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Colbert, though unlike the first and the third drafts an image does not appear to have survived. The third and final draft, which had eliminated the curved wings that
Bernini initially envisioned, was praised by Louis, who had held a formal ceremony to lay the cornerstone of the new façade. However, as soon as Bernini left France to return to Rome, Louis ordered the construction to stop.
358:, the Roman hero, the statue was moved to the end of the Lake of the Swiss Guards at the opposite end of the palace grounds from the Basin of Neptune. The Statue was positioned near the pool, which symbolizes the abyss that Marcus Curtius throws himself into. Rather than being immediately rejected, the statue was actually placed in several areas of prominence over a 16-year period.
477:, and the governor of all royal commissions of sculpture, carved the head and the horseâs support, adding a helmet and flames while changing the face. This narrative was viewed as better fitting the contortions of the horse, which did not depict a high level of horsemanship. Bernini had opted for movement instead of poise which was not well received by Louis XIV
1287:
432:
in mind, with both horses striking similar poses and neither riders holding reins or stirrups. Whereas
Constantine's gestures were raised above him to convey the vision of the Holy Cross and God above him, the Sun Kingâs gestures are grounded to convey his mundane and non-divine power in an act that
269:
also stated that
Bernini's plans to place the King's own room in the outwardly protruding central pavilion would be a noisy location due to its close proximity to the nearby street and foot traffic. Following the rejection of the first draft, Bernini sent in a second draft which too was rejected by
385:
Following the failure of
Bernini's stay in Paris, French attitudes toward Italian culture changed, a shift in attitude that for the first time since the Renaissance recognized that a national self-consciousness and self confidence north of the Alps had developed, an attitude that developed as a
261:
architect who had been hired by Louis XIV, was inadequate, deciding instead to create his own designs, citing his own observations of palaces throughout his career. Bernini would eventually propose to abandon Le Vauâs ongoing project, instead insisting that he would provide the design details
342:
recorded that the King had resolved to remove the statue from the grounds and to destroy it. The statue, however, was not destroyed, but moved to another location on the main axis of the
Orangerie, south of the pool. In September 1686, Berniniâs statue was displaced by
305:, or âthe rising of the august oneâ, a term that identifies a ruler with the sun. The sun was also one of many symbols for Pope Urban VIII, Berniniâs greatest patron. In his time serving Urban VIII, Bernini was involved in the design of a frescoed vault within the
351:. The statue was moved to a location on the far side of the newly constructed Neptune Basin, the most northern point on the north-south axis of the Garden. It was placed on a high pedestal. This location was not one of obscurity, but of prominence.
469:
that only the sacrifice of Rome's greatest possession would close. As a result
Curtius determined that Rome's most prized possession with the bravery of its soldiers and hurled himself into the abyss while riding his horse, closing it.
377:, making corrections to facial characteristics created by Bernini which the French king interpreted as a slight against him, creating a more somber expression and raising the forehead to a more 'suitable' height.
325:
by boat. In March 1685, the statue arrived in Paris. The statue was then shipped to
Versailles during August and September, arriving at the palace on October 1, 1685. By the ninth, the statue was placed in the
286:, and Pierre Cottard. Despite tradition, Bernini was the first in France to design an equestrian statue to be freestanding with a rearing horse rather than attached to building. The precedent for this was
480:
Two major elements were changed; the flowing hair at the back of Louis XIVâs head was converted into the casque of a crested helmet and the flags were converted into a mass of flames at the horseâs feet.
298:(1642) which had been considered to be the first equestrian monument displaying a rearing rider since antiquity. This emulation reflected the Franco-Spanish rivalry during the reign of King Louis XIV.
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226:. As a result, Louis XIV invited him to come to France to work in the name of the French monarchy. Bernini accepted this invitation, traveling to Paris to construct an
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In many images that capture the likeness of Louis XIV, the principal component was the metaphor of Louisâ reign, the sun, which conforms to the tradition of the
118:
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1886:
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Bernini's first concept for the planned east façade, which placed a heavy emphasis on curved wings in the
Italian style, was almost immediately rejected.
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1387:
222:
For much of the 17th century, Bernini was regarded as the premier artist of the era, serving as the primary source of artistic works commissioned by
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In spite of Louis's public rejection of the equestrian statue, its form inspired future royal portraits of the King, including a marble creation by
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440:, the statue of Louis XIV had been carved from a single block of stone, to be 'the largest ever seen in Rome," according to early biographers.
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Bernini followed French tradition creating equestrian statues of French kings in their own residences, with notable examples by
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The day after his arrival in Paris on June 3, 1665, Bernini concluded that the work that had been already done on the Louvre by
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Orangerie at
Versailles with the Lake of the Swiss Guards. Bernini's sculpture was placed at the very far end of the lake.
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Berger, Robert W. (1981). "Bernini's Louis XIV Equestrian: A Closer
Examination of Its Fortunes at Versailles".
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In his process to construct the equestrian statue, Bernini referred back to one of his earlier works, the
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On 14 November 1685, Louis XIV saw the statue for the first time in the orangerie,
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The equestrian statue of Louis XIV was designed with his earlier work in Rome on
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in the mid-1660s, but it did not start until later in the decade, when back in
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was extremely unhappy with the result and had it placed in a corner of the
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Zarucchi, Jeanne (Winter 2006). "Berenini and Louis XIV: A Duel of Egos".
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Zarucchi, Jeanne (Winter 2006). "Bernini and Louis XIV: A Duel of Egos".
826:
Zarucchi, Jeanne (Winter 2006). "Bernini and Louis XIV: A Duel of Egos".
648:
Zarucchi, Jeanne (Winter 2006). "Bernini and Louis XIV: A Duel of Egos".
605:
Zarucchi, Jeanne (Winter 2006). "Bernini and Louis XIV: A Duel of Egos".
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in which Divine Wisdom appears with the symbol of the sun on her breast.
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In 1687, Francois Girardon was tasked with amending Berini's sculpture
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is a sculpture designed and partially executed by the Italian artist
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1060:
The Life of Gian Lorenzo Bernini. Trans. and ed. by Franco Mormando
423:, which began construction in 1654 and was completed in late 1669.
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depicting Louis XIV on horseback which sits in the Salon of War at
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and altered into an equestrian sculpture of the ancient Roman hero
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Opdycke, Leonard (1956). "An Equestrian Statuette of Louis XIV".
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Bulletin of the Detroit Institute of Arts of the City of Detroit
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186:
1301:
1178:
Bernini in France: An Episode in Seventeenth-Century History
1062:. University Park: Pennsylvania State University Press.
1043:. University Park: Pennsylvania State University Press.
1121:
Gian Lorenzo Bernini: The Sculptor of the Roman Baroque
981:
P., R. (1925). "Equestrian Statue of Louis Xiv Given".
189:. It was not completed until 1684 and then shipped to
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A transitory star: the late Bernini and his reception
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The Goat Amalthea with the Infant Jupiter and a Faun
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In 1702, after the transformation from Louis XIV to
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433:Bernini termed as an âact of majesty and command'.
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321:In the fall of 1684, the statue was shipped from
461:the equestrian statue was re-purposed to depict
181:. Bernini first discussed the project while in
1595:Busts of Cardinals Agostino and Pietro Valier
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8:
201:. Soon after, the sculpture was modified by
1679:Busts of Paolo Giordano and Isabella Orsini
475:AcadĂŠmie royale de peinture et de sculpture
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1987:
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1292:Statue of Louis XIV by Gianlorenzo Bernini
1197:. Berlin ; Boston: De Gruyter. 2015.
415:Gian Lorenzo Bernini, Costantino, 1670, 02
27:
18:
1236:– via Institute for Advanced Study.
394:, resulting in Bernini's redesign of the
1161:. Chicago: University of Chicago Press.
1651:Two Busts of Cardinal Scipione Borghese
1532:Bust of Monsignor Pedro de Foix Montoya
512:
402:Culmination of themes in Bernini's work
1553:Bust of Cardinal Escoubleau de Sourdis
1511:Bust of Alessandro Peretti di Montalto
753:"Argos. Statue base, 1st cent. A.D.".
1142:. New York: H.N. Abrams, Publishers.
919:
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496:List of works by Gian Lorenzo Bernini
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398:never rising above its foundations.
317:Transportation and arrival in France
1929:Equestrian Statue of King Louis XIV
1753:Confessio of Santa Francesca Romana
1658:Tomb of Countess Matilda of Tuscany
1539:Bust of Cardinal Roberto Bellarmine
1243:Source: Notes in the History of Art
828:Source: Notes in the History of Art
650:Source: Notes in the History of Art
607:Source: Notes in the History of Art
531:Source: Notes in the History of Art
174:Equestrian Statue of King Louis XIV
154:The Vision of Constantine (Bernini)
22:Equestrian Statue of King Louis XIV
2180:Sculptures by Gian Lorenzo Bernini
1216:. London: Oxford University Press.
14:
1887:Statue of King Philip IV of Spain
1367:Bust of Giovanni Battista Santoni
421:Vision of the Emperor Constantine
330:, in one of the galleries there.
16:Sculpture by Gian Lorenzo Bernini
1546:Bust of Cardinal Giovanni Dolfin
1285:
1223:"The Art of Gianlorenzo Bernini"
926:"The Art of Gianlorenzo Bernini"
897:"The Art of Gianlorenzo Bernini"
871:"The Art of Gianlorenzo Bernini"
729:"The Art of Gianlorenzo Bernini"
700:"The Art of Gianlorenzo Bernini"
574:"The Art of Gianlorenzo Bernini"
2025:Fountains of St. Peter's Square
1855:Saints Jerome and Mary Magdalen
1732:Memorial to Alessandro Valtrini
1567:Bust of Cardinal Melchior Klesl
1455:Bust of Carlo Antonio del Pozzo
1388:The Martyrdom of Saint Lawrence
952:Annual Report (Fogg Art Museum)
386:result of the rejection of the
1901:Angel with the Crown of Thorns
1409:Aeneas, Anchises, and Ascanius
1180:. Princeton University Press.
1159:Bernini: His Life and His Rome
1102:Bernini: Genius of the Baroque
473:Girardon, the director of the
296:Parque del Buen Retiro, Madrid
1:
2096:Self-Portrait as a Mature Man
2089:Saint Andrew and Saint Thomas
1908:Angel with the Superscription
1104:. London: Thames and Hudson.
1039:Baldinucci, Filippo (2006) .
763:10.1163/1874-6772_seg_a60_346
2175:Equestrian statues in France
2075:Self-Portrait as a Young Man
1739:Memorial to Ippolito Merenda
2185:Sculptures of men in France
2082:Portrait of Pope Urban VIII
1602:Memorial to Carlo Barberini
1581:Bust of Francesco Barberini
1574:Two Angels in Sant'Agostino
1214:Bernini's bust of Louis XIV
1058:Bernini, Domenico (2011) .
995:10.1086/BULLDETINST41500298
491:Bust of Louis XIV (Bernini)
2206:
2015:Palazzo di Propaganda Fide
1954:Tomb of Pope Alexander VII
1947:Blessed Ludovica Albertoni
1813:Bust of Francesco I d'Este
1725:Bust of Cardinal Richilieu
1672:Bust of Costanza Bonarelli
1560:Bust of Antonio Cepparelli
1497:Charity with Four Children
1212:Wittkower, Rudolf (1951).
1138:Scribner, Charles (1991).
1119:Wittkower, Rudolf (1955).
390:and the popularization of
2130:
2069:
2045:Fontana dei Quattro Fiumi
1990:
1827:The Vision of Constantine
1686:Statue of Pope Urban VIII
1644:Statue of Carlo Barberini
1588:Bust of Antonio Barberini
1437:Bust of Camilla Barbadoni
1416:Bust of Giovanni Vigevano
1374:A Faun Teased by Children
1335:
1255:10.1086/sou.25.2.23208102
1157:Mormando, Franco (2011).
1123:. London: Phaidon Press.
840:10.1086/sou.25.2.23208102
662:10.1086/sou.25.2.23208102
619:10.1086/sou.25.2.23208102
543:10.1086/sou.25.2.23208102
429:The Vision of Constantine
407:The Vision of Constantine
274:Construction and creation
26:
2000:Sant'Andrea al Quirinale
1961:Statue of Pope Clement X
1915:Bust of Gabriele Fonseca
1806:Busts of Pope Innocent X
1525:Busts of Pope Urban VIII
1077:Hibbard, Howard (1990).
755:Brill Scholarly Editions
349:La Renommee de Louis XIV
164:Bust of Gabriele Fonseca
2145:Luigi Bernini (brother)
2140:Pietro Bernini (father)
2030:Fontana della Barcaccia
1873:Statue of Alexander VII
1781:Ecstasy of Saint Teresa
1746:Memorial to Maria Raggi
1623:Sleeping Hermaphroditus
1609:Tomb of Pope Urban VIII
1483:Bust of Pope Gregory XV
1100:Avery, Charles (1997).
519:Wittkower 1955, p. 293.
2135:Domenico Bernini (son)
1880:Busts of Alexander VII
1841:Habakkuk and the Angel
1767:Truth Unveiled by Time
1693:Bust of King Charles I
1469:The Rape of Proserpina
1221:Lavin, Irving (2007).
924:Lavin, Irving (2007).
895:Lavin, Irving (2007).
869:Lavin, Irving (2007).
727:Lavin, Irving (2017).
698:Lavin, Irving (2017).
572:Lavin, Irving (2017).
416:
366:
340:Philippe de Courcillon
134:48.804389°N 2.123139°E
1490:St. Peter's Baldachin
1176:Gould, Cecil (1982).
438:Constantine the Great
436:Unlike the statue of
414:
381:After Bernini's visit
380:
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267:Jean-Baptiste Colbert
199:gardens of Versailles
2190:Palace of Versailles
1894:Elephant and Obelisk
1848:Chair of Saint Peter
1700:Bust of Thomas Baker
1329:Gian Lorenzo Bernini
1294:at Wikimedia Commons
954:(1956/1957): 36â44.
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328:Versailles Orangerie
179:Gian Lorenzo Bernini
99:Palace of Versailles
40:Gian Lorenzo Bernini
2035:Fontana del Tritone
1968:Bust of the Saviour
1834:Daniel and the Lion
1402:Bust of Pope Paul V
1140:Gianlorenzo Bernini
1085:. London: Penguin.
1041:The Life of Bernini
195:Louis XIV of France
139:48.804389; 2.123139
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89:Louis XIV of France
2005:Lateran Baptistery
1995:St. Peter's Square
1774:Bust of Pope Leo X
1462:Neptune and Triton
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292:Philip IV of Spain
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2103:Portrait of a Boy
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2010:Palazzo Barberini
1977:
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1922:Bust of Louis XIV
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1476:Apollo and Daphne
1381:Boy with a Dragon
1290:Media related to
459:François Girardon
392:French classicism
307:Palazzo Barberini
246:Bernini in France
228:equestrian statue
203:François Girardon
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791:(2): 232â248.
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463:Marcus Curtius
457:When recut by
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356:Marcus Curtius
345:Domenico Guidi
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2020:Santa Bibiana
2018:
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2013:
2011:
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2003:
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1996:
1993:
1992:
1989:
1986:
1984:and fountains
1980:
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1338:List of works
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1204:9783110360080
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1187:9780691039947
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1168:9780226538525
1164:
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1103:
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1092:9780140135985
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448:
444:Later changes
443:
441:
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431:
430:
424:
422:
413:
406:
399:
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396:Louvre Palace
393:
389:
378:
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333:
331:
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323:Civitavecchia
316:
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240:Louvre Palace
237:
233:
232:portrait bust
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63:
59:
48:
44:
41:
38:
34:
30:
25:
20:
2108:
2101:
2094:
2087:
2080:
2073:
1982:Architecture
1966:
1959:
1952:
1945:
1928:
1927:
1920:
1913:
1906:
1899:
1892:
1885:
1878:
1871:
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1523:
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1495:
1488:
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1467:
1460:
1453:
1435:
1430:Blessed Soul
1428:
1421:
1414:
1407:
1400:
1393:
1386:
1379:
1372:
1365:
1358:
1249:(2): 32â38.
1246:
1242:
1233:
1229:
1213:
1194:
1177:
1158:
1139:
1120:
1101:
1080:
1059:
1040:
1030:Bibliography
989:(7): 78â79.
986:
982:
976:
951:
945:
936:
932:
907:
903:
890:
881:
877:
864:
831:
827:
821:
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754:
748:
739:
735:
710:
706:
653:
649:
643:
610:
606:
584:
580:
567:
537:(2): 32â38.
534:
530:
524:
515:
479:
472:
454:
452:
435:
427:
425:
420:
418:
384:
368:
353:
348:
337:
320:
302:
300:
288:Pietro Tacca
277:
264:
252:Louis Le Vau
249:
221:
173:
172:
170:
122:48°48â˛15.8âłN
1423:Damned Soul
467:Roman Forum
254:, a French
137: /
111:Coordinates
2164:Categories
1627:(mattress)
587:: 533â534.
502:References
375:Versailles
236:new façade
218:Invitation
125:2°7â˛23.3âłE
103:Versailles
2063:Paintings
1345:Sculpture
1271:191405674
1019:222810151
1003:0899-0271
960:0362-7861
856:191405674
834:(2): 38.
805:0004-3079
678:191405674
656:(2): 34.
635:191405674
613:(2): 33.
559:191405674
449:Recutting
334:Reception
262:himself.
256:Classical
193:in 1685.
72:Sculpture
61:Catalogue
1263:23208102
1011:41500298
848:23208102
670:23208102
627:23208102
551:23208102
485:See also
95:Location
2124:Related
1081:Bernini
968:4301291
813:3050114
294:in the
259:Baroque
238:of the
213:History
85:Subject
53:1665â84
51: (
49:1665â84
1820:Corpus
1707:Medusa
1269:
1261:
1201:
1184:
1165:
1146:
1127:
1108:
1089:
1066:
1047:
1017:
1009:
1001:
966:
958:
939:: 582.
910:: 592.
884:: 525.
854:
846:
811:
803:
742:: 526.
713:: 575.
676:
668:
633:
625:
557:
549:
230:and a
183:France
80:Marble
77:Medium
36:Artist
1939:1670s
1865:1660s
1798:1650s
1717:1640s
1636:1630s
1504:David
1447:1620s
1352:1610s
1267:S2CID
1259:JSTOR
1226:(PDF)
1015:S2CID
1007:JSTOR
964:JSTOR
929:(PDF)
900:(PDF)
874:(PDF)
852:S2CID
844:JSTOR
809:JSTOR
732:(PDF)
703:(PDF)
674:S2CID
666:JSTOR
631:S2CID
623:JSTOR
577:(PDF)
555:S2CID
547:JSTOR
507:Notes
191:Paris
1199:ISBN
1182:ISBN
1163:ISBN
1144:ISBN
1125:ISBN
1106:ISBN
1087:ISBN
1064:ISBN
1045:ISBN
999:ISSN
956:ISSN
801:ISSN
311:Rome
187:Rome
171:The
69:Type
46:Year
1251:doi
991:doi
836:doi
793:doi
759:doi
658:doi
615:doi
539:doi
347:âs
309:in
2166::
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1257:.
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906:.
902:.
880:.
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850:.
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832:25
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993::
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660::
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617::
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55:)
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