Equestrian Statue of Henri IV

The iconic statue of King Henry IV showcases him on horseback, elevated atop a central pedestal. At each corner of this pedestal, a bronze figure of a chained slave can be seen. The pedestal's intricate design is credited to Ludovico Cigoli, and its execution was aided by Pietro Tacca, Pietro Francavilla, and Francesco Bordoni.

Drawings by Ludovico Cigoli, an artist of the Medici court, reveal that the slaves bore European features and were crafted in poses reminiscent of Michelangelo's signature style. These enslaved figures are situated on the pedestal's lower ledge and tethered to harpies at the upper corners. In Cigoli's depiction, bands wrap around the slaves' arms as they are chained to the hips of the harpies. The pedestal also features battle scenes on its sides and is adorned with "seated youths carrying swags".

Victoria Thompson suggests that the posture of the king and his horse draws heavy inspiration from the equestrian statue of the Roman emperor, Marcus Aurelius.

Marie de Médicis played a pivotal role in the commissioning of the Henry IV statue. It's believed that in 1604, she persuaded her uncle, Ferdinando I, to order a miniature version of the intended bronze statue. Concerned about potential delays due to Giambologna's advancing age, Marie proposed a time-saving measure. She suggested using the existing bronze body and horse from a statue of Ferdinando I. He declined this but offered to repurpose molds from his horse for the new statue.

Ferdinando I made trips to Giambologna's workshop, and on September 17 and November 6, 1607, he inspected the horse cast and any other advancements. Marie de Medici, wanting to stay informed, made periodic checks between 1606 and 1608, deploying courtiers to monitor the progress. Calvaliere Camillo Guidi, in particular, was tasked with updating the royal couple on any developments or issues, from manpower shortages to funding needs.

Time constraints prompted Giambologna to enlist the help of his assistant, Pietro Tacca. Tacca was responsible for casting the bronze for both the horse and Henry IV's body, sculpting the king's head, and adding the statue's ornate details. When Giambologna passed away in August 1608, Tacca was required to take over, even while being preoccupied with another project for Grand Duchess Cristina. Additionally, the project faced interruptions, including inclement weather affecting the bronze casting towards the end of 1608.

Transporting the statue from the workshop to Paris also faced hurdles. Both Pietro Tacca and Giovan Battista Cresci had to ensure the statue's weight, consuming precious time that Marie de Médicis was eager to save. After the statue parts reached Livorno, they remained unshipped for nearly a year. Subsequent challenges included transportation setbacks and the statue pieces being stranded at the Savona seaport for over a week.

Tragically, before the statue was complete, Henry IV was murdered, elevating the statue's importance as a memorial. Though the exact completion date remains uncertain, records collected by Kathrine Watson suggest that Baldinucci marked its finalization in 1611. The statue was finally moved from the workshop for shipping on March 5, 1612. By 1614, the statue of the king atop his horse had been installed on its pedestal on Pont Neuf.

Before the French Revolution, many viewed Henry IV as the epitome of a great king due to his notable contributions to France's history and prosperity. This perception played a significant role in the emblematic nature of his statue and its prominence in royal ceremonies. Over time, oral tales and shared memories perpetuated these sentiments, cementing the statue's importance as a reflection of the ideals and values the French populace expected from their monarchs, such as Louis XVI. However, as the Revolution unfolded and distrust towards Louis XVI escalated, these ideals were challenged.

When Louis XVIII, the brother of Louis XVI, returned to Paris, a temporary plaster-of-paris statue of Henry IV was erected on Pont Neuf, thanks to Jacques-Claude Beugnot, the Minister of the Interior. With Louis XVIII often likened to Henry IV, there was a strong public sentiment favoring the statue's restoration.

Materials for the renewed statue, specifically bronze, came from statues of both Louis Charles Antoine Desaix and Napoleon in Place Vendôme. François-Frédéric Lemot completed the revised statue by 1818.

The contemporary statue differs from its predecessor. While it maintains the iconic depiction of Henry IV on his horse, changes are most evident on its pedestal. Features like the slaves, harpies, and youths present in the original are absent in the current rendition.