Perrine Dugué - the saint with tricolour wings

Woodcut by Pierre-François Godard, engraved in Alençon and dated 1796.
From a popular edition of the Complaintes en l'honneur de Perrine Dugué. [Wikimedia] 
Posted by J.P. Morteveille, Vice President of the Amis de Ste-Suzanne/Musée de l'auditoire.
 

Christians, come and listen/ To the story of Perrine Dupré [sic]/Aged only seventeen /

This pretty young girl /Has been reduced to a memory.

On the heath near Blandouet/ On her way to Saint-Suzanne/ 

A villain stopped her/ Eagar for mischief/He wanted to abuse her

Seized by fear/ She said to him in tears/ You treacherous and evil heart!/ 

I would a hundred times rather die/ Than lose my poor soul/ By consenting to your desire

Immediately the wretch/ Knocked her to the ground with great blows/ 

Cracking open her skull/ Like an enraged beast,/Then crushing her under his horse's hooves.

In the spot where he left her/ Where she is buried/ God has created an oracle/

 To show her sanctity/ She often performs miracles/ For those who visit her

By praying to her with devotion/ She will obtain relief/ For all our afflictions and sorrows/

Let us pray to God on her tomb/He will show acceptance of our prayers/ By a new miracle.

In his article of 2012 on the "martyrs" of the Revolution,  which I translated in a previous post, Jean-Clément Martin draws attention to the spontaneous veneration of "patriot saints" which grew up alongside Catholic and Counter-Revolutionary commemorations in the frontier zones of war-torn Brittany.  An odd phenomenon this, which provides an intriguing insight into popular beliefs, and challenges the conventionally accepted boundaries between religious sentiment and allegiance to the Revolution.

The most celebrated examples concern two young women, Perrine Dugué and Marie Martin, both probably murdered by the Chouans. Of the two, Perrine Dugué, the so-called "Saint with tricolour wings", is the better documented. Sources for her life include not only several contemporary reports, but also three printed Complaintes or popular ballads rediscovered by Léon de La Sicotière in the 1890s.  

Rococo dreams

To enjoy for Christmas....

These gorgeous, beautifully re-imagined, rococo interiors are by Vicente García de Paredes, a Spanish artist who settled in Paris in 1884 where he specialised in 18th-century genre scenes.  His watercolours were very popular at the time and were widely reproduced, notably in Le Monde Illustré. They appear regularly at auction.

"Her Best Hand" - sold by Sotheby's in 2018

"The Raconteur" - sold by Christie's in 2015

The posthumous history of King Stanislas

Cenotaph of King Stanislas, Église Notre-Dame-de-Bonsecours, Nancy

Death and autopsy

It had taken King Stanislas eighteen long days to die.  

Immediately following his death, he was laid out on his bed, with his face and hands uncovered, surrounded by candles.  Six canons from Lunéville sang prayers around the body. The doors to the apartment remained open and people were free to enter.

The following day, Monday 24th February, at six in the morning, the body was transported into the "chambre de la balustrade" (which room was this?  I'm not sure). Here it was exposed on a lit de parade, again surrounded by candles.  The clergy and Court officials were seated nearby with careful attention to rank: on the right was an armchair to accommodate the Cardinal de Choiseul-Beaupré, Stanislas's Grand Almoner, with stools for his confessor Father Louskina and the other palace chaplains; on the left were folding chairs for the First Gentlemen of the Bedchamber and principal officers of the Royal Household.  Beyond the balustrade two altars had been set up, draped in black, where masses could be said. Six members of the regular clergy sang psalms continuously.

The death of King Stanisłas

"Tout ce qui est humain ne fait espérer de bon"
(All that is human gives no hope for good)

King Stanislas to Marie Leszczyńska, 3rd February 1766 
[probably the last words he ever wrote in his own hand]

The death of Stanislas.  From an illustration by Ksawery Pillati for the collection "Images of Polish princes and kings" (1888). [Wikimedia]

On Wednesday 5th February 1766, at about half-past-seven in the morning, the aged Stanisłas Leszczyński, former King of Poland, now Duke of Lorraine, was alone in his chamber at Lunéville when he accidentally fell into the open fire and sustained serious burns.  Despite the best endeavours of his doctors, he suffered terrible agonies and died eighteen days later.  Both at the time and subsequently, there were rumours of negligence on the part of Stanislas's attendants.  However, since there were no eye-witnesses, what happened can never be known with absolute certainty.

An urban vision: Saint-Dié-des-Vosges

Saint-Dié was rebuilt without delay on the best conceived of plans, with the wide, clean, spacious, strictly aligned streets that we see today. The layout reproduces the regular beauty of Nancy and, with its modern pavements and  continually flowing fountains, makes this one of the most attractive town in the Vosges.  

Charleton, Les Vosges pittoresques et historiques (1841), p.225. 

A search for traces of  King Stanislas in Lorraine takes us, rather unexpectedly, to Saint-Dié-des-Vosges, ninety kilometres to the south-east of Nancy.  Under Stanislas's benevolent gaze, following a devastating fire in 1757,  this little town deep in the Vosges Mountains became the site of a noteworthy essay in Enlightenment urban planning.

Château de la Favorite - heritage in danger

Une Favorite - "a woman who costs a lot, but gives great pleasure"

This photo and the those below are from Wikimedia, taken in 2011 

This sad little building, just a stone's throw away from the Château in Lunéville, is the "Petit  Château" or "Château de la Favorite",  once the residence of Leopold's youngest son, Charles-Alexander. Like the palace itself, it is the work of the renowned 18th-century architect Germain Boffrand.  In 1999 the property was sold off by the municipality, and, since that time, "it has not ceased to deteriorate" . 

Stanislas's gardens revisited

Since the devastating fire of 2003 at Lunéville, there has been a renewed academic interest not only in re-imagining but also in re-conceptualising the lost gardens of King Stanislas. This post summarises a lecture given at the Institut Européen des Jardins et Paysages in 2022 by Thierry Franz, director of  the Musée du Château, which discusses some of the latest research.

Thierry Franz, "Les jardins de Lunéville sous S. Leszczynski : de folies en fabriques, un testament philosophique?"  Archives départementale du Calvados/Institut Européen des Jardins & Paysages, 01.03.2022. [YouTube video]

https://youtu.be/n35OCdg6uhc?si=tXNujouqNgyKoauO

[11: 35] A princely gardener of the Rococo era

Jean Pillement (?), Portrait of Stanislas in a
crown of flowers, c.1760-70. Musée lorrain, Nancy.

Thanks largely to the work of the art historian Monique Mosser, the era of the Rococo is now widely accepted as a significant phase in the development of French landscape architecture.  Stanislas, and his chief architect Emmanuel Héré, are recognised as major exponents of the new style.

Stanislas's own first experiments in garden design date from around 1715 when he was installed by Charles XII of Sweden as ruler of  the principality of Zweibrücken in the Rhineland-Palatinate.  Here, with the aid of a Swedish architect Jonas Erikson Sundahl, he constructed the small summer residence generally known by its Turkish name Tschifflik. This building, which still survives today,  has been extensively studied by the Polish scholar Jan Ostrowski. The design recalls the Turkish pavilions or "kiosks" which would have been familiar to Stanislas from exile in Bessarabia in 1709, but also shows contemporary Italianate influences.

A full understanding of Stanislas's building projects in Lorraine is hampered by a lack of documentary evidence.  In contrast to the extensive archives of Leopold and Francis III,  few records survive from the time of Stanislas. The loss of his building accounts is to be particularly regretted.  However, thanks to newly published manuscript journal of Nicolas Durival, we now know that, scarcely three weeks after his arrival at Lunéville, when he was still moving into the apartments, the Polish king was already actively planning improvements to the park laid out by Leopold.

Thierry Franz's detailed discussion begins with some of the smaller properties which Stanislas embellished in the course of his reign.  No trace survives of any of these gardens; they are now known only from the engravings published by Héré in his Recueil des plans of 1752-53, through contemporary accounts, or through paintings, a number of which were commissioned by Stanislas himself for his private apartments at Lunéville or the gallery at Einville.

The Châteaux of King Stanislas - La Malgrange and Commercy

 La Malgrange

André Joly, Château de La Malgrange, seen from des Goulottes, Musée Lorrain, Nancy. Wikimedia
The"Tableau Gillet"  This picture, which is probably belonged to Stanislas, shows the building work as yet unfinished.

  The Château at La Malgrange, today a suburb of Nancy, was an ancient  possession of the Dukes of Lorraine.  Leopold began its reconstruction but abandoned work in 1715, reputedly after the Elector of Bavaria complained that the palace was "too close to Nancy for a country house and too far away for a principal residence".  Stanislas, however, took possession of the site with enthusiasm, determined to create a grand new château, large enough to accommodate his Court for the belle saison, and to  provide a convenient stopover during  his frequent visits to Nancy.  Demolition of the existing buildings, left unfinished by Boffrand, began in June 1738, with the materials reused for the construction of the nearby church of Notre-Dame-de-Bonsecours.  By 1741, the new plans were broadly in place.

The Châteaux of King Stanislas - Chanteheux; Jolivet; Einville

How could he have all these houses built? He must have the philosopher's stone.  

Comment of Louis XV, reported to Montesquieu (quoted by Pierre Boyé)

As soon as he was installed at Lunéville, Stanislas began work.  Every day, the morning was devoted to his favourite pastime: surrounded by his seventeen architects, painters and sculptors, he examined the plans, decided on projects, discussed, ordered, personally directed the construction of his palaces and country houses; he went out to the sites to encourage the workmen, to see the effect of his combinations; he built, demolished, reconstruct and spent the best part of his revenues. 

Gaston Maugras, La Cour de Lunéville au xviiie siecle (1904), p.209.

The residences of King Stanislas - adapted from Google Maps

Chanteheux 

Stanislas rapidly settled into a fruitful and creative relationship with his architect Emmanuel Héré.  In the years 1738 to 1741 the latter embarked on a whole series of projects for his royal master: the  château at La Malgrange  and the nearby church of  Bonsecours (1738-41); the Trèfle (1738) and the Pavillon de la Cascade (1743) at Lunéville; and the Hôtel des Missions in Nancy (1741-43).  It was in 1741 too that he began work at Chanteheux to the east of Les Bosquets on an ambitious new pavilion which was to be the Trianon of Stanislas's "Versailles lorrain".

The Châteaux of King Stanislas - Parc des Bosquets [cont.]

[continued from previous post]

The Bas Bosquets and the Chartreuses

The Chartreuses were a series of garden structures built between 1741 and 1744 in the Bas Bosquets in the area between the great oval basin and the newly reconfigured Grand Canal.  The assemblage resembled a small village of cottages each with its own garden. The Trèfle, which already stood at the end of the northern arm of the canal, was incorporated into the group. The intention was to lease out the properties to individual Courtiers and guests, to allow them a fashionable taste of the simple life. 

Contemporary plan of the Bas Bosquets c.1750

https://pop.culture.gouv.fr/notice/memoire/IVR41_20165410760NUC2A

Anonymous view the Bas Bosquets with the Chartreuses in the foreground.

Painting from the gallery at Einville.  Musée du château, Lunéville - destroyed in 2003 [Wikimedia]

The idea was not entirely novel.  The name "chartreuses" - derived from the dwellings of the Carthusian order, where each monk was required to tend his own garden - was a popular designation for a hermitage or garden retreat;  the duchesse du Maine had her "chartreuse" at Sceaux which Stanislas visited in May 1743 (Luynes, Mémoires, v., p.5)  His immediate model was probably Mansart's pavilions at Marly, which were also orientated towards an axial canal.