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Les espaces scéniques de la Cour de France sont abordés dans la continuité des trois derniers règnes de l’Ancien Régime, à partir d’un ensemble de sources le plus exhaustif possible. Cette nouvelle approche, résolument globale, repose sur le constat que les études précédentes ne se fondaient que rarement sur une identification précise de la nature même des sources qu’elles utilisaient et privilégiaient toujours des sondages ponctuels. A l’inverse, la présente thèse propose d’abord une analyse typologique des sources documentaires, tout particulièrement le considérable fonds des archives de la Maison du roi et des documents textuels, iconographiques et imprimés qu’elle a produits, ainsi que des rares vestiges conservés. Elle met en place des protocoles de travail adaptés à ces sources anciennes et au volume considérable du fonds : restitution virtuelle, base de données-calendrier documentant les lieux de représentation et répétition, interdisciplinarité nécessaire en raison de l’intrication des questions théâtrales, politiques, administratives, artisanales. Un lieu ne peut en effet se comprendre et se restituer sans la connaissance des techniques et méthodes de réalisation, des enjeux curiaux, des pratiques scéniques, et des traditions. La thèse expose quelques résultats significatifs de l’efficacité de cette méthodologie, tant pour le règne de Louis XIV aux sources lacunaires mais souvent considérées comme trop connues, que pour les règnes ultérieurs, très documentés. Notre connaissance des pratiques scéniques, des machines, de l’éclairage, par exemple, s’en trouve enrichie. Apparaît également une constance remarquable des pratiques adaptatives et empiriques de la Cour de France, après la « tabula rasa » de 1659 et les premières voies ouvertes, très vite abandonnées. De la masse des archives comptables, corroborant d’autres sources, se lit enfin une tentative sans fin de la part des Menus-Plaisirs pour gérer efficacement et économiquement une quantité croissante de lieux et matériels, inflation sans doute liée aux prétentions d’une Cour qui se voit comme la plus puissante d’Europe, alors même que la Maison royale ne fait que s’endetter jusqu’en 1789. Cette thèse entend donc ouvrir la voie à de futures recherches sur les spectacles à la Cour de France, ainsi qu’à une meilleure connaissance des lieux grâce aux nouvelles technologies. / The scenic spaces of the Court of France are studied in the continuity of the last three reigns in the Ancien Régime, from a set of sources as exhaustive as it can be. This new approach, global, is induced by the observation that previous studies were rarely based on a precise identification of the very nature of the sources they used and always favored short surveys. Conversely, this dissertation proposes a typological analysis of the documentary sources, especially the huge collection of the archives from the House of the King and the textual, iconographic and printed documents that this administration has produced, as well as rare remains of scenic material. It sets up working protocols adapted to these old sources and to the large volume of the archives : virtual restitution, database-calendar documenting the places for performance and rehearsal, interdisciplinarity required by the entanglement of the theatrical, political, administrative and artisanal ways. A place can not be understood and restituted without the knowledge of the techniques and methods of creation, the curial issues, the stage practice, and the traditions. The dissertation presents some significant results of the effectiveness of this methodology, both for the reign of Louis XIV with its lacunar sources but often considered too well known, as for later reigns, well documented. Our knowledge of scenic practice, machines, lighting, for example, is increased. There is also a remarkable consistency of adaptive and empirical practices of the Court of France, after the "tabula rasa" of 1659 and the first open ways, very quickly abandoned. The collection of accounting records, which corroborate other sources, shows an endless attempt from the Menus-Plaisirs to manage efficiently and economically a growing amount of places and materials, inflation likely linked to the claims of a Court which sees itself as the most powerful in Europe, even though the Royal House is only going into debt until 1789. The dissertation intends to pave the way for future research on shows at the Court of France, as well as to a better knowledge of places, thanks to new technologies.

L’objectif de cette thèse est d’appréhender les relations entre le roi et les nobles à la fin des guerres de Religion. La période des guerres civiles est marquée par un affaiblissement de l’autorité monarchique. Pour rétablir l’ordre dans le royaume, le roi doit compter sur les nobles dont la vocation est de porter les armes. Or, beaucoup de ces seigneurs ne le reconnaissent pas comme roi légitime. Par la guerre, les négociations et une savante politique de légitimation, Henri IV parvient à les rallier progressivement à son autorité. Cette thèse vise à comprendre ce processus de réconciliation, sur quelles bases il repose et comment les nobles contribuent à la redéfinition du pouvoir après ces périodes de troubles. Car si la paix est rétablie dans le royaume à partir de 1598 avec la paix de Vervins et l’édit de Nantes, les contestations nobiliaires ne sont pas totalement éteintes et éclatent à plusieurs reprises jusqu’en 1629. Les modalités de la révolte sont donc au cœur de cette thèse, c’est-à-dire la façon dont les nobles expriment leur mécontentement et justifient leurs oppositions au souverain. La cour est un cadre privilégié pour observer les dynamiques de pouvoir qui se jouent entre le souverain et les nobles, hommes et femmes. Le choix d’une période comprise 1589 et 1629 permet de suivre l’évolution de ces rapports à l’autorité monarchique et de mesurer le poids de l’honneur, moteur de l’action nobiliaire, mais aussi de la défense de la foi dans les prises de position nobiliaires. Cette longue période permet d’appréhender en quoi les contestations nobiliaires contribuent à la construction monarchique dans une période marquée par des conflits religieux. / The aim of this thesis is to understand the relationships between the King and the nobles at the end of the Wars of Religion. This period is marked by a weakening of the royal authority and the division of nobility between factions with different religious faiths. In order to restore order in the kingdom, the King must rely upon nobles whose vocation is to bear arms. However, many nobles don’t recognize him like as a legitimate sovereign. Through war, negotiations and a wise policy of legitimation, Henri IV achieves his goal of rallying them behind his authority. This thesis aims to understand this reconciliation process, on what basis it is founded and how nobles contribute to redefine royal power. Even though peace has been restored since 1598 with the Peace of Vervins and the Edict of Nantes, protests of nobility are not shut and flared several times until 1629. The modalities of the revolt are at the heart of this thesis, that is, the way nobles express their discontent and justify their oppositions against the sovereign. The court provides an ideal environment for the observation of the power dynamics between the King and nobles, men and women. The choice of the period from 1589 up to 1629 allows one to follow the evolution of the relations with the monarchical authority and evaluate the weight of honor, driving force of nobility action as well as the defense of faith in the nobles’ positions. This extensive period allows to apprehend how nobility protests contribute to the building of the monarchy during a period marked by religious conflicts.

Espetáculo cênico, divertimento e ritual cortesão simultaneamente, o balé de corte constituiu-se enquanto gênero de espetáculo em fins do século XVI, revelando-se extremamente popular e recorrente na dinâmica de corte francesa até fins do século XVII. Coerente às aspirações poéticas e artísticas humanistas de reconstituição do drama total grego antigo, o balé de corte propõe realizar a fusão das artes, unindo harmoniosamente poesia, música, canto, dança, pintura, cenários, maquinaria, heráldica, enfim, várias artes e artifícios, num grande espetáculo ao mesmo tempo erudito e agradável, sóbrio e divertido. Nesta complexa composição entremeada de tantas artes, a dança ocupava posição de destaque, como também o baile era atividade importantíssima na sociabilidade de corte. Tal espetáculo era realizado predominantemente no ambiente da corte e em reverência ao rei, contando com a participação efetiva - tanto na elaboração quanto na própria cena - dos cortesãos, damas, príncipes, rainha e do rei, estes que se colocavam em cena, dançando e desempenhando papéis os mais diversos. Partindo do estudo dos libretos e das relações/descrições de balés de corte produzidos entre 1610 e 1661 na corte francesa, propõe-se compreender como tal gênero se constrói enquanto representação prescritiva do poder no contexto do Antigo Regime baseado na noção alegórica de \"harmonia\". Assim, investiga-se em que medida o gênero e as composições analisadas constroem alegoricamente uma imagem de harmonia cósmica e política e, a partir de suas linguagens e recursos próprios, de que maneira colabora para reforçar modos de pensar, ser e agir cortesãos, bem como valores morais e pactos políticos que mantêm (artificialmente) o corpo social em ordem. / Scenic spectacle, divertissement and courtly ritual at the same time, the court ballet was composed, as spectacle genre, in the late sixteenth century, proving to be extremely popular and recurrent to the dynamics of French court until seventeenth century\'s last decades. According to the humanistic aspirations in reconstitution of the ancient Greek total drama, court ballet proposes a fusion of the arts, uniting harmoniously poetry, music, singing, dancing, painting, scenery, machinery, heraldry, finally, various arts and devices in a great spectacle, erudite and pleasant at once. In this complex composition of so many interlaced arts, dance occupied a prominent position, as well as dance was a very important activity in the sociability of the court. Court ballet was essentially performed in a courtly ambience and in reverence to the king, with the effective participation of the courtiers, ladys, princes, queen and also the French king in the stage, dancing and performing various roles. Based on the study of the libretti and descriptions of court ballets produced between 1610 and 1661 at the French court, this study proposes to understand how this court spectacle is constructed as a prescriptive representation of power in the context of the Ancien Régime, based on the allegorical notion of \"harmony\". Thus, we investigate how court ballet create an allegorical image of cosmic harmony and how it contributes to strengthen ways of thinking, being and acting of the courtiers, as well as moral values and political pacts that keep (artificially) the social body in order.

Espetáculo cênico, divertimento e ritual cortesão simultaneamente, o balé de corte constituiu-se enquanto gênero de espetáculo em fins do século XVI, revelando-se extremamente popular e recorrente na dinâmica de corte francesa até fins do século XVII. Coerente às aspirações poéticas e artísticas humanistas de reconstituição do drama total grego antigo, o balé de corte propõe realizar a fusão das artes, unindo harmoniosamente poesia, música, canto, dança, pintura, cenários, maquinaria, heráldica, enfim, várias artes e artifícios, num grande espetáculo ao mesmo tempo erudito e agradável, sóbrio e divertido. Nesta complexa composição entremeada de tantas artes, a dança ocupava posição de destaque, como também o baile era atividade importantíssima na sociabilidade de corte. Tal espetáculo era realizado predominantemente no ambiente da corte e em reverência ao rei, contando com a participação efetiva - tanto na elaboração quanto na própria cena - dos cortesãos, damas, príncipes, rainha e do rei, estes que se colocavam em cena, dançando e desempenhando papéis os mais diversos. Partindo do estudo dos libretos e das relações/descrições de balés de corte produzidos entre 1610 e 1661 na corte francesa, propõe-se compreender como tal gênero se constrói enquanto representação prescritiva do poder no contexto do Antigo Regime baseado na noção alegórica de \"harmonia\". Assim, investiga-se em que medida o gênero e as composições analisadas constroem alegoricamente uma imagem de harmonia cósmica e política e, a partir de suas linguagens e recursos próprios, de que maneira colabora para reforçar modos de pensar, ser e agir cortesãos, bem como valores morais e pactos políticos que mantêm (artificialmente) o corpo social em ordem. / Scenic spectacle, divertissement and courtly ritual at the same time, the court ballet was composed, as spectacle genre, in the late sixteenth century, proving to be extremely popular and recurrent to the dynamics of French court until seventeenth century\'s last decades. According to the humanistic aspirations in reconstitution of the ancient Greek total drama, court ballet proposes a fusion of the arts, uniting harmoniously poetry, music, singing, dancing, painting, scenery, machinery, heraldry, finally, various arts and devices in a great spectacle, erudite and pleasant at once. In this complex composition of so many interlaced arts, dance occupied a prominent position, as well as dance was a very important activity in the sociability of the court. Court ballet was essentially performed in a courtly ambience and in reverence to the king, with the effective participation of the courtiers, ladys, princes, queen and also the French king in the stage, dancing and performing various roles. Based on the study of the libretti and descriptions of court ballets produced between 1610 and 1661 at the French court, this study proposes to understand how this court spectacle is constructed as a prescriptive representation of power in the context of the Ancien Régime, based on the allegorical notion of \"harmony\". Thus, we investigate how court ballet create an allegorical image of cosmic harmony and how it contributes to strengthen ways of thinking, being and acting of the courtiers, as well as moral values and political pacts that keep (artificially) the social body in order.

Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2016-09-01T21:11:57Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-03T00:19:03Z (GMT) No. of bitstreams: 2 Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-09-03T00:21:07Z (GMT) No. of bitstreams: 2 Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-03T00:21:33Z (GMT). No. of bitstreams: 2 Bruno_Blois_Nunes_Dissertação.pdf: 5085335 bytes, checksum: dbfcfe8b96e3765dc4032a802061e183 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-12-18 / Sem bolsa / Este estudo visou pesquisar a importância da dança e seus diversos papeis representados na corte francesa do reinado de Francisco I a Luís XIV. Ao longo do trabalho procuramos contextualizar a França desse período enfocando aspectos religiosos e culturais importantes; caracterizar as danças de maior notoriedade presentes na corte francesa de Francisco I a Luís XIV, detalhando os passos dessas danças e a forma como eram executados; examinar tratados de dança franceses ressaltando a influência italiana na dança de corte da referida época e analisar pinturas e imagens de tratados de dança e suas intencionalidades na corte francesa do período estudado. O avanço tecnológico da Internet viabilizou uma pesquisa histórica sobre a dança de corte francesa do reinado de Francisco I a Luís XIV, cujas fontes de interesse não se encontram disponíveis no Brasil. Com o acesso ao site da Biblioteca Nacional da França (Gallica), foram encontrados manuscritos, memórias, livros, tratados de dança e imagens produzidos no período em questão que serviram de fontes primárias para o estudo. Organizamos este trabalho em três capítulos, sendo o primeiro voltado ao estudo da França em aspectos gerais relativos ao período de Francisco I a Luís XIV abordando a ameaça protestante, a influência italiana na corte francesa, bem como o seu desenvolvimento e a importância do vestuário e dos adereços para o cortesão dessa nova corte. No segundo capítulo, analisamos a influência italiana e de seus maîtres de danse na corte francesa, abordando, na sequência, as danças, os ballets e os maîtres de danse da corte francesa além da Académie Royale de Danse. Nosso último capítulo é dedicado à importante descoberta da perspectiva, o poder representado através das imagens de dança e a representação de dança dos bailes da corte e dos tratados dos maîtres de danse. / This study aimed to investigate the importance of dance and its various roles represented at the French court of Francis I’s to Louis XIV’s reign. During the work we tried to contextualize the France of that time focusing on religious and cultural important aspects; characterizing the dances of greater notoriety present in the French court of Francis I to Louis XIV, detailing the steps of these dances and how they were executed; examining treaties French dance highlighting the Italian influence in the court dance of that time and analyzing paintings and images of dance treatise and their intentions at the French court of the period studied. The technological progress of the Internet enabled a historical research about the French court dance of Francis I to Louis XIV’s reign, whose sources of interest are not available in Brazil. Accessing to the website of the National Library of France (Gallica), were found manuscripts, memoirs, books, dance treatises and images produced in the period that served as the primary sources for the study. We organize this work in three chapters, the first focused on the study of France in general aspects during the period of Francis I to Louis XIV approaching the Protestant threat, the Italian influence at the French court, as well as their development and the importance of clothing and adornments to the courtier of the new court. In the second chapter, we analyze the Italian influence and his maîtres de danse at the French court, approaching, in sequence, dances, ballets and maîtres danse in the French court beyond the Académie Royale de Danse. Our last chapter is dedicated to the important discovery of perspective, the power represented through dance images and dance representation of court balls and maîtres de danse treatises.

« Pouvoir, présence et action » : chacune de ces trois notions renvoie à la capacité d’un individu à entreprendre. Cette capacité d’action des femmes est particulièrement encadrée dans la France d’Ancien Régime, autant par les normes juridiques que par les représentations mentales qui affirment l’inégalité entre les sexes et la supériorité des hommes. Le présent travail a pour buts l’examen des limites de la subordination féminine et l’affirmation de la possibilité d’action des femmes, dans le cadre d’une étude globale consacrée aux épouses des ministres au temps de Louis XIV. Les spécificités du groupe d’étude fondent l’essence de la réflexion : il s’agit d’analyser la possibilité d’action de femmes de la noblesse dans la France du XVIIe siècle, dans le cadre spécifique de mariages les unissant à des hommes exerçant une fonction de type ministériel lors du règne personnel de Louis XIV. Il s’agit donc d’analyser les conditions d’un pouvoir conjugal, familial et social au féminin, puis de définir les domaines dans lesquels les épouses des ministres apparaissent en tant qu’actrices. L’étude vise également à observer les attitudes des couples ministériels afin de déterminer des invariants permettant de comprendre ce que signifie être l’épouse d’un ministre au temps de Louis XIV. L’ancrage historique, juridique, économique, familial et social de ces femmes constitue un sujet d’analyse essentiel pour comprendre la place qu’elles ont occupée dans leur couple, dans leur famille, à la cour, dans la société. Le sujet invite donc à dépasser la description des activités de femmes pour les inscrire dans une histoire du couple, de la société de cour et de la noblesse au Grand Siècle. / « Power, presence and action » : each of these three notions refers to each individual's capacity to take action. The ability to take action is particularly supervised for women in France under the Ancien Régime, notably under the legal norm, as well as the mental representations which maintain the inequality between sexes and men's superiority. The aims of this present work are to examine the limits of feminine subordination and the affirmation of the the ability for women to take action, within the framework of a global study focused on the ministers' wives under Louis 14th. The specifications of the study group are the essence of the reflection : the idea is to analyse noblewomen's opportunity to take action in 17th century France, more specifically in the framework of the marriages joining them to men practicing a ministerial function under Louis 14th. Therefore the matter at hand is to analyse the conditions of marital, family and social power in a feminine form, then define the areas in which the ministers' wives appear as actors. The study also aims to observe the ministerial couples' attitudes to determine some constants, allowing us to understand what it meant to be a minister's spouse in the time of Louis 14th. The historical, legal, economical, family and social anchoring of these women form an essential subject of analysis to understand the place they occupied in their couple, in their family, at court and in society. The subject therefore invites us to go beyond the description of women's activities to write them in a history of relationship, court society and the Grand Siècle nobility.

Pensions et pensionnaires de la monarchie : de la grâce royale au système de redistribution de l’État au XVIIIe siècle La question des pensions et des pensionnaires de l’État est abordée à partir d’un corpus de sources centré sur les archives de la Maison du Roi, du Trésor royal et du Comité des pensions de l’Assemblée nationale constituante. Les mécanismes d’attribution et de distribution des pensions royales permettent de redécouvrir les contradictions de la monarchie d’Ancien Régime, prises entre la permanence de traditions anciennes et les exigences de l’État moderne. En revenant sur les tentatives répétées et inabouties de réformer et de rationnaliser un objet de dépenses dont le poids n’a cessé de peser sur les finances royales, la thèse invite à s’interroger sur ces formes de distributions utilisées par le pouvoir comme un instrument de domination politique et social, mais dont les aspects financiers et comptables ont été inégalement maîtrisés. L’histoire de la gestion des pensions royales au XVIIIe siècle offre une étude de cas particulièrement documentée qui permet d’illustrer le développement de la bureaucratie moderne, révélant une administration imaginative dans sa manière de réformer les pensions de l’État mais freinée par les intérêts contradictoires du régime. C’est finalement la crise politique de 1789 qui a permis de clarifier et de réformer un système de grâces royales devenu le symbole des abus de la cour aux yeux de l’opinion publique. En séparant les pensions de cour des pensions de l’État, en créant un droit à la pension pour les serviteurs de l’État là où l’Ancien Régime ne connaissait qu’un système de récompenses fondé sur l’usage et l’esprit de clientèle, le Comité des pensions de l’Assemblée nationale constituante a posé, en 1790, les bases du premier système de retraite de la fonction publique d’État. / Pensions & pensioners of the French monarchy : from royal favour to State redistribution system in the eighteenth century The issue of State pensions and pensioners is tackled on the basis of a corpus of sources found among the archives of the Maison du Roi (Royal Household), the Trésor royal (Royal Treasury) and the Comité des pensions (Pensions Committee) of the Assemblée nationale constituante (National Constituent Assembly). An analysis of the attribution and distribution mechanisms of the Royal pensions reveals the contradictions of the Ancien Régime monarchy: the preservation of ancient traditions versus the requirements of a modern State. The repeated and unsuccessful attempts to reform and rationalize an object of expenditure whose weight has not ceased to weigh on the royal finances is demonstrated here. The thesis invites us to question these forms of distribution used by the power as an instrument of political and social domination, but whose financial and accounting aspects have been unequally controlled. The history of the royal pensions management in the 18th century offers a particularly well-documented case study that illustrates the development of modern bureaucracy. It reveals an inventive administration in its way of reforming State pensions while constrained by conflicting interests of the regime. It was finally the political crisis of 1789 that clarified and reformed a system of royal liberalities that became the symbol of abuses of the Court in the eyes of public opinion. In 1790, by separating Court pensions from State pensions, by creating an entitlement to pension for State servants where the Ancien Régime knew only a system of rewards based on custom and clientelism, the Comité des pensions of the Assemblée nationale constituante laid the foundation for the first pension system of the State Public Service.

Une somme considérable de légendes véhiculent des images éculées d’Henri IV et Louis XIII. Au premier d’être alors évoqué comme un personnage débonnaire, guerrier, vert galant, préférant les joies populaires de la poule au pot et des chansons licencieuses du Pont Neuf aux fastueux spectacles de cour, quand son fils est appréhendé comme un monarque taciturne, dominé par sa mère puis par le tout-puissant Richelieu. Rarement l’intérêt se porte alors sur leurs personnalités politiques qui pourtant, animées par la passion de la gloire, pleinement conscientes de leur rôle de souverains du royaume, usèrent toutes deux de l’art à des fins d’autorité, ouvrant la voie à leur illustre descendant : Louis XIV. Notre étude a pour ambition première d’analyser quel fut l’initiation, voire l’édification, de ces deux souverains. Les usages politiques des spectacles de cour ont pour beaucoup été mis en exergue, mais le lien entre éducation artistique et politique est, quant à lui, bien moins étudié. Or, apprentissage politique et enseignement artistique passent par la ‘‘rencontre’’ entre l’enfant et les spectacles. De cette rencontre, le prince pourra envisager les potentialités du fastueux et utiliser ces premières expériences comme une référence qu’il accommodera par la suite, à son profit. Quelle place fut alors donnée à la musique dans la formation humaniste que reçut le jeune Henri de Navarre ? Quel fut le rôle confié aux arts dans l’éducation de Louis XIII, tandis que sa mère, digne représentante de la dynastie Médicis, mettait un point d’honneur à entourer sa cour de fêtes perpétuelles ? Ce sont en effet les femmes, c’est indéniable, qui jouèrent un rôle de tout premier plan dans la mise en place et le développement des spectacles utilisés pour servir la propagande royaliste. C’est cette réflexion, autour de la place de ces ‘‘muses’’ dans la formation des souverains au mécénat artistique et plus encore à l’utilisation politique des arts, qui nourrit notre première partie. La seconde est entièrement consacrée à l’utilisation propagandiste de l’art. Sous les premiers Bourbons, la musique se développa sous ses aspects les plus divers, psaumes, cantiques, chansons populaires ou airs de cour, ballets, tous utilisés afin d’ancrer plus fortement leurs règnes au cœur de la tradition monarchiste française. Sous ces souverains, au pouvoir bien controversé, les fêtes firent partie intégrante de la stratégie gouvernementale ; elles ne jouèrent plus seulement le rôle décisif, mais désormais connu, de consolidateurs du pouvoir en place mais le légitimèrent, l’assirent. Ainsi naquit la dynastie Bourbon. / A considerable amount of legends conveys hackneyed images of Henri IV and Louis XIII. The first one was then evoked as a good-natured, warlike figure and a Green Gallant who preferred the popular enjoyments of the boiled chicken and the bawdy songs of the Pont Neuf to the celebrations of the Valois court. His son was, as for him, considered as a taciturn monarch, dominated by his mother or by the almighty Cardinal Richelieu. Curiosity is then rarely aroused by their political personalities which, nevertheless livened up by the passion of the glory, conscious of their role as Kings of France, used both the art for authority purposes, opening the way to their illustrious descendant: Louis XIV.The first purpose of this study is to explore the initiation, if not the edification, of these sovereigns. The political uses of the splendoures were largely underlined, but the link between arts and political education is not much studied. Yet political learning and art education are conveyed by the "encounter" between the child and these shows. This encounter enables the prince to consider the potentialities of the luxurious, and to use these early experiences as a reference that he will accommodate to his profit afterward. Then what place was given to the music in the humanist formation received by the young Henri de Navarre? What was the role assigned to arts in the education of Louis XIII, while his mother, deserving representative of the Medici dynasty, made it a point of honor to provide her court with perpetual celebrations? Women undeniably played a first rank role in the implementation and the development of the court’s shows used to serve the royalist propaganda. This reflection around the role of these "muses" concerning the education of the sovereigns in the artistic sponsorship in addition to the political use of the arts will be the main focus of the first part. The second part is entirely dedicated to the propagandist use of the art. Under the first Bourbons, music developed as a wide range of appearances, psalms or hymns, popular songs or ‘‘airs de cour’’, ballets. All these forms emerged, anchoring more strongly their reigns in the tradition of the French monarchy. Under Henri IV and under his son, asserting a controversial power, the fêtes were part of the governmental strategy; they did not only play a decisive role in strengthening the power any more, they legitimized it, they consolidated it. This is how the dynasty of Bourbons was born.