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Journal articles on the topic 'Consort of Louis XIII'

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Published: 29 July 2024

Last updated: 30 July 2024

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1

Le Roy Ladurie, Emmanuel. "L'éducation de Louis XIII." Commentaire Numéro 77, no. 1 (January 1, 1997): 216–20. http://dx.doi.org/10.3917/comm.077.0216.

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2

Buisseret, David, and A. Lloyd Moote. "Louis XIII, the Just." American Historical Review 95, no. 5 (December 1990): 1551. http://dx.doi.org/10.2307/2162784.

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3

Hudon, William V., and A. Lloyd Moote. "Louis XIII, the Just." Sixteenth Century Journal 21, no. 2 (1990): 330. http://dx.doi.org/10.2307/2541111.

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4

Riley, Philip F. "Lloyd Louis XIII: The Just." History: Reviews of New Books 18, no. 2 (October 1990): 71–72. http://dx.doi.org/10.1080/03612759.1990.9945666.

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5

Coraillon, Cédric. "Les deux morts de Louis XIII." Revue d’histoire moderne et contemporaine 55-1, no. 1 (2008): 50. http://dx.doi.org/10.3917/rhmc.551.0050.

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6

Amstutz, Delphine, and Bernard Teyssandier. "1617, Louis XIII prend le pouvoir." Dix-septième siècle 276, no. 3 (2017): 395. http://dx.doi.org/10.3917/dss.173.0395.

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7

Petitfils, Jean-Christian. "Louis XIII, un grand roi méconnu." Versalia. Revue de la Société des Amis de Versailles 13, no. 1 (2010): 159–71. http://dx.doi.org/10.3406/versa.2010.905.

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8

Nédélec, Yves. "Construire en style Louis XIII sous Louis XV. Quatre exemples manchois." Cahier des Annales de Normandie 23, no. 1 (1990): 467–80. http://dx.doi.org/10.3406/annor.1990.4055.

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9

Major, J. Russell, and Elizabeth Wirth Marvick. "Louis XIII: The Making of a King." Journal of Interdisciplinary History 19, no. 2 (1988): 328. http://dx.doi.org/10.2307/204687.

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10

Marvick, Elizabeth. "["Louis XIII: The Making of a King"]." Political Psychology 11, no. 1 (March 1990): 203. http://dx.doi.org/10.2307/3791522.

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11

Wortman, Richard, and Elizabeth Wirth Marvick. "Louis XIII: The Making of a King." Political Psychology 9, no. 3 (September 1988): 545. http://dx.doi.org/10.2307/3791730.

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12

Hamscher, Albert N., and Elizabeth Wirth Marvick. "Louis XIII: The Making of a King." American Historical Review 93, no. 2 (April 1988): 426. http://dx.doi.org/10.2307/1859974.

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13

Le Guillou, Jean-Claude. "Le Domaine de Louis XIII à Versailles." Versalia. Revue de la Société des Amis de Versailles 3, no. 1 (2000): 86–111. http://dx.doi.org/10.3406/versa.2000.1020.

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14

Le Guillou, Jean-Claude. "Les châteaux de Louis XIII à Versailles." Versalia. Revue de la Société des Amis de Versailles 7, no. 1 (2004): 142–67. http://dx.doi.org/10.3406/versa.2004.1097.

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15

Holt, Mack P., and Elizabeth Wirth Marvick. "Louis XIII: The Making of a King." Sixteenth Century Journal 19, no. 3 (1988): 474. http://dx.doi.org/10.2307/2540476.

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16

Kirsop, Wallace. "Louis XIII, the just (review)." Parergon 10, no. 2 (1992): 256. http://dx.doi.org/10.1353/pgn.1992.0094.

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17

Le Guillou, Jean-Claude, and Jean-Yves Dufour. "L’enceinte du château de Louis XIII à Versailles." Bulletin Monumental 166, no. 4 (2008): 305–13. http://dx.doi.org/10.3406/bulmo.2008.2007.

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18

BANDERIER, G. "AGRIPPA D'AUBIGNE ET LOUIS XIII: UN TEXTE INEDIT." French Studies Bulletin 22, no. 79 (January 1, 2001): 4–8. http://dx.doi.org/10.1093/frebul/22.79.4.

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19

Heyer, John Hajdu. "Sacred Music from the Era of Louis XIII." Notes 68, no. 1 (2011): 176–79. http://dx.doi.org/10.1353/not.2011.0087.

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20

Ferretti, Giuliano. "Le « peuple » sous la monarchie de Louis XIII." Cahiers d'études romanes, no. 35 (December 20, 2017): 309–20. http://dx.doi.org/10.4000/etudesromanes.6027.

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21

McGowan, Margaret M. "Greer Garden (ed.), La Délivrance de Renaud. Ballet dansé par Louis XIII en 1617. Ballet danced by Louis XIII in 1617." Dance Research 34, no. 2 (November 2016): 269–71. http://dx.doi.org/10.3366/drs.2016.0175.

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22

Bastet, Delphine. "Étude iconographique des Bacchanales Richelieu de Nicolas Poussin." Studiolo 4, no. 1 (2006): 167–86. http://dx.doi.org/10.3406/studi.2006.1168.

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Cet article étudie l'iconographie du décor du cabinet du roi Louis XIII au château de Richelieu, présentant conjointement les tableaux du Studiolo d'Isabelle d'Este entrés dans la collection du cardinal de Richelieu, les trois triomphes de personnages de la légende de Bacchus commandés à Nicolas Poussin dans les années 1630 et une allégorie de La Libéralité de Titus peint par Jacques Stella. Un bilan des interprétations auxquelles ce décor a donné lieu est dressé, puis une nouvelle lecture iconographique est proposée. Elle se base sur l'examen des interprétations existantes dans la peinture et la littérature du thème du Triomphe de Bacchus et sur la consultation des thèmes retenus dans les ballets ou les panégyriques adressés à la gloire du roi Louis XIII. Ces éléments permettent d'avancer que le décor rend hommage aux victoires militaires de Louis XIII au travers du personnage de Dionysos revenant de la conquête des Indes et célèbre le retour en France de la paix et de l'abondance, consécutif à la grande valeur militaire du roi.

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23

Bennett, Peter. "Hearing King David in Early Modern France: Politics, Prayer, and Louis XIII's Musique de la Chambre." Journal of the American Musicological Society 69, no. 1 (2016): 47–109. http://dx.doi.org/10.1525/jams.2016.69.1.47.

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Scholars of Louis XIV have long recognized the “representational” strategy employed by the composers of the Chapelle Royale (and those who designed its liturgy), in which the words of the psalms (the work of poet-musician King David) allied to an elaborate musical setting (the grand motet) attested to the king's strength and power in both spiritual and temporal domains. By contrast, in the absence of a comparable repertory inspired by the psalms from an earlier period, the role of King David at the court of Louis XIII has received almost no attention. Yet, as this article shows, the biblical king did indeed play a central role at the court of Louis XIII, albeit in unexpected ways. The “public” voice of David—the voice of a warrior who defeated his enemies—spoke outside the confines of the court in orations, pamphlets, and psalm paraphrases (with simple musical settings), celebrating, in particular, the king's victory over the Huguenots at La Rochelle in 1628. On the other hand, study of the psalm-texted works composed for Louis XIII's Musique de la Chambre (recently identified in Bibliothèque Nationale de France, MS Vma rés. 571) reveals a “private” voice, a voice that reflected Louis's anxiety and penitence in the years around 1620 and that was heard only by the king's closest allies at court. By contextualizing this “private” voice it is also possible to account for the rise of the Domine salvum fac regem, a musical genre that originated in the same circumstances, and to suggest that Louis XIII and Louis XIV in fact had a common interest in David as supplicant.

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24

Watts, Derek A., and David Clarke. "Pierre Corneille: Poetics and Political Drama under Louis XIII." Modern Language Review 89, no. 3 (July 1994): 767. http://dx.doi.org/10.2307/3735187.

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25

Niderst, Alain. "Agrippa et Constant d'Aubigné au temps de Louis XIII." Albineana, Cahiers d'Aubigné 1, no. 1 (1988): 41–47. http://dx.doi.org/10.3406/albin.1988.1260.

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26

Hoarau, Fabrice. "Le 24 avril, acte de naissance de Louis XIII ?" Dix-septième siècle 276, no. 3 (2017): 429. http://dx.doi.org/10.3917/dss.173.0429.

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27

Le Guillou, Jean-Claude. "Le Jeu de Paume de Louis XIII à Versailles." Versalia. Revue de la Société des Amis de Versailles 9, no. 1 (2006): 130–41. http://dx.doi.org/10.3406/versa.2006.864.

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28

Quaglia, Claire. "Les figures de Louis XIII et de Louis XIV dans les Mémoires de Saint-Simon." Mémoires, mémorialistes, no. 4 (June 23, 2015): 55–67. http://dx.doi.org/10.54563/gfhla.189.

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29

Bakos, Adrianna E. ""Qui nescit dissimulare, nescit regnare": Louis XI and Raison d'etat During the Reign of Louis XIII." Journal of the History of Ideas 52, no. 3 (July 1991): 399. http://dx.doi.org/10.2307/2710044.

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30

Canova-Green, Marie-Claude. "L'entrée de Louis XIII dans Marseille le 7 novembre 1622." Dix-septième siècle 212, no. 3 (2001): 521. http://dx.doi.org/10.3917/dss.013.0521.

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31

Charlet, Christian. "La Monnaie de Grenoble sous le règne de Louis XIII." Revue numismatique 6, no. 32 (1990): 109–70. http://dx.doi.org/10.3406/numi.1990.2022.

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32

Pavesio, Monica. "Le Roman au temps de Louis XIII, dir. F. Greiner." Studi Francesi, no. 193 (LXV | I) (June 1, 2021): 211–12. http://dx.doi.org/10.4000/studifrancesi.43818.

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33

Kettering, S. "Household appointments and dismissals at the court of Louis XIII." French History 21, no. 3 (September 3, 2007): 269–88. http://dx.doi.org/10.1093/fh/crm017.

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34

Riggs, Larry W. "David Clarke.Pierre Corneille: Poetics and Political Drama Under Louis XIII." Romance Quarterly 43, no. 2 (April 1996): 118–19. http://dx.doi.org/10.1080/08831157.1996.10545331.

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35

Goldstein, Carl. "MIXED MESSAGES: INTERPRETING BOSSE'S "LOUIS XIII AS THE HERCULES GALLICUS"." Source: Notes in the History of Art 26, no. 2 (January 2007): 9–15. http://dx.doi.org/10.1086/sou.26.2.23208070.

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36

Bryant, Lawrence M. "Louis XIII: The Making of a King. Elizabeth Wirth Marvick." Journal of Modern History 61, no. 3 (September 1989): 609–11. http://dx.doi.org/10.1086/468322.

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37

J. Michael Hayden. "Louis XIII: The Making of a King (review)." Biography 12, no. 1 (1989): 68–70. http://dx.doi.org/10.1353/bio.2010.0497.

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38

Androutsos, G., and M. Karamanou. "Louis XIII (1601–1643) et Anne d’Autriche (1601–1666): à propos de l’hypofertilité du couple royal et de la sexualité perturbée de Louis XIII." Basic and Clinical Andrology 19, no. 3 (September 2009): 173–79. http://dx.doi.org/10.1007/s12610-009-0028-9.

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39

Mallinson, G. J., and Colette Scherer. "Comedie et societe sous Louis XIII: Corneille, Rotrou et les autres." Modern Language Review 80, no. 1 (January 1985): 162. http://dx.doi.org/10.2307/3729414.

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40

Tarassuk, Leonid. "The Cabinet d'Armes of Louis XIII: Some Firearms and Related Problems." Metropolitan Museum Journal 21 (January 1986): 65–122. http://dx.doi.org/10.2307/1512825.

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41

Canova-Green, Marie-Claude. "Révolte et imaginaire : le voyage de Louis XIII en Provence (1622)." Dix-septième siècle 212, no. 3 (2001): 429. http://dx.doi.org/10.3917/dss.013.0429.

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42

Chiffoleau, Jacques. "Saint Louis, Frédéric II et les constructions institutionnelles du XIII siècle." Médiévales 17, no. 34 (1998): 13–23. http://dx.doi.org/10.3406/medi.1998.1409.

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43

Bianchi, Serge. "La presse et le pouvoir de Louis XIII à Napoléon Ier." Annales historiques de la Révolution française, no. 325 (September 1, 2001): 138–40. http://dx.doi.org/10.4000/ahrf.1149.

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44

ALLOTT, T. "Review. Norman Satirists in the Age of Louis XIII. Abraham, Claude." French Studies 39, no. 3 (July 1, 1985): 331. http://dx.doi.org/10.1093/fs/39.3.331.

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45

Baker, Susan Read. "Pierre Corneille: Poetics and Political Drama under Louis XIII. David Clarke." Modern Philology 92, no. 2 (November 1994): 240–43. http://dx.doi.org/10.1086/392239.

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46

Valin, Sabrina. "L’organisation progressive des projets de jetons sous les règnes de Louis XIII et de Louis XIV (depuis 1610 jusqu’en 1661)." Revue numismatique 6, no. 177 (2020): 333–63. http://dx.doi.org/10.3406/numi.2020.3490.

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Bien avant la fondation de la Petite Académie en 1663, une organisation de savants établissait déjà une histoire du roi à partir des jetons. Les prémices de cette institutionnalisation sont visibles à travers deux sources manuscrites : le Recueil de devises ou projets de jetons ou médailles et le Recueil d’emblèmes et de devises d’Hector Le Breton. Comparées aux jetons réellement frappés de Louis XIII, elles démontrent que l’activité des historiens, des lettrés, des dessinateurs et des graveurs de cette époque était déjà centrée autour de la gloire du roi.

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47

Bryant, Mark. "‘Romancing the Throne’: Madame de Maintenon's Journey from Secret Royal Governess to Louis XIV's Clandestine Consort, 1652–84." Court Historian 22, no. 2 (July 3, 2017): 123–50. http://dx.doi.org/10.1080/14629712.2017.1388703.

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48

Calhoun, Alison. "Affective Sovereignty in Louis XIII's Royal Ballet." Nottingham French Studies 55, no. 3 (December 2016): 343–61. http://dx.doi.org/10.3366/nfs.2016.0159.

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In early modern France, there was a critical tension between monarchical conduct, the development of Absolutism and a concurrent emergence of what the anglophone world would today call ‘emotion’. This article would like to explore this tension from the perspective of performance studies by looking at royal ballet as a form of affective sovereignty. Although royal ballet provided the perfect conditions for kings and their court members to stage sovereignty, under Louis XIII there is an unusual disruption of this view of the ballet as the public transmission of an ideal crown. In an alarming break from ideals of royal dignity, Louis and his fellow dancers surprise the court with their attachment to dance and their affection (and repulsion) for each other, leaving the ballet librettist scrambling to spin the ballet programnes into politically viable expressions of sovereign sentiment.

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49

Geyssant, Jeannine. "L'énigme d'un gobelet en verre gravé à l'effigie du roi Louis XIII." Sèvres. Revue de la Société des amis du Musée national de la céramique 27, no. 1 (2018): 36–42. http://dx.doi.org/10.3406/sevre.2018.1167.

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50

Janik, Antonia. "L'entrée et le séjour de Louis XIII à Toulouse en novembre 1621." Annales du Midi : revue archéologique, historique et philologique de la France méridionale 108, no. 216 (1996): 421–39. http://dx.doi.org/10.3406/anami.1996.2538.

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