Birth of the Dauphin, Toulouse, 1682: Capture of the Golden Fleece 1682

Editor: Here we have Jacques LePautre's "Birth of the Dauphin, Toulouse, 1682: Capture of the Golden Fleece," an engraving dating back to 1682. It's incredibly detailed. I’m initially struck by how theatrical the scene feels. What’s your take on this, looking beyond the surface? Curator: It's more than just theatrical, it's a piece of carefully constructed propaganda. It's an allegory linking the birth of the French Dauphin, heir to Louis XIV, to the myth of Jason and the Golden Fleece. We need to deconstruct its function within the socio-political context of the French court. How does linking the monarchy to classical heroism reinforce its power? Editor: That's a fascinating angle. So, the Golden Fleece represents the glory and power being passed down through the royal bloodline? But why use such an elaborate allegorical scene for what's essentially a birth announcement? Curator: Exactly. Consider the role of visual culture in legitimizing power. Louis XIV was a master of self-promotion, and art was a key tool. The engraving isn't merely celebratory, it’s performative. It establishes a narrative of divinely ordained rule, tying the monarchy to enduring myths of heroism. How might the visual language - the swirling lines, the dramatic composition - contribute to this message? Editor: I see what you mean, the baroque style is over the top! Everything looks intentionally designed to feel imposing and legitimize Louis XIV’s power through these grand, embellished historical references. And I didn’t realize at first that it was about legitimizing power through visual allegory. Curator: And the use of printmaking makes this accessible and repeatable, so these concepts became readily disseminated! Considering that makes us consider modern equivalents, which are equally powerful tools.