Five subsidiary structures located near the Palace of Versailles have a historical relation with the history and evolution of the palace. Of these five structures – the Ménagerie, the Pavillon de la Lanterne, the Trianon de Porcelaine, the Grand Trianon (also called the Marble Trianon), and the Petit Trianon – two have been destroyed (the Ménagerie and the Trianon de Porcelaine); however, historical documentation and accounts permit these two structures to be discussed. As an ensemble of buildings related to, yet removed from, the chateau of Versailles, they represent architectural masterworks of the 17th and 18th centuries that have inspired architects to this day.

Ménagerie

In response to increased interest in zoology—and especially with regard to Aristotelian theology, which experienced a renaissance through the works of Claude Perrault; as well as the passion for the exotic, Louis XIV ordered the construction of the Ménagerie in 1662. Completed in 1664, the Ménagerie was located at the southern end of the transverse branch of the Grand Canal. Comprising a complex of building that featured a central octagonal two-story pavilion, the Ménagerie was a favorite destination for visitors and courtiers.

In Diderot's Encyclopédie, Louis-Jean-Marie Daubenton recounts a story in which Louis XIV took delivery of an African elephant as a gift from King Afonso VI of Portugal.

The ground floor of the central pavilion contained a salon frais, which was decorated with shell work to resemble a grotto. On the second floor were a series of rooms, each with a balcony that overlooked the animal enclosures that surrounded the pavilion.

In 1697, the 12-year-old Marie Adélaïde of Savoy married Louis XIV's grandson, Louis, Duke of Burgundy. The duchesse's vivacity and precociousness quickly won the heart of the aging king, who presented the Ménagerie to the duchesse. Between 1698 and 1700, the interior was redecorated. In a stylistic departure from the aesthetic of Louis XIV's fourth building campaign in the chateau, which was characterized by courtly austerity, the new décor of the Ménagerie was characterized by a youthful exuberance that anticipated the Rococo style of Louis XV.

Regrettably, in 1801, the Ménagerie, which had been sold during the sales of land that occurred after the Revolution, was destroyed. Today, the Pavilion de la Lanterne, the only surviving vestige of the Ménagerie, is being restored providing us with a glimpse of the cynegetic decoration of this lost Versailles masterpiece.

Trianon de Porcelaine

Located at the northern end of the transverse arm of the Grand Canal, the Trianon de Porcelaine formed a pendant to the Ménagerie. Designed by Louis Le Vau and François d'Orbay and built between 1669 and 1670 as a pleasure pavilion for Louis XIV and his mistress, the marquise de Montespan, the central pavilion and its four smaller buildings were covered with blue and white earthenware (rather than porcelain, which had not yet been made in Europe) tiles in imitation of porcelain tiles. Regrettably, the Trianon de Porcelaine was relatively short-lived, owing to the waning of the marquise de Montespan's popularity and the maintenance of the exterior tile revetment—tiles would fracture and detach from the surface of the buildings due to the cold weather. In 1687, the Trianon de Porcelaine was destroyed; but, as the location of favored by Louis XIV, the Grand Trianon was built on the same site.

Grand Trianon

It has been said that Louis XIV built Versailles for his court, Trianon for his family, and Marly for his friends—and the Grand Trianon did serve the Sun King and his family. Built by Jules Hardouin-Mansart, the Grand Trianon is unabashedly one of his greatest works. Constructed of pink Languedoc marble between 1687 and 1689 in an Italianate-style, this two-story structure succeeds—architecturally and stylistically—where the chateau of Versailles fails.

Jules Hardouin-Mansart designed the structure in two distinct sections. An entry courtyard separated the two principal wings of the building. To the left (south), this wing originally housed the service area as well as the private apartments of Louis XIV. The right (north) wing contained two enfilades—one opening to the upper garden to the west, the other opening to the wall-enclosed jardin du roi (King's garden) to the east. The area opening to the north of the entry courtyard originally contained a small theater. The two wings communicate by an open colonnade, which also serves as a transitional element linking the courtyard with the gardens beyond.

Situated perpendicular to the north wing is the Galerie. With a length of nearly 30 meters and lit by five windows on the north and 11 windows on the south, the Galerie is the largest room of the Grand Trianon and its placement serves as a northern protective barrier for the upper garden.

Constructed west of the Galerie and running perpendicularly to the north is the wing known as Trianon-sous-bois. It was in this part of the house that Louis XIV provided apartments for members of his family. In the area east of Trianon-sous-bois and north of the Galerie was a marshy area that Jules Hardouin-Mansart converted into the jardin des sources. Reminiscent of the bosquet des sources in the garden of Versailles, this area featured rivulets and islets set in a wooded setting.

As with the chateau of Versailles, the Grand Trianon underwent many changes and modifications during the reign of Louis XIV, especially the relocation of his apartment from the south wing to the north wing. However, significantly different from Versailles, was the decor of the Grand Trianon. Where Versailles' decor extolled the heroic actions of Louis XIV in the guise of Augustus, Alexander, and Apollo, this didactic component is not evident in the décor of the Grand Trianon. The style of the Grand Trianon reflected a more relaxed atmosphere and life-style that was removed from the constraints of protocol and etiquette found at Versailles.

During the reign of Louis XV, the Grand Trianon underwent minor modifications: the theater was removed and a suite of rooms opening onto the jardin du roi was redecorated for the Marquise de Pompadour. Louis XVI effectively ignored the Grand Trianon; and, during the Revolution, the furniture—as at Versailles—was sold. However, unlike Versailles, the Grand Trianon did not have an uncertain future.

Napoléon I was enamored of the Grand Trianon and ordered the building remodeled and redecorated for his and his family's use. During the reign of Louis-Philippe, the Grand Trianon was an especial favorite residence of the king and royal family. Much of the redecoration ordered under Napoléon I and Louis-Philippe is found today at the Grand Trianon.

Republican France has retained—and restored to a prominent position—the Grand Trianon. During the administration of Charles de Gaulle, the Grand Trianon was completely renovated and modernized—largely to accommodate his lavish banquets. Accordingly, Trianon-sous-bois was remodeled to provide modern living accommodations and the basement was completely renovated to accommodate modern professional kitchens.

The Grand Trianon has been designated an official residence of the French president and often serves as a residence for visiting heads of state. It was during the presidency of Jacques Chirac that Trianon-sous-bois was opened to limited public tours.

Petit Trianon

 Located near the Grand Trianon, the Petit Trianon was built between 1762 and 1768 by Jacques-Anges Gabriel for Louis XV. The area that is now the Petit Trianon came to prominence when Louis XV established his jardins botaniques (botanical gardens) in the area that is now the Hameau de la Reine. The Petit Trianon was intended to be used when the king was engaged in his botanical avocation. It would be, however, under Louis XVI and Marie Antoinette that the Petit Trianon would be immortalized.

Shortly after his ascension to the throne, Louis XVI presented the Petit Trianon to Marie Antoinette. Immediately thereafter, the queen ordered modification—largely under the direction of Richard Mique—to the Petit Trianon and its gardens. The house was remodeled, which necessitated the removal of the dumbwaiter system that Louis XV installed that allowed the dining table to be lowered to the kitchen level of the house, thus eliminating the need for servants in the dining room. At this time, the jardins botaniques were removed to Paris and the Hameau de la reine constructed in their stead.

Regarded by opponents as a folly of Marie Antoinette, the Hameau was a model bucolic village and farm in which advances in agronomy and animal husbandry were practiced. Owing to the association with Marie Antoinette's perceived excesses—such as the construction of a theater where she and her friends acted to private audiences—the Petit Trianon and the Hameau were pillaged during the Revolution. Napoléon I presented the Petit Trianon to his mother, Letizia Buonaparte – a purely symbolic gesture as she never lived there. Louis-Philippe, in his turn, presented it to his wife, Marie Amélie, who refurbished the gardens and reappointed the house. In more recent times, the Petit Trianon and the Hameau de la reine have been undergoing an aggressive restoration program that is seeking to return them to their state when Marie-Antoinette left them in October 1789.

Pavillon de la Lanterne

The Lanterne is the name given to a hunting lodge located at Versailles near the Ménagerie. As a vacation retreat for prime ministers during the fifth Republic—effectively forming a pendant to the Grand Trianon, which has been until recent years the vacation residence for the French president. Since 2007, La Lanterne has also served as a retreat for the French president, on the grounds of its seclusion and its relative anonymity, thus providing a level of security that is difficult to maintain at the Grand Trianon due to the hordes of tourists visiting the building and gardens.

The estate is adjacent to the Park of Versailles and situated on the road that links Versailles with Saint-Cyr-l'École. The estate includes a central two-story U-shaped building with a central section measuring 20 meters long by 6 meters wide. The central section is flanked by two parallel wings—of a later date and lower than the central section—which frame a gravel courtyard. A tree-lined lane links the courtyard with the Saint-Cyr road. The estate also includes a swimming pool, a tennis court, and five guest rooms.

The Pavillon de la Lanterne, located on the border of the Ménagerie, was built in 1787 by Philippe Louis Marc Antoine de Noailles, prince de Poix, who was the captain of the hunt and governor of Versailles, and was offered to his father, the comte de Noailles, by Louis XV. Then it included a ground floor as well as an attic floor. The façades were ornamented with seven stucco decorated spans—six windows and one central door, which was surmounted by a pediment. Owing to the lack of archival information, the architect of this building is unknown.

Between 1785 and 1786, the 36 herms of the grille that separated the courtyard—and especially the two herms surmounted by deer heads—were restored. As with other buildings at Versailles, La Lanterne was given up during the Revolution. In 1818, Louis XVIII repurchased the estate. Between 1942 and 1943 the deer-headed herms of the entry grill were restored; and in 1994, a full restoration of the pavilion was executed.

In 1959, President Charles de Gaulle designated the former hunting lodge reserved for the use of serving prime ministers. However, André Malraux, then Minister of Culture stayed there between 1962 and 1969 after his apartment in Boulogne-Billancourt was destroyed by an assassination attempt by the Organisation armée secrète. Most of the pavillon's decoration, which was decided by Louise Levêque de Vilmorin (4 April 1902 – 26 December 1969), former fiancée of Antoine de Saint-Exupéry and later companion of André Malraux, dates from this period. Michel Rocard, prime minister 1988–1991, ordered renovations and the construction of the swimming pool and the tennis court.

In 2007, shortly after his election as president, Nicolas Sarkozy spent his first week-end there (12–13 May) as president-elect. Officially, Sarkozy was invited by the prime minister, who, at the time, was Dominique de Villepin, thus making the Pavillon de la Lanterne an official residence of the president of the French Republic

Notes

Bibliography and sources
With regard to source materials for theses structures, the following list of imprints and articles has been used for this article:

External links
 Page discussing the Ménagerie and la Lanterne
 Satellite photo of La Lanterne
 La Lanterne on Google Maps

Palace of Versailles


Břasy () is a municipality and village in Rokycany District in the Plzeň Region of the Czech Republic. It has about 2,300 inhabitants.

Administrative parts
Villages of Darová, Kříše, Stupno and Vranovice are administrative parts of Břasy.

Etymology
The name is derived from the folk name for "heather" (in Czech vřes).

Geography
Břasy is located about  north of Rokycany. It lies in the Plasy Uplands in a largely deforested plateau, which falls sharply towards the valley of the Berounka River in the west. The highest point is the Přešov hill at  above sea level.

The Berounka forms the western municipal border. The Dírecký Stream is a minor watercourse that flows across the municipality into the Berounka. The slopes along the Berounka and the Dírecký Stream are largely covered with forest, while the central part of Břasy is largely forestless, except for scattered woods between the Břasy proper, Vranovice, Kříše and Stupno which replaced the abandoned coal mines and other industrial facilities.

History
The first written mention of Břasy is from 1379 under its previous name Vranov (). The village rapidly grew in the 19th century thanks to influx of workers into the coal mines. At the turn of the 20th century Vranov had population of 1,200. The name of Břasy originally applied only to small workers' colony which was annexed by Vranov in 1918. In 1960 five municipalities were united under the municipality of Břasy. In 1982 even Vranov proper was renamed Břasy.

The main impetus to industrial development was coal mining, area of Břasy became one of centres of Radnice coal basin. In 1893, the Stupno–Radnice stretch of the railway was built. Local network of railway sidings for coal transport evolved between Vranov and Stupno, from 1908 this siding was electrically powered. In 1953, it was abandoned, while the Chrást–Radnice railway operates until now. Mining activity resulted in population growth. Other industrial companies settled in Břasy too, such as glass plant in Vranov (until 1933, later converted to furniture factory, which closed in 1997), ceramics factory in Vranov, iron-foundry in Vranov, another ceramics factory later converted to chemical factory. In 1933 statue in memory of miners by leftist sculptor Emanuel Famíra was built in Vranov, only to be demolished by German authorities in 1941. In 1945, Břasy was liberated both by American and Soviet armies. Post-World War II development was also facilitated by Czechoslovak army's presence in Břasy (ground radar station, after 1989 abandoned). In 1969, coal mining in Břasy stopped.

Stupno was mentioned for the first time in 1146. The village's name evolved from Stúpa to Stupná, and finally to Stupno. Stupno grew into major village and served as a population centre of the agglomeration for most of the 19th century. In 1900 Stupno had population of 1,283.

Vranovice () was mentioned for the first time in 1115. Unlike Stupno and Břasy it did not enter the contiguous built-up agglomeration but it also underwent rapid population growth as a result of industrial development. In 1900 Vranovice had population of 775.

Kříše () was mentioned for the first time in 1384. It also remains territorially distinct but the industrial development took place in the village proper and population growth occurred here too. With influx of workers the population reached more than 1,300 at its peak in 1890.

Darová () was mentioned for the first time in 1235. The village is the most outlying part of Břasy. Located in the valley of the Berounka it never really lost its rural character despite some coal and iron ore mining. In 1900 the village's population was 145. Hydroelectric plant was built on the Berounka river at the beginning of the 20th century.

Demographics

Transport
Břasy is located on the railway line leading from Plzeň to Radnice.

The road II/232 from Rokycany passes through Břasy continuing to the north towards Liblín. The road II/233 that traverses the municipality connects Břasy with Chrást and Plzeň in the southwest and with Radnice to the northeast.

Sights
The village of Břasy is poor in monuments; the most valuable buildings are located in Stupno. The most important monument in Stupno is the Church of Saint Lawrence. It was built in the pseudo-Romanesque style in 1880–1882. It replaced an old church, which was first mentioned in 1352.

A cultural monument is the tomb of the Sternberg family in Stupno. It is an Empire building dating from 1827.

References

External links

Villages in Rokycany District


This is a list of Baroque palaces and residences built in the late 17th and 18th centuries. Baroque architecture is a building style of the Baroque era, begun in late 16th-century Italy and spread in Europe. The style took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion, often to express the triumph of the Catholic Church and the absolutist state in defiance of the Reformation.

Baroque architecture often includes fragmentary or deliberately incomplete architectural elements, opulent use of colour and ornaments and an external façade often characterized by a dramatic central projection. Many European palaces drew inspiration from the Palace of Versailles started in 1682, which had previously been inspired by the Buen Retiro Palace, making it one of the most imitated buildings of the 17th century.

This list includes important city residences, such as the Stockholm Palace and Winter Palace, but does not extend to pre-Versailles Roman palazzi, such as Palazzo Altieri, Palazzo Barberini, or Palazzo Ludovisi.

References

Residences

Baroque


The River Medway in England flows for  from Turners Hill, in West Sussex, through Tonbridge, Maidstone and the Medway Towns conurbation in Kent, to the River Thames at Sheerness, where it shares the latter's estuary. The Medway Navigation runs from the Leigh Barrier south of Tonbridge to Allington just north of Maidstone. It is  in length. The Environment Agency is the navigation authority responsible for the navigation.

The route
Until 1746 the river was impassable above Maidstone. To that point each village on the river had its wharf or wharves: at Halling, Snodland, New Hythe and Aylesford. Cargoes included corn, fodder, fruit, stone and timber.

In 1746 improvements to the channel meant that barges of  could reach East Farleigh, Yalding and even Tonbridge. The channel was further improved to Leigh in 1828. There are eleven locks on the river. The lowest, opened in 1792, is at Allington, and is the extent of tides. The others are East Farleigh, Teston, Hampstead Lane, Stoneham Old Lock (disused), Sluice Weir Lock, Oak Wier Lock East Lock, Porter's, Eldridge's and Town Lock in Tonbridge (see table). The locks will take craft up to  by , and vessels with a draft of  can navigate the river. The shallowest point is just below Sluice Weir Lock which is prone to silting after heavy rain. The draughts along the navigation are: Tonbridge to Yalding 4 feet; Yalding to Maidstone 5 feet 6 inches; Maidstone to Allington Lock 6 feet 6 inches. Headroom is 8 feet 6 inches below Tonbridge. College Lock, in Maidstone, was removed in 1899. Stoneham Old Lock was dismantled in 1915 as part of a reconstruction of that section of the waterway.

The locks on the navigation are as follows.

See also

Canals of the United Kingdom
History of the British canal system
River Medway

References

Transport in Medway
River navigations in the United Kingdom


George Bisharat (born 1954) is an American professor of law and frequent commentator on current events in the Middle East, and the Israeli–Palestinian conflict in particular.

Life

Bisharat was born in Topeka, Kansas to a Palestinian father, Dr. Maurice Bisharat from Talbiya, Jerusalem (whose Palestinian Christian family originally came from Rafidia) and an American mother Mary Johnson. A house owned and built in 1926 by Bisharat's paternal grandfather Hanna Ibrahim Bisharat was later confiscated by Zionist militias and became the residence of Golda Meir. Bisharat's paternal uncle Victor a prominent architect who helped revitalize Stamford, Connecticut. He earned his B.A. in anthropology from UC-Berkeley in California and his M.A. in history from Georgetown University in Washington, DC, before going on to graduate cum laude from Harvard Law School. In 1987, he earned a PhD in Anthropology and Middle East Studies from Harvard University.

Bisharat served as deputy Public Defender for the city of San Francisco from 1987 to 1991, and in 1989, he published the book Palestinian Lawyers and Israeli Rule: Law and Disorder in the West Bank (University of Texas Press). In 1991, Bisharat became Professor of Law at the University of California's Hastings College of the Law in San Francisco, California, a position he continues to hold. He has also worked with the Palestinian Legislative Council on efforts to reform and develop the Palestinian judiciary system, and is a former member of the editorial board of the Journal of Palestine Studies.

Views
Bisharat is a commentator on the Middle East and the legal and human rights aspects of the Israeli-Palestinian conflict, and his written commentaries have been published in U.S. and international media. He was an  critic of Israel's conduct during its 2006 war with Lebanon, and has been a defender of the right of return of Palestinian refugees who were expelled or fled from their homes in 1948 during the creation of the State of Israel.

Bisharat  supports  the possibility a one-state solution to the Israeli–Palestinian conflict, and is working on a book addressing the legal aspects of that solution. He supports a boycott of Israel, arguing in a 2007 editorial published by the San Francisco Chronicle that a boycott was "both necessary and justified" by Israel's continued occupation of Palestinian Territories.

Bisharat has argued in the Wall Street Journal and the New York Times that Israel's actions in the 2008–2009 Israel–Palestine conflict over Gaza constitute war crimes.

References

 University of California Hastings College of the Law Faculty
 "Dr. George Bisharat discusses "The Power of Apology" at UCLA Palestine Week Event", The Washington Report on Middle East Affairs, June 2004
 "Boycott movement targets Israel", George Bisharat, The San Francisco Chronicle, 15 August 2007
 "40th Anniversary of the Six-Day War: Solution on which all agree impossible to achieve", George Bisharat, The San Francisco Chronicle, 4 June 2007

Living people
American people of Palestinian descent
UC Berkeley College of Letters and Science alumni
Georgetown University Graduate School of Arts and Sciences alumni
Harvard Law School alumni
University of California College of the Law, San Francisco faculty
1954 births
Public defenders


"The Minute You're Gone" is a song written by Jimmy Gateley (often miscredited as "Gately" or "Gatelie"), a Nashville, Tennessee based fiddle player and singer, for Sonny James in 1963.  This song originally made No. 95 in the US charts and No. 9 in the country charts for Sonny James in 1963.

Cliff Richard recorded it in 1964 and his single spent a week at number one in the UK Singles Chart in April 1965.

It was also recorded by Al Martino, Faron Young and Loretta Lynn.

Cliff Richard version
Richard's recording of the song had come about with the involvement of Richard's American label Epic Records, which wanted to present Richard in the US with more American songs. Bob Morgan, executive A&R producer from Epic met with Richard's A&R producer Norrie Paramor and Richard to map out recording plans and brought 50 songs of US origin for them to screen. About 15 songs were selected and plans were made to record in New York, Nashville and Chicago according to the different styles of the songs selected, which ranged from pop-country, pure country, ballad and medium tempo. In Nashville, Richard recorded the singles "The Minute You're Gone", "Wind Me Up (Let Me Go)" and "On My Word" with Billy Sherrill producing with backing by Nashville session musicians together with the Anita Kerr Singers. Arrangement and conducting on "The Minute You're Gone" was by Stan Applebaum.

"The Minute You're Gone" provided Richard with his eighth UK number one single. It was also his first UK chart topper he had recorded without The Shadows backing. However, at the corresponding time in the US, Epic curiously chose to release the soft ballad "Again" (another of his Nashville recorded tracks) as a single with "The Minute You're Gone" as the B-side. Although "Again" received a 4 star rating from Billboard, it had no chart success.

Meanwhile, "The Minute You're Gone" became another international hit for Richard outside the Americas.

Chart performance

References

External links
Song info

1963 singles
Sonny James songs
1965 singles
Cliff Richard songs
UK Singles Chart number-one singles
Song recordings produced by Norrie Paramor
1963 songs


Karen Hill is a Canadian television producer, television writer and story editor. Her credits include Sophie, Blue Murder, Show Me Yours and the film Expecting for which she was nominated for a Canadian Comedy Award in 2004 for Pretty Funny Writing.

External links

Canadian television producers
Canadian women television producers
Canadian women television writers
Living people
Place of birth missing (living people)
Year of birth missing (living people)
Canadian women screenwriters


The grand appartement du roi is the King's grand apartment of the Palace of Versailles.

As a result of Louis LeVau's envelope of Louis XIII’s château, constructed as part of Louis XIV's second building campaign (1669–1672), the king and queen had new apartments in the new addition, known at the time as the château neuf (new palace).  The State Apartments, 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.  LeVau’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.

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.  LeVau’s plan was bold as he designed a heliocentric system that centered on the salon d’Apollon.  The salon d’Apollon originally was designed as the king’s bedchamber, but served as a throne room.  The original arrangement of the enfilade of rooms was thus:

 Salon de Diane (Diana, Roman goddess of the hunt; associated with the Moon)
 Salon de Mars (Mars, Roman god of war; associated with the planet Mars)
 Salon de Mercure (Mercury, Roman god of trade, commerce, and the Liberal Arts; associated with the planet Mercury)
 Salon d’Apollon (Apollo, Roman god of the Fine Arts; associated with the Sun)
 Salon de Jupiter (Jupiter, Roman god of law and order; associated with the planet Jupiter)
 Salon de Saturne (Saturn, Roman god of agriculture and harvest)
 Salon de Vénus (Venus, Roman goddess of love; associated with the planet Venus)

The configuration of the grand appartement du roi conformed to contemporary conventions in palace design.  However, owing to Louis XIV’s personal tastes the grand appartement du roi was reserved for court functions — such as the thrice-weekly appartement evenings given by Louis XIV.

The rooms were decorated by Charles LeBrun and demonstrated Italian influences (LeBrun met and studied with the famed Tuscan artist Pietro da Cortona, whose decorative style of the Pitti Palace in Florence LeBrun adapted for use at Versailles).  The quadratura style of the ceilings evoke Cortona’s sale dei planeti at the Pitti, but LeBrun’s decorative schema is more complex.  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.”  Accordingly, one finds scenes of the exploits of Augustus, Alexander the Great, and Cyrus alluding to the deeds of Louis XIV.  For example, in the salon d’Apollon, the cove painting “Augustus building the port of Misenum” 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’s construction of the Great Library of Alexandria and which accordingly serves as an allegory to Louis XIV’s expansion of the Bibliothèque du roi.  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.

LeVau’s original plan for the grand appartement du roi was short-lived.  With the inauguration of the third building campaign (1678–1684), which suppressed the terrace linking the king and queen’s apartments and the salons of Jupiter, Saturn and Venus for the construction of the Hall of Mirrors, the configuration of the grand appartement du roi was altered.  The decor 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.

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 — 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 château.

Notes

Bibliography

Primary source

Secondary source

Journal articles

Palace of Versailles


The grand appartement de la reine is the Queen's grand apartment of the Palace of 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), Marie Leszczyńska (wife of Louis XV) and Marie Antoinette (wife of Louis XVI). Additionally, Louis XIV's granddaughter-in-law, Marie-Adélaïde de Savoie, as Duchesse de Bourgogne, occupied these rooms from 1697, the year of her marriage, to her death in 1712.

When Louis Le Vau's envelope of the château vieux (old palace) was completed, the grand appartement de la reine came to include a suite of seven enfilade rooms on the main floor in the left wing with an arrangement that mirrored almost exactly the grand appartement du roi in the right wing. The configuration was:

 Chapel – corresponding to the salon de Diane in the King's grand apartment
 Salle de gardes – corresponding to the salon de Mars in the King's grand apartment
 Antichambre – corresponding to the salon de Mercure in the King's grand apartment
 Chambre – corresponding to with the salon d’Apollon in the King's grand apartment
 Grand cabinet – corresponding to the salon de Jupiter in the King's grand apartment
 Oratory – corresponding to the salon de Saturne in the King's grand apartment
 Petit cabinet – corresponding to the salon de Vénus in the King's grand apartment

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.

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. The salle des gardes de la reine communicates with a loggia that issues from the escalier de la reine (Queen's staircase), which corresponded (albeit a smaller, though similarly decorated example) to the escalier des ambassadeurs (Ambassador's Staircase) in the grand appartement du roi.  The loggia also provides access to the appartement du roi, the suite of rooms in which Louis XIV lived.  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 destruction of the escalier des ambassadeurs in 1752, the escalier de la reine became the main entrance to the château.

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 later 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 chambre de la reine must be cited.

To commemorate the birth of his only son and heir, Louis, in 1729, Louis XV ordered a complete redecoration of the room.  Elements of the chambre de la reine as it had been used by Marie-Thérèse and Marie-Adélaïde de Savoie were removed and a new, more modern decor was installed.

During her life at Versailles, Marie Leszczynska (1703–1768) lived in the grand appartement de la reine, to which she annexed the salon de la paid to serve as a music room. In 1770, when the Austrian archduchess Marie Antoinette married the dauphin, later 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.

 Salle des gardes de la reine – this room remained virtually unchanged by Marie Antoinette.
 Antichambre – this room was transformed into the antichambre du grand couvert. It was in this room that the King, Queen and other members of the royal family dined in public. Occasionally, this room served as a theatre 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 splendour. On the night of 6/7 October 1789, Marie Antoinette fled from the Paris mob by escaping through a private corridor that connected her apartment with that of the King.

Notes

Bibliography

Primary source

Secondary source

Journal articles

Palace of Versailles


The petit appartement du roi () of the Palace of Versailles is a suite of rooms used by Louis XIV, Louis XV, and Louis XVI.  Located on the first floor of the palace, the rooms are found in the oldest part of the palace dating from the reign of Louis XIII.  Under Louis XIV, these rooms housed the king's collections of artworks and books, forming a museum of sorts. Under Louis XV and Louis XVI, the rooms were modified to accommodate private living quarters. At this time, the rooms were transformed and their decoration represent some of the finest extant examples of the Louis XV style and Louis XVI style at Versailles (Kimball, 1943).

Louis XIV

Beginning in 1678, Louis XIV began to modify these rooms for his particular private needs.  The configuration of the rooms dating from the time of Louis XIII was modified.  The most significant alteration for this era was the relocation of the degré du roi from the exterior cour de marbre to the interior cour du roi.  This relocation of the staircase precipitated the rearrangement of rooms in this part of the château to become the petit appartement du roi.  In 1684, as the influence of Louis’ mistress – Françoise-Athénaïs, marquise de Montespan – waned due to her alleged involvement in the Affair of the Poisons, the king attached her rooms to his petit appartement after the marquise moved into the appartement des bains on the ground floor of the palace (Le Guillou, 1986; Verlet 1985, pp. 227–228).

In Louis XIV's day, these rooms – cabinets de curiosités – formed a veritable museum for the king's private collections.  In contrast to the grand appartement du roi and the appartement du roi, which were open to members of the court and the general public, the petit appartement du roi was only accessible though the personal consent of the king (Bluche, 1991).

Located on the first floor on the northern side of the cour de marbre, the petit appartement du roi comprised nine rooms:

  Salle du billard (cabinet des chiens)
  Salon du degré du roi
  Cabinet aux tableaux
  Cabinet des Coquilles (later cabinet des livres)
  Salon ovale
  Premier salon de la petite galerie
  Petite galerie
  Deuxième salon de la petite galerie
  Cabinet des Médailles

The salle du billiard (1693 plan #1) contained a billiard table, a game at which Louis XIV was adept.  Additionally, the king kept several of his hunting dogs in this room so that he could care for them personally, which gave rise to the room's other name: cabinet des chiens (Verlet 1985, p. 227).

The salon du degré du roi (1693 plan #2) occupies the site of a staircase dating from the time of Louis XIII.  By 1684 (Dangeau), a new staircase – the degré du roi (1693 plan #3) – had been constructed just north of the old staircase in the cour du roi.  The salon du degré du roi served as entrance to the staircase that was reserved for the Louis XIV's personal use.  The decoration of this room was given over almost exclusively to paintings by Nicolas Poussin (Félibien, 66; Piganiole de la Force, 126)

The cabinet aux tableaux (1693 plan #4) with its southern exposure served as a Pinacotheca for part of Louis XIV's collection of paintings.  Among the masters displayed in the room were the works from the Italian schools by Correggio, Raphael, Giorgione, Giulio Romano and Titian.  Additionally, there were cabinets arranged in the room in which Louis XIV kept his collection of carved rock crystal (Brejon de Lavergnée, 1985; Félibien, 67; Piganiole de la Force, 129; Verlet 1985, p. 229).

In 1692, the cabinet des coquilles (1693 plan #5) and the salon ovale (1693 plan #6) were created.  These rooms, along with cabinet des médailles formed the main rooms of the Louis XIV's cabinets de curiosités.  In addition to some of the most highly prized paintings of the royal collection, the salon ovale housed in four niches four bronze sculptural groups – “Jupiter” and “Juno” by Allesandro Algardi; the “Abduction of Orithyia” after the marble by Gaspard Marsy, and the “Abduction of Persephone” by François Girardon – that were esteemed as some of the finest of this genre in the king's collection.  The richness of the decoration – fully gilt paneling and mirrors – complemented the arrangement of some of the most valuable paintings in Louis XIV's collection (Félibien, 67; Piganiole de la Force, 129; Verlet 1985, p. 229).  The cabinet des coquilles originally housed some a portion of the king's gem collection.  In 1708, the room was converted into a library – cabinet aux livres – in which Louis XIV kept his collection of rare books and manuscripts (Verlet 1985, p. 230).

The following rooms – premier salon de la petite galerie, petite galerie, and deuxième salon de la petite galerie (1693 plan #7, 8, & 9) – were formed from rooms that the marquise de Montespan occupied before she moved to the appartement des bains in 1684 (Dangeau vol. 1 77–78; Verlet 1985, p. 232).  As with the previous rooms, the petite galerie and its two salons housed precious gems and paintings that the king had either inherited or collected.  In the years that preceded the War of the League of Augsburg, Louis XIV engaged in an aggressive collecting campaign that necessitated his expanding space at Versailles to display newly acquired works of art (Verlet 1985, p. 229).  Pierre Mignard, Charles Le Brun's archrival was charged with the painting of the ceilings of the petite galerie and its two salons (Félibien, 68; Piganiole de la Force, 140; Verlet 1985, p. 233).

In the petite galerie and its two salons, Louis XIV displayed many of the most valued paintings in his collection.  The petite galerie was given almost entirely to works by Italian masters with the works by Francesco Albani, Annibale Carracci, Guido Reni and Parmigianino predominating (Piganiole de la Force, 141–149; Verlet 1985, p. 234).  The petite galerie also housed the collection of gifts Louis XIV received from foreign embassies; most notable among these diplomatic offerings were the gifts from the Chinese Jesuit, Shen Fu-Tsung (1684), which included an enormous pearl, and the gifts from the Siamese Embassy of 1685-1686 (Josephson, 1926).  The premier salon de la petite galerie is of particular importance as it was in this room that Louis XIV kept the painting described by Piganiole de la Force as “Le Portrait de Vie, femme d’un Florentin nommé Giaconde,” better known in English as The Mona Lisa (Piganiole de la Force, 137).

Louis XIV lavished much attention to these rooms intending to have the walls clad with panels inlaid with tortoise shell and lapis-lazuli.  However, owing to the financial demands of the War of the League of Augsburg, the plans were abandoned.  Nevertheless, the petite gallerie and its two salons were used by Louis XIV for entertaining foreign dignitaries, such as the Crown Prince of Denmark in 1693 and the Elector of Cologne in 1706 (Verlet 1985, p. 233-234).

Of all the rooms that formed the petit apartment du roi during the reign of Louis XIV, the cabinet des médailles (1693 plan #10) was one of the most remarkable of its sort ever assembled in France (Hulftegger, 1954).  Taking its name from the 12 cabinets in which Louis XIV's numismatic collections were kept, the cabinet des medailles also housed the king's collections of miniatures by Flemish, Dutch, and German masters, objects of carved porphyry and carved jade, as well as those rare items made of silver or gold (Verlet 1985, p. 230-232).  Forming part of Louis XIV's collection of items made of gold was the treasure of the Merovingian king, Childeric I found in Tournai in 1653 and presented to Louis XIV by the Holy Roman Emperor Leopold I in 1665 (Cochet, 1859) and the gold and jewel encrusted nef, which was used by Louis XIV when he dined au grand couvert.

Louis XV – 1740
After the return of the king and court to Versailles in 1722, life assumed a rhythm similar to that under Louis XIV.  The young Louis XV occupied his great-grandfather's bedroom, the chambre de Louis XIV, where the ceremonies of the daily lever and coucher were executed with the same exacting precision as during the reign of the Sun King.  However, owing to the discomfort of the room in winter – its size and eastern exposure made it difficult, if not impossible, to heat – Louis XV was compelled to establish his bedroom elsewhere (Verlet 313–314).  In 1738, Louis XV ordered a new bedroom –  chambre de Louis XV (1740 plan #4) – constructed on the site of Louis XIV's salle du billard, which was enlarged to the north into the cour du roi to accommodate an alcove for the bed (Verlet 1985, p. 444-447).  In the same year, the degré du roi was demolished and a new staircase was built just north of the old location.  A new room was constructed on the site formerly occupied by the degré du roi of Louis XIV, the antichambre des chiens (Verlet 1985, p. 442).  As with his great-grandfather in his cabinet des chiens, Louis XV kept some of his hunting dogs in this room.

Further modifications of the petit appartement du roi at this time included the creation of the salon des pendules and the cabinet intérieur.  These rooms were created when the salon du degré du roi and the cabinet aux tableaux of Louis XIV were destroyed (Le Guillou, 1985).

The salon des pendules (1740 plan #3) (also called the salon ovale due to its elliptic shape) was given this name due to the dials arranged in the apsidal recess of the eastern wall that showed the times of the rising and setting of the sun and the moon (Verlet 1985, p. 450).

The cabinet intérieur (1740 plan #4) served a number of purposes: it housed part of Louis XV numismatic collection and collection of miniature paintings; it served as a dining room; and, it served as a workroom.  Of all the rooms of the petit appartement du roi during the reign of Louis XV, this was perhaps one of the most richly decorated and opulently appointed (Verlet 1985, p. 452).

The cabinet des livres, salon ovale of Louis XIV, the peite galerie with its two salons, and the cabinet des médailles were retained (1740 plan #6, 7, 8, & 9).

By 1740, the petit appartement du roi had expanded to such an extent into the cour du roi that the eastern part of this courtyard became a separate courtyard.  This new courtyard was called the cour intérieur du roi (1740 plan II) and the cour du roi was renamed cour des cerfs.  This new name was due to the two dozen sculpted deer heads that Louis XV ordered placed on the walls of the courtyard (Verlet 1985, p. 457).

Louis XV – 1760

The modifications of the late 1750s of the petit appartement du roi were in response to a general reorganization of the apartments in the corps de logis of the château and the destruction of the escalier des ambassadeurs (1740 plan #10).  To accommodate a new apartment for his daughter, Madame Adélaïde, Louis XV ordered the construction of rooms on the same floor as the petit appartement du roi.  This new apartment occupied space that had been the petite galerie and the two salons as well as new space created by the suppression of the escalier des ambassadeurs (1760 plan #9).

The most significant modifications to the petit apartment du roi at this time were the relocation of the degré du roi (1760 plan #4), the construction of the salle à manger des retours de chasses (1750) (1760 plan #5), and the pièce des buffets (1754) (1760 plan #6) (Verlet 1985, p. 473-474).  The salle à manger des retours de chasses was built upon the site of Louis XV's bath (1740 plan g) when the king wanted a dining room on the first floor in which he could entertain a small group of friends, most frequently after hunting (Bluche, 2000; Marie, 1984).  The decoration of the salle à manger des retours de chasses incorporated paneling and decorative elements from the salon du billard of Louis XIV (Verlet 1985, p. 442-443).

This era during which Louis XV decorated the petit appartement du roi was significant in the evolution of French decorative styles of the 18th century.  Many of these rooms represent some of the finest examples of the Louis XV style.  Of the rooms of the appartement du roi, the salon des pendules is one of the most significant.  With paneling by Jacques Verberckt, the room was furnished with chairs and table and served for gaming parties hosted by Louis XV (Verlet 1985, p. 449).  However, it would the delivery of 1754 that would set this room apart from others.

In January of that year, Louis XV had brought from the château de Choisy and placed in this room the famed mechanical clock.
  The clock, which was designed by the engineer, Claude-Simon Passemant, clockmaker Louis Dauthiau, and set in an ormolu case by Philippe Caffieri, was a marvel of its day.  Taking 12 years to complete, the clock is surmounted by a crystal sphere in which a mechanical armillary sphere – after the Copernic model – operated.  The time, days of the week, months of the year (even calculating for bissextile years), and year were accurately displayed.  On account of this clock, the room received the definitive name, salon de la pendule (1760 plan #2) (Kuraszewski, 1976; Verlet 1985, p. 450).

By 1760, the cabinet intérieur (1760 plan #7) had become to be also known as the bureau du roi and this room came best to represent not only the personal taste of Louis XV, but it also stands as one of the finest examples of the style Louis XV.  In 1755, the cabinetmaker Gilles Joubert delivered two corner cabinets, complementing those by Antoine-Robert Gaudreau, which had been delivered in 1739, to house numismatic record of Louis XV's reign (Verlet 1985, p. 452).  In 1769, the mechanical roll-top desk by Jean-François Oeben was delivered (Verlet 1985, p. 454).

With the evolution of the cabinet intérieur, Louis XV also pursued the construction of his arrière cabinet (1760 plan #8).  In suppressing the cabinet des livres and the salon ovale of Louis XIV, Louis XV created a private room (with a small cabinet de la chaise) that communicated directly with the degré du roi in which he conducted much of the day-to-day governance of France.  The utilitarian décor – a simple table, chairs and rows of shelving – reflects this usage (Verlet 1985, p. 459).

Louis XVI
With the exception of reclaiming part of the apartment of Madame Adélaïde, Louis XVI chose to retain the décor of the petit appartement du roi as his grandfather had left it.  The arrière cabinet of Louis XV was rechristened cabinet des dépêches (1789 plan #8); however, Louis XVI continued to use the room as day-to-day workroom as his grandfather had (Rogister, 1993).

The pièce de la vaisselle d'or (1789 plan #9) – originally the premier salon de la petite galerie – formed part of the appartement de Madame Adélaïde.  Under Louis XVI, the pièce de la vaisselle d’or was where the king kept his collection of rare porcelains and curiosities, many received as diplomatic gifts (Verlet 1985, p. 526)

The small room north and behind the pièce de la vaisselle d'or is the cabinet de la cassette du roi (1789 plan #10).  This room was converted into a bathroom for Louis XV around 1769.  Louis XVI used the room – allegedly – as a place where he could maintain his personal financial accounts (Verlet 1985, p. 526).  The paneling dates from the remodeling for Louis XV; however, Louis XVI ordered a total regilding of the room in 1784 (Verlet 1985, p. 526).  When Pierre de Nolhac assumed the directorship of the museum of Versailles, he discovered that this room was being used as a broom closet by the janitorial staff.  This discovery was the impetus that compelled Nolhac to begin exhaustive research on the subject of the history of Versailles (Nolhac, 1937).

The bibliothèque de Louis XVI (1789 plan #11) located directly east of the pièce de la vaisselle d'or occupies the space that was the chambre de Madame Adélaïde (which Louis XV rechristened salon d’assemblée in 1769) and previously the petite galerie.  In 1774, construction on the library began with the decoration being executed by the workshop of the Rousseau brothers, who had previously worked on the paneling of the cabinet de la cassette du roi and on part of the sculptural decorations of the Opéra (Verlet 1985, p. 513).  This room represents not only the personal taste of Louis XVI it also stands as one of the finest examples of the style Louis XVI decorative style.

The room located just to the east of the bibliothèque de Louis XVI is the salle à manger aux salles neuves (1789 plan #12).  This room, once the deuxième salon de la petite galerie and once one of the rooms of Madame Adélaïde, was remodeled into a dining room for Louis XV in 1769.  The paneling by Jacques Verberckt dates from the 1769 redecoration of Louis XV and the present blue upholstery, draperies, and hunting scenes by Jean-Baptiste Oudry date from 1774 when Louis XVI redecorated the room (Baulez, 1976; Verlet 1985, p. 527).  The room was also known as the salle des porcelains on account of the annual display of the production of the Sèvres factory that was arranged in this room during Christmas (Baulez, 1976).

The pièce des buffets or salle du billiard (1789 plan #13) occupies area that had once been the landing of the escalier des ambassadeurs.  During dinners, the billiard table would be covered with a wooden plank on which a buffet would be dressed for the king's guests (Verlet 1985, p. 527).  The room originally had a window opening onto the cave du roi (1789 plan III), the courtyard that was created when the escalier des ambassadeurs was destroyed in 1752.

Occupying the site of the cabinet des médailles of Louis XIV is the cabinet des jeux (1789 plan #14) of Louis XVI.  Upon the return of Louis XV and the court to Versailles, there had been a systematic rearrangement of the collections of Louis XIV that had been housed in the petite appartement du roi, particularly the items kept in the Louis XIV's cabinet des médailles.  The collection was either reorganized in other rooms of the petit appartement du roi or sent to the bibliothèque du roi in Paris.  With the destruction of the escalier des ambassadeurs in 1752 and the subsequent construction of the apartment for Madame Adélaïde, the cabinet des médailles of Louis XIV was completely transformed into an antichambre for Madame Adélaïde.  Dating from 1775, the room was redecorated in 1785 during the construction of a theater next to the salon d’Hercule, Louis XVI decided to remodel this room as a game room (Verlet 1985, p. 528).  The salle à manger aux salles neuves, salle du billiard and the cabinet des jeux were used for the intimate dinner parties given by Louis XVI and Marie-Antoinette for their friends and selected members of the royal family.

Gallery

Notes

Sources

Books

Journals

External links

Palace of Versailles
Rooms


The Kurt Maschler Award (1982 to 1999) was a British literary award that annually recognised one "work of imagination for children, in which text and illustration are integrated so that each enhances and balances the other." Winning authors and illustrators received £1000 and a bronze figurine called the "Emil".

The Award was founded by Kurt Maschler, best known as the publisher of Emil and the Detectives by Erich Kästner (1929). By the time it was discontinued after covering 1999 publications, it was run by Booktrust and Tom Maschler, a British publisher and the son of the founder. At that time it was announced in December of the publication year.

Winners

Seven of the 18 winning works were written and illustrated by one person, including two by Anthony Browne. As illustrators Browne won three awards (five Emils in all) and Helen Oxenbury won two, each including one new edition of Alice's Adventures in Wonderland by Lewis Carroll (1865). Browne and Carroll were the only authors of two winning works.

The first two Maschler Award-winning books and the last one also won the annual Kate Greenaway Medal from the Library Association, recognising the year's best children's book illustration by a British subject. Gorilla (1983), illustrated by Anthony Browne, and Helen Oxenbury's edition of Alice in Wonderland (1999) were named two of the top ten Greenaway-winning works (1955–2005) for the 50-year celebration of that Medal in 2007.
Three others were highly commended runners up for the illustrators Medal, a distinction that was roughly annual at the time: Browne's edition of Alice, Oxenbury for So Much, and Patrick Benson for The Little Boat.

See also

 Kate Greenaway Medal
 Mother Goose Award
 Caldecott Medal

References

British children's literary awards
Illustrated book awards
Awards established in 1982
1982 establishments in the United Kingdom
Awards disestablished in 1999
1999 disestablishments in the United Kingdom


The Medway Valley Walk follows the River Medway from Rochester to Tonbridge. Above Allington, it follows the bank of the Medway Navigation. It starts on the Saxon Shore Way at Rochester. The North Downs Way crosses the Medway Valley Walk at the eastern end of the Medway Viaduct or motorway bridge. The Greensand Way crosses the walk at Yalding. At West Peckham, it is joined by the Wealdway which continues through to Tonbridge, thus linking with the Eden Valley Walk.

Th entire walk is 44.8 km
The Maidstone Millennium River Park is a 10 kilometre (6 mi) stretch from Teston Country Park to the Museum of Kent Life at Sandling. It follows the walk. The park was built between 1998 and 2001; it has transformed 18 acres (7.3 ha) of wasteland and led to the construction of three new footbridges over the river all accessible from the walk. A major part of the park is Whatman Park in the centre of Maidstone.

References

Footpaths in Kent


The North Fork Republican River is a  tributary of the Republican River.  It flows eastward from a source in Yuma County, Colorado to just north of Haigler in Dundy County, Nebraska.   There it joins with the Arikaree River to form the Republican River.

The North Fork Republican River drains an area of , including , or 87.5%, in eastern Colorado, , or 11.3%, in southwestern Nebraska, and , or 1.2%, in northwestern Kansas.

Use of water from the North Fork Republican River is governed by the Republican River Compact, a water agreement among the U.S. states of Colorado, Nebraska, and Kansas signed on 1942-12-31.

See also

List of rivers in Colorado
List of rivers in Nebraska
Colorado drainage basins

References

External links
Republican River Compact

Rivers of Colorado
Rivers of Nebraska
Bodies of water of Dundy County, Nebraska
Tributaries of the Kansas River
Rivers of Yuma County, Colorado


The appartement du roi or King's Apartment is the suite of rooms in the Palace of Versailles that served as the living quarters of Louis XIV.  Overlooking the Marble Court (cour de marbre), these rooms are situated in the oldest part of the chateau in rooms originally designated for use by the queen in Louis XIII's chateau.  Owing largely to the discomfort of the grand appartement du roi and to the construction of the Hall of Mirrors, Louis XIV began to remodel these rooms for his use shortly after the death of Maria Theresa in 1684.  The appartement du roi evolved to become the everyday working quarters for Louis XV and Louis XVI.

Initially, the appartement du roi consisted of a suite of eight rooms that issued from the Queen's Staircase (escalier de la reine).  The number was reduced to seven after 1701 and to six in 1755.

Vestibule
The vestibule is paneled in marble and lighted by two windows that opened onto the cour royale.  In 1701, in order to provide more light to the staircase, the south wall opposite the windows was opened, thus creating a loggia from the vestibule.  During the latter part of Louis XIV's reign, the Queen's staircase and the vestibule served as entrance to the appartement du roi, the grand appartement de la reine, and the apartment of Madame de Maintenon.

Salle des gardes du roi
The salle des gardes du roi, served to house the Garde du corps du roi – the King's Body Guard.  The early decor of this room included walls clad in tooled gilt leather and a battle scene by Joseph Parrocel, "The Battle of Leuze, 18 September 1691", hung over the fireplace. Two large chandeliers emblazoned with the king's monogram complemented the decor.  The utilitarian nature of the room was evidenced by the wooden benches, camp beds, and folding screens used by the guards stationed in the room.  On Mondays, a table, dressed with a gold-fringed velvet rug, would be placed in this room, at which Louis XIV would personally accept petitions presented to him by his subjects.

Première antichambre
The première antichambre or salon du grand couvert (also known during the reign of Louis XIV as la salle ou le roy soupe), opened with three windows onto the cour de marbre (north) and with three windows onto the cour de la reine (south). The decoration of the room consisted of battle scenes by Joseph Parrocel with the "Battle of Arbela" being displayed over the mantelpiece. After the death of the queen and the dauphine, the room served for those occasions during which Louis XIV dined alone in public.  For the grand couvert, a table with a single armchair was dressed before the fireplace.  The wall opposite the fireplace originally contained a tribune for musicians, but this was suppressed in the 18th century.

The end of one of the more scandalous events in Versailles history during the Sun King's reign transpired in this room.  In 1691, the fringe from the portieres in the Salon de Mars and part of the embroidered bed cover from the bed in the Salon de Mercure were stolen.  Toward the service of dessert, a bundle was thrown through one of the windows facing the cour de marbre and landed on the king's table.  Louis XIV's only comment, "I think that those are my fringes."

Salon de l'œil de bœuf
The salon de l'œil de bœuf or  Antechamber of the Œil-de-Bœuf was formed in 1701 by combining two adjacent rooms, the deuxième antichambre and chambre du roi. The salon de l'œil de bœuf became the main antechamber to the King's Bedroom, which was also created that year (see next section).

Taking its name from the œil de bœuf (oval) window located in the south cove of the ceiling, the salon de l'œil de bœuf features a gilt-stucco running frieze that decorated the cove of the room's ceiling and features a trellis-work background on which are groups of dancing putti.  It is the decoration of the cove that heralds a transition from the formalistic style that was used in the decoration of the grand appartement du roi and the Hall of Mirrors to a more relaxed style that anticipated the style Louis XV. Louis XIV spared no expense in decorating this room.  Mirrors, "The Fainting of Ester" and "Judith with the head of Holofernes" by Veronese hung as pendants, and gilt furniture all contributed to making this one of the most sumptuous rooms in the appartement du roi.

The former two rooms, the  deuxième antichambre and the chambre du roi, were earlier part of the apartment of the queen, but in 1684, after the death of Marie-Thérèse d'Autriche, Louis XIV attached these rooms to his apartment. The deuxième antichambre served as waiting room for courtiers waiting to attend the king's lever in the chambre du roi and was also known as the antichambre des Bassans on account of the number of paintings by the northern Italian artist, Jacopo Bassano, that were displayed on the walls. Over the mantelpiece, the famed "Noli me tangeres" by Lambert Sustris was displayed.

Chambre de Louis XIV

The chambre de Louis XIV (or King's Bedchamber) was constructed in 1701 on the site of the former salon du roi (or State Drawing Room), which dated from the time of Louis XIII. This room underwent a number of modifications during the reign of Louis XIV, most notably in 1678 when the three western windows facing the terrace became archways opening into the Hall of Mirrors (constructed beginning that year), for which the room became a kind of appendage. A  avant-corps was added to the exterior of the eastern facade facing the Marble Court, with three bays opening onto a gilt wrought-iron balcony overlooking the courtyard, and the top part of the room corresponding to the attic storey of the avant-corps.

When in 1684 Louis XIV moved into the adjacent room to the south (the chambre du roi), this central room behind the facade of the avant-corps was designated as the salon du roi or the salon où le roi s'habille ("the room in which the king dresses"). For 17 years, it served as venue for the ceremonies that surrounded the life of the king, such as the lever and the coucher. When the chambre de Louis XIV was established in 1701, the archways to the Hall of Mirrors were sealed off, and the room became the ideological as well as physical focal point of the palace. The king died in this room on 1 September 1715. Later, Louis XV and Louis XVI would continue to use it for the lever and the coucher. On 6 October 1789, Louis XVI, Marie Antoinette, and the Dauphin appeared on the balcony before the mob that forced the royal family to move from Versailles to the Tuileries Palace in Paris.

{{center|Paintings in the Chambre de Louis XIV}}

As a measure of economy, Louis XIV retained much of the decor of the salon du roi in the decoration of the chambre de Louis XIV.  The over-door paintings included The Portrait of Francisco de Moncada and a Self-portrait the two by Anthony van Dyck, Saint John the Baptist by Caravaggio, and Mary Magdalene by Guido Reni.   Domenichino's Saint Cecilia was placed in the cornice setting of the south wall above the fireplace and the artist's King David playing the harp hung as pendant opposite on the north wall.

The western wall of the room became the wall of the alcove – the area of the room separated by a balustrade in which the bed was located.  The decoration of the alcove, with the ornaments of the agrafe and volutes as well as the trelliswork sculpture, anticipate in many respects anticipates the style Régence that was in vogue between 1715 and 1723.  Crowning the bed is Nicolas Coustou's relief sculpture, France Triumphant, which is complemented by two relief sculptures of Fame by François Lespingola located in the pendentives of the arch.

The present brocade on the walls of the alcove and for the bed has been rewoven as part of the initiative of the Fifth Republic to restore Versailles.  The original alcove and bed hangings were restored in 1736; and, in 1785, Louis XVI ordered the brocade burned from which he obtained over 60 kilograms of gold.  The present hanging, while accurate for the period, are not a reproduction of the brocaded that originally hung in the chambre de Louis XIV.  Owing to lack of archival information when the project was undertaken, it was decided to use the pattern for hangings of the tenture d'hiver for the queen's bedroom.  Only after the project was underway were the original designs found; as the part of the project had been completed, it was decided to use the queen's tenture d'hiver.Meyer (1989), 79–104.

Cabinet du conseil
The cabinet de conseil came into being as a council chamber upon the construction of the Salon of War, which occupied site of the Salon de Jupiter, Louis's previous council chamber.  Initially called cabinet du roi from 1684, with the remodeling of the apartment that occurred in 1701, this room received a new decor that featured walls paneled with mirrors.  With the redecoration, the room was rechristened cabinet des glaces.  In spite of the luxury of mirrors, this room was furnished in a utilitarian manner.  In addition to the velvet covered council table, there were three armchairs and 12 folding stools and a daybed, which Louis XIV used in 1686 as a necessity while suffering from an anal fistula and the surgery that removed it.Verlet, 217.

Of all the rooms of the appartement du roi, this room perhaps best expressed the personal tastes of Louis XIV.  In addition to the collection of gems, there were works by Nicolas Poussin and Giovanni Lanfranco on the walls as well as Harpsichord with a painted case.  The personal nature of this room was offset by the fact that this was the room in which Louis XIV governed France.  Councils were held here, writers who extolled the gloire of the Sun King were received here, and private audiences most often occurred in this room.

The last room of the appartement du roi was the cabinet des termes – due to the decor that featured 20 Hermes – also called the cabinet des perruques, as this was the room in which Louis XIV's wigs were stored.  In addition to the gilt Hermes that decorated the wall, the doors were covered with mirrors.  The room served as a changing room for the king, where he would change his shirt, wig, and hat as many as four times a day.  In the evening, this room would be where Louis XIV would gather with his children, other members of his family, and selected courtiers.

The cabinet des glaces and the cabinet des perruques disappeared in 1755 when Louis XV ordered the enlargement and redecoration of the council chamber.  This is the room that is seen today.

In 1748, in order to accommodate the newly constructed cabinet du roi on the 3rd floor, Louis XV had the ceiling of the cabinet de glaces lowered by about a meter.  The new dimension to the room necessitated a complete redecoration of the room.  The following year, a new fireplace was installed and the one dating from the time of Louis XIV and was sent to Compiègne.  In 1755, during the installation of a terrace in the cour des cerfs, Louis XV decided to enlarge the council room by incorporating the cabinet des perruques.  This larger room was designed by Ange-Jacques Gabriel with the paneling sculpted by Jules-Antoine Rousseau.  The panels were sculpted with symbols appropriate to governance: trophies of peace and war, attributes of the army, navy, justice, and the insignia of the monarchy.

Notes

Sources
 Baillie, Hugh Murray (1967).  "Etiquette and the Planning of State Apartements in Baroque Palaces." Archeologia CI, 169–199.
 Félibien, Jean-François (1703).  Description sommaire de Versailles ancienne et nouvelle.  Paris: A. Chrétien.
 Kimball, Fiske (1946).  "Unknown Versailles: The appartement du Roi, 1678–1701." Gazette des Beaux-Arts 6 pér., vol. 29, 85–112.
 Meyer, Daniel (1989). "L'ameublement de la chambre de Louis XIV à Versailles de 1701 à nos jours." Gazette des Beaux-Arts 6 pér., vol. 113 February, 79–104.
 Piganiol de la Force, Jean-Aymar (1701).  Nouvelle description des châteaux et parcs de Versailles et Marly.  Paris: Chez Florentin de la lune.
 Saule, Béatrix; Meyer, Daniel (2000). Versailles Visitor's Guide. Versailles: Éditions Art-Lys. .
 Verlet, Pierre (1985).  Le château de Versailles.  Paris: Librairie Arthème Fayard.

Further reading
 Batiffol, Louis (1913).  "Le château de Versailles de Louis XIII et son architecte Philbert le Roy." Gazette des Beaux-Arts 4 pér., vol. 10 November, 341–371.
 Batiffol, Louis (1909).  "Origine du château de Versailles." La Revue de Paris, April, 841–869.
 Berger, Robert W (1980).  "The chronology of the Enveloppe of Versailles." Architectura 10, 105–133.
 Berger, Robert W (1986).  Versailles: The Chateau of Louis XIV.  University Park: The College Arts Association.
 Brejon de Lavergnée, Arnauld (1985).  "Le cabinet des tableaux du Roi (1661-1685/1686)." Colloque de Versailles.
 Combes, sieur de (1681).  Explication historique de ce qu'il y a de plus remarquable dans la maison royale de Versailles.  Paris: C. Nego.
 Félibien, André (1694).  La description du château de Versailles, de ses peintures, et des autres ouvrags fait pour le roy.  Paris: Antoine Vilette.
 Jestaz, Bertrand (1985).  "Jules Hardouin-Mansart et ses dessinateurs." Colloque de Versailles.
 Josephson, Ragnar (1926).  "Relation de la visite de Nicodème Tessin à Marly, Versailles, Rueil, et St-Cloud en 1687." Revue de l'Histoire de Versailles, January–March, 150–67, 274–300.
 Kimball, Fiske (1943).  The Creation of the Rococo.  Philadelphia: Philadelphia Museum of Art.
 Kimball, Fiske (1949).  "Genesis of the Château Neuf at Versailles, 1668–1671." Gazette des Beaux-Arts 6 pér., vol. 35, 353–372.
 LeGuillou, Jean-Claude (1985).  "La création des cabinets et des petits appartements de Louis XV au château de Versailles 1722–1738." Gazette des Beaux-Arts 6 pér., vol. 105 April 137–146.
 LeGuillou, Jean-Claude (1983).  "Le château-neuf ou enveloppe de Versailles: concept et evolution du premier projet." Gazette des Beaux-Arts 6 pér., vol. 102 December, 193–207.
 LeGuillou, Jean-Claude (1976).  "Remarques sur le corps central du château de Versailles." Gazette des Beaux-Arts 6 pér., vol. 87 February, 49–60.
 LeGuillou, Jean-Claude (1986).  "Le Grand et le Petit Appartement de Louis XIV au château de Versailles." Gazette des Beaux-Arts 6 pér., vol. 108 July–August, 7–22.
 Lighthart, E. (1997). Archétype et symbole dans le style Louis XIV versaillais: réflexions sur l'imago rex et l'imago patriae au début de l'époque moderne. Doctoral thesis.
 Marie, Alfred (1968).  Naissance de Versailles.  Paris: Edition Vincent, Freal & Cie.
 Marie, Alfred and Jeanne (1972).  Mansart à Versailles.  Paris: Editions Jacques Freal.
 Marie, Alfred and Jeanne (1976).  Versailles au temps de Louis XIV.  Paris: Imprimerie Nationale.
 Marie, Alfred and Jeanne (1984).  Versailles au temps de Louis XV.  Paris: Imprimerie Nationale.
 Meyer, Daniel (1976).  "L'appartement interieur du Roi." Revue du Louvre #3 175–183.
 Monicart, Jean-Baptiste de (1720). Versailles immortailisé.  Paris: E. Ganeau.
 Nolhac, Pierre de (1899).  "La construction de Versailles de LeVau." Revue de l'Histoire de Versailles, February, 161–171.
 Nolhac, Pierre de (1901).  La création de Versailles.  Versailles: L. Bernard.
 Nolhac, Pierre de (1925).  Versailles, résidence de Louis XIV.  Paris: L. Conrad.
 Nolhac, Pierre de (1926).  Versailles au XVIIIe siècle.  Paris: Louis Conard.
 Saule, Béatrix (1985). "Trois aspects du premier ameublement du château de Versailles sous Louis XIV." Colloque de Versailles''.

External links

Palace of Versailles
Art museums and galleries in France
World Heritage Sites in France
Louis XIV


Karno Barkah (December 26, 1922 – October 24, 2009) is an Indonesian aviation pioneer and recipient of the prestigious French Légion d'honneur (28 February 1984).

Information
He is most well known for envisioning Indonesia's award-winning Soekarno-Hatta International Airport in Jakarta.   Barkah was responsible for the airport's construction, and later became its first President Director.

Barkah served as Indonesia's chief representative to the International Civil Aviation Organization (ICAO) in Montreal, where he was elected as Chairman of ICAO's Conditions of Service Working Group.

References

1922 births
2009 deaths
Indonesian aviators


Dehydrating agent may refer to:
 a chemical compound used to drive a dehydration reaction
 a desiccant, a substance that absorbs moisture from its surroundings


The petit appartement de la reine () is a suite of rooms in the Palace of Versailles. These rooms, situated behind the grand appartement de la reine, and which now open onto two interior courtyards, were the private domain of the Queens of France, Maria Theresa of Spain, Marie Leszczyńska, and Marie-Antoinette, as well as of the duchesse de Bourgogne as dauphine.

The rooms in the petit appartement de la reine have been restored to the condition in which they were left when Marie-Antoinette left Versailles on 6 October 1789, and while the rooms are mostly Louis XVI style, some parts are Louis XV style, or Rococo, like the fireplace mantel found in the supplément de la bibliothèque, or the centre table in the cabinet de la Méridienne, as well as the mantel clock in the billiard room.

Marie-Thérèse
At the completion of Le Vau's enveloppe, Marie-Thérèse's private area consisted of suite of five rooms that opened on the southern side of the cour de marbre and onto a small interior courtyard – at the time called the cour de la reine. In these rooms, Marie-Thérèse led her private and family life.  Very little information survived about the décor or the arrangement of these rooms, owing largely to her early death in 1683 (Verlet 1985, p. 253).

The most significant modifications to the petit appartement de la reine were made after the marriage of Louis XIV's grandson, the duc de Bourgogne, with Princess Marie-Adélaïde of Savoy in 1697.  Shortly after the marriage, in 1699, a suite of three rooms was constructed – known as the appartement de nuit du duc de Bourgogne (Verlet 1985, p. 210).  These rooms were created for the conjugal visits of the young duc with his wife.  Consisting of a bedroom, cabinet, and garde-robe, this part of the petit appartement de la reine when constructed in 1699 divided the cour de la reine into the cour de Monseigneur to the west and the cour de Monsieur to the east (Verlet 1985, p. 256).  These rooms also communicated with the appartement du roi and formed part of petit appartement de la reine and were used by the princess until her death in 1712.

Maria Leszczyńska

Under Marie Leszczyńska, the petit appartement de la reine underwent three distinct phases of modification: 1728-1731; 1737–1739; and, 1746-1748.

The 1728-1731 phase resulted in the construction of a chambre des bains (1740 plan #8); the petite galerie (1740 plan #7); and an oratory (1740 plan #6) (Verlet 1985, p. 401).

The 1737-1739 phase saw significant redecoration in the petite galerie with a décor of paneling in green and gold vernis Martin.  At this time, the appartement de nuit du duc de Bourgogne was remodeled for use by the queen with the construction of the grand cabinet intérieur (1740 plan #9) and the arrière cabinet (1740 plan #10), both of which were decorated with intricately carved and painted paneling.  At this time, a number of paintings, most notably by François Boucher and Charles-Antoine Coypel, were displayed in the petit appartement de la reine (Verlet 1985, p. 402)

The 1746-1748 phase saw a redecoration of the petite galerie. During this time it was called alternately cabinet des chinois – owing to the number of chinoiserie designs by the queen, which she had framed and hung in this room – or laboratoire – a laboratory where she pursued her hobbies.  At this time, the oratoire was converted in the cabinet de la Méridienne with new paneling by Jacques Verberckt.   The pièce des bains was redecorated with paneling by the Rousseau brothers and paintings by Charles-Joseph Natoire.  The grand cabinet d’intérieur received new paneling by Verberckt (Jallut, 1969; Pons, 1992; Verlet 1985, p. 402-403).

With the death of Marie Leszczyńska in 1768, the petit appartement de la reine remained vacant until the arrival of the new dauphine, Marie-Antoinette, in 1770.

Marie-Antoinette
The fame of the petit appartement de la reine rests squarely in the hands of the last queen of France during the Ancien Régime.  The restored state of the rooms seen today at Versailles closely replicate the petit appartement de la reine as it appeared during Marie-Antoinette's day (Verlet, 1937).  Modifications of the petit appartement de la reine for Marie-Antoinette began in 1779 (Verlet 1985, p. 585).

Marie-Antoinette ordered her favorite architect, Richard Mique to cover the walls of the petit appartement de la reine with white satin embroidered with floral arabesques, to give a decorative cohesion to the rooms.  The cost of the fabric was 100,000 livres; the hangings were entirely replaced with wood paneling in 1783 (Verlet 1985, p. 586).

In 1781, to commemorate the birth of the first dauphin, Louis XVI commissioned Richard Mique to redecorate the cabinet de la Méridienne (1789 plan #6) (Verlet 1985, p. 586).  It was in this room that Marie-Antoinette would choose the clothing she would wear that day.

In this same year, the bibliothèque – occupying the site of the petite galerie of Marie Leszczyńska – (1789 plan #7) and the supplément de la bibliothèque – occupying the pièce des bains of Maria Leszczyńska – (1789 plan #8), and, additionally, a room for the toilette à l’anglaise a pièce des bains and a salle des bains were arranged, opening on the cour de Monsieur (Verlet 1985, p. 403).

The last major modification to the petit appartement de la reine occurred in 1783, when Marie-Antoinette ordered a complete redecoration of the grand cabinet intérieur.  The costly embroidered hangings were replaced with carved gilt paneling by Richard Mique.  The new décor caused the room to be renamed the cabinet doré (Verlet 1985, p. 586).

Of all the features of the petit appartement de la reine, the so-called secret passage that links the grand appartement de la reine with the appartement du roi is one that has become a legend in the history of Palace of Versailles.  The passage actually dates from the time of Marie-Thérèse, and had always been a suite of service rooms that also served as a private means by which the king and queen could communicate with each other (1740 plan #1-4; 1789 plan #1-4).  It is true, however, that Marie-Antoinette, who was sleeping in the chambre de la reine in the grand appartement de la reine, escaped from the Paris mob on the night of 5/6 October 1789 by using this route. The entrance to the so-called secret passage is through a door located on the west side of the north wall of the chambre de la reine.

Gallery of Images

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Sources

Books

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External links

Palace of Versailles
Rooms


The present chapel of the Palace of Versailles is the fifth in the history of the palace. These chapels evolved with the expansion of the château and formed the focal point of the daily life of the court during the Ancien Régime (Bluche, 1986, 1991; Petitfils, 1995; Solnon, 1987).

History of the chapels

First chapel
The château's first chapel dated from the time of Louis XIII, and was located in a detached pavilion at the northeast of the château. Today, the pièce de la vaisselle d'or in the Petit appartement du roi occupies the approximate site of this first chapel.

It followed the two-story palatine model, which was traditional in France; successive chapels at Versailles also followed this model. This chapel was demolished in 1665 during construction of the Grotte de Thétys (Batifol, 1909, 1913; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1968; Verlet, 1985).

Second chapel
The second chapel was constructed as part of Louis XIV's second building campaign (1669–1672), when Louis Le Vau constructed the Château Neuf. When the new part of the château was completed, the chapel was situated in the Grand appartement de la reine and formed the symmetrical pendant with the Salon de Diane in the Grand appartement du roi. This chapel was used by the royal family and court until 1678, when time a new chapel was built, and the structure converted into the Salle des Gardes de la Reine (Félibien, 1674; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1972, 1976; Scudéry, 1669; Verlet, 1985).

Third chapel

Located next to the new Salle des Gardes de la Reine, this chapel served Versailles for a short period. Soon after its construction, Louis XIV found it inconvenient and impractical for his needs as well as those of his court, which he had officially installed at Versailles in 1682. That same year, this room was converted into the Grande Salles des Gardes de la Reine (and now exists as la Salle du Sacre) and a new chapel was built (Combes, 1681; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1972, 1976; Verlet, 1985).

Fourth chapel
With the construction of the Aile du Nord, the north wing of the château, a new chapel was built. This project necessitated the destruction of the Grotte de Thétys; it was on this site that the new chapel was built in 1682. When the fourth chapel was constructed, the Salon de l'Abondance, which had served as the entry to the Cabinet des Médailles in the Petit appartement du roi, was transformed into the Vestibule de la Chapelle — so named as it was from this upper level of the chapel that the king and select members of the royal family heard daily Mass. This chapel remained in use until 1710, and was witness to many of the important events of the court and royal family during the reign of Louis XIV. Today, the Salon d'Hercule and the lower vestibule occupy the space of this site (Félibien, 1703; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1972, 1976; Piganiole de la Force, 1701; Verlet, 1985).

Fifth chapel

As the focal point of Louis XIV's fourth (and last) building campaign (1699–1710), the fifth and final chapel of the château of Versailles is an unreserved masterpiece. Begun in 1689, construction was halted due to the War of the League of Augsburg; Jules Hardouin-Mansart resumed construction in 1699. Hardouin-Mansart continued working on the project until his death in 1708, at which time his brother-in-law, Robert de Cotte, finished the project (Blondel, 1752–1756; Marie, 1972, 1976; Nolhac, 1912–1913; Verlet, 1985; Walton, 1993). It was to become the largest of the royal chapels at Versailles, and the height of its vaulting alone was allowed to disturb the rather severe horizontality everywhere else apparent in the palace's roofline, leading to the design being disparaged by some contemporaries; the duc de Saint-Simon characterized it as an "enormous catafalque". Nevertheless, the magnificent interior has been widely admired to the present day and served as inspiration for Luigi Vanvitelli when he designed the chapel for the Palace of Caserta (Defilippis, 1968).

Dedicated to Saint Louis, patron saint of the Bourbons, the chapel was consecrated in 1710. The palatine model is of course traditional; however, the Corinthian colonnade of the tribune level is of a classic style that anticipates the neo-classicism that evolved during the 18th century, although its use here bespeaks a remarkable virtuosity. The tribune level is accessed by a vestibule, known as the Salon de la Chapelle, that was built at the same time as the chapel. The Salon de la Chapelle is decorated with white stone and the bas-relief sculpture, Louis XIV Crossing the Rhine by Nicolas and Guillaume Coustou forms the focal point of the rooms décor (Nolhac, 1912–1913; Verlet, 1985; Walton, 1993).

The floor of the chapel itself is inlaid with polychromatic marble, and at the steps at the foot of the altar is the crowned monogram of an interlaced double "L", alluding to Saint Louis and Louis XIV (Nolhac, 1912–1913; Verlet, 1985; Walton, 1993). The sculptural and painted decoration shows both Old Testament and New Testament themes (Lighthart, 1997; Nolhac, 1912–1913; Sabatier, 1999; Verlet, 1985; Walton, 1993). The ceiling of the nave represents God the Father in His Glory Bringing to the World the Promise of Redemption and was painted by Antoine Coypel; the exedra of the apse is decorated with Charles de la Fosse's The Resurrection of Christ; and, above the royal tribune is Jean Jouvenet's The Descent of the Holy Ghost upon the Virgin and the Apostles (Nolhac, 1912–1913; Walton, 1993).

During the 18th century, the chapel witnessed many court events. Te Deums were sung to celebrate military victories and the births of children (Fils de France and fille de France) to the king and queen; marriages were also celebrated in this chapel, such as the wedding of Louis XV's son the dauphin Louis with the Infanta Marie-Thérèse d'Espagne of Spain on 23 February 1745 and the wedding on 16 May 1770 of the dauphin – later Louis XVI of France – with Marie-Antoinette. However, of all the ceremonies held in the chapel, those associated the Order of the Holy Spirit were among the most elaborate. (Blondel, 1752–1756; Bluche, 2000; Boughton, 1986; Campan, 1823; Croÿ-Solre, 1906–1921; Hézuques, 1873; Luynes, 1860–1865; Nolhac, 1912–1913).

The chapel was de-consecrated in the 19th century and has since served as a venue for state and private events. Musical concerts are often held in this present chapel of Versailles.

Organ

The organ of the fifth chapel of Versailles was built by Robert Clicquot and Julien Tribuot in 1709–1710. His first official presentation took place on Pentecost, Juin 8, 1710; the organist was Jean-Baptiste Buterne.

Marriages
 July 24, 1685: Louis, Duke of Bourbon and Louise Françoise de BourbonCelebrated by the Bishop of Orléans
 February 18, 1692: Philippe, Duke of Chartres and Françoise Marie de BourbonCelebrated by the Cardinal de Bouillon
 May 19, 1692: Louis Auguste, Duke of Maine and Louise Bénédicte de BourbonCelebrated by the Cardinal de Bouillon
 January 19, 1732: Louis François, Prince of Conti and Louise Diane d'OrléansCelebrated by the Prince-Bishop of Strasbourg
 December 17, 1743: Louis Philippe, Duke of Chartres and Louise Henriette de BourbonCelebrated by the Archbishop of Paris
 December 29, 1744: Louis Jean Marie, Duke of Penthièvre and Maria Teresa Felicitas d'EsteCelebrated by the Archbishop of Paris
 February 23, 1745: Louis, Dauphin of France and Maria Teresa Rafaela of SpainCelebrated by the Prince-Bishop of Strasbourg
 May 3, 1753: Louis Joseph, Prince of Condé and Charlotte de RohanCelebrated by the Archbishop of Paris
 April 5, 1769: Louis Philippe, Duke of Chartres and Louise Marie Adélaïde de BourbonCelebrated by the Archbishop of Paris
 April 24, 1770: Louis Henri, Duke of Enghien and Bathilde d'OrléansCelebrated by the Archbishop of Paris
 May 16, 1770: Louis Auguste, Dauphin of France and Marie Antoinette of AustriaCelebrated by the Archbishop of Reims
 May 14, 1771: Louis Stanislas Xavier de France and Marie Joséphine of SavoyCelebrated by the Archbishop of Paris
 November 16, 1773: Charles Philippe of France and Maria Theresa of SavoyCelebrated by the Archbishop of Paris

Discography
 the Du Roy-Soleil à la Révolution, l'orgue de la Chapelle royale de Versailles / From the Sun King to the Revolution, the organ of the Royal Chapel of Versailles. Marina Tchebourkina at the Great Organ of the Royal Chapel of the Palace of Versailles. — 2004. (EAN 13 : 3760075340032)
 Louis Claude Daquin, l'œuvre intégrale pour orgue / Louis Claude Daquin, Complete organ works. Marina Tchebourkina at the Great Organ of the Royal Chapel of the Palace of Versailles. — 2004. (EAN 13 : 3760075340049)
 Louis Marchand, l'œuvre intégrale pour orgue / Louis Marchand, Complete organ works. Marina Tchebourkina at the Great Organ of the Royal Chapel of the Palace of Versailles. 2-CD set. — 2005. (EAN 13 : 3760075340056)
 François Couperin, l'œuvre intégrale pour orgue / François Couperin, Complete organ works. Marina Tchebourkina at the Great Organ of the Royal Chapel at the Palace of Versailles. 2-CD set. — 2005. (EAN 13 : 3760075340063)

Bibliography
 M. Tchebourkina. L'Orgue de la Chapelle royale de Versailles, Trois siècles d'histoire (The Organ of the Royal Chapel of Versailles, Three centuries of history). — Paris : Natives, 2010. — 256 p. ().
 Чебуркина М. Н. Французское органное искусство Барокко: Музыка, Органостроение, Исполнительство (French Baroque Organ Art: Musique, Organ building, Performance). — Paris : Natives, 2013. — 848 с. ().
 M. Tchebourkina. The Organ of the Royal Chapel: from the Sun King to… well after the Revolution // Livret CD – Du Roy-Soleil à la Révolution, l'orgue de la Chapelle royale de Versailles. — Paris : Natives / CDNAT03, 2004. — P. 39–48. (EAN 13 : 3760075340032).
 M. Tchebourkina. Nouveaux regards sur Le Marché ancien : Ce qui fut fait, fut-il fourni ? (The new views on The Ancient Deal: What was done, was it provided?) // Livret CD – Du Roy-Soleil à la Révolution, l'orgue de la Chapelle royale de Versailles. — Paris : Natives / CDNAT03, 2004. — P. 51–54 (EAN 13 : 3760075340032).
 M. Tchebourkina. Nouveaux regards sur Le Marché ancien : Le jeu des nouveaux jeux (The new views on The Ancient Deal: Play of new Stops) // Livret CD – Louis Claude Daquin, l'œuvre intégrale pour orgue. — Paris : Natives / CDNAT04, 2004. — P. 47–50 (EAN 13 : 3760075340049).
 M. Tchebourkina. L'orgue de la Chapelle royale de Versailles : À la recherche d'une composition perdue (The Organ of the Royal Chapel of Versailles: In search of a lost Organ Disposition) // L'Orgue. — Lyon, 2007. 2007–IV No. 280. — P. 3–112 ().
 M. Tchebourkina. Tricentenaire de l'orgue de la Chapelle royale de Versailles (1710–2010) : De la première mise en service de l'orgue (Tricentary of the Organ of the Royal Chapel of Versailles (1710–2010): About the first official putting into service of the organ ) // L'Orgue. — Lyon, 2009. 2009–III–IV No. 287–288. — P. 258–260 ().
 M. Tchebourkina. L'orgue de la Chapelle royale de Versailles (1710–2010) : Les progrès de la connaissance ou l'art difficile de l'humilité (The Organ of the Royal Chapel of Versailles (1710–2010): Advances in knowledges, or Difficult art of humility) // L'Orgue. — Lyon, 2010. 2010–III No. 291. — P. 35–69 ().
 M. Tchebourkina. Tricentenaire de l'orgue de la Chapelle royale de Versailles (1710–2010) (Tricentary of the Organ of the Royal Chapel of Versailles (1710–2010)) // Versalia. — Versailles, 2011. No. 14. — P. 143–175 ().

Notes

Sources

Books

Journals

Palace of Versailles
World Heritage Sites in France
Religious buildings and structures completed in 1710
18th-century Roman Catholic church buildings in France
Versailles
Roman Catholic churches in Versailles
Roman Catholic chapels in France


The 2008 Texas Republican presidential primary took place on March 4, 2008.  John McCain won the primary election, giving him enough delegate votes to guarantee his nomination at the 2008 Republican National Convention.

Process
The Texas Republican primary process allocates delegates solely through the primary process. In addition to the candidates shown on the ballot, the ballot also shows a spot for "uncommitted".

Texas does not require a primary voter to be a registered party member – primaries are open to all voters, but a voter cannot vote in both the Republican and Democratic primaries; s/he must choose one or the other.  In addition, voters who vote in a primary election cannot later sign a petition for a third-party or independent candidate to appear on the November general election ballot.

In 2008, Texas had 140 Republican delegates available for the taking, divided into three categories:
96 delegates selected by congressional district (as Texas has 32 districts, each district selects three delegates).
41 delegates selected at-large based on the statewide vote.
Three "party leader" delegates.

The delegate split for the congressional delegates uses a modified proportional methodology:
If a candidate receives a majority (over 50%) of the vote, s/he receives all three district delegates.
If two candidates receive between 20% and 50% of the vote, the first place candidate receives two delegates and the second place candidate receives one delegate.
If no candidate receives 20% of the vote, the top three candidates each receive one delegate.

The delegate split for the at-large delegates uses a similar methodology.  If a candidate receives over 50% of the vote, s/he receives all 41 delegates. Otherwise, the split is proportional to the statewide vote; however, a candidate must receive at least 20% of the statewide vote to earn any delegates.

The three "party leader" delegates are officially uncommitted.

The actual delegates are selected at precinct conventions on the date of the primary, which are held after the polls close at the site where voters in a precinct cast ballots (not always the same as early voting sites). Unlike the process in the Texas Democratic Party, these conventions only select the persons who will go to the state senatorial district, state, and the national conventions.  All delegates are bound by the popular vote.

Results

The results of the Texas primary, along with the other three states (Ohio, Rhode Island, and Vermont), gave McCain the number of delegates needed to secure the Republican nomination.  After these primaries, Mike Huckabee ended his presidential campaign.

See also
 Latest March 4 2008 Voting Results (from TX Secretary of State)
 2008 Republican Party presidential primaries
 2008 Texas Democratic presidential primary and caucuses

References

Texas
Republican presidential primary
Texas Republican primaries