One visit is not enough to appreciate all the beauty of this palace.
From my first visit I didn't remember the ceilings, dominated by the look of everything at eyes' level. I had to come twice, prepared to look for details, to really enjoy the diversity and beauty of the painted ceilings.
As much the Castle is imposing, as much the Grand Trianon is a gem of architectural elegance. The choice of this retreat at the end of the Park of Versailles by Louis XIV and the choice of the architect Jules Hardouin-Mansart for its erection in 1687-1688 in a Italian style was a great success so that the Grand Dauphin, the Queen Marie Leszczinska, Napoleon I, King Louis-Philippe staid there and that finally the General de Gaulle decided to restore it in 1962-1965.
The Palace of the Grand Trianon consists of two buildings on ground floor, covered wit a flat roof with balustrade. The two wings are connected by a peristyle adorned with pink marble columns. The sight on the flowered gardens is beautiful.
Inside the mural decoration of the time of Louis XIV was restored. The furniture is in the style of the time of Napoleon I.
I felt quite pleased with my visit here. The Grand Trianon is much calmer than the castle itself. In sunny weather it is a very nice promenade distant for thirty minutes on foot.
I always liked malachite (hydrated copper carbonate if my mineralogy souvenirs are right) it is thus with great pleasure that I discovered this “Salon des Malachites” in the right wing (room n° 13) of the Grand Trianon.
In the beginning it was the “Cabinet of Sunset” of Louis XIV, then the bedroom of the duchess of Burgundy and finally the drawing-room of emperor Napoleon I.
The blocks of malachite, extracted of the Ural Mountains, were offered to Napoleon by the tsar Alexander I after the signature of the treaty of Tilsitt. It should be known that at the time malachite was a Russian speciality. There is at the Palace of St-Petersburg another famous malachite room.
The furniture elements with malachite were created by Percier and realised by Jacob-Desmalter in 1809. The basin, the candelabra and the pieces of furniture with malachite top were initially at the Palais des Tuileries before they were moved to decorate this room of the Grand Trianon.
The remainder of the furniture of the room is decorated with fabrics of red colour what causes a seizing contrast with the green malachite.
Louis XIV particularly liked the Trianon and would stay there in the summer for short “holidays” close to the castle of Versailles but away from the strict obligations of the royal court. He occupied there successively three apartments.
The room in the left wing is particularly elegant. It is preceded by a large cabinet called Mirror Room.
After Louis XIV the room was occupied by the Grand Dauphin. With the Revolution the pieces of furniture of the Trianon were dispersed. It is the emperor Napoleon I who restored and arranged this palace. The former room of King Louis XIV became the room of the empress Marie-Louise. The bed was ordered by Napoleon for the Palace des Tuileries.
Later king Louis Philippe (1830 - 1848) had this bed widened and transferred to the Grand Trianon for him and queen Marie-Amélie. The back of the bed carries the letters LP topped by a crown.
This room is often called "Room of the Empress"; furniture is from the Empire and Louis Philippe period but the mural decoration is generally that of the time of Louis XIV.
The family living room of king Louis-Philippe is one of my preferred rooms of the right wing of the Grand Trianon. In the beginning there were two rooms, a bedroom and an anteroom of the first apartment of Louis XIV. Under Napoleon I these were the Officers room and the Princes room.
King Louis-Philippe joined the two rooms into a living room intended for the meetings of the royal family and their guests.
Paintings on mythological subjects date from the end of the 17th century.
The furniture was made by Brion and Jacob-Desmalter. The princesses could arrange their needlework in numbered drawers of the family work-tables.
It is a very beautiful, very clear living room with beautiful harmonies of colours.
This very beautiful gallery, 52 m long and 7 m broad, ends the right wing of the Grand Trianon palace and leads towards Trianon-sous-Bois (not visited).
The building shelters the flower beds from the northern wind.
The gallery contains the collection of 21 paintings of the painter Jean Cotelle carried out about 1690 at the request of the King Louis XIV. These paintings describe the gardens of Trianon and Versailles such as they were at the time of the king.
They are historical documents which served for the recent restoration of the gardens of Versailles.
They were replaced by other paintings under Napoleon but found again their place in the gallery in 1913.
Remarkable are also the 5 Empire crystal chandeliers with 24 lights which came from the crystal manufacture of Montcenis.
In the niches there are sculptures of Lespingola representing children.
Louis-Philippe transformed the gallery into dining room.
This use of this beautiful gallery is still actual. The Cotelle Gallery can be rented for private events and can contain 200 people.
This would be a fine place for a next international VT meeting on condition of finding a very generous sponsor!
Versailles is a "must see", if only to understand what grandeur a human mind could create. The gardens are created to be seen from the "God's eye" perch of the parterres.
The Hall of Mirrors is now reopened.
Versailles is outside Paris proper. You can use your Paris Museum pass at Versailles, but for more access get the Versailles Passport. You can buy your Versailles Passport online, although you must commit to a certain date. Either way gets you out of the long ticket line once you are there.
Versailles is mostly the creation of Louis XIV (5 September 1638 – 1 September 1715), designed to express and reinforce his power. The daily routine in the chateau reinforced the power further as did the gardens, which are created to be seen from the "God's eye" perch of the parterres.
My Versailles page is in progress. Most people focus on the chateau itself and give the gardens a quick look-see, but that's a mistake. The gardens have both wide vistas and small secluded areas that delight. So my pictures on this tip are the gardens.
It was not without emotion that I pushed my head in the entry - one does not go further - of the theatre of Marie-Antoinette. This simple building located at a hundred meters of the palace of the Petit Trianon contains an oval room which was the private theatre of the Queen. It was built in 1780 by the architect Richard Mique.
It is a charming little theatre with decorative pasteboard sculptures, with blue hangings, a gold-embroidered curtain. The stage is larger than the auditorium.
It is an interesting theatre from the technical point of view because the machinery is the original one from the period and the decoration is also original though restored. Close to the entry one can see a video explaining the lighting of this theatre by the means of candles.
It is also a moving place which reveals the personality of Marie-Antoinette always in search of entertainments and who liked to perform on scene. She was very elegant but it is known as that she sang better than she played roles.
This place is also an example of the thoughtlessness, even more, the political unconsciousness of Marie-Antoinette. By holding the representations with a public of close friends she induced jealousy among the nobility which was not invited. Moreover she played, against the will of King Louis XVI, the role of Rosine in “the Barber of Seville” of Beaumarchais, an obvious satire of the nobility whereas the spirit of the revolution was already moving in France.
The empress of Austria Maria -Theresa told her daughter Marie-Antoinette, who had in no way inherited the political cleverness of her mother, to stop performing.
By itself this small artificial cave located between the "Belvedere" and the "Orangerie" (N° 9 on the tourist map of the “Field of Marie-Antoinette”) has nowadays nothing charming but the Queen liked to take refuge there near the small pond which is overlooked by the "Belvedere".
She was indeed in the cave on this afternoon of October 5th, 1789 when a page brought a message announcing that the Parisian rioters, mainly women and some revolutionary leaders disguised as women, were marching on Versailles and that she was requested at the castle.
King Louis XVI had been meanwhile found in the woods where he was hunting as usual.
Some members of the royal council advised them to flee Versailles but the King, as always, hesitated.
It was the last day in Versailles of Louis XVI and Marie-Antoinette. The beginning of their tragic end.
Hmmm im on the fence with this review. Yes the interior was nice but couldnt get past the fact that I felt like cattle being hearded from room to room. Couldnt wait to get outside and roam free. The gardens were beauiful
When visiting the drawing-rooms of Venus, Abundance, Diane and Mars one can imagine going back a few centuries and attend one of the evening receptions which Louis XIV offered to the Court in his Grand Apartments three times per week from 18 to 22 h. The festivities began with music, dances, parts of billiards in the Diane room (the king played billiards very well) and cards.
A light dinner was served in the Venus room on silver tables weighing more than 300 kg. These tables were covered with dishes, vases, candlesticks in silver like all the furniture. In the Abundance room were the dressers, also in silver, for fine liquors, wines, tea, coffee and hot chocolate.
The rooms were lit by thousands of candles. The Mars room was the ballroom.
The Venus drawing-room owes its name to the mythological painting of the ceiling by Houasse. The room is decorated with "trompe l'oeil" paintings which give the effect to be sculptures and of a statue of Louis XIV.
The rather small room known as "Abundance room" owes its name to the painting of the ceiling representing “Abundance and the Liberality” of the painter Rene-Antoine Houasse (1683). The room opened on the Cabinet of Curiosities which contained the royal collections.
I liked the walls covered with an emerald green and gold velvet (restored in 1955) what contrasts with other decorations of the Royal Apartments. As we can see it today the décor of the "Salon de l'Abondance" goes back to King Louis Philippe. In the Diane drawing-room stands a remarkable bust of the king by the Italian sculptor Le Bernin.
In that period all the rooms of the "Grands Appartements du Roi" were decorated with silver furniture. There remains nothing of it. In December 1689 the King had all the silver furniture of his Apartments melted down to finance his wars. That represented 20 tons of silver. All these beautiful artefacts in silver had cost 10 million "livres" (pounds) of that time; Louis XIV obtained only 2 million livres. An enormous destruction of art!
I read here "Versailles is mostly the creation of Louis XIV (23 August 1754 – 21 January 1793)"
To avoid confusion Louis XIV was born in 1638 and died in 1715.
It was Louis XVI, born in 1754, who died on the guillotine in 1793!
Unfortunately we chose the 25th december for visiting Versailles. The castle was closed!! You have to know that my husband and I never plan some details. So we baught tickets for a train to see the gardens of Versailles. Although the castle was closed we spent 5 hours there.
Behind the Hall of Mirrors, symbol of the power of the King stands the remarkable project manager Charles le Brun (1619-1690).
As “Premier peintre du Roi" first painter of the King, as director of the Gobelins (royal factory of tapestries and furniture), as a chancellor of the royal Academy of Painting and Sculpture, le Brun superintended all the decoration of the palace of Versailles.
He designed the decorations, the paintings of the royal apartments, the ornaments of the woodworks, the tapestries, even the locks. He directed the many teams, and could give a unit of style to the décor.
One could say of this complete decorator that “all arts worked under him”.
From 1678 to 1684, Charles le Brun decorated 1.000 m2 of the ceiling of the Hall of Mirrors with paintings illustrating the military campaigns of Louis XIV and his actions of interior policy. He upset the codes of official painting by painting for the first time in this type of compositions the face of the King.
As what concerns the 357 mirrors it is said that Venetian glassmakers were attracted in France by Colbert. These glassmakers coming from Murano were pursued in France by Venetians who tried to assassinate them to prevent the transmission of their production secrecy. A quite profitable manufacturing as Venetian mirrors did cost much more than a painting of Rubens in that time!
Recent chemical analyzes showed that the mirrors of Versailles were indeed manufactured in France, by the Saint-Gobain company created by Louis XIV, because typical components coming from Normandy were found in these mirrors.
At the time the silvering of the mirrors was done with tin and mercury what involved a high mortality among the workmen exposed to the toxic mercury vapours.
During the recent restoration of the gallery 30% of the old mirrors had to be replaced whereas silvering with mercury is prohibited since 1850.
Now, as visitors will see, the mirrors with mercury give special reflections, tonality and depth, while modern mirrors produce rather flat images.
Old mirrors were found at antique dealers and in the attics of the French Senate.
Since the silvering of these old mirrors contains approximately 19% mercury an analysis of the air of the hall of mirrors was carried out.
Be reassured the content of mercury in the air of the gallery is lower than the WHO's standards.
With more than 700 rooms the Château de Versailles is one of the largest castles in the world. A visit to Versailles to view all the rooms and grounds will take you a full day.
More information to come.
Maybe the most beautiful room in the palace (if it is possible to choose one) is the Hall of Mirrors where glass is dominant.
Seventeen large mirrors face seventeen windows, with sparkling chandeliers enhancing light and colours.
The chandeliers opened a market to lead crystal, with "Versailles" style challenging Murano or Bohemia.