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{{Redirect|Versailles|the city|Versailles (city)|the Japanese metal band|Versailles (band)|other uses|Versailles (disambiguation)}}

{{Use dmy dates|date=August 2012}}
{{Infobox historic building
| name Palace of Versailles
| native_name = Château de Versailles
| native_name_lang = fr
| former_names =
| alternate_names =
| status =
| image = Vue aérienne du domaine de Versailles par ToucanWings - Creative Commons By Sa 3.0 - 073.jpg
| image_alt =
| caption = Aerial view of the Palace of Versailles
| map_type = France Île-de-France
| map_alt =
| map_caption = Location within [[Île-de-France (region)|Île-de-France]]
| embedded = {{designation list | embed=yes
| designation1=WHS
| designation1_offname=Palace and Park of Versailles
| designation1_date = 1979 <small>(3rd [[World Heritage Committee|session]])</small>
| designation1_type = Cultural
| designation1_criteria = i, ii, vi
| designation1_number = [http://whc.unesco.org/en/list/83 83]
| designation1_free1name = State Party
| designation1_free1value = France
| designation1_free2name = Region
| designation1_free2value = [[List of World Heritage Sites in Europe|Europe]]
}}
| altitude =
| building_type =
| architectural_style =
| structural_system =
| cost =
| client =
| owner =
| current_tenants =
| landlord =
| location = [[Versailles (city)|Versailles]], [[France]]
| address =
| iso_region = FR
| coordinates_display = inline, title
| latitude = 48.804404
| longitude = 2.123162
| groundbreaking_date =
| start_date =
| completion_date =
| completed_date =
| opened_date =
| height =
| floor_count =
| floor_area = 67,000 m<sup>2</sup>
| url = [http://www.chateauversailles.fr/homepage Official site of the Chateau de Versailles]
| references =
}}
The '''Palace of Versailles''' ({{IPAc-en|lang|v|ɛər|ˈ|s|aɪ}} {{respell|vair|SY|'}} or {{IPAc-en|v|ər|ˈ|s|aɪ}} {{respell|vər|SY|'}}; {{IPA-fr|vɛʁˈsɑj|lang}}), or simply '''Versailles''', is a royal [[château]] in [[Versailles (city)|Versailles]] in the [[Île-de-France (region)|Île-de-France]] region of France. In French it is the '''Château de Versailles'''.

When the château was built, [[Versailles (city)|Versailles]] was a country village; today, however, it is a wealthy suburb of [[Paris]], some 20 kilometres southwest of the French capital. The court of Versailles was the center of political power in France from 1682, when [[Louis XIV of France|Louis XIV]] moved from Paris, until the [[French royal family|royal family]] was forced to return to the capital in October 1789 after the beginning of the [[French Revolution]]. Versailles is therefore famous not only as a building, but as a symbol of the system of [[absolute monarchy]] of the ''[[Ancien Régime]]''.

==History==
{{Main|History of the Palace of Versailles}}
[[File:1 Versailles I als in 1623.jpg|thumb|left|The original hunting lodge in 1623]]

The earliest mention of the name of Versailles is in a document dated 1038, relating to the village of Versailles. In 1575, the seigneury of Versailles was bought by Albert de Gondi, a naturalized Florentine, who invited [[Louis XIII of France|Louis XIII]] on several hunting trips in the forests surrounding Versailles. Pleased with the location, Louis ordered the construction of a hunting lodge in 1624. Eight years later, Louis obtained the seigneury of Versailles from the Gondi family and began to make enlargements to the château. This structure would become the core of the new palace.<ref>{{cite web|url=http://splendors-versailles.org/TeachersGuide/Building/index.html |title=The Splendors of Versailles-Teachers' Guide Supplement |publisher=Splendors-versailles.org |date= |accessdate=22 May 2012}}</ref> Louis XIII's successor, [[Louis XIV]], had it expanded into one of the largest palaces in the world.<ref>{{cite book |url= http://books.google.co.uk/books?id=3xBydnc5R8EC&pg=PT8#v=onepage&q&f=false |title=The World's Most Amazing Palaces|page=8 |first=Ann |last= Weil |publisher=Raintree|year= 2012 |accessdate=9 April 2012}}</ref> Following the [[Treaties of Nijmegen]] in 1678, he began to gradually move the court to Versailles. The court was officially established there on 6 May 1682.<ref>{{cite book |url= http://books.google.co.uk/books?id=Z2CTyoG9UtwC&pg=PA27#v=onepage&q&f=false |title=Diplomatic Tours in the Gardens of Versailles Under Louis XIV |page=27 |author=Robert W. Berger, Thomas F. Hedin |publisher=University of Pennsylvania Press|date= 29 Aug 2008 |accessdate=9 April 2012}}</ref>

After the disgrace of [[Nicolas Fouquet]] in 1661, Louis confiscated Fouquet's estate and employed the talents of Le Vau, Le Nôtre, and Le Brun, who all had worked on Fouquet's grand château Vaux-le-Vicomte, for his building campaigns at Versailles and elsewhere. For Versailles, there were four distinct building campaigns.<ref>{{cite book |url= http://books.google.co.uk/books?id=mmub0CO1ZOEC&pg=PA32#v=onepage&q&f=false |title=Top Ten- Lives of the Greatest Monarchs of History|page=32 |first=Mohsin |last= Ashraf |publisher=Lulu.com|date= 10 Jun 2007 |accessdate=9 April 2012}}</ref>

===The four building campaigns (1664–1710)===
[[File:Versailles chateau.jpg|thumb|right|300px|View of the Palace from the garden]]

The first building campaign (1664–1668) commenced with the ''[[Plaisirs de l'Île enchantée]]'' (Pleasures of the Enchanted Island) of 1664, a [[fête]] that was held between 7 and 13 May 1664. The campaign involved alterations in the château and gardens to accommodate the 600 guests invited to the party. (Nolhac, 1899, 1901; Marie, 1968; Verlet, 1985).

The second building campaign (1669–1672) was inaugurated with the signing of the [[Treaty of Aix-la-Chapelle (1668)|Treaty of Aix-la-Chapelle]], which ended the War of Devolution. During this campaign, the château began to assume some of the appearance that it has today. The most important modification of the château was Le Vau's envelope of Louis XIII's hunting lodge. (Nolhac, 1901; Marie, 1972; Verlet, 1985). Significant to the design and construction of the ''grands appartements'' is that the rooms of both apartments are of the same configuration and dimensions – a hitherto unprecedented feature in French palace design. Both the ''grand appartement du roi'' and the ''grand appartement de la reine'' formed a suite of seven [[enfilade (architecture)|enfilade]] rooms. The decoration of the rooms, which was
===Grands appartements===
As a result of [[Louis Le Vau|Le Vau's]] ''enveloppe'' of [[Louis XIII of France|Louis XIII's]] château, the king and the queen had new apartments in the new addition, known at the time as the ''château neuf''. The ''grands appartements'', which are known respectively as the ''grand appartement du roi'' and the ''grand appartement de la reine'', occupied the main or principal floor of the ''château neuf''. Le Vau's design for the state apartments closely followed Italian models of the day, as evidenced by the placement of the apartments on the next floor up from the ground level – the ''piano nobile'' – a convention the architect borrowed from 16th and 17th century Italian palace design (Berger, 1986; Verlet, 1985).

====Grand appartement du roi====
Le Vau's plan called for an enfilade of seven rooms, each dedicated to one of the then known planets and their associated titular Roman deity. Le Vau's plan was bold as he designed a heliocentric system that centred on the [[salon d'Apollon|Salon of Apollo]]. The ''salon d'Apollon'' originally was designed as the king's bedchamber, but served as a [[throne room]]. During the reign of Louis XIV (until 1689), a solid silver throne stood on a [[Persian rug|Persian carpet]] covered dais on the south wall of this room (Berger, 1986; Dangeau, 1854–1860; Josephson, 1926; 1930; Verlet, 1985).

The original arrangement of the enfilade of rooms was:
*[[Salon de Diane]] ([[Diana (mythology)|Diana]], Roman goddess of the hunt; associated with the [[Moon]])<ref>This room originally served as the west landing of the Ambassadors' Staircase and formed the main entrance to the ''grand appartement du roi''.</ref>
*[[Salon de Mars]] ([[Mars (mythology)|Mars]], Roman god of war; associated with the [[Mars|planet Mars]])
*[[Salon de Mercure]] ([[Mercury (mythology)|Mercury]], Roman god of trade, commerce, and the Liberal Arts; associated with the [[Mercury (planet)|planet Mercury]])
*[[Salon d'Apollon]] ([[Apollo]], Roman god of the Fine Arts; associated with the [[Sun]])
*[[Salon de Jupiter]] ([[Jupiter (mythology)|Jupiter]], Roman god of law and order; associated with the [[Jupiter|planet Jupiter]])
*[[Salon de Saturne]] ([[Saturn (mythology)|Saturn]], Roman god of agriculture and harvest; associated with the [[Saturn|planet Saturn]])
*[[Salon de Vénus]] ([[Venus (mythology)|Venus]], Roman goddess of love and beauty; associated with the [[Venus|planet Venus]])

The configuration of the ''grand appartement du roi'' conformed to contemporary conventions in palace design (Baillie, 1967). However, owing to Louis XIV's personal taste and with the apartment's northern exposure, Louis XIV found the rooms too cold and opted to live in the rooms previously occupied by his father. The ''grand appartement du roi'' was reserved for court functions – such as the thrice-weekly ''appartement'' evenings given by [[Louis XIV]] for members of the court (Berger, 1986; La Varende, 1959; Marie, 1968, 1972; Nolhac, 1911; Verlet, 1985).

The rooms were decorated by Le Brun and demonstrated Italian influences, particularly that of [[Pietro da Cortona]], with whom Le Brun studied while he was in Florence. Le Brun was influenced by the decorative style da Cortona devised for the decoration of the [[Palazzo Pitti|Pitti Palace]] in Florence, which influenced his ''style Louis XIV'' at Versailles. The ''quadratura'' style of the ceilings evoke Pietro Cortona's ''Sale dei Planeti'' at the Pitti, but Le Brun's decorative schema is more complex (Blunt, 1980; Campbell, 1977). In his 1674 publication about the ''grand appartement du roi'', André Félibien described the scenes depicted in the coves of the ceilings of the rooms as allegories depicting the “heroic actions of the king” (Félibien, 1674). Accordingly, one finds scenes of the exploits of [[Augustus]], [[Alexander the Great]], and [[Cyrus the Great|Cyrus]] alluding to the deeds of Louis XIV (Lighthart, 1997; Sabatier, 1999). For example, in the ''salon d'Apollon'', the cove painting “Augustus building the port of Misenum”<ref>Located in the western cove of the ''salon d'Apollon'' and painted by [[Charles de La Fosse]] ca. 1674.</ref> alludes to the construction of the port at [[La Rochelle]]; or, depicted in the south cove of the salon de Mercure is “[[Ptolemy II Philadelphus]] in his Library”, which alludes to [[Ptolemy II Philadelphus|Ptolemy's]] construction of the [[Library of Alexandria|Great Library of Alexandria]] and which accordingly serves as an allegory to Louis XIV's expansion of the [[Bibliothèque du roi]].<ref>Located in the southern cove of the ceiling of the ''salon de Mercure'' and painted by [[Jean-Baptiste de Champaigne]] ca. 1674.</ref> Complementing the rooms' decors were pieces of massive silver furniture. Regrettably, owing to the [[War of the League of Augsburg]], in 1689 Louis XIV ordered all of this silver furniture to be sent to the mint, to be melted down to help defray the cost of the war (Berger, 1986; Dangeau, 1854–1860; Josephson, 1926; 1930; Marie, 1968, 1972, 1976; Nolhac, 1911; Verlet, 1985).

Le Vau's original plan for the ''grand appartement du roi'' was short-lived. With the inauguration of the third building campaign, which suppressed the terrace linking the apartments of the king and queen, the ''salon de Jupiter'', the ''salon de Saturne'', and the ''salon de Vénus'' for the construction of the [[Hall of Mirrors]], the configuration of the ''grand appartement du roi'' was altered. The decorative elements of the ''salon de Jupiter'' was removed and reused in the decoration of the ''salle des gardes de la reine''; and elements of the decoration of the first ''salon de Vénus'', which opened onto the terrace, were reused in the ''salon de Vénus'' that we see today<ref>Originally, the room that is known today as the salon de Vénus formed part of the apartment of the king's mistress, [[Françoise-Athénaïs, marquise de Montespan|Madame de Montespan]]. Owing to her involvement with [[Poison affair|Affair of the Poisons]], during which time it was alleged she had been giving the king love potions, she fell from grace in 1678 and her apartment was taken over by Louis XIV at which time the new ''salon de Vénus'' was installed.</ref> (Marie, 1972, 1976; Nolhac, 1925; Verlet, 1985).

From 1678 to the end of Louis XIV's reign, the ''grand appartement du roi'' served as the venue for the king's thrice-weekly evening receptions, known as ''les soirées de l'appartement''. For these parties, the rooms assumed specific functions:
*'''Salon de Vénus''': buffet tables were arranged to display food and drink for the king's guests.
*'''Salon de Diane''': served as a [[billiard room]].
*'''Salon de Mars''': served as a ballroom.
*'''Salon de Mercure''': served as a gaming (cards) room.
*'''Salon d'Apollon''': served as a concert or music room.

In the 18th century during the reign of Louis XV, the ''grand appartement du roi'' was expanded to include the [[salon de l'Abondance]] (Hall of Plenty) – formerly the entry vestibule of the ''petit appartement du roi'' – and the [[salon d'Hercule]] – occupying the tribune level of the former chapel of the palace (Verlet, 1985).

====Grand appartement de la reine====
[[File:Versailles Queen's Chamber.jpg|250px|thumb|The Queen's bedchamber. There is a barely discernible [http://www.flickr.com/photos/mymuk/4186000704/ 'hidden door'] in the corner near the jewel cabinet by Schwerdfeger (1787) through which Marie Antoinette escaped the night of 5/6 October 1789 when the Paris mob stormed Versailles.]]
Forming a parallel enfilade with that of the ''grand appartement du roi'', the ''grand appartement de la reine'' served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, [[Maria Leszczyńska|Marie Leczinska]], wife of Louis XV, and [[Marie-Antoinette]], wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, [[Princess Marie-Adélaïde of Savoy]], as duchesse de Bourgogne, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.<ref>Six kings were born in this room: [[Philip V of Spain]], [[Louis XV]], [[Louis XVI]], [[Louis XVII]], [[Louis XVIII]], and [[Charles X]].</ref>

When Le Vau's ''enveloppe'' of the ''château vieux'' was completed, the ''grand appartement de la reine'' came to include a suite of seven enfilade rooms with an arrangement that mirrored almost exactly the ''grand appartement du roi''. The configuration was:
*Chapel – which was pendant with the ''salon de Diane'' in the ''grand appartement du roi''<ref>This chapel was the second of chapels built in the château of Versailles</ref>
*''Salle de gardes'' – which was pendant with the ''salon de Mars'' in the ''grand appartement du roi''
*''Antichambre'' – which was pendant with the ''salon de Mercure'' in the ''grand appartement du roi''
*''Chambre'' – which was pendant with the ''salon d'Apollon'' in the ''grand appartement du roi''
*''Grand cabinet'' – which was pendant with the ''salon de Jupiter'' in the ''grand appartement du roi''
*Oratory – which was pendant with the ''salon de Saturne'' in the ''grand appartement du roi''
*''Petit cabinet'' – which was pendant with the [[salon de Vénus]] in the grand appartement du roi<ref>Owing to the construction of the [[Hall of Mirrors (Palace of Versailles)|Hall of Mirrors]] and the [[Salon of Peace]] – the central project of Louis XIV's Third building campaign – and the death of Marie-Thérèse d'Autriche in 1683, the ''grand cabinet'', the oratory, and the ''petit cabinet'' were demolished. Of these three rooms, only fragments of the ceiling decoration of the ''grand cabinet'' have survived; no evidence regarding the decoration of the oratory or the ''petit cabinet'' has been found (Reynaud and Villain, 1970).</ref>

As with the decoration of the ceiling in the ''grand appartement du roi'', which depicted the heroic actions of Louis XIV as allegories from events taken from the antique past, the decoration of the ''grand appartement de la reine'' likewise depicted heroines from the antique past and harmonized with the general theme of a particular room's decor.<ref>On an interesting note, not only were women depicted in the decoration of the ''grand appartement de la reine'', but women contributed to the decoration of these rooms. Most notable of these ladies would be [[Madeleine Boullogne]], who painted the over-door painting in the ''antichambre de la reine'' (Constans, 1976).</ref>

With the construction of the [[Hall of Mirrors]], which began in 1678, the configuration of the ''grand appartement de la reine'' changed. The chapel was transformed into the ''salle des gardes de la reine'' and it was in this room that the decorations from the ''salon de Jupiter'' were reused.<ref>With the creation of this room, a new chapel – the château's third – was built in the adjacent room to the east. In 1682, when the third chapel was built (where the ''salon d'Hercule'' is now located), this room was renamed ''la grande salle des gardes de la reine''. In the 19th century, this room was rebaptised ''salle du sacre'' owing to the installation of [[Jacques-Louis David]]'s ''Coronation of Napoléon I''.</ref> The ''salle des gardes de la reine'' communicates with a loggia that issues from the ''escalier de la reine'', which formed a parallel pendant (albeit a smaller, though similarly-decorated example) with the ''escalier des ambassadeurs'' in the ''grand appartement du roi''. The loggia also provided access to the ''appartement du roi'', the suite of rooms in which Louis XIV lived, and to the apartment of Madame de Maintenon. Toward the end of Louis XIV's reign, the ''escalier de la reine'' became the principal entrance to the château, with the ''escalier des ambassadeurs'' used on rare state occasions. After the demolition of the ''escalier des ambassadeurs'' in 1752, the ''escalier de la reine'' became the main entrance to the château (Verlet, 1985).

From 1682, the ''grand appartement de la reine'' included:
*''Salle des gardes de la reine''
*''Antichambre'' (formerly the ''salle des gardes'')
*''Grand cabinet''
*''Chambre de la reine''

With the death of Louis XIV in 1715, the court moved to [[Vincennes]] and shortly after to Paris. In 1722, Louis XV reinstalled the court at Versailles and began modifications to the château's interior. Among the most noteworthy of the building projects during Louis XV's reign, the redecoration of the ''chamber de la reine'' must be cited.

To commemorate the birth of [[Louis, Dauphin of France (1729–1765)|Louis]] in 1729, Louis XV ordered a complete redecoration of the room. Elements of the ''chamber de la reine'' as it had been used by Marie-Thérèse d'Autriche and Marie-Adélaïde de Savoie were removed and a new, more modern decor was installed<ref>The decoration of this room was an important expression in French interior design. It heralded the transition from the [[Régence|Regency]] style, which prevailed from the death of Louis XIV through to 1732 (with the decoration of the ''Salon de la princesse'' at the [[Hôtel de Soubise]]), and the Rococo (or ''[[Louis Quinze|style Louis XV]]''), the style that prevailed for the greater part of the reign of Louis XV.</ref> (Marie, 1984; Reynaud and Villain, 1970; Verlet, 1985).

During her life at Versailles, Marie Leszczynska lived in the ''grand appartement de la reine'', to which she annexed the ''Salon of Peace'' to serve as a music room. In 1770, when the Austrian archduchess [[Marie-Antoinette|Maria Antonia]] married the dauphin, later king Louis XVI, she took up residence in these rooms. Upon Louis XVI's ascension to the throne in 1774, Marie-Antoinette ordered major redecoration of the ''grand appartement de la reine''. At this time, the queen's apartment achieved the arrangement that we see today (Verlet, 1985).
*''Salle des gardes de la reine'' – this room remained virtually unchanged by Marie-Antoinette.<ref>It was through this room that the Paris mob, which stormed the château during the night of 6/7 October 1789, gained access to the château. During the mêlée, members of the [[Swiss Guard|garde Suisse]], which formed part the queen's bodyguard, were killed in their attempts to protect the queen.</ref>
*''Antichambre'' – this room was transformed into the ''antichambre du grand couvert''. It was in this room that the king, queen, and members of the royal family dined in public. Occasionally, this room served as a theater for the château.
*''Grand cabinet'' – this room was transformed into the ''salon des nobles''. Following the tradition established by her predecessor, Marie-Antoinette would hold formal audiences in this room. When not used for formal audiences, the ''salon des nobles'' served as an antechamber to the queen's bedroom.
*''Chambre de la reine'' – this room was used as the queen's bedroom, and was of exceptional splendor. On the night of 6/7 October 1789, Marie-Antoinette fled from the Paris mob by escaping through a 'hidden door' into a private corridor connecting her apartment with that of the king.

===Appartement du roi (King's Private Apartments)===
{{Main|Appartement du roi}}

The ''appartement du roi'' is a suite of rooms set aside for the private use of the king. Originally arranged and used by [[Louis XIV]] in 1683, these rooms were used by his successors, [[Louis XV]] and [[Louis XVI]] for such ceremonies as the ''lever'' and the ''[[coucher]]''.

===Le petit appartement du roi===
{{Main|Petit appartement du roi}}

The ''petit appartement du roi'' is a suite of rooms that were reserved for the private use of the king. Occupying the site on which rooms were originally arranged for [[Louis XIII]] on the first floor of the château, the space was radically modified by [[Louis XIV]]. His successors, [[Louis XV]] and [[Louis XVI]] drastically modified and remodeled these rooms for their personal use.

===Le petit appartement de la reine===
{{Main|Petit appartement de la reine}}

The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the [[Maria Theresa of Spain|Marie-Thérèse]], consort of [[Louis XIV]], the rooms were later modified for use by [[Maria Leszczyńska|Marie Leszczyńska]] and finally for [[Marie-Antoinette]].

===Galerie des Glaces (Hall of Mirrors)===
{{Main|Hall of Mirrors}}

[[File:Chateau Versailles Galerie des Glaces.jpg|thumb|250px|The [[Hall of Mirrors]].]]
The ''galerie des glaces'' (Hall of Mirrors in English), is perhaps the most celebrated room in the château of Versailles. Setting for many of the ceremonies of the French Court during the ''[[Ancien Régime]]'', the ''galerie des glaces'' has also inspired numerous copies and renditions throughout the world.

The room was built 15 June in 1690.

===Chapels of Versailles===
{{Main|Chapels of Versailles}}

In the evolution of the château of Versailles, there have been five chapels. The current chapel, which was the last major building project of [[Louis XIV]], represents one of the finest examples of [[French Baroque and Classicism|French Baroque]] architecture and ecclesiastical decoration.

===L'Opéra===
{{Main|l'Opéra of the Palace of Versailles}}

''L'Opéra'' was perhaps the most ambitious building project of [[Louis XV]] for the château of Versailles. Completed in 1770, the ''Opéra'' was inaugurated as part of the wedding festivities of [[Louis XV]]'s grandson, later [[Louis XVI]], and [[Marie-Antoinette]].

==={{Anchor|Versailles Museum}}Museum of the History of France===
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In the 19th century the '''Museum of the History of France''' was founded in Versailles, at the behest of [[Louis-Philippe I]], who ascended to the throne in 1830. Many of the palace's rooms were taken over to house the new collections and the large ''Galerie des Batailles'' (Hall of the Battles) was created to display paintings and sculptures depicting milestones battles of [[French history]]. The collections display painted, sculpted, drawn and engraved images illustrating events or personalities of the history of France since its inception. The museum occupies the lateral wings of the Palace. Most of the paintings date back to the 19th century and have been created specially for the museum by major painters of the time such as [[Eugène Delacroix|Delacroix]], [[Horace Vernet]] or [[François Gérard]] but there are also much older artworks which retrace French History. Notably the museum displays works by [[Philippe de Champaigne]], [[Pierre Mignard]], [[Laurent de La Hyre]], [[Charles Le Brun]], [[Adam Frans van der Meulen]], [[Nicolas de Largillière]], [[Hyacinthe Rigaud]], [[Jean Antoine Houdon]], [[Jean Marc Nattier]], [[Elisabeth Vigée Le Brun]], [[Hubert Robert]], [[Thomas Lawrence]], [[Jacques-Louis David]], [[Antoine Jean Gros]] and also [[Pierre-Auguste Renoir]].

==Gardens of Versailles==
[[File:Orangerie.jpg|thumb|The [[Orangerie]] of Versailles]]
{{Main|Gardens of Versailles}}

Evolving with the château, the [[gardens of Versailles]] represent one of the finest extant examples of ''[[Garden à la française]]'' in [[:Category:Gardens of France|French Garden]] design.

==Subsidiary structures==
{{Main|Subsidiary structures of the Palace of Versailles}}

Located in close proximity to the château, these smaller structures served the needs of members of the royal family and court officials during the ''[[Ancien Régime]]''.

==Cost==
One of the most baffling aspects to the study of Versailles is the cost&nbsp;– how much [[Louis XIV]] and his successors spent on Versailles. Owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be an occasional residence for Louis XIV and was referred to as the "king's house" (La Varende, 1959). Accordingly, much of the early funding for construction came from the king's own purse, funded by revenues received from his ''appanage'' as well as revenues from the province of New France (Canada), which, while part of France, was a private possession of the king and therefore exempt from the control of the Parliaments (Bluche, 1986; 1991; Chouquette, 1997).
[[File:Adam Frans van der Meulen - Construction of the Château de Versailles - WGA15115.jpg|thumb|The construction of the Palace of Versailles.]]

Once [[Louis XIV]] embarked on his building campaigns, expenses for Versailles became more of a matter for public record, especially after [[Jean-Baptiste Colbert]] assumed the post of finance minister. Expenditures on Versailles have been recorded in the compendium known as the ''Comptes des bâtiments du roi sous le règne de Louis XIV'' and which was edited and published in five volumes by Jules Guiffrey in the 19th century. These volumes provide valuable archival material pursuant to the financial expenditures of all aspects of Versailles from the payments dispersed to artists to mole catchers (Guiffrey, 1880–1890).

To counter the costs of Versailles during the early years of Louis XIV's personal reign, Colbert decided that Versailles should be the "showcase" of France (Bluche, 1991). Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France. Even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, Colbert succeeded in enticing a number of artisans from Venice to make the mirrors for Versailles. However, owing to Venetian proprietary claims on the technology of mirror manufacture, the Venetian government ordered the assassination of the artisans to keep the secrets proprietary to the Venetian Republic (Bluche, 1991). To meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the [[Gobelin]] family, to become the ''[[Gobelins manufactory|Manufacture royale des Gobelins]]'' (Bluche, 1991).

[[File:Louis14-H.jpg|upright|thumb|Louis XIV visits the [[Gobelins Manufactory|Gobelins]] with Colbert, 15 October 1667. [[Tapestry]] from the series, "Histoire du roi" designed by [[Charles Le Brun]] and woven between 1667 and 1672. Articles of Louis XIV's silver furniture are seen in this tapestry.]]

In 1667, the name of the enterprise was changed to the ''Manufacture royale des Meubles de la Couronne''. The Gobelins were charged with all decoration needs of the palace, which was under the direction of Charles Le Brun (Bluche, 1991).

One of the most costly elements in the furnishing of the ''Grands appartements'' during the early years of the personal reign of Louis XIV was the silver furniture, which can be taken as a standard&nbsp;– with other criteria&nbsp;– for determining a plausible cost for Versailles. The ''Comptes'' meticulously list the expenditures on the silver furniture&nbsp;– disbursements to artists, final payments, delivery&nbsp;– as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver balustrade used in the ''salon de Mercure'' serve as an example:

* Year 1681
II. 5 In anticipation: For the silver balustrade for the king's bedroom: 90,000 ''livres''<br>
II. 7 18 November to Sieur du Metz, 43,475 ''livres'' 5 sols for delivery to Sr. Lois and to Sr. de Villers for payment of 142,196 ''livres'' for the silver balustrade that they are making for the king's bedroom and 404 ''livres'' for tax: 48,861 ''livres'' 5 sol.<br>
II. 15 16 June 1681&nbsp;– 23 January 1682 to Sr. Lois and Sr. de Villers silversmiths on account for the silver balustrade that they are making for the king's use (four payments): 88,457 ''livres'' 5 sols.<br>
II. 111 25 March&nbsp;– 18 April to Sr. Lois and Sr. de Villers silversmiths who are working on a silver balustrade for the king, for continued work (two payments): 40,000 ''livres''

* Year 1682
II. 129 21 March to Sr. Jehannot de Bartillay 4,970 ''livres'' 12 sols for the delivery to Sr. Lois and de Villers silversmiths for, with 136,457 ''livres'' 5 sol to one and 25,739 ''livres'' 10 sols to another, making the 38 balusters, 17 pilasters, the base and the cornice for the balustrade for the château of Versailles weighing 4,076 ''marc'' at the rate of 41 ''livres'' the ''marc''<ref>The ''marc'', a unit equal to 8 ounces, was used to weigh silver and gold.</ref> including 41 ''livres'' 2 sols for tax: 4,970 ''livres'' 12 sols (Guiffrey, 1880–1890).

Accordingly, the silver balustrade, which contained in excess of one ton of silver, cost in excess of 560,000 ''livres''. It is difficult&nbsp;– if not impossible&nbsp;– to give an accurate rate of exchange between 1682/82 and today.<ref>As of 4 April 2008, silver has been trading in New York at US$17.83 an ounce.</ref> However, Frances Buckland provides valuable information that provides an idea of the true cost of the expenditures at Versailles during the time of Louis XIV. In 1679, Mme de Maintenon stated that the cost of providing light and food for twelve people for one day amounted to slightly more than 14 ''livres'' (Buckland, 1983). In December, 1689, to defray the cost of the War of the League of Augsburg, Louis XIV ordered all the silver furniture and articles of silver at Versailles—including [[chamber pot]]s—sent to the mint to be melted (Dangeau, 1854–1860).

Clearly, the silver furniture alone represented a significant outlay in the finances of Versailles. While the decoration of the palace was costly, certain other costs were minimised. For example, labour for construction was often low, due largely to the fact that the army during times of peace and during the winter, when wars were not waged, was pressed into action at Versailles. Additionally, given the quality and uniqueness of the items produced at the Gobelins for use and display at Versailles, the palace served as a venue to showcase not only the success of Colbert's mercantilism, but also to display the finest that France could produce (Bluche, 1986, 1991).

=== Costs of restoration programmes ===
The restoration initiatives launched by the [[French Fifth Republic|Fifth Republic]] have proven to be perhaps more costly than the expenditures of the palace in the [[Ancien Régime]]. Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state&nbsp;– or as close to it as possible&nbsp;– in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation. Concurrently, in Russia, the restoration of the [[Pavlovsk Palace]] located outside of Leningrad&nbsp;– today's [[Saint Petersburg]]&nbsp;– brought the attention of French museum authorities, including the curators of Versailles (Massie, 1990).

[[Pavlovsk Palace]] was built by [[Catherine II of Russia|Catherine the Great's]] son [[Paul I of Russia|Paul]]. The czarevitch and his wife, [[Maria Feodorovna (Sophie Dorothea of Württemberg)|Marie Feodorovna]], were avid francophiles, who, on a visit to France and Versailles in the 1780s, purchased great quantities of silk, which they later used to upholster furniture in Pavlosk. The palace survived the Russian Revolution intact&nbsp;– descendants of Paul I were living in the palace at the time the communists evicted them&nbsp;– however, during the Second World War, the furniture and artifacts housed in the palace, which had been transformed into a museum, were removed. In the process of evacuation the museum collections, remnants of the silks purchased by Paul I of Russia and Marie Feodorovna were found and conserved. After the war when Soviet authorities were restoring the palace, which had been gutted by the retreating Nazi forces, they recreated the silk fabrics by using the conserved 18th century remnants (Massie, 1990).

When the French authorities saw the results of Russian efforts and the high quality they were able to achieve, the French revived 18th-century weaving techniques so as to reproduce the silks used in the decoration of Versailles (Massie, 1990). The two greatest achievements of this initiative are seen today in wall hangings used in the restoration of the ''chambre de la reine'' in the ''grand appartement de reine'' and the ''chambre du roi'' in the ''appartement du roi''. While the design used for the ''chambre du roi'' was, in fact, from a design that had been used during the ''Ancien Régime'' to decorate the ''chambre de la reine'', it nevertheless represents a great achievement in the on-going restoration at Versailles. Additionally, this project, which took over seven years to achieve, required several hundred kilograms of silver and gold to complete (Meyer, 1989). One of the more costly endeavors for the museum and the government of France's Fifth Republic has been to repurchase as much of the original furnishings as possible. However, because furniture with a royal provenance&nbsp;– and especially furniture that was made for Versailles&nbsp;– is a highly sought after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings (Kemp, 1976).

In 2003, a new restoration initiative&nbsp;– the "Grand Versailles" project&nbsp;– was started, which necessitated unexpected repair and replantation of the gardens. The project will be on-going for the next seventeen years, funded with a state endowment of €135&nbsp;million allocated for the first seven years. The project will address such concerns as security for the palace, and continued restoration of the ''bosquet des trois fontaines''. [[VINCI]] underwrote the €12&nbsp;million restoration project for the Hall of Mirrors, which was completed in 2006 (Leloup, 2006).

We may never know the true amount spent on the creation of Versailles, and most current estimates are speculative. A recent estimate has placed the amount spent on Versailles during the ''Ancien régime'' as US$2&nbsp;billion (Littell, 2000). This figure in all probability is an under-evaluation of the money spent on Versailles. France's Fifth Republic expenditures alone that have been directed to restoration and maintenance at Versailles undoubtedly surpass those of the [[Louis XIV of France|Sun King]].

==War uses==
{{Unreferenced section|date=August 2008}}

After the French defeat in the [[Franco-Prussian War]], with the [[Siege of Paris (1870-1871)|Siege of Paris]] dragging on, the palace was the main headquarters of the Prussian army from 5 October 1870 until 13 March 1871. On 18 January 1871, Prussian King [[Wilhelm I]] was proclaimed [[List of German monarchs|German Emperor]] in the Hall of Mirrors, and the [[German Empire]] was founded.<ref>Wawro, Geoffrey, ''The Franco-Prussian War: the German conquest of France in 1870–1871'', (Cambridge University Press, 2003), 282.</ref>

After the First World War, it was the site of the opening of the [[Paris Peace Conference, 1919|Paris Peace Conference]] in 1919, also on 18 January. Germany was blamed for causing the First World War in the [[Treaty of Versailles]], which was signed in the same room on 28 June 1919.

The ravages of war and neglect over the centuries have left their mark on the palace and its park. Modern French governments of the post-[[World War II]] era have sought to repair these damages. They have on the whole been successful, but some of the more costly items, such as the vast array of [[fountain]]s, have yet to be put back completely in service. As spectacular as they might seem now, they were even more extensive in the 18th century. The 18th-century waterworks at [[Château de Marly|Marly]]— the ''[[Machine de Marly]]'' that fed the fountains— was possibly the biggest mechanical system of its time. The water came in from afar on monumental stone [[aqueduct (bridge)|aqueduct]] which have long ago fallen in disrepair or been torn down. Some aqueducts were never completed for want of resources or due to the exigencies of war. The search for sufficient supplies of water was never fully realised even during the apogee of Versailles' glory as the seat of government, as the fountains could not be operated together satisfactorily for any significant periods of time.{{Citation needed|date=August 2008}}

==Social history==
{{Unreferenced section|date=August 2008}}

===The politics of display===
[[File:Réception du Grand Condé à Versailles (Jean-Léon Gérôme, 1878).png|thumb|300px|Reception of the [[Grand Condé]] at Versailles following his [[Battle of Seneffe|victory at Seneffe]]. Condé advances towards Louis XIV in a respectful manner with laurel wreaths on his path, while captured enemy flags are displayed on both sides of the stairs. It marked the end of Condé's exile, following his participation to the [[Fronde]].]]
Versailles became the home of the French [[nobility]] and the location of the [[noble court|royal court]] – thus becoming the centre of French government. Louis XIV himself lived there, and symbolically the central room of the long extensive symmetrical range of buildings was the King's Bedchamber (''[[appartement du roi|La Chambre du Roi]]''), which itself was centred on the lavish and symbolic state bed, set behind a rich railing not unlike a [[communion rail]].{{Citation needed|date=August 2008}} Indeed, even the principal axis of the gardens themselves was conceived to radiate from this fulcrum. All the power of France emanated from this centre: there were government offices here; as well as the homes of thousands of courtiers, their retinues and all the attendant functionaries of court.{{Citation needed|date=August 2008}} By requiring that nobles of a certain rank and position spend time each year at Versailles, Louis prevented them from developing their own regional power at the expense of his own, and kept them from countering his efforts to [[centralization|centralize]] the French government in an [[absolute monarchy]]. {{Citation needed|date=August 2008}}

At various periods before Louis XIV established absolute rule, France, like the [[Holy Roman Empire]] lacked central authority and was not the unified state it was to become during subsequent centuries.{{Citation needed|date=August 2008}} During [[Middle Ages|the Middle Ages]] some local nobles were often more powerful than the French King and, although technically loyal to the King, they possessed their own provincial seats of power and government, culturally influential courts and armies loyal to them and not the King, and the right to levy their own taxes on their subjects.{{Citation needed|date=August 2008}} Some families were so powerful, they achieved international prominence and contracted marriage alliances with foreign [[Royal House|royal houses]] to further their own political ambitions.{{Citation needed|date=August 2008}} Although nominally [[List of French monarchs|Kings of France]], de facto royal power had at times been limited purely to the region around Paris. {{Citation needed|date=August 2008}}

===Life at Court===
Life at Versailles was intrinsically determined by position, favour and above all one's birth. The Chateau was a sprawling cluster of lodgings for which courtiers vied and manipulated. Today, many people see Versailles as unparalleled in its magnificence and splendour; yet few know of the actual living conditions many of Versailles august residents had to endure. Modern historians have, on more than one occasion, compared the palace to a vast apartment block. Apart from the royal family, the majority of the residents were senior members of the household.

On each floor, living units of varying size, some 350 in all, were arranged along tiled corridors and given a number. Each door had a key, which was to be handed in when the lodging was vacated. Many courtiers would trade lodgings and group together with their allies, families or friends. The Noailles family took over so much of the Southern Wing's attic that the corridor leading to all the lodgings on that floor was nicknamed "Noailles Road" by courtiers of the time.

Rank and status dictated everything in Versailles; not least among that list was one's lodgings. Louis XIV envisaged Versailles as a seat for all the Bourbons, as well as his troublesome nobles. These nobles were, so to say, placed within a "gilded cage" (Duc de Saint-Simon). Luxury and opulence was not always in the description given to their residences. Many nobles had to make do with one or two room apartments, forcing many nobles to buy town-houses in Versailles proper and keeping their palace rooms for changes of clothes or entertaining guests, rarely sleeping there. Rooms at Versailles were immensely useful for an ambitious courtier as they allowed palace residents easy and constant access to the monarch, essential to their ambitions, and gave them constant access to the latest gossip and news.

==In popular culture==
{{main|List of films shot at the Palace of Versailles}}
[[File:Carnival versions of Louis XIV and Marie-Antoinette in front of Versailles Palace.jpg|thumb|[[Paris Carnival|Carnival]] versions of [[Louis XIV]] and [[Marie-Antoinette]] in front of Versailles Palace]]
Singer-songwriter [[Al Stewart]] released a song entitled ''"The Palace of Versailles"'', a song detailing the [[French Revolution]], [[Reign of Terror|The Terror]], and the [[18 Brumaire|military coup]] of [[Napoleon I of France|Napoléon Bonaparte]], from the perspective of ''"the lonely Palace of Versailles"''.

On 2 July 2005, the French [[Live 8]] was held in the courtyard of Versailles.

==See also==
{{Portal|Kingdom of France}}
* [[Buildings inspired by Versailles]]
* [[Bureau du Roi]]
* [[Châteaux of the Loire Valley]]
* [[Potager du roi]] ({{lang-en|Kitchen Garden of the King}})
* [[Tennis Court Oath]] ({{lang-fr|serment du jeu de paume}}) in the Saint-Louis district
* [[Versailles Cathedral]]

==Notes==
<!--This article uses the Cite.php citation mechanism. If you would like more information on how to add references to this article, please see http://meta.wikimedia.org/wiki/Cite/Cite.php -->
{{Reflist|2}}

==Sources==
{{MultiCol}}
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{{ColBreak}}
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| journal=Gazette des Beaux-Arts
| volume =6e pér., vol. 97, January
| year =1981
| pages =29–40
| postscript =<!--None-->}}

*{{cite journal| last = Josephson, Ragnar
| title =Relation de la visite de Nicodème Tessin à Marly, Versailles, Rueil, et St-Cloud en 1687
| journal=Revue de l'Histoire de Versailles
| year =1926
| pages =150–67; 274–300
| postscript =<!--None-->}}

*{{cite journal| last = Kemp, Gerard van der
| title =Remeubler Versailles
| journal=Revue du Louvre
| volume =#3
| date =135-137
| page =1976
| postscript =<!--None-->}}

*{{cite journal| last = Kimball, Fiske
| title =Genesis of the Château Neuf at Versailles, 1668–1671
| journal=Gazette des Beaux-Arts
| volume = 6 pér., vol. 35
| year =1949
| pages =353–372
| postscript =<!--None-->}}

*{{cite journal| last = Le Guillou, Jean-Claude
| title =Aperçu sur un projet insolite (1668) pour le château de Versailles
| journal=Gazette des Beaux-Arts
| volume = 6 pér., vol. 113, February
| year =1989
| pages =79–104
| postscript =<!--None-->}}

*{{cite journal| last = Le Guillou, Jean-Claude
| title =Le château-neuf ou enveloppe de Versailles: concept et évolution du premier projet
| journal=Gazette des Beaux-Arts
| volume =6 pér., vol. 102, December
| year =1983
| pages =193–207
| postscript =<!--None-->}}

*{{cite journal| last = Le Guillou, Jean-Claude
| title =Remarques sur le corps central du château de Versailles
| journal=Gazette des Beaux-Arts
| volume =6 pér., vol. 87, February
| year =1976
| pages =49–60
| postscript =<!--None-->}}

*{{cite news| last = Leloup, Michèle
| title =Versailles en grande toilette
| publisher=L'Express
| date =7 August 2006
| url =http://www.lexpress.fr/mag/arts/dossier/patrimoine/dossier.asp?ida=451314}}

*{{cite journal| last = Lemoine, Pierre
| title =La chambre de la Reine
| journal=Revue du Louvre
| volume = #3
| year =1976
| pages =139–145
| postscript =<!--None-->}}

*{{cite journal| last = Mauguin, Georges
| title =L'Inauguration du Musée de Versailles
| journal=Revue de l'histoire de Versailles
| year =1937
| pages =112–146
| postscript =<!--None-->}}

*{{cite journal| last = Mauguin, Georges
| title =La visite du Pape Pie VII à Versailles le 3 janvier 1805
| journal=Revue de l'histoire de Versailles
| date =July 1940 – December 1942
| pages =134–146
| postscript =<!--None-->}}

*{{cite journal| last = Meyer, Daniel
| title =Un achat manqué par le musée de Versailles en 1852
| journal=Colloque de Versailles
| year =1985
| postscript =<!--None-->}}

*{{cite journal| last = Meyer, Daniel
| title =L'ameublement de la chambre de Louis XIV à Versailles de 1701 à nos jours
| journal=Gazette des Beaux-Arts
| volume =6 pér., vol. 113, February
| year =1989
| pages =79–104
| postscript =<!--None-->}}

*{{cite journal| last = Nolhac, Pierre de
| title =La construction de Versailles de Le Vau
| journal=Revue de l'Histoire de Versailles
| year =1899
| pages =161–171
| postscript =<!--None-->}}

*{{cite journal| last = Pradel, Pierre
| title =Versailles sous le premier Empire
| journal=Revue de l'histoire de Versailles
| year =1937
| pages =76–94
| postscript =<!--None-->}}

*{{cite journal| last = Reynaud, Nicole et Jacques Vilain
| title =Fragments retrouvés de la décoration du Grand Appartement de la Reine Marie-Thérèse
| journal=Revue du Louvre
| volume = #4–5
| year =1970
| pages =231–238
| postscript =<!--None-->}}

*{{cite journal| last = Sabatier, Gérard
| title =Le parti figuratif dans les appartements, l'escalier et la galerie de Versailles
| journal=XVIIe siècle
| volume = no. 161
| date =October/décember 1988
| pages =401–426
| postscript =<!--None-->}}

*{{cite journal| last = Saule, Béatrix
| title =Le premier goût du Roi à Versailles : décoration et ameublement
| journal=Gazette des Beaux-Arts
| volume = 120, October
| year =1992
| pages =137–148
| postscript =<!--None-->}}

*{{cite journal| last = Société des Sciences morales, des Lettres et des Arts de Seine-et-Oise
| title =La Donation Rockefeller en faveur de la restauration du château de Versailles
| journal=Revue de l'histoire de Versailles
| year =1925
| pages =194–200
| postscript =<!--None-->}}

*{{cite journal| last = Walton, Guy
| title ='L'Enveloppe' de Versailles: réflexions nouvelles de dessins inédits
| journal=Bulletin de la Société d'Histoire de l'Art français
| year =1977
| pages =127–144
| postscript =<!--None-->}}

{{EndMultiCol}}

==Further reading==
* Thompson, Ian. ''The Sun King's Garden: Louis XIV, André Le Nôtre And the Creation of the Gardens of Versailles''. London: Bloomsbury Publishing, 2006 (hardcover, ISBN 1-58234-631-3).
** [http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2006/09/24/botho24.xml Reviewed] by Peter Parker in the [http://www.telegraph.co.uk/ ''Telegraph''], 1 October 2006.
** [http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2006/09/24/botho224.xml Reviewed] by John Adamson in the [http://www.telegraph.co.uk/ ''Telegraph''], 2006.

== External links ==
{{Commons category|Palace of Versailles}}
*[http://en.chateauversailles.fr/homepage Official Site]
*[http://www.stockholm360.net/list.php?id=versailles Virtual Tour of the Palace (fullscreen panoramic tour)]
*[http://jasoncoyne.smugmug.com/Vacation/Paris-2005/Versailles/ Large Versailles photo gallery]
*[http://leparcdeversailles.webs.com/ Flickr : Le Parc de Versailles]

{{World Heritage Sites in France}}
{{Royal Residences in France}}
{{Visitor attractions in Paris}}

[[Category:Art museums and galleries in France|Versailles, Palace of]]
[[Category:Baroque architecture at Versailles|Versailles]]
[[Category:Buildings and structures completed in 1672]]
[[Category:Buildings and structures completed in 1684]]
[[Category:Châteaux in France|Versailles, Palace of]]
[[Category:French formal gardens|Versailles (Palace)]]
[[Category:Gardens in Yvelines|Versailles]]
[[Category:Landscape design history of France|Versailles]]
[[Category:Palace of Versailles| ]]
[[Category:Palaces in France|Versailles, Palace of]]
[[Category:Parliament of France]]
[[Category:Royal residences in France|Versailles]]
[[Category:Seats of national legislatures]]
[[Category:World Heritage Sites in France]]
[[Category:Châteaux in Yvelines]]
[[Category:Visitor attractions in Yvelines]]
[[Category:Museums in Yvelines]]

{{Link GA|de}}
{{Link FA|sr}}

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