Bronze bust of Louis XIV. Circa
1660, by an unknown artist. From
Paris, France. The Victoria and
Albert Museum, London.
Le roi gouverne par lui-même,
modello for the central panel of the
ceiling of the Hall of Mirrors c. 1680
by Le Brun, (1619–1690)
The depiction of the king in this manner focused on
allegorical or mythological attributes, instead of
attempting to produce a true likeness. As Louis
aged, so too did the manner in which he was
depicted. Nonetheless, there was still a disparity
between realistic representation and the demands of
royal propaganda. There is no better illustration of
this than in Hyacinthe Rigaud's frequently-
reproduced Portrait of Louis XIV of 1701, in which
a 63-year-old Louis appears to stand on a set of
unnaturally young legs.[115]
Rigaud's portrait exemplified the height of royal
portraiture during Louis's reign. Although Rigaud
crafted a credible likeness of Louis, the portrait was
neither meant as an exercise in realism nor to
explore Louis's character. Certainly, Rigaud was
concerned with detail and depicted the king's
costume with great precision, down to his shoe
buckle.[116]
However, Rigaud intended to glorify the monarchy. Rigaud's original, now housed in the Louvre, was originally meant as a gift to
Louis's grandson, Philip V of Spain. However, Louis was so pleased with the work that he kept the original and commissioned a
copy to be sent to his grandson. That became the first of many copies, both in full and half-length formats, to be made by Rigaud,
often with the help of his assistants. The portrait also became a model for French royal and imperial portraiture down to the time
of Charles X over a century later. In his work, Rigaud proclaims Louis's exalted royal status through his elegant stance and
haughty expression, the royal regalia and throne, rich ceremonial fleur-de-lys robes, as well as the upright column in the
background, which, together with the draperies, serves to frame this image of majesty.
In addition to portraits, Louis commissioned at least 20 statues of himself in the 1680s, to stand in Paris and provincial towns as
physical manifestations of his rule. He also commissioned "war artists" to follow him on campaigns to document his military
triumphs. To remind the people of these triumphs, Louis erected permanent triumphal arches in Paris and the provinces for the
first time since the decline of the Roman Empire.
Louis's reign marked the birth and infancy of the art of medallions. Sixteenth-century rulers had often issued medals in small
numbers to commemorate the major events of their reigns. Louis, however, struck more than 300 to celebrate the story of the king
in bronze, that were enshrined in thousands of households throughout France.
He also used tapestries as a medium of exalting the monarchy. Tapestries could be allegorical, depicting the elements or seasons,
or realist, portraying royal residences or historical events. They were among the most significant means to spread royal
propaganda prior to the construction of the Hall of Mirrors at Versailles.[117]
Louis loved ballet and frequently danced in court ballets during the early half of his reign. In general, Louis was an eager dancer
who performed 80 roles in 40 major ballets. This approaches the career of a professional ballet dancer.[118]
His choices were strategic and varied. He danced four parts in three of Molière's comédies-ballets, which are plays accompanied
by music and dance. Louis played an Egyptian in Le Mariage forcé in 1664, a Moorish gentleman in Le Sicilien in 1667, and both
Neptune and Apollo in Les Amants magnifiques in 1670.
He sometimes danced leading roles that were suitably royal or godlike (such as Neptune, Apollo, or the Sun).[118] At other times,
he would adopt mundane roles before appearing at the end in the lead role. It is considered that, at all times, he provided his roles