“Poor little girl, you are not what was desired, but you are no less dear to me on that account. A son would have been the property of the state. You shall be mine; you shall have my undivided care; you will share all my happinesses and you will alleviate my sufferings…”
Marie Thérèse and her father shared an affectionate relationship that began during the first days of her life. Ambassador Mercy wrote, of the week after her birth, that the king “did not want to leave the chateau even to take a walk,” and that he spent most of his day in the Queen’s chambers, dividing “his time between the Queen and his august child, to whom he shows the most touching love.” Some of the first words spoken by the young Marie Thérèse were, to the delight of her parents, “Papa.”
In his recollections of the royal family’s imprisonment in the Temple, Jean-Baptiste Cléry recalled the pain that the king felt in being separated from his family during his trial proceedings, but especially from being separated from his child on her birthday:
On the 19th of December the king said to me while dining: ‘Fourteen years ago you got up earlier than you did to-day.’ I understood His Majesty at once. ‘That was the day my daughter was born,’ he continued tenderly, ‘and to-day, her birthday, I am deprived of seeing her!’ A few tears rolled from his eyes, and a respectful silence reigned for a moment.
Cléry also recollected the family’s final parting from their husband, brother and father:
“Adieu–” He uttered that “adieu” in so expressive a manner that the sobs redoubled. Madame Royale fell fainting at the king’s feet, which she clasped.
Marie Thérèse Charlotte of France (19 December 1778 – 19 October 1851) was the eldest child of Louis XVI and Marie Antoinette.
She married her cousin, Louis Antoine, Duke of Angoulême, the eldest son of the future Charles X. Once married, she assumed her husband’s title and was known as the Duchess of Angoulême. She became the Dauphine of France upon the accession of her father-in-law to the throne of France in 1824. Technically she was Queen of France for twenty minutes, in 1830, between the time her father-in-law signed the instrument of abdication and the time her husband, reluctantly, signed the same document
Medaglione con miniatura di Luigi XVII. Il medaglione apparteneva a Madame Royale e si dice che l'orfanella del Tempio lo avesse con se quando venne liberata nel 1795. Oltre alla miniatura (del delfino che legge un libro) all'interno del medaglione si possono leggere le seguenti parole: “Cher par Son objet cher par Celui qui le traça Il Est pour Moi un Gage De Souvenir Et de Tendresse 24 Décembre 1794”. Il significato dovrebbe essere “ Questo oggetto mi è caro quanto colui che vi è dipinto. Per me è ricordo e pegno di grande tenerezza 24 dicembre 1794”
Esposto in occasione della mostra per il bicentenario della nascita della regina, nel 1955, il medaglione appartiene alla collezione del Conte di Parigi. Attualmente il suo valore oscilla tra i 6000 e gli 8000€
Apparently eager to extend the naturalness and freedom of her country haven to all aspects of her offspring’s life, Marie Antoinette outfitted Madame Royale in the simple, unstructured muslin gaulles that she and her adult friends had made famous, and the young princes in sporty, unconfining sailor suits.
These were the costumes worn by Marie Antoinette’s two oldest children in a portrait that the Swedish artist Adolf Ulrik von Wertmuller painted of them and their mother – posing in front of the Petit Trianon’s Temple of Love – for Gustavus III, King of Sweden. And when the painting was shown at the Paris Salon of 1785, the public again rallied against the inappropriate clothing styles it placed on display, even though the Queen herself had been represented wearing altogether traditional panniers, a cinched corset, lace sleeves, pearl bracelets, and a low headdress that Rose Bertin has confected from a slate-blue satin that highlighted the blue of the consort’s eyes, For the Wertmuller portrait, Marie Antoinette had even abandoned her signature Habsburg roses, though Madame Royale held a clutch of them, as if reprising, in miniature, her mother’s pose in La Reine en gaulle. In this way, the royal children’s unconventional outfits may have reflected badly on their mother, despite her visible effort to reign in her own previous excesses of fashion.
Queen of Fashion, What Marie Antoinette Wore to the Revolution - Caroline Weber