مشاريع بناء كاترين دي ميديشي
ملاحظات ومراجع

1 2 3 4  Knecht, 220.
↑  Frieda, 79.
↑  "The Day of the Barricades" (12 May 1589), in which a mob took over the streets of Paris, "reduced the authority and prestige of the monarchy to its lowest ebb for a century and a half". Morris, 260.
↑  The architect Philibert de l'Orme wrote: "your good judgement (bon esprit) shows itself more and more and shines as you yourself take the trouble to project and sketch out (protraire et esquicher) the buildings which it pleases you to commission". Knecht, 228.
↑  Knecht, 228. The poet بيير دي رونسار accused her of preferring masons to poets.
↑  Babelon, The Louvre, 263.
↑  Frieda, 24.
↑  Frieda, 30–31.
↑  Hautecœur, 523.
1 2  Thomson, 176.
↑  Knecht 176; Frieda, 199.
↑  Frieda, 79, 455; Sutherland, 6.
↑  Blunt, Art and Architecture in France, 80. These extensions, supervised by Pierre Lescot and featuring relief sculptures by Jean Goujon, were continued by the last four Valois kings.
↑  Norwich, 158.
↑  Thornton, 51.
↑  Norwich, 157.
↑  Hoogvliet, 111. Some scholars believe that the intertwined letter Cs may also refer to crescent moons, the emblem of Henry's lover Diane de Poitiers (the crescent moon was the symbol of the goddess ديانا). However, Catherine continued to use this monogram after Henry's death.
↑  Knecht, 58.
↑  "Catherine's lifelong mourning was not only a manner to express grief: it was also the legitimisation of her political role." Hoogvliet, 106.
1 2  Knecht, 223.
↑  Frieda, 266; Hoogvliet, 108. Louis Le Roy, in his Ad illustrissimam reginam D. Catherinam Medicem of 1560, was the first to call Catherine the "new Artemisia".
↑  Quoted by Knecht, 224. Catherine commissioned the artists أبيات نيقولا دل and أنطوان كارون to illustrate the poem. The drawings were subsequently turned into tapestries, none of which survive; but, according to Knecht, fifty-nine of the drawings survive. Hoogvliet, 108, on the other hand, says that sixty-eight of the drawings survive.
• Frieda, 266. The story of Artemisia formed an أيكونغرافيا for Catherine and reinforced her right to serve as regent. The later female regents ماريا دي ميديشي (1610–20) and آن من النمسا (1643–60) revived this iconography in their own service.
↑  Zerner, 383.
↑  Zerner, 382.
↑  Hoogvliet, 109.
↑  Blunt, Art and Architecture in France, 56.
↑  L'art de la Renaissance en France. L'invention du classicisme (Zerner, 1996: 349–54), quoted by Knecht, 227.
↑  Knecht, 226.
↑  Knecht, 269.
↑  Knecht, 227. Henry's gesture is now unclear, since a missal, resting on a prie-dieu (prayer desk), was removed from the sculpture during the French revolution and melted down.
1 2  Zerner, 379.
↑  "With the rise of naturalistic representations beginning in the fifteenth century, the afterlife was imagined as an exact replica of earthly existence. As a result, the tombs of the mighty often insinuated an ambiguous conflation of the glorious Life Eternal with a glorification of their earthly lives." Zerner, 380.
↑  Blunt, Art and Architecture in France, 94. Blunt believes that بنفينوتو تشيليني's Fontainebleau nymph may have influenced their carving.
↑  Zerner 383–84. Girolamo della Robbia was originally commissioned to carve the queen's corpse, but his effort, in which Catherine looks emaciated, was left unfinished in 1566 and is now in the Louvre.
↑  Zerner, 379; Blunt, Art and Architecture in France, 95.
↑  Zerner suggests that these two, apparently superfluous, recumbent effigies, as rigid as those from the thirteenth century, might have been a "call to order". In the context of the wars of religion, they may have represented a pulling back from the sensuality of the tomb, which "was bound to appear somewhat pagan". Zerner, 382–83.
↑  Knecht, 226–27.
1 2  Blunt, Art and Architecture in France, 94.
↑  Zerner, 383. Whereas the "Resurrection" for the tomb of Francis I was positioned close to the corpses, this design would have involved the visitor.
↑  Blunt, Art and Architecture in France, 95. Pilon based the Christ on Michelangelo's cartoon for Noli me tangere (1531) and carved the soldiers in Michelangelo's وضعية التعارض style.
↑  Blunt, Art and Architecture in France, 95.
↑  Blunt, Art and Architecture in France, 94, 97.
↑  Blunt, Art and Architecture in France, 96–97.
↑  Knecht, 228–229.
↑  Coope, "The Chateau of Montceaux-en-Brie", 71–87. نسخة محفوظة 23 ديسمبر 2015 على موقع واي باك مشين.
↑  Blunt, Art and Architecture in France, 104. Catherine planned a grid of streets to replace the palace, with houses designed by de l'Orme, but the work was never carried out. هنري الرابع ملك فرنسا, who ruled France from 1589 to 1610, later constructed a square on the site called the Place Royale, now known as the ساحة فوج.
1 2  Frieda, 335.
↑  Thomson, 165.
• This engraving by ماتهاوس ميريان shows the complex in 1615, after Henry IV's additions.
↑  Knecht, 229. Historian R. J. Knecht suggests, (after Blunt, Philibert de l'Orme, London, 1958), that Catherine may have been moved to rehabilitate de l'Orme after reading his Instruction, in which he defended himself against all charges and pleaded for fair treatment.
• Randall, 82–84. The reasons for de l'Orme's disgrace are not clear, but it seems that he was prone to arrogance and had made enemies.
• Zerner, 402. Zerner, who calls him "haughty", mentions allegations of اختلاس and an incident in which de l'Orme and his brother killed two men in a brawl.
↑  Sharp, 44.
↑  De l'Orme recorded that Catherine told him "to make several encrustations of different kinds of marble, gilded bronze and of minerals, like marcassites" on both the inside and the outside of the building. Knecht, 228.
1 2 3  Blunt, Art and Architecture in France, 55.
↑  Quoted by Thomson, 169.
↑  De l'Orme wrote that Catherine, with "an admirable understanding combined with great prudence and wisdom," took the trouble "to order the organization of her said palace (the Tuileries) as to the apartments and location of the halls, antechambers, chambers, closets and galleries, and to give the measurements of width and length". Quoted by Knecht, 228.
↑  Thomson, 171; Blunt, Art and Architecture in France, 55. The way the روشن overlap the قوصرة panels gives the effect of blurrier lines than in the more classical works de l'Orme had designed for Henry II.
↑  Thomson, 171
• Pons, 79. Counts Jérome and Charles Pozzo di Borgo bought sections of the ruins during the demolition of the Tuileries in 1883 and used them to construct the château de la Punta in Corsica, overlooking the gulf of أجاكسيو (1885–7).
↑  Knecht, 229; Thomson 165–66.
↑  Thomson, 168. In June 1565 and September 1581, Catherine had temporary oval structures built to house entertainments for state occasions.
↑  Thomson, 173. The reliefs on the arches of the Petite Galerie, like those on the court front of the Louvre, symbolise the might and سلطة أخلاقية of the Valois monarchy. Those of de l'Orme at the Tuileries are purely classical in style and follow the principles of فيتروفيو.
↑  Thomson, 172.
↑  Thomson, 173–4. The only elements Bullant harmonised with de l'Orme's work were the ground-floor Ionic columns and the إفريز and cornice between the first and ground floors.
↑  Frieda, 306.
1 2 3 4  Knecht, 232.
↑  Knecht, 230.
↑  Ayers, 42.
↑  Blunt, Art and Architecture in France, 49.
↑  Blunt, Art and Architecture in France, 89, believes this architect was Jean Bullant, of whom he writes: "In these last years, Bullant's desire for the colossal seems to have grown greater, and in this case it could not be harmonized with the existing building".
↑  Knecht, 231. The terrace was supported by a cryptoporticus, a covered passageway.
↑  Knecht, 231.
↑  Knecht, 230. Between 1575 and 1583, for example, the number of Catherine's ladies-in-waiting rose from 68 to 111.
↑  Frieda, 335. The area, in the parish of كنيسة القديس أوستاس  ‏, included the Hôtel Guillart and the Hôtel d'Albret.
↑  Plan of the Hôtel de la Reine, from an engraving of about 1700. Thomson, 176.
↑  Thomson, 176–7.
↑  Thomson, 176
↑  Frieda, 455.
1 2  Frieda, 144.
↑  Frieda, 148.
↑  Blunt, Art and Architecture in France, 89.
↑  Benes, 211.
1 2  Thomson, 165.
↑  Knecht, 232, quotes Blunt, Philibert de l'Orme (London, 1958), 89–91.
↑  Blunt, Art and Architecture in France, 90.
↑  Blunt, Art and Architecture in France, 91. The original drawings are now in the المتحف البريطاني.
↑  Blunt, Art and Architecture in France, 91.
↑  Cunningham, 280–81. So widespread and serious was the plague of 1565, for example, that Catherine had the surgeon أمبرواز باريه write an account of it. He concluded that plague resulted from poisoning of the air and was "often sent by the just anger of God punishing our offences".
↑  Thomson, 168.
↑  Knecht, 233. Ronsard addressed these lines to the financial official Raoul Moreau. Au tresorier de l'esparne (ca. 1573).