Difference between revisions of "Palace of Versailles" - New World Encyclopedia

From New World Encyclopedia
 
(64 intermediate revisions by 9 users not shown)
Line 1: Line 1:
−
{{Claimed}}{{started}}{{Contracted}}
+
{{Copyedited}}{{approved}}{{Images OK}}{{submitted}}{{Paid}}
−
{{Infobox World Heritage Site
 
−
| WHS        = Palace and Park of Versailles
 
−
| Image      = [[Image:Versailles Palace.jpg|300px|Versailles: Louis Le Vau opened up the interior court to create the expansive entrance ''cour d'honneur,'' later copied all over Europe.]]
 
−
| State Party = {{FRA}}
 
−
| Type        = Cultural
 
−
| Criteria    = i, ii, vi
 
−
| ID          = 83
 
−
| Region      = [[List of World Heritage Sites in Europe|Europe and North America]]
 
−
| Year        = 1979
 
−
| Session    = 3rd
 
−
| Link        = http://whc.unesco.org/en/list/83
 
−
}}
 
−
The '''Château de Versailles''', or '''Versailles''', is a royal [[château]] in [[Versailles]], [[France]]. In [[English language|English]] it is often referred to as the '''Palace of Versailles'''. When the château was built, Versailles was a country village, but it is now a suburb of [[Paris]]. From 1682, when [[Louis XIV of France|King Louis XIV]] moved from Paris, until [[The Royal Family|the royal family]] was forced to return to the capital in 1789, the '''Court of Versailles''' was the centre of power in [[Ancien Régime]] France.
 
  
−
In 1660, Louis XIV, who was approaching majority and the assumption of full royal powers from the advisors who had governed France during his minority, was casting about for a site near Paris but away from the tumults and diseases of the crowded city. He had grown up in the disorders of the civil war between rival factions of aristocrats called the [[Fronde]] and wanted a site where he could organize and completely control a [[government of France]] by absolute [[Personal Rule|personal rule]]. He settled on the royal [[Hunting|hunting lodge]] at Versailles, and over the following decades had it expanded into the largest palace in the world. Versailles is famous not only as a building, but as a symbol of the system of [[absolute monarchy]] which Louis XIV espoused.
+
[[Image:Versailles Palace.jpg|300px|thumb|The interior court of '''Versailles''' was designed to create the expansive entrance, the Court of Honor, later copied all over Europe]]
 +
The '''Palace of Versailles''' (in [[French language|French]]: '''Château de Versailles''', or simply '''Versailles''') is a royal [[chateau]] in [[Versailles]], [[France]]. When the chateau was built, Versailles was a country village, but it is now a suburb of [[Paris]]. From 1682, when [[Louis XIV of France|King Louis XIV]] moved from Paris, until the royal family was forced to return to the capital in 1789, the Court of Versailles was the center of power in [[Ancien Régime]] France.  
  
−
==The first château==
+
In 1660, Louis XIV was approaching majority and the assumption of full royal powers from his advisers, who had governed France during his minority. He was looking for a site near Paris, but away from the tumults and diseases of the crowded city. He had grown up in the disorders of a civil war between rival factions of [[aristocracy|aristocrats]] and wanted a site where he could organize and completely control a government of France by absolute personal rule. He settled on the royal hunting lodge at Versailles, and over the following decades had it expanded into the largest palace in the world.
 +
{{toc}}
 +
Versailles is famous not only as a building, but as a symbol of the system of [[absolute monarchy]] which Louis XIV espoused. It greatly influenced both the [[architecture]] and general culture not only of France but also of European nobility in general. It remains today as a cultural treasure and one of Europe's most popular [[tourism|tourist]] attractions.
  
−
The earliest mention of the village of Versailles is found in a document dated 1038, the “Charte de l'abbaye Saint-Père de Chartres” (Charter of the Abbey of Saint-Père de Chartres). Of the signatories of the charter was one Hugo de Versailles, hence the name of the village. During this period, the village of Versailles centered on a small castle and church and the area was controlled by a local lord. The village's location on the road from Paris to [[Dreux]] and [[Normandy]] brought some prosperity to the village but following the [[Black Plague]] and the [[Hundred Years War]], the village was largely destroyed and its population severely diminished.<ref>“Histoire du Château de Versailles” (1911-1918) Pierre de Nolhac, Paris: André Marty</ref><ref>Pierre Verlet (1961) “Versailles,” Paris: Librarie Arthèmem Fayard</ref>
+
==The first chateau==
−
 
+
The earliest mention of the village of Versailles is found in a document dated 1038, the Charter of the Abbey of Saint-Père de Chartres (Charte de l'abbaye Saint-Père de Chartres). Of the signatories of the charter was one Hugo de Versailles, hence the name of the village. During this period, the village centered on a small castle and church and the area was controlled by a local lord. The village's location on the road from Paris to Dreux and [[Normandy]] brought it some prosperity too, but following the [[Black Plague]] and the [[Hundred Years' War]], the village was largely destroyed and its population severely diminished.
−
In 1575, [[Albert de Gondi]], a [[Florence|Florentine]], purchased the [[Manorialism|seigneury]] of Versailles. Gondi had arrived in France with [[Catherine de Medici]] and his family became influential in the [[French States-General|French Parliament]]. In the early decades of the 17th century, Gondi invited [[Louis XIII of France|Louis XIII]] on several hunting trips in the forests of Versailles. Following this initial introduction to the area, Louis XIII ordered the construction of a hunting chateau in 1624. Designed by [[Philibert Le Roy]], the structure was constructed of stone and red brick with a slate roof. Eight years later, in 1632, Louis obtained the seignury of Versailles from the Gondi family and began to make enlargements to the château.
+
 +
In 1575, [[Albert de Gondi]], a [[Florence|Florentine]], purchased the estate (''seigneury'') of Versailles. Gondi had arrived in France with [[Catherine de Medici]] and his family became influential in the [[French States-General|French Parliament]].
 +
 
 +
In the early decades of the seventeenth century, Gondi invited [[Louis XIII of France|Louis XIII]] on several hunting trips in the forests of Versailles. Following this initial introduction to the area, Louis XIII ordered the construction of a major "hunting chateau" in 1624. Designed by [[Philibert Le Roy]], the structure was constructed of stone and red brick with a slate roof. Eight years later, in 1632, Louis obtained the estate of Versailles from the Gondi family and began to make enlargements to the chateau.
  
 
==Expansion under Louis XIV==
 
==Expansion under Louis XIV==
−
Louis's successor, [[Louis XIV]], took a great interest in Versailles. Beginning in 1661, the architect, [[Louis Le Vau]], and the [[landscape architecture|landscape architect]], [[André Le Nôtre]], began a major upgrade of the château. It was Louis XIV's hope to create a center for the royal court. Following the [[Treaty of Nijmegen]] in 1678, the court and French government began to be moved to Versailles. The court was officially established there on 6 May 1682.
+
[[Image:ChateauVersailles.JPG|thumb|250px|left|Versailles garden]]
 +
[[Image:Andre-Le-Nostre1.jpg|thumb|André Le Nôtre, Versailles landscape architect]]
 +
Louis's successor, [[Louis XIV of France|Louis XIV]], took a great interest in Versailles. Beginning in 1661, the architect, [[Louis Le Vau]], and the landscape architect, [[André Le Nôtre]], began a major upgrade of the chateau. It was Louis XIV's hope to create a center for the royal court. Following the [[Treaty of Nijmegen]] in 1678, the court and French government began to be moved to Versailles. The court was officially established there on May 6, 1682.
  
−
Louis's reasoning for moving the court and seat of the French government to Versailles was that he could effectively control everything single-handedly if it was in one place. All the power of France emanated from this centre: there were government offices here; as well as the homes of thousands of courtiers, their retinues and all the attendant functionaries of court. By requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own [[regional power]] at the expense of his own and kept them from countering his efforts to centralize the French government in an absolute monarchy. The meticulous and stilted court etiquette that Louis XIV established, which overwhelmed his heirs with its petty boredoms, was epitomized in the elaborate procedures accompanying his rising in the morning, known as the ''[[Levée|Lever]]'', divided into a ''petit lever'' for the most important and a ''grand lever'' for the whole court; like other French court manners, it was quickly imitated in other European courts.
+
Louis' reasoning for moving the court and seat of the French government to Versailles was that he could effectively control the government single-handedly if it was housed in one place. All the power of France emanated from this center. There were government offices there, as well as the homes of thousands of courtiers, their retinues, and all the attendant functionaries of court. By requiring that nobles of certain rank and position to spend time each year at Versailles, Louis prevented them from developing their own regional power at the expense of his own, and kept them from countering his efforts to centralize the French government in an absolute monarchy. So impressive was the impression and culture of the palace, that the meticulous and stilted court [[etiquette]] that Louis XIV established at the palace was quickly imitated in other European courts.
  
 
==Evolution of Versailles==
 
==Evolution of Versailles==
−
Upon the death of Jules Cardinal [[Mazarin]] in 1661, who had served as [[Co-regency|co-regent]] during the minority of Louis XIV, Louis XIV (b. 5 September 1638 at [[Saint-Germain-en-Laye]]; d. 1 September 1715 at Versailles; reigned 14 May 1642 – 1 September 1715) began his personal reign by vowing to be his own prime minister. From this point, construction and expansion at Versailles became synonymous with the [[absolutism]] of Louis XIV.
+
Louis XIV (reigned May 14, 1642 &ndash; September 1, 1715) began his adult reign by vowing to be his own prime minister. From this point, the construction and expansion at Versailles became synonymous with the [[absolutism]] of Louis XIV.  
−
 
 
−
After the disgrace of [[Nicolas Fouquet]] in 1661 — the [[finance minister]] had embezzled from the crown to build his château at [[Vaux-le-Vicomte]] — Louis XIV, after confiscation of Fouquet’s estate, employed the talents of architect [[Louis Le Vau]], gardener [[André Le Nôtre]], and painter/decorator [[Charles Le Brun]] for his building campaigns at Versailles and elsewhere.  For Versailles, there were four distinct building campaigns (after minor alterations and enlargements had be executed on the château and the gardens in 1662-1663), all of which corresponded to Louis XIV’s wars.   
 
−
 
 
−
===1st Building Campaign===
 
  
−
Commencing with the [[Plaisirs de l’Île enchantée]] of 1664 (a party that was held between 7th and 13th May 1664 ostensibly to celebrate the two queens of France — [[Anne of Austria]], the [[Queen Mother]] and [[Marie-Thérèse]], Louis XIV’s wife, but in reality was given to celebrate the king’s mistress, [[Louise de La Vallière]].  The fête of the Plaisirs de l’Île enchantée is often regarded as prelude to the War of Devolution, which Louis XIV waged against Spain — both the Queen Marie and Marie-Thérèse were Spanish by birth — from 1667 to 1668), the First Building Campaign (1664-1668) saw alterations in the château and gardens in order to accommodate the 600 guests invited to the party.
+
The ''fête of the Plaisirs de l’Île enchantée'', a party held between May 7-13, 1664, occasioned the beginning of the '''First Building Campaign''' (1664-1668), which saw alterations in the chateau and gardens in order to accommodate the six hundred guests invited to the party.
  
−
===2nd Building Campaign===
+
The '''Second Building Campaign''' (1669-1672) was inaugurated with the signing of the [[Treaty of Aix-la-Chapelle]]). During this campaign, the chateau began to assume much of the appearance that it has today. The most important modification was Louis LeVau’s envelope (''enveloppe''), a cluster of rooms in Louis XIII’s "hunting chateau." This construction—often referred to as the New Chateau (''château neuf'') to distinguish it from the older structure of [[Louis XIII of France|Louis XIII]]—enveloped the hunting lodge on the north, west, and south. The new structure provided new lodgings for members of the king and his family.
  
−
The Second Building Campaign (1669-1672) was inaugurated with the signing of the [[Treaty of Aix-la-Chapelle]] (the treaty that ended the [[War of Devolution]]).  During this campaign, the château began to assume much of the appearance that it has today.  The most important modification of the château was Louis LeVau’s enveloppe of Louis XIII’s hunting lodge.  The enveloppe — often referred to as the château neuf to distinguish it from the older structure of [[Louis XIII]] — enveloped the hunting lodge on the north, west, and south.  The new structure provided new lodgings for members of the king and his family.  The first floor — the piano nobile — of the château neuf was given over entirely to two apartments, one for the king and one for the queen. The [[Grand appartement du roi]] occupied the northern part of the château neuf and [[Grand appartement de la reine]] occupied the southern part. The western part of the enveloppe was given over almost entirely to a terrace, which was later destroyed for construction of the Hall of Mirrors ([[Galerie des glaces]]).  The ground floor of the northern part of the château neuf was occupied by the appartement des bains, which included a sunken octagonal tub with hot and cold running water.  The king’s brother and sister-in-law, the duc and duchesse d’Orléans occupied apartments on the ground floor of the southern part of the château neuf.  The upper story of the château neuf was reserved for private rooms for the king to the north and rooms for the king’s children above the queen’s apartment to the south.
+
The first floor of the New Chateau was given over entirely to two suites, one for the king and one for the queen. The King's Suite (''Grand appartement du roi'') occupied the northern part of the New Chateau and the Queen's Suite (''Grand appartement de la reine'') occupied the southern part. The western part of the envelope was given over almost entirely to a terrace, which was later destroyed for construction of the Hall of Mirrors (''Galerie des glaces'').
  
−
Significant to the design and construction of the grands appartements is that the rooms of both apartments are of the same configuration and dimensions — a hitherto unprecedented feature in French palace design.  In his monograph “Il n’y plus des Pyrenées: the Iconography of the first Versailles of Louis XIV,” Kevin Olin Johnson posited the hypothesis that the unprecedented similarity to the king and queen’s apartments represented Louis XIV’s wish to establish his wife as queen of Spain. In doing so, a [[dual monarchy]] of sorts would have been created.  Louis XIV’s rationale for the joining of the two kingdoms was seen largely as recompense for [[Philip IV]]'s failure to pay his daughter Marie-Thérèse’s dowry, which was among the terms of capitulation to which Spain agreed with the promulgation of the [[Treaty of the Pyrenees]] (1659, ending the war between Spain and France that had been waged since 1635).  Louis XIV’s regarded is father-in-law’s act as breach of the treaty and consequently engaged in the War of Devolution.
+
The ground floor of the northern part of the New Chateau was occupied by the Suite of Baths (''appartement des bains''), which included a sunken octagonal tub with hot and cold running water. The king’s brother and sister-in-law, the ''duc'' and ''duchesse'' d’Orléans occupied suites on the ground floor of the southern part of the New Chateau. The upper story of the New Chateau was reserved for private rooms for the king to the north and rooms for the king’s children above the Queen’s Suite to the south.
  
−
Both the grand appartement du roi and the grand appartement de la reine formed a suite of seven enfilade rooms.  Each room is dedicated to one of the then-known [[Astronomical object|celestial bodies]] and is personified by the appropriate [[Greco-Roman]] deity.  The decoration of the rooms, which was conducted under the direction of the [[Charles Le Brun]], depicted the “heroic actions of the king” and were represented in allegorical form by the actions of historical figures from the antique past ([[Alexander the Great]], Augustus, Cyrus, etc.).
+
Significant to the design and construction of the Grand Suites (grands appartements) is that the rooms of both suites are of the same configuration and dimensions—a hitherto unprecedented feature in French palace design.
  
−
===3rd Building Campaign===
+
[[Image:Hardouin-Mansart, Jules.jpg|thumb|200px|Jules Hardouin Mansart]]
 +
With the signing of the [[Treaty of Nijmegen]] (1678, which ended the [[Dutch War]] of 1672-1678), the '''Third Building Campaign''' at Versailles began (1678-1684). Under the direction of the architect, [[Jules Hardouin Mansart]], the palace of Versailles acquired much of the look that it has today. In addition to the Hall of Mirrors (''galerie des glaces''), Mansart designed the north and south wings (which were used by the nobility and Princes of the Blood, respectively), and the "Orangerie," a botanical garden. Charles Le Brun was occupied not only with the [[interior decoration]] of the new additions of the palace but he also collaborated with André Le Notre in landscaping the palace gardens. As a symbol of France’s new prominence as a European [[Superpower|superpower]], Louis XIV officially installed his court at Versailles in May 1682.
  
−
With the signing of the [[Treaty of Nijmegen]] (1678, which ended the [[Dutch War]] of 1672-1678), the Third Building Campaign at Versailles began (1678-1684).  Under the direction of the architect, [[Jules Hardouin Mansart]], the palace of Versailles acquired much of the look that it has today.  In addition to the Hall of Mirrors, Mansart designed the north and south wings (which were used by the nobility and Princes of the Blood, respectively), and the Orangerie.  Charles Le Brun was occupied not only with the [[interior decoration]] of the new additions of the palace he also collaborated with André Le Notre in landscaping the palace gardens.  As symbol of France’s new prominence as a European [[Superpower|super-power]], Louis XIV officially installed his court at Versailles in May of 1682.
+
Soon after the crushing defeat of the [[War of the League of Augsburg]] (1688-1697) and owing possibly to the pious influence of [[Madame de Maintenon]], Louis XIV undertook his last building campaign at Versailles. The '''Fourth Building Campaign''' (1701-1710) concentrated almost exclusively on construction of the Royal Chapel, designed by Mansart and finished by [[Robert de Cotte]] and his team of decorative designers. There were also some modifications in the King’s Small Suite (''Petit Appartement''), namely the construction of the Salon of the Eye of Beef (''Salon de l’Oeil de Boeuf'')<ref>Known as the "Ox eye room" because of its oval window</ref> and the King’s Bedchamber. With the completion of the chapel in 1710, virtually all construction at Versailles ceased; building would not be resumed at Versailles until some 20 years later during the reign of [[Louis XV of France|Louis XV]].
−
 
 
−
===4th building campaign===
 
−
 
 
−
Soon after the crushing defeat of the [[War of the League of Augsburg]] (1688-1697) and owing possibly to the pious influence of [[Madame de Maintenon]], Louis XIV undertook his last building campaign at Versailles. The fourth building campaign (1701-1710) concentrated almost exclusively on construction of the Chapel Royal, designed by Mansart and finished by [[Robert de Cotte]] and his team of decorative designers. There were also some modifications in the king’s Petit Appartement, namely the construction of the [[Salon de l’Oeil de Boeuf]] and the King’s Bedchamber. With the completion of the chapel in 1710, virtually all construction at Versailles ceased; building would not be resumed at Versailles until some 20 later during the reign of [[Louis XV]].<ref>Sources:
 
−
 
 
−
[[André Félibien]], Description sommaire du chasteau de Versailles, (Paris, 1674).
 
−
Pierre de Nolhac, La création de Versailles, (Versailles, 1901).
 
−
———, Versailles, résidence de Louis XIV, (Paris, 1925).
 
−
———, Histoire de Versailles.  3 vol. (Paris, 1911).
 
−
Kevin Olin Johnson, “Il n’y plus de Pyrenées : Iconography of the first Versailles of Louis XIV,” Gazette des Beaux-Arts (6e pér., vol. 97, janvier 1981) : 29-40.</ref>
 
  
 
==Features==
 
==Features==
−
===The Château===
+
===The Chateau===
−
Here are some of the areas open to the public at the Château.
+
====King's Suite====
 +
As of result of Louis LeVau’s envelope of Louis XIII’s chateau, the new addition—known at the time as the New Chateau—the king and queen had new suites. The State Apartments, which are known respectively as the King's Suite and the Queen's Suite, occupied the first floor of the New Chateau. LeVau’s design for the state apartments closely followed Italian models of the day.
  
−
====Grand Appartement du Roi====
+
[[Image:Versailles, chambre du roi, buste.jpg|thumb|250px|Bust of Louis XIV in his royal apartment]]
−
As of result of Louis LeVau’s enveloppe of Louis XIII’s château, the new addition — known at the time as the château neuf — the king and queen had new apartments.  The State Apartments, which are known respectively as the grand appartement du roi and the grand apartment de la reine, occupied the first floor of the château neuf. LeVau’s design for the state apartments closely followed Italian models of the day, as evidenced by the placement of the apartments on the first floor — the piano nobile — a convention the architect borrowed from 16th and 17th century Italian palace design. 
 
  
−
Le Vau’s plan called for an enfilade of seven rooms, each dedicated to one of the then-known planets and their associated titular Roman deity. LeVau’s plan was bold as he designed a heliocentric system that centered on the salon d’Apollon (Salon of Apollo). The salon d’Apollon originally was designed as the king’s bedchamber, but served as a [[throne room]].<ref>During the reign of Louis XIV (until 1689), a solid silver throne stood on a [[Persian rug|Persian ~~~~carpet]] covered dais on the south wall of this room.</ref>
+
Le Vau’s plan called for an ''enfilade''<ref>Defined as "An axial arrangement of doorways connecting a suite of rooms with a vista down the whole length of the suite," or "an axial arrangement of mirrors on opposite sides of a room so as to give an effect of an infinitely long vista." See [http://www.dictionary.com/browse/enfilade enfilade] ''Dictionary.com''. Retrieved April 5, 2018.</ref> of seven rooms, each dedicated to one of the then-known [[planet]]s and their associated titular [[Roman mythology|Roman deity]]. LeVau’s plan was bold as he designed a [[heliocentrism|heliocentric]] system that centered on the Salon of Apollo (salon d’Apollon). The Salon of Apollo originally was designed as the king’s bedchamber, but served as a throne room. The configuration of the King's Suite conformed to contemporary conventions in palace design. However, Louis XIV found the rooms too cold and opted to live in the rooms previously occupied by his father. The King's Suite was reserved for court functions—such as the thrice-weekly apartment (''appartement'') evenings given by Louis XIV for guests.  
  
−
The configuration of the grand appartement du roi conformed to contemporary conventions in palace design.<ref>Baillie, Hugh Murray.  "Etiquette and the Planning of State Apartments in Baroque Palaces," Archeologia CI (1967): 169-199.</ref> However, owing to Louis XIV’s personal tastes,<ref>Owing to the apartment’s northern exposure, Louis XIV found the rooms too cold and opted to live in the rooms previously occupied by his father.</ref> the grand appartement du roi was reserved for court functions — such as the thrice-weekly appartement evenings given by Louis XIV.
+
The rooms were decorated by [[Charles LeBrun]] and demonstrated Italian influences (LeBrun met and studied with the famed Tuscan artist [[Pietro da Cortona]], whose decorative style of the [[Palazzo Pitti|Pitti Palace]] in Florence LeBrun adapted for use at Versailles). The ''quadratura''<ref>''Quadratura'' is a term introduced during the [[Baroque period]] to describe simulated of illusionistic architecture. </ref> style of the ceilings evoke Cortona’s ''sale dei planeti'' at the Pitti, but LeBrun’s decorative schema is more complex. In his 1674 publication about the King's Suite, André Félibien described the scenes depicted in the coves of the ceilings of the rooms as allegories depicting the “heroic actions of the king.” Accordingly, one finds scenes of the exploits of [[Augustus Caesar|Augustus]], [[Alexander the Great]], and [[Cyrus the Great|Cyrus]] alluding to the deeds of Louis XIV.
  
−
The rooms were decorated by [[Charles LeBrun]] and demonstrated Italian influences (LeBrun met and studied with the famed Tuscan artist [[Pietro da Cortona]], whose decorative style of the [[Palazzo Pitti|Pitti Palace]] in Florence LeBrun adapted for use at Versailles).  The quadratura style of the ceilings evoke Cortona’s sale dei planeti at the Pitti, but LeBrun’s decorative schema is more complex.  In his 1674 publication about the grand appartement du roi, André Félibien described the scenes depicted in the coves of the ceilings of the rooms as allegories depicting the “heroic actions of the king.”<ref>André Félibien, Description sommaire du chasteau de Versailles, (Paris, 1674).</ref>  Accordingly, one finds scenes of the exploits of Augustus, Alexander the Great, and Cyrus alluding to the deeds of Louis XIV.  For example, in the salon d’Apollon, the cove painting “Augustus building the port of Misenum”<ref>Located in the western cove of the [[salon d’Apollon]] and painted by [[Charles de La Fosse|Charles de LaFosse]] ca. 1674.</ref> alludes to the construction of the port at [[La Rochelle]]; or, depicted in the south cove of the salon de Mercure is “Ptolemy II Philadelphus in his Library,” which alludes to Ptolemy’s construction of the [[Library of Alexandria|Great Library of Alexandria]] and which accordingly serves as an allegory to Louis XIV’s expansion of the Bibliothèque du roi.<ref>Located in the southern cove of the ceiling of the salon de Mercure and painted by Jean-Baptiste de Champaigne ca. 1674.</ref><ref>For a more detailed discussion regarding the ceilings’ decor of the grand appartement du roi, see Gérard Sabatier, “Versailles, ou la figure du roi,” (Paris: Albin Michel, 1999).  For an analysis of the symbolism in the decor of the grand appartement du roi, see Edward Lighthart, “Archétype et symbole dans le style Louis XIV versaillais: réflexions sur l’imago rex et l’imago patriae au début de l’époque moderne,” (Doctoral thesis, 1997).</ref>  Complementing the rooms’ decors were pieces of massive silver furniture.  Regrettably, owing to the War of the League of Augsburg, in 1689 Louis XIV ordered all of this silver furniture to be sent to the mint and to be melted down to help defray the cost of the war.
+
From 1678 to the end of Louis XIV’s reign, the King's Suite served as the venue for the king’s thrice-weekly evening receptions, known as ''les soirées de l’appartement''. In the eighteenth century during the reign of Louis XV, the King's Suite was expanded to include the Salon of Abundance (salon de l’Abondance)&mdash;formerly the entry vestibule of the King's Small Suite (''[[petit appartement du roi]]'')&mdash;and the Salon of Hercules ([[salon d’Hercule]])&mdash;occupying the tribune level of the former chapel of the chateau.
  
−
LeVau’s original plan for the grand appartement du roi was short-lived.  With the inauguration of the 2nd building campaign, which suppressed the terrace linking the king and queen’s apartments and the salons of Jupiter, Saturn and Venus for the construction of the Hall of Mirrors, the configuration of the grand appartement du roi was altered.  The decor of the salon de Jupiter was removed and reused in the decoration of the salle des gardes de la reine; and elements of the decoration of the first salon de Vénus, which opened onto the terrace, were reused in the salon de Vénus that we see today.<ref>Originally, the room that is known today as the salon de Vénus formed part of the apartment of the king’s mistress, [[Françoise-Athénaïs, marquise de Montespan|Madame de Montespan]].  Owing to her involvement with [[Poison affair|Affair of the Poisons]], during which time its was alleged she had been giving the king love potions, she fell from grace in 1678 and her apartments were taken over by Louis XIV at which time the new salon de Vénus was installed.</ref>
+
====Queen's Suite====
 +
Forming a parallel enfilade with that of the the King's Suite, the Queen's Suite served as the residence of three queens of France—Marie-Thérèse d’Autriche, wife of Louis XIV; Marie Leszczyska, wife of Louis XV; and [[Marie-Antoinette]], wife of Louis XVI (additionally, Louis XIV’s granddaughter-in-law, Marie-Adélaïde de Savoie, as duchesse de Bourgogne, occupied these rooms from 1697 (the year of her marriage) to her death in 1712).
  
−
From 1678 to the end of Louis XIV’s reign, the grand appartement du roi served as the venue for the king’s thrice-weekly evening receptions, known as les soirées de l’appartement.In the 18th century during the reign of Louis XV, the grand appartement du roi was expanded to include the salon de l’Abondance — formerly the entry vestibule of the [[petit appartement du roi]] — and the [[salon d’Hercule]] — occupying the tribune level of the former chapel of the château.
+
[[Image:Versailles Queen's Chamber.jpg|thumb|250px|The queen's royal chamber]]
 +
When Louis Le Vau’s envelope of the Old Chateau (''château vieux'') was completed, the Queen's Suite includes a suite of seven enfilade rooms with an arrangement that mirrored almost exactly the King's Suite. As with the decoration of the ceiling in the King's Suite, which depicted the heroic actions of Louis XIV as allegories from events taken from the ancient past, the decoration of the Queen's Suite depicted heroines from the past and harmonized with the general theme of a particular room’s decor. On a interesting note, not only were women depicted in the decoration of the Queen's Suite, but women contributed to the decoration of these room. Most notably is Madeleine de Boulogne, who painted the over-door painting in the Room of the Guards (''Salles des Gardes'').  
  
−
====Grand Appartement de la Reine====
+
During her life at Versailles, Marie Leszczyska (1703-1768) lived in the Queen's Suite, to which she annexed the Salon of Peace (''salon de la paix'') to serve as a music room. In 1770, when the Austrian archduchess Marie-Antoinette married the dauphin, later Louis XVI, she took up residence in these rooms. Upon Louis XVI’s ascension to the throne in 1774, Marie-Antoinette ordered major redecoration of the Queen's Suite, which at this time achieved the arrangement that we see today.
−
Forming a parallel enfilade with that of the grand appartement du roi, the grand appartement de la reine served as the residence of three queens of France — Marie-Thérèse d’Autriche, wife of Louis XIV; Marie Leszczyska, wife of Louis XV; and Marie-Antoinette, wife of Louis XVI (additionally, Louis XIV’s granddaughter-in-law, Marie-Adélaïde de Savoie, as duchesse de Bourgogne, occupied these rooms from 1697 (the year of her marriage) to her death in 1712).
 
  
−
When Louis Le Vau’s enveloppe of the château vieux was completed, the grand appartement de la reine includes a suite of seven enfilade rooms with an arrangement that mirrored almost exactly the grand appartement du roi. As with the decoration of the ceiling in the grand appartement du roi, which depicted the heroic actions of Louis XIV as allegories from events taken from the antique past, the decoration of the grand appartement de la reine depicted heroines from the antique past and harmonized with the general theme of a particular room’s decor.<ref>On a interesting note, not only were women depicted in the decoration of the grand appartement de la reine, but women contributed to the decoration of these room.  Most notably is Madeleine de Boulogne, who painted the over-door painting in the salle des gardes.</ref> 
+
====King's private suites====
 +
[[Image:Versailles, chambre du roi.jpg|thumb|The king's bedchamber]]
 +
Overlooking the Marble Court (''cour de marbre''), these rooms, which are situated in the Old Chateau, were once the private apartment of Louis XIII. During Louis XIV’s third building campaign, this suite of rooms were enlarged and decorated for the king’s daily use. In 1684 the King's Suite comprised the following rooms: Room of the Guards; First Antichamber (''Première antichambre'') or Grand Covered Antichamber (''antichambre du grand couvert''); Antichamber of Basins (''Antichambre des Bassans''); Chamber of the King (''Chambre du roi''); the King's Salon (''Salon du Roi''); Cabinet of the King (''Cabinet du roi''); and Cabinet of Terms (''Le Cabinet des termes''). In 1701, as part of Louis XIV’s fourth building campaign, the configuration of the King's Suite was altered.
  
−
With the construction of the Hall of Mirrors, which began in 1678, the configuration of the grand appartement de la reine changed. The chapel was transformed into the salle des gardes de la reine and it was in this room that the decorations from the salon de Jupiter were reused.<ref>With the creation of this room, a new chapel — the château’s third — was built in the adjacent room to the east.  In 1682, when the third chapel was built (where the salon d’Hercule is now located), this room was renamed la grande salle des gardes de la reine.  In the 19th century, this room was rebaptized salle du sacre owing to the installation of Jean-Louis David’s Coronation of Napoléon I.</ref>  The salle des gardes de la reine communicates with a loggia that issues from the escalier de la reine, which formed a parallel pendant, albeit smaller, staircase with the escalier des ambassadeurs in the grand appartement du roi. The loggia also provides access to the appartement du roi, the suite of rooms in which Louis XIV lived.  Toward the end of Louis XIV’s reign, the escalier de la reine became the principal entrance to the château, with the escalier des ambassadeurs used on rare state occasions.  After the destruction of the escalier des ambassadeurs in 1752, the escalier de la reine became the main entrance to the château.
+
====King's Small Suite====
 +
From 1683 to 1693, during the Louis XIV’s third building campaign, the king ordered the construction of the Suite of Collections (''appartement des collections''), also known as the Suite of Rarities (''appartement des raretés''). This suite housed the rarest and most valuable of the artworks in the Louis XIV’s collection. Access to these rooms was by personal invitation of Louis XIV, but the descriptions of the collections have survived.  
  
−
With the death of Louis XIV in 1715, the court moved to [[Vincennes]] and later to Paris.  In 1722, Louis XV reinstalled the court at Versailles and began modifications to the château’s interior. Among the most noteworthy of the building projects during Louis XV’s reign, the redecoration of the chamber de la reine must be cited.
+
Between 1738 and 1760, Louis XV ordered significant changes to the Suite of Collections. In 1738, the king ordered the construction of new bedroom—the New Chamber (''la nouvelle chambre'')—as Louis XIV’s old bedroom was too uncomfortable in the winter to use for anything but his morning leave (''lévé'').
  
−
To commemorate the birth of his only son and heir, [[Louis-Ferdinand]], in 1729, Louis XIV ordered a complete redecoration of the room.  Elements of the chamber de la reine as it had been used by Marie-Thérèse and [[Marie-Adélaïde de Savoie]] were removed and a new, more modern decor was installed.<ref>The decoration of this room was an important expression in French interior design.  It heralded the transition from the [[Regency]] style, which prevailed from the death of Louis XIV through to 1732(with the decoration of the Salon de la princesse at the [[Hôtel de Soubise]]), and the Rococo (or style Louis XV), the style that prevailed for the greater part of the reign of Louis XV.</ref>
+
====Queen's Small Suites====
 +
These rooms, situated behind the King's Suites, and which now open onto two interior courtyards, were the private domain of the queens of France, Marie-Thérèse, Marie Leszczyska, and Marie-Antoinette. Evolving with the building campaigns of Louis XIV, the Queen's Small Suite, these rooms are also known as the Queen's Small Cabinets (''les petits cabinets de la reine'') and the Queen's Interior Suite (''l'appartement intérieur de la reine''), likewise evolved.  
  
−
During her life at Versailles, Marie Leszczyska (1703-1768) lived in the grand apartment de la reine, to which she annexed the salon de la paix to serve as a music room. In 1770, when the Austrian archduchess Marie-Antoinette married the dauphin, later Louis XVI, she took up residence in these rooms.  Upon Louis XVI’s ascension to the throne in 1774, Marie-Antoinette ordered major redecoration of the grand appartement de la reine. At this time, the queen’s apartment achieved the arrangement that we see today.
+
;Marie-Thérèse
 +
At the completion of the LeVau’s ''enveloppe'', a suite of small rooms that opened onto the Court of Marble (rooms later incorporated into the King's Suite) and onto a small interior courtyard—at the time were called the Queen's Court. In these rooms, Marie-Thérèse led her private and family life. Very little information survived about the décor or the arrangement of these rooms, owing largely to her early death in 1683. What is known is that a redecoration of these rooms occurred in 1697 when Marie-Adélaïde de Savoie married Louis XIV's grandson, the duc de Bourgogne. When Marie-Adélaïde died in 1712, the rooms remained unoccupied.
  
−
====Appartement du Roi (King's Private Apartments)====
+
;Marie Leszczyska
−
Overlooking the cour de marbre, these rooms, which are situated in the château vieux, were once the private apartment of Louis XIII. During Louis XIV’s 3rd building campaign, this suite of rooms were enlarged and decorated for the king’s daily use. In 1684, the apartment du roi comprised the following rooms: Salle des gardes; Première antichambre or antichambre du grand couvert; Antichambre des Bassans; Chambre du roi; Salon du Roi; Cabinet du roi; and Le Cabinet des termes. In 1701, as part of Louis XIV’s 4th building campaign, the configuration of the appartement du roi was altered.
+
From the time of her marriage, the Queen's Small Suite underwent a number of transitions. One of the more significant transitions occurred when additional rooms were built. With these new rooms, the Queen's Court was divided into two courtyards — the Dauphin's Court (''cort du dauphin'')to the east and the Monsignor's Court (''cour du Monseigneur'') to the west. None of the décor of the the Queen's Small Suite — except for a small room that communicates between the grand cabinet and the appartement du roi — has survived. When Marie-Antoinette moved into these rooms in 1774, a complete reorganization and redecoration of the rooms, under the direction of [[Richard Mique]], was ordered.
  
−
====Le petit appartement du roi; l’appartement interieur du roi====
+
;Marie-Antoinette
−
From 1683 to 1693, during the Louis XIV’s 3rd building campaign, the king ordered the construction of the appartement des collections (also know as the appartement des raretés).  The appartement des collections housed the rarest and most valuable of the artworks in the Louis XIV’s collection. Access to these rooms was by personal invitation of Louis XIV, but there descriptions of the collections have survived.
+
The fame of the Queen's Small Suite rests squarely in the hands of the last queen of France during the Ancien Régime. The restored state of the rooms that one sees today at Versailles replicate the Small Queen's Suite as it probably looked during Marie-Antoinette’s day when these rooms served the queen’s daily private life. For example, in the morning, the Cabinet of the Meridian (''cabinet de la méridienne''), which was decorated by [[Richard Mique]] to commemorate the birth of the dauphin, was the room in which Marie-Antoinette would choose the clothing she would wear that day. Books containing drawings of the queen’s dresses and other garments would be presented to Marie-Antoinette. She would indicate her preference by inserting a pin into the page that depicted the dress she wanted to wear.
  
−
Between 1738 and 1760, Louis XV ordered significant changed to the appartement des collections. In 1738, the king ordered the construction of new bedroom — la nouvelle chambre — as Louis XIV’s old bedroom was too uncomfortable in the winter to use for anything but his morning lévé.
+
====Hall of Mirrors====
 +
[[File:Chateau Versailles Galerie des Glaces.jpg|thumb|right|250px|Galerie des Glaces (Hall of Mirrors) in the Palace of Versailles]]
 +
As a central feature of Louis XIV’s third building campaign, construction on the Hall of Mirrors began in 1678. To achieve the Hall of Mirrors as well as the Salon of War (''salon de la guerre'') and the Salon of Peace (''salon de la paix''), which connect the King's Suite with the Queen's Suite, architect [[Jules Hardouin-Mansart]] suppressed three rooms from each apartment. The rooms that were destroyed were the Salon of Jupiter (''salon de Jupiter''), Salon of Saturn (''salon de Saturn''), and the Salon of Venus (''salon de Vénus'') from both the king and queen’s state apartments, as well as the terrace that separated the two apartments. The principal feature of the room is the seventeen, mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens. Each arch contains 21 mirrors, with a total complement of 357 used in the decoration of the Hall of Mirrors.  
  
−
====Le petit appartement de la reine====
+
In the seventeenth century, mirrors were one of the most expensive items to possess and at the time, the Venetian Republic held the monopoly on the manufacture of mirrors. In order to maintain the integrity of his philosophy of mercantilism, which required that all items used in the decoration of Versailles be made in France, Jean-Baptiste Colbert, enticed several workers from Venice to make mirrors at the Gobelins Factory. The Gobelins, which still exist today, was nationalized in the 1660s by Colbert for the express purpose of making furniture and other decorative items for Versailles, and other royal residences for use in Versailles. According to legend, in order to keep its monopoly, the government of the Venetian Republic sent agents to France to poison the workers whom Colbert had brought to France.
  
−
These rooms, situated behind the grand appartement de la reine, and which now open onto two interior courtyards, were the private domain of the queens of France, Marie-Thérèse, Marie Leszczyska, and Marie-Antoinette.  Evolving with the building campaigns of Louis XIV, the petit appartement de la reine<ref>These rooms are also known as les petits cabinets de la reine and l'appartement intérieur de la reine</ref> likewise evolved.  
+
The Hall of Mirrors' dimensions are 239.5 feet by 34.4 feet by 40.4 feet, and it is flanked by the Salon of War (north) and the Salon of Peace (south). Construction on the hall and its two salons continued until 1684, at which time it was pressed into use for court and state functions. The ceiling decoration is dedicated to the military victories of Louis XIV. The present decorative schema represents the last of three that were presented to Louis XIV. The original decorative plan was to have depicted exploits of [[Apollo]]—which was consistent with the imagery associated with the “Sun-King,” Louis XIV. However, when the king learned that his brother, [[Philippe d’Orléans]], had commissioned [[Pierre Mignard]] to decorate the ceiling of the grand hall of his brother’s residence at the chateau of Saint Cloud, Louis XIV rejected the plan.
  
−
'''Marie-Thérèse'''
+
====Chapels of Versailles====
−
 
+
One of the more curious aspects of Versailles are the chapels. During the reign of Louis XIV, Versailles saw no fewer than five chapels.  
−
At the completion of the LeVau’s ''enveloppe'', a suite of small rooms that opened onto the cour de marbre (rooms later incorporated into the appartement du roi) and onto a small interior courtyard — at the time call cour de la reine.  In these rooms, Marie-Thérèse led her private and family life.  Very little information survived about the décor or the arrangement of these rooms, owing largely to her early death in 1683.  What is known is that a redecoration of these rooms occurred in 1697 when Marie-Adélaïde de Savoie married Louis XIV grandson, the duc de Bourgogne.  When Marie-Adélaïde died in 1712, the rooms remained unoccupied.
 
−
 
 
−
'''Marie Leszczyska
 
−
'''
 
−
From the time of her marriage, the petit appartement de la reine underwent a number of transitions.  One of the more significant transitions occurred when additional rooms were built.  With these new rooms, the cour de la reine was divided into two courtyards — the cour du dauphin (to the east) and the cour du Monseigneur (to the west). None of the décor of the petit appartement de la reine — except for a small room that communicates between the grand cabinet and the appartement du roi — has survived. When Marie-Antoinette moved into these rooms in 1774, a complete reorganization and redecoration of the rooms, under the direction of [[Richard Mique]], was ordered.
 
−
 
 
−
'''Marie-Antoinette'''
 
  
−
The fame of the petit appartement de la reine rests squarely in the hands of the last queen of France during the Ancien Régime.  The restored state of the rooms that one sees today at Versailles replicate the petit appartement de la reine as it probably looked during Marie-Antoinette’s day.
+
;First Chapel
 +
The chateau’s first chapel dated from the time of Louis XIII and was located in a detached pavilion at the northeast of the chateau. Today, the Piece of the Gold Vassal (''La pièce de la vaisselle d'or''), or the Cabinet of Madame Adelaide (''le Cabinet de Mme. Adélaïde''), occupies the approximate site). This chapel, which followed the palatine model was widely used in France.<ref>''Sainte-Chapelle'' in Paris is a prototypical example; all successive chapels at Versailles followed the palatine model</ref>—a chapel of two floors, the upper floor reserved for the monarch and members of the royal family, the lower floor used by members of the court and the royal household—was destroyed in 1665 when the ''Grotto de Thétis'' was built.
  
−
During Marie-Antoinette day, these rooms served the queen’s daily private life. For example, in the morning, the cabinet de la méridienne, which was decorated by [[Richard Mique]] to commemorate the birth of the dauphin, was the room in which Marie-Antoinette would choose the clothing she would wear that day.<ref>Books containing drawings of the queen’s dresses and other garments would be presented to Marie-Antoinette. She would indicate her preference by inserting a pin into the page that depicted the dress she wanted to wear.</ref>
+
;Second Chapel
 +
The château’s second chapel was created during Louis XIV’s second building campaign. When the envelope of Louis LeVau was completed, the chapel was situated in the Queen's Chapel. It formed the symmetrical pendant with the Salon of Diane (salon de Diane) in the King's Suite. This palatine model chapel was short-lived. When Louis XIV began his third building campaign, this chapel was converted to the room of the Queen's Guards (''salle des gardes de la reine'').
  
−
Of all the features of the petit appartement de la reine, the so-called secret passage that links the grand appartement de la reine with the appartement du roi must be cited. The passage actually dates from the time the Marie-Thérèse and had always served as a private means by which the king and queen could communicate with each other.<ref>The only other option would be to cross the public rooms, which were always crowded with people.</ref>  It is true, however, that Marie-Antoinette, who was sleeping in the chambre de la reine in the grande appartement de reine, escaped from the Paris mob on the night of 6/7 October 1789. The entrance to the so-called secret passage is through a door located on the west side of the north wall of the chambre de la reine.
+
;Third Chapel
 +
Located next to the new Room of the Queen's Guards, this chapel was transitory. Soon after its construction, Louis XIV found it inconvenient and impractical for his needs as well as those of his court. In 1682, this room was converted into the Grand Room of the Queen's Guards (''grande salles des gardes de la reine''), also known as the Sacred Room (''la salle du sacre'').
  
−
====Galerie des Glaces====
+
;Fourth Chapel
−
[[Image:Versailleshallofmirrors.jpg|thumb|right|200px|Gilded sculptured guéridons were commissioned to replace part of the silver furniture.]]
+
With the construction of the North Wing (''aile Nord''), a new palatine model chapel was built. Construction of the North Wing necessitated the destruction of the Grotto de Thétis; it was on this site that the new chapel was built in 1682. When the fourth chapel was constructed, the Salon of Abundance, which had served as entry to the King's Small Suite, was rebaptized the “vestibule of the royal tribune”—so named as it was from this upper level of the chapel that the royal family heard daily mass. This chapel remained in use by the king and court until 1710. This chapel witnessed most of the [[baptism]]s and [[wedding]]s of members of the court and royal family during the reign of Louis XIV. Today, the Salon of Hercules and the lower vestibule occupy the space of the fourth chapel.
−
As central feature of Louis XIV’s 3rd building campaign, construction on the galerie des glaces — The Hall of Mirrors — began in 1678. To achieve the galerie des glaces as well as the salon de la guerre and the salon de la paix, which connect the grand appartement du roi with the grand appartement de la reine, architect [[Jules Hardouin-Mansart]] suppressed three rooms from each apartment<ref>The rooms that were destroyed were the salon de Jupiter, salon de Saturn, and the salon de Vénus from both the king and queen’s state apartment.</ref> as well as the terrace that separated the two apartments.  The principal feature of the room is the seventeen mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens.  Each arch contains twenty-one mirrors with a total complement of 357 used in the decoration of the galerie des glaces.  
 
  
−
In the 17th century, mirrors were one of the most expensive items to possess and at the time, the Venetian Republic held the monopoly on the manufacture of mirrors. In order to maintain the integrity of his philosophy of mercantilism, which required that all items used in the decoration of Versailles be made in France, Jean-Baptiste Colbert, enticed several workers from Venice to make mirrors at the Gobelins Factory<ref>The Gobelins, which still exist today, was nationalized in the 1660s by Colbert for the express purpose of making furniture and other decorative items for Versailles and other royal residences.</ref> for use in Versailles.<ref>According to legend, in order to keep its monopoly, the government of the Venetian Republic sent agents to France to poison the workers whom Colbert had brought to France.</ref>
+
;Fifth Chapel
 +
[[File:The Royal Chapel of Versailles.JPG|thumb|left|225px|The fifth chapel]]
 +
As the focal point of Louis XIV fourth building campaign, the final chapel of the chateau of Versailles is a masterpiece. Begun in 1689, construction was halted due to the War of the League of Augsburg; Jules Hardouin-Mansart resumed construction in 1699. Hardouin-Mansart continued working on the project until his death in 1708, at which time his brother-in-law, Robert de Cotte, finished the project.  
  
−
The galerie des glaces’ dimensions are 73.0&nbsp;[[metre|m]] × 10.5&nbsp;m × 12.3&nbsp;m (239.5&nbsp;[[foot (unit of length)|ft]] × 34.4&nbsp;ft × 40.4&nbsp;ft) and is flanked by the salon de la guerre (north) and the salon de la paix (south).  Construction on the galerie and its two salons continued until 1684, at which time it was pressed into use for court and state functions. The ceiling decoration is dedicated to the military victories of Louis XIV.  The present decorative schema represents the last of three that were presented to Louis XIV.  The original decorative plan was to have depicted exploits of Apollo — which was consistent with the imagery associated with the Sun-King, Louis XIV.  However, when the king learned that his brother, [[Philippe d’Orléans]], had commissioned [[Pierre Mignard]] to decorate the ceiling of the grand galerie of his brother’s residence at the château of Saint-Cloud, Louis XIV rejected the plan. The next decorative plan was one in which the exploits of Hercules — as allegories to the actions of Louis XIV — were to be depicted.  Again, as with the first plan, the Hercules theme was rejected by the king. The final plan represents military victories of Louis XIV starting with the Treaty of the Pyrenees (1659) to the [[Treaty of Nijmegen]] (1678-1679).  In a departure form the decoration of the ceilings in the grand appartement du roi, LeBrun has depicted Louis XIV and has ceased to refer to the king in allegorical guises. In this way, themes such as good governance are rendered with Louis XIV as the key figure.  
+
Dedicated to [[Saint Louis]], the chapel was consecrated in 1710. The palatine model of the chapel is traditional; however, the Corinthian colonnade of the tribune level is of a classic style that anticipates the [[neoclassicism]] of the late-eighteenth century. The tribune level is accessed by a vestibule that was constructed at the same time as the chapel. The bas-relief sculpture, ''Louis XIV Crossing the Rhine'', was sculpted by Nicolas et Guillaume Coustou and was originally intended to decorate the Salon of War. The floor of the chapel is inlaid with multi-colored marbles and at the foot of steps leading to the altar is Louis XIV’s crowned monogram of interlaced “L.”
  
−
During the 17th century, the galerie des glaces was use by daily by Louis XIV when he walked from his private apartment to the chapel.  At this time, courtiers assembled to watch the king and member of the royal family pass and to make a particular request by intoning: “Sire, Marly?”<ref>This was the manner in which one was able to obtain a much sought-after invitation to one of the king’s house parties at [[Marly-le-Roi]], the villa Louis XIV built north of Versailles on the route to Saint-Germain-en-laye.</ref>  However, of all the events that transpired in this room during the reign of Louis XIV, the Siamese Embassy of 1685-1686 must be cited as the most opulent.  At this time, the galerie des glaces and the grands appartements were still appointed with silver furniture.  In February 1715, Louis XIV held his last embassy — which could be regarded as the swan song for his absolutism — in the galerie des glace, one in which he received Mohamed Reza Beg, ambassador of the Shah of Persia.  It was later revealed that the ambassador was bogus and that the entire ceremony was orchestrated for the benefit of Louis XIV (who died in September of the same year).
+
Adhering to ecclesiastical decoration, the chapel’s decoration refers to both the [[Hebrew Bible|Old Testament]] and the [[New Testament]]: the ceiling of the nave represents “God the Father in his glory bring to the world the promise of redemption” and was painted by Antoine Coypel; the half-dome of the apse is decorated with Charles de LaFosse’s ''The Resurrection of Christ''; and, above the royal tribune is Jean Jouvenet’s ''The Descent of the Holy Ghost upon the Virgin and the Apostles''.
  
−
In the successive reigns of Louis XV and Louis XVI, the galerie de glaces continued to serve for family and court functions.  Embassies, births, and marriages were fêted in this room; however, perhaps the most celebrated event of the 18th century occurred on 25 February 1745: the celebrated Bal des Ifs (Ball of the Yew Trees).  It was during this costume ball that Louis XV, who was dressed as a yew tree, met Jeanne-Antoinette Poisson d'Étiolles, who was costumed as Diana, goddess of the hunt.  Jeanne-Antoinette, who became Louis XV’s mistress, is better known to history as the [[Marquise de Pompadour]].
+
During the eighteenth century, the chapel witnessed many court events. "Te Deums" were sung to celebrate military victories and the births of children born to the king and queen; marriages were also celebrated in this chapel, such as the wedding of the dauphin—later [[Louis XVI of France|Louis XVI]]—to [[Marie-Antoinette]] in 1770. However, of all the ceremonies held in the chapel, those associated the Order of Holy Spirit were among the most elaborate.
 +
<br clear="all">
  
−
In the 19th century, at the conclusion of the [[Franco-Prussian War]], the Prussian king, William I, was declared German emperor — thus establishing the (second) [[German Empire]] — on 18 January 1871 in the Hall of Mirrors.  On 28 June 1919, Clemenceau chose the Hall of Mirrors to sign the [[Treaty of Versailles]] that ended [[World War I]].  The Hall of Mirrors is still pressed into service for state occasions of the Fifth Republic, such as receptions for visiting heads of state.
+
====Opera====
 +
Since the time of Louis XIV, the chateau of Versailles has wanted—and needed—a permanent theater. Before the construction of the Opera (''l’Opéra''), temporary theaters were constructed either in the gardens or in the chateau—the Grand Suites, Staircase of the Ambassadors (''escallier des Ambassadeurs''), the Middle Wing (''aile de Midi'')—where the Room of Spectacle (''salle de spectacle'') of Louis XIV was short-lived—the Grand Stable (''la grande écurie''), the Marble Court, etc. However, in 1740, Louis XV ordered [[Jacques-Anges Gabriel]] to build a permanent theater at the northern end of the North Wing, on the site that had been that chosen by Louis XIV. Owing to the financial burdens that Louis XIV faced at the end of his reign, the theater was never built.
  
−
====Chapels of Versailles====
+
The project required some 30 years to complete based on financial restraints rising from the Seven Years War and relocating residents from the northern end of the Wing of Nobles (''aile de nobles''). Construction work on the Opera began in earnest in 1765 and was completed in 1770; at the time, it represented the finest example in theater design. Having 712 seats, it was the largest theater in Europe at the time, and today remains one of the few theaters to survive the eighteenth century. Lully’s ''Persée'' inaugurated the Opera on May 16, 1770, in celebration of the marriage of the dauphin—the future [[Louis XVI]]—with [[Marie-Antoinette]].
−
One of the more curious aspects of Versailles is the chapels. The reign of Louis XIV, Versailles saw no fewer than five chapels.
 
  
−
'''1st Chapel'''<br />
+
Gabriel’s design for the Opera was unique for the time as it featured an oval plan. As an economy measure, the floor of the orchestra level can be raised to the level the stage, thus doubling the floor space. It was planned that the Opera serve not only as a [[theater]], but also as ballroom or banquet hall. Built entirely of wood, which is painted in ''faux marbre'' to represent stone, the Opera has excellent acoustics and represents one of the finest examples of neo-classical decoration. The theme of the decoration is related to [[Apollo]] and the Olympian deities. The decoration of the Opera was directed by [[Augustin Pajou]], who executed the bas-reliefs panels that decorate the front of the loges.<ref>A loge is a box in a theater or opera house.</ref> The ceiling features a canvas by [[Louis Jean Jacques Durameau]] in which [[Apollo]] and the [[Muses]] are depicted.
−
The château’s first chapel dated from the time of Louis XIII and was located in detached pavilion at the northeast of the château (today, La pièce de la vaisselle d'or or le Cabinet de Mme Adélaïde occupies the approximate site). This chapel, which followed the palatine model<ref>This plan was widely used in France. Sainte-Chapelle in Paris is a prototypical example; all successive chapels at Versailles followed the palatine model</ref> — a chapel of two floors, the upper floor reserved for the monarch and members of the royal family, the lower floor used by members of the court and the royal household — was destroyed in 1665 when the Grotto de Thétis was built.
 
  
−
'''2nd Chapel'''<br />
+
==Social history==
−
The château’s second chapel was created during Louis XIV’s second building campaign.  When the enveloppe of Louis LeVau was completed, the chapel was situated in the grand apartment de la reine (it formed the symmetrical pendant with the salon de Diane in the grand appartement du roi).  This palatine model chapel was short-lived.  When Louis XIV began his third building campaign, this chapel was converted to the salle des gardes de la reine.
 
−
 
 
−
'''3rd Chapel'''<br />
 
−
Located next to the new salle des gardes de la reine, this chapel was transitory.  Soon after its construction, Louis XIV found it inconvenient and impractical for his needs as well as those of his court.  In 1682, this room was converted into the grande salles des gardes de la reine (known also as la salle du sacre).
 
−
 
 
−
'''4th Chapel'''<br />
 
−
With the construction of the aile Nord, a new palatine model chapel was built.  Construction of the North wing necessitated the destruction of the Grotto de Thétis; it was on this site that the new chapel was built in 1682.<ref>When the 4th chapel was constructed, the salon de l’Abondance, which had served as entry to the petit appartement du roi, was rebaptized the vestibule of the royal tribune — so named as it was from this upper level of the chapel that the royal family head daily mass.</ref>  This chapel remained in use by the king and court until 1710.<ref>This chapel witness most of the baptisms and wedding of members of the court and royal family during the reign of Louis XIV.  Today the salon d’Hercule and the lower vestibule occupy the space of the 4th chapel.</ref>
 
−
 
 
−
'''5th Chapel'''<br />
 
−
[[Image:Versailles Chapel - July 2006 edit.jpg|thumb|left|250px|Versaille's chapel is one of the palace's grandest interiors.]]
 
−
As the focal point of Louis XIV fourth building campaign, the final chapel of the château of Versailles is a masterpiece.  Began in 1689, construction was halted due to the War of the League of Augsburg; Jules Hardouin-Mansart resumed construction in 1699.  Hardouin-Mansart continued working on the project until his death in 1708, at which time his brother-in-law, Robert de Cotte, finished the project.
 
−
 
 
−
Dedicated to Saint Louis, the chapel was consecrated in 1710.  The palatine model of the chapel is traditionally; however, the Corinthian colonnade of the tribune level is of a classic style that anticipates the neo-classicism of the late-18th century.  The tribune level is accessed by vestibule that was constructed at the same time as the chapel<ref>The bas-relief sculpture, Louis XIV crossing the Rhine, was sculpted by Nicolas et Guillaume Coustou and was originally intended to decorate the salon de la Guerre.</ref>  The floor of the chapel is inlaid with multi-colored marbles and at the foot of steps leading to the altar is Louis XIV’s crowned monogram of interlaced “L.”  Adhering to ecclesiastical decoration, the chapel’s decoration refers to both the Old Testament and the New Testament: the ceiling of the nave represents “God the Father in his glory bring to the world the promise of redemption” and was painted by Antoine Coypel; the half-dome of the apse is decorated with Charles de LaFosse’s “The Resurrection of Christ”; and, above the royal tribune is Jean Jouvenet’s “The Descent of the Holy Ghost upon the Virgin and the Apostles.”
 
−
 
 
−
During the 18th century, the chapel witnessed many court events.  Te Deums were sung to celebrate military victories and the births of children born to the king and queen; marriages were also celebrated in this chapel, such as the wedding of the dauphin — later Louis XVI — to Marie-Antoinette in 1770.  However, of all the ceremonies held in the chapel, those associated the Order of Holy Spirit were among the most elaborate.
 
−
 
 
−
Today the chapel, which has been re-consecrated, serves a venue for chamber concerts.
 
−
 
 
−
====L’Opéra====
 
−
Since the time of Louis XIV, the château of Versailles has wanted — and needed — a permanent theater.  Before the construction of l’Opéra, temporary theaters were constructed either in the gardens or in the château — grands appartements, escalier des ambassadeurs, aile de Midi — where the salle de spectacle of Louis XIV was short-lived — la grande écurie, la cour de marbre, etc.  However, in 1740, Louis XV ordered [[Jacques-Anges Gabriel]] to build a permanent theater at the northern end of the aile de Nord, on the site that had been that chosen by Louis XIV<ref>Owing to the financial burdens that Louis XIV faced at the end of his reign, the theater was never built.</ref>  The project required some thirty years to complete based on financial restraints rising from the Seven Years War and relocating residents from the northern end of the aile de nobles.  Construction work on the Opéra began in earnest in 1765 and was completed in 1770; at the time, it represented the finest example in theater design — having 712 seats, it was the largest theater in Europe at the time — and today remains one of the few theaters to survive the 18th century.  Lully’s ''Persée'' inaugurated the Opéra on 16 May 1770 in celebration of the marriage of the dauphin — the future [[Louis XVI]] — with [[Marie-Antoinette]].
 
−
 
 
−
[[Image:Opéra_de_Versailles.jpg|thumb|right|250px|The Opéra de Versailles is one of the finest theaters in Europe.]]
 
−
Gabriel’s design for the Opéra was unique for the time as it featured an oval plan.  As an economy measure, the floor the orchestra level can be raised to the level the stage, thus doubling the floor space.  It was planned that the Opéra serve not only as a theater, but also as ballroom or banqueting hall.<ref>On 1 October 1789, the gardes du corps du roi held a banquent to welcome the Flanders Regiment, which had just arrived to strengthen protection for the king a royal family against the revolutionary rumblings that were being heard in Paris.  At this banquet, Louis XVI, Marie-Antoinette, and the dauphin received the pledge of loyalty from these guards when they ripped off the blue-white-red cockades they had been wearing and replaced them with white ones — the color that symbolized the Bourbon monarchy.  This was the last event held in the Opéra during the Ancien Régime.</ref>  Built entirely of wood, which is painted in faux marbre to represent stone, the Opéra has excellent acoustics and represents one of the finest examples of neo-classical decoration.  The theme of the decoration is related to Apollo and the Olympian deities.  The decoration of the Opéra was directed by [[Augustin Pajou]], who executed the bas-reliefs panels that decorate the front of the loges.  The ceiling features a canvas by [[Louis Jean Jacques Durameau]] in which [[Apollo]] and the [[Muses]] are depicted.
 
−
 
 
−
==Social History==
 
 
===The politics of display===
 
===The politics of display===
 +
Versailles became the home of the French [[nobility]] and the location of the royal court—thus becoming the center of French government. Louis XIV himself lived there, and symbolically the central room of the long extensive symmetrical range of buildings was the King's Bedchamber (''[[La Chambre du Roi]]''), which itself was centered on the lavish and symbolic state bed, set behind a rich railing not unlike a [[communion rail]]. All the power of France emanated from this center: there were [[government]] offices here; as well as the homes of thousands of courtiers, their retinues and all the attendant functionaries of court, thus keeping the lords close at hand and securing the French government in an [[absolute monarchy]].
  
−
Versailles became the home of the French [[nobility]] and the location of the [[royal court]] - thus becoming the center of French government. Louis XIV himself lived there, and symbolically the central room of the long extensive symmetrical range of buildings was the King's Bedchamber (''[[La Chambre du Roi]]''), which itself was centered on the lavish and symbolic state bed, set behind a rich railing not unlike a [[communion rail]]. All the power of France emanated from this centre: there were [[government]] offices here; as well as the homes of thousands of courtiers, their retinues and all the attendant functionaries of court. By requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power at the expense of his own and kept them from countering his efforts to [[centralization|centralize]] the French government in an [[absolute monarchy]]. 
+
At various periods before Louis XIV established absolute rule, France&mdash;like the [[Holy Roman Empire]]&mdash;lacked central authority and was not the unified state it was during the proceeding centuries. During the [[Middle Ages|the Middle Ages]] some local nobles were at times more powerful than the French King and, although technically loyal to the King, they possessed their own provincial seats of power and government, culturally influential courts and armies loyal to them but not the King. And they had the right to levy their own taxes on their subjects. Some families were so powerful that they achieved international prominence and contracted marriage alliances with foreign [[Royal House|royal houses]] to further their own political ambitions. Although nominally the [[List of French monarchs|Kings of France]], had [[de facto]] royal power and at times had been limited purely to the region around Paris.
−
 
 
−
[[Image:Versailles bedroom.jpg|thumb|right|250px|left|''Lit de parade'', Salon of Mercury]]
 
−
At various periods before Louis XIV established absolute rule, France like the [[Holy Roman Empire]] lacked central authority and was not the unified state it was to become during the proceeding centuries. During [[Middle Ages|the Middle Ages]] some local nobles were at times more powerful than the French King and, although technically loyal to the King, they possessed their own provincial seats of power and government, culturally influential courts and armies loyal to them not the King and the right to levy their own taxes on their subjects. Some families were so powerful, they achieved international prominence and contracted marriage alliances with foreign [[Royal House|royal houses]] to further their own political ambitions. Although nominally [[List of French monarchs|Kings of France]], [[de facto]] royal power had at times been limited purely to the region around Paris.
 
  
 
====Park and garden====
 
====Park and garden====
−
[[Image:gardeninversailles.jpg|thumb|300px|Garden in Versailles]]The grounds of Versailles contain one of the largest formal gardens ever created, with extensive [[parterre (horticulture)|parterre]]s, fountains and canals, designed by [[André Le Nôtre]]. Le Nôtre modified the original gardens by expanding them and giving them a sense of openness and scale. He also liked to enjoy sunbathing in his wonderful work of art. He created a plan centered around the central axis of the Grand Canal. The gardens are centered on the south front of the palace, which is set on a long terrace to give a grand view of the gardens. At the foot of the steps the Fountain of [[Leto|Latona]] is located. This fountain tells a story taken from [[Ovid]]'s poem [[Metamorphoses (poem)|Metamorphoses]] and served — and still serves — as an allegory of the [[Fronde]]. Next, is the [[Royal Avenue]] or the [[Tapis Vert]]. Surrounding this to the sides are the formal gardens. Beyond this is the Fountain of [[Apollo]]. This fountain symbolizes the regime of Louis XIV, or, the "Sun King." Beyond the Fountain lies the massive [[Grand Canal]]. The wide central axis rises on the far side. Even farther into the distance lie the dense woods of the King's hunting grounds.
+
The grounds of Versailles contain one of the largest formal gardens ever created, with extensive horticulture, fountains, and canals, designed by [[André Le Nôtre]]. Le Nôtre modified the original gardens by expanding them and giving them a sense of openness and scale. He also liked to enjoy sunbathing in his wonderful work of art. He created a plan centered on the central axis of the Grand Canal. The gardens are centered on the south front of the palace, which is set on a long terrace to give a grand view of the gardens. At the foot of the steps the Fountain of Latona is located. This fountain tells a story taken from [[Ovid]]'s poem [[Metamorphoses (poem)|Metamorphoses]] and served—and still serves—as an allegory of the [[Fronde]]. Next, is the Royal Avenue or the ''Tapis Vert''. Surrounding this to the sides are the formal gardens. Beyond this is the Fountain of [[Apollo]]. This fountain symbolizes the regime of Louis XIV, or, the "Sun King." Beyond the Fountain lies the massive [[Grand Canal]]. The wide central axis rises on the far side. Even farther into the distance lie the dense woods of the King's hunting grounds.
  
 
====Outbuildings====
 
====Outbuildings====
−
[[Image:PTV024.jpg|thumb|250px|Petit Trianon]]  
+
[[Image:PTV024.jpg|thumb|250px|''Petit Trianon'' - Picture taken by Deror Avi on June 2005]]  
−
Several smaller buildings were added to the park of Versailles, starting with the Ménagerie, which was built between 1663 and 1665 and modified in the 1690s for the use of Louis XIV's granddaughter, the duchess de Bourgogne, followed by the [[Grand Trianon]] (originally the Porcelain Trianon), continuing with additions by [[Louis XV of France|Louis XV]] and [[Louis XVI of France|Louis XVI]] including the [[Petit Trianon]], and the Hamlet of [[Marie Antoinette]] known as the le [[Petit hameau|Hameau]].
+
Several smaller buildings were added to the park of Versailles, starting with the ''Ménagerie'', a zoological collection which was built between 1663 and 1665 and modified in the 1690s for the use of Louis XIV's granddaughter, the duchess de Bourgogne, followed by the Grand Trianon (originally the Porcelain Trianon), continuing with additions by [[Louis XV of France|Louis XV]] and [[Louis XVI of France|Louis XVI]] including the ''Petit Trianon'', and the Hamlet of [[Marie-Antoinette]] known as the ''le Petit Hameau''.
−
 
 
−
====Cost====
 
−
The book, ''World History: Patterns of Interactions'' (Mcdougal Littell/Houghton Mifflin, 2001) places the value at approximately US$2 billion (1994). Surviving government records from the period mention 65 million golden ''[[French livre|livres]]''. It is unclear whether this "golden" ''livre'' references the standard ''livre'', or the ''[[Louis d'Or]]'' (a gold coin then valued at 24 ''livres'').  If accurate, using today's values for gold (US$600 per ounce, 2006) and silver (US$12 per ounce, 2006), the value of the Versailles estate soars to a staggering US$13-US$30 billion.
 
−
[[Image:Trianon1.jpg|thumb|right|200px|The Grand Trianon, 1678, [[Jules Hardouin-Mansart]], architect]]
 
−
Another way to look at this controversy over the costs of Versailles, is to consider the benefits that France drew from this royal palace. Versailles, by locking the nobles into a golden cage, effectively ended the periodical aristocratic groups and rebellions that had plagued France for centuries. It also destroyed aristocratic power in the provinces, and enabled a centralization of the state, for which a majority of modern Frenchmen are still thankful to Louis XIV, although French centralization, as further developed during the French Revolution, and later the [[Third Republic]], is currently the subject of much debate and overhauling.
 
−
Versailles also had a tremendous influence on French architecture and arts, and indeed on European architecture and arts, as the court tastes and culture elaborated in Versailles influenced most of Europe. From the start, Versailles was conceived as much as a showcase of French arts and craftsmanship organized in the royal workshops of the [[Gobelins manufactory]], as a home for a king. Modern Frenchmen, even the least sympathetic to the former monarchy, are still generally quite proud of the lasting influence that French arts developed in Versailles have had in the world.
 
  
 
==War uses==
 
==War uses==
−
After the French defeat in the [[Franco-Prussian War]], the palace was the main headquarters of the German army from 5 October 1870 until 13 March 1871, and hosted the opening of the [[Paris Peace Conference, 1919|Paris Peace Conference]] on 18 January 1919.
+
After the French defeat in the [[Franco-Prussian War]], the palace was the main headquarters of the German Army from October 5, 1870 until March 13, 1871, and hosted the opening of the [[Paris Peace Conference, 1919|Paris Peace Conference]] on January 18, 1919.
  
−
The [[German Empire]] was declared in the Hall of Mirrors in 1871, with [[Wilhelm I]] being crowned the first [[List of German monarchs|German Emperor]], whilst Germany was ironically punished for [[World War I|causing the First World War]] in the same room on [[28th June]] 1919.
+
The [[German Empire]] was declared in the Hall of Mirrors in 1871, with [[William I of Germany|Kaiser Wilhelm I]] being crowned the first German emperor, while Germany was ironically punished for causing [[World War I|the First World War]] in the same room on June 28, 1919.
  
−
The ravages of war and neglect over the centuries left their mark on the palace and its huge bushes. Modern French governments of the post-[[World War II]] era have sought to repair these damages. They have on the whole been successful, but some of the more costly items, such as the vast array of [[fountain]]s, have yet to be put back completely in service. As spectacular as they might seem now, they were even more extensive in the 18th century. The 18th-century waterworks at [[Château de Marly|Marly]]&mdash; the ''[[Château de Marly#The Marly "machine"|machine de Marly]]'' that fed the fountains&mdash; was probably the biggest mechanical system of its time. The water came in from afar on monumental stone [[aqueduct]]s, which have long ago fallen in disrepair or been torn down.
+
The ravages of war and neglect over the centuries left their mark on the palace and its huge bushes. Modern French governments of the post-[[World War II]] era have sought to repair these damages. They have on the whole been successful, but some of the more costly items, such as the vast array of [[fountain]]s, have yet to be put back completely in service. As spectacular as they might seem now, they were even more extensive in the eighteenth century. The eighteenth-century waterworks at [[Château de Marly|Marly]]&mdash;"The Marly machine" (''machine de Marly'') that fed the fountains&mdash;was probably the biggest mechanical system of its time. The water came in from afar on monumental stone [[aqueduct]]s, which have long ago fallen in disrepair, or been torn down.
  
 
==Post-royal: the monument-museum==
 
==Post-royal: the monument-museum==
 
[[Image:Marie Antoinette amusement at Versailles.JPG|thumb|right|300px|Marie-Antoinette's pastoral pond side ''Hameau'' in the park, built in 1783]]
 
[[Image:Marie Antoinette amusement at Versailles.JPG|thumb|right|300px|Marie-Antoinette's pastoral pond side ''Hameau'' in the park, built in 1783]]
−
After the Revolution the paintings and sculpture, like the crown jewels, were consigned to the new [[Louvre|Musée du Louvre]] as part of the cultural patrimony of France. Other contents went to serve a new and moral public role: books and medals went to the [[Bibliothèque nationale de France|Bibliothèque Nationale]], clocks and scientific instruments (Louis XVI was a connoisseur of science) to the [[École Nationale Supérieure d\'Arts et Métiers|École des Arts et Métiers]]. Versailles was still the most richly-appointed royal palace of Europe until a long series of auction sales on the premises, which unrolled for months during the Revolution, emptying Versailles slowly of every shred of amenity, at derisory prices, mostly to professional ''brocanteurs''. The immediate purpose was to raise desperately-needed funds for the armies of the people, but the long-range strategy was to ensure that there was no Versailles for any king ever to come back to. The strategy worked. Though Versailles was declared an imperial palace, Napoleon never spent a summer's night there.
+
After the [[French Revolution]], the paintings and sculpture, like the crown jewels, were consigned to the new [[Louvre|Musée du Louvre]] as part of the cultural patrimony of France. Other contents went to serve a new and moral public role: books and medals went to the National Library of France (''Bibliothèque nationale de France''), and clocks and scientific instruments (Louis XVI was a connoisseur of science) went to the National School of Advanced Arts and Sciences (''École Nationale Supérieure d'Arts et Métier École des Arts et Métiers'').  
−
 
 
−
Versailles remained both royal and unused through the [[Bourbon Dynasty, Restored|Restoration]]. In 1830, the politic [[Louis-Philippe of France|Louis Philippe, the "Citizen King"]] declared the château a museum dedicated to "''all'' the glories of France," raising it for the first time above a Bourbon dynastic monument. At the same time, [[boiseries]] from the private apartments of princes and courtiers were removed and found their way, without provenance, into the incipient art market in Paris and London for such panelling. What remained were 120 rooms, the modern "''Galeries Historiques''".[http://www.insecula.com/us/musee/M0037.html] The curator Pierre de Nohlac began the conservation of the palace in the 1880s, but did not have the necessary funding until [[John D. Rockefeller]]'s gift of 60 million francs in 1924-1936. Its promotion as a tourist site started in the 1930s and accelerated in the 1950s and 1960's.<ref>Fabien Oppermann, "Images et usages du château de Versailles au XXe siècle," thesis, Ecole des Chartes, 2004.[http://theses.enc.sorbonne.fr/document128.html]</ref>
 
−
 
 
−
In the 1960s, [[Pierre Verlet]], the greatest writer on the history of [[French furniture]] managed to get some royal furnishings returned from the museums and ministries and ambassadors' residences where they had become scattered from the central warehouses of the Mobilier National. He conceived the bold scheme of refurnishing Versailles, and the refurnished royal ''Appartements'' that tourists view today are due to Verlet's successful initiative, in which textiles were even rewoven to refurbish the state beds.
 
−
 
 
  
 +
Versailles was still the most richly appointed royal palace of Europe until a long series of auction sales on the premises, which unrolled for months during the Revolution, emptying Versailles slowly of every shred of amenity, at derisory prices, mostly to professional antiques dealers. The immediate purpose was to raise desperately needed funds for the armies of the people, but the long-range strategy was to ensure that there was no Versailles for any king ever to come back to. The strategy worked. Though Versailles was declared an imperial palace, Napoleon never spent a summer's night there.
  
 +
Versailles remained both royal and unused through the [[Bourbon Dynasty, Restored|Restoration]]. In 1830, the politic [[Louis-Philippe of France|Louis Philippe, the "Citizen King"]] declared the chateau a museum dedicated to "all the glories of France," raising it for the first time above a Bourbon dynastic monument. At the same time, paneling from the private suites of princes and courtiers were removed and found their way, without provenance, into the incipient art market in [[Paris]] and [[London]]. What remained were 120 rooms, and the modern historic galleries. The curator Pierre de Nohlac began the conservation of the palace in the 1880s, but did not have the necessary funding until [[John D. Rockefeller]]'s gift of 60 million francs in 1924-1936. Its promotion as a [[tourism|tourist]] site started in the 1930s and accelerated in the 1950s and 1960s.
  
 +
In the 1960s, [[Pierre Verlet]], the greatest writer on the history of [[France|French]] [[furniture]], managed to get some royal furnishings returned from the museums and ministries and ambassadors' residences where they had become scattered from the central warehouses of the Mobilier National. He conceived the bold scheme of refurnishing Versailles, and the refurnished royal suites that tourists view today are due to Verlet's successful initiative, in which textiles were even rewoven to refurbish the state beds.
  
 
==Notes==
 
==Notes==
−
<!--This article uses the Cite.php citation mechanism. If you would like more information on how to add references to this article, please see http://meta.wikimedia.org/wiki/Cite/Cite.php —>
 
 
<div class="references-small" style="-moz-column-count:2; column-count:2;">
 
<div class="references-small" style="-moz-column-count:2; column-count:2;">
 
<references />
 
<references />
Line 208: Line 159:
  
 
==References==
 
==References==
−
*Thompson, Ian. ''The Sun King's Garden: Louis XIV, André Le Nôtre And the Creation of the Gardens of Versailles'', Bloomsbury Publishing (London), 2006. ISBN 1-58234-631-3
+
* De Montclos, Jean-Marie Perouse. ''Versailles''. Abbeville Press, 1997. ISBN 978-1558592285
 +
* De Nolhac, Pierre. ''La création de Versailles''. Versailles, 1901.
 +
* De Nolhac, Pierre. ''Versailles, résidence de Louis XIV''. Paris, 1925.
 +
* De Nolhac, Pierre. ''Histoire de Versailles''. 3 vols. Paris, 1911.
 +
*Félibien, André. ''Description sommaire du chasteau de Versailles''. Paris, 1674.
 +
*Johnson, Kevin Olin. "Il n’y plus de Pyrenées: Iconography of the first Versailles of Louis XIV." ''Gazette des Beaux-Arts'' 97 (January 1981).
 +
*Payne, Francis Loring. ''The Story of Versailles''. Hard Press, 2006. ISBN 978-1406912845
 +
*Price, Munro. ''The Road from Versailles: Louis XVI, Marie Antoinette, and the Fall of the French Monarchy''. St. Martin's Griffin, 2004. ISBN 978-0312326135
 +
*Thompson, Ian. ''The Sun King's Garden: Louis XIV, André Le Nôtre And the Creation of the Gardens of Versailles''. London: Bloomsbury Publishing, 2006. ISBN 1582346313
  
 
==External links==
 
==External links==
−
{{commonscat|Château de Versailles}}
+
All links retrieved November 18, 2022.
−
*[http://www.chateauversailles.fr/en/index.php Official Site]
+
 
−
*[http://www.paris-photos.org/palace-of-versailles.php Photos of Palace and Gardens of Versailles]
+
*[http://en.chateauversailles.fr/homepage Chateau de Versailles Official Site]
 +
* [http://maps.google.co.uk/maps?ll=48.804404,2.123162&spn=0.008592,0.005932&t=k Google Maps satellite imagery of Palace of Versailles]
 +
*[http://www.paris-photos.org/palace-of-versailles.php Palace of Versailles] &ndash; Paris-Photos.org
  
−
[[Category:nations and places]]
 
 
{{credit|120083689}}
 
{{credit|120083689}}
 +
 +
[[Category:Geography]]
 +
[[Category:Art, music, literature, sports and leisure]]
 +
[[Category:History]]
 +
[[Category:Landmarks]]

Latest revision as of 06:18, 18 November 2022


The interior court of Versailles was designed to create the expansive entrance, the Court of Honor, later copied all over Europe

The Palace of Versailles (in French: Château de Versailles, or simply Versailles) is a royal chateau in Versailles, France. When the chateau was built, Versailles was a country village, but it is now a suburb of Paris. From 1682, when King Louis XIV moved from Paris, until the royal family was forced to return to the capital in 1789, the Court of Versailles was the center of power in Ancien Régime France.

In 1660, Louis XIV was approaching majority and the assumption of full royal powers from his advisers, who had governed France during his minority. He was looking for a site near Paris, but away from the tumults and diseases of the crowded city. He had grown up in the disorders of a civil war between rival factions of aristocrats and wanted a site where he could organize and completely control a government of France by absolute personal rule. He settled on the royal hunting lodge at Versailles, and over the following decades had it expanded into the largest palace in the world.

Versailles is famous not only as a building, but as a symbol of the system of absolute monarchy which Louis XIV espoused. It greatly influenced both the architecture and general culture not only of France but also of European nobility in general. It remains today as a cultural treasure and one of Europe's most popular tourist attractions.

The first chateau

The earliest mention of the village of Versailles is found in a document dated 1038, the Charter of the Abbey of Saint-Père de Chartres (Charte de l'abbaye Saint-Père de Chartres). Of the signatories of the charter was one Hugo de Versailles, hence the name of the village. During this period, the village centered on a small castle and church and the area was controlled by a local lord. The village's location on the road from Paris to Dreux and Normandy brought it some prosperity too, but following the Black Plague and the Hundred Years' War, the village was largely destroyed and its population severely diminished.

In 1575, Albert de Gondi, a Florentine, purchased the estate (seigneury) of Versailles. Gondi had arrived in France with Catherine de Medici and his family became influential in the French Parliament.

In the early decades of the seventeenth century, Gondi invited Louis XIII on several hunting trips in the forests of Versailles. Following this initial introduction to the area, Louis XIII ordered the construction of a major "hunting chateau" in 1624. Designed by Philibert Le Roy, the structure was constructed of stone and red brick with a slate roof. Eight years later, in 1632, Louis obtained the estate of Versailles from the Gondi family and began to make enlargements to the chateau.

Expansion under Louis XIV

Versailles garden
André Le Nôtre, Versailles landscape architect

Louis's successor, Louis XIV, took a great interest in Versailles. Beginning in 1661, the architect, Louis Le Vau, and the landscape architect, André Le Nôtre, began a major upgrade of the chateau. It was Louis XIV's hope to create a center for the royal court. Following the Treaty of Nijmegen in 1678, the court and French government began to be moved to Versailles. The court was officially established there on May 6, 1682.

Louis' reasoning for moving the court and seat of the French government to Versailles was that he could effectively control the government single-handedly if it was housed in one place. All the power of France emanated from this center. There were government offices there, as well as the homes of thousands of courtiers, their retinues, and all the attendant functionaries of court. By requiring that nobles of certain rank and position to spend time each year at Versailles, Louis prevented them from developing their own regional power at the expense of his own, and kept them from countering his efforts to centralize the French government in an absolute monarchy. So impressive was the impression and culture of the palace, that the meticulous and stilted court etiquette that Louis XIV established at the palace was quickly imitated in other European courts.

Evolution of Versailles

Louis XIV (reigned May 14, 1642 – September 1, 1715) began his adult reign by vowing to be his own prime minister. From this point, the construction and expansion at Versailles became synonymous with the absolutism of Louis XIV.

The fête of the Plaisirs de l’Île enchantée, a party held between May 7-13, 1664, occasioned the beginning of the First Building Campaign (1664-1668), which saw alterations in the chateau and gardens in order to accommodate the six hundred guests invited to the party.

The Second Building Campaign (1669-1672) was inaugurated with the signing of the Treaty of Aix-la-Chapelle). During this campaign, the chateau began to assume much of the appearance that it has today. The most important modification was Louis LeVau’s envelope (enveloppe), a cluster of rooms in Louis XIII’s "hunting chateau." This construction—often referred to as the New Chateau (château neuf) to distinguish it from the older structure of Louis XIII—enveloped the hunting lodge on the north, west, and south. The new structure provided new lodgings for members of the king and his family.

The first floor of the New Chateau was given over entirely to two suites, one for the king and one for the queen. The King's Suite (Grand appartement du roi) occupied the northern part of the New Chateau and the Queen's Suite (Grand appartement de la reine) occupied the southern part. The western part of the envelope was given over almost entirely to a terrace, which was later destroyed for construction of the Hall of Mirrors (Galerie des glaces).

The ground floor of the northern part of the New Chateau was occupied by the Suite of Baths (appartement des bains), which included a sunken octagonal tub with hot and cold running water. The king’s brother and sister-in-law, the duc and duchesse d’Orléans occupied suites on the ground floor of the southern part of the New Chateau. The upper story of the New Chateau was reserved for private rooms for the king to the north and rooms for the king’s children above the Queen’s Suite to the south.

Significant to the design and construction of the Grand Suites (grands appartements) is that the rooms of both suites are of the same configuration and dimensions—a hitherto unprecedented feature in French palace design.

Jules Hardouin Mansart

With the signing of the Treaty of Nijmegen (1678, which ended the Dutch War of 1672-1678), the Third Building Campaign at Versailles began (1678-1684). Under the direction of the architect, Jules Hardouin Mansart, the palace of Versailles acquired much of the look that it has today. In addition to the Hall of Mirrors (galerie des glaces), Mansart designed the north and south wings (which were used by the nobility and Princes of the Blood, respectively), and the "Orangerie," a botanical garden. Charles Le Brun was occupied not only with the interior decoration of the new additions of the palace but he also collaborated with André Le Notre in landscaping the palace gardens. As a symbol of France’s new prominence as a European superpower, Louis XIV officially installed his court at Versailles in May 1682.

Soon after the crushing defeat of the War of the League of Augsburg (1688-1697) and owing possibly to the pious influence of Madame de Maintenon, Louis XIV undertook his last building campaign at Versailles. The Fourth Building Campaign (1701-1710) concentrated almost exclusively on construction of the Royal Chapel, designed by Mansart and finished by Robert de Cotte and his team of decorative designers. There were also some modifications in the King’s Small Suite (Petit Appartement), namely the construction of the Salon of the Eye of Beef (Salon de l’Oeil de Boeuf)[1] and the King’s Bedchamber. With the completion of the chapel in 1710, virtually all construction at Versailles ceased; building would not be resumed at Versailles until some 20 years later during the reign of Louis XV.

Features

The Chateau

King's Suite

As of result of Louis LeVau’s envelope of Louis XIII’s chateau, the new addition—known at the time as the New Chateau—the king and queen had new suites. The State Apartments, which are known respectively as the King's Suite and the Queen's Suite, occupied the first floor of the New Chateau. LeVau’s design for the state apartments closely followed Italian models of the day.

Bust of Louis XIV in his royal apartment

Le Vau’s plan called for an enfilade[2] of seven rooms, each dedicated to one of the then-known planets and their associated titular Roman deity. LeVau’s plan was bold as he designed a heliocentric system that centered on the Salon of Apollo (salon d’Apollon). The Salon of Apollo originally was designed as the king’s bedchamber, but served as a throne room. The configuration of the King's Suite conformed to contemporary conventions in palace design. However, Louis XIV found the rooms too cold and opted to live in the rooms previously occupied by his father. The King's Suite was reserved for court functions—such as the thrice-weekly apartment (appartement) evenings given by Louis XIV for guests.

The rooms were decorated by Charles LeBrun and demonstrated Italian influences (LeBrun met and studied with the famed Tuscan artist Pietro da Cortona, whose decorative style of the Pitti Palace in Florence LeBrun adapted for use at Versailles). The quadratura[3] style of the ceilings evoke Cortona’s sale dei planeti at the Pitti, but LeBrun’s decorative schema is more complex. In his 1674 publication about the King's Suite, André Félibien described the scenes depicted in the coves of the ceilings of the rooms as allegories depicting the “heroic actions of the king.” Accordingly, one finds scenes of the exploits of Augustus, Alexander the Great, and Cyrus alluding to the deeds of Louis XIV.

From 1678 to the end of Louis XIV’s reign, the King's Suite served as the venue for the king’s thrice-weekly evening receptions, known as les soirées de l’appartement. In the eighteenth century during the reign of Louis XV, the King's Suite was expanded to include the Salon of Abundance (salon de l’Abondance)—formerly the entry vestibule of the King's Small Suite (petit appartement du roi)—and the Salon of Hercules (salon d’Hercule)—occupying the tribune level of the former chapel of the chateau.

Queen's Suite

Forming a parallel enfilade with that of the the King's Suite, the Queen's Suite served as the residence of three queens of France—Marie-Thérèse d’Autriche, wife of Louis XIV; Marie Leszczyska, wife of Louis XV; and Marie-Antoinette, wife of Louis XVI (additionally, Louis XIV’s granddaughter-in-law, Marie-Adélaïde de Savoie, as duchesse de Bourgogne, occupied these rooms from 1697 (the year of her marriage) to her death in 1712).

The queen's royal chamber

When Louis Le Vau’s envelope of the Old Chateau (château vieux) was completed, the Queen's Suite includes a suite of seven enfilade rooms with an arrangement that mirrored almost exactly the King's Suite. As with the decoration of the ceiling in the King's Suite, which depicted the heroic actions of Louis XIV as allegories from events taken from the ancient past, the decoration of the Queen's Suite depicted heroines from the past and harmonized with the general theme of a particular room’s decor. On a interesting note, not only were women depicted in the decoration of the Queen's Suite, but women contributed to the decoration of these room. Most notably is Madeleine de Boulogne, who painted the over-door painting in the Room of the Guards (Salles des Gardes).

During her life at Versailles, Marie Leszczyska (1703-1768) lived in the Queen's Suite, to which she annexed the Salon of Peace (salon de la paix) to serve as a music room. In 1770, when the Austrian archduchess Marie-Antoinette married the dauphin, later Louis XVI, she took up residence in these rooms. Upon Louis XVI’s ascension to the throne in 1774, Marie-Antoinette ordered major redecoration of the Queen's Suite, which at this time achieved the arrangement that we see today.

King's private suites

The king's bedchamber

Overlooking the Marble Court (cour de marbre), these rooms, which are situated in the Old Chateau, were once the private apartment of Louis XIII. During Louis XIV’s third building campaign, this suite of rooms were enlarged and decorated for the king’s daily use. In 1684 the King's Suite comprised the following rooms: Room of the Guards; First Antichamber (Première antichambre) or Grand Covered Antichamber (antichambre du grand couvert); Antichamber of Basins (Antichambre des Bassans); Chamber of the King (Chambre du roi); the King's Salon (Salon du Roi); Cabinet of the King (Cabinet du roi); and Cabinet of Terms (Le Cabinet des termes). In 1701, as part of Louis XIV’s fourth building campaign, the configuration of the King's Suite was altered.

King's Small Suite

From 1683 to 1693, during the Louis XIV’s third building campaign, the king ordered the construction of the Suite of Collections (appartement des collections), also known as the Suite of Rarities (appartement des raretés). This suite housed the rarest and most valuable of the artworks in the Louis XIV’s collection. Access to these rooms was by personal invitation of Louis XIV, but the descriptions of the collections have survived.

Between 1738 and 1760, Louis XV ordered significant changes to the Suite of Collections. In 1738, the king ordered the construction of new bedroom—the New Chamber (la nouvelle chambre)—as Louis XIV’s old bedroom was too uncomfortable in the winter to use for anything but his morning leave (lévé).

Queen's Small Suites

These rooms, situated behind the King's Suites, and which now open onto two interior courtyards, were the private domain of the queens of France, Marie-Thérèse, Marie Leszczyska, and Marie-Antoinette. Evolving with the building campaigns of Louis XIV, the Queen's Small Suite, these rooms are also known as the Queen's Small Cabinets (les petits cabinets de la reine) and the Queen's Interior Suite (l'appartement intérieur de la reine), likewise evolved.

Marie-Thérèse

At the completion of the LeVau’s enveloppe, a suite of small rooms that opened onto the Court of Marble (rooms later incorporated into the King's Suite) and onto a small interior courtyard—at the time were called the Queen's Court. In these rooms, Marie-Thérèse led her private and family life. Very little information survived about the décor or the arrangement of these rooms, owing largely to her early death in 1683. What is known is that a redecoration of these rooms occurred in 1697 when Marie-Adélaïde de Savoie married Louis XIV's grandson, the duc de Bourgogne. When Marie-Adélaïde died in 1712, the rooms remained unoccupied.

Marie Leszczyska

From the time of her marriage, the Queen's Small Suite underwent a number of transitions. One of the more significant transitions occurred when additional rooms were built. With these new rooms, the Queen's Court was divided into two courtyards — the Dauphin's Court (cort du dauphin)to the east and the Monsignor's Court (cour du Monseigneur) to the west. None of the décor of the the Queen's Small Suite — except for a small room that communicates between the grand cabinet and the appartement du roi — has survived. When Marie-Antoinette moved into these rooms in 1774, a complete reorganization and redecoration of the rooms, under the direction of Richard Mique, was ordered.

Marie-Antoinette

The fame of the Queen's Small Suite rests squarely in the hands of the last queen of France during the Ancien Régime. The restored state of the rooms that one sees today at Versailles replicate the Small Queen's Suite as it probably looked during Marie-Antoinette’s day when these rooms served the queen’s daily private life. For example, in the morning, the Cabinet of the Meridian (cabinet de la méridienne), which was decorated by Richard Mique to commemorate the birth of the dauphin, was the room in which Marie-Antoinette would choose the clothing she would wear that day. Books containing drawings of the queen’s dresses and other garments would be presented to Marie-Antoinette. She would indicate her preference by inserting a pin into the page that depicted the dress she wanted to wear.

Hall of Mirrors

Galerie des Glaces (Hall of Mirrors) in the Palace of Versailles

As a central feature of Louis XIV’s third building campaign, construction on the Hall of Mirrors began in 1678. To achieve the Hall of Mirrors as well as the Salon of War (salon de la guerre) and the Salon of Peace (salon de la paix), which connect the King's Suite with the Queen's Suite, architect Jules Hardouin-Mansart suppressed three rooms from each apartment. The rooms that were destroyed were the Salon of Jupiter (salon de Jupiter), Salon of Saturn (salon de Saturn), and the Salon of Venus (salon de Vénus) from both the king and queen’s state apartments, as well as the terrace that separated the two apartments. The principal feature of the room is the seventeen, mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens. Each arch contains 21 mirrors, with a total complement of 357 used in the decoration of the Hall of Mirrors.

In the seventeenth century, mirrors were one of the most expensive items to possess and at the time, the Venetian Republic held the monopoly on the manufacture of mirrors. In order to maintain the integrity of his philosophy of mercantilism, which required that all items used in the decoration of Versailles be made in France, Jean-Baptiste Colbert, enticed several workers from Venice to make mirrors at the Gobelins Factory. The Gobelins, which still exist today, was nationalized in the 1660s by Colbert for the express purpose of making furniture and other decorative items for Versailles, and other royal residences for use in Versailles. According to legend, in order to keep its monopoly, the government of the Venetian Republic sent agents to France to poison the workers whom Colbert had brought to France.

The Hall of Mirrors' dimensions are 239.5 feet by 34.4 feet by 40.4 feet, and it is flanked by the Salon of War (north) and the Salon of Peace (south). Construction on the hall and its two salons continued until 1684, at which time it was pressed into use for court and state functions. The ceiling decoration is dedicated to the military victories of Louis XIV. The present decorative schema represents the last of three that were presented to Louis XIV. The original decorative plan was to have depicted exploits of Apollo—which was consistent with the imagery associated with the “Sun-King,” Louis XIV. However, when the king learned that his brother, Philippe d’Orléans, had commissioned Pierre Mignard to decorate the ceiling of the grand hall of his brother’s residence at the chateau of Saint Cloud, Louis XIV rejected the plan.

Chapels of Versailles

One of the more curious aspects of Versailles are the chapels. During the reign of Louis XIV, Versailles saw no fewer than five chapels.

First Chapel

The chateau’s first chapel dated from the time of Louis XIII and was located in a detached pavilion at the northeast of the chateau. Today, the Piece of the Gold Vassal (La pièce de la vaisselle d'or), or the Cabinet of Madame Adelaide (le Cabinet de Mme. Adélaïde), occupies the approximate site). This chapel, which followed the palatine model was widely used in France.[4]—a chapel of two floors, the upper floor reserved for the monarch and members of the royal family, the lower floor used by members of the court and the royal household—was destroyed in 1665 when the Grotto de Thétis was built.

Second Chapel

The château’s second chapel was created during Louis XIV’s second building campaign. When the envelope of Louis LeVau was completed, the chapel was situated in the Queen's Chapel. It formed the symmetrical pendant with the Salon of Diane (salon de Diane) in the King's Suite. This palatine model chapel was short-lived. When Louis XIV began his third building campaign, this chapel was converted to the room of the Queen's Guards (salle des gardes de la reine).

Third Chapel

Located next to the new Room of the Queen's Guards, this chapel was transitory. Soon after its construction, Louis XIV found it inconvenient and impractical for his needs as well as those of his court. In 1682, this room was converted into the Grand Room of the Queen's Guards (grande salles des gardes de la reine), also known as the Sacred Room (la salle du sacre).

Fourth Chapel

With the construction of the North Wing (aile Nord), a new palatine model chapel was built. Construction of the North Wing necessitated the destruction of the Grotto de Thétis; it was on this site that the new chapel was built in 1682. When the fourth chapel was constructed, the Salon of Abundance, which had served as entry to the King's Small Suite, was rebaptized the “vestibule of the royal tribune”—so named as it was from this upper level of the chapel that the royal family heard daily mass. This chapel remained in use by the king and court until 1710. This chapel witnessed most of the baptisms and weddings of members of the court and royal family during the reign of Louis XIV. Today, the Salon of Hercules and the lower vestibule occupy the space of the fourth chapel.

Fifth Chapel
The fifth chapel

As the focal point of Louis XIV fourth building campaign, the final chapel of the chateau of Versailles is a masterpiece. Begun in 1689, construction was halted due to the War of the League of Augsburg; Jules Hardouin-Mansart resumed construction in 1699. Hardouin-Mansart continued working on the project until his death in 1708, at which time his brother-in-law, Robert de Cotte, finished the project.

Dedicated to Saint Louis, the chapel was consecrated in 1710. The palatine model of the chapel is traditional; however, the Corinthian colonnade of the tribune level is of a classic style that anticipates the neoclassicism of the late-eighteenth century. The tribune level is accessed by a vestibule that was constructed at the same time as the chapel. The bas-relief sculpture, Louis XIV Crossing the Rhine, was sculpted by Nicolas et Guillaume Coustou and was originally intended to decorate the Salon of War. The floor of the chapel is inlaid with multi-colored marbles and at the foot of steps leading to the altar is Louis XIV’s crowned monogram of interlaced “L.”

Adhering to ecclesiastical decoration, the chapel’s decoration refers to both the Old Testament and the New Testament: the ceiling of the nave represents “God the Father in his glory bring to the world the promise of redemption” and was painted by Antoine Coypel; the half-dome of the apse is decorated with Charles de LaFosse’s The Resurrection of Christ; and, above the royal tribune is Jean Jouvenet’s The Descent of the Holy Ghost upon the Virgin and the Apostles.

During the eighteenth century, the chapel witnessed many court events. "Te Deums" were sung to celebrate military victories and the births of children born to the king and queen; marriages were also celebrated in this chapel, such as the wedding of the dauphin—later Louis XVI—to Marie-Antoinette in 1770. However, of all the ceremonies held in the chapel, those associated the Order of Holy Spirit were among the most elaborate.

Opera

Since the time of Louis XIV, the chateau of Versailles has wanted—and needed—a permanent theater. Before the construction of the Opera (l’Opéra), temporary theaters were constructed either in the gardens or in the chateau—the Grand Suites, Staircase of the Ambassadors (escallier des Ambassadeurs), the Middle Wing (aile de Midi)—where the Room of Spectacle (salle de spectacle) of Louis XIV was short-lived—the Grand Stable (la grande écurie), the Marble Court, etc. However, in 1740, Louis XV ordered Jacques-Anges Gabriel to build a permanent theater at the northern end of the North Wing, on the site that had been that chosen by Louis XIV. Owing to the financial burdens that Louis XIV faced at the end of his reign, the theater was never built.

The project required some 30 years to complete based on financial restraints rising from the Seven Years War and relocating residents from the northern end of the Wing of Nobles (aile de nobles). Construction work on the Opera began in earnest in 1765 and was completed in 1770; at the time, it represented the finest example in theater design. Having 712 seats, it was the largest theater in Europe at the time, and today remains one of the few theaters to survive the eighteenth century. Lully’s Persée inaugurated the Opera on May 16, 1770, in celebration of the marriage of the dauphin—the future Louis XVI—with Marie-Antoinette.

Gabriel’s design for the Opera was unique for the time as it featured an oval plan. As an economy measure, the floor of the orchestra level can be raised to the level the stage, thus doubling the floor space. It was planned that the Opera serve not only as a theater, but also as ballroom or banquet hall. Built entirely of wood, which is painted in faux marbre to represent stone, the Opera has excellent acoustics and represents one of the finest examples of neo-classical decoration. The theme of the decoration is related to Apollo and the Olympian deities. The decoration of the Opera was directed by Augustin Pajou, who executed the bas-reliefs panels that decorate the front of the loges.[5] The ceiling features a canvas by Louis Jean Jacques Durameau in which Apollo and the Muses are depicted.

Social history

The politics of display

Versailles became the home of the French nobility and the location of the royal court—thus becoming the center of French government. Louis XIV himself lived there, and symbolically the central room of the long extensive symmetrical range of buildings was the King's Bedchamber (La Chambre du Roi), which itself was centered on the lavish and symbolic state bed, set behind a rich railing not unlike a communion rail. All the power of France emanated from this center: there were government offices here; as well as the homes of thousands of courtiers, their retinues and all the attendant functionaries of court, thus keeping the lords close at hand and securing the French government in an absolute monarchy.

At various periods before Louis XIV established absolute rule, France—like the Holy Roman Empire—lacked central authority and was not the unified state it was during the proceeding centuries. During the the Middle Ages some local nobles were at times more powerful than the French King and, although technically loyal to the King, they possessed their own provincial seats of power and government, culturally influential courts and armies loyal to them but not the King. And they had the right to levy their own taxes on their subjects. Some families were so powerful that they achieved international prominence and contracted marriage alliances with foreign royal houses to further their own political ambitions. Although nominally the Kings of France, had de facto royal power and at times had been limited purely to the region around Paris.

Park and garden

The grounds of Versailles contain one of the largest formal gardens ever created, with extensive horticulture, fountains, and canals, designed by André Le Nôtre. Le Nôtre modified the original gardens by expanding them and giving them a sense of openness and scale. He also liked to enjoy sunbathing in his wonderful work of art. He created a plan centered on the central axis of the Grand Canal. The gardens are centered on the south front of the palace, which is set on a long terrace to give a grand view of the gardens. At the foot of the steps the Fountain of Latona is located. This fountain tells a story taken from Ovid's poem Metamorphoses and served—and still serves—as an allegory of the Fronde. Next, is the Royal Avenue or the Tapis Vert. Surrounding this to the sides are the formal gardens. Beyond this is the Fountain of Apollo. This fountain symbolizes the regime of Louis XIV, or, the "Sun King." Beyond the Fountain lies the massive Grand Canal. The wide central axis rises on the far side. Even farther into the distance lie the dense woods of the King's hunting grounds.

Outbuildings

Petit Trianon - Picture taken by Deror Avi on June 2005

Several smaller buildings were added to the park of Versailles, starting with the Ménagerie, a zoological collection which was built between 1663 and 1665 and modified in the 1690s for the use of Louis XIV's granddaughter, the duchess de Bourgogne, followed by the Grand Trianon (originally the Porcelain Trianon), continuing with additions by Louis XV and Louis XVI including the Petit Trianon, and the Hamlet of Marie-Antoinette known as the le Petit Hameau.

War uses

After the French defeat in the Franco-Prussian War, the palace was the main headquarters of the German Army from October 5, 1870 until March 13, 1871, and hosted the opening of the Paris Peace Conference on January 18, 1919.

The German Empire was declared in the Hall of Mirrors in 1871, with Kaiser Wilhelm I being crowned the first German emperor, while Germany was ironically punished for causing the First World War in the same room on June 28, 1919.

The ravages of war and neglect over the centuries left their mark on the palace and its huge bushes. Modern French governments of the post-World War II era have sought to repair these damages. They have on the whole been successful, but some of the more costly items, such as the vast array of fountains, have yet to be put back completely in service. As spectacular as they might seem now, they were even more extensive in the eighteenth century. The eighteenth-century waterworks at Marly—"The Marly machine" (machine de Marly) that fed the fountains—was probably the biggest mechanical system of its time. The water came in from afar on monumental stone aqueducts, which have long ago fallen in disrepair, or been torn down.

Post-royal: the monument-museum

Marie-Antoinette's pastoral pond side Hameau in the park, built in 1783

After the French Revolution, the paintings and sculpture, like the crown jewels, were consigned to the new Musée du Louvre as part of the cultural patrimony of France. Other contents went to serve a new and moral public role: books and medals went to the National Library of France (Bibliothèque nationale de France), and clocks and scientific instruments (Louis XVI was a connoisseur of science) went to the National School of Advanced Arts and Sciences (École Nationale Supérieure d'Arts et Métier École des Arts et Métiers).

Versailles was still the most richly appointed royal palace of Europe until a long series of auction sales on the premises, which unrolled for months during the Revolution, emptying Versailles slowly of every shred of amenity, at derisory prices, mostly to professional antiques dealers. The immediate purpose was to raise desperately needed funds for the armies of the people, but the long-range strategy was to ensure that there was no Versailles for any king ever to come back to. The strategy worked. Though Versailles was declared an imperial palace, Napoleon never spent a summer's night there.

Versailles remained both royal and unused through the Restoration. In 1830, the politic Louis Philippe, the "Citizen King" declared the chateau a museum dedicated to "all the glories of France," raising it for the first time above a Bourbon dynastic monument. At the same time, paneling from the private suites of princes and courtiers were removed and found their way, without provenance, into the incipient art market in Paris and London. What remained were 120 rooms, and the modern historic galleries. The curator Pierre de Nohlac began the conservation of the palace in the 1880s, but did not have the necessary funding until John D. Rockefeller's gift of 60 million francs in 1924-1936. Its promotion as a tourist site started in the 1930s and accelerated in the 1950s and 1960s.

In the 1960s, Pierre Verlet, the greatest writer on the history of French furniture, managed to get some royal furnishings returned from the museums and ministries and ambassadors' residences where they had become scattered from the central warehouses of the Mobilier National. He conceived the bold scheme of refurnishing Versailles, and the refurnished royal suites that tourists view today are due to Verlet's successful initiative, in which textiles were even rewoven to refurbish the state beds.

Notes

  1. ↑ Known as the "Ox eye room" because of its oval window
  2. ↑ Defined as "An axial arrangement of doorways connecting a suite of rooms with a vista down the whole length of the suite," or "an axial arrangement of mirrors on opposite sides of a room so as to give an effect of an infinitely long vista." See enfilade Dictionary.com. Retrieved April 5, 2018.
  3. ↑ Quadratura is a term introduced during the Baroque period to describe simulated of illusionistic architecture.
  4. ↑ Sainte-Chapelle in Paris is a prototypical example; all successive chapels at Versailles followed the palatine model
  5. ↑ A loge is a box in a theater or opera house.

References
ISBN links support NWE through referral fees

  • De Montclos, Jean-Marie Perouse. Versailles. Abbeville Press, 1997. ISBN 978-1558592285
  • De Nolhac, Pierre. La création de Versailles. Versailles, 1901.
  • De Nolhac, Pierre. Versailles, résidence de Louis XIV. Paris, 1925.
  • De Nolhac, Pierre. Histoire de Versailles. 3 vols. Paris, 1911.
  • Félibien, André. Description sommaire du chasteau de Versailles. Paris, 1674.
  • Johnson, Kevin Olin. "Il n’y plus de Pyrenées: Iconography of the first Versailles of Louis XIV." Gazette des Beaux-Arts 97 (January 1981).
  • Payne, Francis Loring. The Story of Versailles. Hard Press, 2006. ISBN 978-1406912845
  • Price, Munro. The Road from Versailles: Louis XVI, Marie Antoinette, and the Fall of the French Monarchy. St. Martin's Griffin, 2004. ISBN 978-0312326135
  • Thompson, Ian. The Sun King's Garden: Louis XIV, André Le Nôtre And the Creation of the Gardens of Versailles. London: Bloomsbury Publishing, 2006. ISBN 1582346313

External links

All links retrieved November 18, 2022.

Credits

New World Encyclopedia writers and editors rewrote and completed the Wikipedia article in accordance with New World Encyclopedia standards. This article abides by terms of the Creative Commons CC-by-sa 3.0 License (CC-by-sa), which may be used and disseminated with proper attribution. Credit is due under the terms of this license that can reference both the New World Encyclopedia contributors and the selfless volunteer contributors of the Wikimedia Foundation. To cite this article click here for a list of acceptable citing formats.The history of earlier contributions by wikipedians is accessible to researchers here:

The history of this article since it was imported to New World Encyclopedia:

Note: Some restrictions may apply to use of individual images which are separately licensed.

Retrieved from https://www.newworldencyclopedia.org/p/index.php?title=Palace_of_Versailles&oldid=1088063

Content is available under Creative Commons Attribution/Share-Alike License; additional terms may apply. See Terms of Use for details.
Copyright Logo
Powered by MediaWiki