Changes

From the start of Louis' reign, Jean Baptiste Colbert set up a centralized and institutionalized system for creating and perpetuating the royal image. The two main approaches were the ancient paradigm and the rivalry with ruling powers, notably Spain. The traditional images of the king in majesty and the king at war persisted in official paintings and busts and in the almanacs that concertedly spread royal propaganda among the people at large. The traditional representation of the king as a Roman emperor can be seen in Le Brun's plans for major monuments and in sculptures. Apollonian themes created a mythological environment, with painted decor and sculptures, rather than true likenesses. Portrayal of the reign in metal (medal stamping) was only in its infancy. The major works of the decade were tapestries, and these were either allegorical, depicting the elements and the seasons, or realist, portraying royal residences and, in particular, the history of the king. This was the most significant means by which the monarchy was mythicized before the Hall of Mirrors was created at Versailles.<ref>Gérard Sabatier, "La Gloire du Roi: Iconographie de Louis XIV de 1661 a 1672," ''Histoire, Economie et Société'' 2000 19(4): 527-560.</ref>

From the start of Louis' reign, Jean Baptiste Colbert set up a centralized and institutionalized system for creating and perpetuating the royal image. The two main approaches were the ancient paradigm and the rivalry with ruling powers, notably Spain. The traditional images of the king in majesty and the king at war persisted in official paintings and busts and in the almanacs that concertedly spread royal propaganda among the people at large. The traditional representation of the king as a Roman emperor can be seen in Le Brun's plans for major monuments and in sculptures. Apollonian themes created a mythological environment, with painted decor and sculptures, rather than true likenesses. Portrayal of the reign in metal (medal stamping) was only in its infancy. The major works of the decade were tapestries, and these were either allegorical, depicting the elements and the seasons, or realist, portraying royal residences and, in particular, the history of the king. This was the most significant means by which the monarchy was mythicized before the Hall of Mirrors was created at Versailles.<ref>Gérard Sabatier, "La Gloire du Roi: Iconographie de Louis XIV de 1661 a 1672," ''Histoire, Economie et Société'' 2000 19(4): 527-560.</ref>

===Glorified portraits===

===Glorified portraits===

Louis commissioned over 300 formal [[portraits]] of himself; he also commissioned "war artists" to follow him on campaign and record his military triumphs on the spot. About 700 different engravings of Louis have survived.  In the 1680s, a series of twenty statues of the king were commissioned for public squares in Paris and in provincial towns. Freestanding permanent triumphal arches were also erected in Paris and the provinces for the first time since the decline of the Roman Empire. Sixteenth-century rulers often issued twenty or thirty medals to commemorate the major events of their reigns, but Louis struck more than 300, celebrating the story of the king in a bronze that was enshrined in thousands of houses.  

Louis commissioned over 300 formal [[portraits]] of himself; he also commissioned "war artists" to follow him on campaign and record his military triumphs on the spot. About 700 different engravings of Louis have survived.  In the 1680s, a series of twenty statues of the king were commissioned for public squares in Paris and in provincial towns. Freestanding permanent triumphal arches were also erected in Paris and the provinces for the first time since the decline of the Roman Empire. Sixteenth century rulers often issued twenty or thirty medals to commemorate the major events of their reigns, but Louis struck more than 300, celebrating the story of the king in a bronze that was enshrined in thousands of houses.  

His court lionized the painter [[Hyacinthe Rigaud]], who helped to formulate what a state portrait should be. While Rigaud made a credible likeness of the king, his purpose was not to express Louis's character but to glorify the monarchy. His original "Portrait of Louis XIV of 1701," now in the Louvre, (see above for copy) was so popular that Rigaud had many copies made, both in full and half-length formats, often with the help of assistants.  In this portrait from Rigaud's workshop, Louis XIV's ceremonial robes, elegant stance, and haughty expression proclaim his exalted status. Despite the vast expanses of canvas he covered, Rigaud remained concerned with the particular, describing the king's costume in great detail, even down to his shoe buckles.<ref>See also Amy M. Schmitter, "Representation and the Body of Power in French Academic Painting." ''Journal of the History of Ideas'' 2002 63(3): 399-424. Issn: 0022-5037 Fulltext: [http://links.jstor.org/sici?sici=0022-5037(200207)63%3A3%3C399%3ARATBOP%3E2.0.CO%3B2-D in Jstor]</ref>   

His court lionized the painter [[Hyacinthe Rigaud]], who helped to formulate what a state portrait should be. While Rigaud made a credible likeness of the king, his purpose was not to express Louis's character but to glorify the monarchy. His original "Portrait of Louis XIV of 1701," now in the Louvre, (see above for copy) was so popular that Rigaud had many copies made, both in full and half-length formats, often with the help of assistants.  In this portrait from Rigaud's workshop, Louis XIV's ceremonial robes, elegant stance, and haughty expression proclaim his exalted status. Despite the vast expanses of canvas he covered, Rigaud remained concerned with the particular, describing the king's costume in great detail, even down to his shoe buckles.<ref>See also Amy M. Schmitter, "Representation and the Body of Power in French Academic Painting." ''Journal of the History of Ideas'' 2002 63(3): 399-424. Issn: 0022-5037 Fulltext: [http://links.jstor.org/sici?sici=0022-5037(200207)63%3A3%3C399%3ARATBOP%3E2.0.CO%3B2-D in Jstor]</ref>