*Rococo Revisited
Marie Antoinette and her children in front of a tree
François DUMONT
A -contemporary of the Revolution- representation of the royal family 
Any representation of royalty was prohibited by the Revolution. Since August 10, 1792, the royal statues in public places were removed. The Convention directed in 1793 the destruction of royal portraits. For any image, however small it may was, had a dangerous power of evocation. The fury of the revolutionary regime to destroy and prohibit any representation of the royalty and any portrait of a member of the dynasty, continued long beyond the Terror and is explained as a profound necessity to ensure the grip of the new ideas.
Despite his awkwardness, this miniature portrait bears witness to the attachment of the people’s feelings to the royal family. The portrait in its simplicity,  evokes a vanished world  a far cry from the revolutionary era atmosphere.
© Photo RMN-Grand Palais - M. Bellot
(via Louis XVI et sa famille - L’Histoire par l’image - Plein cadre)
Versailles : Marie Antoinette’s Chateau, the Petit Trianon (via The Swelle Life)

Marie Antoinette Portrait on Petit Chateau

Deborah Turbeville, Unseen Versailles
Seven year old Louis in 1792, portrait by Alexander Kucharsky
Louis XVII (Versailles 27 March 1785 – Paris 8 June 1795), from birth to 1789 known as Louis-Charles,  the son of King Louis XVI of France and Queen Marie Antoinette.  He had been imprisoned from August 1792 until his death from illness in 1795 at the age of 10, and he had never been officially crowned as king, nor had he ruled.  the prisoner is said  to have been put in a dark room which was barricaded like the cage of a wild animal. The story runs that no one entered the dauphin’s room for six months and that food was passed through the bars to the child, who survived in spite of the accumulated filth of his surroundings.
In his last months, the child maintained an obstinate silence, explained as a determination taken on the day he was made to do a  deposition against his mother. 
Louis Charles died on 8 June 1795 at  about ten years of age. He was buried on the 10th in the cemetery of Ste. Marguerite, but no stone was erected to mark the spot. Immediately on the announcement of the dauphin’s death a rumour arose that he had escaped. In 2000 a DNA testing of the heart believed to have belonged to the child who died in captivity proved that the heart was that of Louis-Charles. French Legitimists organized its burial in the Basilica on 8 June 2004, next to the remains of his parents.
The original decorations from the opera The King and the farmer performed by Marie Antoinette and her company!
In 1780,  The King and the farmer by Pierre-Alexandre Monsigny was played by Marie Antoinette and her company in the Little Theatre of the Queen at Versailles. The original sets, the scenery of the forest and the rustic decor, have lasted for ages.
The King and the farmer by Pierre-Alexandre Monsigny was created at the Opera Comique of Paris in 1762, then played extensively in Paris and Vienna before being adopted by Marie Antoinette and her troupe at the Theatre de la Reine in Versailles in 1780!
The sets of the show that were used for intimate performances of Marie Antoinette still exist, preserved at the Little Theatre of the Queen. They were restored in the nineteenth century and were thus once again presented for  The King and the farmer  in Versailles, but this time in the Royal Opera House on 4 and 5 February 2012.
'Hameau de la reine', the little cottage of Marie Antoinette in Versailles.
Desk (Sécretaire), Oak veneered with ebony and Japanese lacquer; gilt-bronze mounts; marble tops. 1783 (Paris)
This secretary stood in Marie Antoinette’s private apartment at the château de Saint-Cloud; her initials appear three times in the gilt-bronze frieze under the marble top. The opulent refinement of this secretary, made about 1784 by Riesener, responds to the taste of his royal client. Cascading down the front are exquisitely chased gilt-bronze flowers, while fruit, wheat, flowers, and symbols of princely glory spill from the cornucopia mounts along the lower edge. The black-and-gold panels of Japanese lacquer reflect the queen’s fondness for this material.
Jean Francois Janinet (1752-1814)
Marie Antoinette, 1777
Etching and engraving printed on two sheets as follows: oval portrait in wash manner on full sheet in yellow, blue, red, and black from four plates; decorative frame cut out in center, in blue and orange from two plates
Fire Screen from Cabinet de Toilette, Palace of Saint-Cloud, France for Marie Antoinette, Queen of France (by 1788)
Jean-Baptiste-Claude Sené  (1748–1803)
Dog Kennel  ca. 1775–80
Château de Versailles, (made for Marie Antoinette’s dogs)
Jean-Baptiste-Claude Sené  (1748–1803)
Pale blue for the daytime salon of Marie Antoinette in Versailles