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Mirror Gallery of Versailles

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The Mirror Gallery of the Palace of Versailles, the masterpiece of the architect Jules Hardouin-Mansart and the artist Charles Lebrun, a symbol of the greatness of Louis XIV, who wanted to make it [the showcase of France], regained its original splendor after three years of restoration work. This was the first complete restoration since the completion of the gallery in 1684. This [the only royal beauty in the world, as the Marquise de Sevigne wrote about it, appears today, according to the chief architect historical monuments Palace of Frederic Didier, [a dazzling old lady, whose [all the wrinkles on her face tell a story].

The restoration campaign carried out for this [beauty] who still retained much of her youthful charm is the largest cultural patronage operation ever carried out in France, with a total cost of 12 million euros. The costs were fully covered by the construction and public works company Vinci. It was [competent philanthropy, as a group of philanthropists carried out both the general design and the material support of all the work, which was entrusted to enterprises-specialists in restoration and preservation national treasure. The first technical operations concerned the repair of all electrical networks, heating, thermal insulation, ventilation and air conditioning systems in accordance with fire safety standards. A new lighting system was invented, giving the effect of light from candles. On the artistic side, enterprises specializing in the restoration of historical monuments actively cooperated with artisans, holders of centuries-old knowledge and skills. They cleaned the murals, polished 1100 sq. m. of polychrome marble, gilded bronze, restored metal ornaments and forging elements, repaired 770 sq. m. m. of floors, gold-plated wooden surfaces using traditional technology.

All 357 mirrors, which gave the name to this fabulous gallery, included in the UNESCO List world heritage humanity, have undergone a special [treatmentk. Restoration work was entrusted to a specialist in antique mirrors. All mirrors were removed and the damaged panes were replaced with mercury-coated mirrors, the same as the original mirrors, of which, to everyone's surprise, 70% remained in the gallery. The specialist thus restored 309 mirrors, of which 48 were completely replaced, either broken or dated from another era. The same mirror-maker unexpectedly discovered under the roof of the Senate a warehouse of ancient mirrors, preserved from the time when the palace was the residence of the king's brother. The master cut them in accordance with the original to install in the gallery. The secret of making Venetian mercury-coated mirrors was passed on by several workers who were lured away from Murano by Colbert and hired for 4 years at Versailles. But this process of making mirrors proved deadly for a large number of glaziers who were poisoned by mercury vapor. Therefore, in 1850, this technology was completely banned in France, where even then it was replaced by the manufacture of silver-coated mirrors.

For the first time in the history of cultural patronage in France, under an agreement agreed with the administrative court of Versailles, the state officially entrusted the entire range of work to a private enterprise. The general design was, of course, entrusted to the chief architect of the Historical Monuments, with the support of the Supervisory Committee and the International Scientific Council, consisting of twenty specialists. For these exceptional works, Vinci, which involved a hundred experienced restorers, was awarded the first medal [Outstanding Patron of the Ministry of Culture and Communication]. This medal was established in 2003 during the adoption of a new law on patronage, allowing such events.

The mirror gallery was created between 1678 and 1684. Jules Hardouin-Mansart (1646-1708); it connected the large apartments of the king with the apartments of the queen. Charles Lebrun (1619-1690), his first artist, was commissioned by the Sun King to reproduce the most significant events of the first 17 years of his reign (military victories, administrative and economic reforms) in the painting of the ceiling vaults. Driven by his amazing genius, the artist depicted these scenes with endless allegories, perspectives, visual deceptions and knocking bas-reliefs. Instead of the usual images of gods or heroes in the central part of the ceiling painting, the artist decided to depict the king himself, sitting on the throne. Racine gave the famous title to this painting: [The King Rules Samk. This thousand sq. m. ceiling painting is the largest pictorial ensemble in France.

In this very solemn hall of the Palace of Versailles, the marriages of princes (in particular, the future King Louis XVI and Marie Antoinette) took place, one court feast followed another. The mirror gallery, a symbol of the [French genius, was also perfect place for audiences given to distinguished foreign guests. After the fall of the monarchy, the gallery continued to serve as a place where historical events. During the Second Empire, Napoleon III and Empress Eugénie revived the splendor of the balls of the royal regime for the last time, receiving Queen Victoria in the gallery on August 25, 1855. It was there that the German Empire was proclaimed on January 18, 1871 and on June 18, 1919 the Treaty of Versailles was signed , which put an end to the First World War (1914 1918).

Presented to the public in all the splendor of pristine lighting, the newly restored huge hall (173 m long, 10.5 m wide and 12.5 m high under the dome) during all three years of work, however, was never closed for excursions. It was impossible to deprive the 4 million tourists who annually visit the palace from such pleasure. About 6,000 visitors, of which about 1,000 young people, were even able to climb the scaffolding to join the profession of a restorer and watched with admiration from close to the revival of Lebrun's magnificent paintings, sometimes spoiled by unsuccessful previous restorations or simply darkened with time.

For three centuries of French history, alas, left the gallery in [a state of general pollution: everything was black, darkened, reminiscent of Frederic Didier, while Lebrun was a great colorist. The women restorers spent three years literally not looking up from the painting of the plafond, passionate about their work, realizing that [there will no longer be such a restoration in their lives. As a result of their scrupulous work, to everyone's surprise, the amazing blue color of lapis lazuli was revealed, which covers the sky and illuminates the entire vault of the ceiling. In other paintings, bright reds, yellows, lilacs, grays opened up, and at the same time, inappropriate later layers of paint disappeared. Thus, it was found that 80% of the paintings were recorded by artists of subsequent generations.

[Everyone has entered the Gallery of Mirrors at some time, but who could say until today that he has seen it? None. The reason is simple: she was invisible. This now obsolete remark comes from Jacques Thuillier, author of a wonderful little book [Gallery of Mirrors a Newfound Masterpiece.

Claudine Canetti

Web site:

www.chateauversailles.fr

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The Mirror Gallery was not one of the first large building projects erected in Versailles by the architect Levo. In the project of stone buildings around the small castle of Louis XIII, proposed by him in 1668, this place was reserved for a terrace. And only a few years later, the architect J. Hardouin-Mansart presented to the king on September 26, 1678, the year the Nimwegen peace treaty was signed, the project for the construction of the Mirror Gallery. Construction was completed in the same year.

The Hall of War, the Gallery of Mirrors and the Hall of Peace are a single ensemble with decor dedicated to the military and political successes of Louis XIV. Here the enfilade principle of planning triumphs. The picturesque medallions by Lebrun on the gallery's box vault, 75 meters long and 10 meters wide, glorify the military victories of Louis XIV.

Versailles from the courtyards

The marble finish seems to radiate a cold blue light and emphasizes the severity and grandeur of this front hall. The arched high windows on the inner longitudinal wall are echoed by mirrors similar in shape and size, and this creates the impression of the boundless width of the hall, which at the ends is closed by the Hall of Peace and the Hall of War.

At first, Louis XIV ordered that silver furniture, made according to the sketches of Charles Le Brun, be placed in the Mirror Gallery. However, in 1689 this furniture was melted down to replenish the state treasury, which was empty as a result of military campaigns. The set included high candelabra, round low tables for lamps and large vases of the finest chased work, made by the best jewelers of that time. The fireplace, designed by Lebrun, is decorated with a bas-relief by Antoine Coisevox. The large medallion above it is dedicated to one of the main events of the Dutch War: here Louis XIV is represented in the costume of an ancient warrior on horseback during the crossing of the Rhine on June 2, 1672. At the bottom, the relief depicts the patroness of history, Muse Clio, writing down the history of the King of France in the annals.

In the era of the pre-revolutionary monarchy, the Mirror Gallery led to the Great Royal Apartments. Here the courtiers gathered in the hope of seeing the king, who every morning passed to the chapel. Some took the opportunity to petition. When, during especially solemn audiences, Louis XIV received foreign ambassadors, such as the ambassador of Siam in 1686, the silver throne of the monarch was installed in the Mirror Gallery, which was transferred from the Salon of Apollo. There were also magnificent festivities, ceremonial balls and masquerade balls, which were given in honor of royal marriages. The ambassador of Venice, who was present at one of these receptions, wrote that the gallery was brighter than during the day, and the eyes refused to believe that such a bright, unprecedented spectacle was happening in reality.

The mirror gallery of the Palace of Versailles was the result of a search for new spatial and lighting effects, and in addition, it was supposed to demonstrate the achievements of the French glass industry, its first victories over Venice.

On June 28, 1919, an agreement was signed in the Mirror Gallery to end the First World War.

mirror gallery

Without a doubt, before us is the most marvelous hall of the most beautiful palace in the world. And when we admire its noble proportions, its scope (without any pretense of colossality!), when we admire the harmony and thoughtfulness of the decor that unites the gallery with two adjacent halls - the Hall of War, located from the north (the edge of storms and bad weather), and the Hall of Peace, adjoining from the south (the edge of the sun and abundance), it never occurs to us that the emergence of such an integral ensemble was a matter of chance.

The gallery is perceived by us as the unconditional center of the palace, as a core that attracts other rooms to itself; it seems as if the architects conceived it before other parts of the castle ... Nothing like that! In fact, it arose already during the period of reconstruction: it was erected on the site of a wide balcony decorated with a fountain, which connected two palace wings at the level of the second floor.

But we are endowed with a happy ability to adapt, to get used to it - a quality that at all times has saved the aesthetic sense. In addition, what is done impromptu often surpasses what is created with difficulty and effort ... Suddenly invented, limited by the size of the lower room, this "unforeseen" gallery could well turn out to be too long or too short, too narrow or too high. And how lucky: it turned out perfect!

But just think! Louis XIV, in order for Versailles to become the way we see it today, almost all his life had to endure the roar of masons' hammers, the cries of plasterers and humbly inhale the dust of endless construction projects. He did not even have time to properly enjoy his palace.

Judge for yourself.

It all started in 1665 with the remodeling of the Marble Court; two years later, Levo begins to build the majestic colonnades of the northern and southern facades; before they are finished, ministerial buildings are built; almost simultaneously, the foundations of the Orangery are being laid, and when it rises above ground level, part of the newly built Levo building is destroyed in order to erect a gallery with its two side halls on the second floor; painters begin work here even before the northern wing was erected; and everything will end with the construction of the chapel.

From 1665 to 1710! Forty-five years of uninterrupted construction, when scaffolding and ladders are erected, marble is sawn, stones are hewed, earth and gravel are poured, when carts roll up, draft horses with carts get stuck in the mud and gypsum scatters dust ... Yes, you need to love construction very much to agree to such a life.

And it is amazing that everything together turned out so beautiful: after all, in fact, the Palace of Versailles is nothing more than a conglomeration of separate parts and premises that grew around the small castle of Louis XIII; it was not destroyed in time, and it was lost in the very core, like a truffle in an exquisite pate.

But back to the gallery. Even today, despite the finishing touches of the Louis Philippe era and the poor banquettes (which would rather fit a rural cinema), it seems beautiful. Can we imagine what she looked like in her best days?

Nothing shiny, nothing striking in the eyes: an intoxicating harmony of white, gray and gold; alabaster tables and vases in bronze frames; stools and tall floor lamps, cast and minted from silver according to Lebrun's drawings in the Gobelin workshops; between the windows on silver tables are placed impressive candelabra with eight candles depicting the exploits of Hercules - true masterpieces of jewelry art; banquettes, pedestals, boxes from which evergreen orange trees grow, candlesticks, jugs, bowls, stretchers - all this is made of pure silver; chandeliers of crystal and silver hang from flower-decorated cords; on seventeen windows there are curtains of blue silk embroidered with gold; the huge carpets of the Savoneri workshops cover the floor; pilasters of gray marble with gilded capitals divide high arches, where mirrors of the brightest water shine in bronze frames; the tonal restraint of the overall scale emphasizes the colorfulness of Olympus depicted on the ceiling.

What have these mirrors, cast in the then just founded workshop of the Faubourg Saint-Antoine, not seen in their lifetime; what they did not witness! .. If we concentrate on these thoughts, we will not have the courage to pass them in our raincoats and hats.

In these glasses lived the reflection of the Great King, at first young and in love, then aged, heavy, bent over the years. How many queens, how many beautiful women they reflected in themselves: mannered and fragile Madame de Pompadour; trembling on the eve of her introduction to the du Barry court; sixteen-year-old Marie Antoinette, fair-haired, ruddy ...

Past these mirrors walked Condé and Villars; old Franklin, according to the legend, Jean Bart, with a pipe in his teeth, passed by in his rope shoes. The mirrors of the gallery saw how on January 7, 1689, with the text "Esther" under his arm, Jean Racine passed here, heading to the apartments of Madame de Maintenon, where his play was to be rehearsed. These high glasses once reflected the red cap of the Genoese Doge, and with the greatest amazement reflected the mirrors of the Siamese ambassadors, who ran the entire length of the gallery, backing away so as not for a second to turn their backs to the Sun King.

But in the mirror that masks the double door of the royal office, at noon on August 15, 1785, a frightened silhouette of Cardinal de Rogan flashed - the guards arrested him at the moment when he was going to celebrate mass. In May 1789, in front of each of these mirrors, the representatives of the States General who had gathered from their provinces paraded with solemnity ... All those whose image, like a trace of breath, has evaporated from the surface of the glass, fill these mirrors with a mysterious, ghostly life.

But despite its ceremonial appearance, the gallery saw not only majestic events and historical figures in it ... Indeed, our grandfathers and great-grandfathers idolized etiquette, but all the more they appreciated any opportunity to relax, and at the end of the ceremonies they willingly switched to good-natured simplicity.

During the monarchy, the Mirror Gallery was open to everyone. At least in the reign of Louis XV and Louis XVI people came here without any special permissions and formalities. On summer Sundays, ordinary Parisian people filled the gallery. The people walked freely here, enjoying the slipperiness of the parquet and crowding from time to time in the hope of seeing the king. The legendary Swiss, who was on duty in the Bull's Eye hall, only forbade entering the chambers of His Majesty. He himself lived right there behind the screen, where he had a stove, a toilet and a wardrobe, but in the evenings he moved the bed to the gallery; here he undressed, got into bed and sniffed comfortably, having every right to consider himself the owner of the most luxurious bedroom in France.

Twice or thrice in the morning hours Louis XVI could be seen here, leaving his study, heading towards the Hall of War to look at the thermometer that hung on the window of the Apollo Room facing north. Here they lived quite in a bourgeois way, despite all the splendor, they got used to it so much that they perceived the gallery as an ordinary corridor.

What is the value of the document found by de Nolac (it refers to 1754 or 1755), where we read, for example, this: “Guards should not allow animals to be escorted into the palace without permission. Only princes and princesses of the royal family have the right to admit cows, goats or donkeys to their chambers; in the form of a special favor, these rights have been given to several more persons ... ”The peddlers of water and firewood also freely enter the palace. Street vendors roam all floors, stairs and reception areas; the street penetrates inside the castle, reaching the Mirror Gallery itself. Constant walking back and forth, noise, hustle... Only monks and people "with fresh traces of smallpox" are forbidden to enter the castle.

And then in a few days everything turned into a desert.

October 1789. Louis XVI is already in Paris. The colossal Versailles was evacuated in a matter of hours; in a beautiful palace that for a hundred years was the center of the world, oppressive silence reigns. Along the suite, doors opening and slamming noisily, drafts roam; the painting of the plafonds is peeling off... the mirrors are dimming... But every quarter of an hour in this vast emptiness one can barely hear the distant, gradually fading sound of the flute and harps: then the clock remaining in the queen's room continues to live; with their gentle song they measure every hour of the revolutionary era in the abandoned royal dwelling.

Of course, things have a soul: it is created from our memories, from our own experiences, from all the experienced joys and sorrows, of which they happened to be impassive witnesses.

The soul of the Gallery of Mirrors is then inextricably merged with the soul of France itself; the Germans felt this very well when in 1870 they chose the gallery as the place of the baptism of their Empire.

In Berlin, in the royal palace, there is a picture depicting this event: how many figures filled with pride are in it, how many helmets, banners, boots, how many bearded faces radiating satisfied lust! And what a demonstrative arrogance in the landing of these reytars, whose broad shoulders are drawn against the silver-gray background of pilasters and mirrors, reflecting this spectacle with shame ...

But what a revenge! Less than half a century has passed, and the gallery, where cries in honor of the immortal monarchy were heard, witnessed its collapse ... History loves such one hundred and eighty-degree turns ...

From the very beginning, the gallery stretching between the Halls of War and Peace was intended for a brilliant role; to decorate it in 1681, Lebrun conceived a huge pictorial ceiling. Looking up at him, we distinguish there on the ceiling among the elegant crowd of countless Mars, Minerva, defeated giants, chained slaves, victorious palm branches, griffins and garlands, France, represented in the guise of an eternally youthful goddess; she is accompanied by the Graces, weaving wreaths; next to her is Prosperity, overshadowed by roses, and a female figure stretching an olive, Peace. A cloud is represented in the very center of the composition; it carries away Germany with its eagle, while the lust for power, angry at its defeat, wrests the crown from the defeated king with one hand, and sets fire to palaces and temples with a torch. Connoisseurs can say whatever they want about this painting, but no one will stop me from thinking: in those two days when Lebrun executed the sketch for the ceiling, he was more than a great artist - he was a prophet.