Marie-Antoinette: Das geheime Tagebuch einer Königin • Benjamin Lacombe

Kathrin from Phantasiereisen keeps raving about the books by French illustrator and artist Benjamin Lacombe. I’ve always found his illustrations appealing, but so far none of his books had truly caught my interest. That changed when Kathrin introduced his latest work, Marie Antoinette: The Secret Diary of a Queen, on her blog. I love 19th-century France and the literature of that period, which so often reflects the immense aftershocks of the French Revolution — a century earlier — that had brought great social and ideological upheaval and cast its long shadow on the people and writers of the following era. Inevitably, in the works of French authors one encounters again and again the events and figures of that cruel and brutal time, in which the stark contrast between wealth and poverty ultimately gave birth to the idea of human rights and republics in the minds of Europeans. For example, in Honoré de Balzac’s The Human Comedy, one enters the Conciergerie prison and walks through those impressive walls where Marie Antoinette spent her last hours. Finally, a video about the book convinced me completely.

The book is divided into four chapters and consists of genuine surviving letters from her mother, Maria Theresa (along with a few letters from Marie Antoinette herself, Mercy-Argenteau, and Count Fersen), as well as a fictional diary supposedly written by the queen. It is known that Marie Antoinette did not write much herself, so this diary — which sometimes jumps ahead by several years — is entirely fictional and written by Lacombe. The letters, on the other hand, are authentic and real. This creates an interesting blend of historical truth and invention, with the author aiming to portray a realistic image. The goal is not to provide a complete historical account or to portray Marie Antoinette with absolute accuracy, but to craft a coherent overall picture that conveys a sense of what kind of person she most likely was.

The text, diary entries, and letters read smoothly and naturally, and the language feels appropriate for a queen of that era. Lacombe stages them beautifully, with elegant handwriting and, of course, the matching paintings that both reflect and expand on the texts. With a wealth of symbolism, he expresses the emotions hinted at in the diary. The problems in her intimate relationship with the king are subtly conveyed through images, while her struggle with accusations, the admonishing influence of her mother, and her escape from the conventions of the French court are recurring themes.

The illustrations, unsurprisingly, focus heavily on Marie Antoinette, almost always depicting the queen — adorned with her extravagant finery, enormous hairstyles, and the typical sense of excess that was so often criticized and that ultimately became her downfall. The sketches of her are beautiful, the colors and backdrops of the paintings captivating, and the style, while inspired by the many portraits of her, transforms them into something distinctly Lacombe’s own. In the background one might notice a gilded stucco ceiling from a lavish palace — much like one found in Versailles or in a painting from her era. Rococo art and the aesthetics of her time have deeply influenced Lacombe. The image of Marie Antoinette on a swing, for instance, is inspired by Jean-Honoré Fragonard’s The Swing from 1767.

As I read, I found myself drawn into Lacombe’s world of Marie Antoinette — her retreat to Petit Trianon, where she sought refuge from court etiquette and longed for nature and a simpler rural life; her uncertainty regarding the succession; and the brief mention of the Affair of the Diamond Necklace, which reveals how deeply she was entangled in a courtly life full of intrigue and conflicting interests. Axel von Fersen also appears — perhaps her lover, certainly her confidant. And, of course, the French Revolution and the execution of King Louis XVI and Marie Antoinette form an essential chapter. Here, Lacombe’s sympathy for Marie Antoinette becomes evident, and I’m not entirely sure she isn’t portrayed as too helpless, too naive, too much the victim of courtly life. While that’s not impossible, given the contrast between her opulent lifestyle and the suffering of the people, Lacombe’s depiction feels a bit too forgiving.

I really like the book’s format and its pleasant length. It can easily be read in one evening, and since the beautiful illustrations take center stage, it offers an atmospheric glimpse into another world. Compared with portraits from the queen’s time, Lacombe’s Marie Antoinette appeals to me far more — the image I’ve gained from this book is much more captivating than the historical reality. But that’s often how it is with books, even those without illustrations.

I particularly liked the little interludes that make the book more lively. For instance, it includes a recipe for chocolate pistols and half-moons — sweets that Marie Antoinette loved and indulged in generously. There’s also an excerpt from The Barber of Seville, a play she had performed in her theatre at Petit Trianon. A section on her elaborate hairstyles is also included, and with these small excursions, the book becomes a little journey of discovery into a world that suddenly feels tangible.

At the end, there is a timeline summarizing the political and personal events in a clear overview. It’s sufficient for orientation, though I still looked up more details to better understand the letters and the book’s chronology. The foreword is also a nice addition, though not much of it stayed with me — it serves more as a pleasant introduction.

The quality of the book impressed me. The ornaments on the cover are embossed in relief, the sturdy cloth binding feels elegant, the endpapers have a lovely and appealing pattern, and the print quality is consistently excellent. Thanks to the slightly thicker paper, the book has just the right heft and feels good in the hand.

Conclusion: This illustrated book is a small work of art — with its gorgeous illustrations, strong symbolism, expressive sketches, and lovingly crafted text, it is a pleasure to read. Lacombe’s portrayal of Marie Antoinette is fascinating and engaging; the intimacy created through the fictional diary entries, combined with the artistic style inspired by the Rococo era, results in a vivid and distinctive image. How closely this portrait aligns with the real Marie Antoinette remains open to interpretation, but for the artistic enjoyment of the book, that question is secondary. The large time jumps in the diary entries lessen the reader’s emotional connection somewhat, leaving a sense of distance and mystery. A more detailed historical overview might also have been welcome. Nevertheless, Lacombe compensates for that with his illustrations, which are rich in detail and make the book worth revisiting. A beautiful work that I can recommend to anyone who loves the style of that period, is fascinated by French history, and appreciates high-quality illustration.

Book information: Marie Antoinette: The Secret Diary of a Queen • Benjamin Lacombe • Verlagshaus Jacoby & Stuart • 96 pages • ISBN 9783942787666