If historians are not yet agreed on the political motives of Louis XIV, they all accept, however, the cultural and artistic significance of the epoch over which he and his two 17th-century predecessors reigned. In their different ways—Henry IV’s interest lay in town planning, Louis XIII’s in the visual arts, and Louis XIV’s in the theatre and in landscape gardening—they all actively stimulated the emergence of great talents and were aided by such royal ministers as Richelieu and Mazarin, who were considered patrons in their own right.

From Henry IV’s reign dates the rebuilding of Paris as a tasteful, ordered city, with the extensions to the Louvre, the building of the Pont Neuf and the Place Dauphine, and, outside the capital, the renovations and extensions at Fontainebleau and Saint-Germain-en-Laye. Henry succeeded in making Paris what it had never been before—the centre of polite society—and, though he was not personally interested in such matters, he must therefore be given some credit for the atmosphere that later led to the establishment of the famous salon of Catherine de Vivonne, marquise de Rambouillet, which flourished from 1617 until 1665. There men of letters mingled with the great nobility to the mutual advantage of both. The guests at her salon included the statesmen Richelieu and the Great Condé; the epigrammatist the duc de La Rochefoucauld; the letter writer Marie de Rabutin-Chantal, marquise de Sévigné, and Mme de La Fayette; the novelist Madeleine de Scudéry; the poet François de Malherbe; and the dramatist Pierre Corneille.

Richelieu also was a key figure in the artistic and architectural development of Paris during his years in power. He was fortunate to employ the great architect Jacques Lemercier, who built for him, close to the Louvre, the Palais-Cardinal, later the Palais-Royal; it contained two theatres and a gallery for the cardinal’s objets d’art. Under the same patron, Lemercier also built the church of the Sorbonne, where Richelieu is buried. In the world of painting, the cardinal supported Simon Vouet, who decorated the Palais-Cardinal, and Philippe de Champaigne, whose surviving portraits include famous representations of Richelieu himself. The cardinal’s most notable contribution, however, was in the field of letters, with the establishment in 1634 of the Académie Française to regulate and maintain the standards of the French language. One of its first tasks was the production of a standard dictionary, a massive work published in four volumes in 1694. The Académie succeeded over the years in making the pursuit of letters socially acceptable, though still inferior to the pursuit of arms. Richelieu’s great interest in the theatre persuaded him to patronize a number of dramatists, including Corneille and Jean de Rotrou.

Richelieu’s patronage of the arts was taken over by his great pupil Mazarin, who collected some 500 paintings. In 1648 Mazarin established the Académie Royale de Peinture et de Sculpture, which encouraged artists to follow the examples of Nicolas Poussin, the greatest French exponent of the Classical style, and of the landscape artist Claude Lorrain. Mazarin housed his own art collection in the Palais Mazarin (now the Institut de France and home of the Académie Française), which itself was enlarged for Mazarin by the architect François Mansart. Mazarin also commissioned Louis Le Vau to rebuild part of the medieval castle of Vincennes, thus setting him off on his successful career.

Louis XIV’s patronage centred on Versailles, the great palace that also played such an important part in the political life of 17th-century France. There André Le Nôtre designed the formal gardens, which still attract a multitude of admiring visitors, as they did when they were first completed. There Jules Hardouin-Mansart added the long, familiar garden facade, and, with unforgettable magnificence, Charles Le Brun decorated the Galerie des Glaces (Hall of Mirrors) and the adjoining Salon de la Paix (Salon of Peace) and Salon de la Guerre (Salon of War). There the composer Jean-Baptiste Lully devised and directed a number of musical entertainments with such success that Louis granted him noble status and the office of a royal secretary. There, too, the comic genius Molière was encouraged by the king’s support; after the dramatist’s death, Louis was directly responsible for the establishment, in 1680, of the Comédie-Française. There, finally, Louis recognized the genius of Jean Racine, whose great tragedies, from Bérénice (1670) to Iphigénie (1675), earned him membership in the Académie Française and a noble office, that of trésorier de France (treasurer of France), from the king.

This blossoming of the arts was aided though not inspired by the patronage of kings and ministers. The artistic creations evince a strong element of order and simplicity, culminating in the Classical grandeur of Racine’s plays and the facade of Versailles. Thus, they might seem to reflect the growth of political stability and order over which Louis XIV presided. The monarchy continued to expand its support for culture during his reign. In 1663 the Académie des Inscriptions et Belles-Lettres was founded; originally intended to compose inscriptions for royal medals and monuments, it eventually became a centre for historical research. Three years later Louis XIV sponsored the creation of the Académie des Sciences and a training centre for French artists in Rome. The Académie d’Architecture and the Académie Royale de Musique began in 1671. It is, however, dangerous to tie creative achievements in the arts and sciences too closely to their political environment. Moreover, there are significant counterpoints to the theme of Classical order. The philosopher René Descartes’s doubting, rationalist approach to the fundamental questions of God’s existence and man’s relationship to God undermined the rigid adherence to revealed truths propounded by religious orthodoxy. The Jansenist Blaise Pascal, one of the most versatile geniuses of the century, represented and defended a minority religious movement that Louis XIV believed dangerously subversive. Toward the end of his long reign, Louis encountered the fierce social criticism of Jean de La Bruyère and the skepticism of the exiled Huguenot Pierre Bayle, whose Dictionnaire historique et critique (1697; “Historical and Critical Dictionary") raised questions about the sacred status of the Bible and foreshadowed the secularism of the Enlightenment. These discordant elements draw attention to the fact that the absolute state which Versailles was intended to represent concealed tensions that would surface after the king’s death. Nonetheless, the splendour of Versailles and the Classical simplicity of Racine’s tragedies represent a high point in creative human achievement, and it is to the king’s credit that he chose to be identified with them.