Abstract
Sean Heath’s well-researched and clearly presented study of the cult of Saint Louis in France between the late sixteenth and early nineteenth centuries makes for salutary reading for several reasons. Firstly, it helps to dispel any assumption that the politics of image-making began recently or had a deep-seated connection either with some particular medium, like television or Twitter, or with some distinctively modern arrangement, such as universal suffrage or party politics. Secondly, the study does something similar to any assumption about the relationship between the politics of image-making and any particular set of moral, political, or religious values. Thirdly, this absence of anything more determinate than creativity underlines the parts opportunity and imagination can play in even the most repetitive examples of the politics of image-making. By focusing on a single subject, the cult of Saint Louis, and by reconstructing the many different purposes and settings that it could be...
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