File:Mariage de Napoléon Joseph Charles Paul Bonaparte et Ludovica Teresa Maria Clotilde di Savoia. 006-2.png
![File:Mariage de Napoléon Joseph Charles Paul Bonaparte et Ludovica Teresa Maria Clotilde di Savoia. 006-2.png](https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Mariage_de_Napol%C3%A9on_Joseph_Charles_Paul_Bonaparte_et_Ludovica_Teresa_Maria_Clotilde_di_Savoia._006-2.png/800px-Mariage_de_Napol%C3%A9on_Joseph_Charles_Paul_Bonaparte_et_Ludovica_Teresa_Maria_Clotilde_di_Savoia._006-2.png?20240319152949)
Original file (2,605 × 1,785 pixels, file size: 7.66 MB, MIME type: image/png)
Captions
Captions
Summary
editDescriptionMariage de Napoléon Joseph Charles Paul Bonaparte et Ludovica Teresa Maria Clotilde di Savoia. 006-2.png |
Français : Un gala eut lieu au Teatro Royale de Turin le 23 janvier 1859 pour célébrer leur mariage.Ce qui suit est un extrait d'une lettre envoyée par Édouard Riou.
-Je ne vous avais pas envoyé la première soirée théâtrale à laquelle le prince Napoléon accompagna le roi le jour même de son arrivée à Turin ; le dessin que je vous envoie aujourd'hui vous en révélera le motif. Je savais par M. le comte Nigra même que Son Altesse Impériale devait assister le dimanche 23 à une représentation solennelle où se montrerait la familleentière, S. A R. la princesse Clolilde comprise. Je devais donc me réserver à vous montrer cette belle salle dans toute la splendeur d'une soirée de gala.C'est fait.Ce n'est pas que cette salle, vaste comme les plus belles salles de spectacle italiennes, et décorée avec autant de richesse que de goût, ne soit toujours digne d'être offerte à l'admiration de vos abonnés les plus difficiles, mais c'est qu'il me semblait d'un effet plus saisissant de vous offrir les magnificences sociales encadrées dans les magnificences de l'art. Si l'éclat des diamants et des bijoux, l'élégance et la fraîcheur des toilettes, je ne parle as de la beauté si justement célèbre des jeunes femmes de l'aristocratie ligurienne, faisaient oublier et les enfants si gracieux se jouant avec des léopards, et les amours chevauchant sur des cygnes et des dauphins au milieu des roseaux et des glaïeuls qui forment l'ornementation des galeries, ces riches et gracieuses décorations n'en contribuaient pas moins au prestige de l'ensemble, dont l'effet était merveilleux.Je renonce à vous décrire la sensation produite par l'aspect de cette salle lorsque, à l'arrivée de la famille royale et du prince français son hôte, un mouvement unanime et spontané saisit l'assistance entière, dont toutes les voix éclatèrent en acclamations prolongées;ce ne furent pas seulement l'orchestre et le parterre qui se levèrent comme un seul homme, s'unissant dans un long vivat, ce furent toutes ces jeunes dames, rivalisant d'éclat et de beauté, garnissant les galeries et les loges, qui se trouvèrent simultanément debout, émues, frémissantes et agitant leurs mouchoirs, leurs éventails et leurs bouquets.Si ce n'était pas là de l'en thousiasme, j'avouerai trèsingénuement que je ne m'y connais pas.S. M. le roi Victor-Emmanuel prit place au milieu de sa famille où le prince Napoléon figurait naturellement auprès de la princesse Clotilde placée à la droite de Sa Majesté, et ayant le prince de Piémont à sa gauche. La princesse Marie Pia, le duc d'Aoste et le prince de Carignan occupaient les places à la gauche du roi. ED RIOUItaliano: Uno spettacolo di gala al Teatro Reale di Torino il 23 gennaio 1859 per celebrare il loro matrimonio.
Quello che segue è un estratto di una lettera inviata da Edouard Riou. -Non ti avevo inviato la prima serata teatrale alla quale il principe Napoleone accompagnò il re il giorno stesso del suo arrivo a Torino; il disegno che ti mando oggi ne rivelerà il motivo. Sapevo dal Conte Nigra in persona che Sua Altezza Imperiale domenica 23 avrebbe assistito ad uno spettacolo solenne al quale sarebbe apparsa l'intera famiglia, compresa SAR la Principessa Clolilde. Mi sono dovuto quindi riservare di mostrarvi questa bellissima sala in tutto lo splendore di una serata di gala. Così è fatto. Non è solo questa sala, vasta come le più belle sale da spettacolo italiane, e decorata con tanta ricchezza quanto gusto, non è sempre degno di essere offerto all'ammirazione dei tuoi abbonati più difficili, ma mi è sembrato avere un effetto più sorprendente offrirti le magnificenze sociali incorniciate nell'arte delle magnificenze. Se lo splendore dei diamanti e dei gioielli, l'eleganza e la freschezza delle toilette, per non parlare della bellezza giustamente famosa delle giovani donne dell'aristocrazia ligure, facevano dimenticare i graziosi bambini che giocavano con i leopardi, e gli amorini a cavallo su cigni e delfini in mezzo ai canneti e ai gladioli che formano l'ornamento delle gallerie, queste ricche e graziose decorazioni contribuirono non meno al prestigio dell'insieme, il cui effetto fu meraviglioso. Mi rifiuto di descrivervi la sensazione prodotta dalla comparsa di questa sala quando, all'arrivo della famiglia reale e del principe francese loro ospite, un movimento unanime e spontaneo si impadronì dell'intero pubblico, le cui voci esplosero in prolungate acclamazioni; non erano solo l'orchestra e il pubblico che si alzava come un sol uomo, unendosi in un lungo applauso, erano tutte queste signorine, gareggiando in splendore e bellezza, riempiendo le gallerie e i palchi, che si ritrovavano contemporaneamente in piedi, commosse, frementi e sventolando i loro fazzoletti, i loro ventagli e i loro mazzi di fiori.Se questo non fosse entusiasmo, ammetterei molto ingenuamente che non ne so nulla. Il signor Re Vittorio Emanuele prese posto al centro della sua famiglia dove il Principe Napoleone appariva naturalmente accanto alla Principessa Clotilde posta alla destra di Sua Maestà, e con il Principe di Piemonte alla sua sinistra. Alla sinistra del re occupavano i posti la principessa Marie Pia, il duca d'Aosta e il principe di Carignan. ED RIOUEnglish: A gala performance at the Teatro Royale in Turin on January 23, 1859 to celebrate their marriage.The following is an extract from a letter sent by Edouard Riou.
-I had not sent you the first theatrical evening to which Prince Napoleon accompanied the king on the very day of his arrival in Turin; the drawing that I am sending you today will reveal the reason. I knew from Count Nigra himself that His Imperial Highness was to attend a solemn performance on Sunday the 23rd where the entire family would appear, including HRH Princess Clolilde. I therefore had to reserve myself to show you this beautiful room in all the splendor of a gala evening. It's done. It's not just this room, vast like the most beautiful Italian performance halls, and decorated with as much wealth than taste, is not always worthy of being offered to the admiration of your most difficult subscribers, but it seemed to me to have a more striking effect to offer you the social magnificences framed within the magnificences art. If the brilliance of the diamonds and jewels, the elegance and freshness of the toilets, I do not speak of the so justly famous beauty of the young women of the Ligurian aristocracy, made us forget the graceful children playing with leopards , and the cupids riding on swans and dolphins in the middle of the reeds and gladioli which form the ornamentation of the galleries, these rich and graceful decorations contributed no less to the prestige of the whole, the effect of which was marvelous .I refuse to describe to you the sensation produced by the appearance of this room when, on the arrival of the royal family and the French prince their host, a unanimous and spontaneous movement seized the entire audience, all of whose voices burst out in prolonged acclamations; it was not only the orchestra and the audience who rose as one man, uniting in a long cheer, it was all these young ladies, competing in brilliance and beauty, filling the galleries and the boxes, who found themselves simultaneously standing, moved, quivering and waving their handkerchiefs, their fans and their bouquets. If this were not enthusiasm, I would very naively admit that I do not know anything about it.S. Mr. King Victor-Emmanuel took his place in the middle of his family where Prince Napoleon naturally appeared next to Princess Clotilde placed on the right of Her Majesty, and with the Prince of Piedmont on her left. Princess Marie Pia, the Duke of Aosta and the Prince of Carignan occupied the places to the left of the king. ED RIOU日本語: 1859年1月23日、2人の結婚を祝してトリノ王立劇場で行なわれたガラ公演。以下、エドゥアール・リウーが送った手紙からの抜粋である。
-私は、ナポレオン王子がトリノに到着したまさにその日、国王に同行した最初の演劇の夜についてお伝えしていませんでした。私が描いた絵、本日お送りする手紙でその理由が明らかになります。ニグラ伯爵ご本人から、殿下が23日の日曜の公演に出席される予定であることは知らされていました。クロティルデ王女殿下を含む家族全員が登場する厳粛な場所。そこで、華やかな祝賀会の夜で、この美しい部屋を皆さんにお見せするために、私は自分の席を予約しなければなりませんでした。 出来ました。イタリアの最も美しいホールと同じくらい広大で、豊かなセンスと同じくらい豊かな装飾が施されたこの部屋が、必ずしも価値があるわけではありません。最も気難しい購読者に賞賛してもらうために提供されるものではありましたが、芸術の素晴らしさの中に組み込まれた社会的な素晴らしさを提供することの方が、より印象的な効果があるように私には思えました。ダイヤモンドや宝石の輝き、洗面所の優雅さと新鮮さがあれば、私は、ヒョウと遊ぶ優雅な子供たちや馬に乗るキューピッドのことを忘れさせた、リグーリア貴族の若い女性のあまりにも有名な美しさについて語る必要はありません。ギャラリーを装る葦やグラジオラスの間に白鳥やイルカが描かれていますが、これらの豊かで優美な装飾は全体の威容に貢献したもので、その効果は素晴らしいものでした。王室のメンバーとフランス王子がゲストとして到着したとき、満場で自発的な動きが聴衆全体を捉え、全員が割れんばかりの歓声を上げたとき、この部屋の出現によって生じた感覚を説明することはお断りします。長い歓声の中で一つに団結したのはオーケストラと聴衆だけではなく、ギャラリーやボックスを埋め尽くしながら、輝きと美しさを競い合い、同時に立ち居、動き、震えていることに気づいた若い女性たち全員でした。ハンカチ、扇子、花束を振りながら。もしそれが熱意ではなかったとしたら、私はそれについて知らぬことと非常に素朴に認めるでしょう。ヴィクトル=エマニュエル国王は家族の真ん中に座り、右側に立たれたクロティルド王女の隣にナポレオン王子が自然に現れました。陛下の左側にピエモンテ公がいます。王の左側にはマリー・ピア王女、アオスタ公、カリニャン公が座っていました。 エド・リウー |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Date | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Source |
institution QS:P195,Q193563 |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Author |
creator QS:P170,Q583275
creator QS:P170,Q3160935
creator QS:P170,Q16725849
creator QS:P170,Q18508560 |
Licensing
editPublic domainPublic domainfalsefalse |
![]() |
This work is in the public domain in France for one of the following reasons:
![]()
العربية ∙ English ∙ español ∙ français ∙ 日本語 ∙ 한국어 ∙ македонски ∙ русский ∙ Tiếng Việt ∙ 简体中文 ∙ 繁體中文 ∙ +/− |
![]() |
Public domainPublic domainfalsefalse |
![]() |
This work is in the public domain in its country of origin and other countries and areas where the copyright term is the author's life plus 100 years or fewer. This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1929. |
This file has been identified as being free of known restrictions under copyright law, including all related and neighboring rights. |
https://creativecommons.org/publicdomain/mark/1.0/PDMCreative Commons Public Domain Mark 1.0falsefalse
File history
Click on a date/time to view the file as it appeared at that time.
Date/Time | Thumbnail | Dimensions | User | Comment | |
---|---|---|---|---|---|
current | 15:29, 19 March 2024 | ![]() | 2,605 × 1,785 (7.66 MB) | 織原美津夫 (talk | contribs) | Uploaded a work by {{Creator:Valentin Foulquier}}{{Creator:Jean-Baptiste Bertrand}}{{Creator:Octave Édouard Jahyer}} from {{Institution:Bibliothèque nationale de France}} with UploadWizard |
You cannot overwrite this file.
File usage on Commons
There are no pages that use this file.
Metadata
This file contains additional information such as Exif metadata which may have been added by the digital camera, scanner, or software program used to create or digitize it. If the file has been modified from its original state, some details such as the timestamp may not fully reflect those of the original file. The timestamp is only as accurate as the clock in the camera, and it may be completely wrong.
Horizontal resolution | 37.78 dpc |
---|---|
Vertical resolution | 37.78 dpc |