Oil on canvas; 271 x 194 cm (106.7 x 76.4 in). While Rigaud made a credible likeness of the king, his purpose was not to express Louis's character but to glorify the monarchy. 1710. These then cascaded over the shoulders and down the back nearly to the waist.” (158). 1 - Hyacinthe Rigaud (French, 1659-1743). But it was such a great success at court, a copy of the portrait was sent to Spain instead of the original. According to Louvre, this painting was shown at the 1704 Salon and remained in royal collections until after the French Revolution when, in 1793, it was handed over to the Muséum Central des Arts de la République, later known as the Musée du Louvre. He is wearing the new style of knee-length coat or justaucorps, fitted breeches, square-toed shoes, the lace cravat and the full-bottomed wig. A Handbook of the Decorative Arts in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1965), p. 8. 1670. Louis XIV's court adored Hyacinthe Rigaud, who helped to formulate what a state portrait should be. London: Wallace collection. The Sun King is wearing a delicate lace cravat. Le bâton représente comme le patriarche de l'ancien testament ce lui qui guide. 15 - Chirstian Louboutin. Herbert, James. Louis XV (1710–1774) as a Child, 1730. Tessa Fleming has pointed out that the portrait of Louis XIV (1701) recalls van Dyck’s Charles I Dismounted (Fig. 15). 12), the new king, brought to the throne a taste for French style. Sort by: Top Voted. You may view this object in Mirador – a IIIF-compatible viewer – by clicking on the IIIF icon below the main image, or by dragging the icon into an open IIIF viewer window. 35-51, fig. Source: Wikimedia, Fig. Louis XIV, roi de France, portrait de cire par Antoine Benoist Etablissement public du château, du musée et du domaine national de Versailles – www.chateauversailles.fr Secteur éducatif - RP 834 - 78008 Versailles Cedex 01 30 83 78 00 – versailleseducation@chateauversail les.fr 2 L’artiste D’origine modeste, Antoine Benoist est fils de menuisier et de sculpteur sur bois. The first thing to be noted is the great periwig. Source: Wikimedia, Fig. Claude Perrault, East facade of the Louvre. Oil on canvas; 83 x 65.4 cm (32.7 x 25.7 in). 7 - Hyacinthe Rigaud (French, 1659-1743). Oil on canvas; 231 x 173 cm (90.9 x 68.1 in). 13) and Fall 2012 (Fig. Doreen Yarwood explains this in European Costume: 4000 Years of Fashion (1982): “It was then arranged with a center parting and in a mass of curls and ringlets which rose to a peak on each side of the parting. “Rigaud, Hyacinthe.”. The coat or justaucorps, waistcoat, and breeches were a suiting ensemble. His original Portrait of Louis XIV of 1701, now in the Louvre, was so popular that Rigaud had many copies made, both in full and half-length formats, often with the help of assistants. Purchase, Mary Wetmore Shively Bequest, in memory of her husband, Henry L. Shively, M.D., 1960. Tortora, Phyllis G., and Sara B. Marcketti. 8 - Jean-Baptiste Paulin Guérin (1783–1855 (French, 1783–1855). Source: Wikimedia, Fig. Paris: Musée du Louvre, 1775 inv. Source: Wikimedia, Diagram of referenced dress features. Red-soled shoes, 2017. But at the same time, the portrait is natural, realistic and life-like; Rigaud makes all the materials palpable, and light and shade reveal the textures of the fabrics. (Los Angeles: J. Paul Getty Museum, 1975), p. 76. Practice: Baroque art in France. He later tried to establish an English style fashion which is much simpler than that of France (Yarwood 165). Figure 10 shows Louis XIV at the age of 23. 3rd ed. Consistent with this mission, the Timeline’s written commentary, research, and analysis provided by FIT students, faculty, and other members of the community is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. Fleming observes that in this portrait, every detail is showing the divine authority and the majesty of Louis XIV. Last updated Oct 10, 2019 | Published on Mar 24, 2017, Last updated Aug 24, 2018 | Published on Feb 24, 2017, Last updated Mar 8, 2018 | Published on Mar 24, 2017, Last updated Aug 24, 2018 | Published on Mar 24, 2017. Château de Versailles. The cravat is also a significant factor of Baroque style. Juyeon Kim (nickname: Joy), a Technical Design BS student (class of 2018), with a minor in art history, researched and wrote this while taking HA 344: The History of Western Costume (Fall 2017), taught by Prof. De Young. Despite the vast expanses of canvas he covered, Rigaud remained concerned with the particular, describing the king's costume in great detail, even down to his shoe buckles. 95-96. It was tied around the throat in a bow and hung down in folds over the chest. One of the innovations was to mandate that new textiles appeared seasonally, twice a year, and fashion too changed seasonally in France.”. Source: Royal Collection. I. N. Phelps, In the 1570s, more was more. And it is notable that his cravat is simply tied without much bulkiness and that there is not as much embroidery on the coats as in the previous century. Louis XIV took advantage of fashion to the fullest. Up Next . Dauphin of France; Duke of Burgundy, 1704. 1) was one of the most renowned French Baroque painters during the reign of Louis XIV. Westover, Abigail. Bordeaux, Jean-Luc. Mansel points out an interesting example regarding this in his book Dressed to Rule (2005): “Even William III of Orange, one of the Louis’s most hostile enemies wore red heels after Louis XIV attacked the Dutch Republic.” (15). 5 - Hyacinthe Rigaud (French, 1659-1743). Oil on canvas; 219.1 x 135.8 cm (86.3 x 53.5 in). Histoire Des Arts 5 e : Portrait de Louis XIV (Rigaud) vendredi 7 octobre 2011 Pour pouvoir voir la présentation powerpoint "analyse du tableau" , il faut que votre ordinateur possède le logiciel "powerpoint" de … Versailles: Palace of Versailles, MV 8369. 3 - Hyacinthe Rigaud (French, 1659-1743). Connaissance des arts, no. Aquilano Rimondi showed Louis XIV-inspired works in ready-to-wear F/W 2012, and the collection still looks full of glory and elegance (Fig. With the advent of the justaucorps, the style of cravat became more sophisticated. Portrait of Louis XIV, ca. London: Royal Collection. Louis XIV came onto the throne in 1643 and then started to exercise absolute power based on the concept of divine right, which means that he received his authority directly from God, as Fleming notes. Rev. The text on this page is licensed under a, All Getty Research Institute Publications, Conservation Perspectives, The GCI Newsletter, GCI Reference Collection (for materials analysis), Research Assistance at GCI Information Center, Links to Cultural Heritage Policy Documents, Marie-Caroline de Bourbon-Sicile, duchesse de Berry, Henri de Bourbon V, duke of Bordeaux and count of Chambord, Princess Beatrice Teresa de Borbón y Borbón, Creative Commons Attribution 4.0 International License, International Image Interoperability Framework (IIIF), The J. Paul Getty Museum at the Getty Center (Los Angeles), June 9, 2015 to July 31, 2016. This is the currently selected item. Not on view due to temporary Getty closure, After Hyacinthe Rigaud (French, 1659 - 1743). 9 - Jacob Ferdinand Voet (Flemish, 1639-1689). 1684. Klingsöhr-Leroy also notes that, with this great portrait, Rigaud earned a reputation in Europe and his style became dominant as the official royal portrait style in France until the late 18th century. Images and other media are excluded. Instead of wearing the justaucorps and knee-length breeches, which were predominant in Baroque age (Fig. The heavy gold on the coat, the cravat, the rows of small buttons recall the period of Louis XIV. 3). Self-portrait, 1696. He is wearing his coronation robe embroidered with the royal fleur de lys along with some key elements of Baroque style such as the cravat, red heels, and the wig. "The J. Paul Getty Museum: La peinture française." Louis XV, King of France, 1730. Privacy Policy (function (w,d) {var loader = function () {var s = d.createElement("script"), tag = d.getElementsByTagName("script")[0]; s.src="https://cdn.iubenda.com/iubenda.js"; tag.parentNode.insertBefore(s,tag);}; if(w.addEventListener){w.addEventListener("load", loader, false);}else if(w.attachEvent){w.attachEvent("onload", loader);}else{w.onload = loader;}})(window, document); The Fashion History Timeline is a project by FIT’s History of Art Department. 1) was one of the most renowned French Baroque painters during the reign of Louis … ed. However, many Baroque style elements are also found. The text on this page is licensed under a Creative Commons Attribution 4.0 International License, unless otherwise noted. Source: Wikimedia, Fig. Source: Author, Fig. Men always carried a hat, usually under the arm, but rarely wore it. Especially the embroidered coronation robe reinforces the supremacy of the monarch. Source: Vogue, Fig. Oil on canvas; 196.5 x 159 cm (77.4 x 159 in). Source: Musée du Louvre, Fig. Analyse de l'oeuvre : Le tableau a été réalisé durant le règne de Louis XIV est une mise en scène minutieuse de tous les insignes du roi, la couronne, la main de justice, le collier, le trône, la fleur de lys, l'épée, le bâton. 11 - Artist unknown. Oil on canvas; 239.2 x 148.4 cm (94.2 x 58.4 in). Princess Beatrice Teresa de Borbón y Borbón, 1871 - 1961 (Rome, Italy; Schloss Frohsdorf, Austria) [sold, Massimo sale, Sotheby's, London, July 20, 1938, lot 136, to J. Paul Getty.]. And this original work became the official portrait of Louis XIV (Fleming). 2. Another Italian designer also applied the blue-and-gold fleur de lys to the contemporary fashion. George II when Prince of Wales, 1716. 13 - Godfrey Kneller (German, 1646-1723). 10 - Arist unknown. http://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/france/a/rigaud-louis-xiv. From 1670 until after the end of the century, the full-bottomed periwig was prevailing. Frel, Jiri, Burton Fredericksen, and Gillian Wilson. Fredericksen, Burton B. Catalogue of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1972), pp. H yacinthe Rigaud (Fig. Ready-to-wear, Fall 2006. Catalogue of the Celebrated Pictures and Drawings Comprising the Collections of the Royal House of France, Removed from Schloss Frohsdorf, Lower Austria, and sold by order of H.R.H. Help us improve our records by sharing your corrections or suggestions. Designed by Elegant Themes | Powered by WordPress. Oil on canvas; 139 x 104 cm (54.7 x 40.9 in). Jaffé, David. 1635. Additional works of art related to the themes and topics of the curriculum. Lesson in which students learn about the Baroque period, work in groups to create a Baroque desk, and reflection on the process in journals, Visual Arts; English–Language Arts; Music. Charles II (Fig. He is wearing the square-toed shoes with the red tongue, the red sole and the red heel. About the Portrait. Versailles: Salon de l'abondance du Château de Versailles. This portrait was commissioned as a gift for King Philip V of Spain, the grandson of Louis XIV. 1670-5. Henri de Bourbon V, duke of Bordeaux and count of Chambord, 1820 - 1883 (Schloss Frohsdorf, Austria; Paris, France; Venice, Italy), by inheritance within the Bourbon family, possibly to Jaime III de Borbón y Borbón. After the restoration of the monarchy in 1660, French high fashion had a great influence to England. 278 (April 1975), p. 84. By the end of the century, it became very large and was divided at the high center into two peaks, which is called double peak (Brown 137). Ph.D. diss. In this context, the Baroque style that Louis needed to enchant the world and also to suppress his nobles came on the scene. The style is not yet the typical baroque style since he still had features from previous period such as heavy use of ribbons at the shoulder, the sash around the waist and the ribbon embellishment on the shoes. 2, p. 1030, no. Louis XIV and His Family, ca. Louis XIV, also known as Sun King, chose fashion as the medium of royal authority. Portrait de Louis XIV en pied en costume royal par Hyacinthe Rigaud (1701) 1. manteau royal. 15 - Aquilano Rimondi (Italian). In 1880-1889, 19th century, artwork analysis, LGBTQ+, In 1850-1859, 19th century, artwork analysis, In 17th century, 18th century, 19th century, 20th century, 21st century, C, L, term definition, In 1780-1789, 18th century, artwork analysis, In 1900-1909, 1910-1919, 20th century, blog, Last updated Mar 16, 2018 | Published on Jan 15, 2018, 1678 – Eglon Hendrick van der Neer, Judith, 1939 – Cukor, The Women / 1956 – Miller, The Opposite Sex, 1856 – Jean-Auguste-Dominique Ingres, Madame Moitessier, 1788 – Jacques Louis David, Antoine-Laurent Lavoisier and Marie-Anne Lavoisier, 1783 – Élisabeth Louise Vigée Le Brun, Marie Antoinette in a Chemise Dress, The Genoese Noblewoman (1625-1627) painted by Anth, A form-fitting, long-waisted, boned bodice worn in, John Singer Sargent’s Mr. and Mrs. Another key feature of Baroque age is the red-heeled shoes, the king’s signature. Here Louis XIV’s fine lace cravat nicely matches with the lace sleeve cuff gathered in at the wrist, which is also one of main characteristics of Baroque costumes. "Hyacinthe Rigaud (1659-1743)." Payne, Blanche, Geitel Winakor, and Jane Farrell-Beck. Source: Royal Collection, Fig. Château de Versailles. Knee-length stockings were worn with those knee-breeches.” (153). But still he held a more simplified style of less heavier embroidery and trims on robe and coat in keeping with the British taste for simplicity. The coat is made to button all the way down the front, but it is fastened only at the waist line. Updates and additions stemming from research and imaging activities are ongoing, with new content added each week. Antoine or Louis Le Nain, Peasant Family in an Interior. Charles I at the Hunt, ca. Getty, J. Paul. le manteau royal (manteau de sacre, fleur de lys) et les gants, symboles de pureté 3 idées prédominent dans ce tableau : - le portrait d'un roi - une mise en scène du pouvoir royal - un monarque de droit divin Hyacinthe Rigaud, Louis XIV en costume de sacre, 1701, huile sur toile, H 277cm, L … 14 - Dolce & Gabbana (Italian). "Figural Inversions of Louis XIV's Dancing Body." Getty, J. Paul. The Timeline offers scholarly contributions to the public knowledge of the history of fashion and design. In this regard, calling him a trend setter is no hyperbole. (Hong Kong: Hong Kong Museum of Art and the Musee National des Arts Asiatiques-Guimet, 1997), pp. A Handbook of the Paintings in the J. Paul Getty Museum (Malibu: J. Paul Getty Museum, 1965), p. 15. “The King of Couture.”, Klingsöhr-Leroy, Cathrin. The black-and-white ermine fur and the blue-and-gold fleur-de-lys are symbols of the French monarchy. The waistcoat is just a few inches shorter than the coat. Fig. 2 vols. 3. spectre (canne) 4. collier de grand maître de l'Ordre du Saint Esprit (distinction de chevalier) 5. perruque (abondante, qui met en lumière le visage du roi) 6. pilier (accentue l'idée de force, de stabilité) Charles II of England, ca. Madrid: Museo del Prado. This information is published from the Museum's collection database. In this portrait from Rigaud's workshop, Louis XIV's ceremonial robes, elegant stance, and haughty expression proclaim his exalted status. In this portrait from Rigaud's workshop, Louis XIV's ceremonial robes, elegant stance, and haughty expression proclaim his exalted status. (École Pratique des Hautes Études, 2003), vol. 2. couronne. Davenport, William. Princess Beatrix de Bourbon-Massimo. Fig. It is interesting to see the doublet cuff turned back to reveal this lace sleeve cuff. The Joys of Collecting (New York: Hawthorn Books, Inc., 1965), pp. Oil on canvas; 195.6 x 141 cm (77 x 55 1/2 in). However, according to Klingsöhr-Leroy, after he was admitted to the Académie Royale, Hyacinthe Rigaud developed the French style of the state portrait, or the portrait d’apparat, as seen in his portrait of the sculptor Martin Desjardins (Fig. 12 - Simon Pietersz Verelst (Dutch, 1644-1721). Art Treasures in the West (Menlo Park: Lane Magazine & Book Co., 1966), p. 40. Figure 16 is a pair of the famous red-soled shoes of Christian Louboutin. Source: Vogue, Fig. Portrait of the King Charles X of France in his coronation robes, 1827. Source: Musée du Louvre. Its cuffs are huge. In Acting on the Past: Historical Performance Across the Disciplines (Hanover, New Hampshire: Wesleyan University, 2000), pp. 2 - Anthony van Dyck (Flemish, 1599-1641). Oil on canvas; 266 x 207 cm. 9). 1236. Château de Versailles. “The Baroque Period in All Its Grandiloquence,” April 8, 2012. Rigaud, Louis XIV. Accessed December 2, 2017. England. Paris: Musée du Louvre, inv. 62-63, 143-44, 159-61, 178. Source: Wikimedia, Fig. The J. Paul Getty Museum Guidebook. 9), Louis XIV is wearing the traditional white metallic doublet and the trunk hose or short breeches. Fig. Posted by Juyeon Kim | Last updated Mar 16, 2018 | Published on Jan 15, 2018 | 1700-1709, 18th century, artwork analysis. Frel, Jiri, Burton B. Fredericksen, and Gillian Wilson. Source: Vogue, Fig. Oil on canvas; 127 x 160 cm (50 x 63 in). Portrait de Louis XIV en pied en costume royal par Hyacinthe Rigaud (1701), 4. collier de grand maître de l'Ordre du Saint Esprit (distinction de chevalier), 5. perruque (abondante, qui met en lumière le visage du roi), 6. pilier (accentue l'idée de force, de stabilité), 7. jambe du roi : fine, musclée, montre la bonne santé du roi (Représentation non réaliste, le roi a 63 ans au moment du portrait), Analyse détaillée des symboles royaux représentés sur cette toile, par L.Brassart  cliquez ici, Analyse détaillée de l'oeuvre, site iufm Orléans-Tours cliquez ici, Planche pour illustrer vos cours ou réaliser une frise chronologique» Lire la suite, ETUDE DE L'IMAGE : LE PAUVRE POÈTE DE SPITZWEG, Le pauvre poète, Carl Spitzweg, 1839 (huile sur toile, dim 44 x 36)» Lire la suite, Culture de l'image, langue française, arts, Portrait de Louis XIV : analyse de l'image, Etude de l'image : le pauvre poète de spitzweg. 14), they brought the details of Baroque menswear to womenswear. In his earlier works, he was strongly influenced by Anthony van Dyck, as art historian Cathrin Klingsöhr-Leroy notes. 6 - Hyacinthe Rigaud (French, 1659-1743). Louis XIV, 1701, oil on canvas, 277 × 194 cm (109.1 × 76.4 in). Eighteenth-Century Studies 34, no. Jaime III de Borbón y Borbón, 1870 - 1931, by inheritance to his niece, Beatrice Teresa de Borbón y Borbón, 1931. Le portrait de Louis XIV n'ira pas en Espagne. Fig. Some wigs were dusted with power to make them white, but most were worn in natural colors (Tortora 154). (Los Angeles: J. Paul Getty Museum, 1976), p. 80. As Abigail Westover emphasizes, unlike the earlier period, where bodice, sleeves, skirts, jackets, and breeches were made to mix and match, clothing in this period was made as separate and entire matching outfits, often made of same fabrics, which is called ‘en suite’. Rigaud’s portrait, originally commissioned as a gift for Louis’ grandson, Philip V of Spain, was so well received that Louis ultimately chose to keep it and sent a copy in its place. Possibly Palais des Tuileries (Paris, France). Portrait of Don Luis de la Cerda, later IX Duke of Medinaceli, ca. Oil on canvas. Hyacinthe Rigaud (Fig. These red heels became one of the most popular and predominant trends in Europe. These royal figures are wearing almost the same garments with their coronation gowns regardless of the time period. This great wig made hats and collars superfluous. Collector's Choice: The Chronicle of an Artistic Odyssey through Europe (London: W. H. Allen, 1955), pp. However, the color is dark brown, not the brilliant Baroque palette. Musée du Louvre “Louis XIV (1638-1715)”. 13 shows the English King George II following French style of Louis XIV especially in hair and shoes even after Louis XIV died. Possibly King Charles X of France, French, 1757 - 1836 (Paris, France; Schloss Frohsdorf, Austria), possibly by inheritance to his daughter-in-law, Marie-Caroline, or his grandson, Henri de Bourbon V, possibly 1836. Possibly Marie-Caroline de Bourbon-Sicile, duchesse de Berry, 1798 - 1870. The cravat with the expensive lace was reserved for formal use, and a long and plain linen cravat or steinkirk was worn more frequently for both men and women (Brown 137). While every attempt at accuracy has been made, the Timeline is a work in progress. Phyllis G. Tortora and Sara B. Marcketti explained the breeches in this period in Survey of Historic Costume (2015): “By 1680 the breeches got more fitted and became knee-length, and at the end of the century were very tight and fastened by buttons or a buckle at the outside of the knee. 259, 260, 270, 274, n. 40, ill. James-Sarazin, Ariane. J. Paul Getty, American, 1892 - 1976 (Malibu, California; Sutton Place, Surrey, England), donated to the J. Paul Getty Museum, 1970. Often the justaucorps and waistcoat were heavily decorated with gold, silver or colored braid and embroidery (Fig. Men’s garments became plainer in this period and the speed of fashion change slowed and colors became somber (Payne 349­). 9-10, 124-25, ill. Jones, Anne Marian. Martin van den Bogaert, dit Desjardins, 1683. Fig. Fredericksen, Burton B. 7492. Due to Nine Years’ War (1688-1697) and the War of Spanish Succession (1701-1714), France suffered a heavy blow to the  national economy, accelerating the decline of Louis XIV. "A Picture of Chardin's Making." Summary Catalogue of European Paintings in the J. Paul Getty Museum (Los Angeles: J. Paul Getty Museum, 1997), p. 107, ill. Walsh, John, and Deborah Gribbon. The content on this page is available according to the International Image Interoperability Framework (IIIF) specifications. Oil on canvas; 129 x 98 cm (50.8 x 38.6 in). Oil on canvas; 238 x 149 cm (93.7 x 58.7 in). Source: Wikimedia. In Hyacinthe Rigaud’s most famous portrait, Louis XIV shows the majestic power of an absolute monarch. From Beijing to Versailles: Artistic Relations between China and France, exh. The tongue is turned back to show the lining collar of red (Brown 136). http://www.oxfordartonline.com/subscriber/article/grove/art/T072126, http://www.louvre.fr/en/oeuvre-notices/louis-xiv-1638-1715, https://historyofeuropeanfashion.wordpress.com/2012/04/07/the-baroque-period-in-all-its-grandiloquence, 1568 – Bernardino Campi, Portrait of a Woman, 1791 – Rose Adélaïde Ducreux, Self-Portrait with a Harp, 1794 – Gilbert Stuart, Matilda Stoughton de Jaudenes, 1884 – John Singer Sargent, Madame X (Virginie Gautreau), Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License, Chrisman-Campbell, Kimberly. cat. In figure 11, Louis XIV is sitting on a chair wearing a suit, which is composed of a justaucorps, a waistcoat and breeches. Versailles: Palace de Versailles. Practice: Versailles . Sotheby's, London. In Hyacinthe Rigaud’s most famous portrait, Louis XIV shows the majestic power of an absolute monarch. 2 (Winter 2001), pp. Dolce & Gabbana seems very interested in Baroque style. Ready-to-wear, Fall 2012. Figures 6, 7 and 8 respectively display Louis XV at the age of 5, Louis XV at the age of 20 and Charles X. For him, fashion was a way of expressing the extremely aesthetic personal taste, an effective means of regulating the aristocracy with a lot of sumptuary laws, a key instrument of developing the national economy, and a signal that France was now the center of Europe. Portrait of Louis XIV of France, 1701. Source: Prado, Hyacinthe Rigaud (French 1659- 1743). Madrid: Museo del Prado. Milan ready-to-wear, Fall/Winter 2012. Source: Wikimedia, Fig. The Golden Age (New York: Trident Press, 1968), p. 98. Source: Pinterest. In the 1670s, the periwig was a natural hair style, curled and flowing. 2) in its composition. The J. Paul Getty Museum Guidebook. In the portrait of Louis XIV, Rigaud’s best known portrait, the massive column, rich draperies and majestic posture are traditional formulae representing the power and ideal image of a ruler, as Klingsöhr-Leroy emphasizes. New York: The Metropolitan Museum of Art, 60.6. As a successful portrait painter who well understood the Ancien Régime, he was commissioned to paint many royal figures (Klingsöhr-Leroy, Grove); figures 4 and 5 are other examples of his royal portraits. Versailles: Musée National du Château de Versailles et de Trianon.

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