Arts and Culture
Richelieu was a famous patron of the arts. Himself an author of various religious and political works (most notably his Political Testament), he sent his agents abroad in search of books and manuscripts for his unrivaled library, which he specified in his will, leaving it to his great-nephew fully funded, should serve, not merely his family but to be open at fixed hours to scholars; the manuscripts alone numbered some 900, bound as codices in red Morocco with the cardinal's arms. The library was transferred to the Sorbonne in 1660. He funded the literary careers of many writers. He was a lover of the theatre, which was not considered a respectable art form during that era; a private theatre was a feature of the Palais-Cardinal. Among the individuals he patronized was the famous playwright Pierre Corneille. Richelieu was also the founder and patron of the Académie française, the pre-eminent French literary society. The institution had previously been in informal existence; in 1635, however, Cardinal Richelieu obtained official letters patent for the body. The Académie française includes forty members, promotes French literature, and continues to be the official authority on the French language. Richelieu served as the Académie's "protector"; since 1672, that role has been fulfilled by the French head of state.
In 1622, Richelieu was elected the proviseur or principal of the Sorbonne. He presided over the renovation of the college's buildings, and over the construction of its famous chapel, where he is now entombed. As he was Bishop of Luçon, his statue stands outside the Luçon cathedral.
Richelieu oversaw the construction of his own palace in Paris, the Palais-Cardinal. The palace, renamed the Palais Royal after Richelieu's death, now houses the French Constitutional Council, the Ministry of Culture, and the Conseil d'État. The Galerie de l'avant-cour had ceiling paintings by the Cardinal's chief portraitist, Philippe de Champaigne, celebrating the major events of the Cardinal's career; the Galerie des hommes illustres had twenty-six historicizing portraits of great men, larger than life, from Abbot Suger to Louis XIII; some were by Simon Vouet others were careful copies by Philippe de Champaigne from known portraits; with them were busts of Roman emperors. Another series of portraits of authors complemented the library. The architect of the Palais-Cardinal, Jacques Lemercier, also received a commission to build a château and a surrounding town in Indre-et-Loire; the project culminated in the construction of the Château Richelieu and the town of Richelieu. To the château, he added one of the largest art collections in Europe and the largest collection of ancient Roman sculpture in France. The heavily resurfaced and restored Richelieu Bacchus continued to be admired by neoclassical artists. Among his 300 paintings by moderns, most notably, he owned Leonardo's Virgin and Child with Saint Anne, The Family of the Virgin by Andrea del Sarto, the two famous Bacchanales of Nicolas Poussin, as well as paintings by Veronese and Titian, and Diana at the Bath by Rubens, for which he was so glad to pay the artist's heirs 3,000 écus, that he made a gift to Rubens' widow of a diamond-encrusted watch. His marble portrait bust by Bernini was not considered a good likeness and was banished to a passageway.
The fittings of his chapel in the Palais-Cardinal, for which Simon Vouet executed the paintings, were of solid gold—crucifix, chalice, patten, ciborium, candelsticks—set with 180 rubies and 9,000 diamonds. His taste also ran to massive silver, small bronzes and works of vertu, enamels and rock crystal mounted in gold, Chinese porcelains, tapestries and Persian carpets, cabinets from Italy and Antwerp and the heart-shaped diamond bought from Alphonse Lopez that he willed to the king. when the Palais-Cardinal was complete, he donated it to the Crown, in 1636. With the Queen in residence, the paintings of the Grand Cabinet were transferred to Fontainebleau and replaced by copies, and the interiors were subjected to much rearrangement.
Michelangelo's two Slaves were among the rich appointments of the château Richelieu, where there were the Nativity triptych by Dürer and paintings by Mantegna, Lorenzo Costa and Perugino, lifted from the Gonzaga collection at Mantua by French military forces in 1630, as well as numerous antiquities.
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