La Grande Mademoiselle, 1627-1652 . Richelieu there were cabinets wherethe high officials sat in secret discussion, boudoirs forthe fair ladies, ball-rooms, treasure galleries whereworks of art were lavishly displayed, a chapel, andtwo theatres. The basis of the Cardinals librarywas the public library of Rochelle, which had beenseized after the siege. The chapel was one of thechief sights of Paris. Everything used in the cere-monial of worship was of solid gold, ornamentedwith great diamonds. Among the precious ob-jects in use were two church chandeliers,1 all ofmassive gold, enamelled and enr
La Grande Mademoiselle, 1627-1652 . Richelieu there were cabinets wherethe high officials sat in secret discussion, boudoirs forthe fair ladies, ball-rooms, treasure galleries whereworks of art were lavishly displayed, a chapel, andtwo theatres. The basis of the Cardinals librarywas the public library of Rochelle, which had beenseized after the siege. The chapel was one of thechief sights of Paris. Everything used in the cere-monial of worship was of solid gold, ornamentedwith great diamonds. Among the precious ob-jects in use were two church chandeliers,1 all ofmassive gold, enamelled and enriched with twothousand five hundred and sixteen diamonds. Thevases used in the service of the Mass were of fine,richly enamelled gold, and in them were set twohundred and sixty-two diamonds. The cross,which was between twenty and twenty-one incheshigh, bore a figure of Christ of massive gold andthe crown of thorns and the loin-cloth were studdedwith diamonds. The Book of Prayer used by the Cardinal was 1 Dulaures Histoire de >•<r Z)H2UJ O ri- UJ I UJ X o a: UJ D _lulI-O I UJ XI- La Grande Mademoiselle 205 bound in fine morocco leather ; each side of the coverwas enwreathed with sprigs of gold. On one sideof the cover was a golden medallion, on which theCardinal was depicted, like an emperor, holdingthe globe of the world in his hand; from the fourcorners of the cover angels were descending tocrown his head with flowers. Beneath the deviceran the Latin inscription, Cadat. The ceiling ofthe grand gallery of the palace (destroyed underLouis XIV.) bore one of Philip de Champagnesmasterpieces — a picture representing the gloriousexploits of the Cardinal. One of the picturegalleries called the Gallery of Illustrious Men contained twenty-five full-length portraits of thegreat men of France, chosen according to theCardinals estimate of greatness. At the foot ofeach portrait was a little key, or historical repre-sentation of the principal acts of the original of thepor
Size: 1129px × 2215px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, booksubjectmontpen, bookyear1902
