Abstract
Mme. de Pompadour, through her purchases and policies, is widely believed to have been a dominant force in the visual arts in France during the years around 1750, when she was the mistress and “friend” of Louis XV. An examination of the evidence for her involvement in the arts shows, however, that her activity was far more limited in intention and effect than has been thought, and points to a need for further research into many monuments and artistic developments long attributed to her initiatives. The possible reasons for Pompadour's limited role in the arts are considered in a postscript.
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