Charles X (1757–1836), King of France, after Gérard 1829

Editor: So, here we have Henry Bone's "Charles X, King of France, after Gérard," painted in 1829. It strikes me as…well, overtly royal. What symbols jump out at you? Curator: The symbols practically shout, don't they? Consider the lion-headed throne – a direct connection to regality, power, and perhaps even divine right. But it's the scepter, the crown, the ermine-trimmed robes – these aren't just emblems of status; they’re carefully chosen devices of a restored Bourbon monarchy seeking to re-establish its cultural legitimacy after years of revolution and empire. Editor: Restored, yes! It feels like Charles X is consciously trying to appear strong and legitimate. How would this image play into that goal? Curator: Indeed. Bone, through Gérard's image, aims to anchor Charles within a visual language of power. Ask yourself, what did French citizens associate with this kind of representation? It's a calculated appeal to a specific memory, and simultaneously, a desire to shape a new one. Consider the echoes of Louis XIV, the Sun King, in the overall composition. It is no coincidence. Editor: That makes so much sense! So, it’s less about an individual portrait, and more about continuing a specific image of the monarchy? Curator: Precisely. Every element carries meaning, designed to evoke a sense of continuity, tradition, and divinely ordained rule. Do you think it resonated with the public at the time, given the shifting political landscape? Editor: Probably not, knowing a bit of French history, which perhaps is what makes the symbolism even more pointed and deliberate. Curator: It certainly adds layers to its interpretation. Symbols never exist in a vacuum; they're always in dialogue with their historical context and the cultural memory they attempt to manipulate. Editor: I’ll definitely look at portraiture differently now, thinking about the memory that the symbolism carries within it.