The Grand Condé: Rival of the Sun King?

Louis II of Bourbon, Prince of Condé was not only the greatest warrior of his time, a true hero, but also a rebel. But did he compete against his cousin Louis XIV (1638–1715) in the political, military as well as the artistic and cultural fields?  

They were first princes du sang and thus participated in the royal blood.

The prince bore the title of duke of Enghien until the death of his father Henri II of Bourbon, Prince of Condé (1588–1686). At a very young age, he was introduced by his father to the government of Burgundy. 

In 1641, he married Clémence de Maillé-Brézé (1604–1694), niece of Cardinal Richelieu (1585–1642). 

It was at the battle of Rocroi, in 1643, during which he triumphed over the Spaniards and saved the kingdom of his cousin Louis XIV, then four years old, that Grand Condé forged his legendary status. 

After the victory of the battle of Rocroi, Grand Condé became the new Alexander. The bust of the prince is inserted here in a medallion formed by palms, itself taking place on a lion skin turned upside down, which refers to the herculean image associated with the young hero. 

The flag of Rocroi, taken by Grand Condé from the German troops, is one of the oldest preserved flags in France. 

After the battle of Rocroi, the Duke of Enghien did not stop there. He multiplied his victories against the Habsburgs. 

In 1648, the Parliament and the people of Paris, as well as part of the aristocracy, expressed a head-on opposition to Mazarin's policies. Grand Condé was charged with the task of quelling this unrest. 

He organized a blockade of the city in 1649. Peace quickly returned.  

The prince then brought the Spaniards into the capital and created a climate of terror that made him odious to the Parisians. 

He had to leave Paris for the Spanish Netherlands and the king made a triumphal entry into Paris on October 21, 1652. 

The Treaty of the Pyrenees was signed on November 7, 1659 between Cardinal Mazarin and Don Louis de Haro, the chief minister of Philip IV. 

The first Prince of the Blood is indispensable for the monarchical system. The king surrounded himself with prestigious generals like the Grand Condé and Turenne (1611-1675).  

The Hôtel de Condé in Paris was first of all the nerve center of a political and social nebula at the service of the lineage. 

The prince progressively operated a change in the network and hierarchy of his residences. The center of gravity was transferred from Paris to Chantilly. 

The prince's ambition was to make it the showcase of his personal prestige and that of his House. 

In 1659, Condé devoted himself to the embellishment of his estate by creating a vast park and splendid gardens. 

Around 1662, he summoned André Le Nôtre to entrust him with the layout of the premises. 

It included, among others, sumptuous waterfalls. They were fed by the Pavillon de Manse (1677–1679). 

The cycle of paintings that decorates it includes eleven panels painted by Sauveur Le Conte retracing the prince's entire military career.

Less well-known is the fact that behind the warrior lies an esthete and a collector. The prince was particularly fond of Nordic and Italian paintings. 

He owned many paintings, some of which were very famous, such as that of Anthonis Mor known as Antonio Moro, the most famous Flemish portraitist of the 16th century. 

Grand Condé loved and protected dissident thinkers, bold poets, rebellious spirits, but also more courtier writers. 

He was very cultured, curious about everything, a man of conversation, a great reader, and he was very interested in acquiring the latest literary works. 

The prince appreciated the theater. All the great writers of Louis XIV's reign were connected to him, Molière of course, but also Corneille, Racine, Boileau and La Fontaine. 

Grand Condé's library kept rare editions of its works. 

The prince died on December 11, 1686 at Fontainebleau's castle. On March 10, 1687, the most grandiose funeral of Louis XIV's reign was held at Notre-Dame de Paris in his honor.

 Bossuet pronounced his famous funeral oration, making the baroque decoration of the cathedral vibrate. 

The last act of the funeral is dedicated to the heart of the prince. Seat of his virtues and passions, it was brought from Fontainebleau to the Jesuit convent of Paris on December 24, 1686 and placed next to that of his father.