Category:Baroque architecture at Versailles
This category has only the following subcategory.
- ► Palace of Versailles (2 C, 37 P)
This category has only the following subcategory.
1. Hall of Mirrors – The Hall of Mirrors is the central gallery of the Palace of Versailles in Versailles, France. As the principal and most remarkable feature of King Louis XIV of Frances third building campaign of the Palace of Versailles, the principal feature of this hall is the seventeen mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens. Each arch contains twenty-one mirrors with a complement of 357 used in the decoration of the galerie des glaces. The arches themselves are fixed between marble pilasters whose capitals depict the symbols of France and these gilded bronze capitals include the fleur-de-lys and the Gallic cockerel or rooster. In the 17th century, mirrors were among the most expensive items to possess at the time, 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 73.0 m ×10.5 m ×12.3 m and is flanked by the de la guerre. Construction on the galerie and its two salons continued until 1684, at time it was pressed into use for court. The ceiling decoration is dedicated to the policies and military victories of Louis XIV. The central panel of the ceiling, Le roi gouverne par lui-même alludes to the establishment of the reign of Louis XIV in 1661. The present decorative schema represents the last of three that were presented to Louis XIV, the original decorative plan was to have depicted the exploits of Apollo, being consistent with the imagery associated with the Sun-King, Louis XIV. 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 to the Treaty of Nijmegen. In a departure from the decoration of the ceilings in the appartement du roi, Le Brun has depicted Louis XIV directly. In this way, themes such as governance and military prowess are rendered with Louis XIV himself as the key figure. During the 17th century, the Hall of Mirrors was used daily by Louis XIV when he walked from his apartment to the chapel. At this time, courtiers assembled to watch the king and members of the family pass. However, of all the events transpired in this room during the reign of Louis XIV. 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 in the galerie des glaces, one in which he received Mehemet Reza Bey, ambassador of the Shah of PersiaHall of Mirrors – Hall of Mirrors, Palace of Versailles
2. Salon d'Hercule – The Salon dHercule is on the first floor of the Château de Versailles and connects the Royal Chapel in the North Wing of the château with the grand appartement du roi. Originally, the fourth and penultimate chapel, the salon d’Hercule occupies the tribune level of this chapel, initially called the nouveau salon près de la chapelle when the room was started in 1710 by Robert de Cotte for Louis XIV. However, with the death of Louis XIV in 1715 the project was postponed, beginning in 1724, work on the salon d’Hercule recommenced. Louis XV commissioned architect Jacques Gabriel, marbrier Claude-Félix Tarlé, and sculptors Jacques Verberckt, the room was completed in 1736 with the ceiling painting Apothéose d’Hercule by François Le Moyne, which gave the room its present name. There are only two other paintings decorating this room, both of which are by Veronese, above the fireplace is the artist’s Rebecca at the Well, on the opposite wall forming a pendant is the famed Feast in the House of Simon. Louis XIV received the painting as a diplomatic gift from the Republic of Venice in 1664. Owing to the size of the work –4.5 meters high by 9.7 meters long – the painting was displayed in the galerie d’Apollon of the Louvre. It was installed in salon d’Hercule in 1730 where it remained until 1832 at which time it was transferred to the Louvre, in 1961 the Feast in the House of Simon was returned to the salon d’Hercule. In 1994, under the aegis of the Société des amis de Versailles, during the reign of Louis XV the room served as a ball room as the king felt the salon de Mars was too small and the galerie des glaces was too large. After the destruction of the escalier des ambassadeurs in 1752, Louis XV planned for the salon d’Hercule to be the landing for a new staircase for the château, media related to Salon dHercule du Château de Versailles at Wikimedia CommonsSalon d'Hercule – Created 1724–1736 by Robert de Cotte, Jacques Gabriel, Antoine Vassé, and Claude Tarlé
3. Chapels of Versailles – The present chapel of the Palace of Versailles is the fifth in the history of the palace. These chapels evolved with the expansion of the château and formed the point of the daily life of the court during the Ancien Régime. The châteaus first chapel dated from the time of Louis XIII, today, the pièce de la vaisselle dor in the petit appartement du roi occupies the approximate emplacement of the châteaus first chapel. This chapel followed the two-story palatine model, which was traditional in France and this chapel was destroyed in 1665 during the construction of the Grotte de Thétys. The châteaus second chapel was created during Louis XIV’s second building campaign and this chapel was used by the royal family and court until 1678 at which time a new chapel was constructed, and this one was converted into the salle des gardes de la reine. Located next to the new salle des gardes de la reine, soon after its construction, Louis XIV found it inconvenient and impractical for his needs as well as those of his court, which he had officially installed at Versailles in 1682. In 1682, this room was converted into the grande salles des gardes de la reine, with the construction of the aile du Nord, the north wing of the château, a new chapel was built. Construction of the north wing necessitated the destruction of the Grotte de Thétys and this chapel remained in use until 1710, and was witness to many of the important events 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 this site, as the focal point of Louis XIVs fourth building campaign, the fifth and final chapel of the château of Versailles is an unreserved masterpiece. Begun in 1689, construction was halted due to the War of the League of Augsburg, 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. Nevertheless, the magnificent interior has been widely admired to the present day, dedicated to Saint Louis, patron saint of the Bourbons, the chapel was consecrated in 1710. The tribune level is accessed by a vestibule, known as the de la chapelle. The salon de la chapelle is decorated with stone and the bas-relief sculpture, Louis XIV Crossing the Rhine by Nicolas. The sculptural and painted decoration uses both Old Testament and New Testament themes, during the 18th century, the chapel witnessed many court events. However, of all the ceremonies held in the chapel, those associated the Order of the Holy Spirit were among the most elaborate, the chapel was de-consecrated in the 19th century and has since served as a venue for state and private events. Musical concerts are held in the chapel of Versailles. The organ of the chapel of Versailles was built by Robert Clicquot. His first official presentation took place on Pentecost, Juin 8,1710, Du Roy-Soleil à la Révolution, l’orgue de la Chapelle royale de Versailles / From the Sun King to the Revolution, the organ of the Royal Chapel of VersaillesChapels of Versailles – Versailles' chapel is one of the palace's grandest interiors. This is the view as seen from the tribune royale, where the king and members of the royal family heard mass.
4. Palace of Versailles – The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres IIPalace of Versailles – Aerial view of the Palace from above the Gardens of Versailles