Painting from 1667 depicting Louis
as patron of the fine arts
The Cour royale and the Cour de
marbre at Versailles
Bust of Louis XIV by Gianlorenzo
Bernini
famous throughout Europe. Composers and musicians such as Jean-Baptiste Lully, Jacques
Champion de Chambonnières, and François Couperin thrived. In 1661, Louis founded the
Académie Royale de Danse, and in 1669, the Académie d'Opéra, important driving events
in the evolution of ballet. He also attracted, supported and patronized such artists as André
Charles Boulle, who revolutionised marquetry with his art of inlay, today known as
"Boulle work". Always on the lookout for new talent, the king launched music
competitions: in 1683, Michel-Richard de Lalande thus became deputy master of the Royal
Chapel, composing his Symphonies for the Soupers du Roy along with 77 large scale
Grand Motets.
Over the course of four building campaigns, Louis converted a hunting lodge
commissioned by Louis XIII into the spectacular Palace of Versailles. Except for the
current Royal Chapel (built near the end of his reign), the palace achieved much of its
current appearance after the third building campaign, which was followed by an official
move of the royal court to Versailles on 6 May 1682. Versailles became a dazzling, awe-
inspiring setting for state affairs and the reception of foreign dignitaries. At Versailles, the
king alone commanded attention.
Several reasons have been suggested for the
creation of the extravagant and stately palace, as
well as the relocation of the monarchy's seat. The
memoirist Saint-Simon speculated that Louis
viewed Versailles as an isolated power centre where
treasonous cabals could be more readily discovered and foiled.[62] There has also been
speculation that the revolt of the Fronde caused Louis to hate Paris, which he abandoned
for a country retreat, but his sponsorship of many public works in Paris, such as the
establishment of a police force and of street-lighting,[111] lend little credence to this theory.
As a further example of his continued care for the capital, Louis constructed the Hôtel des
Invalides, a military complex and home to this day for officers and soldiers rendered
infirm either by injury or old age. While pharmacology was still quite rudimentary in his
day, the Invalides pioneered new treatments and set new standards for hospice treatment.
The conclusion of the Treaty of Aix-la-Chapelle in 1668 also induced Louis to demolish
Paris's northern walls in 1670 and replace them with wide tree-lined boulevards.[112]
Louis also renovated and improved the Louvre and other royal residences. Gian Lorenzo
Bernini was originally to plan additions to the Louvre; however, his plans would have meant the destruction of much of the
existing structure, replacing it with an Italian summer villa in the centre of Paris. Bernini's plans were eventually shelved in
favour of the elegant Louvre Colonnade designed by three Frenchmen: Louis Le Vau, Charles Le Brun, and Claude Perrault. With
the relocation of the court to Versailles, the Louvre was given over to the arts and the public.[113] During his visit from Rome,
Bernini also executed a renowned portrait bust of the king.
Few rulers in world history have commemorated themselves in as grand a manner as Louis.[114] He cultivated his image as the
Sun King (le Roi Soleil), the centre of the universe "without equal". Louis used court ritual and the arts to validate and augment
his control over France. With his support, Colbert established from the beginning of Louis's personal reign a centralised and
institutionalised system for creating and perpetuating the royal image. The King was thus portrayed largely in majesty or at war,
notably against Spain. This portrayal of the monarch was to be found in numerous media of artistic expression, such as painting,
sculpture, theatre, dance, music, and the almanacs that diffused royal propaganda to the population at large.