Pdf version - Reflexions

Reflexions, le site de vulgarisation de l'Université de Liège
The Walloons at Versailles
4/16/08
On December 5, 2007, the Belgian Royal Commission of Monuments, Sites, and Excavations (CRMSF)
organized a day of study on the theme The Walloons at Versailles. A recent book published by La Renaissance
du Livre brings together the scholarly papers presented at the colloquium, many of which were authored
by ULg researchers. It presents a new overview of the Walloon presence at Versailles (and Paris) mainly
during the reigns of Louis XIV, Louis XV and Louis XVI. Their presence was not only felt artistically: craftsmen,
diplomats, engineers and soldiers also played a role in the powerful movement that united Wallonia (and
particularly the Prince-Bishopric of Liège) with its powerful neighbour.
Stormy Relations
The volume is divided into four large sections: an historical
overview, technology, arts and marble. Bruno Demoulin, a lecturer at the University, introduces the reader
to the relations between France and Wallonia. "A long, turbulent river," he tells us straight away. He also
distinguishes immediately between the relations France maintained with the Prince-Bishopric, and those it
had with the Romance provinces of the Spanish-then Austrian-Netherlands. This distinction is found again
and again throughout the volume. Indeed, Liège-French relations were less complicated (though sometimes
tragic) than those between the French kingdom and the Romance provinces of the Netherlands, which were
conquered lands. This leads the author to address the relations between the two large regions of Wallonia,
"marked by mistrust throughout the 18th century, a legacy of the age-old hostility going back to the Middle
Ages." It should be noted that the Liégeois often played Versailles off against Brussels and Vienna.
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-1-
Reflexions, le site de vulgarisation de l'Université de Liège
These relations were often punctuated by Walloon troop movements, although the word "Walloon" does not
mean what it does today. Professor Francis Balace reminds us of this in his paper entitled "Des «wallons» sous
le lys" ("Walloons' under the Lys"). Under the Ancien Régime, and particularly in the military sphere, the word
"Walloon" was not linked in any way to the language, nor to the Romance provinces of the Netherlands and
the Prince-Bishopric. The "Walloon" regiments were those formed in the Spanish, later Austrian Netherlands
as a whole-and therefore included "Flemish" regiments! Often, the designation remained, even after a border
change; this was the case for the regiments formed by France at Lille when Lille found itself under the French
crown. The Liégeois were never referred to as "Walloons". Francis Balace explains the troops' motivation in its
context: "'Serving' was just another profession," he reminds us, "with a boss on one hand, an employee on the
other. It assumed a respect of the basic rules of a 'contract'-in this case, no treason, no desertion, no crossing
to the enemy's side of the battlefield." However, if the contract was broken by the employer (surrender, or
failure to pay salary, for example), a soldier would immediately join the strongest army in the hope of being
able to continue his profession. It was an obvious move for officers, for whom a change of flag-and sometimes
the change involved his whole regiment-was a way of padding one's CV, as we would say today. It didn't
matter that you joined an army that you may recently have fought against. Francis Balace recounts the career
of Blaise-Henri De Corte, Baron of Waleffe-Saint-Pierre, who served under at least ten flags: "In this day and
age," he says, "such a career would have been quickly terminated by a firing squad..."
"Belle Liégeoise"
It was not only weapons that did the talking-ambassadors did as well. Daniel Droixhe, lecturer at the University,
paints the portrait of one of them, the Knight of Heusy, representative of the Prince-Bishop of Liège at the
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-2-
Reflexions, le site de vulgarisation de l'Université de Liège
court of Versailles. However, he is not featured here for his diplomatic acts, but for his "enlightened" attitude
toward the poorest classes of the Prince-Bishopric. In an essay published in 1773 on the establishment of a
general hospital, he points out that a good many of the poor had no wish to continue begging, but preferred
to work if it provided a good means of subsistence for them and their families. To combat this poverty, he
suggests separating the unemployed from the rest of the population, educating them (unequally however-for
example, young girls would be trained as spinsters) and above all, depriving them of everything he felt might
corrupt: rest, leisure activities, religion and money. Aid would be given, but only in kind, in the form of bread
or housing, for example.
Professor Philippe Raxhon tells us the story of the "Liégoise
Amazon", Anne Josèphe Terwagne, known as Théroigne de Méricourt. He notes the role that historiography
attibutes to her in the march on Versailles in October 1789. A disproportionate role, stresses Prof. Raxhon,
one that contributed to the birth of the myth of the "Belle Liégoise". The historical event at its source was the
women's march of October 5,1789 which left Les Halles in Paris for Versailles in order to demand bread from
the King. It was the prelude to the King's return to the French capital. But the beautiful Théroigne was not
part of the march contrary to certain impassioned accounts, but rather in Paris, where she was attending the
meetings of the National Constituent Assembly. On the other hand, she did participate in the storming of the
Tuileries Palace on August 10,1792, which effectively ended the monarchy. Accused of being too close to the
Girondists, she was publicly flogged the following year. She then sank into madness. After all was said and
done, hers was a very modest contribution to the Revolution, despite the legend built up around her, at least
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-3-
Reflexions, le site de vulgarisation de l'Université de Liège
in France. Prof. Raxhon notes that Belgian historiography is much more discreet, and up to the bicentennial
of the Revolution, Liège and Wallonia were far from worshipping the "Belle Liégeoise".
The second part of the volume is devoted to technology. It begins with a summary by Professor Robert Halleux
which revolves around the scientific and technological exchanges between France and the region of Liège in
the 17th century. From the beginning, we are informed that there is an important difference between science
and technology. On the science side, the scholarly court of the Prince-Bishop Ernest of Bavaria, one of the
most brilliant in Europe, dissolved at his death in 1612. Moreover, notes Prof. Halleux, the intellectual elite
of the Prince-Bishopric was muzzled by Galileo's condemnation in 1634. Only François-René de Sluse from
Visé, a jurist and mathematician who corresponded with Pascal, is somewhat notable.
On the other hand, metallurgy technology underwent considerable expansion, was regarded as an international
model and spread throughout Europe.
Skilful Engravers
Professor Jean-Patrick Duchesne begins the section on art with a summary of two centuries of Walloon
contribution to art in France. He notes straight away that "The main characteristic of artistic production in the
Romance provinces of Belgium was the extreme mobility of its creators." The great European artistic centres,
including Paris, evidently attracted Belgium's best artists. The master goldsmith Jean Warin (or Varin, Liège
1607 - Paris 1672) initiated a Liégeois artistic movement in Paris. He was favoured by Richelieu, who put
him in charge of implementing the monetary reform decreed by Louis XIII. He made many coins, medals, and
busts, including that of Cardinal de Richelieu which can be found in the Bibliothèque Mazarine in Paris. Other
studies in the book feature this extraordinary individual.
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-4-
Reflexions, le site de vulgarisation de l'Université de Liège
Among the many artists that would establish themselves in Paris after Warin, mention must be made of the
engraver Jean Waldor (or Valdor, Liège, 1616-1675), who would become one of the Sun King's most endowed
artists. His Triomphes de Louis le Juste, XIII du nom, Roy de France et de Navarre are an ode to the glory of
Louis XIII and his young successor. The work is impressive, consisting of 112 plates. Indeed, engraving was
a Liégeois specialty; many would defend their art.
In painting, Bertholet Flémal (Liège, 1614-1675) landed a few fine
commissions, such as his participation in the decoration of the Hôtel Lambert on the Île Saint-Louis and of the
Église des Grands Augustins; he is also known for the ceiling of Louis XIV's receiving room in the Tuileries
Palace.
The Walloon presence in Paris and Versailles during this period owes much to the Redouté brothers. All three
were born in Saint-Hubert (in 1756, 1759 and 1766, respectively). The eldest, Antoine-Ferdinand, paved the
way for his brothers. The most famous is Pierre-Joseph, still the most well-known botanical painter in the world
today. Léonard Defrance (Liège, 1735-1805) is another great name who gave us genre paintings, such as
industrial views and studies of social evolution.
Professor emeritus Pierre Colman details the journey of one of these artists, little-known for some time, the
medallist and sculptor Gérard-Léonard Hérard (1636-1675). Unfortunately, very few traces left of him (even
the spelling of his name and of birth were uncertain for a long time!).
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-5-
Reflexions, le site de vulgarisation de l'Université de Liège
A PhD student in art history, Mary Etienne, traces the steps of another sculptor, Henri-Joseph Rutxhiel, born in
Lierneux in 1775. He studied under Léonard Defrance at the École Centrale in the Ourthe department (Liège).
In Paris, he served his apprenticeship in the workshop of the sculptor Houdon, then studied under the great
David. He participated in the construction of several monuments, including the Column of the Grande Armée
and the Palais de la Légion d'Honneur. In 1808, he was awarded the prestigious Prix de Rome for a relief
entitled Dédale attachant des ailes à son fils Icare (Daedalus Attaching Wings to his Son Icarus). He is also
known for a colossal statue of Napoleon that can still be seen at the Palace of Versailles. This did not prevent
him from becoming the official sculptor of the Bourbons when they regained power, nor from making busts of
important figures of the new regime, as he had done under the Empire. In 1820, he completed a magnificent
statue of Bossuet which still sits imposingly in the Meaux Cathedral.
Du Mont and Grétry
A survey of the exchanges between Versailles and Wallonia would be incomplete without mentioning the
names of a few important court musicians. This task has fallen to Professor Philippe Vendrix. Competition
may have been stiffer in the field of music than in other areas. Italian musicians ruled supreme over the stage.
Two Belgians did make their mark, however: Du Mont and Grétry. The former was born in Looz around 1610
and moved to Paris in 1643. A reputable organist, he won honours and offices, became the harpsichordist
for the Duke of Anjou, brother of the King, and musical organist for the Queen, and finally under-master at
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-6-
Reflexions, le site de vulgarisation de l'Université de Liège
Versailles's Chapelle Royale. He was also a prolific composer, his pieces being destined for the Chapelle,
motets and plainchant masses which would be sung well after the Revolution.
André-Modeste Grétry (Liège 1741-Montmorency 1813)
arrived in Paris in 1767. He quickly created a network of contacts there which, combined with his talent, allowed
him to introduce himself into the Court and become its darling. Commissions abounded, and his works were
performed at the Court and in Paris (he was "adulated in the French capital", says Philippe Vendrix), and soon
after, across Europe.
The volume is accompanied by a CD with recordings of the works of Du Mont and a half-dozen other
composers. Excerpt from the Messe Royale by Henry Du Mont (Les Demoiselles de Saint-Cyr Ensemble,
Emmanuel Mandrin, organist and director).
Other contributions complete this overview, including those on Rennequin Sualem, the inventor of the famous
Marly machine, and of course those that relate the story of the Belgian marble that would be used to build
the Palace of Versailles.
© Université de Liège - http://reflexions.ulg.ac.be/ - 29 October 2016
-7-