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Looking Into the Hall of Mirrors, Versailles.
( (Prepared by the National Geographic
t Society. Washington, D. C.)
A S THE tired and travel-worn
/\ visitor arrives at the gates of
/ V, the palace of Versailles and
passes through under the gild¬
ed arms of France, he enters the cour
d’honneur and sees facing him the
great equestrian statue of Louis XIV,
the roi soleil, that august monarch
who occupied the throne of France for
72 years.
Guarding the court In Impressive
grandeur are statues of distinguished
statesmen and marshals, like giants
of old, and even across the vast ex¬
panse of cobblestones stretching in
every direction these honored of
France appear of heroic size.
At either side and in front rise the
Impressive walls of “the architectural
masterpiece of the most brilliant era
of a great nation,” later transformed
by King Louis Philippe 0883-37) into
a museum “to ull the glories of
France.”
This is the first view of file palace
as seen by the majority of travelers
from other lands, wno make of It a
goal of artistic pilgrimage, a place
of historic curiosity, or merely one
of the sights of the country, depend¬
ing upon the vfsitor and his cultural
interests.
The patrons of art come to see the
creations of the architect Mansart, the
murals and decorations of I.e Brun,
the portraits by Mignnrd, the sculp¬
tures o* Coysevox, and the landscape
gardening of Le Notre, whose design
of the extensive park tins been kept
almost intact through the vicissitudes
of the passing years.
For the students of history the
shades of such personages as the
“Great King” and ills successors, who
made this their home and sent of gov¬
ernment until the Revolution—Moliere,
Mesdames de Montespan, de Main
tenon, de Pompadour, du Barry, and
Queen Antoinette—flil through the
scene attired in the costumes of (lie
romantic long ago.
May Have Cost $100,000,000.
The Grande Chapelle, which at¬
tracts instant attention upon arrival
within the gates, was designed by
Mansart, who obtnined some of his
ideas for it from the Sainte Chapelle
In Paris. Louis XIV, having become
devout in his later years, “determined
to raise that monument to Ids piety.”
In the hundreds of rooms in the
pal nee it is said that 10,000 persons
could be housed, and although the
facts of the cost of this magnificent
creation can never he accurately
known, it has been estimated at $100,
000,000, which, considering the period
and the methods employed by an ab¬
solute monarch, is tremendous, even
in these eight-hour days.
The architecture is of the most eye
filling style and the interior furnish¬
ings were the dernier cri in luxury.
A hundred sculptors are said to have
been employed to provide the statuary
which decorated the gardens ns well
ns the palace itself, and painters be¬
yond count executed masterpieces to
adorn its wails and ceilings.
It was Versailles which furnished
the model for the palace of Sans Souci
at Potsdam and other less widely
known German palaces, the Sclion
brunn at Vienna, the Wren portion of
Hampton court in England, and many
others throughout Europe.
Just as Louis XIV made of Ver¬
sailles the center of interest of ids
France by the brilliance of his court,
and attracted to it those nobles of his
country who might have made more
trouble for him had they remained
at home, it had been live policy of the
Bourbons, initiated by Henry IV, to
call to France the artistic industries
of other countries. The effect of this
policy is to be seen even today in the
artistic productions of the French.
Flemings and Italians who excelled
in the finer arts were induced to make
their homes in France and to act as
teachers to the artistically inclined.
In this manner the royal manufac
tories of tapestries, carpets, furniture,
and porcelain were established and
the designs of the foreign masters
gradually modified and adapted to
produce the French classic style,
Colbert, the great minister of
Louis XU1 who was bequeathed to
him by Cardinal Mazarin, organized
an academy of architecture. There
was also an academy of painting and
sculpture, and even a French academy
at Rome had been established to pro
vide further facilities for the art stu¬
dents to see the masterpieces of the
Greeks and the Romans.
Built Primarily for Fetes.
This policy of encouragement and
royal assistance bore glorious fruit.
The palace of Versailles, in its build¬
ing decoration, supplied a wonderful
atelier for an early expression on a
large scale of the genius developed
and trained in this manner.
Versailles was not made in a day;
Its construction continued throughout
the reigns of three successive kings.
It may he said to have been the con¬
ception of Louis XIV, however, for it
was he who had the vision of it al¬
most in its entirety, and much may
be accomplished in a reign the length
of his.
Perhaps Ids inspiration grew from
envy, for it was his first idea to pro¬
vide a setting for fetes which would
outshine in magnificence and extrava¬
gance those of his embezzling super¬
intendent of finance, Fouquet, who
had first employed the master land¬
scape gardener, Le Notre, to design his
own gardens at Beile lie, where the
king had been entertained soon after
he had taken over the reins of power.
With his own hand Louis is said to
have drawn roughly the plans for Ver¬
sailles, following designs submitted
by Lemercier and Boyeeau, and then
to have given orders for their execu¬
tion to the gardener, Le Notre; to
the first architect, Le Van; to the
painter, Le Brun, and to the sculptor,
Coysevox, all of whom worked under
royal supervision and were directed
by Colbert.
I’lerre de Frnncine, who was skilled
in tlie construction of waterworks, de¬
signed tlie system by which the nu¬
merous fountains and pools are still
fed with sparkling water from the
great reservoirs of Montbauron and
Gobert. He received tlie title of Com¬
mander of tlie Fountains.
The Keller brothers, who cast the
king’s cannons at the Paris arsenal,
also cast the bronzes designed by the
sculptors after suggestions by the
king and Le Brun. In short, tlie fore¬
most artists of France combined to
make of this place “tlie most beauti¬
ful spot in the world."
The palace of Versailles was built
around tlie hunting lodge of Louis
XIII, tlie walls of which still inclose
tlie Marble court, while the gardens
were cut out from tlie earlier king’s
estate.
Hall of the Mirrors.
Tlie most famous room, the Galerie
des Glaees (Hall of the Mirrors),
where the king of Prussia was
crowned emperor of Germany at the
end of tlie Franco-Prussian war, and
where the Treaty of Versailles was
signed in 1019, still retains much of
its former magnificence, although its
silver furniture was sacrificed to the
mint when money troubles afflicted
the grand monarch.
Tliis room is lighted by 17 great
windows overlooking the gardens, op¬
posite which are a corresponding
number of imitation arcades filled
with 306 beveled Venetian mirrors,
whose size and brilliance were won¬
ders of their time.
When lighted by myriads of can¬
dles, the gorgeous scenes they reflect¬
ed challenge description. On the
vaulted ceiling of this and the rooms
at eitlier end, Le Brun painted a
series of pictures illustrating allegor¬
ically the triumphs of his master’s
reign. In them Louis is represented
as a Roman emperor in golden armor.
This is still tlie largest painting in
France.
On the same floor are the rooms of
greatest interest to tlie romantically
inclined, the Cabinets de Marie An¬
toinette. They are small and consist
of a boudoir, two libraries, a salon,
batli and dressing room, and are adja¬
cent to tlie Grands Appartements de
la Reine, the state suite, tlie bedroom
of which was occupied by the succeed¬
ing queens of France, uere were born
many princelings, and, following an¬
cient royal etiquette, these births took
place in public, so that tlie people
might be certain of the authenticity
of their royal family.
The bedroom of tlie king is behind
the center of the Hail of the -Mirrors,
its windows looking out upon the Mar¬
ble Court toward the Paris gate. Its
marble balcony will be remembered,
for it was to this that General La¬
fayette, of our own Revolutionary
fame, escorted Louis XVI to be seen
by the mob, and where Marie An¬
toinette by her bravery changed their
cry of “Death to the Austrian” to
“Vive le Roi! Vive la Reine! Let us
take them to Taris!”
It was in this room that Moliere
served as valet de chambre tapissier
to Louis XIV. and made tlie king's
bed that be might be near the mas¬
ter and thus obtain bis majesty’s per¬
mission to stage his comedies at the
court.
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“Why they can only keep up the
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