visitors to versailles Travellers, princes, ambassadors 1682- 1789 In partnership with the Metropolitan Museum of Art of New York Exhibition until 25th February 2018 at the Palace of Versailles
Madam Krystyna Campbell-Pretty Thanks to the patronage of and his family
In partnership with
© Château de Versailles, Dist. RMN-Grand Palais /© Christophe Fouin ; © Château de Versailles /© Thomas Garnier, © Jean-Marc Manaï ; Collection particulière /© Thomas Garnier ; © Philip Mould & Company ; © RMN-Grand Palais (Château de Versailles) #VisitorsVersailles / Gérard Blot ; © RMN-Grand Palais (Château de Versailles) / Franck Raux ; © Paris, Missions étrangères /© Thomas Garnier - Visuel : DES SIGNES Studio Muchir Desclouds Press contacts Hélène Dalifard, Aurélie Gevrey, Elsa Martin, Violaine Solari +33 (0)1 30 83 75 21 [email protected]
2 Press release p.5 Preface by Catherine Pégard p.6 Foreword by Laurent Salomé p.7 summary
Part I: The exhibition p.9 A palace open to the world p.11 Meeting the King p.12 Political visits p.17 Cultural and artistic visits p.23 Princes on official visits or incognito p.25 Modernising Versailles p.28 Unwelcome visitors p.29
Part II: Around the exhibition p.31 Catalogue of the exhibition p.32 Visitors tell their story... p.33 Guided tours, educational and cultural activities p.34
Part III: Partners of the exhibition p.37 Patrons p.38 Partners p.41
Part IV: Practical information p.45
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Visitors to Versailles. Travellers, princes, ambassadors. 1682-1789 Exhibition from 22 October 2017 to 25 February 2018
Versailles, 19 October 2017 Press Release
The Palace of Versailles and the New York Metropolitan Museum of Art have jointly produced the exhibition Visitors to Versailles. Travellers, princes, ambassadors. 1682-1789. It will first be on display at Versailles from 22 October 2017 to 25 February 2018, and will then go on to New York from 9 April to 29 July 2018.
With over 7 million visitors every year, the Palace of The exhibition is the first to cover this subject and turns Versailles is one of the most popular historic sites in the the spotlight on these visitors to Versailles through world. The palace and its gardens have always attracted more than 300 works from the late 17th century to the visitors ever since the small hunting lodge built by Louis Revolution. Juxtaposing portraits and sculptures, Court XIII was transformed by Louis XIV into one of the most attire, travel guides, tapestries, Sevres and Meissen stunning residences in Europe, open to everyone as the porcelain, ceremonial weapons and snuffboxes, it shows King wished. examples of what travellers discovered on arriving at Versailles. How were they received? What were their French and foreign travellers, princes and ambassadors, impressions? What gifts or memories did they take back artists, writers and philosophers, architects and scholars, with them? Visitors today will discover the Palace through tourists on the “Grand Tour”, day trippers, they all the eyes of those that went before. crossed paths at Versailles, the ultimate cosmopolitan destination throughout the 18th century. While some The partnership between the Palace came to catch a glimpse of the King or win his favour, of Versailles and the Metropolitan others were received officially during diplomatic visits. Museum of Art of New York The Palace of Versailles was both a royal and a public Organised jointly by the Palace of Versailles and the space, it was the backdrop to the daily spectacle that the Metropolitan Museum of Art of New York, the King put on for the Court and all his subjects. Visitors Visitors to Versailles 1682-1789 exhibition is the first large- flocked to this palace which became the most accessible scale collaboration between these two internationally in Europe. All of society was invited to come to Versailles, renowned cultural institutions. From the reception of with no distinction. Benjamin Franklin at the Court of Louis XVI in 1778, to the extraordinary patronage of John D. Rockefeller Jr. At the same time, memoirs, journals and literary diaries in the 1920s, Versailles has always been a key location in kept track of the arrival of important visitors and the which French and American friendship has been played festivities that were held for them. From the ambassadors out. Today, more than 800,000 American visitors come of Siam in 1686 to the visit from the ambassadors of every year to admire the Estate of Versailles, making the the Indian Kingdom of Mysore in 1788, representatives USA the country that provides the largest number of from every continent came to Versailles and admired its foreign visitors. magnificence. Every visit was also an opportunity to see the colourful national costumes worn so proudly and discover the originality and wealth of the gifts they brought.
Press contacts Hélène Dalifard, Aurélie Gevrey, Elsa Martin, Violaine Solari +33 (0)1 30 83 75 21 [email protected] curators find us on: Bertrand Rondot, Head curator at the National Museum of the Palace of Versailles presse.chateauversailles.fr and the Trianon, in charge of furniture and objets d’art chateauversailles.fr Daniëlle Kisluk-Grosheide, Curator at the European Sculpture and Decorative Arts Department of the Metropolitan Museum of Art
Opposite page: View of the Hall of Mirrors. Sébastien Leclerc the Elder (1637-1714). Circa 1684 Palace of Versailles. © RMN - Grand Palais (château de Versailles ) / Gérard Blot 5 Preface by Catherine Pégard President of the Public Institution of the Palace, Museum and National Estate of Versailles
“Magnificent”, exclaimed visitors to Versailles before Succeeding Republics have kept Versailles as the symbol 1789. As they first stepped onto the Marble staircase, of France for their guests. General de Gaulle saw it as this was the word on everyone’s lips, which swelled as an image of grandeur, and not only welcomed Heads of they entered the Hall of Mirrors, then took flight in the State with a protocol that was not unlike the rules laid gardens. down by the Ancien Régime, but also made Trianon- sous-Bois the presidential residence where he received Magnificent… if we were to do a survey, we would surely them in splendid privacy. These images are already hear this same word repeated in every language today faded, yet they marked out the Fifth Republic: Jackie as after the trials and tribulations of history nothing has Kennedy smiling alongside the United States President; changed. The magic has been so often described but is the Queen of England retracing her early years as indefinable and still endures. The first impression is one sovereign; François Mitterrand caused a sensation in of astonished amazement. 1982, when he brought together his counterparts from the industrialised nations… In 2014, François Hollande The merit of this exhibition is perhaps that it echoes resumed the tradition of official visits by dining here our own curiosity, our emotions. Tourism – yes, indeed with the Chinese President Xi Jinping, then in May 2017 – was born here, and the maps and guides that show Emmanuel Macron visited the Peter the Great exhibition how the gardens were displayed or how the palace was with Vladimir Putin, to mark the three-hundredth presented seem familiar to us. We can “see” Versailles anniversary of the Tsar’s visit to France. Every year, the through the eyes of visitors from the past because we Palace of Versailles, now Palace of the Republic after are there! We understand the incredible asset that this being a royal residence, receives almost one hundred and palace represented, even though at first the King had not fifty diplomatic delegations and tourists from countries thought of making it an official public residence, because all over the world. But of course Versailles also continues still today Versailles is a remarkable place in the eyes of to inspire the artists and craftsmen of today. the whole world. I would like to express my thanks to the private As we follow the curators of the exhibition, Daniëlle collectors and museums throughout the world for the Kisluk-Grosheide and Bertrand Rondot, through the splendid items they have loaned the exhibition. sparkling receptions that brought Versailles to life for over a century, we enter a dizzying, glamourous, My thanks to Bertrand Rondot, Head Curator at the cosmopolitan world. Scientists vied with philosophers. Palace of Versailles, and Daniëlle Kisluk-Grosheide, Artists added their own talents. Ambassadors brought Curator of the Department of Sculpture and Decorative in ideas. Musicians accompanied queens. Princes Arts at the Metropolitan Museum of Art, for taking us conversed with writers. The King set the stage for all on this unusual voyage through Versailles. these encounters. Finally, I am delighted that this exhibition will be shown This theatre of power and cultural diplomacy, this in April 2018 in New York. This first major collaboration model for a way of life enhanced the memories and the with the Metropolitan Museum of Art is a good unpublished testimonials that are interspersed throughout illustration of the Franco-American friendship for which this exhibition. They set out an interpretation of Versailles Versailles has always been the setting. Americans still that spans the ages. In fact, after the Revolution the top the list in terms of visitors from abroad… tourists were very quick to return, drawn by the timeless attraction of the Grandes Eaux fountain display in the gardens. Napoleon I chose not to use Versailles, but Louis-Philippe brought it back to life with the opening of the Museum of the History of France: in 1837, Versailles was once again the scene of festivities and social events. Napoleon III received Queen Victoria here in 1855.
6 Foreword by Laurent Salomé Director of the National Museum of the Palaces of Versailles and Trianon
The Visitors to Versailles project is part of a series of the gifts were of paramount importance, mobilising major exhibitions that have created a distinct genre, the appropriate amount of resources, in other words unique to Versailles. From Royal Tables to the “Death the most extravagant reception possible. Appointing of the King”, via Festivities and Entertainment at Court dedicated staff (to use an anachronistic term), adapting which created great excitement last winter, these events architecture when it was thought to be too complex have introduced a particular way of bringing society and restricting, massive deliveries of furniture for under the Ancien Régime to life and reflecting on what distinguished guests: the effort put in was fully in we see, enabling us not only to measure the chasms keeping with the stakes. But as it passes through all that separate us from that time but also to often feel three reigns, the exhibition also looks at the more how disturbingly similar to us they are. The method relaxed forms of visit, whether by royalty or anonymous has proved its worth: the curators’ long-term research, visitors, whether for pleasure or business, like the which is almost always based on major programmes artists who came to draw inspiration from this, the at the Palace of Versailles Research Centre – in this great model. This was the beginning of tourism, which case “Foreigners at the Bourbon Courts of France after the Revolution, would become one of the very few (1594-1789): strategies, contributions, suspicions” connecting threads in the Palace’s devastating destiny. directed by Jean-François Dubost from 2011 to 2013 Many would claim credit for having saved it from – ; bringing together works of art and objects of great destruction, whether by creating a museum or bringing diversity, embracing the material aspects of daily life the palace back to life, but always for the same purpose: as well as the most ambitious intellectual projects and to welcome visitors. masterpieces; deciphering codes, checking accounts, assessing iconography, and above all, organising these words to express the truth primarily, but also wonder and jubilation. We can never tire of discovering the workings of the controlled yet crazy Court of the Kings of France, nor of raising countless new questions from this inexhaustible source of material.
The topic chosen this time is certainly the most audacious, as it can include the whole of life at Court. The strength of the idea lies in this clever reversal that invites us to examine the very person who is the viewer, the observer. It is a world within a world, a narrative of narratives, a spectacle of spectators, often every bit as amazing in themselves as the magnificent palace that they have come to see. They are clearly an essential component of the splendour of Versailles, a receptacle developed partly for them and around them. The pull of the palace on “all corners of the globe” produced an almost never-ending procession of visitors which became in itself an unmissable attraction. On the day in 1699 when the Duchess of Burgundy arrived on Madame de Maintenon’s strategically placed balcony too late to see the Dey of Algiers’ cortege go by, what could be more natural than to ask the procession to go around once again. And the exhibition shows to what extent the organisation of the route, the pomp,
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. Circa 1681-1685 © Yannick Chastang © Yannick
8 Presumed audience with Ambassador Piotr Potemkin in 1681 in Potemkin Piotr Ambassador with audience Presumed collection. Private part I The exhibition
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A palace open part I to the world
Louis XIV’s decision to transfer the seat of government and the Court to Versailles, made official in 1682, marked the culmination of a major royal project: to create a new kind of centre of monarchic power around the very person of the King. So from the very beginning, the residence was conceived as a public space where the sovereign showed himself off, not only to the Court, but also to all his subjects and to visitors from all over the world.
The accessibility of the royal personage could only be achieved by opening up areas in the palace to all those who wished to come, while respecting certain rules.
Medals celebrate this openness and the public nature of the King’s residence, and spread this image throughout the world. Picturesque voyage in the vicinity of Paris: or description of the royal houses, palaces and other places of leisure, located fifteen leagues from the vicinity of this city. Antoine-Nicolas Dezallier d’Argenville (1680-1765) The first guide books, ordered by the King, were 1755 published. They describe the wonders of the palace and Versailles, National Museum of the Versailles and Trianon palaces its gardens and suggested routes for visits. There were © Château de Versailles, Dist RMN - Grand Palais / Thomas Garnier also practical guides produced by publishers in Paris, which were continuously updated until the end of the 18th century.
Medal COLVIT MAGIS OMNIBVS VNAM / VERSALIAE / 1687 Anonymous Obverse: LVDOVICVS MAGNVS REX CHRISTIANIS / R 1687 Silver Paris, BnF, Série royale 949 (ex 956) © Paris, Bibliothèque nationale de France The inscription “He prefers it above all others” confirms the predominance of the Palace of Versailles among the royal residences.
Opposite page: View of the Palace of Versailles from the Place d’Armes side Pierre-Denis Martin (1663-1742) 1722, Oil on canvas Palace of Versailles © Château de Versailles, Dist RMN - Grand Palais / Jean-Marc Manaï 11 Meeting part I the King
Travelling to Versailles
At the end of the 1660s, because the King and the Court were staying at Versailles more often, a public and a private transport system began to develop.
Versailles is four leagues to the west of Paris. It took at least two hours for the fastest vehicles to reach the Palace from the capital. Notably, a special messenger service was created between Paris, Saint-Germain-en-Laye and Versailles. Prices varied according to the degree of comfort the service provided: the 16-seater coach cost 25 sols per person, the 8-seater carriage, 30 sols per person, and the 4-seater hired carriage, was twice as expensive. A specific tariff was applied for transporting goods by cart.
A method of transport that was much appreciated by many foreign visitors was the boat that linked Paris with Sèvres or Saint-Cloud. It left every morning at around Detail from a screen: View of the Palace of Versailles from the Avenue de Paris. Charles 8 o’clock from the Pont Royal, for the very modest sum Cozette (1713-1797) of six sols. Travellers then continued by coach, along the Circa 1769-1770, mounted on screen after 1782. Oil on canvas, painted leather, wood Collection of Monsieur and Madame Dominique Mégret heights of Viroflay, to the Avenue de Paris which led to © Christophe Fouin the Palace.
Once at Versailles, the wealthiest travellers used a sedan-chair service or vinaigrettes (two-wheeled chairs). These were parked in the Place d’Armes, but their main activity took place within the Palace walls.
The question of accommodation also arose since only important figures were received at Court. Other visitors had to find accommodation by their own devices. To meet this need there were inns and cabarets in Versailles, of varying quality.
When Louis XIII first built the Palace, there was only one hotel in the whole town. With the work done by Louis XIV and the arrival of the Court in Versailles in 1682, more and more accommodation appeared. In these establishments there were regular brawls, usually between labourers and servants working at the Palace,
Sign from the “À la gaîté” tavern, from 19 rue Ducis in Versailles but also between travellers. 18th century Polychrome carved wood Versailles, Musée Lambinet, donated by M. Robert Crebasse, 1987 At this time, Versailles was probably the foremost inn in © Christophe Fouin Europe.
12 Welcomed by the King’s Household
On their arrival at Versailles, visitors were met by an imposing security system. Soldiers of the French guard patrolled the Place d’Armes while Swiss Guards were stationed in the forecourt. This is where they saluted official visitors.
In addition to these “outside” guards, two smaller companies were responsible more directly for palace security: the guards of the door and the Prévôté de l’Hôtel guards, the Palace police. Grenadier of the French Guard or Sergeant of the French Guard or the the Hundred Swiss Hundred Swiss Lastly, the sovereign was protected by four companies French school. 18th century Palace of Versailles of bodyguards and by the Hundred Swiss company. © Château de Versailles, dist RMN - Grand Palais / Jean-Marc Manaï The captain of the bodyguards followed the King, who never left his sight from the first ceremony of the day, the King’s getting-up, to the going-to-bed ceremony at night. The captain of the Hundred Swiss walked ahead of the monarch. Finally, two Gardes de la Manche (Guards of the Sleeve), drawn from the bodyguards, walked on either side of him. When necessary, the Hundred Swiss kept off any visitors who were too insistent.
Guard of the Sleeve Coat from the ceremonial livery of Remigius Parr (1723-c.1750), after the King’s Household Charles-Dominique-Joseph Eisen Circa 1780 (1720-1778) Dark blue wool serge, trimmings Mid-18th century in red silk and cream linen Etching with line engraving, coloured Palace of Versailles on cream laid paper © RMN - Grand Palais (château de Palace of Versailles Versailles) / Gérard Blot © RMN - Grand Palais (château de Versailles) / Gérard Blot
The uniforms worn by all these companies added their own particular touch of colour to the mass of people in the King’s Household, as they wore red and blue exclusively. From the details of their clothing (buttons, embroidery, decorations) and some of their accessories the different bodyguards could be differentiated.
View of the Palace of Versailles forecourt and the stables Jean-Baptiste Martin, the Elder (1659-1735) 1688 Oil on canvas Palace of Versailles © Château de Versailles, droits réservés
13 Appearing at Court
As there was so much variety in what visitors to Versailles were wearing, they were both participants and onlookers in the trends in Court dress.
Courtiers had to be magnificently dressed, not only for diplomatic visits and important ceremonies, but also for the smaller ceremonies that marked the daily life of the royal family. This enforced luxury was testament to the grandeur of the absolute monarchy.
Even if visitors were not participating in Court life, they still had to blend in by conforming to the latest fashion. Everyone knew that they could be admitted to the Palace “provided that they were dressed correctly”. Men were therefore advised to wear a sword, so as not French frock coat English hunting outfit to be mistaken for a valet, and to have a hat, if they Circa 1730-1740 Circa 1770-1775 wanted to be present at the important moments in life Silk velvet, silver thread embroidery Wool serge Paris, Palais Galliéra - Fashion London, Victoria & Albert Museum at Court, and ladies were invited provided they were Museum © Victoria & Albert Museum, London “magnificently attired”. © Roger-Viollet / Galliera / L. Degrâces et P Jaffre
When the Court was in mourning, which was often the case, appropriate dress was also required. However, if the King was absent these rules were relaxed somewhat.
Robe volante or “flying dress” Circa 1720-1730 Silk brocade with metal thread Paris, Palais Galliéra - Fashion Museum © Roger-Viollet / Galliera / Julien Vidal
Marie Leszczynska (1703-1768) in formal court gown and royal cloak After Louis Tocqué (1696-1772) 1740 Oil on canvas Palace of Versailles © RMN-Grand Palais (château de Versailles) / Gérard Blot
14 Glimpsing the King The daily procession to the Chapel Every day at the end of the morning, the sovereign “As far as history can tell us, if there is one particular went to the Royal Chapel to attend mass. Surrounded feature of this monarchy it is the free and easy access of the by his household guards, he crossed the series of State subjects to their King.” Apartments from the Hall of Mirrors, through the (Louis XIV, Mémoires, 1662) middle of the crowd. Other members of the royal family sometimes accompanied him. After mass, the procession Versailles, more than any other royal residence, was reformed for the King’s return to his apartments. This the place where this rule was applied. Not only was the mass was public, and Parisians flocked to attend. King visible to all on a daily basis when he came out into the courtyards and gardens, but in addition many opportunities to see him were created as part of life at Submitting petitions Court. These written requests were one of the ways a relationship was created between the Sovereign and his subjects. In the reign of Louis XIV, a table would be set The Royal Table up for this purpose every Monday, in the Guard Room of The King would dine in public three times a week, alone the King’s Apartments. These petitions were submitted or with his family and this event drew a great crowd. by people from the whole of society, and often consisted The ceremony took place in the Antechamber to the of testimony from humble subjects, who had travelled Queen’s Apartments, or after Louis XIV was widowed in from the provinces to obtain support, a judgement or in 1683, in the Antechamber to his State Apartments. financial assistance from the sovereign. The sovereigns’ table and chairs were placed before the fireplace. Stools were provided for a select public to sit on while courtiers and visitors remained standing. The King’s meal was certainly public, but there were specific rules governing entry. As well as courtiers, other known or recommended individuals were admitted, but it was easy for anyone to enter, provided they were correctly dressed. The size of the room was the only reason for the guards to refuse entry.
Petition “To the very Great & very powerful & very illustrious Monarchs of France, sovereign prince of All the Kings on earth”. Joseph Sigonneau, Poitevin 29 September 1735 Handwritten Montigny-le-Bretonneux, Yvelines Departmental Archives Fan: The royal family at dinner © Archives départementales des Yvelines Circa 1760-1775 “The greatness of your illustrious majesty will know that first we have lost all our goods, Ivory monture ornamented with silver and gold, mother-of-pearl beads, gouache on my dear wife & I, goods & inheritances belonging to us, since we were minors & poor paper and also in my first campaign I was stripped from head to foot. I was robbed, I was London, The Fan Museum stripped of everything, and I was left with only the shirt I had on my back and I was © The Fan Museum, London taken prisoner…”
15 The ceremony of touching the scrofulous Ceremonies of the Order of Saint-Esprit The Kings of France were reputed to be able to cure Four times a year, on January 1 and 2, February 2 and scrofula, a form of tuberculosis, by the laying on of at Pentecost, ceremonies of the Order of Saint-Esprit hands. On every “holy day” when the King was to touch gave the Court and visitors the opportunity to observe the scrofulous, Versailles became a place of pilgrimage, the King and the members of the Order in 16th century and those suffering from this illness flocked in, not only costumes. The procession wound its way through the from provinces in the kingdom, but from abroad as well. Royal Courtyard to the Chapel, where a throne was set This particularly popular ceremony provided the up for the taking of the oath. opportunity for the King to be approached by the lowliest of his subjects as well as to be seen by all the visitors present. During his reign, Louis XIV drew a sign of the cross on the forehead of about 200,000 scrofula sufferers.
Conferring the Order of Saint-Esprit, 3 June 1724 Nicolas Lancret (1690-1743) 1724 Oil on canvas Paris, Louvre Museum, Department of Paintings © RMN - Grand Palais (musée du Louvre) / Franck Raux
Louis XIV touching the scrofula-stricken Jean Jouvenet (1644-1717) Circa 1690 Oil on canvas Municipality of Saint-Riquier (Somme), Abbey church, classified as a Historic Monument in 1907 © Y. Medmoun
16 Political part I visits
Audiences with European ambassadors
In the 17th century, the greatest European nations acquired permanent embassies, with diplomats in residence in the main Courts.
Before any ceremonial, the ambassador would be received by the Sovereign for a first private audience. No honour would be bestowed as he had not yet officially taken up his duties. Next, the ambassador would make his public entry into Paris, then go to Versailles two days later, for his ceremonial audience. He was greeted by the Introducer of Ambassadors, in the Ambassadors’ staircase or Ambassadors’ Room, then climbed the Queen’s staircase and was received by the King in his Chambers. This public interview followed a strict protocol, which varied according to the diplomat’s rank, the importance of the country represented, whether it was a kingdom, a principality or a republic, the religion of its ruler, catholic or protestant, and the family ties that united the two countries.
Armchair for audiences with crowned Louis XIV monogram Circa 1700-1710 Gilded walnut, cane, velvet New York, The Metropolitan Museum of Art, Gift of J.Pierpont Morgan, 1917 © The Metropolitan Museum of Art
The different nations of Europe After Charles Le Brun (1619-1690) Circa 1675 Oil on canvas Palace of Versailles © Château de Versailles, dist RMN - Grand Palais / Jean-Marc Manaï French Court dress said to belong to the Princess de Lamballe Circa 1775 Worked silk with occasional printed worked gauze decoration added and bordered with multicoloured silk trimmings (crest) Paris, Museum of Decorative Arts © Akg - images, Paris / Les Arts Décoratifs, Paris, Jean Tholance 17 Extraordinary ambassadors
In the 17th and 18th centuries, non-European On the walls of the staircase, completed in 1679, ambassadors aroused the curiosity of the Court and paintings by Charles Le Brun depicted envoys from the visitors alike. Ambassadorial visits from Asia, Africa and different nations of Europe, Africa, Asia and America. other distant countries were relatively rare and fostered A bust of Louis XIV was placed at the centre of the a taste for exoticism. For the benefit of those who were composition, above a water fountain. After the staircase not able to see them, the Mercure galant published was destroyed in 1752, delegations used the Queen’s detailed accounts, and in Paris publishers of engravings staircase, and passed through the King’s or Queen’s produced images with a wealth of very much sought Apartments, to reach the Hall of Mirrors and then the after information. State Apartments.
When organising diplomatic receptions, it was the During these ceremonies, the Hundred Swiss would Crown’s intention to exalt the glory of royalty in order to be positioned on the staircase steps, wearing uniforms dazzle foreign visitors and the French public too. Louis in the “ancient” style from the 16th century, forming a XIV controlled every detail of the proceedings and at guard of honour. Versailles he introduced a new way of receiving guests, ensuring that protocol was respected, but nevertheless To honour the Ambassador, the audience was always adapting to the needs of his guests. followed by a tour of the gardens and the fountains were started up. Audiences with these extraordinary ambassadors required a particular form of ceremonial: they were held in the Throne Room in the State Apartments, the Apollo Room, or exceptionally in the Hall of Mirrors (for the ambassadors of Siam in 1686, Persia in 1715 and the Ottoman Empire in 1742). To reach these rooms, the procession climbed the Ambassadors’ staircase, reserved specially for these ceremonies.
Models of the Ambassadors’ staircase Charles Arquinet (1900-1992) 1958 Wood, cardboard, plaster, plastic The different nations of Asia Palace of Versailles After Charles Le Brun (1619-1690) © Château de Versailles, Dist RMN - Grand Palais / Christophe Fouin Circa 1675 Oil on canvas Palace of Versailles © Château de Versailles, Dist RMN - Grand Palais / Jean-Marc Manaï
18 1686 Ambassadorial visit from Siam The audience for the Ambassadors of Siam impressed everyone by the splendour of the ceremony and the refined exoticism of this delegation from the country that is now Thailand. The three Ambassadors and their large entourage were received at Versailles by Louis XIV on 1st September 1686. To mark the importance of these visitors, the ceremony took place for the first time in the Hall of Mirrors. The ceremonial was particularly successful and subsequently served as a model. In addition to trade negotiations, the main purpose of this meeting, Louis XIV hoped that King Phra Narai would convert to Catholicism.
Solemn visit of the Ambassadors of the King of Siam to the King to establish trade with these peoples of the Orient. The ceremonies of the Letter and audiences (Almanach for The Ambassadors of Siam accompanied by their interpreter, Abbé Artus de Lionne 1687) Jacques Vigoureux Duplessis (before 1680-1732) Jean-Baptiste Nolin (circa 1657-1708), publisher Circa 1721 1687 Oil on canvas Engraving Institut de France, Abbaye Royale de Chaalis, Fontaine-Chaalis Palace of Versailles © Bruno Cohen Senlis © RMN - Grand Palais (château de Versailles) / Gérard Blot
19 1721 First Ottoman ambassadorial visit On 7 June 1721, Mehmet Effendi discovered Versailles As a key step in the policy to open up the Ottoman as a privileged guest and stayed there for five days Empire (the Porte) to the West, in 1721 Sultan Ahmed with his son. According to the Ambassador, the Hall III (1673-1736) sent an ambassadorial delegation to of Mirrors “can be considered as the most beautiful France headed by his Chief Treasurer, Mehmet Effendi. and the most charming in the world”. Described as The Regent decided to welcome this Ambassador, but “incomparable”, Versailles was a source of wonder for not without some reluctance as France could not afford him, especially Morand’s automaton clock. such expense. The purpose of the visit was three-fold: to In the following days, he went for countless walks, in congratulate Louis XV on his accession to the throne, to the gardens, along the Grand Canal, to the Trianon, strengthen the friendship between the Ottoman Empire the Menagerie. Next, the Ambassador went to the and the Kingdom of France by renewing capitulations Marly Estate: “when I see this garden, I understand this (trade and customs treaties) and to inform the King of beautiful passage from the Quran that says that ‘the the recent restoration of the dome of the Holy Sepulchre world is a prison for the faithful and a paradise for the in Jerusalem. infidels’.” Mehmet Effendi was also interested in the economic, technical and scientific progress that France could offer.
Arrival of Mehmet Effendi, Turkish Ambassador, at the Tuileries on 21 March 1721 Charles Parrocel (1688-1752) 1723 Oil on canvas Palace of Versailles © Château de Versailles, dist RMN - Grand Palais / Christophe Fouin Having made his solemn entry into Paris two days earlier, Mehmet Effendi went to the Tuileries Palace for his audience with the King. The procession entered the Palace grounds by the Esplanade du Pont-Tournant (currently Place de la Concorde). In accordance with Eastern tradition, the Ambassador made his entrance on horseback, between the Prince de Lambesc and Nicolas-François Rémond, the Introducer of Ambassadors, and was followed by his son Saïd Pacha, who held the letter from the Sultan. The spectacle attracted a crowd of onlookers.
20 1787 1788 The visit of Prince Nguyên Phuc Canh Ambassadorial visit from Mysore Barely 6 years old, the young Prince undertook this Tipu Sahib (1749-1799), Sultan of Mysore (kingdom perilous journey accompanied by his tutor in southern India), sent an envoy to Louis XVI to seek Mgr. Pierre Pigneaux, Apostolic Vicar of Cochinchina help from France against the expansionist policies of and Principal Mandarin to King Nguyên Anh (1762- the British in India. The solemn audience with the 1820). The purpose of this delicate mission was to obtain three ambassadors took place on 10 August 1788, in the Louis XVI’s support for the King, who had been driven Hercules Room. As well as their letters of credence, they out of his States by the Tay Son uprising in 1785. presented the King with twenty-one gold coins, “which, The interview at Versailles during which Mgr. according to the custom of their country, represents Pigneaux handed Louis XVI the letter from the King of homage of the deepest respect.” (Mercure de France). Cochinchina, took place on 5 or 6 May 1787. The public In order to comply with the customs of the Muslim and all at Court were besotted with the young prince. religion, the items from the Sèvres Manufactory The treaty promising assistance was finally signed in presented to the Ambassadors, and the carpets from Versailles on 28 November 1787. The child and the Bishop the Soapworks, were decorated with flowers “with no then left, never suspecting that it would not be honoured. representations of men or animals”.
Prince Nguyen Phuc Canh (1780-1801) Maupérin (active 1766-circa 1800), Signed Maupérin Mohammed Osman Khan 1787 Élisabeth-Louise Vigée Le Brun (1755-1842) Oil on canvas Signed and dated, 1788 Paris, Foreign Missions Society Oil on canvas © Thomas Garnier Private collection © collection particulière
21 American revolutionaries at Court
Enchantment and revulsion: these were the two reactions experienced by many Americans in the 18th century when they visited Versailles, whether they were tourists on the Grand Tour of Europe or diplomats appointed to Court. Although impressed by the magnificence of the Palace and Gardens, they were nevertheless critical of the French rulers’ taste for luxury and protocol, to the detriment of the well-being of their subjects, the vast majority of whom were living in poverty and squalor.
One of the most famous of these visitors was Benjamin Franklin. His first visit dated back to 1767. He returned to Versailles in 1776, six months after signing the American Declaration of Independence. He was accompanied on this journey in the role of plenipotentiary by John Silas, who was quickly replaced by John Adams, co-author of the Declaration of Independence, and Arthur Lee. The audience took place on 20 March 1778, after the signing of treaties sealing the cooperation in the fight against Great Britain. Lee was disappointed by the simplicity of the ceremonial at this time.
Meanwhile, everyone at Court was struck by Franklin’s
appearance. They were fascinated by this man who had Louis XVI presenting Benjamin Franklin with the treaties signed between France and refused to wear formal French Court dress, but appeared the United States, on 6 February 1778 After Charles-Gabriel Sauvage, known as Lemire (1741-1827) “in an American farmer’s outfit, with straight and Niderviller pottery unpowdered hair, a round hat, and his brown serge coat” Circa 1780-1785 Hard-paste bisque porcelain, partly enamelled (Memoirs of Madame Campan). In fact, the simplicity of Paris, Carnavalet Museum-History of Paris his attire was part of a political ploy: the image that he © Roger - Viallet / Musée Carnavalet The signing of the treaties in the King’s chambers at Versailles is here represented sym- gave of himself had to correspond to the values and ideals bolically. As a military leader, Louis XVI is dressed in armour, and to acknowledge the of the young Republic he represented. preeminence of France over the young American Republic, he is placed on a podium which Franklin, in his simple fur-collared coat, does not step onto.
Snuffbox decorated with a portrait of Louis XVI presented to Colonel John Laurens in 1781 Louis-Marie Sicard, known as Sicardi (1743-1825), Joseph-Étienne Blerzy (1735-1821) 1779-1780 Gold, enamel, diamonds, ivory, glass New York, The Metropolitan Museum of Art, Bequest of C. Post, 1930 © The Metropolitan Museum of Art In 1780, Congress sent to Versailles a young, impulsive 26-year-old lieutenant-colonel, John Laurens (1754-1782), his mission was to obtain loans and weapons. He had been advised to “conti- nually demonstrate his flexibility to the Court”, and despite some mistakes, he received this box with the portrait of Louis XVI embellished with diamonds.
22 Cultural part I and artistic visits
Artists and spies
No sooner had it been opened to the public and the Court established there, than Versailles attracted philosophers and naturalists, gardeners and agronomists, entrepreneurs and artists. Among them was the sculptor from the Meissen porcelain manufactory, Johann Joachim Kaendler, who came to Versailles in 1750 to set New Plans of the Cities, Palace and Gardens of Versailles up an enormous porcelain mirror given by the Elector Franz-Anton Danreiter (1695-1760) 1723-1725. 26 drawings of Saxony to his daughter, the Dauphine, and in 1776 Ink and gray wash on paper, cardboard the ceramicist Thomas Bentley, associate of Thomas Palace of Versailles © Château de Versailles, Dist RMN - Grand palais / Christophe Fouin Wedgwood in the manufacture of fine English ceramics. In 1723-1724, Franz Anton Danreiter, Intendant-Gardener to the Prince-Archbishops of Salzburg, stayed at Versailles and was granted exceptional permission to make drawings in situ. He produced an album of twenty-five plates showing general views of the groves, We should also mention the visit in 1763 of the Mozart many plans, profiles and elevations with overall views and details. family. During their stay at Court, the children performed for the royal family on several occasions. Wolfgang charmed Marie Leszczynska, and also played some improvisations on the organ in the Chapel Royal.
The Palace also aroused the interest of some of the most famous architects, such as the Swede, Nicodème Tessin, the German, Balthasar Neumann, and from Britain William Chambers, Robert Adam and John Soane, who were all eager to familiarise themselves with the French style and the technology involved.
Most of these artists came to Versailles at the request of their head of state, and Versailles was subjected to a kind of industrial espionage as they produced reports illustrated with technical drawings. They often lamented the lack of scale plans and elevations of the building because, although there were some excellent engravings of the Palace, it was strictly forbidden to make sketches or take measurements in situ, except with the King’s express permission, which some did obtain. They gathered all existing information with Parisian booksellers, especially the official volumes published by the King’s Cabinet.
It is thanks to them that Versailles became a model that was disseminated throughout Europe.
North-East corner of Louis XIV’s Bed chamber After 1701 Inscription on the montage: Raphaelle [ ?] Quill, wash drawing and watercolour Stockholm, Nationalmuseum © Nationalmuseum This anonymous drawing was acquired by Carl Johan Cronstedt, Superintendent of Buildings to the King of Sweden in 1743, when he stayed in Paris from 1731 to 1737. Mozart as a child, playing the piano with his father and sister Louis de Carmontelle (1717-1806) 1777 Washed watercolour on paper Paris, Carnavalet Museum-History of Paris © Roger-Viollet / Musée Carnavalet 23 Tourists on the Grand Tour
There were many young noblemen who, in order to complete their education, undertook a tour of the Courts of Europe. This was the Grand Tour, in which Versailles occupied a prime place, as an unparalleled model of the sociability of the Court. These “grand tourists” were usually accompanied by a tutor, who organised the teaching they were to receive in the different schools (especially the equestrian academy in Angers) and visits to the monuments and institutions that they were to discover.
To the surprise of these travellers, they were able to visit the Palace and the Gardens “in complete freedom”. The pleasure was increased by the Grandes Eaux fountains, “some of which are playing regularly, every day, but others only at certain times and for the pleasure of people of quality” (Nemeitz, Séjour de Paris, 1727).
These travellers could buy many souvenirs – engravings, gouaches, small bronze sculptures, snuffboxes, fans, buttons, etc. - sold in Paris or directly on stalls in the main staircases in the Palace or even in some of the antechambers.
View of the Hall of Mirrors Sébastien Leclerc the Elder (1637-1714) Circa 1684 Quill and brown ink, brown wash on paper Palace of Versailles © RMN- Grand Palais (Château de Versailles) / Gérard Blot Visitors admire the decoration in the Gallery, which was barely finished (the drawing of the ceiling is not accurate); in the foreground, a man points out a detail to his wife. This gesture can also be seen in other interior views at Versailles, depicting not the King and the Court, but visitors to the Palace.
Hester Thrale, married name Piozzi (1741-1821) Roman School 1785-1786 Oil on canvas London, The National Portrait Gallery © National Portrait Gallery, London / Scala, Florence Mrs Thrale, who held a famous salon near London, visited France in 1775. She kept a journal, where she wrote of her amazement before the “wealth, the pomp and the beauty of the place”: the apartments “eclipse everything that I have previously seen in terms of luxury, splendour and beauty”. She was not so keen on the strict order in the gardens, where she noted “some marble basins filled with water and curiously arranged on the Feasting Chamber at Versailles terraces”. During her visit, she particularly noticed the jewellery cabinet of the Dauphine French School Marie-Antoinette placed in the alcove in her large chamber. She also seems to have had Before 1706 access to the Queen’s interior cabinets where she admired “Sèvres porcelain furniture, Gouache on vellum with gold highlights while we pride ourselves on owning just a cup and saucer!” Palace of Versailles © RMN - Grand Palais (château de Versailles) / droits réservés This view is detailed, though naive in style and must be one of the first coloured pictures to be offered to visitors as a souvenir. 24 Princes on official part I visits or incognito
“Etiquette at the French Court is so strict and so haughty regarding foreign Princes that they stay away when they are not absolutely made to go. […] And all those who have visited Versailles did so incognito and took an assumed name, so as not to be mistaken for one of the crowd of courtiers. At least when incognito, they limited themselves to private receptions, where there was no dispute over their rank.” (Baroness d’Oberkirch)
The very strict etiquette at Versailles discouraged many princes from going there on official visits. Foreign sovereigns would use a fictitious title of Count, followed by the name of a place over which they ruled and which made a witty reference to the true identity of the traveller. The use of incognito and the pseudonym were Eighteen coat buttons with views of the Gardens of Versailles Circa 1790 announced publicly before they set off. The visitor was Gouache on ivory then received at Versailles with the simplicity due to Versailles, Musée Lambinet © Christophe Fouin his fictitious status, but with the respect due to his true status. Being incognito gave them greater freedom and more privacy. The need for ceremony and the expense of the journey were then very much reduced.
1768 Visit by Christian VII, King of Denmark and Norway King Christian VII, who had a rather unstable psychological character, visited France in 1768. Despite much apprehension on the part of the Court and the extravagance of the King’s behaviour, this visit strengthened the ties uniting the two countries.
Abduction of Orythia After Gaspard and Balthasar Marsy (1624-1681 and 1628-1674) 1675-1700 Patinated bronze Christian VII, King of Denmark and Norway (1749-1808) Palace of Versailles Copyist from the King’s Cabinet, after Louis Michel Van Loo (1707-1771) © Château de Versailles, Dist RMN - Grand Palais / Jean-Marc Manaï Circa 1770 The marble sculptures in the Gardens of Versailles were some of the major pieces in Louis Oil on oval canvas XIV’s collections. These abductions were favoured by amateur collectors, as were other Palace of Versailles masterpieces at Versailles. Bronze reductions were made of all of them and these were © Christophe Fouin widely reproduced in works of varying quality, available on the Paris market.
25 1782 1784 Visit of the Count and Countess of the North Visit of the Count de Haga The Grand Duke, heir to throne of Russia, and his wife During his Grand Tour, Gustave III, King of Sweden, travelled incognito using the pseudonyms Count and accepted the invitation from Louis XVI under the Countess of the North. They arrived in Versailles on 20 pseudonym of the Count de Haga. For his comfort, an May 1782. This visit provided the opportunity for many apartment was fitted out on the ground floor of the conversations with Louis XVI, around dinners with the South Wing. The furniture came from the Furniture royal family, and at the magnificent receptions given at Store-House of the Crown, with additional items bought the Trianon by the Queen. especially for the occasion, such as a set of chairs by Among the many gifts offered, Sèvres porcelain produced Tilliard. To honour her guest, Marie-Antoinette added the most spectacular effects. The Countess of the North her two mechanical tables by the cabinetmaker Riesener, was impressed when she discovered a toilet set made “refurbished” for the occasion by the cabinetmaker entirely of porcelain with a lapis lazuli background, and himself, who also provided a toilet and bidet with enamelled borders imitating pearls and precious stones. earthenware bowls, and a night table with wheels. The The mirror was designed by the sculptor Boizot and is clockmaker Caranda provided four clocks of the latest truly the most spectacular piece of this magnificent set. fashion. The Sèvres Manufactury added decorative porcelain vases and bisque sculptures. Despite all this, the King of Sweden declined the apartment that had been prepared for him.
Tsarevich Paul Petrovich (1754- 1801) Carl-Ludwig Christineck (1732- 1792) Monogrammed and dated on the back: C.L.C. / 1780. 1780 Gustave III (1746-1792) Oil on canvas in national dress Paris, Conservatoire of Eighteenth Lorens Pasch (1733-1805) Century Portraits (C.P.D.H.S) 1784 © Christophe Fouin Oil on oval canvas Paris, Conservatoire of Eighteenth Century Portraits (C.P.D.H.S) © Christophe Fouin
Model of toilet mirror offered to the Countess of the North Sèvres Royal Manufactury, after Louis-Simon Boizot (1743-1809) Mechanical table 1782 Jean-Henri Riesener (1734-1806) Plaster 1781 Sèvres, City of Ceramics Oak veneered with mahogany and satinwood, sycamore, holly, myrrh and blackened © RMN - Grand Palais (Sèvres, CIté de la Céramique) / Tony Querrec holly marquetry on top with an amaranthus border; monture in gilded bronze; mirror; copper and iron fittings; green velvet New York, The Metropolitan Museum of Art, The Jules Bache Collection 26 Guests in the Marble Trianon Marie-Antoinette’s receptions at the Trianon The Marble Trianon, now the Grand Trianon, was It was at the Trianon that Marie-Antoinette held lavish a private palace that was not originally intended to parties in honour of certain travellers who had come to receive important guests. However, it was in the wing of Versailles incognito, especially members of her family. Trianon-sous-Bois that Peter I was housed in May-June Her brother Joseph II was the first to enjoy the Queen’s 1717, during his stay at Versailles. He was a big eater, and hospitality, in 1777. He returned in 1781 when his sister an inveterate gambler, and his stay was punctuated with offered him “a new kind of party”: after supper and at excesses of all kinds, to the point where he fell ill. the end of an opera by Gluck performed on the stage of New guests were announced for June 1741. The parents of the recently completed Queen’s Theatre, a concert was Queen Marie Leszczynska, Stanislas Leszczynski, former given in the gardens, lit by hundreds of burning bundles King of Poland and Duke of Lorraine, and Catherine of firewood. Opalinska settled in the former apartments of Madame In 1782, the reception held for the Count and Countess de Maintenon. Stanislas came almost every year, even of the North was even more magnificent. After an opera after the death of his wife, and led a simple family life, by Grétry and a ballet, the Queen decided to put on visiting his daughter every day at Versailles after lunch illuminations throughout the gardens, and the number and returning to the Trianon at the end of the afternoon. of bundles of wood burned increased significantly. Louis XV would always pay him a visit when he went out The standard had now been set and the visit by the hunting. Count and Countess of Haga in 1784 followed the same pattern but was even more splendid: 6,400 bundles of firewood were burned during the illuminations.
Peter I of Russia (1672-1725) Workshop of Jean-Marc Nattier (1685-1766) Circa 1717 Oil on canvas Palace of Versailles © Château de Versailles, Dist RMN - Grand Palais / Christophe Fouin
Night party at the Petit Trianon Hubert Robert (1733-1808) Circa 1780 Oil on canvas Quimper, Musée des beaux-arts © RMN - Grand Palais / Mathiu Rabeau
Bust of Joseph II (1741-1790) Stanislas Leszczynski Louis-Simon Boizot (1743-1809) (1677-1766) 1777 Attribued to Jean Girardet White marble (1709-1778) Palace of Versailles Circa 1760 When her brother visited France for the first Oil on canvas time, Marie-Antoinette ordered, through Paris, Conservatoire of Count d’Angivilier, two busts from Louis-Si- Eighteenth Century Portraits mon Boizot of Louis XVI and Joseph II. (C.P.D.H.S) © Château de Versailles, Dist RMN - Grand © Christophe Fouin Palais, Christophe Fouin
27 Modernising part I Versailles
Despite its popularity and the crowds that thronged From the mid-18th century onwards, the desire to there, criticisms were levelled at the Palace of Versailles. modernise Versailles extended to the exteriors. Close These mainly concerned the aesthetics and the to the Palace stood the palace of Clagny, built for the architecture. Architectural theorists and some of the Marquise de Montespan, and which was no longer used. visitors noted the lack of grandeur in the facades on the Louis XV resolved to order it to be demolished in 1769 town side, they disliked the polychrome materials and to extend the town of Versailles. At this time, the ruin did not appreciate the successive narrowing leading became the subject of many paintings (“architectural up to the Marble Courtyard. Well aware of this lack of fantasies”), just like ancient ruins. At the same time, the harmony between the facades in the courtyards and replanting of the Park at Versailles, ordered by Louis those looking onto the gardens, Louis XIV’s successors XVI in 1775, served as a pretext to introduce new groves and their architects very soon began to consider this in the Pre-Romantic style, like the Apollo’s Bath Grove, problem and produced projects to alter the aspect of the designed by Hubert Robert. facades on the town side.
For example, a major project submitted by Ange-Jacques Gabriel, in a noble and classical style, was accepted by Louis XV, and building started in 1770. However, work was halted after only one wing had been rebuilt, the Government Wing (known as the Gabriel Wing).
Under Louis XVI, this abandoned work was a pretext for more radical projects, some of which involved a virtual Elevation of the Royal Courtyard and the Palace, Grand Project reconstruction of the entire Palace. The architects that Ange-Jacques Gabriel (1698-1782) had been called in competed with one another to make Circa 1770 Quill, ink and watercolour highlights on paper Versailles a palace free from any reference to the work of Palace of Versailles the Sun King. However, the state of the King’s finances © Château de Versailles, Dist RMN - Grand Palais / Christophe Fouin State of the Palace after Gabriel’s Grand Project, approved by Louis XV. This project for prevented this work from going ahead. So the palace a new central body was halted in 1775 after the reconstruction of the Government Wing – known as the Gabriel Wing – which was to house the Palace’s great staircase, replacing remained in an imperfect state, and this was the general the Ambassadors’ staircase, destroyed in 1752. impression visitors were confronted with on the eve of the Revolution.
With expectations raised by the stories they had heard or the widely available prints, travellers were often disappointed when they finally discovered the place for themselves. Like the British agronomist and writer Arthur Young who recounted in 1787 in his travel notes: “The palace of Versailles, from which, according to what I had been told, I was expecting wonders, is not at all remarkable; it stirred no emotion in me; it makes no impression at all. What can make up for the lack of unity? From whatever side you look at it, it appears to be just an assembly of buildings...”. The German writer Sophie von La Roche noted in her travel diary after she also visited Versailles in 1787: “And we made fun of it, as Apollo’s Bath Grove Hubert Robert (1733-1808) we could not believe that this was indeed the Palace of 1777 Versailles; from the plates and the paintings, we hoped Oil on canvas Palace of Versailles that it would be much more lavish”. It was true that the © Château de Versailles, Dist RMN - Grand Palais / Christophe Fouin most accessible areas, the State Apartments and the The painting ordered from Hubert Robert gives an idea of the state of dilapidation in the Park. In 1775, Louis XVI decided to cut down all dying trees and replace them. Gardens, seemed to visitors like symbols of the staid and As he witnessed this vast project, Robert Wharton compared the gardens to a timber outdated grandeur of Louis XIV. merchant’s yard with logs and great treetrunks lying among the statues.
28 Unwelcome part i visitors
For over a century, Versailles welcomed all the visitors who arrived at its gates, without distinction. There was a cost for the King and the royal family, who were always on show in the huge palace, but they accepted this requirement of the French monarchy.
However, in 1789, the events of the Revolution were to bring Versailles some very unwelcome visitors, against whom it would be impossible fight back. The first events, like the storming of the Bastille on 14 July 1789, did not affect life at the Palace directly, but then events rushed headlong towards the autumn. On 1 October, a dinner Orgy of the Royal Bodyguards in the Opera House at Versailles, 1 was held in the Royal Opera House for the officers of the October 1789 After Jean-Louis Prieur Flanders regiment who had arrived recently to relieve 1789 the French guards, bringing in some fresh blood. The Paris, Carnavalet Museum - History of Paris © Roger-Viollet / Musée Carnavalet King and Queen made an appearance and were cheered. There was a rumour in Paris that the tricolour cockade had been trampled underfoot. On 5 October, an angry mob marched on Versailles. After a night spent waiting restlessly, in the small hours of 6 October, the rioters invaded the Queen’s Apartments, although she managed to find refuge with the King. That morning, escorted by a crowd of more than thirty thousand people, the royal family were forced to return to Paris and move into the Tuileries palace. They would never return to Versailles.
After the departure of the Court, the number of visitors declined. The Russian writer, Nicolai Karamzin, who came in April 1790, poetically compared Versailles without its Court to a body without a soul. The author Women from La Halle leaving for Versailles to get the King, 5 October 1789 walked through the State Apartments, which were still After Jean-Louis Prieur furnished, and wrote: “I have never seen anything more 1789 Paris, Carnavalet Museum - History of Paris magnificent than the Palace of Versailles…” © Roger-Viollet / Musée Carnavalet
The King arriving in Paris with his family, escorted by over thirty thousand armed rioters, 6 October 1789 After Jean-Louis Prieur 1789 Paris, Carnavalet Museum - History of Paris © Roger-Viollet / Musée Carnavalet
29
. Louis Nicolas de. Louis Lespinasse. 1779 Nicolas © The Metropolitan Museum of Art of Museum Metropolitan © The
30 The Palace of Versailles seen from the gardens the seen from Versailles of Palace The Art.of Museum Metropolitan The part II Around the exhibition
31 Catalogue of part II the exhibition
Visitors to Versailles. Travellers, princes, ambassadors. 1682-1789 Curated by Daniëlle Kisluk-Grosheide and Bertrand Rondot
When the government headquarters and the Court were moved to Versailles in 1682, the Palace, the centre of monarchical power, was designed as a public space where the King was on view not only to his courtiers but also to all of his subjects and everyone around the world.
There were three main reasons for visitors to come
Dès l’installation, en 1682, du gouvernement et de la cour à Versailles, le château, centre du to Versailles: to see the King and the rest of the royal pouvoir monarchique, est conçu comme un espace public où le roi se donne en spectacle non seulement aux courtisans mais aussi à l’ensemble de ses sujets et au monde. family; to admire the splendour of the Court, and Trois raisons principales poussent les visiteurs à se rendre à Versailles : apercevoir le roi ainsi que le reste de la famille royale, admirer la splendeur de la cour et découvrir le to discover the Palace, whose reputation had spread palais, dont la réputation s’est répandue à travers l’Europe et au-delà. Certains visiteurs, Visiteurs princes alliés venus incognito et diplomates en mission, sont reçus par le roi. Versailles de throughout Europe and beyond. Some visitors, allied est le centre d’une intense activité diplomatique qui voit se succéder les ambassades des monarchies européennes et les ambassades extraordinaires des contrées les plus princes who came incognito and those on diplomatic lointaines. Plus qu’un symbole politique, Versailles est une source d’inspiration esthétique et technique pour les artistes et scientifiques qui laisseront de nombreux témoignages de Ve r s a i l l e s missions, were received by the King. Versailles was a leur venue, dans leurs journaux, leurs dessins et leurs croquis pris sur le vif. de À travers peintures et portraits, costumes et guides de voyages, tapisseries et objets d’art, Visiteurs VOYAGEURS, PRINCES, AMBASSADEURS cet ouvrage illustre la découverte de Versailles par ses visiteurs, l’accueil qui leur était hub of intense diplomatic activity with a succession of réservé et les cadeaux qu’ils recevaient ou les souvenirs qu’ils en rapportaient. 1682-1789 ambassadorial visits from European monarchies and Ve r s a i l l e s extraordinary ambassadors from far-flung countries. Versailles was more than a political symbol, it was also a source of aesthetic and technical inspiration for artists and scientists who left many testimonies of their visit in G01045 45 € ISBN 978-2-07-274510-2
Gallimard their journals, drawings and sketches made on the spot. 9:HSMARC=\YZVUW: Gallimard
Through paintings and portraits, costumes and travel guides, tapestries and objets d’art, this catalogue illustrates the discovery of Versailles through its visitors, Co-published by Château de Versailles / Gallimard the welcome they received and the gifts they were given 336 pages €45 or the mementoes they took away with them. 22 x 28.5 cm Published: 26 October 2017
Press contact Béatrice Foti +33 (0)1 49 54 42 10 [email protected]
32 Visitors part II tell their story...
in the exhibition
A 12-track audioguide itinerary is available to the public As if they had written their own travel diaries, Kosa in three languages, (French, English and Spanish). Each Pan, Siamese Ambassador to the Court of France in track deals with a specific topic, appealing to the visitor’s 1686, Benjamin Franklin, who met Louis XVI in 1778, imagination through the accounts of those who have and Mrs Thrale, English woman of letters who stayed gone before, between 1682 and 1789. In each room in at Versailles in 1775, describe what goes on behind the the exhibition, the narrator, the Grand Chamberlain scenes in their itinerary and give us their impressions, of France, introduces one or more eyewitnesses who sharing their wonder as well as their criticisms. describe their visits and their reasons for coming to Versailles in the 17th and 18th centuries. These accounts will be revealed like a serial as the exhibition goes on. A variety of content will accompany their words and enable the viewer to dive into the heart on the website of the Court at Versailles in the 17th and 18th centuries. There are animated visuals, commentaries on the For the exhibition Visitors to Versailles 1682-1789, works of art, videos, and a soundscape to recreate the internet users are invited to relive three remarkable visits experiences of these three individuals at that time. to the Court at Versailles alongside some famous people and some more ordinary visitors, by going to the website at www.chateauversailles.fr. practical information Available in French and English Through a first-person narrative - fictitious but based on From 22 October 2017 www.chateauversailles.fr historic documents and testimony -, three accounts draw the listener into discovering the Palace of the Sun King.
33 Guided tours, part II educational and cultural activities
For all Guided tour of the exhibition for families Versailles is one of the most visited historic sites in the Guided tour of the exhibition world. Already in the time of Louis XIV, famous people 7, 8, 16, 24 and 25 November 2017; and the merely curious flocked there for official reasons, 1st, 5, 14, 16, 17, 20 and 23 December 2017; to see the King, or simply to admire this residence which 3, 9, 11, 20, 25 and 31 January 2018; was said to be the most brilliant in Europe. Court attire, 1st, 9, 17, 21 and 25 February 2018. gifts, souvenirs, travellers’ tales… families today are Prices: €7 + admission ticket. Free for visitors under 10. invited to discover the Palace through the eyes of visitors Duration: 1.5 hours. Reservations required on www.chateauversailles.fr, at +33 (0)1 30 83 78 00 or on the from another age. day (subject to availability). From age 6 See the complete programme on chateauversailles.fr Dates: 19, 26 November, 2, 10, 17 December 2017, 14, 21, 28 January, 14, 21 February 2018 at 10.30 am-12 noon / 27, 29 December 2017, 3, 5 January 2018 at 2.30 pm-4.00pm Prices, duration, reservations: see previous visit For families special types of public Games booklet of the exhibition For children aged 8 to 12, this Voyage(s) of no return, a participative investigation by booklet contains 12 pages of Commissioner Narbonne specially adapted information, Animated film in the exhibition
22 OCTOBRE 2017 > 25 FÉVRIER 2018 questions and games to give the See previous visit Visiteurs young visitor a better understanding
VOYAGEURS,de VersaillesPRINCES, AMBASSADEURS - 1682- 1789 in an active way. The booklet has Guided tour of the Gallery of Coaches many illustrations, and is designed Sensory itinerary to be both educational and fun, it is a A true palace, dedicated to the glory of horses, the guide to the visit with games added. stables at Versailles, built by Jules Hardouin-Mansart, In partnership with Paris Mômes were the place where the hectic lifestyle extended far Free at the entrance to the exhibition or download on chateauversailles.fr beyond the simple care of the horses and maintenance of the Court carriages. This was notably the setting for Voyage(s) of no return, a participative investigation by some lavish parties. The Gallery of Coaches, created by Commissioner Narbonne Louis-Philippe, houses a valuable collection of sledges, Animated film in the exhibition carriages and harnesses. 1686: a very exotic Ambassador is received in the Hall of Mirrors. The King of Siam, Phra Naraï, has sent some of Being a foreigner at the Court of Versailles his most high-ranking dignitaries to hand over a letter Guided tour of the Palace to Louis XIV written on gold leaf. Silk and diamonds Being a “foreigner” at the Court of Versailles suggests are shining brightly. However, in the shadows a drama someone who is in residence to serve as an ambassador, is taking place… Almost 100 years later, it is now the or someone who has married a prince of the royal family, King of Sweden Gustave III who is visiting Versailles. or someone who has come to pass on a skill that has long But when the same scenario is repeated, it is up to the been kept secret. These visitors often described their first best investigators in the kingdom to solve the puzzle. emotions and their disappointments. Participants are invited to assist Police Commissioner Narbonne in solving this mysterious enquiry. Wednesday, Thursday and Friday at 11.15 am or 1.45 pm Price: €25 From age 11 Duration: 2 hours Dates: 10, 17 December, 14, 21 January, 14 February at 10.30 am-12 noon / 29 De- Information: +33 (0)1 30 83 75 05, [email protected] cember, 5 January at 2.30 pm-4.00 pm Prices: €7 + admission ticket. Free for visitors under 10. Duration: 1.5 hours school groups Reservation required on www.chateauversailles.fr or on the day (subject to availability) A teaching programme and dedicated visits are offered for school groups to discover the exhibition.
Information and reservations: www.chateauversailles.fr/enseignants/evenements
Opposite page: Carpet, Gobelins Royal Manufactory. Circa 1775. 34 Palace of Versailles © Château de Versailles, Dist RMN - Grand Palais / Thomas Garnier Opposite page: Carpet, Gobelins Royal Manufactory. Circa 1775. Palace of Versailles 35 © Château de Versailles, Dist RMN - Grand Palais / Thomas Garnier 36 Hubert Robert (1733-1808). Circa 1780 Hubert Trianon. Petit the party at Night des Beaux-Arts Musée Quimper, Rabeau / Mathieu Palais © RMN - Grand part III part Partners of the exhibition
37 Patrons partie III
Gazprom is a global energy player, present across ADP Group builds, develops and operates airport the entire value chain of activity in oil and gas. Our platforms, including Paris-Charles de Gaulle, Paris-Orly main focus is on geological exploration, production, and Paris-Le Bourget. transportation, storage, processing and sales of gas, gas condensate and oil, as well as the generation and ADP Group created the Paris Airport brand, dedicated marketing of heating and electricity. to travellers.
Gazprom holds the world’s largest natural gas reserves, In 2016, Paris Airport handled over 97 million with 17% of global reserves of which 72% are Russian. passengers at Paris-Charles de Gaulle and Paris-Orly. The group is implementing large-scale energy development projects in the Yamal peninsula, on the In this context, Paris Airport is committed to ensuring Arctic continental shelf, in Eastern Siberia and in the that the best of Parisian and French culture is welcome Russian Far-East, as well as a number of hydrocarbon everywhere in their airports so that art can also be part exploration and production projects abroad. of the journey. This cultural approach has been deployed across all terminals: original works of art in exhibitions Our mission: to be a reliable and efficient supplier of in the Museum Areas, and also sculptures, musical natural gas, other energy resources and derivatives to initiatives, etc., to provide the backdrop to passengers’ our consumers. Gazprom’s strategic aim is to assert itself journeys. as a leader among global energy companies by gaining access to new markets, diversifying our business and ADP Group is already a patron at Versailles, ensuring reliable supplies. contributing to the restoration of the Grand Trianon, and we wanted to renew our commitment by becoming a After the success of the exhibition Peter the Great, a Tsar patron for the exhibition Visitors to Versailles 1682-1789. in France. 1717, Gazprom is delighted to be associated with the new exhibition Visitors to Versailles 1682-1789, which will highlight all the other travellers, both French and from abroad, during the reign of Louis XIV and throughout the 18th century.
38 With its 350-year history, Saint-Gobain makes a Opus One is the incarnation of a dream shared by commitment every year to support cultural and two of the greatest men in wine, Baron Philippe de scientific projects associated with its own identity or Rothschild, owner of the legendary Château Mouton with its housing-based strategy. Rothschild, and Robert Mondavi, famous wine producer and ambassador for Napa Valley. Out of their vision to The Palace of Versailles is one of those iconic places create the equivalent of a “Grand Cru” in California, the in the history of the Royal Mirror Glass Manufactury, first vintage of Opus One was born in 1979. This union later called Saint-Gobain, to which the Group shows its between the traditions and innovations of two of the attachment by regularly lending support to exhibitions. most prestigious wine-producing regions resulted in a While the Manufactury of mirror glass became supplier to blend of elegance, finesse, complexity and power. the King very soon after it was created in 1665, especially for the Hall of Mirrors, probably one of Saint-Gobain’s Today, Opus One is distributed in the United States and most famous orders, it also fairly quickly became the internationally in more than 100 countries. subject of admiration and envy for the King’s visitors, who sometimes carried back some of the precious By supporting the Visitors to Versailles 1682-1789 mirrors to their sovereigns, over roads that could be long exhibition, Opus One International is acting in and dangerous. As the exhibition shows, the famous accordance with its history, that of building bridges ambassador sent to Versailles by the King of Siam in 1686 between continents. was clearly especially interested in the Manufactury’s mirror glass. The King of Siam had given his ambassadors Communication contact a long list of requirements: cannons, optical instruments, Christopher Barefoot + 1 707-944-9442 lengths of serge fabric, jackets of lace and beaver hats dyed [email protected] in various colours... However, the most important orders on the list went to the Royal Mirror Glass Manufactury for decorations for the Palaces of Ayuthia and Lopburi, the capitals of the kingdom of Siam.
Thus it was thanks to the King that the Manufactury created by Louis XIV and Colbert to counter the supremacy of the Venetians in the production of mirrors, a luxury product, quickly enhanced its reputation with its products travelling to some very remote countries. Today, Saint-Gobain exists in 67 countries, with 170,000 employees. It designs, produces and distributes a wide range of materials and solutions designed for everyone’s well-being and for our future. These materials can be found everywhere in our environment and in our daily life: buildings, transportation, infrastructure, and in many industrial applications. They create buildings that are comfortable, efficient and safe while meeting the challenges of sustainable construction, effective resource management and climate change.
For more information on Saint-Gobain, go to the website www.saint-gobain.com and our Twitter account @saintgobain To discover 350 years of history, www.Saint-Gobain350ans.com
Press contact: Susanne Trabitzsch +33 (0)1 47 62 43 25 [email protected]
39 A PHILANTHrOPIC FOUNDATION In 2016, the essay by Gregory Quenet Versailles, a natural history, published by La Découverte, was Fondation François Sommer awarded the François Sommer literary prize. According Created by François Sommer (1904 - 1973) and his wife to the author’s analysis, there is another Versailles, Jacqueline (1913 - 1993), the foundation is recognised to animal, organic, far from the stereotype of a managed, be of public interest. Its work consists in constructing rationalised and controlled nature “in the French style”, a calm and peaceful dialogue between all those who which overturns the official history of the relationship use nature, both hunters and non-hunters. Its aim is between power and nature in France. to spread the values of humanist ecology throughout society and to act with sincerity — respecting Man’s Recently, for the exhibition Festivities and Entertainment dignity — to achieve a sustainable use of natural at Court (November 2016-March 2017), the museum resources. loaned a number of objects to illustrate hunting. Philippe Dulac, President of the François Sommer Foundation, Museum of Hunting and Nature contributed to the exhibition catalogue, as did the The Museum of Hunting and Nature was created by museum’s deputy curators, Karen Chastagnol and the François Sommer Foundation. Opened by André Marie-Christine Prestat. Malraux in the Hotel de Guénégaud (17th century Historic Monument by François Mansart), on 21 Naturally, the François Sommer Foundation is keen to February 1967, the museum was extended in 2007 support the exhibition Visitors to Versailles. 1682-1789. into the adjoining mansion, the Hotel de Mongelas (18th century). As a result, the museum was now able www.chassenature.org to set out the relationship between man and animals throughout the ages (from ancient times to the present Communication contact day) based on the exceptional collections of ancient, Ugo Deslandes +33 (0)1 53 01 92 40 modern and contemporary art brought together by the [email protected] founders and added to continuously for half a century. This is a private museum, which has the “Musée de France” quality label granted by the Ministry of Culture and Communication.
An enduring link with the Palace of Versailles In 2003, the François Sommer Foundation contributed to restoring the decoration of the Stag Courtyard at Versailles. In partnership with the patronage of Hubert de Givenchy it provided the stags’ heads to complement the terracotta heads.
In 2009, the Museum of Hunting and Nature loaned works for the exhibition Louis XIV: the Man and the King. In 2014, a partnership was created for the exhibition of the works of the artist Lee Ufan.
40 Partners partie III
The Orient Express was born in 1883, the brainchild of The New York Times Company is a worldwide media a Belgian visionary whose aim was to provide luxury organisation dedicated to improving society by creating, travel on a European scale. collecting and distributing high quality news and information. The organisation includes the New York From Paris to Constantinople, its passengers discovered Times, the New York Times International Edition, a new way of travelling, in unprecedented comfort and NYTimes.com and related assets. The daily newspaper is elegance. known worldwide for the excellence of its journalism, its innovative narration in the printed and digital versions This 19th century innovation gradually became the and for its business model. timeless symbol of the art of travel, and the train reached its zenith in the 1920s, frequented by some of the great Winner of several awards in the world of arts and names of the time, artists and writers who turned it into culture, the New York Times International Edition a legend. is delighted to be in partnership with the Palace of Versailles for the exhibition Visitors to Versailles 1682- These carriages with their blue livery are immediately 1789. recognisable, they are the work of some of the great names of the Art Deco movement, and still today they Follow the news on www.nytimes.com embody the golden age and the aesthetics of the Orient Express.
The most valuable are classified as French Historic Monuments. This heritage train has been restored, taking great pains to respect its history, and it is now used for day trips and private events.
Orient Express is proud to be associated with the exhibition Visitors to Versailles 1682-1789 to relive the treasures to be found in encounters and to share the cosmopolitan spirit of travel that the Orient Express has inherited.
www.orient-express.com
41 Since its creation in 1949, Paris Match has told the With its wide range of publications, Connaissance world’s story as it is, through the most powerful, des Arts gives its readers all the essential references the most authentic and the most original human for a better understanding of art from all eras, from experiences. From photojournalism, for which it is one archaeology to contemporary creation, from the art of of the world’s leading references, to the new digital gardens to photography, from design to architecture. In information tools that have earned it awards, addition to the monthly magazine (11 issues per year), Paris Match takes a close look at everything that makes Connaissance des Arts publishes about forty special up the daily news. It is in this continuous stream of issues and art books. The magazine is also available information that the film of reality is written. Paris on Internet at connaissancedesarts.com, which is the Match selects moments in life that tell our History. And benchmark website for all national and international illustrates all our destinies. artistic news, with feature articles, portfolios, podcasts and videos. Connaissance des Arts now exists in digital Paris Match is the number 1 French news magazine and format via its app., with a version enhanced with photos 5th in the world (source: FIPP), and is the partner of and videos… major institutions working for culture and promoting it worldwide. Every month, Connaissance des Arts keeps its readers abreast of all the international news. Exhibitions, It is for these reasons that Paris Match is associated with auctions, shows and trade fairs are discussed by the best the Palace of Versailles for the exhibition-event Visitors journalists and experts. to Versailles 1682-1789 which gives a rare glimpse of History and the greatest moments of world diplomacy in Connaissance des Arts is delighted to be associated a royal setting. with the exhibition Visitors to Versailles 1682-1789 at the Palace of Versailles.
42 The essential benchmark of documentary channels on franceinfo, the leading public service rolling global the French audiovisual scene, Histoire has worked hard news media, reports and analyses the news with 160 for 20 years to offer the best in history programmes. journalists focused on one goal: to produce reliable information 24/7 for all forms of media to empower Every year, more than 300 hours of new programmes citizens to form their own free and independent opinion. are provided for the 9 million homes that subscribe to the channel. In just twenty years, Histoire been able to Surveys and unpublished reports, analysis and insight develop essential values of credibility and quality, as by experts … live, at the heart of the information, well as a unique editorial policy of covering all periods franceinfo covers major events in France and throughout of history, with a great variety of topics, ranging from the world, to gain a better understanding of the news civilisations to wars and great battles and including and share it with all audiences. geopolitical history. Histoire also has a considerable number of cultural programmes with many devoted to Through the collaboration between public broadcasting art and heritage. This editorial policy also uses a variety partners: Radio France, France Télévisions, Ina and of formats, from documentaries to magazines, and France Médias monde, franceinfo is able to provide an including fiction. unprecedented supply of information with key news items live on all media with an updated radio service, ambitious digital provision and a television channel. Reactive, innovative, exhaustive, concise, educational…
Franceinfo motto: deux points ouvrez l’info (colon, open news).
43 44 Louis XIV walking in the Apollo’s Bath Grove Bath Apollo’s the in Louis XIV walking 1713 Denis Martin. Pierre Versailles of Palace Blot / Gérard Versailles) de (Château Palais © RMN - Grand part IV part Practical information
45 The exhibition is open every day, except Mondays. Getting to the Palace from Paris - 9 am to 6 pm, last admission 6 pm (ticket office closes at 5.50 - RER line C,
pm), in high season. access to Versailles Château - Rive Gauche - 9 am to 5.30 pm, last admission 5 pm (ticket office at closes - SNCF trains from Montparnasse train station, 4.50 pm), in low season. to Versailles - Chantiers opening timesopening The Estate of Trianon is open every day, except Mondays: - SNCF trains from Saint-Lazare train station, - 12 noon to 6.30 pm, last admission 6 pm (ticket office closes to Versailles - Rive Droite at 5.50 pm), in high season. The gardens close at 7.30 pm - RATP bus line 171 from Pont de Sèvres, (visitors asked to leave the gardens from 7 pm). to Versailles - Place d’Armes - 12 noon to 5.30 pm, last admission 5 pm (ticket office closes - A13 motorway (direction Rouen) exit Versailles-Château at 4.50 pm), in low season. - Parking on the Place d’Armes. There is a charge for The Gardens are open every day (weather permitting and parking, except for the disabled and from 7.30 pm on except on Saturdays with Fountains Night Shows and 29 and 31 evenings when there is a show. October 2017): - 8 am to 8.30 pm in high season, last admittance 7 pm. Getting to the Trianon Palaces - 8 am to 6 pm in low season. and Marie-Antoinette’s Estate The Park is open every day (weather permitting): - From Paris: A13 motorway (direction Rouen); - 7 am to 8.30 pm in high season. Exit 2 Versailles Notre-Dame. Enter by St. Anthony’s Gate. - 8 am to 6 pm in low season. Payment for entry, parking permitted from 7 am to 7 pm in high season and from 8 am to 6 pm in low season. - From the Palace: 25 minutes on foot through the Gardens, and the Petit Trianon and Grand Trianon stops on the little High season: 1 April-31 October train. Low season: 1 November-31 March
Entry to the exhibition is with the Palace admission ticket, Château de Versailles @CVersailles facebook.com/chateauversailles twitter.com/CVersailles the Passports or the “A Year in Versailles” card. prices Palace ticket: €18, reduced admission €13 Château de Versailles Chateauversailles Estate of Trianon ticket: €12, reduced admission €8 plus.google.com/+chateauversailles instagram.com/chateauversailles Passport (1 day) gives admission to the Palace, the Château de Versailles Versailles Media Gardens, the Estate of Trianon, the Gallery of Coaches, youtube.com/chateauversailles media.chateauversailles.fr
and temporary exhibitions: €20 / €27 on days with Musical networks social Fountains Shows. Passport (2 days) gives admission for two consecutive days to the Palace, the Gardens, the Estate of Trianon, the Gallery of Coaches, and temporary exhibitions: €25 / €30 on days with Musical Fountains Shows.
Entry to the Palace of Versailles and the Estate of Trianon For more information + 33(0)1 30 83 78 00 is free for under-18s, European Union residents under 26, chateauversailles.fr teachers in a French establishment, disabled people and the person accompanying them, jobseekers in France... but not for the Musical Fountains Shows and Musical Gardens.
free admission Entry to the Park is free every day all year round (access via the Press contacts Main Gate, the Queen’s Gate, the Sailors Gate, St. Anthony’s Hélène Dalifard, Aurélie Gevrey, Elsa Martin, Violaine Solari +33 (0)1 30 83 75 21 Gate) [email protected] Entry to the Gardens is free, except on days with Musical Information and images can be downloaded on: presse.chateauversailles.fr Fountains Shows and Musical Gardens. Entry to the Musical Fountains Shows and Musical Gardens is free for children under 6.
46
visitors to versailles Travellers, princes, ambassadors 1682- 1789 In partnership with the Metropolitan Museum of Art of New York Exhibition until 25th February 2018 at the Palace of Versailles
Madam Krystyna Campbell-Pretty Thanks to the patronage of and his family
In partnership with
© Château de Versailles, Dist. RMN-Grand Palais /© Christophe Fouin ; © Château de Versailles /© Thomas Garnier, © Jean-Marc Manaï ; Collection particulière /© Thomas Garnier ; © Philip Mould & Company ; © RMN-Grand Palais (Château de Versailles) #VisitorsVersailles / Gérard Blot ; © RMN-Grand Palais (Château de Versailles) / Franck Raux ; © Paris, Missions étrangères /© Thomas Garnier - Visuel : DES SIGNES Studio Muchir Desclouds