Editing Louis XII (section)

=== Propaganda ===
Under Louis XII, there was an unprecedented explosion of [[propaganda]] and publicity for the French crown.{{sfn|Baumgartner|1996|p=249}} Louis XII had numerous large ceremonies for the various marriages, funerals, and other events that occurred under his reign. These occasions provided Louis with opportunities to project royal power and elevate Louis, which was largely done through [[iconography]]. Furthermore, while these royal images flooded the kingdom, popular writers – encouraged by Louis's lack of censorship – disseminated praise of their king.

Louis adopted the [[porcupine]] as his personal badge and as a royal beast. As a result, the popularity of the now royal creature exploded, resulting in the placement of porcupines in [[illuminated manuscript]]s, on edifices, and on cannons.<ref>{{Cite journal|last=Scheller|first=Robert|date=1983|title=Ensigns of Authority: French Royal Symbolism in the Age of Louis XII|journal=Simiolus: Netherlands Quarterly for the History of Art|volume=13|issue=2 |pages=79|doi=10.2307/3780504 |jstor=3780504 }}</ref> As it was common belief at the time that the porcupine could shoot its quills, the porcupine symbolized the offensive and defensive capabilities of the king.<ref>{{Cite journal|last=Hochner|first=Nicole|date=2001|title=Louis XII and the porcupine: Transformations of a royal emblem|journal=Renaissance Studies|volume=15|issue=1 |pages=19|doi=10.1111/1477-4658.00354 |s2cid=159885190 }}</ref> During his years of conquest, Louis portrayed his kingdom to the public as a porcupine – a supposedly invincible creature feared by all. However, by the second half of his reign, Louis began to relegate the aggressive porcupine into a simple heraldic symbol for identification. Seeking to paint himself as a pious and chivalrous king to the public, Louis adopted titles such as ''Father of the People'' and compared himself to figures like [[Louis IX of France|St. Louis]] to highlight his commitment to justice and reform rather than simply military dominance.<ref>{{Cite journal|last=Hochner|date=|title=Louis XII and the porcupine: Transformations of a royal emblem|journal=|pages=36}}</ref>

Louis's initial of L was often decorated with an open royal crown and laced with [[Fleur-de-lis|fleurs-de-lys]]. In addition, Louis's personal colors were red and yellow (or gold). Thus, guard regiment uniforms, manuscript color schemes, flags, often adorned Louis's royal colors and his initial.<ref>{{Cite journal|last=Scheller|title=Ensigns of Authority: French Royal Symbolism in the Age of Louis XII.|journal=|pages=80}}</ref>

Moreover, Louis popularized the state portrait as a propaganda tool.<ref name=":0" /> He employed numerous artists to capture him and produce individualized, miniature portraits that can be found in manuscripts today.<ref name=":0">{{Cite journal|last=Scheller|title=Ensigns of Authority: French Royal Symbolism in the Age of Louis XII.|journal=|pages=82}}</ref> Furthermore, Louis's propaganda arsenal was greatly expanded with the addition of portrait coins – first minted in France in 1514.<ref>{{Cite journal|last=Scheller|title=Ensigns of Authority: French Royal Symbolism in the Age of Louis XII.|journal=|pages=88}}</ref>
[[File:Chateau de Blois 02.jpg|thumb|Chateau de Blois, Louis's Porcupine]]

As the Duke of Milan, Louis XII, he is portrayed in the painting of Alvise De Donati, Maria Maddalena, Marta, Lazarro and Maximino adored by the Prince and Princess of Provence, Museu Nacional d'Art de Catalunya Barcelona, originally in the church of San Bartolomeo in [[Civo|Caspano]]. The King and Queen of France, identified as princes of Provence, are kneeling, the King has in his hands the crown that appears on the coins minted by the Mint of Milan. This is the only known full-length portrait of a king of France by a painter of the Italian Renaissance.