Art historian Melissa Hyde argues that the critics of Pompadour were driven by fears over the overturning of social and gender hierarchies that Pompadour's power and influence, as a woman who was not born into the aristocracy, represented. Her relationship with Louis XV, a man of immense carnal. (Even in the Court of Versailles, women faced glass ceilings). Hostile critics at the time generally tarred her as a malevolent political influence, but historians are more favorable, emphasizing her successes as a patron of the arts and a champion of French pride. Madame Pompadour broke through an enormous social barrier for women of society - she was the first of the bourgeoisie to be appointed 'official mistress' to a French King. She was a patron of the philosophes of the Enlightenment, including Voltaire. Pompadour was a major patron of architecture and decorative arts, especially porcelain. On 8 February 1756, the Marquise de Pompadour was named as the thirteenth lady-in-waiting to the queen, a position considered the most prestigious at the court, which accorded her with honors. She was particularly careful not to alienate the Queen, Marie LeszczyĆska. She secured titles of nobility for herself and her relatives, and built a network of clients and supporters. Pompadour took charge of the king's schedule and was a valued aide and advisor, despite her frail health and many political enemies.
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