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Introduction
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This chapter explores the material culture of everyday life in late-Renaissance Paris by setting L’Estoile’s diaries and after-death inventory against a sample of the inventories of thirty-nine of his colleagues. L’Estoile and his family lived embedded in the society of royal office-holders and negotiated their place in its hierarchy with mixed success. His home was cramped and his wardrobe rather shabby. The paintings he displayed in the reception rooms reveal his iconoclastic attitude to the visual, contrasting with the overwhelming number of Catholic devotional pictures displayed by his colleagues. Yet the collection he stored in his study and cabinet made him stand out in his milieu as a distinguished curieux. It deserves a place in the early modern history of collecting, as his example reveals that the civil wars might be a stimulus as much as a disruption to collecting in sixteenth-century France.
Title: Introduction
Description:
This chapter explores the material culture of everyday life in late-Renaissance Paris by setting L’Estoile’s diaries and after-death inventory against a sample of the inventories of thirty-nine of his colleagues.
L’Estoile and his family lived embedded in the society of royal office-holders and negotiated their place in its hierarchy with mixed success.
His home was cramped and his wardrobe rather shabby.
The paintings he displayed in the reception rooms reveal his iconoclastic attitude to the visual, contrasting with the overwhelming number of Catholic devotional pictures displayed by his colleagues.
Yet the collection he stored in his study and cabinet made him stand out in his milieu as a distinguished curieux.
It deserves a place in the early modern history of collecting, as his example reveals that the civil wars might be a stimulus as much as a disruption to collecting in sixteenth-century France.
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