Palace of Versailles

The garden façade of the chateau of Louis XIII in 1660–64. (Engraving by Israël Silvestre)

The site of the Palace was first occupied by a small village and church, surrounded by forests filled with abundant game. It was owned by the Gondi family and the priory of Saint Julian. King Henry IV went hunting there in 1589, and returned in 1604 and 1609, staying in the village inn. His son, the future Louis XIII, came on his own hunting trip there in 1607. After he became King in 1610, Louis XIII returned to the village, bought some land, and in 1623–24 built a modest two-story hunting lodge on the site of the current marble courtyard.[4] He was staying there in November 1630 during the event known as the Day of the Dupes, when the enemies of the King's chief minister, Cardinal Richelieu, aided by the King's mother, Marie de' Medici, tried to take over the government. The King defeated the plot and sent his mother into exile.[5]

After this event, Louis XIII decided to make his hunting lodge at Versailles into a château. The King purchased the surrounding territory from the Gondi family and in 1631–1634 had the architect Philibert Le Roy replace the hunting lodge with a château of brick and stone with classical pilasters in the doric style and high slate-covered roofs, surrounding the courtyard of the original hunting lodge. The gardens and park were also enlarged, laid out by Jacques Boyceau and his nephew, Jacques de Menours (1591–1637), and reached essentially the size they have today.[lower-alpha 1][4][6][7]

Louis XIV first visited the château on a hunting trip in 1651 at the age of twelve, but returned only occasionally until his marriage to Maria Theresa of Spain in 1660 and the death of Cardinal Mazarin in 1661, after which he suddenly acquired a passion for the site.[8] He decided to rebuild, embellish and enlarge the château and to transform it into a setting for both rest and for elaborate entertainments on a grand scale.[6][9]

The first phase of the expansion (c. 1661–1678) was designed and supervised by the architect Louis Le Vau. Initially he added two wings to the forecourt, one for servants quarters and kitchens, the other for stables.[10] In 1668 he added three new wings built of stone, known as the envelope, to the north, south and west (the garden side) of the original château. These buildings had nearly-flat roofs covered with lead. The king also commissioned the landscape designer André Le Nôtre to create the most magnificent gardens in Europe, embellished with fountains, statues, basins, canals, geometric flower beds and groves of trees. He also added two grottos in the Italian style and an immense orangerie to house fruit trees, as well as a zoo with a central pavilion for exotic animals.[6] After Le Vau's death in 1670, the work was taken over and completed by his assistant François d'Orbay.[11]

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  The entrance in 1668 during the first reconstruction (painting by Pierre Patel)
• 
  The garden façade in 1674. The terrace was later replaced by the Hall of Mirrors

The main floor (above the ground floor) of the new palace contained two symmetrical sets of apartments, one for the king and the other for the queen, looking over the gardens. The two apartments were separated by a marble terrace, overlooking the garden, with a fountain in the center. Each set of apartments was connected to the ground floor with a ceremonial stairway, and each had seven rooms, aligned in a row; a vestibule, a room for the guards, an antechamber, chamber, a large cabinet or office; a smaller bedroom, and a smaller cabinet. On the ground floor under the King's apartment was another apartment, the same size, designed for his private life, and decorated on the theme of Apollo, the Sun god, his personal emblem. Under the Queen's apartment was the apartment of the Grand Dauphin, the heir to the throne.[12]

The interior decoration was assigned to Charles Le Brun. Le Brun supervised the work of a large group of sculptors and painters, called the Petite Academie, who crafted and painted the ornate walls and ceilings.[12] In the 1670s and 1680s, 10 million livres worth of solid silver furniture was commissioned to designs by Le Brun, including tubs for Louis XIV's orange trees, an 8 foot high sculpted throne, and a silver balustrade in the Salon of Mercury.[13][14] These items were melted down in 1689 to contribute to the cost of fighting the Nine Years' War.[15][16][17]

Le Brun also supervised the design and installation of countless statues in the gardens.[18] The grand stairway to the King's apartment was redecorated almost as soon as it was completed with plaques of colored marble and trophies of arms, tapestries, and balconies, so the members of the court could observe the processions of the King.[12]

In 1670, Le Vau added a new pavilion northwest of the chateau, called the Trianon, for the King's relaxation in the hot summers. It was surrounded by flowerbeds and decorated entirely with blue and white porcelain, in imitation of the Chinese style.[19]

The King increasingly spent his days in Versailles, and the government, court, and courtiers, numbering six to seven thousand persons, crowded into the buildings. The King ordered a further enlargement, which he entrusted to the young architect Jules Hardouin-Mansart. Hadouin-Mansart added a second level and two large new wings on either side of the original Cour Royale (Royal Courtyard).[20] He also replaced Le Vau's large terrace, facing the garden on the west, with what became the most famous room of the palace, the Hall of Mirrors. Mansart also built the Petites Écuries and Grandes Écuries (stables) across the Place d'Armes, on the eastern side of the château. The King wished a quiet place to relax away from the ceremony of the Court. In 1687 Hardouin-Mansart began the Grand Trianon, or Trianon de Marbre (Marble Trianon), replacing Le Vau's 1668 Trianon de Porcelaine in the northern section of the park. In 1682 Louis XIV was able to proclaim Versailles his principal residence and the seat of the government and was able to give rooms in the palace to almost all of his courtiers.[21]

After the death of Maria Theresa of Spain in 1683, Louis XIV undertook the enlargement and remodeling of the royal apartments in the original part of the palace, within the former hunting lodge built by his father. He instructed Mansart to begin the construction of the Royal Chapel of Versailles, which towered over the rest of the palace. Hardouin-Mansart died in 1708 and so the chapel was completed by his assistant Robert de Cotte in 1710.[22]

A masked ball in the Hall of Mirrors (1745) by Charles-Nicolas Cochin

Louis XIV died in 1715, and the young new King, Louis XV, just five years old, and his government were moved temporarily from Versailles to Paris under the regency of Philippe II, Duke of Orléans. In 1722, when the King came of age, he moved his residence and the government back to Versailles, where it remained until the French Revolution in 1789.[21] Louis XV remained faithful to the original plan of his great-grandfather, and made few changes to the exteriors of Versailles. His main contributions were the construction of the Salon of Hercules, which connected the main building of the Palace with the north wing and the chapel (1724–36); and the royal opera theater, designed by Ange-Jacques Gabriel, and built between 1769 and 1770. The new theater was completed in time for the celebration of the wedding of the Dauphin, the future Louis XVI, and Archduchess Marie Antoinette of Austria. He also made numerous additions and changes to the royal apartments, where he, the Queen, his daughters, and his heir lived. In 1738, Louis XV remodeled the king's petit appartement on the north side of the Cour de Marbre, originally the entrance court of the old château. He discreetly provided accommodations in another part of the palace for his famous mistresses, Madame de Pompadour and later Madame du Barry.

The extension of the King's petit appartement necessitated the demolition of the Ambassador's Staircase, one of the most admired features of Louis XIV's palace, which left the Palace without a grand staircase entrance.[23] The following year Louis XV ordered the demolition of the north wing facing onto the Cour Royale, which had fallen into serious disrepair.[24] He commissioned Gabriel to rebuild it in a more neoclassical style. The new wing was completed in 1780.[25]

Louis XVI was constrained by the worsening financial situation of the kingdom from making major changes to the palace, so that he primarily focused on improvements to the royal apartments.[26] Louis XVI gave Marie Antoinette the Petit Trianon in 1774. The Queen made extensive changes to the interior, and added a theater, the Théâtre de la Reine. She also totally transformed the arboretum planted during the reign of Louis XV into what became known as the Hameau de la Reine. This was a picturesque collection of buildings modeled after a rural French hamlet, where the Queen and her courtiers could play at being peasants.[27] The Queen was at the Petit Trianon in July 1789 when she first learned of the beginning of the French Revolution.

In 1783, the Palace was the site of the signing of three treaties of the Peace of Paris (1783), in which the United Kingdom recognized the independence of the United States.[28]

The King and Queen learned of the storming of the Bastille in Paris on July 14, 1789, while they were at the Palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the Palace, and compelled the King and Royal family and the members of the National Assembly to return with them to Paris the following day.[29]

As soon as the royal family departed, the Palace was closed, awaiting their return—but in fact, the monarchy would never again return to Versailles. In 1792, the Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the Palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy, and ordered all of the royal property in the Palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the Palace, including the furniture, mirrors, baths and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.[30]

Banquet for Queen Victoria hosted by Napoleon III in the Royal Opera of Versailles, August 1855 by Eugene Lami

Proclamation of the German Empire, 18 January 1871, 1877 by Anton von Werner

When Napoleon Bonaparte became Emperor of the French in 1804, he considered making Versailles his residence, but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.[31]

In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance.[32] Neither he nor his successor Charles X lived at Versailles.[31]

The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles, but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing.[26] The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.

Emperor Napoleon III used the Palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on August 25, 1855.[33]

During the Franco-Prussian War of 1870–1871, the Palace was occupied by the general staff of the victorious German Army. Parts of the chateau, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on January 18, 1871. The Germans remained in the Palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the Palace. The National Assembly held its meetings in the Opera House.[34]

The uprising of the Paris Commune in March, 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created, and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the Palace. The French Senate continues to meet in the Palace on special occasions, such as the amendment of the French Constitution. [35]

The Signing of Peace in the Hall of Mirrors, Versailles, 28 June 1919 by William Orpen

The end of the 19th and the early 20th century saw the beginning of restoration efforts at the Palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration was interrupted by two world wars, but has continued until the present day.[36]

The Palace briefly returned to the world stage in June 1919, when the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurnish the palace.[37]

More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.[38]

In 1978, parts of the Palace were heavily damaged in a bombing committed by Breton terrorists.[39]

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 – or as close to it as possible – 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 the Soviet Union (Russia since 26 December 1991), the restoration of the Pavlovsk Palace located 25 kilometers from the center of Leningrad – today's Saint Petersburg – brought the attention of French Ministry of Culture, including that of the curator of Versailles.[40] 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 preserved 18th-century remnants.[40]

When these results and the high quality achieved were brought to the attention of the French Minister of Culture, he revived 18th-century weaving techniques so as to reproduce the silks used in the decoration of Versailles.[40] 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 la reine and the chambre du roi in the appartement du roi. While the design used for the chambre du roi was, in fact, from the original design to decorate the chambre de la reine, it nevertheless represents a great achievement in the ongoing restoration at Versailles. Additionally, this project, which took over seven years to achieve,has required several hundred kilograms of silver and gold to complete.[41] One of the more costly endeavours for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – 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.[42]

In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Hurricane Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006.[43] Another major project was the further restoration of the backstage areas Royal Opera of Versailles, which was completed on 9 April 1957.[44]

Model of the former Ambassador's Staircase

Before entering the King's State Apartments, one had to climb the Ambassadors Staircase – a suitable entrance as its magnificence matched the grandness of the apartments. The Ambassadors Staircase (Escalier des Ambassadeurs) was built in 1674 but was finished in 1680. Although it was designed by architect Louis Le Vau, the staircase was built by François d’Orbay and was primarily painted by Charles Le Brun. Destroyed in 1752, the staircase was the entrance to the King's Apartments and was the official grand entrance into the Chateau, specifically intended to astonish and impress foreign dignitaries.[52] At the time of its creation, Versailles was transitioning to reflect governmental power and authority instead of a private home for the crown.[53] The staircases’ primal function and the details it encompasses reinforces this progression at Versailles.

The staircase incorporates allegories of the Four Parts of the World on the vault and representation of crowds of foreign visitors on the walls.[54] The staircase was lit from above with a skylight – a fairly advanced quality for seventeenth century architecture and is thought to have played a symbolic role in the connection with the scenes of the kings heroism depicted by Le Brun. Additionally, it is known to include Thalia (the muse of Comedy), Melpomene, Calliope, and Apollo (Louis XIV's emblem)[55] and the twelve months of the year. References to the greater world, such as the depiction of the twelve months of the year and the four parts of the world, circle back to Louis XIV's mentality of Versailles symbolizing supreme and divine power which in turn, reflects Louis XIV's desired depiction of his reign.

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  Meal at the House of Simon the Pharisee by Veronese in the Salon of Hercules
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  The Salon of Abundance
• 
  The Salon of Venus
• 
  The Salon of Mercury

The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.[56]

This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.[56][57]

The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.

This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.[58]

The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the Palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the Palace into a Museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depicts the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.[59]

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  Salon of Mars
• 
  Ceiling in the Salon of Apollo, depicting the Sun Chariot of Apollo
• 
  Bust of Louis XIV by Bernini in Salon of Diana

The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.

The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.

The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665, is on display here. [60]

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  The King's bedchamber
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  The Queen's bedchamber
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  The gilded cabinet of Marie-Antoinette
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  Billiard Room of Marie-Antoinette

The apartments of the King were the heart of the chateau; they were in the same location as the rooms of Louis XIII, the creator of the chateau, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which were attended by a crowd of courtiers.

The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.[61]

The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on September 1, 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On October 6, 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.[61]

The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony Van Dyck.[61]

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 Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.

The War Salon commemorates the victorious campaign of Louis XIV against the Dutch, which ended in 1678. The centerpiece is an enormous sculpted medallion of Louis XIV, on horseback, crossing the Rhine in 1672, created by Antoine Coysevox. Below the fireplace is a painting of Clio, the Muse of History, recording the exploits of the King.

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 1684. 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.[62]

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. [62]

The Peace Salon is decorated to illustrate the role of France as the arbiter and peacemaker of Europe under Louis XV. The painting on the ceiling by François Lemoyne, Louis XV offering an olive branch to Europe, illustrates this theme. During the reign of Louis XV, the Queen, Marie Leszczyńska, used this salon as a music room, organizing concerts of secular and religious music each Sunday.[63]

The features closest to the Palace are the two water parterres, large pools which reflect the façade of the palace. These are decorated with smaller works of sculpture, representing the rivers of France, which are placed so as not to interfere with the reflections in the water. Down a stairway from the Parterre d'Eau is the Latona Fountain, created in 1670, illustrating the story of Latona taken from the Metamorphoses of Ovid. According to the story, when the peasants of Lycia insulted Latona, the mother of Apollo and Diana, the god Jupiter transformed the peasants into frogs. The fountain was begun in 1670 by Le Nôtre, then enlarged and modified by Hardouin-Mansart in 1686.[70] The main statuary group of Latona with Diana and Apollo was created between 1668 and 1670 by the sculptor Gaspard Marsy and originally placed on a modest foundation of rocks in the middle of the basin. Gaspard's brother Balthazard designed six lead half-human, half-frog figures to grace the water spouts surrounding the Latona statue, with 24 cast lead frogs positioned on the grass surrounding the perimeter of the fountain.[71]

Hardouin-Mansart designed a much grander fountain of four oval tiers forming a pyramid, topped by Gaspard Marsy's statue and enhanced all around with the semi-human figures of Balthazard Marsy and an assortment of gilded frogs and lizards sculpted by Claude Bertin.[71] The four tiers are covered in 230 pieces of marble, composed of the white and grey-veined Cararra, greenish marble from Campan, and red marble from Languedoc.[72]

The Latona Fountain underwent a major renovation between 2012 and 2015, which required the removal of its statuary, marble fittings, and lead pipe network for off-site restoration.[73] When the project began in 2012, the foundation of the main basin had seriously weakened and was no longer watertight, threatening the fountain above. The marble facing and statues were covered in years of accumulated grime, obscuring the vibrant colors of the marble and the gilt fixtures as they originally appeared.[74] The parterre surrounding the fountain, landscaped with lawns and flower beds according to 19th century taste, was also completely overhauled. Formal beds of turf and boxwood outlined by gravel paths to form arabesque patterns were created, faithful to the original designs of Le Nôtre.[75]

The Grand Perspective of the palace continues from the Fountain of Latona south along a grassy lane, the Tapis Vert or green carpet, to the Basin of the Chariot of Apollo. Apollo, the sun god, was the emblem of Louis XIV, featured in much of the decoration of the palace. The chariot rising from the water symbolized the rising of the sun. It was designed by Le Brun and made by the sculptor Jean-Baptiste Tuby at the Gobelins Manufactory between 1668 and 1670, cast in lead and then gilded.[76] Beyond the fountain, the Grand Canal extends 1800 meters to the south end of the park.[70]

Another group of formal gardens is located on the north side of the water parterre. It includes two bosquets or groves: the grove of the Three Fountains, The Bosquet of the Arch of Triumph, and north of these, three major fountains, the Pyramid Fountain, Dragon Fountain, and the Neptune Fountain. The fountains in this area all have a maritime or aquatic theme; the Pyramid Fountain is decorated with Tritons, Sirens, dolphins and nymphs. The Dragon Fountain is one of the oldest at Versailles and has the highest jet of water, twenty-seven meters. It is not actually a dragon, but a python, a mythical serpent that was killed by Apollo. The Neptune Fountain was originally decorated only with a circle of large lead basins jetting water; Louis XV added statues of Neptune, Triton and other gods of the sea.[77]

The South Parterre is located beneath the windows of the queen's apartments and on the roof of the Orangerie. It is decorated with box trees and flowers in arabesque patterns. The Orangerie is located beneath the main terrace of the palace, on which the North and South Parterres rest. Three huge retaining walls divide the South Parterre from the lower parterre (parterre bas) of the Orangerie. Arcaded galleries with walls up to 16 ft. thick are built against the three retaining walls. The longest of these is the main south-facing gallery, at over 500 ft. (150 meters) from end to end and 47 ft. (13 meters) in height from floor to ceiling. Corresponding staircases known as the Escaliers des Cent Marches (so-called because each staircase has 100 steps) descend from above the east and west galleries to reach the level of the Orangerie.[78]

The thickness of the walls combined with the southern exposure and double glazing of the windows was designed according to the theories of Jean Baptiste de la Quintinie, the head gardener of the Potager du roi, to provide a frost-free environment year round for the tender subtropical plants, primarily Orange trees, beloved by Louis XIV.[79] Over one thousand citrus trees, palms, Oleanders, Pomegranate and Olive trees, along with other tender plants, are housed inside the walls of the Orangerie during the winter; they are taken out onto the parterre bas from mid-May until mid-October.[77]

A 1722 painting of the Machine de Marly on the Seine, with the Louveciennes Aqueduct on the top of the hill

Supplying water for the fountains of Versailles was a major problem for the royal government. The site of the Palace itself is 490 ft (150 m) above sea level, with the nearest body of water capable of supplying the gardens and court being the Seine River, 6 miles (9.7 km) north. This presented the daunting problem to Louis XIV's engineers of how to transport water uphill over such a distance.[80] In 1681, construction commenced on the Machine de Marly at Bougival; the machine consisted of 14 paddle wheels powered by the currents of the Seine. 259 pumps carried water up to the 530-foot (160 m) high Louveciennes Aqueduct, which fed the water into huge reservoirs at Marly-le-Roi.[81] At full capacity, over one million gallons of water per day could be pumped into the Marly reservoirs, but ironically by the 1690s the Château de Marly had become the main recipient, since Louis XIV built an enormous water cascade to rival the waterworks at Versailles.[82]

In 1685, pressure on water supplies led Louis XIV to commission another aqueduct, the Canal de l'Eure, to transport water from the River Eure, 52 miles to the southwest.[81] The aqueduct was intended to carry water by gravity from a high reservoir near the river, through the gardens of the Château de Maintenon, to Versailles. Work on the Eure aqueduct came to a halt in 1688, when France entered the Nine Years' War, and the poor finances of the kingdom in the latter part of Louis XIV's life prevented work from ever resuming.[83] Despite enormous investment in canals and machinery for hoisting water, Versailles never had sufficient water supply for its hundreds of fountains. When the King promenaded in the gardens, fountains were turned on only when the King was approaching them, and turned off after he departed.

In the time of Louis XIV, even the palace, with its thousands of inhabitants, was continually short of fresh drinking water, necessitating the relocation of the court periodically to the palaces of Fontainebleau or Compiègne.[81] There was no fresh water tap above ground level until the reign of Louis XV, and even then it was limited to the King's private kitchen and his personal bathroom. For everyone else, water was carried by a small army of water carriers to the upper floors, filling copper tanks in the private appartements of the courtiers.[84]

During the reign of Louis XIV and most of the reign of Louis XV, there was no plumbing to speak of in the palace itself. Only the King, the Queen, and the Dauphin had anything approaching bathrooms.[85] For most courtiers, bathing was infrequent and might only be carried out in portable bathtubs in their chambers, filled with water carried by hand from the nearest ground floor tap.[86]

In the 1670s, Louis XIV had a magnificent five-room bath complex installed on the ground floor of the apartments belonging to his mistress, Madame de Montespan.[87] The baths were installed with hot and cold running water, at the time an exceptional technological advancement, but their primary use was for sexual trysts between the couple rather than for hygiene.[88] The suite was dismantled and covered over after the relationship ended in 1684. Louis XV commissioned a bathroom to be built when he was thirteen years old – he would later build bathrooms supplied with plumbed-in hot and cold water.[86] To relieve themselves, many courtiers had their own collapsible commode, known as a chaise percée, which was a padded seat with a chamber pot underneath. It is estimated that there were only three hundred of these at any one time.[89] Although it was forbidden to dump the contents of these chamber pots out of windows, the practice persisted in the inner courts of the palace.[90]

Most of Versailles' inhabitants used communal latrines located throughout the palace, off the main galleries or at the end of the residential corridors on the upper floors. These were sources of continual stench, polluting nearby rooms and causing issues of blockage and sewage leaks from the iron and lead pipes which drained the privies on the upper floors.[91] Although discouraged, it was common for people to relieve themselves under stairways or in secluded passageways, especially if a latrine was closed. The ground floor gallery of the south wing was prone to this, to the extent that iron bars had to be installed in the corridor outside the rooms of the Dauphin Louis and the Dauphine when they moved to the south wing in 1745.[91]

As always, the royal family and high-ranking courtiers within the palace had superior hygienic arrangements at their disposal. Louis XV's care for hygiene led him to install an early water closet, imported from England, in 1738. Known as an "English Place" (Lieu à l'Anglaise), the flush toilet was supplied with water from an overhead tank and emptied into a ground level drain, preventing lingering odors. By the mid-eighteenth century, other members of the royal family, the King's mistress Madame du Barry, and certain high-level courtiers had also installed their own water closets.[92]

The character of the "piss boy" in Mel Brooks' film History of the World: Part 1 is based on a real job at the palace.[93]

This article often employs shortened footnotes. The full citations can be found in the immediately following section.