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Its Culmination at Vaux-Le-Vicomte by Chantal Marie Cormier a Thesis 0 Seventeenth-century garden theory in France: its culmination at Vaux-le-Vicomte by Chantal Marie Cormier A thesis submitted to the Faculty of Graduate Studies and Research 0 in partial fulfillment of the requirements for the degree of Master of Arts Department of Art History McGill University March 1992 @ Chantal Marie Cormier Montreal, Quebec, Canada 0 National Library BibliotheQue natiooale 11+1 of Canada du canada Canadian Theses Service Service des theSes canadiennes Ottawa. Canada K1A ON4 The author has granted an irrevocable non· l'auteur a accorde une licence irrevocable et exclusive licence allowing the National Ubnvy non exclusive pennettant a la Bibr10theque of C8nada to reproduce, loan, dsbibute or sell nationale du Canada de reproduire, prltter, copies of his/her thesis by any means and in distnbuer ou vendre des copies de sa these any foon or format, making this thesis available de quelque maniere et sous quelque fonne to interested persons. que ce soit pour mettre des exemplaires de cette these a la disposition des personnes interessees. The author retains ownership of the copyright l'auteur conserve la propriete du droit d'auteur in his/her thesis. Neither the thesis nor qui protege sa these. Ni la these ni des extraits substantial extracts from it may be printed or substantiels de celle-ci ne doivent Atre otherwise reproduced without his/her per· imprimes ou autrement reproduits sans son mission. autorisation. ISBN 0-315-74708-0 Canada 11 ABSTRACT 0 The palace and gardens of Vaux-le-Vicomte were created between 1656 and 1661 for the flamboyant French patron of the arts Nicolas Foucquet, Louis XIV's first fmance minister. In imitation of his predecessors, Foucquet required a country residence and jardin de plaisir worthy of his status. The end results are the fabulous gardens and chateau of Vaux-le-Vicomte. Unlike its prototypes, this complex had an unexpected and far-reaching influence throughout Europe. For the first time, Foucquet brought together the great triumvirate composed of Louis Le Vau, Charles LeBrun and Andre LeNostre who would later develop their ideas even further at Versailles. But in the end, scholars have agreed to designate Vaux-le-Vicomte as the first palace-garden complex of the true monumental French formal manner. Yet, despite this recognition, it is often neglected by garden historians in favor of its immediate successor, Versailles. By examining garden treatises and theories published at both the close of the sixteenth century and beginning of the seventeenth century, this thesis attempts to present Vaux-le-Vicomte as the ultimate end product of several generations of garden theorists. The conclusions of this study c suggest that Vaux-le-Vicomte should be recognized as playing a more significant role within the context of formal palace and garden design not only in seventeenth-century France but in other parts of Europe as well. 0 iii RESUME Le palais Vaux-le-Vicomte et ses jardins ont ete construits entre 1656 et 1661 pour Nicolas Foucquet, premier ministre des Finances de Louis XIV et flamboyant mecene fran9ais. A l'instar de ses predecesseurs, Foucquet devait avoir une residence digne de son rang, qui serait entouree d'un jardin de plaisir. Le magnifique chateau de Vaux-le­ Vicomte et ses jardins en sont la preuve. Contrairement a ses prototypes, cet ensemble architectural a eu une influence etonnante dans toute !'Europe. Pour la premiere fois, Foucquet a reuni le triumvirat desormais celebre: Louis Le Vau, Charles LeBrun et Andre LeNostre. Par la suite, en effet, ces trois hommes ont eu la chance de developper leurs idees et leurs talents encore plus avec 1' erection de Versailles. Les experts en sont venus a la conclusion que Vaux-le-Vicomte etait le premier palais-jardin qui representait le mieux le style fran9ais officiel de 1' epoque. Malgre cette reconnaissance, bien des chercheurs qui ont retrace l'histoire des jardins ignorent Vaux-le-Vicomte au profit de son successeur immediat, Versailles. Par 1'examen des traites et des etudes qui ont ete publies sur les jardins a la fm du XVIe siecle ou au debut du XVIIe siecle, le present memoire 0 tente de presenter Vaux-le-Vicomte comme la concretisation des idees de plusieurs generations d 'experts et de theoriciens en jardins. Les conclusions de la presente etude laissent entendre que vaux-le-Vicomte devrait etre reconnu comme ayant joue un role marquant dans I'architecture des palais officiels et de leurs jardins, non seulement dans la France du XVIIe siecle, mais aussi ailleurs en Europe. c c A Maman, pour ton dynamisme et I 'encouragement IV TABLE OF CONTENTS Abstract . ii Resume ................................................. iii Acknowledgements . v List of Illustrations . vi Glossary . IX Introduction . 1 Chapter One: Foucquet and his Age .............................. 4 France in Context Life of Foucquet The Fatal Fete Chapter Two: Garden Theory in France . 11 Sixteenth Century Seventeenth Century Chapter Three: Andre LeNostre ................................. 28 Heir to a Tradition LeNostre's Gardening Milieu Theater and Perspective New function of Gardens Chapter Four: Vaux-1e-Vicomte ................................. 33 Garden of lllusion Conclusion . 56 Appendix 1 . 58 Craftsmen working at Vaux Appendix 2 . 59 Silvestre's engravings of Vaux Notes ................................................... 61 Bibliography .............................................. 75 Illustrations . 83 V ACKNOWLEDGEMENTS I wish to acknowledge my advisor, Dr. Thomas Glen, for initially suggesting the topic, and for his encouragement and guidance throughout the writing of this thesis. His constructive criticism has been invaluable. I would also like to extend my gratitude to the members of the Art History Department for the stimulating course of study. Special thanks go to the Interlibrary Loan Service at McLennan Library. Without their continued efforts, the research would have been far from complete due to the lack of available research material. Finally, I am especially grateful to my close friends and colleagues who offered their time, encouragement and ideas. I owe my deepest gratitude to my parents and brother, without whose patience, love, and support, this project would not have been completed. 0 c VI LIST OF ILLUSTRATIONS 0 figure 1. Nanteuil, Robert. Portrait of Nicolas Foucquet. Engraving, 1661. (Woodbridge Princely Gardens). 2. du Cerceau, Jacques Androuet. Blois. Engraving from Les plus excellents bastiments de France, 1576-1579. (Dumbarton Oaks Garden Library). 3. du Cerceau, Jacques Androuet. Ancy-le-Franc. Engraving from Les plus excellents bastiments de France, 1576-1579. (British Museum). 4. Perelle (?). Montceaux-en-Brie. Engraving, n.d. (probably mid-seventeenth century). (Adams The French Garden). 5. Maratta, Carlo. Portrait of Andre LeNostre. Oil on canvas, n.d. (Musee de Versailles). 6. LeNostre, Andre. Vaux-le-Vicomte. Drawing, n.d. (Institut de France, Ms.1040). 7. Silvestre, Israel. Vaux-le-Vicomte, plan. Engraving, n.d. (Bibliotheque Nationale, 0 Cabinet des Estampes ). 8. Silvestre, Israel. Vaux-le-Vicomte, entrance far;ade. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 9. Vaux-le-Vicomte, aerial view. Photograph, n.d. (Alain Perceval). 10. Vaux-le-Vicomte, Salon Oval. Photograph, 1990. (By the author). 11. LeBrun, Charles. The Palace of the Sun. Drawing, c.March 1660. (Musee du Louvre, Cabinet des Dessins). 12. Perelle, Gabriel. Le Raincy. Engraving, 1663. (Bibliotheque Nationale, Cabinet des Estampes). 13. Vaux-le-Vicomte, aerial view. Photograph, n.d. (Jeannel LeNotre). 14. Vaux-le-Vicomte, gardenfar;ade. Photograph, 1990. (By the author). 15. Silvestre, Israel. Vaux-le-Vicomte, the central vista looking away from the chdteau. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). vii 16. Vaux-le-Vicomte, the central vista looking away from the chateau. Photograph, n.d. c (Jeannel, LeNotre). 17. Vaux-le-Vicomte, ground plan. Drawing, 1991. (By the author). 18. Vaux-le-Vicomte, view looking towards the chateau. Photograph, 1990. (By the author). 19. Aveline. Vaux-le-Vicomte, view looking towards the chateau. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 20. Vaux-le-Vicomte, le Confessionnal. Photograph, 1990. (By the author). 21. Silvestre, Israel. Vaux-le-Vicomte, Parterre des Fleurs. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 22. Silvestre, Israel. Vaux-le-Vicomte, Parterre de la Couronne. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 23. Silvestre, Israel. Vaux-le-Vicomte, view towards Le Potager. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 24. Silvestre, Israel. Vaux-le-Vicomte, view towards La Grille d' eau. Engraving, n.d. 0 (Bibliotheque Nationale, Cabinet des Estampes). 25. Vaux-le-Vicomte, view of the central a/Lee. Photograph, 1990. (By the author). 26. Silvestre, Israel. Vaux-le-Vicomte, view of the Cascade. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 27. Perelle, A. Meudon, the Grotto. Engraving, c.1650. (Dumbarton Oaks Garden Library). 28. Aveline. Liancourt, view of the cascade. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes ). 29. Vaux-le-Vicomte, La Cascade (detail). Photograph, 1990. (By the author). 30. Silvestre, Israel. Vaux-le-Vicomte, view of the grotto and canal. Engraving, n.d. (Bibliotheque Nationale, Cabinet des Estampes). 31. Falda, Giovanni Battista. Villa Montalto, the Neptune and Triton Fountain. Engraving, n.d. (Bibliotheque Nationale, Cabinet
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