ABSTRACT
This chapter examines the image the princess cultivated of her, and its reception, before going on to survey her patronage and collecting in its broadest sense. It focuses on her three private and most personal residences: the Hotel de Lamballe, the Hotel d'Eu and the Hotel de Toulouse, arguably the most significant and for which the greatest documentation survives. The princess's penchant for sentimental subjects also showed her capacity for heightened emotion, which was in itself a display of her refinement. The Museum of Fine Arts in Boston has a music stool cover purportedly made by The Princesse de Lamballe. The widowed Lamballe chose to remain a dependent of her father-in-law, the duc de Penthievre, and thus shared his life and many residences. Seventy-six paintings are recorded in Lamballe's apartment in a variety of media on a variety of supports.
