Palace of Versailles

French Baroque architecture, sometimes called French classicism, was a style of architecture during the
reigns of Louis XIII (1610–43), Louis XIV (1643–1715) and Louis XV (1715–74). It was preceded by the French
Renaissance and Mannerism styles, and was followed in the second half of the 18th century by Neo-classicism.
The style was originally inspired by the Italian Baroque style, but, particularly under Louis XIV, it gave greater
emphasis to regularity, the colossal order of facades, and the use of colonnades and cupolas, to symbolize the
power and grandeur of the King. In the final years of Louis XIV and the reign of Louis XV, the colossal orders
gradually disappeared, the style became lighter and saw the introduction of wrought iron decoration
in rocaille designs.

Plan of the main floor (c. 1837, with north to the right), showing the Hall of Mirrors in red, the Hall of
Battles in green, the Royal Chapel in yellow, and the Royal Opera in blue

Plan of the main floor in the central part of the palace (c. 1742),[38] showing the grand appartement du roi in
dark blue, the appartement du roi in medium blue, the petit appartement du roi in light blue, the grand
appartement de la reine in yellow, and the petit appartement de la reine in red

The Grand Gallery is a set of three highly decorated reception rooms, dedicated to the celebration of the political
and military successes of Louis XIV, and used for important ceremonies, celebrations and receptions.

The Galerie des Glaces (Hall of Mirrors), is perhaps the most famous room in the château of Versailles. It took
the place of the rooftop terrace overlooking the gardens which formerly connected the apartments of the King
and Queen. The construction of the room began in 1678 and finished in 1689. The gallery is more than 70
metres (230 ft) long, and it is lined with 17 wide arcaded mirrors, designed to match and reflect the windows
opposite facing the gardens. Charles Le Brun painted thirty scenes of the early reign of Louis XIV on the ceiling.
The centerpiece is a painting of the King titled, "The King Governing Alone". It shows Louis XIV, facing the
powers of Europe, turning away from his pleasures to accept a crown of immortality from Glory, with the
encouragement of Mars.[46]
The hall was originally furnished with solid silver furniture designed by Le Brun, but these furnishings were
melted down in 1689 to help pay for war expenses. The King kept a silver throne, usually located in the Salon of
Apollo, which was brought to the Hall of Mirrors for formal ceremonies, such as the welcome of foreign
ambassadors, including a delegation from the King of Siam in 1686. It was also used for large events, such as
full-dress and masked balls. Light was provided by candelabra on large gilded guerdirons lining the hall. Those
on display today were made in 1770 for the marriage of Louis XVI and Marie Antoinette, based on the moldings
of earlier silver versions made by LeBrun that had been melted down. The twenty-four crystal chandeliers were
hung only for special occasions. Courtiers gathered in the Hall to watch the King walk from his apartments to the
chapel, and sometimes took the occasion to present him with requests. [46]

The Chapel was the last building at Versailles to be completed during the reign of Louis XIV. It was consecrated
in 1710, and was dedicated to Louis IX of France, the ancestor and patron saint of the King. Construction was
begun by Hardouin-Mansart in 1699, and was completed by de Corte. Daily services, wedding ceremonies, and
baptisms were held in this chapel until 1789. Like other royal chapels, it had two levels: the King and family
worshipped in the Royal Gallery on the upper level, while ordinary courtiers stood on the ground level.[48]
The paintings on the ceiling display scenes depicting the three figures of the trinity. In the center is The Glory of
the Father Announcing the Coming of the Messiah by Antoine Coypel, above the altar is The Resurrection of
Christ, and above the royal gallery is The Holy Spirit Descending Upon the Virgin and the Apostles. The corridor
and vestibule that connected the Chapel and the State Apartments included later art, commissioned by Louis
XV, intended to portray the link between Divinity and the King: a statue of Glory Holding the Medallion of Louis
XV, by Antoine Vassé; and Royal Magnanimity by Jacques Bousseau.[49]

The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end
of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental
wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques
Gabriel in 1748, but this also was temporarily put aside. The project was revived and rushed ahead for the
planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy
and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The
wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the
arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin
Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on May 16, 1770,
as part of the celebration of the royal wedding.[50]
In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the
King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris
Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French
Republic and the return of the government to Paris.[9]