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Published by G Oliver & Co., Malmesbury Park Post Office, Bournemouth.
Postmarked Bournemouth (single ring), 1908.
The Kaiser Permanente Center for Total Health is sending its Google Glass V1 back as part of the Explorer exchange program.
Published in: Google Glass rolls out a try-before-you-buy program
Published on Gothamist June 1st, 2010, here: gothamist.com/2010/06/01/marina_mania.php
Marina in the home stretch. This was taken right before the end...
Ryn Weaver
Webster Hall
November 19th, 2015
New York City
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Company K, 29th Illinois Infantry
From History of Montgomery County, Kansas, By Its Own People, Published by L. Wallace Duncan, Iola, Kansas, 1903, Pg. 358-359:
Scott, James H. Bio
The well-known citizen whose name initiates this historical sketch has passed twenty-three years as a resident of Montgomery county. He first saw the county in 1879 and in the following year brought his family out from the east and established them on his Independence township farm, in sections 22 and 23, township 33, range 15, modest, fertile and substantially and attractively improved.
Mr. Scott is of Irish birth. Belfast was his native city and his natal day and year were December 6, 1840. His father was Rev. James Scott, a Methodist minister, and his mother’s maiden name was Jane McCregor. The father was born in 1796 and died at New Burnside, Illinois, in 1880. The mother bore eight children—five of whom came to the United States—the mother died in Ireland when our subject was a small boy. Those of the family now living, besides James H. are: William M., of Belfast, Ireland, and Mrs. Mary J. Threldkeld, of Hampton, Kentucky. Rev. James Scott located in Quincy, Illinois, when he first came to the new world and was engaged in religious work for over fifty years. He afterward established his family in Brown county, Illinois, and there James H. Scott, of this record, was brought up.
Our subject was the fourth of five children in the family and came to maturity on a farm. He acquired a good common school education and himself engaged in teaching district school before the outbreak of the Civil war. He enlisted at Metropolis, Illinois, August 11, 1861, in Company “K,” Twenty-ninth Infantry, Capt. J. A. Carmichael’s company. The regiment was assigned to Grant’s command along the Mississippi river and participated in the battles of Forts Henry and Donelson, in which latter engagement Mr. Scott received a wound in the left shoulder, but instead of entering the hospital, he furloughed home and there recuperated in the quiet among friends. Returning to his regiment, he took part in the second battle of Corinth and in the siege of Vicksburg. A large part of the Twenty-ninth Illinois being captured at Holloy Springs, Mississippi, Company “K,” was placed on board one of the Federal gunboats and performed service in the navy for some six months, or until the captured portion of the regiment was “exchanged” and rejoined their comrades and resumed their old position as an integral part of the conquering army. Being orderly sergeant of his company, Mr. Scott was made captain of one of the twenty-four pound howitzers of the gunboats while in the navy. The regiment rendezvoused in the vicinity of Vicksburg after the fall of the city, for some months, and when it moved, went to Natchez, Mississippi, where scouting and guarding and patrol duty occupied its time till September, 1864, when, owing to his increasing deafness, out subject was mustered out.
Returning home, Mr. Scott continued teaching school and took up the study of medicine, continuing both till his hearing became so bad that he was found to abandon them. He owned a farm in the county where he lived and the cultivation of it occupied his attention. Since that date he has been a farmer. He was not been actively engaged in the work himself—being much of the time, in later life, an invalid—but his interest have remained those of the farmer and so he has classed himself.
May 5, 1872, James H. Scott was united in marriage with Mary A. Wright, a daughter of John R. Wright, who married Maria H. Sterling. The Wrights were from Mt. Holly, Morris county, New Jersey, where Mrs. Scott was born March 11, 1845. Mr. Wright died in Pope county, Illinois, in 1889, and his wife survived him until 1895, when she also passed away. Their children were Amos, Cooper and Martha, all deceased; Mrs. Scott; Ella, wife of James L. Murphy, of Metropolis, Illinois; Lucy, who married Anson Neely, and died having one child; Archer, of Pope county, Illinois; and Emma, also deceased.
The family of Mr. And Mrs. Scott consist of the following children, namely: Maria J., born in 1873; Martha P., of Ottawa, Kansas, born 1875; Lillie K., born 1877; Walter J., born 1880; Roy H., born in 1882; Stella A., born 1884; and Charles E., born 1886.
In politics, Mr. Scott affiliates with the Republican party. His ambition has been only to see a fair and proper administration of public affairs and to be permitted the full and free enjoyment of the blessings of our Republic.
Order Live Lobsters Online to Prepare a Scrumptious Lobster Dish. docs.zoho.com/writer/published.do?rid=ulvpz362ad6d606414a...
Background is kraft cardstock stamped with Hero Arts K5486 Flower Swirl Vine and "hello" sentiment from CL371 Essential Messages using a Tsukineko VersaMagic Dew Drop in Night Sky (navy pigment ink). Highlighted details with a cream colored pencils. Rounded the corners. Added Jillibean Soup brown baker's twine. Adhered to dark chocolate base. Finished with pearls from Hero Arts CH214 Earth Mixed Accents.
Thanks for looking! :-)
This engraving comes from the "Illustrated Atlas" published in London, Edinburgh and Dublin from about 1848 by the John Tallis Company.
Illustrations by Henry Warren & Engraved by John Rogers
Creator: Rapkin, John (1815-1876)
Date: 1851
Identifier: 912.19812 R12
Format: Map
Rights: Public domain
Courtesy: Toronto Public Library.
More information: (view details and larger image)
This photograph was published in the Illustrated Chronicle on the 31st of December 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
We hope you enjoy these images. Feel free to use them, all we ask is that you attribute them to "Kitmondo Vintage" with the link: www.kitmondo.com/equipment-knowledge-hub/the-vintage-mach...
We publish this material to provide historical insight on manufacturing and industry.
a photo of mine was published in TIME magazine today. not just any issue - the Person of the Year issue. and my photo was created in reference to said Person of the Year :o)
I also had a photo published in this month's NJ Audubon magazine. my friends Pete and Lisa, who got married last June, used a shot I took of them for an article that describes how they donated wedding favors to the nonprofit conservation group.
(semi-related side note: even though my flickr icon is a raven, and I'm a total nature nerd, I'm really not much of a birder. I just really like ravens)
that, and my hopping horse photo made the front page of Explore. my first time for that. thanks so much you guys - you're truly an awesome group of peeps. also, major props to the other flickrers who got chosen to be in the story. so cool!
headed to Maine for a few days. happy holidays, everyone!
100 x 2025, Theme: RF 16mm f/2.8 STM lens, image 13/100.
Thank you to everyone who visits, faves, and comments.
In the old days, the mill would have been turned around to get optimal wind by a horse hitched up to the wheel behind the mill. Today, the mill was turned by car power and man power. This was the first time they had the mill working for the season. Inside they will milling corn.
NHA Home - Historic Nantucket Articles
Originally published in the Historic Nantucket, Vol 44, no. 1 (Spring 1996), p. 128-129
The Old Mill : What we know about it and what we don't....
Editorial commentary by Elizabeth Oldham
When was it built and who built it?
IT APPEARS THAT 1746 REALLY IS THE YEAR the Old Mill was erected, even though an account in the I&M on 15 September 1905 reads: "The old windmill is of very ancient origin, but the exact date cannot be given." We've found it harder to irrefutably confirm that Nathan Wilbur was the builder. His name appears in the 1913 Harry Turner article for the I&M, in which Wilbur is referred to as "a Nantucket sailor who had visited Holland . . . and gained a knowledge of the methods . . . of employing wind-power for grinding grain. ..." But an undated, unsigned manuscript fragment in the NHA collection states: "A company of gentlemen contracted with a man by the name of Wilbur to build the mill. Mr. Wilbur on leaving the island, with money obtained for the contract, and after reaching [the] mainland was waylaid robbed & murdered." Further to that incident, Jane G. Austin's Nantucket Scraps (Boston and New York, 1892) has a local character saying "They wanted a windmill and they didn't know how to make one, and they got an off-islander, name of Wilbur, to make it, and like fools gave him the money beforehand. He went back to the continent for something— nails maybe, or maybe idees—and carried the money with him; some pirate or other got wind of it, and the first they knew down here, the man was robbed and murdered there on Cape Cod...."
What was used to build it?
TURNER ALSO REPEATS THE PERHAPS APOCRYPHAL record of the materials used to build the mill: "Oaken beams, washed ashore from wrecked vessels, furnished the material for the framework of the mill, while deck planking of white oak, still tough and as firm as when pinned into the vessel, was available for the exterior." [In a file copy of the Turner article, a penciled note beside this passage, in Edouard Stackpole's hand, reads "not accurate."]
A notice on a card issued by John F. Sylvia, owner of the mill from 1866 until the NHA acquired it in 1897, reads: "This Old Mill was built in 1746; the oak timber used in its construction grew at a short distance from its site, across Dead Horse Valley, at the southward from the mill." The 7 August 1897 I&M states: "Mr. Gardner (owner of the mill 1828-55) found the timbers substantial, as they were of native oak. Edward K. Godfrey's The Island of Nantucket: What It Was and What It Is (Boston, 1882) has it that "Eliakim Swain . . . tended it for many years. ... It was built of oak which grew just across Dead Horse Valley, to the southward of it."
Who paid for it?
The French Connection
IT HAS LONG BEEN RECORDED IN PRINT AND anecdote that Miss Caroline L. W. French purchased the mill at auction on 4 August 1897 and presented it to the NHA. But confusion arises here, both in the Proceedings of the NHA for the annual meeting of 25 July 1898 and in a letter written by Mary E. Starbuck, recording secretary, which suggests that Miss French only made up the $135 necessary to arrive at the purchase price of $885, the remaining funds having been contributed over a period of years by other interested parties. The Proceedings read: "With some difficulty but admirable management, the society had raised $750, and Miss Caroline L. French, who together with others interested had promised to help us out, generously gave the $135 necessary to make up the full amount." Miss Starbuck's letter of 5 April 1898 reads: "Our chief triumph last summer was the purchase of the Old Mill. . . . We had scraped up over seven hundred dollars and friends made up the required amount, eight hundred and eighty-five."
The only published account of the actual auction found to date is in the 8 August 1897 edition of the New York Herald ["By telegraph to the Herald"]: "The entire bidding was between the society and a private individual, who desired the mill for an investment. The land was bid up to $105; the mill itself brought out bids to $450; then the final bidding, starting at $550, ran up to $885. As the battle of the bids wavered between the contesting parties anxious looks passed to and fro, and when finally Mr. James H. Gibbs secured it at $885 for the historical society the pent up anxiety of the crowd burst into cheers. ... Dr. Mitchell, president of the historical society, stated that the mill would be sacredly preserved."
The 30 July 1892 I&M included an article about the Nantucket Improvement Association, which owned Mill Hill Park and had expressed interest in acquiring the adjacent property on which the mill stood. The Improvement Association had convened a meeting on 22 July 1892 to "raise a purchasing fund"; the article continues: "How tame would be the view of the town from the incoming boat without the towers of the North and Unitarian churches and the Old Mill. Contributions can be sent to Roland B. Hussey, of the Inquirer and Mirror, to W. H. C. Lawrence, of the subscription committee, or to Mss H. B. W. Worth, secretary of the Nantucket Improvement Association." And the NHA treasurer's report for 23 July 1896 includes, under the rubric "SINKING FUND," this item: "By Nantucket Improvement Association (Mill Fund)....... $175.01."
It was not until 1899, when the Minutes of the NHA Council meeting of 5 August tell us: "President Barnard read a letter from Miss C. L. W. French, saying that at the solicitation of friends, she has consented to have it made known that she was the donor of the $750 given to the NHA in 1895." A letter to Miss French, framed at the same meeting, reads: "It gave the members of the Council much satisfaction to be able to identify this 'unknown friend,' who has been so frequently referred to ... and it was with great pleasure that we found the 'unknown' to be also the known friend to whose kindness and generosity we have already openly testified." And it was voted at the meeting "That the Mill comm. be instructed to place a suitable tablet in the mill, stating that the mill was saved to the Assn. by the generosity of Miss C.LW. French of Boston."
So, she did not bid for the mill at the auction on 4 August 1897, and it took two years for her generosity to be publicly acknowledged; but it was only in reading those Minutes that our doubts were dispelled.
Who built the first millon Nantucket, and where?
THE 7 AUGUST 1897 ISSUE OF THE I&M (three days after the auction) claims (as do other accounts) that "The first mill at Nantucket was owned by Tristram Coffin, who assumed a contract to construct a windmill for grinding grain for the inhabitants after the person to whom a contract was first awarded had failed to comply with its terms."[Nat Philbrick's statement about the possibly combined identities of Richard Macy and Nathan Wilbur is certainly a valid conjecture.]
The Obed Macy work Nat cites is an old (undated, unsigned) copy book in the NHA manuscript collection, which begins thus: " Copied [italics added] from a book of Obed Macy's writing when he was an old man. 'If ever my History of Nantucket is republished, in a second edition some of the following anecdotes may be found useful.'" Among the anecdotes is the one Nat refers to: "A Short Memorial of Richard Macy, Grandfather of Obed Macy. He was grandson to Thomas Macy the first settler of Nantucket. ... In 1723 he [Richard] built the first wharf that was made here, now called the Strait Wharf." There follows the tale of the windmill dreamed up by his grandfather recounted in Nat's article.
The map reproduced in the original edition of Crevecoeur's Letters shows a cluster of mills (of the "post" type) situated at the original settlement on the north shore. But the town had moved in from Sherburn[e] by 1720, so perhaps the mapmaker sited the four mills a little too far north.
We are persuaded that the answers to these questions—either to confirm or refute tradition—may be found here in the Stackpole Research Library, in other repositories on the island, on Cape Cod (was Wilbur's murder recorded there?), or somewhere.
We hope others will join us in experiencing what Jean Weber calls "the excitement and rigor attached to the validation of our past."
About the Author: Elizabeth Oldham is a freelance editor, member of the NHA Editorial Board, and NHA Research Library associate.
From my set entitled “Fuchsia”
www.flickr.com/photos/21861018@N00/sets/72157607217665417/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Fuchsia is a genus of flowering plants, mostly shrubs and can grow long shoots, which were identified by Charles Plumier in the late-17th century, and named by Plumier in 1703 after the German botanist Leonhart Fuchs (1501–1566).[1] The English vernacular name Fuchsia is the same as the scientific name.
There are about 100–110 species of Fuchsia. The great majority are native to South America, but with a few occurring north through Central America to Mexico, and also several from New Zealand, and Tahiti. One species, Fuchsia magellanica, extends as far as the southern tip of South America occurring on Tierra del Fuego in the cool temperate zone, but the majority are tropical or subtropical. Most fuchsias are shrubs from 0.2–4 m (8 in-13 ft) tall, but one New Zealand species, Kotukutuku (Fuchsia excorticata), is unusual in the genus in being a tree, growing up to 12–15 m (39-49 ft) tall.
Fuchsia leaves are opposite or in whorls of 3–5, simple lanceolate and usually have serrated margins (entire in some species), 1–25 cm long, and can be either deciduous or evergreen depending on the species. The flowers are very decorative pendulous "eardrop" shape, borne in profusion throughout the summer and autumn, and all year in tropical species. They have four long, slender, sepals and four shorter, broader, petals; in many species the sepals are bright red and the petals purple (colours that attract the hummingbirds that pollinate them), but the colours can vary from white to dark red, purple-blue, and orange. A few have yellowish tones, and recent hybrids have added the color white in various combinations. The ovary is inferior and the fruit is a small (5–25 mm) dark reddish green, deep red, or deep purple, edible epigynous berry containing numerous very small seeds. Many people describe the fruit as having a subtle grape flavor spiced with black pepper.
Fuchsias are popular garden shrubs, and once planted will give years of pleasure for minimal amount of care. The British Fuchsia Society maintain a list of "hardy" fuchsias that have been proven to survive a number of winters throughout Britain and to be back in flower each year by July. Enthusiasts report that hundreds and even thousands of hybrids survive and prosper throughout the British Isles.
Fuchsias from sections Quelusia (F. magellanica and variants, F. regia, etc), encliandra (some encliandra hybrids flower continuously), Skinnera (F. excorticata, F. perscandens) and Procumbentes (F. procumbens is suitable as a groundcover) are proven to be hardy in widespread areas of Britain. Some temperate species will survive outdoors in the temperate areas, though may not always flower in the average British summer.
While the original pronunciation from the word's German origin is "fook-sya" /ˈfʊksja/, most English speakers tend to say "fyew'sha" /ˈfjuːʃə/. As a result, the word is often subjected to misspellings such as "fushcia" or "fuschia". In English, the other accepted pronunciation is "fyewk'see-ah", which is somewhat truer to the word's origin.
Among horticultural writers the fuchsia is jocularly referred to as "the world's most carefully spelled flower," a label which was apparently first given to it by Jimmy Barnes
Leonhart Fuchs was born in 1501. He occupied the chair of Medicine at the Tübingen University from the age of 34 until his death, on the 10th May 1566. Besides his medical knowledge, according to his record of activities which was extensive for the time, he studied plants. This was natural, for most of the remedies of the time were herbal and the two subjects were often inseparable.
In the course of his career Fuchs wrote De Historia Stirpium, which was published in 1542. In honour of Fuchs' work the fuchsia received its name shortly before 1703 by Charles Plumier. It was Plumier who compiled his Nova Plantarum Americanum, which was published in Paris in 1703, based on the results of his plant-finding trip to America in search of new genera.
The fuchsia was in England in the 18th century when Plumier took some seeds there after his expedition. The species he took was Fuchsia triphylla flore coccinea where specimens appeared in France. This may account for its reference under the name of "Thiles" in the Journal des Observations Botaniquesin 1725. Thiles was the name by which the plant was known in southern Chile where Plumier discovered it.
Professor Philip Munz, in his A Revision of the Genus Fuchsia, 1793 says, however, that the fuchsia was first introduced into England by a sailor who grew it in a window where it was observed by a nurseryman from Hammersmith, a Mr. Lee, who succeeded in buying it and propagating it for the trade. This was one of the short tubed species such as magellanica or coccinea.
This report is further embellished in various publications where Captain Firth, a sailor, brought the plant back to England from one of his trips to his home in Hammersmith where he gave it to his wife. Later on James Lee of St. Johns Wood, nurseryman and an astute businessman, heard of the plant and purchased it for £80. He then propagated as many as possible and sold them to the trade for prices ranging from £10 to £20 each.
In the Floricultural Cabinet, 1855, there is a report which varies slightly from the above. Here it says that F. coccinea was given to Kew Garden in 1788 by Captain Firth and that Lee acquired it from Kew.
By this time plant-collecting fever had spread and many species of numerous genera were introduced to England, some living plants, others as seed. The following plants were recorded at Kew: F. lycioides, 1796; F. arborescens, 1824; F. microphylla, 1827; F. fulgens, 1830; F. corymbiflora, 1840; and F. apetala, F. decussata, F. dependens and F. serratifolia in 1843 and 1844, the last four species attributable to Messrs. Veitch of Exeter.
With the increasing numbers of differing species in England plant breeders began to immediately develop hybrids to develop more desirable garden plants. The first recorded experiments date to 1825 as F. arborescens Χ F. macrostemma and F. arborescens X F. coccinea where the quality of the resultant plants was unrecorded.
Between 1835 and 1850 there was a tremendous influx to England of both hybrids and varieties, the majority of which have been lost.
In 1848 Monsieur Felix Porcher published the second edition of his book Le Fuchsia son Histoire et sa Culture. This described 520 species. In 1871 in later editions of M. Porchers book reference is made to James Lye who was to become famous as a breeder of fuchsias in England. In 1883 the first book of English fuchsias was published.
Between 1900 and 1914 many of the famous varieties were produced which were grown extensively for Covent Garden market by many growers just outside London. During the period between the world wars, fuchsia-growing slowed down as efforts were made toward crop production until after 1949, where plant and hybrid production resumed on a large scale.[3]
Tasselled
Photographer: Shavonne Wong/Zhiffy Photography
Model: Diandra Forrest
Hair: Wade Lee
Makeup: Tatiana Ward
Assistant: Marcus Teo
OK, it's just in a Legal Journal's "Fiction Edition" (legal fiction?), but it's still pretty cool. Unfortunately, the printing process did a number on the photo itself. It looks better here than in reality, since I did some post processing.
The Postcard
A postally unused carte postale published by L.V. & Co. The card has a divided back, and the photography was by Aqua Photo of Paris.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
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