80 m) A large amount of pieces are nevertheless saved or
reproduced as casts or drawings. Most of them are characteristic for a royal
tomb. 2 Golden
signet ring On it is the bust of the king en face, with long
hairs with a parting in the middle and two braids. The king wears a cuirass
and the paladamentum (mantle) of a
roman officer and he keeps a spear, symbol of royalty. The inscription «childeric regis» on the signet
ring makes its identification incontestable. [1]
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Chlodovech I ( = Clovis) |
482-511 |
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In 493 Clovis
married Clotilda, daughter of the Burgundian Chilperic II. Clotilda was a
Catholic and exerted a great influence over him. She is said to have inspired
him to convert to Christianity at a critical moment in the Battle of Tolbiac
in 496. Whatever the truth, he and 3,000 of his followers were baptized as
Catholics at Rheims at Christmas 496. Clovis seized the banner of Catholicism
to rally support and undermine the other Germanic kingdoms. In 507 he moved
against the Visigoths. His victory at Vouillé was decisive and Clovis became
ruler of most of what is now France. By now he ruled over a vast area and
several peoples. The Eastern emperor Anastasius (491-518) granted him an
honorary title of ‘consul’, no doubt seeing him as a counterweight to
Theodoric the Great in Italy. Clovis moved his capital to Paris and laid the
foundations for what was eventually to become the French nation. He died
unexpectedly in 511 and his kingdom was divided up amongst his four sons. About the
vase of Soissons: http://www.northvegr.org/histories%20and%20chronicles/history%20of%20the%20franks/018.html Æ see: Cup 38.Clovis
received an appointment to the consulship from the emperor Anastasius, and in
the church of the blessed Martin he clad himself in the purple tunic and
chlamys, and placed a diadem on his head. Then he mounted his horse, and in
the most generous manner he gave gold and silver as he passed along the way
which is between the gate of the entrance [of the church of St. Martin] and
the church of the city, scattering it among the people who were there with
his own hand, and from that day he was called consul orAugustus. Leaving
Tours he went to Paris and there he established the seat of his kingdom.
There also Theodoric came to him. http://www.northvegr.org/histories%20and%20chronicles/history%20of%20the%20franks/021.html |
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Chlodomer (Orleans) |
511-524 |
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Theuderic I (Reims) |
511-533 |
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Childebert I (Paris) |
511-558 |
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Signet ring of Childebert I Royal bust with spear,
inscribed X HILDEBERTI REGIS |
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Chlothar I (Soissons) |
511-561 Sole King 558-561 |
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Theudebert I (Reims) |
533-547 |
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Theudebald (Reims) |
547-555 |
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Charibert (Paris) |
561-567 |
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Sigebert I (Reims, Austrasia) |
561-575 |
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Chilperic I (Soissons, Neustria) |
561-584 |
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Guntram (Bourgogne) |
561-593 |
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Childebert II (Austrasia, Burgundy 593) |
575-596 |
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Chlothar II
(Neustria, King 613) |
584-629 |
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Charibert II (Aquitania) |
630-632 |
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Sigebert III (Austrasia 634) |
639-656 |
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Chlodovech II (Neustria & Burgundy) |
639-657 |
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Childebert (Austrasia) |
656-661 |
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Chlothar III (Neustria & Burgundy) |
657-673 |
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Childeric II (Austrasia, King 673) |
662-675 |
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Dagobert II (Austrasia) |
676-679 |
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Theuderik III Neustria & Burgundy |
676-690 King 679 |
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Chlodovech III |
690-694 |
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Childebert III |
694-711 |
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Dagobert III |
711-715 |
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Chilperic II |
715-721 |
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Chlothar IV (Austrasie) |
717-719 |
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Theuderic IV |
721-737 |
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Interregnum |
737-743 |
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Childeric III |
743-751 |
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KAROLINGIAN
HOUSE |
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Pepin the Short |
751-768 |
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Karloman |
768-771 |
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Charlemagne |
*742- † 814 King of Francia 768 – 814 King of Lombardia 774-814 Emperor 800 – 814 |
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The
empire of Charlemagne initially comprised the dioceses Galliae and Viennensis
and a territory east of the Rhine. Later he added the diocese of Italia
Annonaria and Saxony in the north. In fact his empire had the dimension of a prefecture. His crown, not the crow of
a vicar) can match with this. King Einhart in his “Life and Works of Charlegne”
writes: “He dressed in the local, Frankish costume. On his body he wore a
linen shirt and trousers, and on this an upper dress and trousers interwoven
with silk. His legs were gaitered and his feet shod and in winter he
protected his breast and shoulders
with a jerkin of otter or marten. Then he wore a blue mantle and always a sword, the hilt and belt of which were
inlaid with gold and silver. Sometimes he also bore a sword set with jewels
but only on special occasions.” [2] Fresco in the Cimetero di S. Ermete, Rome Represented is a
woman in Byzantine imperial dress with a child on her lap. She wears a crown
with pendilia of strings of pearls.
By her side are two angels. To her right a warrior and a woman and to her left
a prelate in monk’s habit. According to
Matthiae the fresco dates from the last years of the pontificate of Hadrian I
(772-795) who also made the catacomb be restored. [3] He
ruled in the time when Empress Irene was a
regent for her son Constantine VI. The fresco most probably dates from the
period around the coronation of mother and son in 776, taking into account
that the boy is still on his mother’s lap. For the warrior Charlemagne, King
of the Franks from 768, may qualify. About Charlemagne
is said for this period: “Charlemagne and his
uncle Bernard crossed the Alps in 773 and chased the Lombards back to Pavia,
which they then besieged. Charlemagne temporarily left the siege to deal with
Adelchis, son of Desiderius, who was raising an army at Verona. The young
prince was chased to the Adriatic littoral and he fled to Constantinople to
plead for assistance from Constantine V Copronymus, who was waging war with
the Bulgars. The siege lasted until the spring of 774, when Charlemagne
visited the pope in Rome. There he confirmed his father’s grants of land,
with some later chronicles claiming – falsely – that he also expanded them,
granting Tuscany, Emilia, Venice, and Corsica. The pope granted him the title
patrician. He then returned to Pavia, where the Lombards were on the
verge of surrendering.” |
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The correct dating
is in any case after 774, the year that Charlemagne visited Rome during his siege
of Pavia. The persons represented in that case are Irene (between angels),
Constantine, then of the age of three, on her lap, Charlemage, his wife
Hildegard (†783) and pope Hadrian (772-795). Charlemage, born between 742 and
747, is of the age of between 27 and 32 here. On the other hand
the missing of a cross on the crown of Irene indicates that the empress was
crowned but still had no executive power. This dates the fresco between
776-780. Charlemagne on this fresco is dressed in a
blue tunica and a red mantle, the colors of adminis-trative and armed
authority respectively The halo behind his head makes him a prince of the
empire. He has a small golden mace in his left hand. His right hand makes the
sign of Jesus Christ. On his right side is his third wife Hildegard
of Vinzgau (*758-†783) whom he married in 771. |
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Prince on a fresco in the Cimetero di S. Ermete,
Rome |
Mace held in hand
by the S. Ermete Prince |
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His title in 777 was: karolus
dei gra rex francorum & longobardorum ac patricius romanorum Portrait of
Charlemagne Seated
crowned ruler with lily-sceptre and orb charged with cross Psalter
of Charles the Bald, Paris B.N. ms lat 1152 fol 3 v . Between 843-869. Legend: CVM SEDEAT KAROLVS MAGNO CORONATVS HONORI
EST IOSIAE SIMILES PAR QUE THEODOSVS The
legend can be translated as: “The
seated and crowned Charlemagne honours Josiah (= Jesus) and resembles Theodosius” This
Theodosius is Theodosius I, Eastern Roman Emperor (379-394) and Roman Emperor
(394-395). He made an effort to end paganism. Charlemagne
seated on his throne crowned with a crown of three fleurs de lis, in his
right hand a lily-sceptre and in his left hand a purple orb with a golden
latin cross |
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Emperor
800-814 Silver coin of Charlemagne, 804 Bust with crown of laurel. L.: KAROLVS IMP AVG |
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Louis the Pious Lothair I |
*778- † 840 Imperator Augustus
813 – 833 / 834 – 840 King of Francia 814
– 840 ¥ 1. 798 Ermengarde of Hesbaye ¥ 2. 819 Judith of Bavaria Co-emperor 817 – 840 |
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Louis I the Pious as a defender of christianity in coat of arms
with a ducal hat and halo, standing, in his right hand a staff with a cross
and his left hand resting on a red shield. [4] A king receiving homage in the time of Louis the
Pious. In the Stuttgarter Psalter,
fol. 9. 820-830 [5] Here the
king has a crown with three leaves or fleurs de lis and keeps a golden
cross-staff in his left. He is dressed in a green (or blue) tunic and a
purple mantle. The common halo is missing. Queen Judith (797/805–19 April 843), was the second wife of King Louis the Pious, which brought her the title of Empress of the Franks. Marriage to Louis marked the beginning of her rise as an influential figure in the Carolingian court. She had two children with Louis, a daughter Gisela and a son, Charles the Bald. The birth of her son led to a major dispute over the imperial succession, and tensions between her and Charles’ half-brothers from Louis’ first marriage. She would eventually fall from grace when Charles’ wife, the new empress Ermentrude of Orléans, rose to power. She was buried in 846 in Tours. Empress Judith of Bavaria *805-†843 Title: Plaque with the Virgin Mary as a Personification of the Church.
Date: carved 800–875. Carolingian Ivory; Overall measures 22 x 14.5 x 0.8 cm.
MMA. Gift of J. Pierpont Morgan, 1917 (17.190.49) For the
person represented on the plaque Empress Judith of Bavaria qualifies. In her
right hand she has a cross-staff resembling the cross-staff of Louis the
Pious. This is the badge of religious authority. In her right hand she has a
sceptre of the model of the sceptre of Charlemagne on his portrait in the
Cimetero di S. Ermete (but also a distaff). Her rank or function is
represented by the two peacocks, badges of a prefect, in the upper corners. Also compare
with the representations of Charles the Bald. We may
assume that the plaque is one of a pair, the other representing Louis I the
Pious. |
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Division of the Empire 843 |
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Charles
II, the Bald |
*823-† 877 King of Francia
840-843 King of West-Francia
843-877 Emperor 875 – 877 |
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Son of Louis I the Pious and Judith of Bavaria,
half-brother of Lothair I and Louis II the German Charles the Bald crowned by God Sacramentary of Charles the
Bald (869-870) Paris Bibliothèque nationale de France MSS Latin 1141 Behind his head a golden halo and above his
head a diadem set with precious stones.We may suppose that Charles the Bald
is represented here as a king of Francia. This dates the scene on 840. Emperor Lothair I between Louis the German and
Charles the Bald at the Treaty of Verdun, 843. Bible de Vivien, dite
Première Bible de Charles le Chauve. BnF, Manuscrits, Latin 1 fol. 423 The Emperor in a yellow mantle
crowned with a closed crown and with a long staff. On his sides his sons
Louis II in a green mantle and Lothair II in a red mantle. They are
accompanied by two warriors, the left ne with a red cloak, a spear and a red
shield , the one on the right with a sword. (Probably the Magister Peditum and the Magister Equitum). The mantle of
Lothair I has the color of the temporal power and qualifies him a caesar. Cast of the
seal of Charles the Bald (40´32mm) Figure: Portrait of Charles the Bald with crown of laurel Legend: KAROLUS GRATIA DEI REX Date: 0847-08-25 [6] |
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Statuette of Charles the Bald Equestrian statue
of Charlemagne, ca. 860. Bronze, originally gilded. H. 25 cm. Ancien Trésor de la
cathédrale de Metz. Paris, Louvre, Département des Objets d’art The king
with crown mounted with four pieces. In his right hand a sword and in his
left a sphere. Equestrian statue of Charlemagne, with sword Because
of its time creation the sculpture must represent King Charles the Bald. The crown embroiders on the crown of Charlemagne
but the attachments are changed in leaf-like ornaments. This would mean that
Charles the bald after the divisio of
Verdun in 843 kept his rank of prefect.
De kroon borduurt
dus voort op de kroon van Karel de Grote maar de opzetstukken zijn veranderd
in bladvormige ornamenten. Dit zou betekenen dat Karel de Kale na de
verdeling van Verdun in 843 de rang van prefect
bleef behouden. Soortgelijke kronen moeten dan in Lotharingen (i.e.
Italië) en Oost-Francië (i.e. Duitsland) tegelijkertijd voorkomen The idea that the statuette represents Louis the
German can be cast aside because this king had a beard. |
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Charles the Bald
ca 870 As in Codex Aureus v. St.
Emmeram, fol. 5v°. München, Bayr. Staatsbibl. Clm 14000 Charles
seated on his throne vested in a blue tunica strewn with groups of golden
stars and a purple or red mantle and crowned with a crown of three fleurs de
lis. |
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Charles the Bald in the Bible of San Paolo Illuminated manuscript (Rome, S Paolo fuori le Mura), probably made at
Reims c. 870. It is the most extensively illustrated of all extant
Carolingian Bibles. A dedicatory poem by
Ingobertus referens et scriba fidelis and the verses accompanying an
image of a ruler establish that it was made for a King Charles, now
identified as Charles the Bald, who when he was crowned Emperor in Rome in
875 probably gave it to Pope John VIII. Charles dressed in a red mantle crowned with a crown
of a diadem mounted with four leaves and a golden globe with a red
inscription in his left hand. Sitting on a golden throne with a ciborium with white throne clothes
strewn with red square crosses with the letters I, C, X, C in the four
corners. The red square cross is the symbol of Christian
administrative authority. |
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Robertian House |
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Rudolf |
Duke of Burgundy
921-936 King of France
923-936 |
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Carolingian House |
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Louis IV d’Outremer |
936-954 |
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Seal of Louis IV
d’Outremer, 950 |
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Référence |
MA000002 |
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Fonds |
SCEAUX |
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Série |
sceaux ; collection Bourgogne |
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Cote |
SC/B2
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Analyse |
Moulage d’un fragment du sceau de Louis IV
d’Outre-Mer, roi de France. Légende
abîmée en latin : “... LUDOWICUZ..... T.
...”. |
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Dates |
0950-02-03 |
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Lothair |
954-986 |
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Seal of
Lothair |
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Référence
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MA000003 |
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Fonds
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SCEAUX |
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Série |
sceaux ; collection Bourgogne |
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Cote |
SC/B3
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Analyse |
Moulage
du sceau de Lothaire, roi de France. Légende restituée en latin : “LOTHARIUZ GRATIA
DEI REX”, traduction : Lothaire, roi par la grâce de Dieu. |
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Dates |
0959-11-23 |
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Accès |
moulage consultable au service des sceaux |
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Reproduction |
reproduction du moulage possible par le service
des sceaux; photographie ou impression d’image numérique |
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Support |
plâtre pris sur cire originale |
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Forme |
ovale
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Taille |
hauteur
54 ´ largeur 44 mm |
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Seal of King
Lothair of France Western Francia; Brown wax; Seal printed on
charter. [Crowned?] ruler with sceptre, face worn. Legend: LOTHARIVS + REX
FRANCO(rum). Æ 4 cm.
Gent, Bisdomsarchief, Carton 2, No 2: 966 May 5 |
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Capetian House |
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Robert II le Pieux |
996-1031 |
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Seal of Robert II ~997 Archs. Nationales, Paris King crowned
with laurel crown, in his right a laurel staff and in his left an akakia (pouch) Legend: ROTBERTVS DEI GRATIA FRANCORVM REX |
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Hugues |
1017-1025 |
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Henry I |
1031-1060 |
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Seal
of Henry I 1035 Seated
Ruler with crown, sceptre and cross Legend:HENRIC DI GRA FRANCORVM REX |
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Philippe I |
1060-1108 |
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Seal of Philip I, 1060 Seated
Ruler with crown, sceptre and cross. Legend: PHILIPPVS DIGRA FRANCORVM REX On this
seal is the oldest representation of the so-called Throne of Dagobert. Dagobert’s Throne, France, late 8th-9th century, Department of Coins, Medals
and Antiquities, no. 651 This is a
plastic replica of the bronze armchair which belonged to the abbey of
Saint-Denis near Paris, and which was imaginatively attributed in the Middle
Ages to the Merovingian king, Dagobert I (623/9-639). In the Middle Ages
religious institutions maintained magnificent collections of relics such as
this throne. Such treasures provided a concrete expression of the power of
the Church and of the Monarchy, and could be melted down or pawned for cash. The
original thtone consisted only of the four legs. The armrests were added
later. In Gaul
the Merovingian successors to Roman power employed the Curule seat as an
emblem of their right to dispense justice, and their Capetian successors
retained the iconic seat: the "Throne of Dagobert", of cast bronze retaining
traces of its former gilding, is conserved in the Bibliothèque nationale de
France. The "throne of Dagobert" is first mentioned in the 12th
century, already as a treasured relic, by Abbot Suger, who claims in his
Administratione, "We
also restored the noble throne of the glorious King Dagobert, on which, as
tradition relates, the Frankish kings sat to receive the homage of their
nobles after they had assumed power. We did so in recognition of its exalted
function and because of the value of the work itself." Abbot
Suger added bronze upper members with foliated scrolls and a back-piece. The
"Throne of Dagobert" was coarsely repaired and used for the
coronation of Napoleon |
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Louis VI le Gros Philippe Louis VII |
1108-1137 Co-regent 1129-1131 Co-regent 1131-1137 |
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Seal of Louis VI. The king on a lion’s throne, in his right a sceptre
and in his left hand a cross-staff.On his head a cilindrical diadem mounted
with three fleus de lis. Legend: lvdovicvs di gra francorvm rex. [7] Mosaic representing King Louis the Fat (ancient
title) Alias King Salomo Auteur: anonyme Ecole: Nord de la France Période: 1er quart 12e siècle Domaine: Mosaïque, Art religieux Dénomination: pavé mosaïque ; fragment Titre: Mosaïque représentant le roi Salomon # Le roi Louis le Gros
(titre ancien) Représentation: figure (roi biblique : Salomon, sceptre, être
surnaturel : ange, main, oiseau : paon) Précisions concernant la représentation : Le roi est assis sur le
trône, et tient de la main droite un sceptre. Sa main gauche ouverte est
étendue vers une autre main qui semble venir du ciel. Un diadème posé sur la
tête, le roi porte une chlamide agrafée sur l’épaule droite. Au-dessus de lui
est figuré un paon. Dans certains textes, le personnage représenté est
identifié comme Louis VI le Gros (1080 vers, 1137), roi de France de 1108 à
1138. Technique: mosaïque Dimensions: H. 155, l. 131.5, E. 11 (avec cadre) ; H. 145, l. 122
(sans cadre) Datation: 1109 vers Genès : Saint-Omer (abbaye, provenance) Précisions concernant la genèse: Découvert en 1830 à l’emplacement de
l’abbaye romane de Saint-Bertin après sa destruction. Les fouilles ont été
réalisées par la Société des Antiquaires de la Morinie, les fragments
découverts ayant été déposés au musée. Découverte: Saint-Omer (abbaye, fouilles archéologiques) Inscriptions: légende Précisions concernant les inscriptions: REX (en ocre, dans le corps de
la mosaïque) Localisation: Saint-Omer, musée de l’hôtel Sandelin Statut: propriété de la commune ; don ; Saint-Omer ; musée de l’hôtel
Sandelin Date d’acquisition: 1833 acquis Inventaire: 1624 Anciennes appartenances : Société des Antiquaires de la Morinie Bibliographie: Oursel, Hervé, Deremble-Manbès, Colette, Thiébaut,
Jacques, Nord roman (Flandre, Artois, Picardie, Laonnois), 1994, Zodiaque ;
Epigraphie du département du Pas-de-Calais, publié par la Commission
départementale des Monuments Historiques, tome V, 3e fascicule, Arras, 1901 Photographie: © cliché musée, YB/M3C Commentaire: Le fragment de dallage a été placé sur une plaque de
marbre et coulé dans un mortier, le tout dans un cadre en bois. Une
restauration complète est à envisager. Musée l’ Hôtel Sandelin. St.
Omer Drawing of the tomb of Louis VII by Gaignière The legend reads: Tombeau de pierre au milieu du chœur de l’Eglise de l’abbaye de
Barbeau près Fontainebleau. Il es du Roy Louis le Jeune
qui mourut l’an 1180. *
However, Louis the Younger had a long beard at an older age and was buried in
St. Germain des Prés Abbey church in 1180. His tomb was later thought to be
of Chilperic and the tomb of his father Louis VI the one of Childebert. Therefore
we may assume that the tomb in Barbeau was the original tomb of Louis VI and
an additional tomb was made to be used for a reburial in St. Germain des Prés
Abbey Church in 1163. When the new tomb was installed the old tomb was
probably transported to Barbeau. In 1695 commendite abbot Cardinal
Guillaume-Egon Fürtstenberg let the tomb be reconstructed, reason why we
cannot be sure about the authenticity of the fleur de lys decoration and the
colours.of the statue. Louis
VI the Fat † 1137 alias Childebert St. Denis Cathedral, from the Church of St.
Germain des Prés The
king bearing a model of the Church of St. Germain des Prés of which the choir
was inaugurated in 1163. The tomb
was made somewhat before the inauguration of the choir and is the oldest tomb
from northern France preserved. Once
transported to St. Denis Cathedral. |
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Louis VII le Jeune |
*1120-†1180 Co-regent 1131 King of France
1137-1180 Duke of Aquitania
1137-1152 ¥ Alienor d’Aquitaine 1137-1152 ¥
Constance de Castille 1154-†1160 ¥
Adèle de Champagne *~1140 / 1160-1180/
†1206 |
||||||||||
Philippe Auguste |
Co regent 1179-1180 |
||||||||||
Alienor of Aquitaine and
Louis VII Poitiers,
Église Notre Dame la Grande, westfront During
the second quarter of the 12th century, the old bell-tower-porch which was on
the west side was removed and the church was increased by two spans towards
the west. In the south, the turret of a staircase marks the site of this
enlargement. It is at that time that the celebrated façade was built. Seal of Majesty of Louis VII: The king on the
lion’s throne, crowned. In his right a fleur de lis and in his left a
sceptre. L.: ludovicus di gra francorvm rex . |
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|
|
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Queen Alice
of Champagne and Louis VII alias Clotilde and Clovis Church of Notre Dame de Corbeil 1170 ca (Musée du Louvre) Tomb of King Louis VII King
Louis VII was buried in the abbey church on September 19, 1180. His tomb is
thus described: «The queen, his wife, had a large white
marble stone placed on top of it, and with a suitable inscription. On this
marble was the recumbent statue of Louis VII. This statue represented the
king in long robes, with a coat that went down to the heels. He wore on his
head an open crown, surrounded by simple clovers; he held in his hand a
scepter surmounted by a pine cone. Finally, the queen, his wife, says an old
historian, had a tomb of gold and silver, adorned with precious stones and a
marvelous and rich work, made for him.» In 1566
King Charles IX of France opened this tomb and took the most precious funeral
furniture (a crown and a scepter of gold, a cross of gold containing a piece
of the True Cross and gold rings ). In 1695
Cardinal Guillaume-Egon de Furstenberg rebuilt the tomb in marbles of color,
and replaced the original recess. He had a Latin inscription inscribed
therein: “To the Most-Pious King of the Franks Louis VII, buried here on
September 19, 1180, Queen Adele, his wife, erected a once magnificent
mausoleum which was rebuilt to collect its precious remains, after that it
had been destroyed by the dilapidation, the Most Eminent, Very Reverend and
Highest Prince William Egon, Landgrave of Fürstenberg, Prince-Bishop of
Strasbourg, Abbot of this Royal Monastery, in the year 1695.” Shortly
before the destruction of the church and the royal mausoleum by the
sans-culottes in 1793, the remains of Louis VII had been secured by the
prosecutor of the abbey named Lejeune, who will later be parish priest of
Chartrettes; he had them put back in their tomb in 1813, then obtained their
transfer to the basilica Saint-Denis by the king Louis XVIII in 1817. From this
tomb a drawing made by 'historian and collector Roger Gaignière (1642-1715)
has survived. The latter is found in the National Library of France. |
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Philippe
II [Auguste] |
*1165-†1223 Co-regent 1179 King of France
1180-1223 ¥ Isabelle de Hainaut1, *1170, †1190, RdF 1180-1190 ¥ Ingeburge de Danemark *1174 - † 1236, RdF 1193 repudiated 1193 ¥ Agnès de Méranie or Agnès d'Andechs1, *~1172, †1201 RdF 1196-1201 |
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1179 Inauguration “Postmodum
positis super altare corona regia, gladio
in vagina incluso, calcaribus aureis, sceptro deaurato, & virga ad
mensuram unius cubiti vel amplius, habente desuper manum eburneam. Item
caligis sericis, & iacintinis, intextis per totum liliis aureis, &
tunica eiusdem coloris, & operis, in modum tunicalis quo induuntur
subdiaconi ad missam, nec non & socco prorsus eiusdem coloris, &
operis, qui est factus fere in modum cappae sericae absque caparone. Quae
omnia abbas Sancti Dionysii in Francia de monasterio suo debet Remis
apportare, & stans ad altare custodire.” [8] Which is
about: After a
while the king’s crown is put upon the altar, the sword in the sheath,
including the spurs of gold, a golden sceptre, and a rod of one cubit or
more, crested with an ivory hand. Also violet silken boots, strewn with
golden lilies, and a tunic of the same color and work, of the shape of the
tunic of a subdeacon at mass, and also
shoes and a silken mantle of the same work. The Abbot of Saint Denis in
France has to bring it from his monastery to Reims and put it on the altar. We can gather from
this that the coronation dress consisted of a crown and sword, spurs, a
sceptre and blue shoes and dalmatica strewn with golden fleurs de lys. This
matches for example with the dresses of Roger II and William II of Sicily
which were also strewn with fleurs de lys . Seal of Majesty, 1209 The king
on a lion throne with fleur de lys and sceptre of a fleur de lys within a diamond. Crown with three points L.: PHILIPPVS DEI GRA
FRANCORVM REX. D.:
1209. Arch. Nat., Sceaux, D 39. Counter
seal: Fleur de lys. (Fox-D. p. 200) |
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Référence |
00000360 |
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Fonds |
SCEAUX |
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Série |
sceaux ; collection des
Archives nationales dite Douët d’Arcq |
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Cote |
SC/D157 |
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Analyse |
Moulage du premier sceau de Philippe II Auguste, roi de France. Légende: philippus dei gracia francorum rex, (Philippe, par la grâce
de Dieu roi de France). |
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Dates |
1180-01-01, 1180-12-31 |
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Support |
plâtre pris sur cire
originale |
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Forme |
Æ 75 mm |
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|
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|
|
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One of the three magicians, ~1230 Amiens Cathedral, Portal of
the Virgin Probably
a posthumous portrait of Philippe Augustus. On his right side a perhaps a
statue of his father. |
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Louis VIII, le Lion / Coeur de Lion |
*1187-†1226 King of France 1223 – 1226 |
||||||||||
Seal of Majesty,
1223-1226 The king on a lion throne with fleur de lys and
lily sceptre. On his head a crown with three leaves/fleurs de lys Legend.: lvdovicvs di gra francorvm rex. D.: 1223-1226. Counter seal:
Shield strewn with fleurs de lys. (Fox-D. 200). |
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LouisIX
le Saint |
*1215-†1270 King of France 1226 – 1270 |
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Seal of Majesty,
1240 The king on a lion throne with fleur de lys and
lily sceptre. On his head a crown with three leaves/fleurs de lys and two points. Cloak with a bordure of
diamonds enclosing lilies. Legend: lvdovicus di gra francorvm rex. D.: 1240. (Pin. 454) 2nd seal of majesty, 1258 |
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|
|
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Head of statue of the king of France Saint-Louis
(Louis IX) the leaves broken off at the exhibition for his
800th anniversary at the Conciergerie (Paris, France) |
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Philippe
III the Bold |
*1245-†1285 1270-1285 |
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Regulations
for the coronation of Philip III: Postmodum jam antea preparatis et positis super altare corona regia, gladio in vagina incluso, calcaribus aureis, sceptro deaurato et virga ad mensuram unius
cubitii vel amplius habente desuper manum eburneam; item caligis sericis et
iacintinis intextis per totum liliis aureis, et tunica ejusdem coloris et
operis, in modum tunicalis quo induuntur subdiaconi ad missam; necnon et
socco prorsus ejusdem coloris et operis, qui est factus fere in modum cape
serice absque caparopne, que omnia abbas Sancti Dyonisii in Francia de
monasterio suo debet Remis asportare, et stans ad (=incontinenter) altare
custodire.[9]
From: Ms. n° 326 fol. 70 v -73 Bibl. Mun. Reims.
(Before 1270) Which is
in french: “Entre ce l’en
doit auoir appareillé & mis sus l’autel la couronne du roy, & l’espé & mise dedans son feurre,
ses esperons d’or, son ceptre d’or, & sa verge à la mesure d’vn coude ou
de plus, quit ara au dessus vne main d’yvoire. Item les chausses de soye de
couleur violette brodées ou tissuës de fleurs de lys d’or : & la cote de
ceste couleur & de ceste oeuure mesme, faicte en maniere de tunique dont
les soubsdiacres sont vestus à la messe : & auec ce sercot quit doit
estre du tout en tout de celle masme couleur, & de celuy mesme oeuure,
& si est faict en maniere à bien prés d’vne chappe de soye sans
chapperon. Toutes lesquelles deuandictes, ‘abbé de Sainct Denys en France
doit apporter de son monstier à Reins, & doit estre à l’autiel & les
garder. Le roy sera à l’autiel en estat, & despoüillera sa robe, fors sa
cotte de soye, & sa chemise qui seront ouuertes bien aual deuant &
derriere, c’est à scauoir au pis & entre les espaules, & les
ouuertures de la cotte seront `a la fois recloses & reiontes auec
estaches d’argent.” The
anointment done, and the overtures closed the chamberlain of France “le doit vestir de la deuant dite cotte de léuure & de la couleur
deuisée cy dessus, & l’abbé de S. Denys la doit bailler à iceluy
chambrier; & aussi le doit le dict chambrier vestir par dessus du deuant
dict surcot en telle maniere que il doit auoir la dextre main deliurée deuers
l’ouuerture du surcot, & sus la senestre main doibt estre leué le surcot
ainsi comme la chasuble d’vn prebstre”. The king
receives the sceptre and the staff, the crown and the ring. “La royne (=
queen)... doit estre vestuë de soye” and receives “vn petit ceptre d’autre maniere que le ceptre du
roy”, “vne verge semblant à la verge
royale” and the
crown. [10] Fragment of a statue representing the head of a king
References Auteur: anonyme Ecole: Nord de la France Période: 2e quart 13e siècle Domaine: sculpture Dénomination: statue ; fragment Représentation: figure (roi, tête) Précisions concernant la représentation : Le fragment représente
une tête de roi, portant une couronne. Le personnage porte une moustache et
une barbe finement sculptée, et une longue chevelure. Technique: pierre Dimensions: H. 25, l. 19, P. 17 Datation: 1225 entre ; 1250 et Genèse: Saint-Omer (abbaye, provenance) ; oeuvre en rapport Découverte: Saint-Omer (abbaye, provenance, découverte fortuite) Précisions concernant la découverte: Trouvé à l’emplacement de
l’ancienne abbaye de Saint-Bertin à Saint-Omer Localisation: Saint-Omer, musée de l’hôtel Sandelin Statut: propriété de la commune ; don ; Saint-Omer ; musée de l’hôtel
Sandelin Date d’acquisition: 1834 acquis Inventaire: 1998 ? Anciennes appartenances: M. Gentilhomme Expositions: Cathédrales, 1962, Paris, Musée du Louvre, nº 59 ;
Trésors de l’abbaye de Saint-Bertin, Saint-Omer, musée de l’hôtel Sandelin
(sans numéro) ; Sculptures romanes et gothiques du Nord de la France, Musée
des Beaux-Arts de Lille, 1978-1979, nº 50 Photographie: © cliché musée, YB/M3C Commentaire: Quelques éclats anciens. Bon état de conservation général. Nécessite un dépoussiérage. Musée de l’hôtel Sandelin St. Omer * Deze kop is te
vergelijken met het troonzegel van Filips III uit 1270. Er is een grote
overeenkomt in haardracht i.h.b. van de golven in het afhangende haar. Er is
ook een overeenkomt in de oogkasboog. Als inderdaad
Filips III is afgebeeld dan dateert het stuk niet uit het tweede maar uit het
derde kwart van de 13e eeuw.
Seal of Majesty,
November 1270 The king on a lion throne with fleur de lys and
lily sceptre and crowned with a crown of three leaves Legend: X
philippvs dei gracia francorvm rex. (Par. A.N. J. 727 A n 52). |
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Cote |
AE/II/277 |
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Analyse |
Au camp devant Carthage, en
septembre 1270, Philippe III le Hardi augmente un legs fait par feu son père
Louis IX à Pierre de La Broce, chambellan Charte en latin avec un sceau de cire jaune rond, pendant sur double queue de parchemin
de (Philippe le Hardi). |
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Dates document |
1270/09 |
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Noms de lieux |
Carthage (Tunisie)
; Tunisie |
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|
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Philippe IV, le Bel |
1268-†1314 1285-1314 |
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Seal of majesty
of Philip IV Three-pointed crown (fleurs de lis), fleur de lis
in his right hand and a lily-sceptre in his left. Lion-throne. References |
|||||||||||
Référence |
00000361 |
||||||||||
Fonds |
SCEAUX |
||||||||||
Série |
sceaux ; collection des Archives nationales dite Douët d’Arcq |
||||||||||
Cote |
SC/D47 |
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Analyse |
Moulage du premier sceau de
Philippe IV le Bel, roi de France Légende en latin : “PHILIPPUS DEI GRACIA FRANCORUM REX”, traduction
: Philippe, par la grâce de Dieu roi de France. |
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Dates |
1286-01-01 / 1286-12-31 |
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Accès |
moulage consultable au service des sceaux |
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Support |
plâtre pris sur cire originale |
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Forme |
Æ 88 mm |
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|
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Louis
X, the Stubborn |
1314-1316 |
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Seal
of Majesty of Louis X Three-pointed crown (fleurs de lis), fleur de lis
in his right hand and a lily-sceptre in his left. Lion-throne. |
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Philippe V, le Long |
1316-1322 |
||||||||||
The crown of Paraclet, 14t cent. Six large and six smaller
fleurs de lis The votive crown of Paraclet originates from the Cistercian abbey of the same name and was made in the 14th century. Made of gilded silver, gold-plated silver, gold, cabochons, fine pearls, gems, translucent enamels and crystal, this crown is the most precious of the treasure. It contains the relics of the Passion. (Amiens, Trésor) Seal of Majesty of Philip V References |
|||||||||||
Cote |
AE/II/325 |
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Analyse |
Ordonnance de Philippe le Long du 24 février 1318 sur la fabrication
et l’exportation des draps et tissus en Languedoc. Cette grande charte en latin est scellée du sceau
royal pendant sur flot de soie rouge et verte. |
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Dates document |
1318/02/24 |
||||||||||
Noms de lieux |
Languedoc (France – province) – XIVe siècle |
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|
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Charles
IV |
1322-1328 |
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|
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John II, the Good |
*1319-†1364 1350-1364 |
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Crown in the
royal treasury, ascribed to St. Louis By
Felibien, 1706 The style
of the crown matches the crown on the tomb of John the Good |
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Charles V, the Wise |
*1337-†1380 Dauphin of
Vienne1349-1380 King of France
1364-1380 |
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Movements and acts of the
peers of France during the coronation The peers together put the
crown on the head of Charles V Source British Library, Ms
Cotton Tiberius B. VIII, fol. 59v Gestes et actes des pairs de
France au cours du sacre : Les pairs tiennent ensemble
la couronne sur la tête de Charles V 1370 Charles
V gives the Constable’s sword to Bertand du Guesclin (1320-‘80) By
Jean Fouquet (1420-’80) |
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Charles VI, the Mad |
*1368-†1422 1380-1422 |
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|
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1422/1429-1461 |
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|
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|
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|
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Louis XII |
*1462-†1515 King of France
1498-1515 King of
Sicily-Naples 1501-1504 |
||||||||||
Crest of Louis XII, 1498 Louis XII of France Kneeling in Prayer, Accompanied by Saints Michael,
Charlemagne, Louis, and Denis. Artist/Maker: Jean Bourdichon (French,
1457 - 1521) Date: 1498/1499 Medium: Tempera and gold on parchment Object Number:Ms. 79a, recto Dimensions: Leaf: 24.3 × 15.7 cm Location: Getty Center Accession number: lido.getty.edu-gm-obj253747 At the entry of
Louis XII in Paris in 1498 the squire carried “son heaume et tymbre sur lequel il avoit une couronne de fines
pierres précieuses, et au-dessus du heaume, au milieu de ladite couronne, il
y avoit une fleur de lys d’or, comme empereur”. This crown was
represented by Jean Bourdichon. |
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Francis I |
*1494-†1547 Dauphin and Duke
ofValois 1498 Duke of Bretagne
1514 King of France
1515 Duke of Milan
1515-1522 |
||||||||||
During the rule of Francis I a closed
crown appeared, perhaps even at his coronation in 1515. Some authors believe
that this upgrading of the royal crown had something to do with the election
of the emperor of the Holy Roman Empire after the death of Maximilian I of
Habsburg and was the great ambition of Francis I. However the imperial title
was granted to Charles V of Habsburg in 1519. who was crowned Emperor
23-10-1520 in Aachen. In that
same year a closed crown was represented on a jousting cheque together with
the closed crown of Henry VIII, also participating in the jousts. Arms of Francis I On the jousing cheque for one of the jousts
held in 1520 (Society of Antiquaries.
ms. 136, part 2, f.1) Francis I wearing a closed crown On the “Mass of Saint
Giles” The painting is thought to have been made by The
Master of Saint Giles and is usually dated about 1500. But: The king represented most looks like Francis I,
probably after his years of captivity (1520-1526) when joining the
anti-empire league of Pope Clement VII on
22 May 1526. The crown he wears resembles the so-called Crown
of Saint Louis or Crown of Charlemagne to which two hoops, crested with an
orb, are added. This
crown was amongst the crown jewels of St. Denis Abbey and was ascribed to
Charlemagne or St Louis. The oldest picture of this crown is on the Mass of
St. Giles. |
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Henri II |
*1519-†1559 1547-1559 |
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|
|||||||||||
François
II |
*1544-† 1560 King of England and
Scotland 1558 King of France 1559 |
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|
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Charles IX |
*1550-†1574 1560-1574 |
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|
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Henri III |
*1551-†1589 King of Poland 1573-1575 King of France 1574-1589 |
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|
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Henri IV |
*1553-†1610 King of Navarra
1562/’72-1610 King of France
1589-1610 |
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Closed Crown of Henry IV (recueil Gaignières, F°. 5,
dessin aquarellé) Bibliothèque nationale de France, Inv. Mss. Fr.
20070 © BnF Sceptre and main de justice of Henri IV (recueil Gaignières, F°. 6,
dessin aquarellé), Bibliothèque nationale de France, Inv. Mss. Fr. 20070 © BnF |
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Louis XIII |
*1601-†1643 1610-1643 |
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Crown and
Sceptre of Louis XIII, on his portrait 1630-‘39 |
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Louis XIV |
*1638-†1715 1643-1715 |
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Crown,
sceptre and main de justice of Louis XIV On
his portrait by Hyacinthe Rigaud, 1701 |
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Louis
XV |
*1710-†1774 1715-1774 |
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Crown of Louis XIV by Rigaud, 1720 |
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Crown and Main de
Justice by Rigaud, 1730 |
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Crown, Main de
Justice and Sceptre of Louis XV by Louis Michel van Loo, 1759 |
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Sceptre, mounted
with a statuette of Emperor Charles IV, and Main de Justice of Louis XV |
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Louis XVI |
*1754-†1792 1774-1792 |
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Crown of Louis
XVI by
Joseph Siffred Duplessis, 1777 Crown, Sceptre
and Main de Justice of Louis XVI By
Antoine François Callet, 1779 |
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Napoleon Bonaparte |
Emperor 1804-1815 |
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A new dynasty began in France on 18 May 1804 when te
senate bestowed the imperial title on General Napoleon Bonaparte. The new emperor
regardeed himself as the successor to the Frankish Emperor Charlemagne, and
aimed to follow in the footsteps of the ancient emperors of Rome. His
coronation was set for 2 December that year. The crown attributed to
Charlemagne had been destroyed in the 1789 French Revolution, so a new crown
had to be made. The new gilded copper crown was made by Guillaume Biennais.
It was studded with 40 antique cameao and intaglio carved stones, including
some from ancient Rome and others dating from the 12th to the 14th century,
which came from the collections of the Musée Central des Arts (now the Louvre
Museum) and had been selected by the director of the museum, Vivant Denon. 1st
Crown made by Guillaume Biannais, 1804 At
the last moment, Napoleon decided that he wanted to be crowned with a golden
laurel wreath, which he viewed as the oldest symbol of power because it dated
back to the Roman emperors. Biennais set to work again and created a wreath
made up of 44 large leaves and 12 smaller ones attached to an oval velvet
headband. The wreath weighed 42 grains (273 g.), and cost 8,000 francs. One
gold leaf from the laurel wreath has been preserved in the collection of the
Château de Fontainebleau since 1984. It was previously owned by Jean-Baptiste
Isabey, a French painter and pupil of Jacques Louis David, who had requested
the jeweller Leferre to craft a casket for one golden leaf which had belonged
to the wreath of Napoleon I in 1852. The
wreath of laurel of Napoleon I made by Guillaume Biennais, By Jacques Louis David, 1805 A
crown also had to be made for the emperor’s wife, Josephine de Beauharnais,
and hers was set mainly with pearls. The pearls came from the collection of
state jewels, the Trésor, which were a legacy of the previous dynasty. This
crown was painted by Jacques Louis David and a replica has been made at the occasion of a
reconstitution of the jewels of the coronation of Napoleon on 28 May 2011 in
the cathedral of Boulogne s/Mer. Much
of Napoleon’s coronation regalia, generally referred to as the Honneurs de l’Empereur, were destroyed
during the reign of Louis XVIII, who came to the throne after Napoleon I had
abdicated and been sent into exile. [11] Heraldic
crown of Napoleon 1806 |
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Louis XVIII |
*1755-†1824 1814-1815 |
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The regalia of Louis XVIII on his portrait by
Jean-Baptiste Paulin Guérin Funerary crowns of Louis XVIII |
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Charles X |
*1757-†1836 1824-1830 |
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Louis Philippe I d’Orléans |
*1773-†1850 Roi des Français
1830-1848 |
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King
Louis-Philippe, did not make a new crown after his accession, however, on the
official portrait of the king painted by Winterhalter, the monarch poses like
his predecessors next to a closed crown ... This is actually the crown of
Louis XVIII funerary regalia. This
crown, represented here, is not totally in keeping with the original, indeed
at the request of the king, the artist represented the crown with, at its
summit, a globe surmounted by a small cross, while the original it was
surmounted by an imposing fleur de lys.
But, the illusion is perfect and the public could believe in a real
crown by contemplating the painting. This crown is now preserved with all the
funerary regalia of Louis XVIII in the treasures of St Denis Regalia of Louis
Philippe On
his portrait by Winterhalter The
fleur de lis replaced by an orb. The sceptre of Louis XV with the statuette
of emperor Charles IV. |
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Napoleon III |
1852-1870 |
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Crown and main de justice of Emperor Napoleon III by Alexandre Cabanel |
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Crown of Empress Eugenie Alexandre-Gabriel Lemonnier (Rouen, 1808-Paris, 1884). Crown of Empress
Eugenie, 1855. Leather, diamonds, emeralds and gold 13 x 15
cm. Paris, musée du Louvre, département des Objets d'art, gift of Mr. and Mrs Roberto, Polo, 1988, inv. OA
11160. © RMN-Grand Palais (musée du Louvre) / Les frères Chuzeville. An abandoned
project: Napoleon III's crowned helmet The Emperor thinking of being crowned, two crowns
were copied on those which served for the coronation of Napoleon I and
Empress Josephine. One larger for the Emperor, the other smaller for Empress Eugenie. The eagles with heraldic
wings gold and enamel, the "Regent", the enormous colored stones
adorning the base of gold; everything was faithfully reproduced in
"false" and was to be used to compose a project indicated by the
emperor. Napoleon III desired that the imperial crown should be placed not on
his head, but on a "helmet": it was difficult to combine! Lemonnier, jeweler of the Crown, charged with
presenting him with various objects, addressed to the famous watercolorist
Eugène Lami who executed a drawing representing the emperor in bust, in
general's costume with the grand cordon of the Légion d’Honneur, wearing the
Rifleman's helmet surmounted by the imperial crown. It was very ungracious. This composition not realizing the dream of the
emperor, he penciled on the corner of the leaf a head of a man with a
mustache, helmeted and crowned according to his taste, but to show the little
case he made of his talent As a draftsman, he scratched out with a pencil the
sketch he had just made! He had counted however without his jeweler who
immediately wrote on the sketch: «Drawn
by Emperor Napoleon III». The idea of the coronation abandoned,
this project was not executed. Only the “false” imperial crowns remained in the place of honor at the crown
jeweler. (Unpublished memories of Madame Isabelle Lemonnier.)
[12] Falize Frères, couronne du centenaire du consultat. Ajaccio, musée national de
la maison Bonaparte. © RMN / Gérard Blot A solid gold crown intended to commemorate
the centenary of the Consulate was commissioned to Falize House (which, on
the death of Lucien Falize, took the name of Falize brothers) and carried out
in 1899 thanks to the subscription of many Corsicans scattered in the world.
Deposited at the Bonaparte House, the gold crown remained there until 1925.
It was then entrusted to the custody of the municipality of Ajaccio for
security reasons. Displayed in her window at City Hall, she was stolen. * Subsequently,
Prince Victor (Jerome's grandson and direct heir to Empress Eugenie) ordered
a replica of it at Falize House. This gilded crown (a little smaller than the
original) was made in 1902 and only remains. Preserved by his family after
the death of the prince in 1921, with many other memories of Napoleon I and
Napoleon III, this replica was offered to the National Museum of the
Bonaparte House in Ajaccio in 1979 by Prince Louis Napoleon (1914). -1997)
and his sister Marie-Clotilde, countess of Witt (1912-1996), with two
photographs of the crown. [13] |
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A part of the royal treasury before its destruction
after the revolution was the so called Sword of Charlemagne (Épée de Charlemagne) with its sheath, today
in the Musée du Louvre. In the Treasury of St. Denis there were at least
four medieval swords, summed up in the inventory of 1534-1634: the sword of archbishop Turpin (First
archbishop de France 8th cent), the sword of St Louis or St Leonard, the sword
of Charles VII or of Jeanne d’Arc and the most famous “Joyeuse” the legendary
sword of Charlemagne destined for the Museum in 1793. In the carolingian era a sword is represented in the
hands of the constable who is positioned on the left hand of the king or
emperor. A sword playing a role at the coronation ceremonies
is for the first time described in 1179 at the coronation of Louis Philippe
in 1179: After a while the king’s crown is put upon
the altar, the sword in the sheath,
including the spurs of gold, a golden sceptre, and a rod of one cubit or
more, crested with an ivory hand. About a hundred years later, at the occasion
or the coronation of Philippe III Hardi in 1271it is writtten by
Guillaume de Nangis: “Entre ce l’en doit auoir appareillé &
mis sus l’autel la couronne du roy, & l’espé & mise dedans son feurre, ses esperons d’or, son
ceptre d’or, & sa verge à la mesure d’vn coude ou de plus, quit ara au
dessus vne main d’yvoire. Without calling the sword “of Charlemagne” anyhow. Another hundred years later a sword is represented
at the coronation ceremonies of Charles V |
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© Hubert de Vries 2019-01-29
[1] Childeric - Clovis. 1500e anniversaire 482-1982.
Tournai 1982. Pp. 70-71
[2] Zuylichem, C.
van, ed. Amsterdam Antwerpen, mcmlv, H. xxiii.
[3] Matthiae,
Guglielmo: Pittura Romana del Medioevo. Vol. I (Secoli IV-X). Roma, 1965. Fig.
130, p. 195. The catacomb of S. Ermete
was restored by pope Hadrian I.
After the removal of the relics of S. Ermete by Pope Gregoriy IV
(827-844) the catacomb became an oratory
with the fresco in the apse.
[4] Hrabanus Maurus: Liber de laudibus Sanctae Crucis. Fulda, ca. 810. Österr. N.B. Wien, Ms. 652, fol. 3. &: Codex Vaticanus Reginensis latinus
124.
[5] http://digital.wlb-stuttgart.de/sammlungen/sammlungsliste/werksansicht/?no_cache=1&tx_dlf%5Bid%5D=1343&tx_dlf%5Bpage%5D=1 Der Stuttgarter Psalter (Württembergische
Landesbibliothek Stuttgart, Bibl. fol. 23) is an illustrated karolingian
manuscript created between 820 and 830 in St German des Prés Abbey near Paris.
The work contains 150 psalms in karologian minuscules. These are interrupted by 316 miniatures in full color.
Thes miniatures illustrate the verses between they are drawn and most of the
time represent a theological explanation.
In this psalmbook there are representations of tables of credence
suggesting that these were still in use in the carolingian era.
[6] Archives départementales de Saône-et-Loire.
Voir l'Inventaire des sceaux de Bourgogne par A. Coulon, publié en 1912 par la
direction des Archives de France. ANF SCEAUX. serie: sceaux ; collection
Bourgogne. MA000001
[7] Pinoteau,
Hervé : Vingt-cinq ans d'études dynastiques. Eds. Christian. Paris, 1982. P. 120
[8] Cited from Ms
Latina 1246, ex Regius 4464, B.N. Paris In: Pinoteau op.cit 1982, pp.. 467-468
[9] Pinoteau, op. cit. 1982 469
[10] Pinoteau, op. cit. 1982 pp. 469-470
[11] Brus, René: Crown
Jewellery and Regalia of the World. Amsterdam 2011. Pp.165-166.
[12] Chaffanjon, Arnaud: La Merveilleuse Histoire
des Couronnes du Monde. Malesherbes,
1980. P. 45