Palace of Versailles (베르사유 궁전) Part 2
THE LOUIS XIV ROOMS
Located on the first floor of the North Wing of the Palace, the Louis XIV rooms once housed the courtiers' apartments and those of the royal princes and princesses. In 1833, when Louis-Philippe decided to convert the Palace of Versailles into a museum of French history, he dedicated these rooms to the Sun King's reign. The sovereign's life, from childhood to death, is illustrated in a succession of ten rooms.
Louis XIV's childhood
After 23 years of marriage to Anne of Austria, Louis XIll finally gained his much-longed-for heir in Louis XIV, who was acclaimed as 'Louis-Dieudonné', or 'Louis, the gift from God'. The portraits in this room depict him as a child, heir to the throne of France, who became king at a very young age.
You are about to visit a series of ten rooms which, until the Revolution, were apartments belonging to courtiers and the prince and princesses of the blood.
In 1833, Louis Philippe decided to turn them into museum rooms dedicated to the reign of Louis XIV. The works on display offer a better understanding of the major political, military, and cultural events in 17th-century France and Europe.
This first room evokes the childhood and family of Louis XIV.
At the death of his father Louis XIll, the future Sun King was still too young to reign so his mother, Anne of Austria, was regent on his behalf.
With the help of her principal minister, Cardinal Mazarin, she successfully defeated the Fronde, a revolt among the princes and parliamentarians This victory is celebrated in the large painting by Laurent de La Hyre, titled Allegory of the Regency of Anne of Austria. In the painting, an allegory of virtue is crowning a woman personifying royal power and whose hand is resting on a globe decorated with fleurs-de-lis. Above her, Renown is blowing on a trumpet while a child holding an olive branch, an allegory of Peace, is setting light on a coat of arms.
EARLY MILITARY CAMPAIGNS
Louis XIV was a warrior king for whom victory was a means of cementing his authority. After his marriage to Maria Theresa, daughter of the King of Spain, Louis XIV claimed certain Spanish territories in Flanders, thus triggering what is known as the War of Devolution.
The paintings in this room evoke military successes at the start of the Sun King's reign, in particular the War of Devolution which began in the Spring of 1667. In order to respect the inheritance rights of his wife, Infanta Maria Theresa of Spain, Louis XIV laid claim to a large part of Flanders, which was under Spanish rule at the time and posing a potential threat to the north of his kingdom.
The king led his armies in person, at the head of 47,000 men.
Almost twenty years later on, he commissioned a series of paintings commemorating the glorious events of painter Adam Frans Van der Meulen. A specialist in battle scenes, the artist was closely acquainted with Charles Le Brun, the First Painter to the King since 1664. He was commissioned by the latter to paint French military victories such as the siege of Lille, the taking of Charleroi, and the king's entry into Arras. In the latter painting, the entire court is shown accompanying the king. The queen, in whose name the war was waged, is shown in the center of the composition in a golden coach. Van der Meulen paid close attention to the details in the landscape and the finer points in the foreground such as the horses' impatience and the sumptuousness of the clothes.
The War of Devolution was a success for Louis XIV and his armies: in the peace treaty of Aix-la-Chapelle on 2 May 1668, the king obtained the right to keep all the captured strongholds. This was how the cities of Lille and Douai became part of the kingdom of France.
THE ARTS AT THE START OF HIS REIGN
Ever since 'La Fronde' (the French civil wars between 1640 and 1650 sparked by a double revolt by parliament and the princes who opposed Louis XIV and his family), Louis XIV mistrusted Paris. He, therefore, set up and oversaw the court at Versailles, where spectacular parties were organized and to which the great artists of the day were invited. In this way, Louis XIV contributed to the advancement of the arts.
Louis XIV was not content to just wage war: he believed that all forms of art should contribute to his glory. To build France's reputation across Europe and rival Italy, he carried out major works in his palaces and founded institutions to structure and support artistic life.
His efforts concerned all forms of artistic creation, as represented in the painting by Jean Garnier in 1672. On a table in the center of the composition is a portrait of the king, representing painting. Around him are evocations of the other arts: music through viols, a guitar, and musette; astronomy through the celestial globe; architecture through the compass and the plan of the Maison Carré in Nîmes; poetry through the works of Virgil and sculpture through a bust of Minerva. To encourage
these disciplines, Louis XIV founded and supported different academies.
such as the Académie Royale de Peinture et de Sculpture, which commissioned the painting by Jean Garnier. The king also contributed to the training of new talent and, in 1666, founded the French Academy in Rome, which hosted artists abroad in Italy.
The greatest writers were invited to the court. You can see their portraits here. Jean-Baptiste Poquelin, known as Molière, performed his comedies before the king in particular during the early grand Versailles parties Charles Perrault, the famous author of numerous fairy tales, wrote stories
celebrating the monarch's achievements, while Jean de La Fontaine dedicated his first Fables to the Dauphin, the Sun King's son, The paintings hanging between the two windows are what remains of a gallery of portraits of women from the court of Louis XIV, who can be identified by the inscriptions in gold lettering. Their dresses and jewelry testify to their important position in society. In the 17th century, portraits were very popular and were often copied and collected.
The Académie Royale de Peinture et de Sculpture
The king called upon the artists of the Académie Royale de Peinture et de Sculpture to illustrate the glory of his kingdom and its ruler. The academy, which was established in 1648 and overhauled in 1660, was a center of training in and development of aesthetic principles. To be admitted to it, prospective members had to present a 'reception piece', i.e. a work on a given subject.
THE EXERCISE OF POWER
Louis XIV was an absolute monarch. He governed alone and relied on counselors and ministers, whose role was to carry out royal wishes.
In the 18th century, France was a monarchy. Power was concentrated in the hands of a single man, the king, who ruled, wrote laws, and dispensed justice. His authority came from God alone, to whom he was solely accountable. He could take advice from the parliaments governing in his provinces, from the Church, or from great lords, but was under no obligation to do so. We can therefore say he had absolute power.
Louis XIV made decisions alone and had no first minister after the death of his tutor and mentor, Cardinal Mazarin, but he did have certain hand-picked key advisers, some of whom were exceptionally brilliant.
The former protégé of Mazarin, Jean-Baptiste Colbert, whose portrait you can see in this room, was initially in charge of financial affairs. Controller General of Finance and then Secretary of State for the Merchant Navy and the King's House, he also obtained the coveted and distinguished position of Minister of State, meaning he was one of five members of the High Council which dealt with the most important matters. Like him, his son, brother, and nephew also entered the service of Louis XIV.
Pierre Séguier, whose portrait is also on display here, was Chancellor and First Officer of the Crown. It was he who stamped the seals required to validate the king's ordinances and edicts. The painter Henri Testelin depicted him holding one such parchment, from which a large green wax seal is hanging. When he died in 1672, Louis XIV briefly took charge of the seals himself before appointing a new chancellor.
AT THE TURN OF THE REIGN (THE 1690s)
In France, the crown passes from father to son according to primogeniture. Of LOUIS XIV's six children, only his firstborn survived to adulthood. He was given the title of dauphin. However, the succession to the throne was not completely assured...
Louis XIV's entourage included a number of brilliant women who were very good at enlivening life at court.
Elisabeth Charlotte of Bavaria, known as Princess Palatine married the King's only brother in 1671. She was an important witness of major events in the French court, which she related in thousands of letters sent to her friends all over Europe. In spite of a sometimes critical tone, she was much appreciated by her brother-in-law Louis XIV. In this room, you can see her portrait by Hyacinthe Rigaud, a great specialist in ceremonial portraits. Aged sixty-one at the time, Elisabeth Charlotte is depicted in a Court dress with a royal blue velvet cloak lined with ermine fur and embroidered with golden fleur-de-lis. Hyacinthe Rigaud was also the author of a very famous portrait of Louis XIV, a version of which is on display in the State Apartments in the palace.
The big painting in the middle of the room is a cartoon, a very large painting produced as a model for a tapestry. In 1664, Louis XIV commissioned a series of such paintings to celebrate the major events of his reign, called The History of the King This cartoon, which was never woven into a tapestry, is the last piece of the collection. Painted by Antoine Dieu, it shows the marriage of the king's grandson to Marie Adélaïde, the daughter of the Duke of Savoy. This marriage put an end to the War of the League of Augsburg.
The artist reconstructed the scene of the ceremony held on 7 December 1697 in the former chapel of the Palace of Versailles, almost 15 years after the event took place. The groom was 15 years old at the time, and the young Marie-Adélaïde was 12. Her charm and youth brightened up the last few years of Louis XIV's reign.
VERSAILLES AND EUROPE
Louis XIV turned France into the leading power in Europe and the world. He expanded the kingdom and furthered the reputation of the country beyond its borders.
France's military power made Versailles, which had been Louis XIV's principal residence since 1682, the capital of international relations in Europe. Ambassadors, such as the envoy of the Shah of Iran Mohammed Reza Beg, and other sovereigns traveling abroad, were received by the king amid a great show of splendor. It was here that he made key decisions in European history, such as agreeing to allow his grandson to become King of Spain in 1700.
Allegory to the Glory of Louis XIV, by Antoine Coypel, underlines the power afforded to the king by his military successes. The monarch is represented as a Roman emperor sitting on a throne with a laurel crown being placed on his head by a woman symbolizing Glory. To his right is Public Felicity with her chest uncovered, while Victory is on his left.
Above him, Renowns are blowing on their trumpets while Eternity is looking up to heaven. The work refers to the conquering of two cities on the same day in 1681: Casale, in Italy, and Strasbourg, in Alsace.
THE ROYAL PRINCESSES
A princess royal must, by definition, be a relative of the king. This family relationship may or may not be direct: the term describes both the natural female offspring of Louis XIV and the wives of the crown princes.
Élisabeth-Charlotte de Bavière, known as Princess Palatine, is a perfect example.
The succession of the king is a crucial issue for the monarchy. After the Hundred Years War, daughters could not inherit the throne.
The year after their marriage, the Sun King's wife, Maria Theresa, gave birth to a son. He was called Louis, like his father, and was given the title of the Dauphin. In 1687, the painter Pierre Mignard painted him with his wife, the Dauphine Maria Anna of Bavaria, and their three sons. He also produced the painting of the Marquise de Maintenon, whom Louis XIV married in secret after the death of Maria Theresa.
With a son and three grandsons, the Sun King's succession seemed assured. But the Dauphin died in 1711 during a smallpox epidemic. The following year, his eldest son, the Duke of Burgundy, also passed away suddenly from illness, and his death was followed by that of the youngest after a hunting accident. Philippe, the small blonde boy depicted by Mignard on a cushion with his little dog, had since become King of Spain. Louis XIV's successor was his young and fragile great-grandson, who reigned under the name of Louis XV.
THE KING AT WAR
Louis XIV has been portrayed many times as a war commander. These portraits create an image of him as a great and conquering king and symbolize the military might of France.
Take a look at the small statue in this room representing Louis XIV on his horse. It is a replica of a much larger monument since destroyed. It is made of bronze, a very precious material, and its creator was one of the greatest sculptors in the history of Versailles, François Girardon. Louis XIV is wearing a breastplate like the ones worn by Roman emperors. He is holding a commander's stick and is represented as a calm, conquering war leader.
Louis XIV was no stranger to the realities and violence of war. He saw those caused by the Fronde during his childhood and, at the age of just 15, experienced the siege of a city. In the 17th century, however, war was one of the primary ways of settling disputes between European sovereigns. Of the fifty-five years in which Louis XIV ruled in person, thirty-one were spent at war, mostly against Spain but also against the United Provinces, England, and the Holy Roman Empire. The wars extended his kingdom's borders and made France the greatest European power, but they weighed heavily on the people, especially in the latter years of his reign.
The Sun King accompanied and directed his troops until the age of fifty-five, but did not take part in any battles in person. The men in the royal family were expected to do the same, but not to outshine him with their brilliance in battle. Louis XIV was also surrounded by military professionals such as his minister, the Marquis de Louvois, whose portrait is displayed in this room, and who was known for his military efficiency but also his brutality.
The small sketch by Pierre Dulin shows the royal Hotel des Invalides, whose construction was ordered by the king in 1670 to relieve the misery of wounded or needy retired soldiers. The project was directed by the architects Jules Hardouin-Mansart and Libéral Bruant and was completed in 1706. The Invalides still serves as a military hospital today, but it is most notably known as the resting place of Emperor Napoleon I.
ROYAL RESIDENCES
In 1682, Versailles became the seat of government. As an absolute monarch, Louis XIV increased the number of royal residences as a way of extending his power. His successors and the royal family liked to spend time in these places, far from the Palace, often, simply, to get away from life at court.
In the Middle Ages, the Court of France traveled and changed residence regularly. Louis XIV broke this tradition by settling it at Versailles in 1682. The king nevertheless continued to go to Fontainebleau to hunt every autumn and often spent a few days staying with other members of the royal family who owned luxurious palaces in the Ile-de-France region.
In 1658, Louis XIV gave the Duke of Orleans, his only brother, a magnificent palace at Saint-Cloud, not far from Versailles. The Duke carried out major work on the château, since been destroyed, which housed a gallery decorated by Pierre Mignard three years before the construction of the Hall of Mirrors. The gardens, which still exist today, were designed by the famous André Le Nôtre and boast a spectacular view of the Seine.
When life at court with its restrictions became too burdensome, Louis XIV liked to retire to one of his more private residences, such as Trianon in the Park of Versailles, or Marly, which was a bit further away. Built by the architect Jules Hardouin-Mansart, the palace of Marly was designed according to a particularly unusual plan. The king and his close family lived in a large central pavilion, while the privileged courtiers who had been invited there stayed in twelve side pavilions. The site, which is partially intact today, boasted stunning gardens and a superb view overlooking the valley of the Seine. It also housed a machine designed to transport water to the fountains in the gardens on-site and at Versailles.
THE KING’s STATE APARTMENT
This prestigious series of seven rooms was a parade apartment, used for hosting the sovereign’s official acts. For this reason, it was bedecked with lavish Italian-style decoration, much admired by the king at the time, composed of marble paneling and painted ceilings. During the day, the State Apartment was open to all who wished to see the king and the royal family passing through on their way to the chapel. During the reign of Louis XIV, evening gatherings were held here several times a week.
THE HERCULES ROOM
The Hercules Room was the last room to be built by Louis XIV at the end of his reign. From 1682 the space had been occupied by the palace chapel, which covered two floors and served until 1710, when it was replaced by the current Royal Chapel. A floor was laid to create a new room, but the decoration was not finished until the reign of Louis XV, who, in 1730, brought the huge painting by Veronese, The Meal in the House of Simon: Paolo Caliari (1528-1588), known as Veronese, was a Venetian Renaissance painter. Find out more about this painting., to Paris from the Gobelins: already in activity during the reign of Henry IV (1553-1610), Louis XIV made the Gobelins the Royal upholstery Manufacture from 1667., where it had been stored since its arrival in France as a gift from the Republic of Venice to Louis XIV in 1664. Work on the Hercules Room was completed in 1736 when François Lemoyne finished the ceiling painting depicting The Apotheosis of Hercules: Find out more in the collections database.. This vast, impressive, allegorical work, depicting no fewer than 142 persons, can be considered on a par with masterpieces by Italian fresco painters. It was created, however, using the marouflage technique, i.e. the scenes were painted on canvas and then stuck onto the ceiling. Despite being made First Painter to the King by Louis XV in return for his work, Lemoyne committed suicide a year later, in 1737, exhausted by this huge project which had taken four years to complete.
THE ROOM OF ABUNDANCE
During Evening gatherings: the term used to refer to events in which a number of guests were invited to the king’s apartments., the Room of Abundance served as a refreshment room where coffee, wines, and liqueurs were served on a sideboard. It was also the antechamber of Louis XIV’s Collection Room, or Room of Rare Objects (now Louis XVI’s Games Room) which could be entered through the end door. The king liked to show his guests the silver vases, gems, and medallions kept there which served as a source of inspiration for the decoration of the vault, including a depiction of the royal vessel over the door. The King’s Vessel was a valuable object in the form of a mastless ship that was placed on the king’s table during important occasions or on the sideboard. It contained the sovereign’s serviette and was a symbol of power that had to be hailed by everyone who passed by.
THE VENUS ROOM
This room, as well as the Diana Room, constituted the main entrance to the King's State Apartment because it was at the top of the great staircase known as the “Ambassadors’ Staircase: the majestic main staircase in the King’s State Apartments, destroyed during the reign of Louis XV in 1752… Find out more”, before it was destroyed in 1752. Like all the other rooms, this room was named after a planet, following a running theme linked to sun mythology which inspired the decoration in Versailles during the 1670s. In this room, Venus is depicted on the ceiling as the goddess of love, associated with the planet in Ancient Greece. The paintings decorating the arches show great men or heroes from antiquity whose actions, inspired by the goddess, often alluded more or less obviously to the deeds of Louis XIV. For example, the arch: the arches in the vault. depicting Alexander marrying Roxana evokes the king’s own wedding, while the arch illustrating Emperor Augustus watching Roman circus games refers to the carousel in 1662, held in honor of Queen Maria Theresa.
The decoration in the Venus room is the most Baroque of all the State Apartment. It is the only place where Le Brun created a dialogue between the architecture, sculptures, and paintings, which were sometimes real and sometimes fake, such as the marble pilasters and columns created through perspective paintings by Jacques Rousseau: Jacques Rousseau (1630-1693) was a French painter and a Protestant. He fled to London in 1685 after the revocation of the Edict of Nantes., and the two trompe-l’oeil statues of Louis XIV: Find out more in the collections database. near the windows, by Jean Warin.: Jean Warin (1607-1672) was a French sculptor and medallion maker.
During Evening gatherings: the term used to refer to events in which a number of guests were invited to the king’s apartments., this room contained tables covered with baskets of flowers, pyramids of rare fresh fruit such as oranges and lemons, and marzipan: confection made from ground almonds. and candied fruits.
THE DIANA ROOM
In Ancient Greek mythology, Diana was the goddess of the hunt, the sister of Apollo, the sun god, and was also associated with the moon. The central section of the ceiling, painted by Gabriel Blanchard, depicts Diana watching over navigation and hunting scenes. The arches: the arches in the vault. illustrate the same two themes, celebrating Louis XIV’s cynegetic: relating to hunting. taste (Cyrus Hunting the Wild Boar by Audran; Alexander Hunting the Lion, by La Fosse) and making allusions to the royal navy, which was undergoing considerable expansion by Colbert at the time (Julius Cesar sending Roman settlers to Carthage by Audran; Jason and the Argonautes, by La Fosse). The painting by Charles de La Fosse over the fireplace depicts The Sacrifice of Iphigenia (showing last-minute intervention by Diana). Opposite, above the console, is Diana and Endymion by Gabriel Blanchard. The ancient busts are from collections belonging to Cardinal Mazarin: Jules Mazarin (1602-1661) succeeded Richelieu in 1642. He was First Minister, until his death, to the Regent Anne of Austria and the young Louis XIV which were bequeathed to Louis XIV.
Like the Venus Room, the Diana Room served as a vestibule to the King's State Apartment. During Evening gatherings: the term used to refer to events in which a number of guests were invited to the king’s apartments. under Louis XIV it was used as a Billiards Room. Two tiers of seating were installed to allow people to watch the games at which the king, who was very skilled, often excelled.
THE MARS ROOM
The Mars Room followed on from the two previous rooms and marked the start of the King’s Apartment. It was used as a Guard Room, making its dedication to the god of war highly appropriate. In the center of the ceiling is a painting by Claude Audran of Mars on a chariot pulled by wolves. On either side of the work are two other compositions. The one to the east is by Jouvenet, called Victory supported by Hercules and followed by Abundance and Felicity. The other, to the west, is by Houasse and called Terror, Fury, and Horror take possession of the powers of the earth. The arches: the arches in the vault have been decorated using gold camaieu and celebrate war victories by sovereigns from Antiquity, which naturally correspond to the military triumphs of the king, evoked in the gilded stucco spandrels by the Marsy brothers. Last but not least, the military character of the room is highlighted by the decoration on the cornice composed of a variety of helmets and military headgear.
To the left of the chimney is The Family of Darius before Alexander by Charles Le Brun. To the right is The Pilgrims of Emmaus: Paolo Caliari (1528-1588), known as Veronese, was a Venetian Renaissance painter. Find out more about this painting., in the style of Veronese. These two works were hung as a pair upon the king’s request, and demonstrate the desire to show that French painters could rival the greatest Italian masters. Until 1750 there were two platforms on either side of the fireplace, where the two paintings currently hang, which were for the musicians during Evening gatherings: the term used to refer to events in which a number of guests were invited to the king’s apartments. when the room was used for music and dancing.
On the side walls are two State portraits of Louis XV and Marie Leszczyńska, both painted by Carle Van Loo: Charles André Van Loo (1705-1765), known as Carle Van Loo, was a French painter. Find out more about this portrait.. Over the door are four paintings from Château de Saint-Germain-en-Laye by Simon Vouet,: Simon Vouet (1590-1649), First Painter to the King to Louis XIII… Find out more illustrating the royal virtues: Temperance, Prudence, Justice, and Strength.
THE MERCURY ROOM
The Mercury Room was originally the royal bed chamber in the King's State Apartment and was referred to as the “bedroom”, although the bed was removed early on in winter to make room for games tables. Tables, mirrors, andirons, and magnificently chased chandeliers made in solid silver by the Gobelins: already in activity during the reign of Henry IV of France (1553-1610), Louis XIV made the Gobelins the Royal Upholstery Manufacture from 1667. silversmiths once decorated the walls, ceilings, and fireplace, until 1689 when Louis XIV had to melt them down to finance the War of the League of Augsburg. The alcove was separated from the rest of the room by a balustrade, also in silver. Brocades – fabric made using gold and silver thread – once hung from the walls and bed, but were later used in their turn to support the War of Spanish Succession: Louis XIV’s grandson inherited the Spanish throne, and fighting broke out once again in Europe… Find out more. One of the rare moments in which the Mercury Room actually served as a bed chamber was when the Duke of Anjou, the grandson of Louis XIV, was proclaimed King of Spain: second son of the Grand Dauphin, Phillip inherited the Spanish crown through his grandmother… Find out more, and slept here for three weeks before traveling to his kingdom. It was also in this room that the coffin containing the body of Louis XIV: Louis XIV died of gangrene on 1st September 1715… Find out more was displayed from 2 to 10 September 1715.
The ceiling was painted by Jean-Baptiste de Champaigne: Jean-Baptiste de Champaigne (1631-1681) was a painter and decorator. He was the nephew of the painter and portrait painter Philippe de Champaigne (1602-1674). and depicts Mercury on his chariot pulled by two roosters: see the commentary on the preparatory sketch for this work in the collections database…. Mercury was the patron god of trade, arts, and sciences and, as the gods’ messenger, of ambassadors. These themes are depicted in the arches: the arches in the vault in the ceiling: Alexander the Great bringing various foreign animals to Aristotle to allow him to write his Natural History; Augustus receiving Indian ambassadors; Alexander receiving Ethiopian ambassadors and Ptolemy Philadelphus talking with wise men in the library of Alexandria. These scenes evoke events from the reign of Louis XIV, such as the reception of ambassadors from far-off countries, the development of the royal library, and the publication of Histoire Naturelle by Claude Perrault: Claude Perrault (1613-1688) was a doctor and architect who is well-known for the creation of the colonnade of the Louvre. He was the brother of Charles, and also wrote stories. in the collection in the King’s Cabinet in 1671.
The bed currently in the room was brought here by Louis-Philippe while Versailles was being made over into a museum: the Museum of the History of France opened in 1837, and still exists today…. On either side are two paintings that Louis XIV was particularly fond of, and which he hung in his bedroom: David playing the harp by Domenico Zampieri: Domenico Zampieri (1581-1641) was an Italian Baroque painter. Find out more about this painting in the collections database., and Saint John on Patmos: Find out more in the collections database., attributed at the time to Raphael: Raffaello Sanzio (1483-1520), known as Raphael, was a famous painter and architect from the Italian Renaissance..
THE APOLLO ROOM
Designed as the sovereign’s Ceremonial Room, the Apollo Room was used as a throne room from 1682 onwards. The ceiling was dedicated to the Sun King, the arts, and peace. The symbol of the sun, adopted early on by Louis XIV, is illustrated through the image of Apollo on his chariot surrounded by allegorical figures. The arches: the arches in the vault illustrate the king’s magnificence and magnanimity through various examples from Antiquity: Vespasian building the Colosseum; Augustus building the port of Miseno, Porus before Alexander and Coriolan entreated by his wife and mother to spare Rome.
Until 1689 Louis XIV’s famous silver throne (a huge wooden armchair 2.6m tall and covered with silver plaques and sculptures) once stood here on a platform beneath a baldaquin. This extraordinary throne was melted down and replaced by a succession of gilded chairs in styles that varied according to the period.
Over the fireplace is the most famous portrait of Louis XIV: Find out more in the commentary on this copy of the portrait in the Museum of the History of France…, by Hyacinthe Rigaud. The painter made the original portrait in 1701 upon a personal request by the king, who wanted to give it to his grandson who had recently become king of Spain. Exceedingly pleased with the result, Louis XIV decided to keep the original for himself and commissioned copies from the artist. The copy in Versailles was made in 1702. The original painting hangs in the Musée du Louvre.
THE HALL OF MIRRORS
The Hall of Mirrors, the most famous room in the Palace, was built to replace a large terrace designed by the architect Louis Le Vau, which opened onto the garden. The terrace originally stood between the King’s Apartments to the north and the Queen’s to the south but was awkward and above all exposed to bad weather, and it was not long before the decision was made to demolish it. Le Vau’s successor, Jules Hardouin-Mansart, produced a more suitable design that replaced the terrace with a large gallery. Work started in 1678 and ended in 1684.
THE WAR ROOM
Hardouin Mansart started building the War Room in 1678. The decoration, completed by Le Brun in 1686, pays tribute to the military victories that led to the peace treaties of Nijmegen: and ended the Dutch War (1672-1678). These peace treaties established Louis XIV as an arbitrator for Europe.. The walls are covered with marble panels decorated with six trophies and weapons in gilded bronze. The wall adjacent to the Apollo Room bears an oval stucco bas-relief depicting Louis XIV on horseback trampling his enemies. At the top of this masterpiece by Coysevox are two sculptures of Pheme, and two captives in chains huddle beneath it. Below, in the bas-relief in the fake fireplace, Clio, the muse of history, is recording the king’s great deeds for posterity. In the center of the cupola ceiling is a personified depiction of France, armed and sitting on a cloud and surrounded by Victories. Her shield is decorated with a portrait of Louis XIV. Her three defeated enemies: during the Dutch War (1672-1678) France fought against Germany, Spain, and the Dutch Republic, until the treaty of Nijmegen. are depicted in the arches: the arches in the vault.: Germany kneeling down with an eagle; Spain making threats with a roaring lion; Holland overturned on another lion. The fourth arch depicts Bellona, the goddess of war, in a rage of fury between Rebellion and Contention.
THE HALL OF MIRRORS
Following on from the victory over the three united powers: the Dutch War (1672-1678) in which France fought against Germany, Spain, and the Dutch Republic, until the peace treaty of Nijmegen., depicted in the War Room, the whole length of the Hall of Mirrors (73m) pays tribute to the political, economic and artistic success of France. Political successes are illustrated through the 30 painted compositions on the vaulted ceiling by Le Brun, which depict the glorious history of Louis XIV during the first 18 years of his reign, from 1661 to the peace treaties of Nijmegen: ended the Dutch War (1672-1678). These peace treaties established Louis XIV as an arbitrator for Europe.. Military and diplomatic victories and reforms with a view to reorganizing the kingdom are illustrated through allegories from Antiquity. Economic prosperity is revealed in the number and size of the 357 mirrors bedecking the 17 arches opposite the windows, demonstrating that the new French manufacturer could rival the Venetian monopoly on mirror manufacturing. At the time such items were a great luxury. Artistic success is shown by the Rouge de Rance pilasters topped with capitals of gilded bronze based on a new design, which was referred to as “the French style” and was created by Le Brun upon the request of Colbert. The design incorporates the national emblems, with a fleur-de-lis topped by a royal sun between two Gallic roosters (the Latin word for rooster was gallus).
THE PEACE ROOM
The Peace Room is symmetrical to the War Room and contains the same marble panel decoration and chased trophies of arms in gilded bronze. Here, however, Le Brun decorated the cupola and arches on the themes of the benefits of peace brought to Europe by France. From the beginning of Louis XIV’s reign, this room was separated from the hall by a movable partition and was considered part of the Queen’s Apartment, constituting the final room after the Queen’s Chamber. During the reign of Louis XV, every Sunday Marie Leszczyńska gave concerts of religious or secular music, which played an important role in musical life in Versailles and which were continued by Marie-Antoinette during the subsequent reign. When required, the partition separating the room from the Hall of Mirrors was removed and the room formed part of the King's State Apartment.
THE QUEEN’s APARTMENTS
The Queen’s Apartments, which overlook the Midi Parterre, are a series of rooms whose layout is identical to that of the King’s State Apartments to the north. Queen Maria Theresa, Louis XIV’s wife, was the first person to live in these apartments, but she died not long after moving in, in 1683. The layout of the first floor of the Palace was perfectly symmetrical, with the north belonging to the king and the south to the queen. This was soon changed, however, by the king, who decided to set aside all the rooms around the Marble Courtyard for his new apartments. The queen’s space became limited to her State Apartments – which were modified by Marie Leszczyńska and later Marie-Antoinette – and to a few smaller rooms for more private use situated behind the official apartments, overlooking two inner courtyards. The current tour route passes through the rooms in the opposite direction to the traditional order, since it starts in the bed chamber and ends in the Queen’s Guard Room, which originally marked the entrance to the Queen’s Apartments during the Ancien Régime.
THE QUEEN’s BED CHAMBER
The Bedchamber is the most important room in the apartments and is where the Queen spends most of her time. It was where she slept, often with the king, and in the morning she received guests here during and after her toilette which, like the King’s getting-up ceremony: etiquette controlled every moment of life in the Court… To find out more, was a courtly affair controlled by strict etiquette.
It was also here that the queen gave birth, in public, to the Princes and Princesses of the Realm. The word “public”, however, is misleading, since in reality very few people were admitted to the bed chamber while the queen was giving birth. Only doctors, ladies in waiting, the governess of the Princes and Princesses of the Realm, the Princesses of the royal family, and a few members of the church were allowed to enter. The rest of the Court waited in the other rooms in the Apartment, whose doors were all symbolically left open. The queen was placed on a labor bed brought in specially and was hidden behind a screen or canvas tent. After giving birth she was placed back in her own bed while the whole court filed through to present their compliments. Nineteen Princes and Princesses of the Realm were born here between 1682 and 1786, and two queens died here: Maria-Theresa in 1683 and Marie Leszczyńska in 1768.
The decoration in the room still reflects the three queens who once occupied it. The partitions on the ceiling date back to the reign of Queen Maria-Theresa, while the greyscale painting by Boucher: François Boucher (1703-1770) was a French rococo painter. Find out more in the collections database. and the wood paneling was added for Marie Leszczyńska. These elements survived the reign of Marie-Antoinette, who replaced the furniture and fireplace and put up paintings of her mother Empress Maria-Theresa: Maria-Theresa (1717-1780) was the daughter of Emperor Charles VI of the Holy Roman Empire… Find out more and her brother, Emperor Joseph II: Joseph II (1741-1790) was the eldest son of Holy Roman Emperor François I and Maria-Theresa of Austria..
The Jewelry Cabinet Commissioned to Schwerdfeger: Jean-Ferdinand Schwerdfeger (1734-1818) was a German cabinetmaker. Find out more about the jewelry cabinet. by Marie-Antoinette has been placed in its original position in the alcove to the left of the bed. Other pieces of furniture that were lost have been replaced by similar items, such as the sofa delivered for the Countess of Provence, the queen’s sister-in-law. The fabrics hanging on the bed and walls were re-woven in Lyon using the original patterns and the bed and balustrade have been remade using ancient documents.
THE ROYAL TABLE ANTECHAMBER
Traditionally, public meals at the Royal Table, taken by the king and the royal family, were held in the Queen’s Antechamber. This lavish ceremony attracted a large number of curious onlookers. Only the members of the royal family were allowed to dine, while privileged duchesses, princesses, or those holding important positions sat in front of them on stools, and the other ladies and people whose rank granted them entry or who were admitted by the ushers stood around them. Louis XIV adhered strictly to this ceremonial performance almost every evening, whereas Louis XV more often preferred private dinners and Louis XVI and Marie-Antoinette only ate at the Royal Table once a week. One account at the time reported that “the King ate heartily, but the Queen didn’t even remove her gloves or unfold her serviette, which was a great mistake”. To brighten up what she considered to be a great chore, Marie-Antoinette requested that music be played during meals at the Royal Table, and a platform for musicians was installed in the room to this end.
The Queen's Royal Table Antechamber was restored between 2009-2010 thanks to sponsorship from Martell & Co.
THE NOBLES's ROOM
This room was used as a second antechamber. Queen Marie Leszczyńska held formal audiences here, seated under a canopy, as well as her Circle, the name given to the times spent in orderly conversation by the ladies of the Court. Marie-Antoinette, who was little fond of the Louis XIV style of the room, entrusted her architect Richard Mique with completely redecorating it, except for the ceiling which was kept. The walls were hung with apple-green damask bordered with a wide gold stripe. New, extremely modern, and refined furniture was delivered. For example, when making the majestic commodes: Find out more about these commodes by Riesener. and corner cupboards: Find out more about these corner cupboards by Riesener. For the room, the cabinetmaker Riesener abandoned the customary marquetry in favor of large panels of mahogany. Likewise, the gilded bronze decoration and the small tables in Bleu Turquin marble in this magnificent collection matched the decoration on the fireplace, which was also new.
THE QUEEN's GUARD ROOM
Entry to the Queen’s Apartments from the Queen’s Staircase: locate the Queen’s Staircase on the interactive map., also called the “Marble Staircase”, was controlled by the Guard Room, where 12 of the Queen’s Guards were on duty day and night. At Versailles, only the king, queen, and dauphin were allowed to have a personal guard composed of soldiers from the four elite companies of the King’s Guards. The large adjoining room, today called the “Coronation Room”, was assigned to them and served as a Guardhouse.
The Queen’s Guard Room is the only room in the Apartments in which the 17th-century decoration has been fully preserved since the Queen never spent time here and there was, therefore, no need to modernize it. For this reason, it still contains the marble paneling characteristic of the State Apartments’ original condition, as well as the paintings that were brought here in 1680 from the old Jupiter Room, later replaced by the War Room: the room on the corner between the Hall of Mirrors and the King’s State Apartments… Find out more.
It was also here that a group of rioters tried to enter the Queen’s Apartments at dawn on 6 October 1789. One of the ladies in waiting was warned by one of the queen’s guards and managed to bolt the door to the Royal Table Antechamber and help the queen hurry through to the king’s apartments via her private chambers.
THE CORONATION ROOM
This large space adjoining the royal apartments first served as the palace’s second chapel (1672-1682), and then the Great Guard’s Room “for both the King and the Queen” (1682-1789). In 1833, it became a room devoted to the glory of Napoleon Bonaparte, First Consul and then Emperor of the French.
A NAPOLEONIC PROGRAMME
In addition to David’s paintings, there is also the enormous Battle of Abukir on 25 July 1799Discover this painting on the collection database... by Gros, commissioned by Joachim Murat, the emperor’s brother-in-law, when he was King of Naples. It commemorates one of the most memorable cavalry charges of Napoleon’s youth, during the Egypt campaign.
The room’s Napoleonic program included other works as well: on the ceiling, the Allegory of 18 Brumaire by Callet Antoine-François Callet (1741-1823) was a French allegorical painter and portraitist. He was the official portrait painter to Louis XVI., also called France Saved, symbolizing Napoleon Bonaparte’s seizure of power; and above the door, four allegories by François Gérard: The Warrior’s Courage, Genius Rising Despite Desire, Constancy, and Clemency Leaning on Force.
Lastly, there are four portraits between the windows: General Bonaparte in Italy, by RouillardA pupil of David, Jean-Sébastien Rouillard (1789-1852) was a French painter who specialized in portrait art.; Napoleon I, Emperor of the French, by Alexandre Dufay, known as Casanova (a painting from that time, adapted here); and the two Empresses Joséphine and Marie-Louise, by Dedreux-DorcyPierre-Joseph Dedreux-Dorcy (1789-1874) was a French painter who was close in style to Greuze..
In the center of the room stands the Column from the German Campaign, also called the “Austerlitz Column”, which Napoleon commissioned from the Sèvres Royal Porcelain Manufactory to commemorate his first imperial victories. Completed in 1807, and placed the following year in the State Apartments at the Palais des Tuileries, it is one of the masterpieces of Sèvres porcelain production during the Empire. It was created in collaboration with BrongniartThe son of Alexandre-Théodore Brongniart, who designed the Palais de la Bourse in Paris, Alexandre Brongniart (1770-1847) was a French scientist known for his work in mineralogy. He notably worked for the Cité de la Céramique in Sèvres. (drawing), BergeretPierre-Nolasque Bergeret (1782-1863) was a French painter and lithographer. He notably worked for the Sèvres porcelain manufacturers and contributed to the drawings of the bas-reliefs of the Vendôme column. (painting) and ThomirePierre-Philippe Thomire (1751-1843) was a French sculptor, bronze worker, founder, chaser, and gilder. He was a pupil of Pajou and Houdon., Duterme and Co. (bronze mounting).
ABOUT THE CORONATION PAINTING
The Coronation, which was located in this room and actually shows the coronation of Empress Josephine, was moved from Versailles to the Louvre in Paris in 1889. It has since been replaced by a second copy that David painted in Paris and then in Brussels in 1808-1822, for a group of American businessmen. The painting was shown across the United States and Europe throughout the 19th century before Versailles acquired it in 1947. It was placed in this room the following year, thus recreating this beautiful space as imagined by Louis-Philippe.
TO THE GLORY OF THE EMPEROR
This large space adjoining the royal apartments first served as the palace’s second chapel (1672-1682), and then the Great Guard’s Room “for both the King and the Queen” (1682-1789). In 1833 it became a room devoted to the glory of Napoleon Bonaparte, First Consul and then Emperor of the French. The plan was to display the greatest paintings of his reign, which could not be placed anywhere else in the palace: the two immense paintings commissioned by Jacques-Louis David to commemorate the ceremonies celebrating Napoleon’s crowning as Emperor of the French: The CoronationDiscover this painting on the collection database... of 2 December 1804 (1805-1808), and The Distribution of the Eagle Standards on 5 December 1804 (1808-1810). The decor that serves as a backdrop to these works was created thanks to the combined talents of palace architect, Frédéric Nepveu, and sculptor Jean-Baptiste PlantarJean-Baptiste Louis Plantar (1790-1879) was a French ornamentalist. He was the last artist to hold the title of Sculptor for the King's Buildings. (trophies on the wood paneling), and the workshop of painter Jean AlauxJean Alaux (1786-1854) was a French painter who studied alongside Horace Vernet under Pierre-Narcisse Guérin. His work included the paintings in the Generals' Room in the Palace of Versailles. He was the Director of the French Academy in Rome and a member of the Academy of Beaux-Arts. (the ceiling arch).
The reason why the number of photos decreased as time went on was that the palace had a very tight time limit, so we had to rush through it.
The biggest upset was taking the wrong train and wasting several hours.
It's okay. There's always another visit....
Thank you for visiting my blog and reading the article.
- Camera : Canon EOS-5D Mark IV
- Lens : Canon EF 16-35L / f2.8