Features of the Palace of Versailles
[edit] Grands appartements
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As a result of Le Vau’s enveloppe of Louis XIII’s château, the king and the queen had new apartments in the new addition, known at the time as the
château neuf. The grands appartements, which are known respectively as the grand appartement du roi and the grand appartement de la reine, occupied the main or principal floor of the château neuf. Le Vau’s design for the state apartments cloly followed Italian models of the day, as evidenced by the placement of the apartments on the next floor up from the ground level — the piano nobile — a convention the architect borrowed from 16th and 17th century Italian palace design (Berger, 1986; Verlet, 1985).
[edit] Grand appartement du roi
Le Vau’s plan called for an enfilade of ven rooms, each dedicated to one of the then known planets and their associated titular Roman deity. Le Vau’s plan was bold as he designed a heliocentric system that centered on the Salon of Apollo. The salon d’Apollon originally was designed as the king’s bedcha
火锅 英语mber, but rved as a throne room. During the reign of Louis XIV (until 1689), a solid silver throne stood on a Persian carpet covered dais on the south wall of this room (Berger, 1986; Dangeau, 1854-1860; Jophson, 1926; 1930; Verlet, 1985).all round
The original arrangement of the enfilade of rooms was thus:
Salon de Diane (Diana, Roman goddess of the hunt; associated with the Moon)[6]
Salon de Mars (Mars, Roman god of war; associated with the planet Mars)
Salon de Mercure (Mercury, Roman god of trade, commerce, and the Liberal Arts; associated with the planet Mercury)
successorSalon d’Apollon (Apollo, Roman god of the Fine Arts; associated with the Sun)
sudoSalon de Jupiter (Jupiter, Roman god of law and order; associated with the planet Jupiter)噱头是什么意思
Salon de Saturne (Saturn, Roman god of agriculture and harvest; associated with the planet Saturn)
Salon de Vénus (Venus, Roman goddess of love; associated with the planet Venus)
The configuration of the grand appartement du roi conformed to contemporary conventions in palace design (Baillie, 1967). However, owing to Louis XIV’s personal taste and with the apartment’s northern exposure, Louis XIV found the rooms too cold and opted to live in the rooms previously occupied by his father. The grand appartement du roi was rerved for court functions — such as the thrice-weekly appartement evenings given by Louis XIV for members of the court (Berger, 1986; La Varende, 1959; Marie, 1968, 1972; Nolhac, 1911; Verlet, 1985).
The rooms were decorated by Le Brun and demonstrated Italian influences, the particularly that of Pietro da Cortona, with whom Le Brun studied while he was in Florence. Le Brun was influenced by the decorative style the da Cortona devid for the decoration of the Pitti Palace in Florence, which influenced his style Louis XIV at Versailles. The quadratura style of the ceilings evoke Pietro Cortona’s Sale dei Planeti at the Pitti, but Le Brun’s decorative schema is more complex (Blunt, 1980; Campbell, 1977). 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” (Félibien, 1674). Accordingly, one finds scenes of the exploits of Augustus, Alexander the Great, and Cyrus alluding to the deeds of Louis XIV (Lighthart, 1997; Sabatier, 1999). For example, in the salon d’Apollon, the cove painting “Augustus building the port of Minum”[7] alludes to the construction of the port at La Rochelle; or,
de picted in the south cove of the salon de Mercure is “Ptolemy II Philadelphus in his Library”, which alludes to Ptolemy’s construction of the Great Library of Alexandria and which accordingly rves as an allegory to Louis XIV’s expansion of the Bibliothèqu e du roi.[8] 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 nt to the mint, to be melted down to help defray the cost of the war (Berger, 1986; Dangeau, 1854-1860; Jophson, 1926; 1930; Marie, 1968, 1972, 1976; Nolhac, 1911; Verlet, 1985).
Le Vau’s original plan for the grand appartement du roi was short-lived. With the inauguration of the third building campaign, which suppresd the terrace linking the apartments of the king and queen, the salon de Jupiter, the salon de Saturne, and the salon de Vénus for the construction of the Hall of Mirrors, the configuration of the grand appartement du roi was altered. The decorative elements of the salon de Jupiter was removed and reud 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 reud in the salon de
Vénus that we e today[9] (Marie, 1972, 1976; Nolhac, 1925; Verlet, 1985).
From 1678 to the end of Louis XIV’s reign, the grand appartement du roi rved as the venue for the king’s thrice-weekly evening receptions, known as les soirées de l’appartement. For the par ties, the rooms assumed specific functions:
Salon de Vénus: buffet tables were arranged to display food and drink for the king’s guests.
Salon de Diane: rved as a billiard room.
Salon de Mars: rved as a ballroom.
Salon de Mercure: rved as a gaming (cards) room.
Salon d’Apollon: rved as a concert or music room.
In the 18th century during the reign of Louis XV, the grand appartement du roi was expanded to include the salon de l’Abondance (Hall of Plenty) — 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 palace (Verlet, 1985).
[edit] Grand appartement de la reine
Forming a parallel enfilade with that of the grand appartement du roi, the grand appartement de la reine rved as the residence of three queens of France —Marie-Thérè d’Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, as duches de
Bourgogne, occupied the rooms from 1697 (the year of her marriage) to her death in 1712.[10]
When Le Vau’s enveloppe of the château vieux was completed, the grand appartement de la reine came to include a suite of ven enfilade rooms with an arrangement that mirrored almost exactly the grand appartement du roi. The configuration was:
Chapel — which was pendant with the salon de Diane in the grand appartement du roi[11]
Salle de gardes — which was pendant with the salon de Mars in the grand appartement du roi
Antichambre — which was pendant with the salon de Mercure in the grand appartement du roi
Chambre —which was pendant with the salon d’Apollon in the grand appartement du roi
Grand cabinet — which was pendant with the salon de Jupiter in the grand appartement du roi
Oratory — which was pendant with the salon de Saturne in the grand appartement du roi
Petit cabinet — which was pendant with the salon de Vénus in the grand appartement du roi[12]
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 likewi depicted heroines from the antique past and harmonized with the general theme of a particular room’s decor.[13]
怎么样克服紧张
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 reud.[14] 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 a smaller, though
similarly-decorated example) with the escalier des ambassadeurs in the grand appartement du roi. The loggia also provided access to the appartement du roi, the suite of rooms in which Louis XIV lived, and to the apartment of Madame de Maintenon. Toward the end of Louis XIV's reign, the escali
er de la reine became the principal entrance to the château, with the escalier des ambassadeurs'' ud on rare state occasions. After the demolition of the
''escalier des ambassadeurs'' in 1752, the ''escalier de la reine'' became the main entrance to the château (Verlet, 1985). From 1682, the ''grand appartement de la reine'' included:retailing
Salle des gardes de la reine
Antichambre (formerly the salle des gardes)
企业公开课Grand cabinet
Chambre de la reine
With the death of Louis XIV in 1715, the court moved to Vincennes and shortly after 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, th e redecoration of the chamber de la reine must be cited.滞留是什么意思
To commemorate the birth of his only son and heir, Louis-Ferdinand, in 1729, Louis XV ordered a co
mplete redecoration of the room. Elements of the chamber de la reine as it had been ud by Marie-Thérè d’Autriche and Marie-Adélaïde de Savoie were removed and a new, more modern decor was installed[15] (Marie, 1984; Reynaud and Villain, 1970; Verlet, 1985).
During her life at Versailles, Marie Leczinska lived in the grand appartement de la reine, to which she annexed the Salon of Peace to rve as a music room. In 1770, when the Austrian archduchess Maria Antonia married the dauphin, later king Louis XVI, she took up residence in the 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 e today (Verlet, 1985).
