Oil on canvas depicting a woman dressed in the hurluberlu at the Anne-Marie d’Orléans (sister of Philip II of Orleans the Regent) decorated with pearls and holding a diamond.
The history of modern jewellery in France began in the 17th century, when the development of diamond cutting introduced a new technique that influenced the shape of jewellery and the way it was worn. Diamond cutting improved during the 17th century, thanks in particular to the encouragement of Mazarin. This is how the cut in sixteen is developed, which will be perfected at the end of the century to lead to the famous sizes in thirty-two facets. This improvement of the cut allows to take advantage of the refractive qualities of the diamond.
From an early age, the taste of King Louis XIV was stirred up by Cardinal Mazarin who was passionate about diamonds. The young sovereign in turn developed the same passion that led him to considerably enrich the collection of crown jewels, as well as his own.
During the prosperous period of the reign, not a year goes by without a new diamond and other precious stone enriching the Royal Treasury. From 1685, however, acquisitions were much rarer due to the financial difficulties of the state. In 1714, Louis XIV, ruling an impoverished France, had to give up buying the largest 140-carat diamond in the West.
Taking advantage of the economic prosperity born of the John Law system during the Regency in France, Philippe d’Orléans, regent from 1715 to 1723, convinced the Regency Council to buy the diamond on June 6, 1717. At the time of its acquisition, Le Régent surpassed all other diamonds then known in the West then, by 1719, had already tripled its purchase value. Even today, it is considered the most beautiful diamond in the world: its color is of the “first water”, that is, it is perfectly white and of an almost irreproachable purity. After the Regency, this jewel remained one of the most precious pieces of Crown property and served as an adornment for all crowned heads.
The history of modern jewellery in France began in the 17th century, when the development of diamond cutting introduced a new technique that influenced the shape of jewellery and the way it was worn. Diamond cutting improved during the 17th century, thanks in particular to the encouragement of Mazarin. This is how the cut in sixteen is developed, which will be perfected at the end of the century to lead to the famous sizes in thirty-two facets. This improvement of the cut allows to take advantage of the refractive qualities of the diamond.
From an early age, the taste of King Louis XIV was stirred up by Cardinal Mazarin who was passionate about diamonds. The young sovereign in turn developed the same passion that led him to considerably enrich the collection of crown jewels, as well as his own.
During the prosperous period of the reign, not a year goes by without a new diamond and other precious stone enriching the Royal Treasury. From 1685, however, acquisitions were much rarer due to the financial difficulties of the state. In 1714, Louis XIV, ruling an impoverished France, had to give up buying the largest 140-carat diamond in the West.
Taking advantage of the economic prosperity born of the John Law system during the Regency in France, Philippe d’Orléans, regent from 1715 to 1723, convinced the Regency Council to buy the diamond on June 6, 1717. At the time of its acquisition, Le Régent surpassed all other diamonds then known in the West then, by 1719, had already tripled its purchase value. Even today, it is considered the most beautiful diamond in the world: its color is of the “first water”, that is, it is perfectly white and of an almost irreproachable purity. After the Regency, this jewel remained one of the most precious pieces of Crown property and served as an adornment for all crowned heads.
Is the woman in our portrait the Regent’s favorite or perhaps the very personification of the Regency time.
Could it be Madame de Parabere? The first loves of the Regent and Madame de Parabère were in the winter of 1715. Philip II of Orleans did not skimp in love, nor in everything else. He put a kind of gallant self-love to prevent the slightest desire of his mistresses, and he strove to satisfy magnificently any whim which he had not guessed.
During her reign as mistress-in-title, Madame de Parabère held absolute power over the Regent for five years. Of all the mistresses of the Regent, it was Madame de Parabère who had credit on the spirit of the prince, all the credit she wanted to have without appearing. And it is precisely because he knew her carefree and disinterested, that the Regent did not constantly close her ear where she tried to talk about politics. From this credit of Madame de Parabère, to which Law and the Paris, remarkable financiers of the Regency, were not afraid to hang in turn their rival fortune.
During her reign as mistress-in-title, Madame de Parabère held absolute power over the Regent for five years. Of all the mistresses of the Regent, it was Madame de Parabère who had credit on the spirit of the prince, all the credit she wanted to have without appearing. And it is precisely because he knew her carefree and disinterested, that the Regent did not constantly close her ear where she tried to talk about politics. From this credit of Madame de Parabère, to which Law and the Paris, remarkable financiers of the Regency, were not afraid to hang in turn their rival fortune.
Posterior stucco frame
Height with frame: 99 cm
Width with frame: 79 cm
France
Period: XVIII century, Regency
Width with frame: 79 cm
France
Period: XVIII century, Regency
