Musée d'Orsay: Maison Froment-Meurice Toilet of the Duchess of Parma

Maison Froment-Meurice
Toilet of the Duchess of Parma

The Toilette of the Duchess of Parma
François-Désiré Froment-Meurice (1802-1855) with the collaboration of the architect Duban, the sculptors Feuchère and Geoffroy-Dechaume, the ornemanist Liénard, the enamellists Sollier, Grisée, Meyer-Heine
The Toilette of the Duchess of Parma
Circa 1847
Partly gilded silver, gilded copper, enamel painted on copper, blue glass, emaralds and garnets
H. 210; W. 188 cm
© RMN-Grand Palais (Musée d'Orsay) / René-Gabriel Ojéda

The Toilette of the Duchess of Parma
Présentation des oeuvres de Froment-Meurice à l'exposition nationale des produits de l'industrie agricole et manufacturière, Paris, 1849

Coffret de Toilette de la duchesse de Parme [The Toilette of the Duchess of Parma]

This ensemble was commissioned by a subscription circulated among the Legitimist ladies of France for the marriage, in November 1845, of Louise-Marie-Thérèse de Bourbon, the granddaughter of Charles X, and the Prince de Lucques, the future Duke Charles III of Parma. Its decoration evokes a nostalgic and idealised image of the Middle Ages as a period of loyalty to King and to God, as well as exalting traditional French values and the bonds of marriage. The fleurs-de-lis and roses of France are intertwined with ivy, the symbol of marital fidelity.

Sent to London in 1851 for the Great Exhibition, before being given to the Duchess, this prestigious piece of furniture contains references to many different civilisations – Occidental and Oriental – and achieves a synthesis of styles from various eras, from Saint Louis to Louis XIV.

The jewellery boxes, whose shape recalls 12th century Mosan reliquaries, are decorated with the portraits of twenty great French women renowned for their piety, courage and literary talent, such as Blanche de Castille, Joan of Arc and Clémence Isaure. The ewer and basin combine Islamic and Renaissance influences, while the candelabra are based on 17th century bronze models. The indeterminate style of the ensemble in fact demonstrates an eclecticism that would later prevail in the decorative arts under the Second Empire.

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