Cultural Matters
Colbert took much interest in art and literature. He possessed a remarkably fine private library, which he delighted to fill with valuable manuscripts from every part of Europe and the Near East where France had placed a consul. He employed Pierre de Carcavi and Étienne Baluze as librarians. Colbert's grandson sold the manuscript collection in 1732 to the Bibliothèque Royale.
Colbert founded the Academy of Sciences (now part of the Institut de France), the Paris Observatory, which he employed Claude Perrault to build and brought Giovanni Domenico Cassini (1625–1712) from Italy to superintend, the Academies of Inscriptions and Medals, of Architecture and of Music, the French Academy at Rome, and Academies at Arles, Soissons, Nîmes and many other towns. He reorganised the Academy of Painting and Sculpture which Mazarin had established. Wishing to increase the prestige of the image of France and the French royal family, Colbert played an active role in bringing the great Italian architect-sculptor, Gian Lorenzo Bernini, to Paris (June–October 1665), in order to design the new East Facade of the Louvre and sculpt a marble portrait bust of Louis XIV. This was quite an international diplomatic-artistic coup because Bernini, who had never left Rome or its vicinity, was personal architect to the pope, whom Louis was attempting to humiliate. However the relations between the two strong-willed men, Colbert and Bernini, proved melodramatically stormy and Colbert ultimately rejected Bernini's Louvre design, though the Italian artist's bust of the king (housed today in the Versailles palace) won Louis's appreciation.
Colbert himself became a member of the Académie française; and proposed one very characteristic rule with the intention of expediting the great Dictionary, in which he had a great interest: no one could count as present at any meeting unless he arrived before the hour of commencement and remained till the hour for leaving. In 1673 Colbert presided over the first exhibition of the works of living painters; and he enriched the Louvre with hundreds of pictures and statues.
He gave many pensions to men of letters, among whom we find Molière, Corneille, Racine, Boileau, P D Huet (1630–1721) and Antoine Varillas (1626–1696); and even foreigners, as Huygens, Carlo Dati the Dellacruscan. Evidence exists to show that by this munificence he hoped to draw out praises of his sovereign and himself; but this motive certainly does not account for all the splendid, if in some cases specious, services that he rendered to literature, science and art.
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