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the service of his own autocratic rule in the most conspicuous method conceivable. From 1661 onwards, he employed the architects Louis Le Vau (1612/13–1670) and Jules Hardouin-Mansart (1648–1708), the painter Charles Le Brun (1619–90) and the landscape gardener André Le Nôtre (1613–1700), amongst many others, to create the vast and lavish palace of Versailles, not removed from Paris. Every side of its design glorified the king, not least by celebrating the army exploits that made France the dominant power in Europe throughout his reign . Alberti himself had acquired a humanist schooling based on the examine of historical Greek and Roman culture, and he was not alone in mentioning that painting and drawing had been included in an historic liberal education. Early fifteenth-century humanist educator Vittorino da Feltre, working on the Gonzaga courtroom in Mantua, employed artists within the programme of liberal training he supplied the sons of rulers (Warnke, 1993, p. 39). It is no accident that a number of the most well-known work of all time had been commissioned by regional Italian rulers properly versed in such humanist ideas. Alberti identified that historical philosophers and kings had enjoyed portray, together with it as a part of the liberal training of their children and even practising it themselves (Alberti, 1966 , pp. 65–6). Such arguments served to vindicate portray within the minds of status-conscious patrons; additionally they struck a blow for the status of painters. Traditionally, a division had been drawn between the manual arts ,
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