DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22262#0052
Sandra L. Rosenbaum
Fig. 11.
Jean Dieu de St. Jean, Peasant from the Vicin-
ity of Pans (seen in the distance). The man is
depicted as clean, his clothes in good repair.
Although his jacket is not long enough to
be fashionable, he pulls his neck cloth into
an approximation of a fashionable cravat
with a ribbon (ribbons worn with cravats
were the current style). He wears a few fash-
ionable ribbons on the side seams of his fuli
breeches The plate is undated, so it is not
known if his fuli petticoat/rhinegrave
breeches were still in fashion
Fig. 12.
Henri Bonnart, Street Vendor, mid-1680s.
A Parisian radish seller presented with dig-
nity, clothing clean and in good repair, skirt
hem ornamented, and apron pulled back to
allude to the fashionable looping up of the
skirt. Note that her costume is coloured to
match the perfect vegetables she offers with
a graceful gesture. Her hair is teased up into
fashionable little knots that look like little
horns, as hair begins to be dressed higher.
This is enhanced by her headscarf
family performing wearing gem-studded costumes (Fig. 10). These costume illus-
trations provided an additional opportunity to publicize progress on the project by
showing the scalę and grandeur of the plan for Versailles. In 1682, the court and seat
of the government moved permanently out of Paris to Versailles.
It is documented that the young King Louis XIV came to the throne with an am-
bitious vision for his reign: to create a prosperous France and to place it as a centrę
of power in seventeenth-century Europę. This particular collection of prints encap-
sulates a broad cross-section of contemporary seventeenth-century society in
France, including the lower strata. While it projects opulence and elegance at the
50
Fig. 11.
Jean Dieu de St. Jean, Peasant from the Vicin-
ity of Pans (seen in the distance). The man is
depicted as clean, his clothes in good repair.
Although his jacket is not long enough to
be fashionable, he pulls his neck cloth into
an approximation of a fashionable cravat
with a ribbon (ribbons worn with cravats
were the current style). He wears a few fash-
ionable ribbons on the side seams of his fuli
breeches The plate is undated, so it is not
known if his fuli petticoat/rhinegrave
breeches were still in fashion
Fig. 12.
Henri Bonnart, Street Vendor, mid-1680s.
A Parisian radish seller presented with dig-
nity, clothing clean and in good repair, skirt
hem ornamented, and apron pulled back to
allude to the fashionable looping up of the
skirt. Note that her costume is coloured to
match the perfect vegetables she offers with
a graceful gesture. Her hair is teased up into
fashionable little knots that look like little
horns, as hair begins to be dressed higher.
This is enhanced by her headscarf
family performing wearing gem-studded costumes (Fig. 10). These costume illus-
trations provided an additional opportunity to publicize progress on the project by
showing the scalę and grandeur of the plan for Versailles. In 1682, the court and seat
of the government moved permanently out of Paris to Versailles.
It is documented that the young King Louis XIV came to the throne with an am-
bitious vision for his reign: to create a prosperous France and to place it as a centrę
of power in seventeenth-century Europę. This particular collection of prints encap-
sulates a broad cross-section of contemporary seventeenth-century society in
France, including the lower strata. While it projects opulence and elegance at the
50