Palace of Versailles (베르사유 궁전) Addition
This blog post is something I didn't think about at first and then added to as the blog as a whole grew.
While touring the Palace of Versailles, I got to see something that I didn't get to see last time, but I don't have a record of exactly what it was, so I'm blogging about it here.
I searched and confirmed that this was an exhibit about LOUIS XV.
'LOUIS XV Passions of a King'
Born in 1710 in Versailles, Louis XV was the son of the Duke of Burgundy and Marie-Adélaïde of Savoy, as well as the great-grandson of Louis XIV. Heir apparent after the death of his father, he became king at the tender age of five after the death of the Sun King on 1 September 1715.
https://www.youtube.com/watch?v=XWzqNzfPu88
Icon of the reign but also of the personal passions of Louis XV, the clock is the fruit of considerable and stubborn work. The engineer Passemant devoted 20 years to the calculations of the moving sphere: 12 for its design and the establishment of the astronomical tables until 9999, and 8 to work on it. The watchmaker Dauthiau spent 12 years combining and executing the movement, and the bronze maker Caffiéri 3 years designing and creating the gilded bronze cabinet, a masterpiece of rocaille art, according to the design chosen by the king. The mechanism was examined and approved by the Royal Academy of Sciences on August 23, 1749, and acquired by the king the following year.
The completed clock was installed in Versailles on January 15, 1754. Testifying to “the glory of the Arts and Sciences” as much as the genius of the nation, it was exempted from revolutionary sales in 1792.
The moving sphere houses a planetary representing the heliocentric solar system. We can see the movement and positions of the planets around the Sun – Mercury, Venus, Earth, Moon, Mars, Jupiter, Saturn – as well as the revolution and rotation of the Moon around the Earth. It allows you to know the two equinoxes, the two solstices as well as the solar and lunar eclipses.
The dial composed of sixty-one enameled cartridges gives the hour, the true minute (solar), the average minute, and the second: the clock thus marks the equation of time.
The calendar windows display the days of the week, date, month, and year up to 9999, taking leap years into account. The rotating disk indicates the phases or ages of the Moon.
The thermally compensated pendulum, made of steel and copper, beats the second. The difference in expansion of the metals activates a lens serving as a natural thermometer.
Madame de Ventadour with Louis XIV and his Heirs
Nicolas de Largillière (1656-1746) and studio
Circa 1715
Oil on canvas
London, Wallace Collection
Courtesy of the Trustees of the Wallace Collection, London
This painting shows Louis XIV seated surrounded by his heirs: his son Monseigneur, known as the Grand Dauphin, his grandson the Duke of Burgundy, father of Louis XV, and his great-grandson the Duke of Anjou, future Louis XV and last heir to the French Crown. On the left, the bust of Henri IV stands on a plinth, and there is one of Louis XIII on the opposite side. Madame de Ventadour, governess of the princes of France, holds the little Louis XV by a golden cord. In actual fact, with the exception of the last-mentioned, all the figures depicted were dead when Largillière painted this collective portrait. The features of the figures are thus based on known portraits by French artists such as Pierre Mignard (1612-1695), Hyacinthe Rigaud (1659-1743) and Pierre Gobert (1662-1744).
This painting, which has been conserved in England since the end of the nineteenth century, is on display in France for the first time. It was commissioned by Mme de Ventadour herself, to testify to the essential role she played during Louis XV's childhood. She is alleged to have saved the Bourbon dynasty when, in 1712, at the height of the measles epidemic, she kept her royal protégé away from the doctors whose care failed to save the lives of his elder brother, the Duke of Brittany, and his parents.
Double portrait of Louis XV and Marie-Anne-Victoire, Infanta of Spain
Jean-François de Troy (1697-1752).
1723
Oil on canvas
Florence, Gallerie degli Uffizi
This official portrait, executed in 1723, bears precious testimony to the diplomatic alliance that was to have sealed the reconciliation of the Bourbons of France and Spain, thanks in part to the union between the 5-year-old Infanta Marie-Anne-Victoire and the 13-year-old Louis XV. However, faced with the worrying prospect of no offspring appearing for a fairly long time and the sovereign's lack of support for the marriage, it was eventually canceled.
The composition shows Louis XV standing in an elegant position, dressed in a grey suit and wearing the blue ribbon of the Order of the Holy Spirit, holding the hand of his fiancée. Behind him, we see a throne decorated with fleur-de-lis, on which the scepter and crown are placed. The young Spanish princess, whose dress matches the king's attire, is - for the sake of practicality - seated on a throne while she touches a second crown with her hand.
Louise-Marie de France, or Madame Louise
Jean-Marc Nattier (1685-1766)
1748
Oil on canvas
H.82.1 cm; L. 66.1 cm
Versailles, Musée National des Châteaux de Versailles et de
Trianon
See on the site: collections.chateauversailles.fr
The royal family filled Jean-Marc Nattier's order book. In 1747, he was commissioned to produce portraits of Mesdames Victoire (1733-1799), Sophie (1734-1782) and Louise (1737-1787). And it was not as a sovereign but as a father and considerate husband that Louis XV sought the artist.
Since 16 June 1638, Marie Leszczyńska had been deprived of the presence of her youngest daughters. On that day, by decision of the Cardinal de Fleury - the chief minister concerned with the affairs of the kingdom, who was anxious to avoid the cost of maintaining a household for each of the royal couple's daughters - Madame Victoire (five years old), Madame Sophie (four years old), Madame Félicité (two years old), and Madame Louise, who was not yet one year old, were sent to the Abbey of Fontevraud (Maine-et-Loire). Only Madame Adélaïde, initially destined for the same fate, managed to escape the terrible decision thanks to her governess and to tears shed in her father's presence. Condemned to silence, the Queen was unable to oppose the decision, and it was with a heavy heart that she saw her children leave in the company of their sub-governess. For ten years in the case of Madame Victoire, and twelve years in the case of Madame Sophie and Madame Louise, the girls received no visits from either their father or their mother. Madame Félicité died in 1744 without ever seeing her parents again.
Eager to know the faces of his three daughters and to surprise his wife, Louis XV secretly sent Nattier to Fontevraud in September 1747 to record the features of the princesses. The artist delivered the likenesses of the younger ladies very quickly. Given to the queen, the three works were placed in her private apartment.
The painter associated each of the princesses with flowers. Madame Louise presents some in the basket that she holds in one hand, while in the other she holds a carnation. They make up the bouquet in the gadrooned vase behind Madame Victoire, who is magnificently dressed in a silver embroidered gown and has a yellow silk scarf across her breast. They form the garland that Madame Sophie wears on her white gold-embroidered dress.
The images of her daughters, whom she had not seen for ten years, sublimated by the elegance and grace typical of Nattier's art, did not fail to move Marie Leszczyńska, who wrote to the Duchess of Luynes: "The two older girls are beautiful, really, but I have not seen anything so pleasant as the little one; she has a touching physiognomy and far removed from all notion of sadness; I have never seen one so singular, she is touching, sweet and spiritual."
Through the science of chromatic harmony and the beauty of his craft, each of the paintings enabled Nattier to demonstrate that he was a master of his art. Skilled alchemy of white, grey, mauve, brown, and gold, a delicate work in which the slightly raised material is applied to describe the pattern of lace or embroidery, the court dresses with which he clothed his models proved to be extraordinary examples of painting.
Madame Sophie died at court in 1782, watched over by Madame Louise. Louise, who became a Carmelite nun in 1770, died surrounded by her sisters at the Carmelite convent in Saint-Denis in 1787. Remaining single, Madame Victoire-whose beauty was so praised - and Madame Adélaïde lived at Versailles, then at the Château de Bellevue until the Revolution, which forced them into exile; they died in Trieste in 1799 and 1800.
Robe à la française, dress in the French manner
Circa 1760
Silk, edged gros de Tours, brocaded with polychrome silk threads
Overdress length: 166 cm; shoulder span: 39 cm; skirt length: 105 cm
Paris, Musée des Arts Décoratifs
The so-called robe à la françaisefirst appeared at the French court around 1735 and gradually replaced the loose, almost negligee-like so-called 'robe volante', with its unmarked waist and wide flared bottom, which had been worn mainly by young women since 1715. It was the result of some notable modifications: the pleats at the back of the garment became large and flat, more regular and extended by a train; the 'compères' - pieces of fabric attached to the garment used to tauten the bodice - emphasized the waist more on all sides and the sleeves, which follow the shape of the arm up to the elbow, end in a 'pagoda' trimming, originally emphasized by lace or embroidered linen flares. The skirt was no longer conical, but oval because it rested on a panier that was flat in front and behind, and broader on the sides. High-born women wore stays over their linen shirts, making them 'fine-waisted and high-throated, as the commentators of the time put it. Overdress, skirts, and compères are all made of the same fabric: high-quality silk, embroidered with multicolored flower garlands. Another passementerie embellishes the garment: bouillonné bands covering the overdress and pleated flounces called 'falbalas' decorating the skirt.
Emblematic of elegance throughout the eighteenth century, the robe à la française was the court dress par excellence and, more, a dress for all occasions, in France as well as in the rest of Europe where it was widely copied.
Habit à la française - frock coat, waistcoat and breeches
1770-1780
Silk; curled velvet with small patterns
L of coat: 115 cm; shoulder span: 37 cm. L. of waistcoat: 37 cm; shoulder span: 36 cm. L. of breeches: 80 cm; waist measurement: 100 cm Paris, Musée des Arts Décoratifs
Comprising a frock coat, waistcoat, and breeches, the so-called 'French or 'à la française' coat was the essential item in a man's wardrobe from the beginning of the eighteenth century. Indispensable to the courtier as well as to the craftsman, the garment socially distinguished men by the fabric, the trimmings, and the circumstances. Here, a green silk velvet, curled, embroidered with sequins, blue rhinestones, spangles, metallic thread cantillate and embellished with seventeen ornamental buttons on the coat alone - there are no buttonholes - undoubtedly attributes this outfit to the aristocracy.
Originally worn with a shirt closed at the collar by a muslin choker and often with a black tricorn that was held under the arm for fear of harming the powdered wig, the habit à la française, cut from expensive fabric, was worn for special occasions, especially at court. Louis XV wore it every day at Versailles, but he was distinguished by the large blue ribbon of the Order of the Holy Spirit. Far from etiquette, which had been relaxed since the 1770s, social events and receptions in the drawing rooms of private townhouses allowed for less formal dress.
Marie-Antoinette, dauphine of France
Painter of the King's Cabinet, after François-Hubert Drouais (1727-1775)
Circa 1770
Oil on oval canvas
H. 65 cm; L. 54.5 cm
Versailles, Musée National des Châteaux de Versailles et de
Trianon
See on the site: collections.chateauversailles.fr
Louis of France married Marie Antoinette on 16 May 1770. A year younger than he, she showed little interest in her husband, whom she considered shy and awkward. The portrait of the Archduchess of Austria, based on a work by François-Hubert Drouais, depicts her features shortly after she arrives at the French court. The painter presents the image of a young, beautiful, slender princess with regular features.
The sovereign fell under the spell of his young daughter-in-law. In the eyes of an aging Louis XV, the Dauphine couple also represented the future of the monarchy.
Louis-Auguste, duc de Berry (Right)
Jean-Martial Frédou (1710-1795)
Circa 1760
Oil on canvas
H. 64.5 cm; L. 54 cm
Versailles, Musée National des Châteaux de Versailles et de
Trianon
See on the site: collections.chateauversailles.fr
In 1760, the dauphin Louis-Ferdinand and the dauphine Marie-Josèphe de Saxe commissioned Jean-Martial Frédou to paint portraits of four of their children: the Ducs de Bourgogne (1751-1761) and de Berry (1754-1793), the Comtes de Provence (1755-1824) and d'Artois (1757-1836). This portrait of the Duc de Berry - the future Louis XVI - and the one of the Duc de Bourgogne shown next to it, belong to this series.
A brilliant portraitist, Frédou stood out, as in this case, for his production of original compositions. The Fils de France (the king's children), tricorns under their arms, their chests girded with the blue ribbon of the Order of the Holy Spirit, the insignia of which is embroidered on their garments, wear the Golden Fleece. The highly accomplished pictorial treatment reveals the painter's skill: the finely defined costume and embroidery, a certain psychological acuity highlighted by the precision of the features of Louis XV's grandsons, with their complexion imbued with great luminosity, standing out against a neutral background. Despite the static nature of the bodies, the result is a feeling of strong presence of the persons depicted.
Destined one day to wear his kingdom's crown, the Duc de Bourgogne, eldest child of the dauphin couple, died in his tenth year, suffering from bone tuberculosis. The Duc de Berry thus became the heir apparent to the throne. He was named Dauphin a few years later, upon the death of his father in 1765.
Cupid sitting by the sea gathering the doves of the chariot of Venus
Louis-Claude Vassé (1717-1772)
1755
Marble
Paris, Musée du Louvre
"This piece is of great purity of design and a beautiful work in marble. The head is of the greatest refinement and of a very beautiful character. The wings are of the lightness of a feather" declared the collector Pierre-Jean Mariette in 1764. Of exceptional quality, and presenting a rare and sophisticated iconography, this work by Louis-Claude Vassé combines the figure of Cupid with that of Venus, suggested by the doves, her favorite birds. Commissioned by the financier and collector Ange Laurent La Live de Jully, the sculpture was later owned by the Countess du Barry and the Empress Josephine, serving as decoration in their châteaux of Louveciennes and Malmaison.
The Creation of the World Clock
Claude-Siméon Passemant (1702-1769) 1754
Brass, iron, patinated, silvered, and gilded bronze, glass Paris, Musée du Louvre (on deposit from the Musée National des Châteaux de Versailles et de Trianon)
This exceptional clock owes its name to its iconography, taken from the biblical account of the first moments of Creation: the separation of the elements, the irruption of light, and the Earth emerging from chaos. The four elements are rendered by a differentiated treatment of the metal surface: Earth in patinated bronze, water in burnished silver-plated bronze, air in matt silver-plated bronze, and fire in matt silver gilt. The light rays at the top of the composition are treated in burnished gilt bronze.
Several coordinated mechanisms drive the different parts. At the top, the hour dial shows the hours of true and average time and, in a window, the days, months, and calendar years. Slightly below, a small gold and silver sphere illustrates the age and phases of the moon. On the right, a planetary globe shows the then-known planets in their orbits, respecting the variations in the speed of their courses and in their positions in relation to the Sun. In the lower part, a globe engraved with a map of the explored lands - captioned with the names of cities, rivers, and countries - affects its revolution in 24 hours.
The first known mention of the clock dates from its presentation to King Louis XV at the Grand Trianon in February 1754. It was commissioned by Joseph-François Dupleix (1697-1763), governor of the French establishments in India, who wished to present it to the King of Golconda in India. By an unfortunate coincidence, Dupleix was recalled to France and when the clock reached the end of its sea voyage in Pondicherry, it did not find its recipient. And so it was returned to France.
Set of vases showing the Four Elements and The Flourishing Kingdom of France (profile of Louis XV)
Johann Joachim Kandler (1706-1775) Johann Friedrich Eberlein (1695-1749)
Meissen Manufactory
1742
Hard-paste porcelain
Central piece: H. 84 cm; L. 58.2 cm
Dresden, Porzellansammlung, Staatliche Kunstsammlungen
This monumental porcelain set, consisting of five pieces glorifying the reign of Louis XV, is a virtuoso example of the work of a pioneer of Europe's first porcelain factory: Johann Joachim Kandler, court sculptor and master modeler at Meissen. This manufactory was the only one in Europe to have mastered the porcelain technique, which was still unknown in France. In an unprecedented tour de force of porcelain modeling, he exploited the plastic qualities of the material to the limit, dissolving the surfaces of the vase bodies in relief and blending the silhouettes into projecting figurative applications.
The central vase of the allegorical set represents the flourishing kingdom of France under the wise reign of Louis XV. The profile of the latter, framed by a laurel wreath, adorns the body of the vase. Above, the head of Apollo, god of the sun, appears in a crown of rays, and below, a winged cupid holds the French royal crown above the coat of arms of the kings of France and Navarre framed in rocaille. On the lid, cupids bear the coat of arms with the monogram of the monarch. On the left shoulder of the vase is Flora, the goddess of spring, scattering flowers from a basket as a sign of prosperity for the kingdom. Above the right shoulder floats Pheme, who announces the immortal glory of Louis XV with the help of a trombone (now lost).
Around the central piece are symmetrically grouped a series of lidded vases and slightly smaller pots depicting the Four Elements: fire, water, air, and earth, personified by Jupiter, Neptune, Juno, and Diana. The detailed reliefs show the human activities associated with them: the art of war, navigation, falconry, and hunting.
Commissioned in December 1741 by Augustus III, Elector of Saxony and King of Poland, as a gift to Louis whom he wished to gain as an ally in the War of the Austrian Succession-these 'white gold' vases, in the end, remained in Dresden since the political map had changed by the time they were completed six months later.
Après nous, le déluge
Set of 20 fountains
Gonzague Mézin (artist creator of rare objects);
Art Plinths (carpenters' workshop);
Fonderie de Coubertin (workshop of founders and bronze workers); Façons mécaniques (workshop of metal turners);
Tanya Gomez (ceramist);
Solyfonte (foundry and bronze workshop);
Silv'or (workshop of gilders and burnishers on metals);
Thierry Toutin (assembler);
Ursae (goldsmiths);
2019-2022
Limoges porcelain with aubergine glaze, gilded bronze, steel wire, Teklon Gold monofilament, wood, lacquered brass and mirrors
H. 320 cm; W 600 cm; D 250 cm
Switzerland, private collection
The contemporary art installation Après nous, le déluge (After us, the flood) reflects on the symbolic heritage of the reign of Louis XV. It questions the dangerous links between the private life of the monarch and public opinion. A popular legend attributes the phrase "Après nous, le déluge!" (After us, the flood!) to Louis XV. This apocryphal phrase is often interpreted as a quasi-prophecy: it would reveal the sovereign's indifference towards his people and would presage the French Revolution. Indeed, Louis XVI was guillotined in 1793, only 19 years after the death of his grandfather.
In this installation, twenty sculpted fountains are each reflected twice, on the wall and on the floor, in parterres of mirrors inspired by the Bassin de Neptune (the only one inaugurated by Louis XV). These sixty resplendent springs echo the sixty years of the reign of the man who was initially nicknamed the "Well-Beloved".
The rare, dazzling objects combine gilded bronze and porcelain. These emblematic materials revisit the mounted vases that underwent a modernization of style under Louis XV. The liquid gushes of gilt bronze represent the luxurious carefree spirit but also the creative and intellectual abundance that characterized the reign of Louis XV: as if indifferent to external contingencies, the springs echo back in fascinating splashes. The sparkling streams are also a precious and frozen version of the Fountains Show of Versailles, whose splendor preceded the French Revolution. These sculpted fountains deliver a message: on the ground, between liquid puddles whose contours describe Phrygian bonnets, we read, scattered in gold letters, the first words of the Declaration of the Rights of Man and of the Citizen of 1789: "Men are born and remain free and equal in rights."
Chest of drawers from the bedroom of Louis XV at Versailles
Antoine-Robert Gaudreaus (ca. 1682-1746), cabinetmaker and Jacques Caffiéri (1678-1755), bronzier 1739
Oak frame; veneer of kingwood and satiné, mahogany drawers and cupboards; interior lined with red linen; gilt bronze; gilded brass hinges; brass locks; green serpentine
marble top
H.88.8 cm; L. 195.5 cm; Pr 80.6 cm
London, Wallace Collection
Courtesy of the Trustees of the Wallace Collection, London
This exceptional chest of drawers was part of Louis XV's daily life for over 35 years. Delivered on 15 April 1739 for the king's new bedroom in his inner apartment at Versailles, it was the result of a close collaboration between three artists and their respective workshops: the cabinetmaker Antoine-Robert Gaudreaus, who was responsible for the manufacture of the piece and the installation of the gilt decorations; Jacques Caffieri for the gilded bronze mounts; and the sculptor Sébastien-Antoine Slodtz, to whom is attributed the design that served as inspiration.
Considered one of the most important pieces of French furniture of the eighteenth century and above all the leading masterpiece of Rococo art in terms of furniture, this chest of drawers is of an unusual type as it has small side cupboards probably used by the king's barbers to store their equipment. The touch of Gaudreaus, who specialized in monochrome marquetry with geometrical motifs, is clear here, and marked by extensive use of kingwood. Caffieri's superb bronzes bear witness to his mastery of the rocaille style, with a combination of almost abstract curves and volutes and elements inspired by nature (flowers, branches, crowns composed of shapes evoking shells, birds' and bats' wings).
The chest of drawers was set under a mirror and diametrically opposite the fireplace which its original reddish marble top matched. The room was decorated with carved white and gold wall panels, and the fabrics and upholstery changed with the seasons, with a purple velvet with a branch pattern for the winter. The sheen produced by this was in harmony with the original shades of bright purple and red, kingwood and satiné, and with the intricate interweaving of matt and lustrous gold of the bronze work.
Madame de Pompadour at her tambour frame
François-Hubert Drouais (1727-1775)
1763-1764
Oil on canvas
H. 217 cm; L. 156.8 cm
Signed and dated: Peint par Drouais le fils/la tête en avril 1,763:etle/tableau fini en mai 1,764 London, The National Gallery
Painted by François-Hubert Drouais a year before Madame de Pompadour's death, this is one of the last and certainly the grandest portraits of her ever painted. Above all, it offers the most faithful and sincere image of her. Almost twelve years had passed since the former favorite had become the "necessary friend" of the king. She is depicted here at the age of 41, at a time when she was stoically enduring the pains of her irreparably deteriorating health. Completed posthumously, the painting was delivered to her brother, the Marquis de Marigny.
Depicted in a rich interior, surrounded by her books, musical instruments, and collections reminiscent of her role as patron of the arts, the Marquise sits on a sofa, wearing a superb robe à la française. She presents herself as a simple woman, in front of her tambour frame - a symbol of domestic virtue - accompanied by one of her King Charles spaniels; she seems to abandon her work for a moment to look up at the visitor. It is this new image, far from the scandals caused by her extraordinary favor, that this large painting shows. It is perhaps also an attempt to make people forget her unpopularity following the disaster of the Seven Years' War (1756-1763), in which she was suspected of having played a large part.
Hanging from The Story of Don Quixote: The Priest and Cardenio meet Dorotea dressed as a shepherd or La Dorothée; Don Quixote and Sancho on a wooden horse imagining they are traveling through the air to avenge Doloride or Le Chevillard
Paris, Gobelins Manufacture
Haute lisse workshops of Pierre-François Cozette and Jean Audran (1667-1756)
After Charles-Antoine Coypel (1694-1752); the Fifth border was modified by Louis Tessier (c. 1719-1786)
Woven between 1768 and 1773
Wool and silk
H.374 cm; L712 cm
Signed lower right: AUDRAN
Paris, Mobilier National
Work started on the hanging illustrating the incredible adventures of Don Quixote and his faithful squire, Sancho Panza, in 1714, which is considered one of the eighteenth-century glories of the Gobelins Manufacture. Inspired by the famous novel by Miguel de Cervantes, the young Charles-Antoine Coypel composed small scenes arranged like paintings in the center of the tapestry, with the rest of the space being occupied by a large ornamental border. This original decorative system, combining comic and entertaining episodes and the border - regularly modified to keep the tapestry up to date - ensured the continued success of The Story of Don Quixote, with more than 200 tapestries woven until 1794. Regularly used as diplomatic gifts, they were also used to decorate the royal apartments, including those of the King in the Château de Marly and those of Mesdames Louise and Adélaïde in Versailles. The tapestry presented here shows the crimson background adopted in 1760, imitating in an extraordinary way the appearance of a damask, which reinforced the craze for this hanging.
Madame du Barry as Muse
François-Hubert Drouais (1727-1775)
1774
Oil on canvas
H. 207 cm; L. 143 cm
Versailles, Chambre de Commerce et d'Industrie des Yvelines
Presented in 1771, the first version of this painting by François-Hubert Drouais caused an immediate scandal: critics were astonished that Louis XV's favorite had authorized the display of a monumental and poorly resembling portrait, which showed her dressed "in a light and transparent drapery that rolls up over the left nipple, leaves the legs uncovered up to the knees, and marks the nude in the rest of the body. Immediately withdrawn at the model's request, the painting was modified the following year and Madame du Barry's clothing completely changed. The present composition shows her full-length, front view, in the guise of a Muse of the Arts, seated on a daybed covered with a pink drapery. With her powdered hair falling in curls on the nape of her neck and a smile on her face, she is wearing a white silk tunic with a low neckline and a blue belt with golden fringes around her waist. In the foreground, we see a palette, the bust of a child, a book of the greatest French authors, and a plan of the Louveciennes pavilion, built in 1770. The painting was probably intended for the dining room of this pavilion. The present portrait, undated and unsigned, is believed to be a copy executed in 1774.
https://en.chateauversailles.fr/news/exhibitions/louis-xv-passions-king#virtual-tour