page_title: Troubadour style
section_title: History
hierarchical_section_title: Troubadour style / History
context_page_description: Taking its name from medieval troubadours, the Troubadour Style is a rather derisive term, in English usually applied to French historical painting of the early 19th century with idealised depictions of the Middle Ages and the Renaissance. In French it also refers to the equivalent architectural styles. It can be seen as an aspect of Romanticism and a reaction against Neoclassicism, which was coming to an end at the end of the Consulate, and became particularly associated with Josephine Bonaparte and Caroline Ferdinande Louise, duchesse de Berry. In architecture the style was an exuberant French equivalent to the Gothic Revival of the Germanic and Anglophone countries. The style related to contemporary developments in French literature, and music, but the term is usually restricted to painting and architecture.
context_section_description: The rediscovery of medieval civilization was one of the intellectual curiosities of the beginning of the 19th century, with much input from the Ancien Régime and its institutions, rites (the coronation ceremony dated back to the 16th century) and the medieval churches in which family ceremonies occurred.
  Even while exhuming the remains of the kings and putting on the market a multitude of objects, works of art and elements of medieval architecture, the revolutionaries brought them back to life, it could be said.  The Musée des monuments français (Museum of French Monuments), established in the former convent that would become Paris's École nationale supérieure des Beaux-Arts, presented all this glorious debris of the Middle Ages as subjects of admiration for the public and as models of inspiration for students of the departments of engraving, painting and sculpture, but not those of architecture since teaching of this subject had been dissociated from the "beaux-arts" and placed in the École centrale des travaux publics under the direction of J.N.L Durand, a harsh promoter of the neoclassical architecture that characterized the styles of the Convention and Consulate.  Later, from the Bourbon Restoration and under the impulse of Quatremère de Quincy and Mérimée, a new tradition of teaching architecture put it back under the fine arts umbrella, in the margins of the declining official school, beginning with private workshops that behaved as diocesan architects working for historic monuments that would give rise to the Société Centrale des Architectes and make Troubador-style architecture possible.
  The resurgence of Christian feeling and in Christianity in the arts, with the publication in 1800 of Le Génie du Christianisme ('the Genius of Christianity'), played a major role in favour of edifying painting, sculpture and literature, often inspired by religion.
  Artists and writers rejected the neo-antique rationalism of the French Revolution and turned towards a perceived glorious Christian past.  The progress of the history and archaeology in the course of the 18th century began to bear fruit, at first, in painting.  Paradoxically these painters of the past were unaware of the primitives of French painting, finding it too academic and not sufficiently filled with anecdote.
  Napoleon himself did not disdain this artistic current: he took as his emblem the golden beehive on the grave of the Merovingian king Childeric I, rediscovered in the 17th century, and saw himself as the heir of the French monarchy.  He also gave official recognition to the Middle Ages in the forms of his coronation, and tried to profit from other trappings of the medieval French kings, perhaps even their miraculous curative powers (Bonaparte visiting the plague-victims of Jaffa by Antoine-Jean Gros was read as a modern re-envisgaing of the thaumaturgical kings).
caption: Richard Parkes Bonington, Henri III of France
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