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Agathe is a revolutionist with very firm and harsh ideals. She grew up envying the nobles in their frilly dresses and dances while she didn't have the chance to even eat a crumble of bread daily. She used to dream of becoming rich, but reality soon shattered upon her making her realise that what was needed was equality, obtainable only through a revolution in her eyes. She is very strongâwilled, serious and respected amongst the other revolutionists.
She wears male clothing to rebel and show her strength and intelligence are equal to those of men.
One day she fell in love with Jeanne Aphrodite Augustine, one of the Orleans Duke's daughters who is a very rich aristocrat. I still have to choose how they met (because it would be hard for a noble like her to randomly see her) but I am sure that even though Jeanne Aphrodite is a lesbian, she doesn't love Agathe. Not because she is poor â Jeanne Aphrodite is a very openâminded woman as strange as it is for the situation â simply because she sees her as an acquaintance.
We donât know a whole lot about Duboisâ parents, but we DO know he wrote to his mother somewhat regularly! As for his father, a letter sent by Dubois to an old friend regarding this thing about the priory hints that Jean Dubois could be a little intense! Paraphrasing, but the sentence âif I donât get the priory I think he might dieâ is⊠pretty close to the original text, honestly.
What amused me about this whole priory affair is that later on plenty of people will complain (not without reason, let's be real) that Dubois is acquiring all these abbeys and important jobs to enrich himself. This particular case stands out in comparison because while obviously the money is a nice bonus, you can tell Dubois wants this priory for personal reasons: to please his family, but also because most likely he still had some attachment to the place (he wrote so, at least!). Amusingly, he writes that it might be nice to have a place he can go back to one of these days, when he's older... Of course, he might've only written that to pull at some heartstrings, but let's be real, at this point he had no way to tell which direction his career might take!
Around the 1st of August I'm going to be opening up commissions for acrylic portrait paintings. If you'd like a painting of yourself, a family member, significant other, a favorite character, actor, historical figure, etc reply to this post for more info or DM me.
Tbh I don't usually get any takers when I do this, but I'm getting ready to move into disabled housing and I'll have rent taken out of my already minimal income so I'm going to have very little to survive on and will have to rely on food pantries to be able to get food. So, any extra income I can get will help. I'm also applying for part-time work but haven't had any luck so far, so I'm trying this.
Please rb if you can so maybe I can reach some more people.
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One endearing (or annoying, depending on who you ask!) trait of Dubois is that, in the end, the man was a worrier. In his letters, you get to constantly see him worry about everything and anything; often with good reasonsâŠ. but also often for unimportant ones. The complete opposite of Philippe, who wasnât as nonchalant as Saint-Simon wrote, but who certainly didnât fuss over things nearly as much as his old preceptor did. In some letter exchanges, notably during Duboisâ diplomatic missions, while he's away and Philippe is still in Paris, you can hear the annoyed teacher voice while reading, itâs great.
So a few weeks ago I read the book "Louis XIV, l'Enfant Roi", by François Guillaume Lorrain, and was really inspired by one of the scenes between Phil and Louis, that I then decided to try and adapt into an animated scene!
It's just an animatic for now, b&w with that, because I was too lazy to go further at the moment, haha.
For context, it takes place during the Fronde, a movement of revolt against the crown that involved a lot of nobles and royal family members; it was very messy and was a huge, dare I say colossal influence on Louis XIV's reign and his understanding of fraternal loyalty. It pretty much sealed Philippe's fate as well, as a consequence.
AS FOR THE DUB LOL well it's a poor attempt at following guidelines on how to pronounce french the way it was spoken back then but hum let's ignore that. Subbed in English, of course!
Two more below the cut, as well as explanations, details and some references!
First PSA: naturally, hairstyles were fluid as they always are, the horns came up before the 90's (but really became widespread by then), some people kept more old-fashioned hairstyles longer, and of course, Monchevy themselves didn't stick to ONE hairstyle per decade, but that goes without saying.
My point was to kind of explore the transformations over the decades, and the predominent, more popular/fashionable styles of a decade with them, as I thought it could be fun. It is fairly difficult to get a good grasp of how it evolved back then, even more difficult for some paintings to find the exact date and trace a decent timeline, and therefore I wanted a sort of simplified but easy to understand visual for it (not to mention, I enjoy simplification for character design purposes, so it was a good exercise).
Now onto some additional notes and visuals:
Here we have Philippe (x2) and Louis in their teens, displaying the wavy bangs with the very curly hair beneath. Unfortunately, we have no confirmed depiction of chev in his teens. It is rather easy to find references of many other young men and boys with this hairstyle (and ofc, many variations of it), but since it's pretty hard to find properly dated paintings, I stuck to what I know. As for the note regarding Chev having straight hair, it just so happens that a couple of written accounts state that he deliberately made his hair wavy/messy (in the next decade). I'm not citing them here because I'm haven't been able to confirm all of the sources yet.
We most likely transition to wigs for Philippe in this decade. I wanted to have some fun with Chev's hairstyle and gave him a military one, which could either be styled with natural hair or wigs--I went for natural hair in his case. References are Philippe, some guy, and a drawing from a book about hairstyles and hat.
We are slowly transitioning here towards the horrors that became really popular in the 90's. The bangs are going away, and the top of the head is widening. The first portrait I chose for reference is Chev, despite this being a post-mortem one and therefore not specifically dated. However, he looks to be in his mid-forties, and the hairstyle matches that which was pretty popular in the 80's, so it feels like a correct reference. Here we have Chev, Philippe, and le grand dauphin.
And finally, we reach the horned up 90's. Here, Philippe, le grand dauphin again, and Chev, illustrating this wonderful era.
I chose to add ribbons in Philippe's hair, as he was described (albeit ambiguously) by Saint-Simon, as adding many ribbons to his... wigs? The thing is, in the original sentence, it is hard to tell whether he actually means the wigs, or in general. However, it seems like all historians interpret it as meaning the wigs, and it is funny, so why not.
Also, I want to add that a lot of references are engravings, as these tend to be much easier to find the dates of, lol.
ALSO i just wanna say that Philippe's eyelashes in the last one are an homage to this engraving of him from early 1701 where he has the most FABULOUS eyelashes ever like HELLO (i'd almost forget the fuckass horns.......)
Two more below the cut, as well as explanations, details and some references!
First PSA: naturally, hairstyles were fluid as they always are, the horns came up before the 90's (but really became widespread by then), some people kept more old-fashioned hairstyles longer, and of course, Monchevy themselves didn't stick to ONE hairstyle per decade, but that goes without saying.
My point was to kind of explore the transformations over the decades, and the predominent, more popular/fashionable styles of a decade with them, as I thought it could be fun. It is fairly difficult to get a good grasp of how it evolved back then, even more difficult for some paintings to find the exact date and trace a decent timeline, and therefore I wanted a sort of simplified but easy to understand visual for it (not to mention, I enjoy simplification for character design purposes, so it was a good exercise).
Now onto some additional notes and visuals:
Here we have Philippe (x2) and Louis in their teens, displaying the wavy bangs with the very curly hair beneath. Unfortunately, we have no confirmed depiction of chev in his teens. It is rather easy to find references of many other young men and boys with this hairstyle (and ofc, many variations of it), but since it's pretty hard to find properly dated paintings, I stuck to what I know. As for the note regarding Chev having straight hair, it just so happens that a couple of written accounts state that he deliberately made his hair wavy/messy (in the next decade). I'm not citing them here because I'm haven't been able to confirm all of the sources yet.
We most likely transition to wigs for Philippe in this decade. I wanted to have some fun with Chev's hairstyle and gave him a military one, which could either be styled with natural hair or wigs--I went for natural hair in his case. References are Philippe, some guy, and a drawing from a book about hairstyles and hat.
We are slowly transitioning here towards the horrors that became really popular in the 90's. The bangs are going away, and the top of the head is widening. The first portrait I chose for reference is Chev, despite this being a post-mortem one and therefore not specifically dated. However, he looks to be in his mid-forties, and the hairstyle matches that which was pretty popular in the 80's, so it feels like a correct reference. Here we have Chev, Philippe, and le grand dauphin.
And finally, we reach the horned up 90's. Here, Philippe, le grand dauphin again, and Chev, illustrating this wonderful era.
I chose to add ribbons in Philippe's hair, as he was described (albeit ambiguously) by Saint-Simon, as adding many ribbons to his... wigs? The thing is, in the original sentence, it is hard to tell whether he actually means the wigs, or in general. However, it seems like all historians interpret it as meaning the wigs, and it is funny, so why not.
Also, I want to add that a lot of references are engravings, as these tend to be much easier to find the dates of, lol.
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am i the first one to have made a three musketeers oc. ya okay. HSHDHASDHAHA
did his ref cuz i wanna put him on artfight.
slides AF profile: https://artfight.net/~weirdsters
An utterly pious quadruple abbot if there ever was one: the chevalier de Lorraine himself!
Since the infamous story of chev and his abbeys never fails to crack me up, I wanted to make a little illustration for it. More info below the cut, as well as some more details about the relationship of both Philippe's with religion!
For those who don't know, good old Chev ended up abbot of no less than FOUR abbeys: Tiron, Saint-Pierre-sur-Chartres, Saint-Jean-des-Vignes de Soissons, and Saint-Benoit-sur-Loire.
The main reason behind this, besides his absolute devotion to God (LOL) was of course: money. All jokes aside, as a chevalier, despite not actually being in the orders, he technically couldn't marry and was deprived from a bunch of positions that could have turned into a source of income---however, he could claim to the management of abbeys, regardless of the fact that he was actually a blasphemous atheist in practice. (I'm simplifying a bit: he did have to request a derogation from the church to be allowed to become an abbot etc, but in theory it was okay)
Philippe de France, his protector, knew that as well, and both campaigned relentlessly to get him abbeys, first in the late 60's. The two of them borderline harassing Louis XIV over it is one of the main reasons that lead to Chev's first exile, as Louis hated being pressured into anything.
In the end, however, he did manage to land not only these first two abbeys, but two more later on. While not being the actual owner of the places, as the abbot, he was the manager of sorts, renting out the land, managing the personnel, and collecting a portion of the revenues from these abbeys. Contrary to what could have been expected, he was rather decent at it and treated his personnel fairly, although he was described by their neighbors as an "extremely annoying neighbor" because of how anal he was about boundaries and rules. Given that the 80s and 90s are what I now like to call chev's "janitor era", it isn't surprising.
Needless to say that many people found quite scandalous that this guy, of all people, was functionally a man of God. Nevertheless, none of the people who ended up doing business with him had any complains (aside from one guy he feuded with, but what's new), and his only reason for ultimately reselling his rights was to pay off his debts at the very end of his life.
As for Philippe de France, represented as sort of a heavenly figure here because, well, he was chev's benefactor during his entire life, I wanted to add a little note about his relationship to religion, since I just discussed it a little with Zennie.
While we all know Phil was a confirmed and practicing catholic, and that he was very enthusiastic about rituals and ceremonies, Elisabetta Lurgo has recently published a couple of papers about his relationship to religion that happens to be far more nuanced and interesting than what we're typically told.
He was also described as praying silently, as opposed to his brother who was always praying out loud. It's reported that when he was told to pray out loud as well, Philippe replied that "God was more receptive to the voice of the heart than that of the mouth", which may hint at a very personal relationship to religion and God.
Overall, while again being very diligent in the ceremonial department, in a very Spanish catholic fashion inherited from Anne of Austria, it seems that when it came to spirituality itself and other day-to-day practices, he seemed far looser in his approach, as is attested by his recurring tendencies to skip Lent, his lifestyle in general, or a couple of interesting interactions such as these:
Nicolas Feuillet, Saint-Cloud's jansenist canon, reported that Philippe, whom he was rather close to (yet was always chastising), once came up to him showing off his gorgeous new bracelet. When Feuillet scolded him on how one shouldn't flaunt wealth and be so ostentacious, Philippe's response was: "then why did God create diamonds, if not for us to wear them?"
I love this anecdote, as it depicts an independent logic and spirit, of Philippe according God to his own understanding of the world, which likely extended to his lifestyle and preferences as well.
The next one is much more grim and sad, but also very interesting in how it highlights the irony that Philippe could perceive in religion, and how he expressed that:
One day, not too long after Philippe's outstanding victory in Cassel, Feuillet scolded him about all of his and Louis' successes and prosperity, expressing his concern, as God typically isn't charitable with those he loves, instead rewarding them with suffering; quite bluntly, he told Philippe that God must not love them. Philippe didn't seem too phazed, only musing "prosperity, prosperity..." out loud a couple of times, not saying much more. A couple of months later, though, his and Liselotte's son unfortunately passed away, and when Feuillet came to see him, Philippe said, "See? God does love me, after all."
It isn't surprising to see that he can have this outlook, express that irony, when he's always been an outcast from the perspective of his religious upbringing, de facto likely forcing him to question religion and dogma rather than blindly follow it--it seems to me like his mechanism to overcome this potential feeling of alienation was to simply re-appropriate his own faith and religiosity for it to make sense to himself. On top of that, while making a point of teaching him religion, his first preceptor was also a skeptic and libertine thinker, who may have transmitted some of that to him from an early age.
Finally, while he wasn't really prone to donate to church charity, he was much more encline to regularly donate to other groups and organizations, to fund enterprizes or simply donate to individual inhabitants of Saint-Cloud (not counting his favorites ofc) etc.; hereby also showing his lack of affiliation to the church outside of his princely responsibilities as a religious figure.
All of this, I find, makes for a very interesting and nuanced portrait of his religious side, and I vastly recommend reading Lurgo's papers about it if you can (available on her academia.edu page for free). It also gives more sense to the over-representation of atheists around him, or rather him being so at ease with him, outside the fact that of course, the reputation and practices of his house made it a much safer haven for atheists than Louis' court was.
and hey, his life-long boyfriend was a quadruple abbot, so...
A little comic + article about Philippe's shoes, and height, and a bit more! Next two pages below the cut (ainsi que la version française !)
(Analysis here, and français tout en bas)
The other day, at random, I stumbled upon this page which allows us to behold an authentic pair of shoes owned by Philippe, and currently preserved at the Louvres' labs. It is no surprise that the heels are fairly high, as Philippe was indeed famous for his humongous, stilt-like heels. To quote Madame de Montespan, Philippe was "very embarrassed by his small stature, and therefore had two big extra inches added to most of his heels." (đđđ)
As it so happens, I am currently in this mood where I feel like I need to know anything and everything I can about him, and decided, thanks to the provided measurement of the heel on the website (8,6cm), to find out his shoe size.
(measurements in centimeters)
Following the curve and shape of the shoe, I tried to approximate a foot size in it, and given the flatness of the tip that we can see on the picture, I figured the toes likely weren't reaching. This leaves us with a whopping size 4~5, or 35.5 in EU sizes.
Those weren't necessarily his highest heels either, as I saw a couple of sources bring up around 4 inches (mind you, inches were a bit bigger back in XVIIth century France; nowaday 1 inch ((pouce)) is 2,54cm, however it used to be 2,72cm)
So Philippe had tiny feet, which also concurs the contemporary descriptions of his remarkably short stature.
Now, for those, like me, who really need to know everything, how tall, or rather how short was he? We don't have a precise account, but here is the result of my findings:
Let's first list everything we know.
Philippe is described as either "short" (Saint-Simon), "very short" (Liselotte), or "princess sized" (Madame de La Fayette), which seems to indicate that he was much shorter than average if it's that visible
He was described by Liselotte as shorter than the king, who was estimated to be around 163cm (5"4) as attested by his armor (and mind you, he also wore rather high heels to make himself taller...)
The average male height in the 17th century was the lowest it ever was in France: 161cm / 5ft3 (source)
From this, combined with Philippe's shoe size (while there isn't an absolute correlation between shoe size and height, it's still indicative of a short stature), we can estimate that he was probably around 10cm/4inch below average, as any less than that is typically not very noticeable. I thus evaluate his height as approximately 151cm / 4ft11, which corroborates La Fayette's description of "princess sized" as 151 was closer to women's average height. (again, this is an estimate, it isn't proven or validated)
Of course, 151 is remarkably short for a man nowadays, but let's again keep in mind that the average height was barely 10cm above that, that Louis himself was barely taller than average, that the marquis d'Effiat was described by Saint-Simon as being of "mediocre size" (so likely around 160cm as well), and that despite being described as "tall", the Chevalier may as well have been around 168cm (5"6) that it would already have counted as such.
Anyway, so yeah, we're stanning short kings and princes here đđđ
(a little extra note: the reference to China is deliberate, as Philippe was very passionate about Chinese art and furniture, and was even a precursor in that regards; I thought it could be funny that he could use that as some form of excuse since nobody could really verify the information)
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A continuation of my comic about Philippe's high heels, which you can find here! Next pages below the cut! (Ainsi, comme d'habitude, de la version française, sous la coupure donc !)
This isn't based on any historical anecdote, me and Zennie just thought it'd be funny if Chev happened to want to buy very high heels as well just to mess with Phil, except, well... he definitely doesn't have the balance to pull it off :P
(also, in my head, this is pre-relationship, so they're good friends but not there yet, which is why Phil is so flustered by the proximity lol)
At this point Dubois is no longer Philippeâs preceptor, and that means he didnât have to sleep in his studentâs bedroom anymore. We donât know where he lived, but most likely he had a small apartment somewhere near the Palais-Royal or something (although a few years later there's a whole saga about a little house he owned... Maybe we'll get to that someday). In the following years, Duboisâ position remains ambiguous; obviously Philippe appreciates his company and wants to keep him around⊠But Dubois isnât really given any important charges either.
The future regentâs love for music is well-known. He loved singing and playing instruments, but also enjoyed doing composition. We know he played the harpsichord, the flute and the viola da gamba⊠Here heâs playing some kind of old-timey guitar because the dumb joke wouldnât leave my head, but itâs not completely impossible that he knew how to play that too: while Liselotte never had any serious musical training, we know she occasionally played the guitar!
