The Flickr Bourbondynasty Image Generatr

The Couronne personnelle de Louis XV (Personal Crown of Louis XV) and the Plaque de lâOrdre du Saint-Esprit offerte par Louis XV Ã lâinfant de Parme (Badge of the Order of the Holy Spirit Given by Louis XV to the Infante of Parma), on display in Room 705 (Galerie dâApollon), Denon Wing.

Created in 1722 for the coronation of Louis XV, this ceremonial crown was designed by Claude Rondé and executed by the goldsmith Augustin Duflos under the direction of Laurent Rondé, royal jeweler, at the Louvreâs galleries. It was originally adorned with the Regent Diamond at the front and the Sancy Diamond at the summit. This crown is a rare surviving piece of the French regalia, preserved after the Revolution. Originally kept in the treasury of Saint-Denis, it was transferred multiple times before entering the Louvreâs collection in 1852.

Created between 1740 and 1760, this ceremonial badge of the Order of the Holy Spirit consists of an enameled dove set against an eight-pointed star with alternating fleurs-de-lys, composed of 383 brilliant-cut diamonds totaling approximately 48 carats, and a single ruby forming the doveâs beak. Crafted in polished silver, it bears the Latin inscription LUD. XV. D. D. (Louis XV gave [this]). Modeled on the âwhite insigniaâ of Louis XV, it was likely presented to Philip, Duke of Parma, upon his knighthood in 1736, or his grandson Ferdinand in 1762. Originally part of the Bourbon-Parma and Spanish royal collections, the piece was acquired by the Louvre in 1951 from the Dol-Lair bequest.

The Louvre is the worldâs most visited museum and one of its largest, housing over 35,000 works of art from prehistory to the 19th century. Originally built as a fortress under Philippe Auguste in the late 12th century, it was transformed into a royal palace and later into a public museum during the French Revolution in 1793. Its collections span eight departments, including Egyptian antiquities, Greek and Roman art, Islamic art, sculpture, decorative arts, paintings, prints, and drawings. The museum is organized across three wingsâDenon, Sully, and Richelieuâsurrounding the Cour Napoléon. The modern glass Pyramid entrance, designed by architect I. M. Pei and inaugurated in 1989, unifies the historic palace complex while serving as a symbol of the museumâs global identity.

Plaque de l’Ordre du Saint-Esprit offerte par Louis XV à l’infant de Parme (Badge of the Order of the Holy Spirit Given by Louis XV to the Infante of Parma), on display in Room 705 (Galerie d’Apollon), Denon Wing.

Created between 1740 and 1760, this ceremonial badge of the Order of the Holy Spirit consists of an enameled dove set against an eight-pointed star with alternating fleurs-de-lys, composed of 383 brilliant-cut diamonds totaling approximately 48 carats, and a single ruby forming the dove’s beak. Crafted in polished silver, it bears the Latin inscription LUD. XV. D. D. (Louis XV gave [this]). Modeled on the “white insignia” of Louis XV, it was likely presented to Philip, Duke of Parma, upon his knighthood in 1736, or his grandson Ferdinand in 1762. Originally part of the Bourbon-Parma and Spanish royal collections, the piece was acquired by the Louvre in 1951 from the Dol-Lair bequest.

The Louvre is the world’s most visited museum and one of its largest, housing over 35,000 works of art from prehistory to the 19th century. Originally built as a fortress under Philippe Auguste in the late 12th century, it was transformed into a royal palace and later into a public museum during the French Revolution in 1793. Its collections span eight departments, including Egyptian antiquities, Greek and Roman art, Islamic art, sculpture, decorative arts, paintings, prints, and drawings. The museum is organized across three wings—Denon, Sully, and Richelieu—surrounding the Cour Napoléon. The modern glass Pyramid entrance, designed by architect I. M. Pei and inaugurated in 1989, unifies the historic palace complex while serving as a symbol of the museum’s global identity.

A Reggia di Caserta, localizada em Caserta, na região da Campânia, Itália, é um dos maiores palácios reais do mundo, projetado pelo arquiteto Luigi Vanvitelli a partir de 1752 por ordem de Carlos VII de Nápoles. Esta imponente construção de estilo barroco tardio foi concebida para rivalizar com o Palácio de Versalhes, servindo como um símbolo do poder dos Bourbon de Nápoles e como um centro administrativo. Com uma área total de 47.000 metros quadrados, possui 1.200 divisões e 1.742 janelas, além de vastos jardins de 120 hectares, abastecidos pelo aqueduto Carolino. A sua grandiosidade e importância histórica levaram à sua classificação como Património Mundial da UNESCO em 1997. A fachada principal, de cor terracota, destaca-se numa ampla área verde, refletindo a magnificência deste complexo que continua a funcionar como museu estatal e é um dos principais exemplos da arquitetura barroca e neoclássica na Europa.

The Reggia di Caserta, located in Caserta in the Campania region of Italy, is one of the largest royal palaces in the world, designed by the architect Luigi Vanvitelli in 1752 by order of Charles VII of Naples. This imposing late Baroque building was designed to rival the Palace of Versailles, serving as a symbol of the power of the Bourbons of Naples and as an administrative center. With a total area of 47,000 square meters, it has 1,200 rooms and 1,742 windows, as well as vast gardens covering 120 hectares, supplied by the Carolino aqueduct. Its grandeur and historical importance led to its classification as a UNESCO World Heritage Site in 1997. The terracotta-colored main façade stands out in a large green area, reflecting the magnificence of this complex which continues to function as a state museum and is one of the main examples of Baroque and Neoclassical architecture in Europe.

Louis XIV of France
fought a bloody war to install his grandson on the Spanish throne; Louis's wife and mother were daughters of the Habsburg Kings.

painted by Hyacinthe Rigaud (1659–1743, born Jacint Rigau-Ros i Serra,) and workshop
1701 /1702
Galería de las Colecciones Reales, Madrid

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'Felipe V in Spanish Costume'
great-grandson of Felipe IV

Hyacinthe Rigaud (1659–1743, born Jacint Rigau-Ros i Serra in what was then part of Aragon)

Galería de las Colecciones Reales, Madrid
20240323_150036 Rigaud. Felipe V in Spanish costume

nostalgia for the Neapolitan Bourbons....
Naples

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Paris 1996
The royal architect, Jules Hardouin Mansart's, design, of 1685, articulated the square's unified façades according to a formula utilised in some Parisian hôtels particuliers, (palatial private homes). Mansart chose colossal pilasters linking two floors, standing on a high arcaded base with rustication of the pilasters; the façades were capped with sloping slate "mansard roofs", punctuated by dormer windows. However, because the building work was incomplete at the time of the unveiling of the monument, the envisioned façades were painted on canvas. By 1692, the Place des Victoires was pierced by six streets, and the circular plan functioned as a flexible joint to harmonize their various axes.

■ statue of Louis XIV (pulled down 1792) - The original statue, of Louis XIV crowned by Fame and trampling the Triple Alliance underfoot, in gilt bronze, stood on a high square pedestal with bas-relief panels and effusively flattering inscriptions; dejected bronze figures were seated at the corners. The sculptor was Martin Desjardins, part of the team that was working cooperatively at the Château of Versailles and its gardens.
■ nude statue of the General Louis Desaix (pulled down 1814/15)
■ In 1828, the restored Bourbon king, Charles X, commissioned the current equestrian statue, which was sculpted by François Joseph Bosio. Louis XIV, dressed as a Roman emperor, sits on a proud horse rearing on its hind legs. An iron fence encircles the twelve-meter-high statue.

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PARIS May 1993

"At the center of the Place des Victoires is an equestrian monument in honor of King Louis XIV, celebrating the Treaties of Nijmegen concluded in 1678-79. A marshal of France, François de la Feuillade, vicomte d'Aubusson, on his own speculative initiative, demolished the old private mansions on the site. Feuillade's project was soon taken over by the Bâtiments du Roi, a department attached to the king's household, and the royal architect, Jules Hardouin Mansart, was entrusted with redesigning a grander complex of buildings, still in the form of a ring of private houses, to accommodate a majestic statue of the triumphant king. Mansart's design, of 1685, articulated the square's unified façades according to a formula utilised in some Parisian hôtels particuliers, (palatial private homes). Mansart chose colossal pilasters linking two floors, standing on a high arcaded base with rustication of the pilasters; the façades were capped with sloping slate "mansard roofs", punctuated by dormer windows. However, because the building work was incomplete at the time of the unveiling of the monument, the envisioned façades were painted on canvas. By 1692, the Place des Victoires was pierced by six streets, and the circular plan functioned as a flexible joint to harmonize their various axes. The original statue, of Louis XIV crowned by Fame and trampling the Triple Alliance underfoot, in gilt bronze, stood on a high square pedestal with bas-relief panels and effusively flattering inscriptions; dejected bronze figures were seated at the corners. The sculptor was Martin Desjardins, part of the team that was working cooperatively at the Château of Versailles and its gardens. Louis permanently abandoned Paris in 1682, and his imperial ambitions in Europe were deflated by subsequent wars; the Treaty of Ryswick of 1697 was termed "a humiliating disaster for the king" by the military architect Vauban. "During the course of the eighteenth century," Rochelle Ziskin has noted, "critics would suggest that the arrogance of representation at the Place des Victoires had serious political consequences and may have been a factor in provoking war." The grandiose memorial that had begun to embarrass Louis XIV himself would eventually be destroyed in 1792, during the French Revolution. In 1793, the Place was renamed Place des Victoires-Nationaux (National Victories Square), and a wooden pyramid was erected on the site of the destroyed statue. In 1810, under the rule of Napoléon Bonaparte, a nude statue of the General Louis Desaix replaced the pyramid. However, following the abdication of Napoléon, the statue was taken down and its metal was used to create a new statue of Henry IV on the nearby Pont Neuf.
In 1828, the restored Bourbon king, Charles X, commissioned the current equestrian statue, which was sculpted by François Joseph Bosio. Louis XIV, dressed as a Roman emperor, sits on a proud horse rearing on its hind legs. An iron fence encircles the twelve-meter-high statue."
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born a Princess of Naples and Sicily and graddaughter of Charles III of Spain (via her father) and Empress Maria Theresa (via her mother). Her son married Isabel II's sister (hence her portrait's presence here)
her grandchiildren included Leopold II of Belgium, Ferdinand, Tsar of Bulgaria (died 1948), Mercedes (briefly Queen of Spain)

Reales Alcázares de Sevilla
21 November 2012
camera: Sony DSC H90

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King Carlos III lunching before his court. Wood,50 x 64 cm Cat.2422

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Royal Palace, Madrid


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old Alcazar burned down 1734
this palace built during the reigns of Philip V, Ferdinand VI and Charles III

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Versailles gardens
photographed 1985 with a Nikon EM
photographed 1985 with a Nikon EM Camera


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This is an historical coin someone gave to my nephew from a shipwreck off Cape Breton, in the Maritimes, near a place called Dingwall. This is a Bourbon Dynasty French coin - an "Ecu" - from 1728, recovered from the shipwreck of the Auguste in 1977 (Louis XV AR silver mint). There is a link on the internet that shows the coin and it does appear to be authentic. here's the link... winnipeg.kijiji.ca/c-buy-and-sell-hobbies-crafts-Louis-XV...

Bourbon Dynasty . 2005 Main Street Barracks Row Festival . Capitol Hill . Barracks Row . 8th Street and G Street, SE . WDC . Saturday afternoon, 1 October 2005

Elvert Xavier Barnes Photography