View allAll Photos Tagged Structure
Linemen prepare to pull an underground transmission cable through conduit at a transition structure.
A Structure Synth creation rendered with Kerkythea
Script (if anybody is interested)
set background #5274A2
skyship
{fy}skyship
{x 31 y -2.5 z -39.2 ry 15}rotor
{x -33.5 y -2.5 z -39.2 ry 15 }rotor
1 * {fy } 1 * { x 31 y -2.5 z -39.2}rotor
1 * {fy} 1 * {x -33.5 y -2.5 z -39.2}rotor
{y -5 z -29.7 x -0.85 s 5 color #800000}sphere
// ship
rule skyship{
{y -0 z -1 s 0.7 1 2.5 }body
{y -0 z -30 s 2 1 1 }body
{y -0.3 z -20 s 1 1.5 1 }body
{x 31 z -35 s 0.5 1 0.5 }body
{x -33.5 z -35 s 0.5 1 0.5 }body
}
//////////// parts
rule body md 36 { // md 18 for half only
{ ry 5.625 rx 82 s 1 1 1}RingPart
{ ry 10 x 1.7 } body
}
rule RingPart{
{ y -1.5 rx -90 } roof
{ rx -30 z 2 s 2.2 4 1 color #80331a} box
}
rule roof{
{z 4 } panel
{z 6.9 rx 40 s 2.8 2 0.1 color #80331a} box
}
rule panel{
{ y -2 z 1.1 ry 90 s 4 0.5 0.5 color gray b 0.2} box
{ y -1.9 z -7 s 2.7 0.01 12 color gray b 0.8} box
}
#define blades 10
/////////////////
rule rotor md blades {
{ ry 10 rx 90 s 0.5 0.1 5 color #80331a}box
{z 8 y -2.5 rz 15 s 2 0.1 20 color gray b 1.2} box
{y -3 z 0 rx -20 rz 8 ry 5 s 0.6 0.01 1.2 color #80331a} box
{ ry 360/blades x 0.4} rotor
}
"Bridge 1"
STRUCTURES is a series of generative art pieces the explores the constructions of our world by taking photographs of man-made and natural structures and placing them into a new structure. This process semi-randomly fragments and rearranges the photographs into a grid of my design. I'll often run the images through this process several times, using various grid structures along the way.
Programs used: Lightroom, Photoshop, Processing
Node structure visualizing text structure; a text comprises of paragraphs, each paragraph contains sentences, sentences often are compilations of subsentences and these consist of words. And words have letters.
Structure Synth terminates the recursion if the number of objects is greater than the given threshold ('set maxobjects ...') or if the recursion depth becomes greater than the maximum depth ('set maxdepth ...'). It is also possible to set a maxdepth for an individual rule ('rule R1 maxdepth 5').
I've added two new rules for controlling the termination.
'set minsize {size}' and 'set maxsize {size}' allows you to specify how large or small a given object can be before terminating. The 'size' parameter refers to the length of the diagonal of a unit cube in the current local state. (The initial coordinate frame goes from (0,0,0) to (1,1,1) and hence has a diagonal length of sqrt(3)~1.7). It is possible to specify both a mix and a min size. The termination criteria only stops the current branch - if other branches are still within a valid range, the will be continued.
This is very useful for preventing Structure Synth from creating boxes which cannot be seen anyway or from growing without bounds.
The image shows the same structure at three different minimum size tresholds.
Example script (requires a post-version 0.9 of Structure Synth!):
set minsize 0.8 // or 0.4, or 0.2
set maxdepth 600
set background #333
{ h 30 sat 0.2 h -67 b 0.8 } spiral
rule spiral w 100 {
box2
{ y 0.4 rx 90 hue 1 s 0.995 b 0.999 } spiral
}
rule spiral w 100 {
box2
{ y 0.4 rx 90 hue -1 rz -90 s 0.995 b 0.999 } spiral
}
rule spiral w 100 {
box2
{ y 0.4 rx 90 hue 0 rz 90 s 0.995 b 0.995 } spiral
}
rule spiral w 3 {
{ rz 5 s 1 1 1 } spiral
{ ry 4 h 3 s 1 1 1 } spiral
}
rule box2 {
{ s 1 5 1 } box
}
rule box2 {
{ s 5 1 1 } box
}
rule box2 {
}
Фото начала реконструкции ЦУМа, Киев 2013.
Photo of beginning of Central Universal Shop in Kiev. 2013.
The Santa Fe depot was built in 1913. The Burlington Northern Santa Fe Railway, owners of the depot, donated the structure to the city. I photographed the building in 2010 when the windows were boarded-up and the building was not well maintained. In this 2019 photograph the building had been for the most part restored. The structure was listed on the National Register of Historic Places.
It became apparent that the site was well suited for another high-profile memorial since it sat directly south of the White House. By 1901 the Senate Park Commission, better known as the McMillan Commission, had proposed placing a pantheon-like structure on the site hosting "the statues of the illustrious men of the nation, or whether the memory of some individual shall be honored by a monument of the first rank may be left to the future"; no action was ever taken by Congress on this issue.[3]
The completion of the Tidal Basin Inlet Bridge in 1908 helped to facilitate the recreational usage of East and West Potomac Parks. In 1918, large liquid-chlorine dispensers were installed under the bridge to treat the water and make the Tidal Basin (also known as Twining Lake) suitable for swimming. The Tidal Basin Beach, on the site of the future Memorial, opened in May 1918 and operated as a "Whites Only" facility through 1925, when it was permanently closed to avoid the question of racial integration.[5]
A design competition was held for a memorial to Theodore Roosevelt in 1925. The winning design was submitted by John Russell Pope and consisted of a half-circle memorial situated next to a circular basin. The plan was never funded by Congress and was not built.[3]
Jefferson Memorial Side View
The Memorial's chance came in 1934 when President Franklin Roosevelt, an admirer of Jefferson himself, inquired to the Commission of Fine Arts about the possibility of erecting a memorial to Jefferson, including it in the plans for the Federal Triangle project, which was under construction at the time. Later the same year, Congressman John J. Boylan jumped off FDR's starting point and urged Congress to create the Thomas Jefferson Memorial Commission. Boylan was appointed the Commission's first chairman and Congress eventually appropriated $3 million for a memorial to Jefferson.[3]
Jefferson warns that a nation cannot be "ignorant and free."
The Commission chose John Russell Pope as the architect in 1935. Pope was also the architect of the National Archives Building and original (west) building of the National Gallery of Art. He prepared four different plans for the project, each on a different site. One was on the Anacostia River at the end of East Capitol Street; one at Lincoln Park; one on the south side of the National Mall across from the National Archives; and one situated on the Tidal Basin, directly south of the White House. The Commission preferred the site on the Tidal Basin mainly because it was the most prominent site and because it completed the four-point plan called for by the McMillan Commission (Lincoln Memorial to the Capitol; White House to the Tidal Basin site). Pope designed a very large pantheon-like structure, to sit on a square platform, and to be flanked by two smaller, rectangular, colonnaded buildings.[3]
[edit] Construction
Under construction in 1941, as seen from across the Tidal Basin
Construction began on December 15, 1938 and the cornerstone was laid on November 15, 1939, by president Franklin Roosevelt. By this point Pope had died (1937) and his surviving partners, Daniel P. Higgins and Otto R. Eggers, took over construction of the memorial. The design was modified at the request of the Commission of Fine Arts to a more conservative design.
Construction commenced amid significant opposition. The Commission of Fine Arts never actually approved any design for the Memorial and even published a pamphlet in 1939 opposing both the design and site of the Memorial. In addition, many Washingtonians opposed the site because it was not aligned with L'Enfant's original plan. Finally, many well established elm and cherry trees had to be removed for construction. Construction continued amid the opposition.[3]
In 1939, the Memorial Commission hosted a competition to select a sculptor for the planned statue in the center of the Memorial. They received 101 entries and chose six finalists. Of the six, Rudulph Evans was chosen as the main sculptor and Adolph A. Weinman was chosen to sculpt the pediment relief situated above the entrance.[3]
The Jefferson Memorial was officially dedicated by President Roosevelt on April 13, 1943, the 200th anniversary of Jefferson's birthday. At that time, Evans' statue had not yet been finished. Due to material shortages during World War II, the statue that was installed at the time was a plaster cast of Evans' work painted to look like bronze. The finished bronze statue was installed in 1947, having been cast by the Roman Bronze Company of New York.[3]
One of the last American public monuments in the Beaux-Arts tradition,[citation needed] the Memorial was severely criticized even as it was being built, by those who adhered to the modernist argument that dressing 20th century buildings like Greek and Roman ones constituted a "tired architectural lie."[citation needed] More than 60 years ago, Pope responded with silence to critics who dismissed him as part of an enervated architectural elite practicing "styles that are safely dead."[citation needed] As a National Memorial it was administratively listed on the National Register of Historic Places on October 15, 1966.[1][6]
[edit] Description
The monument's marble steps, portico, and circular colonnade of Ionic order columns, and shallow dome.
Composed of circular marble steps, a portico, a circular colonnade of Ionic order columns, and a shallow dome, the building is open to the elements. Pope made references to the Roman Pantheon and Jefferson's own design for the Rotunda at the University of Virginia. It is situated in West Potomac Park, on the shore of the Tidal Basin of the Potomac River. The Jefferson Memorial, and the White House located directly north, form one of the main anchor points in the area of the National Mall in D.C. The Washington Monument, just east of the axis on the national Mall, was intended to be located at the intersection of the White House and the site for the Jefferson Memorial to the south, but soft swampy ground which defied 19th century engineering required it be sited to the east.[citation needed]
[edit] The interior
Rudulph Evans's statue of Thomas Jefferson with excerpts from the Declaration of Independence to the right
The interior of the memorial has a 19-foot (5.8 m) tall, 10,000 lb (4336 kg) bronze statue[7] of Jefferson by sculptor Rudulph Evans[7] showing Jefferson looking out toward the White House. This statue was added four years after the dedication. Most prominent are the words which are inscribed in a frieze below the dome: "I have sworn upon the altar of God eternal hostility against every form of tyranny over the mind of man."[8] This sentence is taken from a September 23, 1800, letter by Jefferson to Dr. Benjamin Rush wherein he defends the constitutional refusal to recognize a state religion.
On the panel of the southwest interior wall are excerpts from the Declaration of Independence, written in 1776:[9]
We hold these truths to be self-evident: that all men are created equal, that they are endowed by their Creator with certain inalienable rights, among these are life, liberty, and the pursuit of happiness, that to secure these rights governments are instituted among men. We...solemnly publish and declare, that these colonies are and of right ought to be free and independent states...And for the support of this declaration, with a firm reliance on the protection of divine providence, we mutually pledge our lives, our fortunes, and our sacred honour.
Note that the inscription uses the word "inalienable", as in Jefferson's draft, rather than "unalienable", as in the published Declaration.[10]
On the panel of the northwest interior wall is an excerpt from "A Bill for Establishing Religious Freedom, 1777", except for the last sentence, which is taken from a letter of August 28, 1789, to James Madison:[9][11]
Almighty God hath created the mind free...All attempts to influence it by temporal punishments or burthens...are a departure from the plan of the Holy Author of our religion...No man shall be compelled to frequent or support any religious worship or ministry or shall otherwise suffer on account of his religious opinions or belief, but all men shall be free to profess and by argument to maintain, their opinions in matters of religion. I know but one code of morality for men whether acting singly or collectively.
Detail of the statue
The quotes from the panel of the northeast interior wall are from multiple sources. The first sentence, beginning "God who gave...", is from "A Summary View of the Rights of British America".[12] The second, third and fourth sentences are from Notes on the State of Virginia.[13] The fifth sentence, beginning "Nothing is more...", is from Jefferson's autobiography.[14] The sixth sentence, beginning "Establish the law...", is from an August 13, 1790, letter to George Wythe.[15] The final sentence is from a letter of January 4, 1786, to George Washington[16]:[9]
God who gave us life gave us liberty. Can the liberties of a nation be secure when we have removed a conviction that these liberties are the gift of God? Indeed I tremble for my country when I reflect that God is just, that his justice cannot sleep forever. Commerce between master and slave is despotism. Nothing is more certainly written in the book of fate than these people are to be free. Establish the law for educating the common people. This it is the business of the state to effect and on a general plan.
The inscription on the panel of the southeast interior wall is redacted and excerpted from a letter July 12, 1816, to Samuel Kercheval:[17][9]
I am not an advocate for frequent changes in laws and constitutions. But laws and institutions must go hand in hand with the progress of the human mind. As that becomes more developed, more enlightened, as new discoveries are made, new truths discovered and manners and opinions change, with the change of circumstances, institutions must advance also to keep pace with the times. We might as well require a man to wear still the coat which fitted him when a boy as civilized society to remain ever under the regimen of their barbarous ancestors.
[edit] Criticism
Cato Institute Fellow and University of Alberta history professor emeritus Ronald Hamowy has called the inscriptions "[p]erhaps the most egregious examples of invoking Jefferson for purely transient political purposes." Hamowy argues that:
Planned and built during the administration of Franklin D. Roosevelt, the walls of the memorial are adorned with quotations from Jefferson’s writings, many of which suggest that Jefferson advocated positions consistent with the aims of the New Deal—with which he would, in fact, have had little sympathy. Thus, Jefferson’s admonition that an educated electorate was essential if liberty were to be preserved is transmuted into a call for universal public education. And his caution that man, as he advances in his understanding of the world, must accompany his greater enlightenment with changes in his social institutions becomes a justification for a new theory of government in keeping with the social-democratic principles that animated the New Deal.[18]
The excerpts chosen from the Declaration have been criticized because the first half alters Jefferson's prose (for the sake of saving space) and eliminates the right of revolution passage that Jefferson believed was the point of the Declaration, while much of the second half (from "solemnly publish" to "divine providence") was not written by Jefferson.[19]
The fifth sentence quoted on the northeast interior wall ("Nothing is more certainly written in the book of fate than these people are to be free.") has been called "misleadingly truncated" by historian Garry Wills, because Jefferson's sentence continued with: "Nor is it less certain that the two races, equally free, cannot live in the same government."[20]
[edit] Location
Jefferson Memorial, with Potomac River in the background. Photographed from the top of the Washington Monument, January 1967
The site of the monument is in Washington D.C. West Potomac Park, on the shore of the Potomac River Tidal Basin, is enhanced with the massed planting of Japanese cherry trees, a gift from the people of Japan in 1912.[21]
The monument is not as prominent in popular culture as other Washington, D.C. buildings and monuments, possibly due to its location well removed from the National Mall and the Washington Metro. The Jefferson Memorial hosts many events and ceremonies each year, including memorial exercises, the Easter Sunrise Service, and the annual National Cherry Blossom Festival.[21]
The monument is open 24 hours a day but park rangers are there only until 11:30 p.m.;however, the monument is only a few hundred yards from the National Park Police D.C. Headquarters in East Potomac Park. (0330 UTC)[22]
Arcelormittal Orbit
The ArcelorMittal Orbit is a 115-metre-high (377 ft) sculpture and observation tower in the Olympic Park in Stratford, London. It is Britain's largest piece of public art,[3] and is intended to be a permanent lasting legacy of London's hosting of the 2012 Summer Olympics, assisting in the post-Olympics regeneration of the Stratford area. Sited between the Olympic Stadium and the Aquatics Centre, it allows visitors to view the whole Olympic Park from two observation platforms.
Orbit was designed by Anish Kapoor and Cecil Balmond of engineering Group Arup. Announced on 31 March 2010, it was expected to be completed by December 2011, though like many projects on the Olympic Park that date was pushed back. The project came about after Mayor of London Boris Johnson and Olympics Minister Tessa Jowell decided in 2008 that the Olympic Park needed "something extra". Designers were asked for ideas for an "Olympic tower" at least 100 metres (330 ft) high, and Orbit was the unanimous choice from proposals considered by a nine-person advisory panel.
The project was expected to cost £19.1 million, with £16 million coming from Britain's richest man, the steel tycoon Lakshmi Mittal, Chairman of the ArcelorMittal steel company, and the balance of £3.1 million coming from the London Development Agency. The name "ArcelorMittal Orbit" combines the name of Mittal's company, as chief sponsor, with "Orbit", the original working title for Kapoor and Balmond's design.
Kapoor and Balmond believe that Orbit represents a radical advance in the architectural field of combining sculpture and structural engineering, and that it combines both stability and instability in a work that visitors can engage with and experience via an incorporated spiral walkway. It has been both praised and criticised for its bold design. It has also been criticised as a vanity project, of questionable lasting use or merit as a public art project.
en.wikipedia.org/wiki/ArcelorMittal_Orbit
The real Ludia Village (as opposed to the huts built for the tourists). The villages in this area are remote and far from Bhuj which is the nearest town. The men might have to walk many kilometres into Bhuj for work. It is scrub desert near the Pakistan border in north Kutch. New villages are being built in the area but these will be unattractive breeze block structures
www.facebook.com/neospicaLive (images and share links)
www.youtube.com/user/NeoSpicaTutorial "NeoSpica Paper Structures" (videos about paper structures. I also include videos with elaboration process.)
www.flickr.com/photos/neoliveart/ (images)
www.youtube.com/user/CadDesignLive (virtual 3D shapes)
Thanks for your time.
Mother of the Fatherland or, and more commonly referred to as, 'Mother of the Motherland' (Russian: Родина-мать) is a monumental statue in Kiev, the capital of Ukraine. The sculpture is a part of Museum of the Great Patriotic War, Kiev. Designed by Yevgeny Vuchetich, the stainless steel statue stands 62 m (203 ft) tall upon the museum building with the overall structure measuring 102 m (335 ft) and weighing 560 tons. The sword in the statue's right hand is 16 m (52 ft) long weighing 9 tons, with the left hand holding up a 13 by 8 m (43 by 26 ft) shield with the State Emblem of the Soviet Union. The Memorial hall of the Museum displays marble plaques with carved names of more than 11,600 soldiers and over 200 workers of the home-front honored during the war with the title of the Hero of the Soviet Union and the Hero of Socialist Labor. On the hill beneath the museum, traditional flower shows are held. The sword of the statue was cut because the tip of the sword was higher than the cross of the Kiev Pechersk Lavra. [Wikipedia.org]
Yaxchilán, Structure 33
Yaxchilan is an ancient Maya city located on the bank of the Usumacinta River in what is now the state of Chiapas, Mexico. In the Late Classic Period, Yaxchilan was one of the most powerful Maya states along the course of the Usumacinta, with Piedras Negras as its major rival. Architectural styles in subordinate sites in the Usumacinta region demonstrate clear differences that mark a clear boundary between the two kingdoms.
Yaxchilan was a large center, important throughout the Classic era, and the dominant power of the Usumacinta River area. It dominated such smaller sites as Bonampak, and had a long rivalry with Piedras Negras and at least for a time with Tikal; it was a rival of Palenque, with which Yaxchilan warred in 654.
The site is particularly known for its well-preserved sculptured stone lintels set above the doorways of the main structures. These lintels, together with the stelae erected before the major buildings, contain hieroglyphic texts describing the dynastic history of the city.
Structure 33, in the Central Acropolis, has been described as a masterpiece in stone and was probably dedicated in 756 by Bird Jaguar IV. The structure overlooks the plaza and the river and would have been prominent to river traffic in the 8th century. It has plain lower walls with three doorways, each of the which supports a well preserved lintel (Yaxchilan Lintels 1 to 3). In the centre of the back wall of the structure, opposite the central doorway, is a niche containing the headless sculpture of a human figure, probably Bird Jaguar IV himself. The roof of the structure is largely intact, including a sloped roof supporting a frieze and a well preserved roof comb. There are niches in both the roof comb and the frieze, the niche in the roof comb contains the remains of a sculpted figure. Tennons on both roof sections once supported stucco decoration. Leading up to the front of Structure 33 from the plaza is a stairway, the top step of which is sculpted, this step is known as Hieroglyphic Stairway 2.
(source: en.wikipedia.org/wiki/Yaxchilan)
The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.
The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.
Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.
Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.
The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.
History
Main article: History of the Palace of Versailles
An engraving of Louis XIII's château as it appeared in 1652
Versailles around 1652, engraving by Jacques Gomboust [fr]
In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.
When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.
Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.
Construction
Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.
Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.
Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.
War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.
Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.
Role in politics and culture
The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.
By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[
Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.
During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.
In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.
The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.
As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.
By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.
19th century – history museum and government venue
When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.
In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.
The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.
Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.
During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.
The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.
20th century
The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.
The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.
More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.
In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.
Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.
One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.
21st century
In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.
The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.
The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.
Architecture and plan
The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.
The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[
The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.
Royal Apartments
The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.
The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.
The queen's apartments served as the residence of three queens of France – Marie-Thérèse 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, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.
Ambassador's Staircase
The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.
The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.
The State Apartments of the King
The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.
The Salon of Hercules
This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.
The Salon of Abundance
The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.
The Salon of Venus
This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.
The Salon of Mercury
The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.
The Salon of Mars
The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.
The Salon of Apollo
The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.
The Salon of Diana
The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.
Private apartments of the King and Queen
The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.
The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.
The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.
The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.
Private apartments of The Queen
The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.
Hall of Mirrors
The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.
The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.
Royal Chapel
The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.
Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.
Royal Opera
The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.
In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.
Museum of the History of France
Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.
The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.
Estate of Versailles
The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts
The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.
The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.
Gardens
The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.
Subsidiary structures
The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.
In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.
La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.
Petit Trianon
The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.
In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.
The Grand Trianon
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.
The Queen's hamlet and Theater
Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.
Modern political and ceremonial functions
The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).
In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.
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Photos: Anthony Clochard / wuipdesign.github.io
Assemblage : Spatial Object/Collage.
Film Still, Architectural Plan, Lead, Stained Glass, String and Pins.
Order and randomness, meticulousness and impulsiveness, drawing excess and graphic reduction are just some of the vibrant, tension-loaded poles that characterize the large-format drawings of the German artist Jorinde Voigt (b. 1977).
Her works condense various elements of the cultural environment in the dynamic sequences of strokes, turbulently curving lines, diagrammatic structures, numbers, word fragments and collaged color areas of her drawings – which the passionate cello player refers to as “scores” or “notations”. She systematically analyses pop songs or pieces of classical music, kisses, temperature profiles, an eagle’s flight-path, horizon lines or the color values of individual plants and the contents of philosophical texts. Voigt uses measureable parameters like place, time, or sound volume, and self-defined rules or selected algorithms, and combines these fragments and impressions of reality to produce dynamic relational structures, thus creating a polyphony of different ways of perceiving the world.
Jorinde Voigt’s largest solo exhibition to date – which builds a bridge from her early notations, reminiscent of classical conceptual art, to her most recent works that reflect the human desire to fly – traces the development of the specific system of symbols the artist uses to document and orchestrate processes of perception, imagination and thought.
Curator: Stephanie Damianitsch
The DNA structure image is one of the pictures electronically placed on the phonograph records which are carried onboard the Voyager 1 and 2 spacecraft.
Credit: Jon Lomberg
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The ISIM Structure in the vacuum in the NASA Goddard Space Flight Center Space Environment Simulator.
Credit: NASA/Chris Gunn