GOLDEN SANCTUARY

Historical research and CC creation for The Sims 4.

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Versailles window arch for the first floor(2nd level) garden facade

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Part X Changes Under Louis XV

10.1 The New Fireplace

AN O1/1796 item 528

On Sunday, January 22, 1758, the King, feeling cold during his toilette in the Grand Bedchamber, requested that a tiled stove be installed to warm the room. By the next day, the stove was already in place and operational. However, the very letter informing Marigny (Head of the King's Buildings) about the royal decision also mentioned an unfortunate incident involving a similar stove in the antechamber of his sister, Madame de Pompadour. The pipe of her tiled stove caught fire, though fortunately, the flames were quickly extinguished.[200]

Nevertheless, on March 25, 1758, Gabriel, the King's chief architect, decided to add a new fireplace in the bedchamber instead.[201] The precise justification behind this decision is not explicitly stated, but it is likely that either aesthetic concerns or safety considerations—given the recent fire—prompted the change. The inability to find marble matching the existing one, which resembled Brèche Violette, led the administration to consider removing the old fireplace and replacing it with two new fireplaces of the same marble. The southern wall between the bedchamber and the Bullseye Antechamber had to be disassembled to accommodate the new chimney pipe, utilizing the existing chimney in the antechamber, which was also rebuilt in the process.[202]

Two provisional marble fireplaces were installed temporarily. On June 7, 1761, Marigny ordered their demolition and replacement with the new ones.[203]

Some drawings from the time of the project still exist (see fig.), yet no detailed work report regarding the various stages of the project has been found. However, records indicate that payments made to Trouard, the principal marble sculptor of the Crown, in 1761 significantly exceeded those of the preceding and subsequent years, suggesting substantial work at Versailles during this period.

O/1/1770, folder 4, n°6

10.2 Restoration and Enhancement of the Winter Set (Number 1881)

The Winter Set 1881 bed underwent its first recorded restoration in 1736, under the direction of Dutrou and Saillor. The embroideries were restored, and the fleur-de-lys crimson brocade used for the lining of the valances was replaced with crimson Gros de Tours, while the case curtain was entirely remade.[204]

On November 28, 1761, the Garde-Meuble diary recorded the second restoration of Set 1881. The embroideries were again restored, and those from the stools were transferred onto new crimson velvet. As in the previous restoration 25 years earlier, the embroidery work was carried out by Dutrou. Additionally, two new fire screen frames were commissioned, crafted by Foliot and gilded by Bardou, to match the new fireplaces.[205]

In 1765, Louis XV ordered a more comprehensive enhancement and restoration of the Winter Set, which had begun to appear outdated after 64 years of use. Several artisans were commissioned:

Capin for the upholstery

Chasblier for the embroidery

Bardon for the gilding of sculpted wood

Pitoin for the gilding of metal parts

The L’Héritier brothers for supplying golden braids and fleurets for the embroidery

Foliot for the wooden sculptures

10.2.1 The Bed

The most notable addition during the 1765 enhancement was the incorporation of rich sculptural elements onto the upper canopy, mounted on carved joinery. Foliot, responsible for this work, provided a detailed description:

"To be used in the King’s Bedchamber at the Palace of Versailles: The crown of the Winter Bed, measuring three feet in height and seven and a half feet in length, composed in the middle of trophies of war, including banners, shields, weapons, and other instruments, enriched by laurel branches grouped together. The upper section consists of a piece of architecture featuring a lion’s head holding in its mouth a ribbon suspending the trophy. The corners are adorned with corsets of armor supporting the structure, flanked by palm branches. At the front of the crowned canopy, garlands of oak and laurel extend along the piece, forming festoons at the corners where the corsets of armor are located. The sculpture was carved from a ten-foot-long piece of wood, following the creation of a quarter-scale wax model."[206]

Foliot charged 6,400 livres for this work. The gilding was executed by Bardon, whose report provides additional details about specific sculptural elements:[207]

Three sculpted pieces adorned with shields, palms, and oak leaves

Four corsets of armor

Four garlands

Some elements, such as banners, laurels, and the lion, mentioned in Foliot’s report, are not explicitly listed in Bardon’s work but were certainly included to maintain the harmony of the composition.

A crucial note in Capin’s report describes the new canopy shape as ‘bulging’, indicating its convex architectural form. This explains why Chasblier had to entirely remake the valances to match the revised canopy structure:

"The great valances at the front and sides were almost entirely re-embroidered [...]. The embroidered fringe follows the contour of the new crowned canopy."[208]

Finally, the 1775 General Inventory of the Garde-Meuble provides another significant detail not previously mentioned. The description of Set 1881, which had been reassigned inventory number 116 in the embroidery chapter, states:

"The canopy of gilded and sculpted wood, featuring at its front a cartouche bearing the coat of arms of France."[209]

The gilding of the canopy was initially imperfect, as a 1766 report notes that a new order was issued on November 3, 1766, for craftsmen to fix the gilding on-site at Versailles.

9.2.2 – The Armchairs and Stools

In his 1765 report, Capin mentioned the presence of two armchairs, twelve stools, and a third armchair listed as being acquired “by augmentation.” This term, used by the Garde-Meuble, referred to alterations that extended beyond mere restoration, often involving the addition of new elements or the reassembly of upholstery onto a different wooden structure. A notable precedent is set 1379, which was created by augmentation of set 867.

Given the intent to modernize the Grand Bedchamber, particularly the bed, which was deemed somewhat too sober for its prestigious setting, it is plausible that the original 1701 armchairs were also replaced on this occasion with more contemporary designs. The work detailed in Capin’s report describes standard upholstery procedures, including the application of gold braids and gold nails, which further aligns with this hypothesis.

If we accept this assumption, their creation can potentially be traced to a 1765 work report by Foliot the Elder. On August 2, 1765, the same date his son was commissioned to sculpt the canopy ornaments for the King’s bed, Foliot the Elder was entrusted with crafting a bulging canopy frame for Versailles[210]. His next recorded order, on August 7, concerned the creation of two armchairs.

It is worth noting that Foliot the Elder habitually included seats immediately following beds in his work reports—an example being his Polish-style bed frame, executed following the October 4 order, which, like his son’s commission, was later supplemented with two armchairs and eight regular chairs. These pieces are subsequently mentioned by Capin in relation to their upholstery. Based on this pattern, it is reasonable to assume that the two armchairs mentioned immediately after the canopy commission in August 1765 were indeed intended for the Grand Bedchamber.

The upholstery work carried out by Capin in 1765 did not constitute a full restoration of the embroideries. This is evident from the fact that the armchairs and stools were sent to the Garde-Meuble on May 28, 1766,[211] necessitating a comprehensive refurbishment of the embroidery a year later. Aleau was tasked with this embroidery work,[212] and several notable modifications emerge from the associated report:

The twelve stools, originally adorned with campanes, were now embellished with gold fringes.

The two armchairs now featured textiles on the armrests, with no further mention of campanes or fringes, strongly suggesting a stylistic transition away from the Louis XIV aesthetic. The structure was likely revised so that the seat was now fully enclosed by a visible wooden frame.

Finally, the woodwork, much like that of the canopy, was re-gilded and repaired by Bardou, following an order dated November 3, 1766.[213]

9.2.3 – The Firescreen

As previously noted, the 1701 fireplace was removed on November 28, 1761, and replaced with two new fire screens, executed by Foliot and gilded by Bardou. The textile panels of these screens repurposed the velvet of the tablecloth, which was destroyed in the process. Much like the seating elements, the embroideries on these velvet panels were later restored by Aleau in 1766.[214]

[200] AN O1/1796, item 528; a copy of that letter can also be found in AN O1/1811.

[201] AN O1/1811.

[202] AN O1/1797, item 156.

[203] AN O1/1812.

[204] AN O1/3312, f⁰ 49 v⁰.

[205] AN O1/3317, f⁰ 130 v⁰.

[206] AN O1/3617 – Foliot’s work report.

[207] Ibid. – Bardon’s work report.

[208] Ibid. – Chasblier’s work report.

[209] AN O1/3345, f⁰ 237 v⁰ - 238 r⁰.

[210] AN O1/3617 – Foliot the Elder’s work report.

[211] AN O1/3346, p. 383.

[212] AN O1/3618 – Aleau’s work report.

[213] Ibid. – Bardou’s work report.

[214] Ibid. – Aleau’s work report.

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IX Additional Items

9.2.1 The Chandelier

The origin of the initial chandelier present in the room is unknown. It is possible that the one used in the central salon remained in place when the room was converted into a bedchamber. Eventually, it was removed in 1716, after the death of Louis XIV, and relocated to the gallery of the Palais Royal by order of the Regent. A replacement chandelier was then installed, which the 1740 inventory describes as follows:

"A crystal chandelier with 12 branches and a console with its cord and two gold crests."[182]

This chandelier was later replaced on February 14, 1744, by a new one.[183]

The new chandelier in question had originally been delivered on May 29, 1738, by LaRoue and Slodtz. It had been in use for six years in the Council Cabinet[184] before being transferred to the bedchamber. It was described as follows:

"A beautiful and rich chandelier assembled in the modern way, in silvered bronze, and rock crystal, with twelve bobeches distributed three by three in girandoles. The body is formed by four palm branches in joint consoles at the bottom, supporting in the middle a massive and magnificent vase of crystal, linked at the top like a cradle. The four palm branches are adorned with four little palms, four vases, and four beautiful pyramids, with multiple pieces hanging in between, smooth, with bevel cuts made in different ways, and four large smooth balls under the pyramids, all intertwined with dates also made of crystal. In the middle of the cradle at the top, there is a large and beautiful smooth ball hanging under the tip of a reversed pyramid. The crown of the chandelier is formed by the tip of a crystal stem, surrounded by eight branches from which hang eight pieces of lace-beveled crystals and four medium-sized smooth balls. Each girandole is made of three branches, supporting the bobeches. Behind the middle branch is a large vase. Under eight of the basins hang eight pear-shaped pieces; under the other four, four large smooth pieces. The back of the lamp is formed by palm branches and girandoles, uniting at the entablature, where large and beautiful smooth crystal pieces are suspended, along with drops of wax, a luth, and eight medium-sized smooth balls. At the very end, a very beautiful six-sided beveled pear hangs, attached to a large piece of crystal surrounded by four garlands that extend from the console of the entablature. The chandelier is 5 feet tall and has a diameter of 42 inches."[185]

9.2.2 The Clock

In 1740, a clock is mentioned in the Grand Bedchamber for the first time, listed as Clock No. 5. Its low inventory number suggests that it dates back to the reign of Louis XIV. While the 1740 inventory provides only a brief description, additional details are found in the 1752 General Inventory:

"An 18-inch tall clock with an enamel dial. The box is made of gilded silver, chiseled with leaf motifs, fleurets, and a mask, with daytime ornaments, and surmounted by a royal crown. It is placed on a square-shaped pedestal, also made of gilded silver, chiseled with ovolos. The console is made of chiseled bronze with two cockerels and bears the cipher of Louis XIII."[186]

The presence of Louis XIII's cipher further supports the idea that the clock predates Louis XV’s reign and might have belonged to Louis XIV as a tribute to his father.

However, it should be noted that the clock's presence in the Grand Bedchamber is only attested for the first time during Louis XV’s reign. It does not appear in the 1708 or 1715 inventories, which could indicate either its absence or a lack of documentation of such items in earlier inventories, similar to how mirrors and consoles were omitted.

The exact location of the clock is confirmed by the Duke of Luynes, who specified in his memoirs:

"The clock was placed on one of the pilasters next to the fireplace, more specifically, the one on the alcove side."[187]

This is further corroborated by a sketch of the room dating from the end of Louis XIV’s reign or the beginning of Louis XV’s reign.[188]

A side note in the 1752 General Inventory mentions that the clock was removed from the room on September 4, 1763, to be transferred to Bellevue.[189] However, its presence in both the 1765[190] and 1775 inventories[191] indicates that this removal was only temporary.

Versailles. The northwest corner of the King’s Grand chamber, clock number 5 clearly . National Museum, Stockholm, NMH CC 513

9.2.3 The Rugs

The first attested delivery of a rug for the Grand Bedchamber dates to June 20, 1727, when Duvivier delivered a two-piece rug destined for the King's bedchamber alcove under inventory number 310. Its description is as follows:

"A rug from the Savonnerie, in two parts, made specifically for the King's bedchamber alcove, each part featuring a blue background with a chessboard pattern. It has a large compartment with a chamois-colored background, adorned with four cornucopias and four shells. At the center is a bronze sunflower, surrounded by eight small red flowery palms and four festoons of flowers in their natural colors. The edges of each part are bordered by leaves in a bronze color, and above, a larger border with a blue background, featuring four intertwined shells and two fleurs-de-lis."[192]

Its dimensions were 4 aunes 1/12 in width, 3 aunes 1/3 at the middle, and 2 aunes ¾ in depth. It was received on July 24, 1727. Two small sections were removed to account for the columns at the corners of the alcove. The rug had been originally made in 1724 by De Noinuille, who charged 2,619 livres for each part.[193]

A second rug was delivered a year later by Duvivier for the center of the room, numbered 313, and described as follows:

"A Savonnerie rug with a daffodil-colored background. In the middle is a large red compartment featuring an arabesque rose in gray and green on a blue chessboard-patterned background, ornamented with palm leaves, flowers, and fleurs-de-lis. Surrounding the compartments are four circles, each containing a bronze-colored fleur-de-lis on a blue background. Each edge features two small cartouches adorned with palm leaves and flower festoons, filled with a moresque rose in bronze. The rest of the rug is decorated with large green palm leaves, lily flowers in their natural colors, bat wings, garlands of flowers, and various ornaments. The border is blue with a chessboard pattern, interspersed with golden leaves in an antique style and garlands of flowers. In each corner, a blue background cartouche holds the King's cipher in bronze."[194]

This rug measured 8 aunes 1/8 in length and 4 aunes ¾ in width. When delivered on December 17, 1728, a section had to be cut to accommodate the fireplace. The rug was first mentioned in 1726, when Noinuille was paid 5,321 livres for it[195], with an additional 3,407 livres paid a year later for its completion.[196]

Both rug designs can be attributed to Perrot and his collaborators.

Tapis de la Savonnerie sur le modèle du 313 : VMB 14395, Manufacture de la Savonnerie (Paris), 1780-1782, H. 528 cm x L. 983.5 cm, Château de Versailles.

9.3.3 Fireplace Accessories

The 1740 inventory of the palace notes the presence of:

"A grid, with four branches in two parts, with pedestals, vases, and pyramids of wrought iron, 26 inches deep, with a shovel and tongs pincers also of wrought iron."[197]

as well as:

"A fire guard with seven mounts of wrought iron, garnished with its brass cable."[198]

On December 14, 1761, Courbin delivered a second set for the new fireplace. The description is almost identical to the one already mentioned, but with additional details regarding its dimensions:

"A height of 14 inches and a depth of 22 inches."[199]

9.3.4 Diverse Items

In 1740, a brief mention appears of a commode chair used as a toilet. It is described as:

"A commode of crimson velvet, extension and bulge also of velvet."

The chair in question is not present in subsequent inventories.

[182] A side note in the 1740 inventory(AN O1/3453) next to the entry for the candelabra of the bedchamber specifies that it was sent back the 14th February 1744, which suggest that the one from the council cabinet would have its place at time, as confirmed by the later inventory the chandelier 250 in the Grand bedchamber(AN O1/3454)

[183] AN O1/3312 f⁰ 116

[184] AN O1/

[185] AN O1/3446 f⁰ 1

[186] Luynes , Mémoires du duc de Luynes sur la cour de Louis XV (1735-1758), éd. L. Dussieux et E. Soulié, Paris, Firmin Didot, 1860-1865, tome 1 p. 138-139

[187] National Museum, Stockholm, NMH CC 513

[188] Ibid

[189] AN O1/3451 p. 8

[190] AN O1/3459

[191] AN O1/3310 f⁰ 102 r⁰

[192] AN 497AP/1 folder 3 f⁰ 28 r⁰

[193] AN O1/3310

[194] AN 497AP/1 folder 3 f⁰ 34

[195] Ibid f⁰ 36

[196] AN O1/3453 f⁰ 3 v⁰

[197] AN O1/3453 f⁰ 3 v⁰

[198] AN O1/3317 f⁰ 131 v⁰

[199] AN O1/1811 p. 103

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Part VIII: Louis XV’s Summer Set (N⁰ 2200)

When Louis XV returned to Versailles in 1722 and took possession of his great-grandfather's royal apartments, the Garde-Meuble had to provide a new summer set for the bedchamber cabinet since the previous one had left the palace after the Sun King’s death. Lallie was charged with the task, and on the 8th of May, 1723, he delivered a new set of furniture covered in a purple and crimson background brocade which received the number 2200. The set was created using several brocades from Lyon delivered by Gautier in 1688. The set remained in the bedchamber for the rest of Louis XV’s reign and most of the reign of his successor, who restored it in 1776 [161].

8.1.1 The Tapestry Itself

Described in 1723 as being made of a “brocade from Lyon with purple and crimson background, with compartments, cornucopia, and large flowers woven in silver and gold, with crimson silk used around as contour [nuee de soye cramoisy]” [162], it is said that brocade numbers 48 and 49 were used for that set. The description of these brocades from the 1729 general inventory provides additional details [163]: the compartments are referred to as “large compartments,” and there is mention of rinceaux ornaments woven in gold, which was not noted in 1723. The description also specifies the roles of the purple and crimson: purple was the main background color of the brocade, while crimson was used as the background color within the compartment and as a contour around the woven ornaments. This description allows us to trace the brocade’s origin. Indeed, on the 7th of October, 1688, the Garde-Meuble diary records the entry of a new brocade delivered by Gautier under the numbers 123 [164], 132, 133, and 134, with a description matching that of number 48 from the 1729 general inventory.

In the alcove, five pieces of this brocade were placed alongside six pieces of column brocade similar to those described in Part 7.1, which, by that time, had been renumbered as 52 in the 1729 general inventory [165].

8.1.2 The Bed

As before, the set featured a large state bed containing:

The Headboard: Described as enriched with gold leaf ornaments and gold braid [166].

The Valences: Three outer and four inner valences, described as being “enriched with woven gold leaf ornaments, forming festoons” [167]. The comma in between could suggest that the festoon shape describes only the valences, not the woven details. However, since most valences of the time had woven decorations that followed the valences' shapes, it would be safe to assume that this description applies to both. While no fringes are explicitly mentioned alongside the valences, the presence of woven gold crepines at their bottom may suggest their presence, especially since the bed bases, similar in description, included fringes. Furthermore, the work report by L’Heritier during the 1776 restoration explicitly charged for gold fringes for the valences of the summer bed [168], giving the valences an appearance close to those described in Part 6.2.

The Curtains: Two bonnes grâces, four curtains, and two cantonières made of the purple and crimson brocade with gold braid and fringes, lined with a crimson satin woven with gold and featuring multiple compartments [169].

The Quilt: Made of the same brocade, adorned with gold braids and fringes.

The Case Curtain: Made of crimson gros de Tours, with large and medium-sized gold fringes at the bottom and edges, hanging from a golden rod [170].

The Columns: The four columns were sheathed in crimson satin with gold and silver woven decorations [171].

The Vases/Finials: Four in total (one at each corner), filled with 120 feathers, covered in brocade with added gold leaf patterns and braids [172].

8.1.3 The Armchairs and Stools

Two armchairs and twelve stools were listed for this set. The brocade used for their upholstery differed from that of the bed and the alcove, described as “another narrow brocade with a crimson background, featuring cornucopia and fleurets with gold and silver, with a contour of purple silk to match the bed’s brocade” [173]. This detail reinforces the idea that the bed’s main brocade color was indeed purple. This brocade likely corresponds with brocade number 36 from the 1729 general inventory [174], which is said to have been used for this set at the end of the entry [175]. This brocade came from a delivery in 1686 by the Parisian manufacturer Charlier, initially assigned the number 93 [176].

One detail stands out when comparing descriptions: the contour around the silver and gold decorations is said to have been purple silk when used on the stools and armchairs in 1723, whereas it was originally green silk in 1686. It is likely that this alteration was made by Lallie or one of his suppliers to better match the purple color of the other brocade.

The woods are noted as having been gilded and sculpted “very richly.” This detail is interesting as it may reflect a stylistic shift occurring at that time, with more richly decorated armchairs that, unlike their Louis XIV counterparts, featured backrests framed by a visible, elaborately sculpted wooden border.

The entry also references gold fringes and braids.

8.1.4 The Fire Screen

The screen was covered in the same purple and crimson brocade as used for the bed and the alcove. The wood was sculpted and gilded, and the central motif of the brocade was surrounded by a gold braid [177].

8.1.5 The Table and Tablecloth

The table was made of walnut and described as having a lower cabinet shape (table en bas d’armoire) with a counter on each side, closing with a key. While convertible cabinets were common in the 18th century, this specific design with only a lower part and counters on each side was very unusual. It measured 42 inches long, 29 inches wide, and 31 inches tall [178].

This table is mentioned in the 1751 Versailles inventory as a “lower walnut cabinet opening from both sides” [179] and was present in the winter decor alongside set number 1881 (discussed in Part 4). Although it was omitted from the summer set, we can infer its presence by the mention of the tablecloth and the practice of mentioning items present in both summer and winter only once [180]. Later Versailles inventories omit the table but continue to list the tablecloth used alongside it.

The tablecloth had four bases—three of the purple brocade and the fourth of taffeta—all embellished with gold braids and fringes and lined with taffeta.

8.1.7 The Portiere Tapestries

Set 2200 featured, like the previous sets, four portiere tapestries in front of each of the four doors. Each was made using three pieces of the purple brocade, with gold fringes at the side and bottom, and lined with crimson taffeta [181].

[161] AN O1/3625

[162] AN O1/3309 f⁰ 351 v⁰

[163] AN O1/3338 f⁰ 275 r⁰

[164] AN O1/3306 f⁰ 108 v⁰

[165] AN O1/3338 f⁰ 276 r⁰

[166] AN O1/3309 f⁰ 351 v⁰

[167] AN O1/3309 f⁰ 351 v⁰

[168] AN O1/3625, L’Heritier’s work report

[169] AN O1/3309 f⁰ 351 v⁰

[170] Ibid f⁰ 352 r⁰

[171] Ibid

[172] Ibid

[173] AN O1/3309 f⁰ 352 r⁰

[174] AN O1/3346 f⁰ 273 r⁰

[175] AN O1/3309 f⁰ 354 r⁰

[176] AN O1/3306 f⁰ 14 v⁰

[177] AN O1/3309 f⁰ 352 v⁰

[178] Ibid

[179] AN O1/3454 p. 2

[180] See previous notes

[181] AN O1/3309 f⁰ 352 v⁰

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Part VII Louis XIV’s Final Summer Set (N⁰ 1984)

The fate of this set is, like its entry, somewhat perplexing as contemporary sources contradict one another. Memorialists of the time claim that instead of inheriting the set, the Duke of Tresmes, First Gentleman of the Room, received financial compensation [162], while the Garde-Meuble, on the other hand, maintains that the Duke did in fact inherit the set alongside those present in the Antechamber and Cabinet [163]. The latter version is the most plausible, as it explains both the absence of set 1984 from the 1729 general inventory and the decision to create a new summer set for the bedchamber upon Louis XV’s return to Versailles in 1723.

Furthermore, the death inventory of the Duke of Tresmes in 1739 mentions a satin Persian-style crimson background, present on the second floor of his townhouse under the number 135 [164], corresponding to the set described in the death inventory of King Louis XIV, which was meant to be inherited by the Duke.

page from the Duke of Tresmes Death Inventory, Number 135 AN MC ET II 473

7.1 The Tapestry Itself

The brocades used in the creation of set 1984 came from earlier deliveries in 1687 and 1688 by the Parisian fabric supplier Charlier. Indeed, at the end of the 1705 entry, we learn that Lallié used brocades numbered 96, 991, 116, and 128 for the bed, seats, footrest cushions, tablecloth, and fire screen, described as “a satin Persian-style brocade,” also referred to as the small-pattern brocade. Brocades 95 and 98, called the large-pattern brocade, were used for the bed and alcove tapestry. These brocades were described on July 23, 1686, as “pieces of brocade one ell wide, with crimson background with patterns of gold and silver in Persian colors” [165]. The delivery of brocade 98 can be traced to February 4, 1687 [166]. Jules Guiffrey reconstructed a more complete description of the brocade by combining elements mentioned in several sources: “Five pieces of rich brocade, one ell wide, with crimson red satin background; featuring compartments, cornucopias, scrolls, and flowers woven in gold and silver, with contours around the ornaments in violet, green, and blue silk, in the Persian style, made by Mr. Charlier of Paris” [167]. For the 1705 delivery, eight pieces of large brocade were destined for the alcove tapestry alongside seven pieces of column brocade. These column brocades were part of a delivery from November 29, 1688, by Gautier and manufactured in Lyon. They were described as “columns of rich brocade with vine branches and grapes, with a base and capital woven in gold and silver, twisted, with musk, on a crimson satin background” [168] and received the number 124. Designs featuring twisted brocade columns were fashionable at the time; Swedish diplomat Cronström even discussed similar ones in his correspondence with Swedish royal architect Tessin, where they considered possible decor for royal apartments in Sweden. Cronström wrote, “One could also take satins from Turin and have twisted columns and borders or friezes made, cut according to the design of Mr. Berain. All of this would be appropriate, new, and in good taste.” Mr. Berain was indeed the royal ornamentalist for the King of France. The column designs Cronström referenced, which he sketched, are now in the Stockholm National Museum collection.

National Museum, Stockholm, NMH CC 1382 recto

This layout, however, differs from the one described in the King’s bedchamber at King Louis XIV’s death, where set 1984 is mentioned with an alcove tapestry of only five pieces of large brocade alongside six pieces of column brocade [169]. Moreover, the dimensions of the alcove tapestry as described in 1705 far exceed the size of the bedchamber’s western wall, given that each large piece of brocade was one French ell wide (1.18m) and the brocade column half that width, totaling 13.6 meters (44.52 ft). This discrepancy suggests set 1984 was used in the Versailles King’s bedchamber almost incidentally rather than as a planned choice. This discrepancy in the alcove layout of 1715 featured only five pieces of the large brocade, each one ell wide, and six pieces of column brocade, each half an ell wide, totaling eight French ells or 9.44 meters (31 ft), which is much closer to the actual dimension of the King’s alcove.

7.2 The Bed

The main element of set 1984 was its state bed, with its impressive dimensions. Its components were:

• No Headboard: None of the descriptions indicate the presence of a headboard.

• The Headcloth: Made of two pieces of the large brocade according to the 1705 Garde-Meuble diary [170] and four according to the 1715 death inventory [171].

• The Valences: Both the 1705 and 1715 entries spare details on the main fabric used, only noting crimson satin lining. It could be inferred that they were crimson to match the background of the brocade. Large gold fringes formed festoons at the bottom [172], and this style of valence, different from the previously used campanes, was increasingly popular at the time. Similar ones appear in a painting by Louis Silvestre depicting Louis XIV Receiving the Prince Elector of Saxony in his Fontainebleau bedchamber near the end of his life.

: Louis XIV reçoit à Fontainebleau le prince-électeur de Saxe, 27 septembre 1714, Louis de Silvestre and Hyacinthe Rigaud, oil on canvas, 1715, 120 x 155 cm, Château de Versailles, MV 4344

• The Curtains: Two bonnes grâces, four curtains, and two cantonières are mentioned, with gold fringes at the edges and bottom, lined with the same fabric. The brocade used is not specified, but we can infer that it was the smaller pattern given that the headcloth, mentioned afterward, is said to have been of “the larger pattern brocade,” implying the curtains were not.

• The Quilt: See above.

• The Case Curtain: Made of crimson gros de Tours taffeta, with gold fringes at the bottom and edges, hanging from a golden rod.

• The Columns: The two front columns were placed in a sheath of large-pattern brocade.

• The Vases/Finials: Four in total (one at each corner), filled with feathers and covered in the large-pattern brocade.

7.3 The Armchairs and Stools

Two armchairs were included in the 1705 delivery [173] and three in 1715 [174]. We can assume that an additional armchair was added once the set was transferred to the bedchamber, possibly used with the table. They were garnished with gold fringes at the bottom, and their wood was surprisingly painted red with gold floral decorations. The brocade used was the small pattern, specifically brocades 96, 99, 116, and 128 as described on July 23, 1686: “Two pieces of brocade, two feet wide, with crimson background and elevated patterns in gold and silver with Persian colors” [175]. In 1886, Jules Guiffrey attempted to enhance that vague description by referencing entries from the brocade chapter of the 1729 general inventory and brocade discharges from set 1984, creating this more precise description of the small pattern brocade of number 96: “Two pieces of brocade, two feet wide, with crimson satin background, cornucopias, rinceaux, and flowers of elevated gold and silver, with outlines in green and purple silk, in the Persian style, from the Charlier manufacture in Paris” [176]. The specifics of the colors are consistent with brocade discharges noted at the end of the entry for set 1984 [177].

The twelve folding stools were similar in terms of brocade and style to the armchairs, with gold fringes and woods painted in red with some gilded ornaments.

6.4 The Fire Screen

The fire screen was similar to the seats, with the small-pattern brocade, gold braids around the edges, and wood painted to match the fabric. A braid with a lead pear covered with gold bouquets is also mentioned [178].

7.5 The Table and Tablecloth

The set came with a tablecloth made of the smaller brocade, with fringes on the sides and at the bottom, lined with taffeta, along with a red leather table rug with gold fringes. The table mentioned in the 1715 death inventory under these tablecloths was likely the fir table previously listed in the 1708 inventory and used with set 1379 (see Part 6.6) [179].

7.6 The Portières Tapestries

At the time of the 1705 delivery, no portières were included, and they only appear in the 1715 death inventory [180]. They were made from five pieces of brocade each and described as “assorted to the one of the bed.” Each of the four doors was equipped with one, embellished with gold fringes on their sides, and lined with crimson taffeta.

[135] AN O1/3308 f⁰ 9 r⁰

[136] AN O1/3298 folder 3, item 4, f⁰ 1

[137] Verlet 1961 and Castelluccio 2016 mention set 1379 while omitting set 1984, while Meyer 1980 and Richard 2018 mention set 1984 while omitting set 1379.

[138] Hans 2022 confuses sets 1379 and 1984 and provides a description combining elements from both sets.

[139] AN O1/3308 f⁰ 9 r⁰

[140] Ibid f⁰ 134

[141] AN O1/3298 folder 3, item 4, f⁰ 2 v⁰

[142] The folio 135 of the 1705 Garde-Meuble diary (AN O1/3308) is missing.

[143] Saint-Simon, tome XXIII, p. 213; Dangeau Journal, éd. E. Soulié, Paris, Firmin Didot, 1854-1860, tome XVII, p. 177

[144] AN O1/3298 folder 3, item 2

[145] AN MC/ET/II 473

[146] AN O1/3306 f⁰ 31 v⁰

[147] Ibid f⁰ 59 v⁰

[148] Guiffrey, Jules. Inventaire général du mobilier de la couronne sous Louis XIV (1663-1715), deuxième partie. Paris: Au siège de la société, 1886, p. 198

[149] Ibid f⁰ 111 r⁰

[150] AN O1/3298

[151] AN O1/3308 f⁰ 7 v⁰

[152] AN O1/3298

[153] AN O1/3308 f⁰ 7 v⁰

[154] AN O1/3308 f⁰ 7 v⁰

[155] AN O1/3298

[156] AN O1/3306 f⁰ 31 v⁰

[157] Guiffrey, Inventaire général du mobilier de la couronne sous Louis XIV, 1886 edition, vol. 2, p. 198

[158] AN O1/3308 f⁰ 8 r⁰

[159] Ibid

[160] Ibid

[thegoldensanctuary]

Part VI: The 1702 Summer Set(N⁰ 1379) :

Tradition required the bedchamber decor to be changed twice a year, alternating between a winter set and a summer one. Although set 1881 is not explicitly referred to as the winter set in the Garde-Meuble until 1740 [125], André Félibien informs us that the practice of using red velvet for winter in the King’s bedchamber predated 1701 [126]. If set 1881 was already used for winter by 1701, then which set was used as a summer replacement in 1702? The answer can be found in the 1708 inventory [127], where a set of silver-background brocade is listed under number 1379. Set 1379 was initially delivered in May 1689 as an augmentation of set 867, delivered nine years earlier for the bath apartments [128].

6.1 The Tapestry Itself

Described in 1680 as alternating narrow pieces of two different brocades—one “silver background with figures of a shepherd and shepherdess” and the other “gold and silver with rinceau, outlined at the edge with ponceau” [129]—the 1689 Garde-Meuble entry, while consistent in describing the shepherd silver brocade, specifies that the other had a green background but omits the rinceau ornaments. The most complete description appears in the 1708 inventory: “Rich furniture of two brocades, one with silver background with figures of shepherd and shepherdess in gold and silver, and the other with green background chiseled with gold and with flowers of silver and gold” [130].

The 1689 delivery was intended to fill an alcove with eight pieces of silver shepherd brocade and seven pieces of the green brocade [131]; this layout remained the same in the 1701 bedchamber [132].

6.2 The Bed

The main element of set 1379 was its state bed, impressive in its dimensions. Its components were as follows:

No Headboard: None of the descriptions indicate the presence of a headboard.

The Headcloth: Described in 1689 as being like the curtains, “of ponceau brocade” [133]. As seen in Part 6.1, no ponceau brocade is mentioned in the set; instead, the color ponceau only appears as a border for the green-background brocade. This discrepancy is later clarified in 1708 when the curtains and headcloth are accurately described as “green background brocade with flowers of gold and silver outlined at the edge with ponceau” [134].

The Valences: Unlike previous descriptions, a more precise one does not come from the 1708 inventory, where they are mentioned along with the cantonières, bonne grace, and bases as simply being of “shepherd brocade” [135], but from the May 1689 Garde-Meuble entry, which states: “Three outer valences, with additional buttonholes, shells, tassels, and other embroidery taken from the campane left from the frieze of the tapestry; four inner valences. The seven valences [three outer + four inner] are entirely of the shepherd brocade, garnished at the bottom by large campane embroidery and at the top and sides by smaller campanes, with ponceau gros de tours lining” [136].

The Curtains: The fabric for the curtains matched the set: some were of shepherd brocade, while others were of the green brocade.The 1689 description specifies that the two bonne graces, two cantonières, and three bases were of the shepherd brocade, while the four outer-layer curtains were of the “ponceau brocade” [137]. As with the headcloth, the term "ponceau brocade" actually refers to the “green background brocade with flowers of gold and silver outlined at the edge with ponceau,” as inferred from the 1708 inventory [138].

The Quilt: Described in both 1689 and 1708 as being of “ponceau brocade” [139], the same caution regarding interpretation should be applied as above.

The Case Curtain: Made of 24 pieces of green taffeta sewn together, with large and medium gold and silver fringes at the bottom and sides [140].

The Columns: The two front columns were covered in sheaths: one in a brocade featuring Solomonic columns embroidered in gold and silver on a crimson satin background, and the other in a brocade with silver stripes and satin stripes adorned with gold and silver floral embroidery [141].

The Vases/Finials: Four in total (one at each corner), filled with feathers. No further information about the materials used is provided.

6.3 The Armchairs and Stools

The original 1680 description briefly mentions the presence of two armchairs [142].

In 1689, the armchairs and stools received new frames, which were “gilded and silver-plated.” The 12 stools from 1680 were replaced with eight folding stools at that time [143].

The armchairs were entirely covered with shepherd brocade on the backrest, seat, and armrests, with silver and gold braid and campane ornaments. The folding stools, on the other hand, had cushions made from a square of shepherd brocade surrounded by “ponceau brocade.” This term appears in both the 1689 Garde-Meuble entry [144] and the 1708 inventory [145]. We learn from the 1689 entry that there was not enough campane to decorate all eight folding stools; there was barely enough for six, and the remaining two had to rely on gold fringes instead [146]. This issue seems never to have been addressed, as the 1708 description notes this disparity as well [147].

These stools and armchairs were later encountered long after being removed from the bedchamber and returned to the Garde-Meuble, specifically in the 1775 general inventory of the Garde-Meuble, where they appear under number 106 among the brocade furnishings [148]. In this final description, we learn that, just as in 1708, the disparity in campane ornaments remained unaddressed and that the “ponceau brocade” mentioned in the 1689 and 1708 descriptions surrounding the shepherd brocade was, as expected, actually “of chiseled green background brocade, with silver and gold flowers” [149].

An additional armchair belonging to set 1870 is also listed in the 1708 inventory.

6.4 The Fire Screen

The fire screen was a new addition for the 1701 central bedchamber, as it was not part of the original delivery of set 1379 from May 1689. The 1708 inventory offers a lengthy description worth quoting in full:

“Fire screen with slide [écran à coulisse], covered on each side with a square of silver background brocade with vine, from which a grape hangs, with a shepherdess at the center enclosed by strips of green background brocade chiseled with gold, with gold and silver floral ornaments outlined at the edge with ponceau, garnished by a thin gold braid hiding the seam, with sculpted and gilded wood” [150].

6.6 The Table and Tablecloth

In 1689, at the initial delivery of the set, there were three different carpets (tapis), one of which was referred to as a table carpet (tapis de table) [151]. Although no table was provided with the initial delivery, the 1708 inventory mentions a fir wood table [152] with no inventory number listed directly after two of the aforementioned rugs, indicating that these other rugs were also likely table rugs, as was the first.

The first proper tablecloth was “made of the two brocades, garnished with fringes and gold and silver braids, lined with green taffeta” [153].

The second rug was made of green leather, with green taffeta lining and gold fringes.

The third rug, made of green taffeta with gold and silver fringes, is referred to in 1708 as the slipcover for the first.

6.7 The Portieres

The description of the four portieres is consistent between the 1689 Garde-Meuble entry and the 1708 description, comprising a total of five pieces of brocade sewn together: three of shepherd brocade and two of the green brocade, with campane ornaments at the bottom of two and fringes for the other two.

[125] AN O1/3453

[126] “The King’s bed is covered in red velvet in winter,” can be read in Félibien des Avaux, Description sommaire de Versailles ancienne et nouvelle, 1703 edition, p. 60. Despite the date of the edition, the rooms are described in their pre-1701 layout.

[127] AN O1/3445 f⁰ 2-4

[128] Guiffrey, Inventaire général du mobilier de la couronne sous Louis XIV, 1886 edition, vol. 2, p. 318

[129] Ibid

[130] AN O1/3445

[131] AN O1/3306 f⁰ 123 r⁰

[132] AN O1/3445

[133] AN O1/3306 f⁰ 122 r⁰

[134] AN O1/3445 f⁰ 2

[135] Ibid

[136] AN O1/3306 f⁰ 122 r⁰

[137] Ibid

[138] AN O1/3445 f⁰ 3

[139] See previous footnotes

[140] AN O1/3445 f⁰ 2

[141] AN O1/3306 f⁰ 123 v⁰

[142] Guiffrey, 1886, vol 2, p.318

[143] AN O1/3306 f⁰ 122 r⁰

[144] Ibid v⁰

[145] AN O1/3445 f⁰ 3

[146] AN O1/3306 f⁰ 122 v⁰

[147] AN O1/3445 f⁰ 4

[148] AN O1/3345, f⁰ 272 v⁰

[149] AN O1/3445 f⁰ 3

[150] Ibid

[151] AN O1/3306 f⁰ 123 r⁰

[152] AN O1/3445 f⁰

[153] Ibid, AN O1/3306 f⁰ 123 r⁰

[thegoldensanctuary]

What are Campanes ?

In part V of my article on the bedchamber I mentioned campane ornaments several time, without ever explaining what they are, in this post i will take the time to clarify that relatively obscure yet very popular type of ornamentation.

Campane ornaments, characterized by their distinctive bell-like shapes with tassels, are decorative motifs that bring rhythm and elegance to architectural and interior designs. These ornaments, typically arranged in repeating patterns along the edges of canopies, cornices, and valences, resemble stylized bells suspended in a linear formation. Their formal beauty made them a popular decorative choice across Europe, particularly in France, where they became symbols of opulence and grandeur during the reign of Louis XIV.

The origins of campane motifs can be traced at least to the 16th-century in Flemish Renaissance art, where early forms of these bell-shaped ornaments began appearing as decorative borders of canopies(fig 1).

Fig 1 : "Ester e Assuero," 16th-century Mannerist painter from Antwerp, oil on panel, 99 x 136.5 cm, Zambeccari Collection, Inventory No. 204, Pinacoteca Nazionale di Bologna

At the same period they can be seen in certain fashion ornaments, for instance around the knee of some of the heroic armours, designed to be references for the brass statues representing Emperor Maximilian's ancestors guarding his tomb (fig 2)

Fig 2 :Kölderer’s drawing from 152211 (Wien, Österreichische Nationalbibliothek, Cod. 8329, fol. 15)

By the second half of the 17th century, campane ornaments had spread widely across Europe, reaching peak popularity and becoming synonymous with Baroque decor. France embraced campane motifs with particular enthusiasm. They became integral to the decorative vocabulary of the French court and the broader Louis XIV aesthetic. In fact, the motifs became so prevalent that Swedish diplomat Daniel Cronström who was in France at the time wrote to Swedish royal architect Nicodemus Tessin in 1695, observing :

"The campane ornaments, made and trimmed, are now so much in fashion that one sees almost nothing else [Les campanes faites et gallonées sont maintenant si fort à la mode qu’on ne voit quasi que cela.]"

— Daniel Cronström to Nicodemus Tessin, January 7, 1695

Applications in French and European Decor

Architectural and Decorative Applications

Campane ornaments quickly became a feature in grand architectural settings, with Versailles as a prime example. On the cour de marbre façade of the palace, the upper cornice is lined with a continuous row of gilded campane motifs, creating a rhythmic elegance to the roofline and enhancing the palace’s imposing silhouette (fig. 3 and 4).

Fig 3 :Élévation de la façade nord sur la cour de Marbre et sur la Cour royale. Coupe sur la partie médiane, after 1682 AN O/1/1768/A, dossier 1, n°1

Fig 4 : Palace of Versailles drone view of the roofs on the cour de marbre facade.

They were also used in architectural interiors, where they added a rhythmic and opulent touch to cornices and molding. At the Hôtel de Chevreuse recreated in the Louvre (fig. 5), the campane motifs line the upper edge of the room’s panels, creating a visual continuity that highlights the room’s refinement, and seperation between the space of the alcove and te rest of the room.

In the King’s bedchamber at Versailles, campane ornaments also appear on the cornice that divides the room from its open attic (Fig. 6). Here, individual campane pieces punctuate the cornice, reinforcing the room’s formal symmetry and creating a unified aesthetic with the bed canopy below. This architectural application of campane motifs enhances the decorative richness of the space and underscores the room’s ceremonial significance, where every detail contributes to the regal atmosphere.

Fig 5 : Salle 622, Louvre Museum, originally the Parade Bedchamber of the Hôtel de Chevreuse.

Fig 6: detail of the cornice of the central salon in Versailles, who became the King's Grand Bedchamber in 1701.

Furniture and Coaches

Beyond architecture, campane ornaments adorned ceremonial furniture and royal coaches, reinforcing their association with prestige and authority. In Entrée à Arras by Adam-Frans van der Meulen (fig. 7), the canopy of Louis XIV’s royal coach is lined with campane valences, demonstrating how these ornaments were used to convey regal dignity even in mobile spaces.

Fig 7 :Detail of Entrée à Arras de Louis XIV et de Marie-Thérèse, 27 juillet 1667," Adam-Frans Van der Meulen, oil on canvas, 1680-1685, 232 x 331 cm, Château de Versailles, MV 6057

Printed Works

The influence of campane ornaments extended into printed works as well. In the 1669 engraving L'audience royale donnée aux nations étrangères by Nicolas I de Larmessin (fig. 8), campane motifs frame key elements around Louis XIV, emphasizing the structured hierarchy and formality of the French court. This engraving shows how campane ornaments permeated different artistic mediums, symbolizing authority in both the real and the representational worlds.

Fig 8 :L'audience royale donnée aux nations étrangères, almanach 1669," Nicolas I de Larmessin, engraving, edited by Pierre Bertrand, 1669, Musée du Louvre, Paris.

Adoption Across Europe: Sweden and Germany

The popularity of campane ornaments wasn’t confined to France; they became fashionable across Europe, especially among designers who admired the grandeur of French decor. For example, Daniel Cronström and Nicodemus Tessin, influential Swedish designers, corresponded extensively about incorporating French styles into Swedish architecture. Cronström’s aforementioned letter reflects this enthusiasm, showing that campane ornaments were a pan-European trend embraced by Francophile designers.

In Germany, campane ornaments also found a place in the Margravial Opera House in Bayreuth, where a grandcanopy is adorned with these motifs (Fig. 9). This example demonstrates the cross-cultural appeal of campane ornaments.

Fig 9 : Detail of the canopy at Margravial Opera House in Bayreuth

Campane Valences on Royal Beds

The ultimate prestige of campane ornaments lies in their use as valences on royal beds, transforming these canopies into symbols of authority and ceremony. In Louis XIV's France, royal beds were not merely functional pieces but ceremonial centers where kings and queens held court, making them a focal point of royal power.

Examples in Royal Bedchambers

Campane valences on royal beds can be seen in early examples, such as Louis XIV’s bed at Trianon (circa 1700, Fig. 10) and his bedchamber at Marly (1692, Fig. 11). These valences framed the bed, accentuating its importance and creating a sense of regality around the sleeping area. The presence of campane ornaments on these beds marked them as spaces of prestige, emphasizing the central role of the monarch’s bedchamber in court life.

Fig 10 :BnF, Dept. Est. FOL-VA-78 (G, 2)

Fig 11 :BnF, Dep. Est. RESERVE HA-18 (40)-FOL

The 1701 King’s Bedchamber at Versailles

One of the most iconic uses of campane valences on a royal bed is found in the 1701 bedchamber at Versailles (fig. 12, 13 and 14). Here, the bed’s canopy was adorned with an intricate campane valence, framing the area where Louis XIV conducted his lever and coucher ceremonies. These daily rituals, in which courtiers observed the king’s rising and retiring, were significant court events. The campane valences on this bed reinforced the ceremonial function of the space, creating a structured grandeur around the king and emphasizing his authority.

Fig 12 : Drawing of the King's bedchamber(Louis XIV) in Versailles(after 1701) National Museum, Stockholm, NMH CC 174

Fig 13 :François Marot, "Institution de l'ordre militaire de Saint-Louis, 10 mai 1695," 1710, oil on canvas, Château de Versailles, Inventory No. MV 2149.

Fig 14 : Mention of the campane valences in the description of set 1881 present since 1701 in the King's grand bedchamber AN O1 3446 fº 381 vº

Transition to Festoons in the 18th Century

By the end of Louis XIV's reign, changing tastes led to the gradual replacement of campane valences with festoon-shaped valences, as seen in the 1714 bedchamber at Fontainebleau (Fig. 15). This shift reflected the emergence of the Rococo style’s preference for softer, more organic forms. Although campane ornaments were no longer in fashion, their legacy as symbols of royal power and opulence remained.

Fig 15 : Louis XIV reçoit à Fontainebleau le prince-électeur de Saxe, 27 septembre 1714, Louis de Silvestre and Hyacinthe Rigaud, oil on canvas, 1715, 120 x 155 cm, Château de Versailles, MV 4344

[thegoldensanctuary]

Part V the 1701 Winter Set(N⁰ 1881) :

The first entry of a new set of furniture for the brand-new bedchamber dates to November 1701, with the delivery by Lallié of a set made of richly embroidered crimson velvet. This set included three armchairs, twelve folding stools, two cushions used as footrests, a table covered by a cloth, and one fireplace screen, intended for use as winter decor [67]. It was assigned number 1881, which allows us to trace this set across time. Indeed, number 1881 reappears in the 1751 [68] inventory, then in the 1765 inventory [69], the 1776 [70] inventory, and finally in the 1785 inventory [71], before being mentioned one last time in 1785 on the occasion of its destruction [72], after 84 years of use. Despite its new inventory number, it was actually an update of an older velvet set, number 1504, originally delivered in April 1692 and mostly crafted at Saint-Cyr, as explained at the beginning of the November 1701 Garde-Meuble entry [73]. In later parts of the description, it is noted that the enhancement of the original embroidery took place at St. Joseph and was done by Mr. Cheury, probably following Lallié's instructions. In 1765, the set was further embellished, with Capin restoring the velvet [74] and Foliot adding a newly sculpted canopy top to the bed (see Part IX). This restoration resulted in several work reports that provide additional insights into the set.

4.1 The Velvet and Tapestry

As previously mentioned, the velvet used was based on an earlier delivery from 1692, which entered the Garde-Meuble in April 1692 under number 1504 and was described as:

“Grand set of crimson red velvet embroidered with a strong gold embroidery” [75].

While the rest of the entry mentions a canopy bed, two armchairs, twelve folding stools, and two footrest cushions, no reference to an alcove tapestry appears.

Interestingly, when Lallié delivered the updated version of the velvet in November 1701 for the King’s Bedchamber under number 1881, there was still no mention of an alcove tapestry [76]. Later, in September 1705, a new tapestry for the King’s bedchamber entered the Garde-Meuble under number 1989 [77].

The tapestry was said to have been made by Lebegne and consisted of two parts, each made up of eight pieces. This alcove tapestry would become the definitive one for the winter set, as tapestry 1989 and set 1881 are found together in various inventories from both the reigns of Louis XV and Louis XVI [78].

While the 1751 inventory is extremely vague, mentioning only “two pieces of crimson velvet tapestries” [79], the 1765 and 1785 inventories (which contain identical descriptions) provide a bit more detail: “two pieces of crimson velvet tapestries, 12 ft 4 in high, garnished at the top and bottom with gold fringes, with red canvas lining” [80].

One thing to emphasize about the alcove tapestry is its relative simplicity compared to the rest of the set. While set 1881 is described as a “rich velvet […] embroidered with gold,” no mention of gold embroidery appears in descriptions of alcove tapestry 1989. This lack of embroidery may have been balanced by the presence of the two alcove paintings that accompanied the winter decor. Furthermore, the tapestry is later listed under the velvet chapter of the 1752 inventory [81], while the richly embroidered furniture of set 1881 appears in the embroidery chapter [82].

4.2 The Bed

The main element of set 1881 was its state bed, with impressive dimensions (7 ft 4 in wide, 7 ft 8 in long, and 12 ft 3 in tall), a symbol of the monarch even more so than the throne itself. Its components were as follows:

The Headboard: Described as “very rich” without further detail. The later parts of the 1701 Garde-Meuble entry specify that, unlike many pieces in the set, it was entirely made from scratch and did not incorporate elements from set 1504 [83]. Two contemporary depictions of the bed with its headboard exist, allowing a better visualization of the piece, while depictions of the king’s bed from other residences can also provide a more complete picture.More details on the headboard appear in various reports from the 1765 restoration, though some alterations might have occurred at that time, potentially differing from its original 1701 state.Capin described the headboard in his 1765 work report as having the same type of embroidery as the headcloth, adorned with tinsel [clinquant]. He later specifies that “[the headboard is] adjusted in its wooden frame lined with cloth, garnished by its platband, assembled and tightly held in place [dressé avec grande sujession]” [84].Chasblier, who worked on the embroidery in 1765, described his work on the headboard as follows: “The headboard […] reembroidered, with tinsels and flourish [cliquant et fioritures], outlined [liseré] with gold lace” [85].The headboard does not appear in Bardon’s report, who restored the gilding of the set in 1765, possibly indicating that, even at that time, the headboard’s wooden frame was entirely covered by gold-embroidered cloth, with no gilding applied directly to the wood [86].

The Headcloth: The 1701 description merely acknowledges its presence [87], likely reusing the one from set 1504 [88]. In both instances, the Garde-Meuble entries contain no further details on the headcloth's ornamentation. However, the depiction of the bedchamber shown in fig. 19 includes a headcloth with large embroidery in its center.Capin’s 1765 report describes it as being made of crimson velvet (like the rest of the set) with embroidery matching that found on the headboard [89].Chasblier’s report aligns with Capin’s observation: “9 ft tall headcloth, entirely disassembled and reembroidered, with tinsels and flourish [cliquant et fioritures], outlined [liseré] with gold lace, and placed on a brand-new velvet cloth” [90].

The Valences: Their 1692 description goes no further than mentioning three outer valences and four inner ones, but the 1701 Garde-Meuble entry provides more detail, referring to them as “campanes” [91]. They were lined with taffeta, gold moire, and outlined with crimson red chenilles. This style of valence is consistent with the iconography of royal beds during the later years of the Sun King’s reign. The end of the 1701 entry clarifies their origin: they were brand new and not reused from the 1692 set [92]. It should be noted that campane-style ornaments became increasingly popular at that time and were not limited to canopy valences (see fig. 37).Descriptions of the valences from the 1765 reports are less relevant for discussing the room’s state during Louis XIV’s reign. As Chasblier explained, the new embroidery was entirely remade to match the newly added sculpted canopy [93].

The Bases: Described in 1701 as similar to the valences, with campane ornaments [94].

The Curtains: The 1701 entry mentions four curtains, two bonne graces, and four cantonières. Besides acknowledging their presence, the Garde-Meuble provides no specific details about their appearance. However, it does provide a few details about the lining of the bonne graces and cantonières, which were “red and gold brocade with fleur-de-lys” [95]. The same fabric was used around the bed columns, with the brocade in question being part of brocades 118, 130, and 101, which entered the Garde-Meuble in the late 1680s [96].

The Quilt: While previous descriptions are vague about the motifs in the velvet’s ornamentation, the quilt may offer more insight into the entire set. The 1701 entry specifies that it was “garnished […] with a braid of gold bouquets [bouquetterie], just like the one around the canopy [de meme qu’au tour de l’Imperial]” [97].Capin and Chasblier’s descriptions are consistent with previous reports, mentioning “tinsels and flourish,” though the report by the L’Heritier brothers, suppliers of silk and embroidery, adds additional key insights.

“26th September, following the order from the 8th to regarnish the square of the quilt from the King’s winter bed in the palace of Versailles.

9 aune 4 of gold braid from Paris, richly embroidered and garnished with sequins […] very rich, two inches wide […]

6 aune 4 of gold braid from Paris, two inches wide […]

16 pointy florets of Spain from Paris, with tinsel made of cloth to garnish two valances […]

17 aune of gold embroidery from Paris featuring festoons […]” [98].

These details add a more floral dimension to the previously opaque description of the embroidered ornaments on the velvet.

The Case Curtain: Made of 18 pieces of crimson gros de tours sewn together, with large and medium-sized gold fringes at the bottom and edges, hanging from a golden rod [99].

The Vases/Finials: Four in total (one at each corner), described in 1701 as “covered in said velvet and garnished with leaves of gold embroidery, with ornaments of bouquets [bouquetterie] and small gold braids” [100]. This description is reminiscent of the floral motifs mentioned on the quilt.Each finial was topped with a feather bouquet containing 138 large ostrich feathers and 34 narrower upper feathers [aigrettes] in total.

4.3 The Armchairs and stools

When set 1504 was delivered in 1692, two tall armchairs were included, featuring campane cloth ornaments around the bottom rest [101].

In November 1701, when Lallie sent the updated version of the set under number 1881, the armchairs were described alongside the twelve folding stools: “the three armchairs and twelve folding stools of said velvet with embroidery and campanes of embroidery like those of the bed, with slipcovers made of gros de Tours […], the wood sculpted and gilded.” One additional armchair was thus included in the new delivery, and it is also possible that the wooden structure of the armchairs was further embellished, as the wood is now described as “sculpted and gilded” [102].

The campane used to adorn the added armchair came not only from set 1504 but also from set 1505, as explained later in the entry.

Several details regarding the armchairs and stools of set 1881 are mentioned in reports from the 1765 restoration. Capin’s report specifies, however, that these changes were made “by augmentation” [103] and should thus be seen as enhancements not entirely faithful to their original state.

Although the 1751 inventory [104] mentions three armchairs from set 1881 used in winter, the 1765 inventory only refers to two, possibly because the third armchair was not fully ready when the inventory was approved.

4.4 The fire screen

Set 1504 from 1692 did not contain any fire screen, so its mention in set 1881 was a brand-new addition. The Garde-Meuble entry from November 1701 describes it as follows:

“The screen of said velvet and of different gold embroideries, depicting on one side [the god] Mercury and on the other side fleurets, the whole surrounded by an embroidery braid, and a large gold braid serving as clover, with wood sculpted and gilded” [105].

Later in the entry, we learn that the red velvet depicting Mercury used on one side of the screen came from an earlier delivery in May 1689. We also find that the other side of the screen, featuring the fleurets ornaments, used velvet from two stools belonging to set 1505, delivered in 1692 as an addition to set 1504 [106]. This confirms that the theme of the ornamentation on the velvet was primarily floral, as already suggested in the descriptions of the quilt and the canopy vases.

The first mention of this Mercury embroidery used on one side of the screen appears indeed on the 12th of May, 1689, where the Garde-Meuble diary notes:

“Monsieur Tourolle from Versailles received a piece of gold embroidery measuring 2 ft 10 inches tall by 2 ft 7 inches wide, which Madame de Montespan ordered from St. Joseph for the King, featuring on one side of the screen a winged figure standing and holding in one hand a laurel crown and in the other the attributes of the god Mercury, with one foot over a globe placed on a terrace and enclosed by a border of gold embroidery with leafage […] on a crimson velvet background” [107].

4.5 The Curtains

When delivered in 1701, set 1881 did not include any curtains for the bedchamber. The first mention of curtains used alongside this winter furnishing comes from the 1740 Versailles inventory [108], which lists three curtains made of crimson gros de Tours, “used both in winter and summer,” with inventory number 2202. These three curtains can be traced back to a delivery from May 1723 [109], the same date when Louis XV received a brand-new summer set for his bedchamber (see Part 8).

It would be implausible to imagine that King Louis XIV would have spent 14 winters in this bedchamber without ever needing curtains for the windows, whose primary function was to provide additional insulation, especially during cold nights. Thus, it would be reasonable to infer that the three curtains of red taffeta (each in three pieces) mentioned in the 1708 inventory alongside summer set 137 [110] were also used with the winter set, as the red color would have complemented the crimson velvet of the winter set far better than the silver and green of the summer counterpart.

The 1708 inventory also mentions three additional curtains of white damask used for each of the attic windows. Although no inventory number appears in the margin, their description and quantity seem similar to the three small damask curtains delivered in April 1702 under number 1883 [111].

In February of that year, the King ordered the installation of a pulley mechanism to facilitate the closing of the attic curtains [112].

4.6 The Tablecloth

Just like the fireplace screen, the tablecloth was first introduced with set 1881. It was made of the same crimson velvet with gold embroidery and campane ornaments at the bottom. All the pieces used in its construction were brand new, including the campane bottom ornaments, which were created from scratch [113].

The tablecloth is mentioned in the 1751 inventory [114] but is absent from the 1765 inventory [115]. Later inventories from 1775 [116] and 1785 [117] also do not mention it.

4.8 The Footrest Cushions

Two footrest cushions (one for each armchair) were included in the 1692 delivery of set 1504, though the description clearly states that, unlike the rest of the furniture, the velvet on the footrests was not embroidered [118]. In 1701, with the delivery of set 1881, their number remained the same, despite the addition of a third armchair. This detail offers insight into the purpose of the third armchair: as shown in fig. 17, the two armchairs were intended to be placed in the alcove on either side of the bed, while the third may have been used in front of a table (the one covered by the tablecloth) and thus may not have required a footrest.

The 1701 description notes that the footrests were finally embroidered: “of velvet and embroidery garnished around with a braid of gold bouquet with tassels at the corners” [119].

In 1765, Capin describes them as having campane ornaments all around, a detail not included in the previous description [120].

The Portieres Tapestry

When set 1881 was delivered in 1701, it did not include any tapestry for the doors. However, as early as 1703, Félibien mentions the presence of golden tapestries representing the four seasons [121]. The first detailed description of these tapestries in the bedchamber appears in the 1740 inventory [122], which notes that the doors were covered with portiere tapestries representing the four seasons, assigned inventory number 120, and describes them as follows:

“Four rich portiere tapestries of silk and wool, with added gold and silver, designed by Audran and made at the Gobelins manufacture, depicting the four seasons of the year under a portico on a gold background, represented by the figures of Venus, Ceres, Bacchus, and Saturn, surrounded on different backgrounds by garlands, festoons of flowers, birds, and animals, with signs and attributes appropriate for each season. The borders are blue with a bronze-colored mosaic and added gold, with small floral palms in the corners. Each measures two ells and 1/6 wide and three ells tall” [123].

The seasons were a recurring theme in the royal collection tapestries. Besides inventory number 120, numerous other season-themed tapestries are listed among the royal collections. In fact, as early as 1677, the Nouveau Mercure Galant mentions season-themed tapestries used by the Crown [124]. Therefore, it would be reasonable to assume that the use of these tapestries alongside set 1881 predated 1740 and might indeed have been in place from the very beginning.

Several tapestries representing the seasons from the French royal collections remain in both public and private collections to this day.

[67] AN O1/3307

[68] AN O1/3454

[69] AN O1/3451

[70] AN O1/3457

[71] AN O1/3469

[72] See Part 10.2

[73] AN O1/3307 f⁰ 447 r⁰

[74] AN O1/3617

[75] AN O1/3307 f⁰ 439 v⁰

[76] Ibid

[77] AN O1/3308 f⁰ 14 r⁰

[78] AN O1/3453; AN O1/3454; AN O1/3451; AN O1/3459; AN O1/3469

[79] AN O1/3454 p.

[80] AN O1/3451; AN O1/3469

[81] AN O1/3446 p. 577

[82] Ibid p. 382-384

[83] AN O1/3307 f⁰ 447 r⁰

[84] AN O1/3617, Capin’s work report p.

[85] Ibid, Chasblier’s work report

[86] AN O1/3617, Chasblier’s work report

[87] AN O1/3307 f⁰ 439 v⁰

[88] AN O1/3306 f⁰ 202 v⁰

[89] Ibid, Capin’s work report p. 106

[90] Ibid, Chasblier’s work report

[91] AN O1/3307 f⁰ 440 r⁰

[92] Ibid f⁰ 441 r⁰

[93] AN O1/3617, Chasblier’s work report

[94] AN O1/3307 f⁰ 440 r⁰

[95] Ibid f⁰ 441 v⁰

[96] The 118 was delivered by Charlier on the 2nd of September 1688 (AN O1/3306 f⁰ 98 v⁰); the 130 delivered the next year.

[97] AN O1/3617, Chasblier’s work report

[98] Ibid, L’Heritier’s work report

[99] AN O1/3307 f⁰ 440 r⁰

[100] Ibid

[101] AN O1/3306 f⁰ 202 v⁰

[102] AN O1/3307 f⁰ 440 r⁰

[103] AN O1/3617, Capin’s work report p.

[104] AN O1/3454

[105] AN O1/3307 f⁰ 440 v⁰

[106] Ibid f⁰ 441 r⁰

[107] AN O1/3306 f⁰ 120 v⁰, the mention in the margin that the piece of embroidery was used for set 1881 clarifies any doubts regarding the connection between that entry and the fire screen of 1701.

[108] AN O1/3453

[109] AN O1/3309 f⁰ 353 v⁰

[110] AN O1/3445 f⁰ 4

[111] AN O1/3307 f⁰ 449 v⁰

[112] AN O1/1474 f⁰ 91 r⁰

[113] AN O1/3307 f⁰ 441 r⁰

[114] AN O1/3454 p. 2

[115] AN O1/3451 p. 8

[116] AN O1/3459

[117] AN O1/3461

[118] AN O1/3306 f⁰ 202 v⁰

[119] AN O1/3307 f⁰ 440 v⁰

[120] AN O1/3617, Capin’s work report p. 107

[121] Felibien, Description sommaire de Versailles ancienne et nouvelle. Avec des figures, 1703, p.344

[122] AN O1/3453 f⁰ 3

[123] AN O1/3345 f⁰ 113 v⁰-114 r⁰

[124] Le Nouveau Mercure Galant, juillet 1677, V, p. 68-73.

[thegoldensanctuary]

IV Source Review and Lexicon for the Bedchamber Furnishings

To trace the history of bedchamber decor, several primary sources are essential. These include the various inventories of Versailles, the diary entries of the Garde-Meuble, the general inventories of the Garde-Meuble, and work reports from the artisans and suppliers who served the Crown.

4.1The Versailles inventories

Multiple inventories of the Versailles palace detailing the various Furniture present in a given room at a given time exist: the 1708[52]ones, the 1740[53]one, the 1752[54] one, the 1765[55] one, the 1776[56] one, the 1785[57] one and revolutionary ones. The amount of information contained in each of them varies greatly: the 1708 inventory only covers the summer furnitures of each room present that year with no mention of the winter ones, the 1740 on the other head only features the winter one, and the summer ones are mentioned very briefly at the very end of the inventory. From 1752 onwards both summer and winter Furniture appear listed together for any given room. Descriptions of individual pieces also vary across these inventories: the 1708 is extremely specific, each item will have its own associated description, the 1740 and 1752 ones on the other hand will be very vague and will not offer many details on individual pieces, the 1765 inventory and subsequent ones return to the tradition of detailed descriptions for each item, which seems to have lapsed earlier in Louis XV's reign. Frequently moved items, such as candelabra, statuettes, or smaller decor items, are often omitted from the earlier inventories, while rugs and clocks are inconsistently included. Items that remained in rooms year-round are usually only mentioned once, generally with the winter furnishings[58].  Two additional inventories made when at the death of respectively Louis XIV(in 1715)[59] and Louis XV(in 1774)[60] exist though these only document items from the royal apartments, which were gifted to the 1st Gentleman of the Bedchamber.

While the inventories do not include the date of delivery for any given furniture they all include an inventory number that allow for each item or piece to be tracked and dated.

4.2The garde Meuble Diary

The Garde-Meuble, the royal administration responsible for the King's furniture, handled orders and maintained records of the royal collection through inventories, a diary, and work reports. The diary of entries and exits is one of the most important sources, documenting every new furniture entry, its destination, the supplier, and, importantly, the specific date. It also notes the removal or transfer of older pieces between royal estates, often with a level of detail surpassing that found in the Versailles inventories. The furniture number from the inventory allows researchers to trace the origins of each piece or set through the Garde-Meuble diary. Example entries from the grade meuble diary :

Highlighted in : red : the inventory number

Blue : the destination

Green : the supplier

Unlike the occasional inventories, the Garde-Meuble diary was continuously updated, providing a chronological record. Not all years are equally exploitable, however: entries from before 1685 often lack inventory numbers, while those from the 1780s tend to be less detailed than the specific entries from earlier years.

4.3The general inventories

Four general inventories were made during the ancient regime: the one made between 1664 and 1705[61], the one from 1729[62], the one from 1775[63] and the 1792[64] one as well as two general inventories of Versailles: one from 1752[65] with updates going as far as 1775[66] and one from 1785.

-The General inventories of the garde meuble: : Unlike the other sources, these inventories do not provide entry dates, supplier information, destinations, or locations. The inventory numbers also differ from those in the Garde-Meuble diary and Versailles inventory. However, these inventories are advantageous for their highly detailed descriptions, which often rival those in the Garde-Meuble diary, and for their thematic organisation. Items are grouped by theme—brocades, velvet furniture sets, tables, vases, clocks—rather than by location or chronology.

-The 1752 Versailles general inventory is unique in its comprehensiveness, combining the strengths of both the Garde-Meuble diary and the thematic general inventories. It includes entries dating from the 1720s to the 1780s, recording items as they first entered Versailles after initially being registered in the Garde-Meuble diary. The descriptions in this inventory are as detailed as those in the Garde-Meuble diary, and in rare instances, even more thorough. Though organised thematically by type of furniture rather than by location, the inventory frequently provides the location of items in the margins. Additionally, it notes alterations or relocations in the margins, making it a valuable resource for tracking the movement and condition of individual pieces over time.

The Garde Meuble Work Reports.

Written by artisans and suppliers, these reports offer specific descriptions of the work completed, often containing details unavailable elsewhere. They may document deliveries or restorations not mentioned in the Garde-Meuble diary. For example, the reports might include accounts from cabinetmakers who crafted armchairs, chairs, stools, and sofas, though the diary generally credits only the upholsterers. These reports often contain technical jargon and unique handwriting, with few examples surviving from before 1763. However, after that year, their frequency increases significantly.

4.4Understanding alcove tapestries

For the entirety of the text the French word “lez” was translated with piece, or segment of a given a piece of fabric. Their number as well as their dimensions is useful to understand the type of ornamentation present. When two different fabrics are mentioned for the alcove, this should be understood as alternating pieces of fabric placed one next to the other forming an alcove tapestry made out of narrow vertical stripes.

Exemple :

Their number can be used to infer the style of ornamentation for each of the pieces, in a same given room, a higher number of fabric pieces placed in the alcove implies that each individual piece must be narrow enough to fit them all in the alcove, which is most of the times synonymous with a more vertical style of ornamentation. On the contrary a lower number of pieces implies that each piece must be wider and that the ornamentation motifs must be more horizontal as a result.

4.5 Translation choices for embroideries or textile patterns :

- Translated as "outlined with X-colored silk around the contour," nuée describes a textile ornamentation technique where motifs are highlighted with a contrasting colour.

Example: Gilded leaf ornaments outlined with a deeper blue against a paler blue background.

Liseré: Translated as "outlined at the edge with X color," liseré refers to a fabric edging technique that adds a stripe of a distinct colour to the edge.

4.6 Type of ornaments :

Leafages : Leafage or foliate ornamentation refers to decorative motifs inspired by leaves, often arranged in stylized or naturalistic patterns. Acanthus, laurel, oak, and ivy are popular leaf types. Leafage symbolizes growth, life, and renewal, appearing frequently in capitals, friezes, and frames.

Rinceau : Rinceau refers to a scrolling, vine-like pattern of foliage, often featuring acanthus leaves and stylized flowers. Originating in classical Roman and Greek designs, rinceaux are typically arranged in flowing, symmetrical compositions that embellish friezes, borders, and other elements.

Cornucopia : Known as the “horn of plenty,” the cornucopia is a symbol of abundance, traditionally depicted as a curved horn overflowing with fruits, flowers, and grains.

Compartment : is used when describing a set of ornaments appearing inside of regular shaped surrounded by an edge. The term is less frequently used when the edge is made of irregular ornaments.

[52] AN O1/3445

[53] AN O1/3453

[54] AN O1/3454

[55] AN O1/3451

[56] AN O1/3457

[57] AN O1/3469

[58] For instance game tables in the clock cabinet are only mentioned once in the 1765 inventory alongside the winter, yet the amount of seat of the summer set being the same it clearly indicates that the same tables were present in both state, otherwise having the same number of seats in summer without the table wouldn't make much sense.

[59] AN O1/3298

[60] Ibid

[61]AN O1/3330-3333

[62] AN O1/3334-3341

[63] AN O1/3342-3347

[64] AN O1/3354-3356

[65] AN O1/3446-3448

[66] AN O1/3449

[thegoldensanctuary]

slightly anachronistic walk through 18th century Versailles. The main anachronism is : the set shown grand bedchamber and the council cabinet are winter sets(1881 and 3318) while the one in the new bedchamber, the green one(the 4000) is a summer set, the proper set in that room one should have been winter set 2691, but since the colour scheme of gold and crimson of that set is also in way already represented in the previous rooms I thought that the saxon green of summer 4000 could add a bit more variety.

Besides those details the rest is fairly accurate, except perhaps some of the fireplace clocks which are still place holders.

All the cc shown in the clip is still WIP.

[thegoldensanctuary]

Part III the creation of the 1701 King's Grand Bedchamber

3.1 The architecture

Probably exhausted by numerous years of construction, the King kept that Bedchamber for 17 years, the longest he ever stayed in a single room[32]. But the necessity to change rooms for the dressing ceremony [33]pushed the King to eventually reconsider the position of his bedchamber, and, the 8th July 1701 the he wrote the following letter to Mansart(who was now replacing Louvois and Villacerf as head of the King’s Buildings administration) :

“His Majesty has ordered the removal of the wall which separates the antechamber of Bassans and its bedroom for both rooms to make only one, to put a strong beam in place of the wall that we demolished to carry the structure above and the two ends of the two hangers, to pierce three doors in the arcades of the gallery besides those who are already there naturally to enter the said Gallery, and break the comiche of the said room of Bassans to redo one similar to that of the bedroom, which will rule all around. Pierce into said new room a large oval window under in the center arch on the side of the small courtyard to better illuminate the room. Demolish a stone dormer at the top of the building back to said little yard so it can't be herself through said window and make a bull's eye instead. Build a new marble fireplace in said room with a mirror on top, and make all the decorations of carpentry and glass marked with designs that His Majesty has regulated. To make a balustrade of carpentry carved very richly in the living room,and to place the king's bed there in order to make it the bedchamber. Seal the three doors that enter the said hall of the gallery with bricks, especially the middle one with full-thickness, the two at the dimension half the thickness of the wall, including that to the right side of the bed will make a wardrobe by the side of the bedroom, the other on the left, a dresser by the side of the gallery. Do not decorate with carpentry the faces between the pilasters so tapestries can be placed[to create an alcove]”[34]

Two days later new orders were given regarding the fireplace, who was ordered to be placed on the wall separating the new bedchamber and the counsel cabinet using the already existing pipe inside the wall from from the counsel's cabinet fireplace, who had to be relocated [35]

And so, the King’s grand bedchamber at the centre of the palace was finally born. The former bedchamber was annexed with its antechamber (called the antechamber of Bassans)(fig 32) to create the Bullseye antechamber, and the 3 archways of the central cabinet, sealed to create the alcove of the new Bedchamber of Louis XIV(his 13th and final one).

Fig 34 : The King Bedchamber between 1684 and 1701 (on the right), and the Bassans antechamber (on the left), those two rooms fused to become the Bullseye antechamber, AN O1/1768-A, fol 2

The 23rd new orders were given regarding the alcove : “His Majesty ordered to push the back wall of his new  bedchamber further back by 2 feet ,concealing the thickness of the Gallery[the hall of mirrors] wall in order to achieve a distance of ten feet and a half between the front of the baluster and the back[of the alcove wall], place a large beam at the level of the attic cornice of said bedchamber in order to carry the wall above[…] the two pilasters at the angle will keep carrying said beam and make a lowered arcade above the great beam that goes underneath the attic to held said structure.”[36]

Early drawings made at the time (fig 35) offer a clear visualisation of the intended result at that stage of the project. The drawing in question featured the respective beam and the alcove wall recessed further in relative to the attic. We can see that at that stage the attic above the alcove remained almost unchanged with its three frames and small pilaster in the same position they had for the past decade (fig 11) and with no allegorical statue in sight.

Fig 35 :Early project for the alcove of the Grand Bedchamber, 1701, AN O1/ 1768-A2

The 24th of August the King finally decided to update his plans for the room, to push attic wall further in with an arch going in at the level of the alcove wall, and,  “above the great cornice a background of mosaic richly ornate, in the middle of which would be place a beautiful figure, representing France sitting on trophies. With a rich drapery[pavillion] attached at the top of the arch and held in place by two putti, and to ornate the angles of the arch with two allegories of renown, all following the drawings and models approved by his majesty” [37]

This phase of the project is featured in one drawing (Fig 36) from that time. While the arch and the the figures of renown are present, the allegorical statue of France, the drapery, and the putti are missing, only the trophies can be seen in the center. This central piece however appears to only be a temporary placeholder as the piece of paper carrying it is detachable revealing underneath a blank medallion flanked by two female figures.

Fig 36 : Early project for the alcove of the Grand Bedchamber, 1701, Ibid

The 1st of September 1701, the King finally decided to order the alteration of the overdoor sculptures and frames: “His majesty found that the new frames made and placed in his bedchamber were too thick and ordered new ones to be made, he also ordered to make new shutters and backgrounds for those frames richly ornate with sculptures, just like the doors, and to sculpt rich and light ornaments for all the overdoor panels of the bedchamber […]

Paint with mosaic all the recess and ceiling of the three casements of the attic of the bedchamber.

Make four new frames for the overdoor paintings of said bedchamber instead of the current ones who are too heavy.”[38]

Additional details on the project for the bedchamber appear within the list of works to be performed in Versailles during the year 1701 namely:

“ 17 : Buy the sculpture in plaster of the figure, throphies and mosaic background to be placed in the arch of the King’s bedchamber

18 : rim and put in place the three casements of said bedchamber, finish all the wooden sculptures on the old woodwork, finish to put in place the upper paneling as well as the back wall behind the bed, the part above the fireplace and the trumeau on the opposite side.

19 : Place the marble fireplace in said bedchamber and the ornaments of bronze, gilded and ormoulu who must be attached to it. Place the mirror above said fireplace, at the opposite trumeau and the three casements, with all the bronze moldings supporting them.

20 : Finish the gilding of the arch, pilasters heads and bases entirely, the shafts, jamb, moldings, and sculptures of said bedchamber and add a bit of elegant white on all backgrounds for further contrast [rechampir tous les fonds de beau blanc]

21 : Purchase the baluster of the bed, gild it and put it in place.

22 : Do the all the bronze fitting and jambs of said bedchamber, according to the new model which has been agreed upon, finish the gilding and ormoulu and put everything in place,

23 : clean the four overdoor paintings and those from the attic before putting them back in place.” [39]

Payments to artisans can be used to attribute the various ornaments of the bedchamber to their respective artists, for instance:

The 25th of September and 20th of November 1701 a payment of 2400 livres are given to Coustou and Spingola for their work on the plaster attic sculptures of the bedchamber[40]

The 9th of October of that same year 400 livres are given to Nourisson, Guyot, Azmant and Jullien their wood sculptures of four children for the King’s bedchamber, likely those at the top of each of the two mirrors[41].

Other less specific payments are present and might possibly cover some of the work performed in the bedchamber, among other places :

The 6th of August Noel Jouvenet and Spingola received a payment of 7100 livres for their work on the plaster ornaments of the cornice for the King’s apartment, likely covering both the bullseye antechamber and the King’s bedchamber[42].

From the 9th of January until the 10th of February of what appears to be the following year Taupin, Marinbellan, Le Goupil and Dugoulon received a total payment of 87.950 livres for their woodwork in various royal residences including Versailles since 1697[43].

Those attribution are later confirmed by contemporary author such Felibien[44] or Bruzen de La Martinière who in his 1738 edition of the Grand dictionnaire géographique et critique, wrote in his Versailles entry about the King’s bedchamber “the sculpture who is gilded like the salon on a white background is also by Taupin, Goulon, Goupi[sic] and others […] above the king’s bed we see France sited guarding the conservation of the Prince’s sleep. The three figures are by Coustou” [45]

The ultimate design of the Bedchamber is known through a drawing located at the Stockholm National Museum (Fig 17), in it we can see the unique fireplace on the northern wall, the two mirrors, and the sculpted overdoors featuring a cartouche with a portrait at the center. While the overall appearance seems frankly similar to what can even be seen today, several oddities must be noted, however. The first one is the layout of the balustrade, which contradicts earlier drawn proposals (fig 18), the second one is the absence of composite pilasters in corner of the western wall, pilasters featuring arabesque ornamentation are shown instead, and thirdly the presence of relatively tall pedestals at the basis of each of the composite pilasters.

Fig 37 :. National Museum, Stockholm, NMH CC 174

Fig 38 : Project for the balustrade of The King’s Bedchamber, 1701 BnF, Va 448-c. H 188360-188361

There are several lines of evidence that could be used to reject those discrepancies as mere artistic alterations, which are not fully representative of the real state of the room on those very specific details (while the drawing might still be reliable on the rest). One of them is non other than the elevation already shown in fig 11, while predating the drawing it is nonetheless consistent with the current state of the pilasters as they can be seen today. Moreover, another representation of the room(fig 39) probably dating from the first half of the 18th century, depicts the pilasters as similar to the earlier elevation, it also confirms the layout of the baluster as shown in fig 18 and correctly depicts composite pilasters standing over arabesque pillars.

Fig 39 : Versailles. The northwest corner of the King’s Grand chamber, the season portiere tapestries were only used for the winter décor and the clock on the pilaster is only attested during Louis XV reign, before 1741. National Museum, Stockholm, NMH CC 513

3.2 The paintings in the bedchamber

The attic :

The attic paintings of the bedchamber seems to have remained the same, except on the western wall had been entirely filled by a sculptural composition featuring an allegory of France, the paintings and frame present in that location:  The fortune teller, the drinkers, and Hagar in the desert, were restrictively removed. The four evangelists, Caesar’s coin and the mystical wedding of Saint Catherin were left on the northern and southern attic walls as attested by later author such as Bruzen de la Martiniere, who confirms their presence in his 1738 edition of his dictionary[46]

The overdoors :

The overdoors also kept the same paintings they had at the time the room was still the central salon, namely Van Dyke self portrait, Saint Magdalene, the Marquis of Ayton and Saint John the Baptist nevertheless their frames and overdoor statues were likely a new addition in accordance to the 1st September 1701 order[47].

The Alcove Paintings

The addition of mirrors at the center of the northern and southern walls, resulted in the removal of the two paintings filling those places namely Saint Cecile playing music who removed from the room and King David playing the harp who was put placed on the alcove on the right side of the bed, additionally another large painting was added in the room to be placed on the alcove on the left side of the bed[48]

Saint John at Pathmos

Imola, Innocenzo Di Pietro Francucci dit Da, Saint Jean l'évangéliste, à Patmos, 1526/1550, 241 x 169 cm (frame: 302 x 216.5 x 14.5 cm), Château de Versailles, MV 7717.

Originally attributed to Raphaello and later to Innocenzo da Imola and painted in the second quarter of the 16th century it depicts the saint standing on an sitting on an eagle, -the animal associated with the saint- he is in the sky among the clouds writing the book of revelation on a stone tablet. The painting was originally part of the cardinal of Richelieu’s collections before being given to to King Louis XIII between 1636 and 1639[49]

Marot, François, Institution de l'ordre militaire de Saint-Louis, 10 mai 1695, 1710, 51 x 76 cm (frame: 68.5 x 93.2 x 6.8 cm), huile sur toile, Château de Versailles, MV 2149.

The use of two large paintings flanking the bed seems to have been seasonally based, indeed all the contemporary depictions of the bedchamber seems to have been of the winter state as attested by the presence of a bed with campane valances and a large headboard[50]. A letter dated from the 23rd of Jully 1759, written by Marigny and destined to L’Ecuyer and Gabriel asked to” put in safety the two paintings placed every year at the sides of the King’s bed, given that the frames are in poor condition[…]start the work as soon as possible so that two painting can go back to their usual place at the end of the coming fall”[51]

The choice of words from that letter with expression such as “placed every year” instead of “all year long”, and “back to their usual place at the end of fall” clearly suggest that they were only used alongside the winter set, probably to counterbalance the simplicity of the alcove tapestry, and were likely removed during the change from winter set to summer set to probably to avoid covering the beautiful brocades orating the alcove tapestry.

[32] Versailles - Le palais retrouvé du Roi-Soleil, ARTE, comment by Vivien Richard

[33] Christian Friedrich Gottlieb von dem Knesebeck, Récit de voyage, p. 111;

[34] AN O1/1474 f⁰ 64 r⁰-65 r⁰

[35] Ibid f⁰ 65 r⁰-66 r⁰

[36] Ibid f⁰ 64 r⁰-65 r⁰

[37] Ibid f⁰ 72 v⁰

[38] Ibid f⁰ 76 v⁰

[39] AN O1/1762 B, Memoire des ouvrages a faire en la dependance du chateau de Versailles{..]

[40] Compte des Bâtiments IV,709

[41] Ibid

[42] Ibid

[43] Ibid

[44] Felibien,Description sommaire de Versailles ancienne et nouvelle . Avec des figures, 1703, p.342-345

[45] Bruzen de La Martiniere Le Grand dictionnaire géographique et critique, 1738 edition p.158, the description it contains is fairly similar to the one from Felibien

[46] Bruzen de La Martiniere Le Grand dictionnaire géographique et critique, 1738 edition p.158-159, The same list of painting can be found in Piganiol de La Force

[47] AN O1/1474 f⁰ 76 v⁰

[48] National Museum, Stockholm, NMH CC 174;

[49] See number 11 of Le Brun's inventory

[50] National Museum, Stockholm, NMH CC 174; Institution de l’ordre militaire de saint Louis,10 mai 1695, Francois Marot,1710,muse national des chateaux de Versailles et de Trianon, MV 2149

[51] AN O1/1797 item 49

[thegoldensanctuary]

Close up of the pattern of brocade 135(June 1698)

three of the items from set 1870 delivered in May 1700, the upholstery used -as explained in the part II C of my study on the bedchamber- can be traced to a delivery from the 12th of June 1698, under the number 135 described as ”brocade from Lyon with silver background, flowers patterns of gold and silver surrounded by thin contours of red, green and purple silk”

The top image of the brocade discharge for set 1870(AN O1/3307 f⁰ 420 r⁰) and the second one is the first entry of brocade 135(AN O1/3307 f⁰ 360 r⁰) used for the upholstery of the 1870

[thegoldensanctuary]

Part II C the larger paintings and the early furniture

Saint Cecile playing music

Fig 30 : Dominiquin (Domenico Zampieri, dit Il Domenichino), Sainte Cécile avec un ange tenant une partition musicale, 1600/1625, 160 x 120 cm, Louvre, INV 793; MR 181.

Painted by Domenichino(fig 30) in the early 17th century it depicts saint Cecile playing cello while looking at the sky with a angel under the traits of an infant holding her partition. The artist chose to depict the saint wearing an outfit contemporary the artist’s life, which would have been anachronistic for a saint who live in the 3rd century. The painting was sold by Jabach to Louis XIV in 1662[22] and was placed, according to Piganiol, on the unique fireplace of the time on the southern wall.

King David playing the Harp

Fig 31: Dominiquin (Domenico Zampieri, dit Il Domenichino), Le Roi David jouant de la harpe, vers 1619, 240 x 170 cm, huile sur toile, Château de Versailles, MV 5359

Painted by Domenichino (fig 31)around the same time as the painting previously discussed, it depicts King Davis paying the harp. Just like in the saint Cecile’s painting the main protagonist is assisted by an angel depicted as young boy holding the partition, while he is looking at the sky. But unlike the previous painting, in which background is dark, the one in the King David painting appears to follow the code of a state portrait : with a tapestries with golden fringes filling the upper right corner, and a column displayed on the left. It was purchased by Louis XIV to the heir of Mazarin in 1665[23].

2.3 The Furniture

The 1684 winter set :

Fig 32 : 3d Recreation of set 1109, in the central salon in the Sims 4 engine

The 20th of November 1684 a large delivery of furniture is registered for the royal apartments in Versailles. Several sets of crimson velvet are placed in the King’s apartment. In the room where the King dresses the delivery mentions two armchairs, 16 stools 8 portiere tapestries covered in crimson velvet with gold fringes, and braids, registered under the number 1109[24](fig 32)while no specific seasonal use is mentioned it is nevertheless possible infer that the set in question was meant to used for winter, as the table cloth and daybed delivered alongside for the council cabinet under the number 1103[25], is, as late as 1740[26], still mentioned in said cabinet and used as a winter set, probably until 1749[27]. 

The 1700 summer set :

Fig 33 : 3d Recreation of set 1870, in the central salon in the Sims 4 engine

In May 1700, Doublet delivered three new summer sets for King’s apartment under the numbers 1870,1871 and 1872, the set destined for the central salon, the 1870(fig 33), contained :

-8 portiere tapestries made of 3 pieces of brocade each

-3 armchairs and 12 folding stools covered in brocade, with gold fringes and braids, with their wood sculpted and gilded [28]

The brocade in question was described as “silver background brocade, with flowers embroidered in gold and silver, contoured with silk of different colors, with gold braids at the edge and taffeta lining.”[29], the brocade discharge includes several brocades with silver background used by doublet when making the upholsteries and portieres for those three sets. The 6th brocade listed is the one used for the confection of set 1870, its description goes as follow  :”brocade from Lyon with silver background, flowers patterns of gold and silver surrounded by thin contours of red, green and purple silk”[30], the descrition is almost identical to the original but includes however the specific colors used for the outline of the silver and gold raised patterns, the origin of that brocade can be traced to a delivery from the 12th of June 1698, initially destined for the royal chapel in Versailles, and who was given at the time the number 135[31].

[22] See number 53 of Le Brun’s inventory

[23] See number 125 of Le Brun’s inventory

[24] AN O1/3305, f⁰ 153 v⁰ ; Jules Guiffrey Inventaire général du mobilier de la couronne sous Louis XIV (1663-1715). Partie 2, p. 348, number 1109

[25] Ibid

[26] AN O1/3453 f⁰ 4 r⁰

[27] AN O1/3314 f⁰ 145 v⁰

[28] AN O1/3307 f⁰ 417 v⁰

[29] Ibid

[30] Ibid f⁰ 420 r⁰

[31] Ibid f⁰ 360 r⁰

[thegoldensanctuary]

Part II B the attic paintings.

The Four Evangelists by Valentin

Saint John

Fig 20 : Valentin, dit Valentin de Boulogne, Saint Jean, évangéliste 130,8 x 159 cm Château de Versailles, MV 7277

In his painting of Saint John the evangelist by Valentin[16](fig 20), we see the saint in his early adulthood, beardless, transcribing the gospel, behind him a large eagle looking at him, the eagle being one of the four creatures listed in Revelation 4:7 and most often associated with John the evangelist. In this painting John is staring away from his writing, almost as if he was looking in the void hoping to find divine inspiration to pursue his mission. Out of all the four evangelists this painting appears to have the darker background, as if John was lost in darkness searching to find faith.

Saint Luke

Fig 21 : Valentin dit Valentin de Boulogne, Saint Luc, évangéliste 134,4 x 161 cm Château de Versailles, MV 7273

In his painting of Saint Luke(fig 21) we see the Luke a bit older than John, wearing a full beard, transcribing the gospel, with a large Bull on his left, the bull being one of the four creatures listed in Revelation 4:7 and most often associated with Luke. He is focused on his writing, with his eyes looking on the paper and his quill transcribing the gospel, behind him is a light probably symbolizing the divine inspiration.

Saint Matthew

Fig 22: Valentin dit Valentin de Boulogne, Saint Matthieu, évangéliste, 131.5 x 159.4 cm, Château de Versailles, MV 7274.

In his painting of Saint Matthew(fig 22), we see the Mathew middle aged, with a long grey bread, transcribing the gospel, an angel taking the form of a winged boy, one of the four creatures listed in Revelation 4:7 and most often associated with Matthew. The saint is looking down, with his text almost falling from his hand, the young boy is here holding the page and looking at Matthew in the eyes.The facial expression of the man as well as the relatively dark color of the background, likely symbolize doubts in the faith, with the young angle here to prevent its total loss.

Saint Mark

Fig 23: Valentin dit Valentin de Boulogne, Saint Marc, évangéliste, 131.5 x 159.5 cm, Château de Versailles, MV 7272.

In this painting we see the elderly saint Mark(fig 23), with a white bead. Next to him is a Lion, one of the four creatures listed in Revelation 4:7 and most often associated with Mark. The evangelist is depicted staring upwards with the palms on his hands facing the sky, and the texts placed on a table with the quill back in the inkwell, his transcription of gospel is now complete, the man is at peace. The painting features a strong light behind the saint symbolizing divine grace.

Cesar’s Denarii

Fig 24: Valentin dit Valentin de Boulogne, Le tribut de César, 130.4 x 184.8 cm, Château de Versailles, MV 7317.

The painting called, Pharsian showing to Jesus a silver coin used for tribute (fig 24), it was painted around 1622 by Valentin[17], it depicts the Render unto Caesar biblical episode, with a silver coin, standing out from its surrounding,  by its central position and by its shinny color. The acquisition of that painting by the crown isn’t well documented, all we know is that it was placed in the attic of room.

The fortune Teller

Fig 25: Boulogne, Valentin de, La Diseuse de bonne aventure, 1626/1628, 125 x 175 cm (158 x 206.1 cm with accessory), Louvre, INV 8254; MR 2550.

Painted in 1623 by Valentin[18](fig 25), it depicts a woman with foreign attire and dark complexion, reading the palm of a man, surrounded by a small crowd of people wearing outfits contemporary to the date of the painting. In her right hand the fortune teller in holding a coin likely received as payment for her services, on the right of the painting a man can be seen playing a harp he is holding in reverse. This detail is likely here to emphasis the situation occurring at the other side of the painting in which we see a man in the shadows pickpocketing the fortune teller, this is the reversal of a another painting by Valentin(fig 26) fig in which we see the opposite side of the painting the same fortune teller, recognizable by her traditional outfit and coral necklace, robbing a man playing the flute.

Fig 26: Boulogne, Valentin de, Réunion dans un cabaret, 1623/1625, 96 x 133 cm (126 x 158.5 cm with accessory), Louvre, INV 8255; MR 2553.

The Drinker meeting

Fig 27: Tournier, Nicolas, Assemblée de buveurs, 1600/1700, 129 x 192 cm (145 x 208 cm with accessory), huile sur toile, Musée de Tessé, Le Mans, INV 365; MR 336.

This painting by Tournier(fig 27) copied from Manfredi, depicts a group of men sitting and drinking together. Those in the background are gluttonously eating or drinking, while those in the foreground are sitting around what seems to be a large, craved stone block used as table. In the middle two young men sitting together, with one on the left wrapping his arm around the shoulder of the other man at the center, he seems to be pushing away a guitarist that came to play at their table, which seems to be the center of attention of the two men. At the bottom of the composition carved in the stone table right under the two men is the figure of two other men, one old and one young, where the older one on the left is also wrapping his arm around the shoulder of the one on the right, who, contrary to the men above seem to be looking at one another. The painting was acquired by Louis XIV in 1662 from the Jabach collection[19].

Agar rescued in the desert

Fig 28: Lanfranco, Giovanni, Agar et l'ange, 1611/1620, 137 x 184.5 cm, Château de Versailles, MV 7713.

The painting by Lanfranco(fig 28), is depicting Agar being rescued by an angle based on the biblical tale from the genesis. The landscape with its grass and green trees departs from the desert mentioned in the tale, hidden behind her left shoulder we see an infant baby hidden in the shadow, with an angel behind the traits of a teenage boy grabbing her by the shoulder and showing her the way. The painting was acquired by Louis XIV in 1662 from the Jabach collection[20].

The Mystical Marriage of Saint Catherine

Fig 29: Turchi, Alessandro, Le Mariage mystique de sainte Catherine, vers 1635, 123.5 x 177.5 cm (155 x 208 cm with accessory), Louvre, INV 702; MR 29.

This painting by Turchi (fig 29)depicts the mystical marriage between saint Catherin and Jesus. Both women are depicted wearing outfits contemporary to those of the painter’s time. The infant  Jesus is represented as the center of the interaction ,he is entirely naked, and is the main point of focus of Mary on the left and catherine on the right. It was acquired in 1671 by Louis XIV from the de La Feuille collection[21]

[16] See number 331 to 334 of Le Brun’s inventory, for the 4 evangelists

[17] See number 336 of Le Brun’s inventory

[18] See number 335 of Le Brun’s inventory

[19] See number 91 of Le Brun’s inventory

[20] See number 202 of Le Brun’s inventory

[21] See number 295 of Le Brun’s inventory

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Part II : The Room Where The King Dresses(Part 2 A : architecture and overdoor paintings)

2.1 The Architecture of the room

In the end Mansart settled for composite pilasters pilasters for the central salon(fig11),and Corinthian ones for the attic, as a way of remaining consistent with the spirit of the Grand Gallery. The style of the western wall with its three archways giving access to the Gallery was mirrored on the eastern(the one on the cour de marbre side), which unlike its western counterpart is still visible to this very day(fig12). 

Fig 11 : Western wall of the central salon, before 1701, AN O1/1768-A fol. 2

Fig 12: Eastern Wall of the King Bedchamber today, Goole Maps.

While planned as a common room linking the Gallery to both the King and Queen apartment, the premature death of the Queen in 1683(before the completion of the construction), meant that from the very beginning its status would change. Indeed, upon reentering Versailles and rediscovering the palace with its brand-new Gallery, and new rooms, the King decided to annex to his apartment the rooms with view on the Cour de marble, which were originally destined to be part of the apartment of his defunct spouse. He chose the room next door as his new bedchamber(fig13), which soon became too narrow for the increasing number of courtesans attending the morning dress up ceremony. The central salon therefore became the room in which the King is dressed.

At that point there was no plan to turn the salon into a bedchamber, despite its central position behind the Cour de Marbre Avant corps, there was no room left to create an alcove, indeed the western wall had three archways linking it to the Gallery, similar to the eastern wall but with 3 windows instead and, the northern and southern walls on the other hand had two doors each as part of the enfilade.

Fig 13: Blueprint of the first Floor of the central wing, 1687-92 , with the King’s Bedchamber (before 1701) in green, BnF VA-448 (B)-FT 6, IFN-53128547

2.2 The paintings

The list of the paintings present in the room is given by various contemporary authors[7], as well as Painting inventories[8]. The layout of said painting partly known thanks to several elevations and blueprints[9], with 9 attic paintings with three frames on each of the attic walls except the eastern one, four paintings in the frames at the center of each of the four overdoors, and two large paintings at the center of the northern and southern wall respectively. Piganiol de la Force in his 1701 edition of the Nouvelle descriptions des Chasteaux de Versailles et de Marly provides lists the following paintings[10]:

Portrait the marquis of Ayton

Fig 14 Van Dyck, François de Moncade marquis d’Ayton, , 76,3 x 65,3 cm,  Château de Versailles, MV 7315

The portrait the marquis of Ayton by Van Dyck(fig14), depicting Francisco de Moncada y Moncada, a Spanish general and diplomat, it was purchased from the Jabach collection by King Louis XIV in 1671[11]. The portrait in question is a reduction based on a larger equestrian portrait by same artist dated from 1634[12] (fig 15). Piganiol paces it right in from of the Van Dyke self portrait.

Fig 15 : Van Dyck Francisco de Moncada, III marqués de Aytona, 305,2 x 240,3 cm, Museo de Bellas Artes de Valencia, Inv :494

Van Dyke’s Self-portrait

Fig 16 : Van Dyck by himself 76,5 x 65,5 cm Château de Versailles, MV 7316

Portrait of Van Dyck by himself(fig 16), painted around 1630, it was acquired by King Louis XIV from the Jabach collection in 1671[13].Pignatol places the portrait above the door at the entrance of the appartement which at that time would have meant the northern wall on the enfilade side, which puts the marquis of Ayton portrait above the door on the southern wall just in front.

Saint Magdalene

Fig 17: Domenico Zampieri, dit le Dominiquin, Sainte Madeleine 76,5 x 66,5 cm Château de Versailles, MV 8377

Saint Magdalene by Domenichino(fig 17), the origins of this painting aren’t that well known. A similar painting superior in quality exists at the Pitti Palace(fig 18). Pignatol places the painting above one of the fake doors.

Fig 18 : Domenichino Saint Magdalene, Palazzo Pitti

Saint John the Baptist

Fig 19 : Giovanni Battista Caracciolo (dit il Battistello) ,Saint Jean-Baptiste 80,5 x 63,2 cm Château de Versailles, MV 8326

Saint John the Baptist attributed to Battistello(fig 19); it was acquired from the Jabach collections by King Louis XIV in 1662[14]. Pignatol attributes the painting to Caravaggio, that attribution changed to Valentin and later to Battistello[15]. Pignatol locates right in front of the Saint Magdalene painting above one of the fake doors.

[7] Felibien,Description sommaire de Versailles ancienne et nouvelle . Avec des figures, 1703, p.344-345 ;Pignatol de La Force, Nouvelle Description des Chasteaux et Parcs de Versailles et de Marly, 1701, p.120-122

[8] AN O1/1964

[9] Three of the attic paintings on the northern wall can be seen on an elevation attributed to Blondel dated 1735, BnF,Ms FT 6-VA-448 (B);

[10] Pignatol de La Force, Nouvelle Description des Chasteaux et Parcs de Versailles et de Marly 1701, p.120-122

[11] Arnauld Brejon de Lavergnée ,L'inventaire Le Brun de 1683 : la collection des tableaux de Louis XIV, 1987,number 320 of Le Brun’s inventory.

[12] Museo de Bellas Artes de Valencia, Inv :494

[13] number 229 of Le Brun’s inventory, see note 11.

[14] number 59 of Le Brun’s inventory, ibid

[15] Betatrice Sarrazin, Chefs-d’oeuvre de la chambre du Roi, 2022, p. 25

[thegoldensanctuary]

The King's Bedchamber Part I The Genesis

The King bedchamber in Versailles, also known as Louis XIV bedchamber or the King's Grand Bedchamber, is a place visited by millions every year, as one of the must-see locations of the palace. Situated in the center (from the North-South axis) of its central wing, right behind the Hall of Mirror, the Grand Bedchamber is remarkable by its opulent decor filled with symbolism, from its attic statue down to its very location, and its association with the sun King himself key figure in the palace's history.

But far from remaining an untouched sanctuary of the sun King, the room saw countless changes of varying magnitudes over the years.

The central position of the Bedchamber might not appear obvious to the visitor passing from room to room surrounded by a dense crowd. But a simple look at map of Versailles does reveal that the southern and northern wall of the room are indeed equidistant from the southern and northern edges of the central wing respectively, this reality is further reinforced by its location right behind the central Avant-corps of the Cour de Marbre(Fig 1).

 (Fig 1) The King bedchamber behind the central avant-corps of the Cour de Marbre.

From Versailles, from Louis XIII to the French Revolution

That position however is entirely artificial, as the room only became the sun's king bedchamber during the last 14 years of his reign, in which he changed 12 times the position from the day he first slept in Versailles, before finally settling for that central spot. In fact, even the avant corp of palace was inexistant until the late 1670s.

1.Mansart in Charge

 The story of how the King’s bedchamber came to find its current place, starts in the 1670s at that time the garden façade was dominated by a large terrace on its first floor made by Le Vau(fig 2), while the façade of the courtyard was still that of Louis XIII with only a few minor changes (fig 3), and no distinct Avant-corps. In 1678 Louis XIV decided to turn the palace from a secondary residence into a primary one, and as such significant changes had to be made. One of them was the replacement of the garden terrace in favour of a large indoor Gallery. Such changes implied significant structural alteration to the building, as the western wall of the rooms, with a view on the front yard, were used to support the façade of the terrace (fig 4), therefore pushing it westward to create an enclose space would mean a redesign of those rooms and a restructure of the roof.

Fig 2 : Versailles view from the Patrerre d’ Eau, with Le Vau’s Terrace in the background, Anonymous

Chateau de Versailles,

Fig 3 : Château de Versailles INV.GRAV 61

Fig 4 : Versailles, Blueprint of the first floor with the terrace in yellow and the western wall in pink, 1676-78, Stockholm, Nationalmuseum NMH CC 74

Considerable funds were assigned for the completion of those projects with a budget going from 30.000 livres in 1677[1] to 350.000 livres in 1678 and 200.000 extra livres added for “extraordinary spendings”[2] in 1678. Jules-Hardouin Mansart who had previously designed the marble cabinets of the Bosquet de la Renomee in the gardens, was put in charge of the project.

  Out of the 550.000 livres of budget, the 350.000  would be used to build the necessary wings to house the court and administration[3] while the 200.000 livres remaining would be allocated for the creation of the Gallery replacing the Terrace, with all its sutural implications, namely  : the creation of two high salons at the edges of the Gallery, each giving access to both royal apartments , with the salon de la Paix linking it to the Queen’s apartment, the salon de la Guerre linking the King’s apartment, and a central salon with a view on courtyard common to both royal apartment.

While the final layout is known (fig 5) several preliminary drawings give us a better insight into the evolution of the projects and its structural implication.

Fig 5 : Blueprint of Versailles first floor 1684, BnF Est. VA. 361

The first preliminary drawing(fig 6) shows the initial design of Grand Gallery and the central salon, with ionic columns and pilasters in the Gallery, and ionic pilasters in the Salon. The attic of the salon was supposed to be lit by lightwell linked to windows on the courtyard facade. The roof above the Salon is misaligned, maybe as a desire to keep parts of the original roof structure.

Fig 6 : Cross section of Versailles, with the projet for the Gallery on the left and the central salon on the right, 1678 Archives Nationales (from now on referred as AN) V.A. LXIII-24

A later drawing(fig7) shows several changes to the initial design, the vault shape of the gallery ceiling is now more pronounced, with a greater elevation and lightwells added on each side of the structure, while the lightwells of the salon on the other hand became narrower.  On the courtyard side the roof of the two lateral facades has been embellished and is now joining the central façade, the more pronounced vaulted shape of Salon ceiling forced Mansart to consider slightly re-centring the roof above.

Fig 7 : Cross section of Versailles, with the projet for the Gallery on the left and the central salon on the right, 1678 AN O1 1768A/1-1

The project was approved the 26th September 1678 by Colbert, as shown in this drawing(fig 8) with his signature at the bottom. The overall design is remarkably similar from the previous one, the ceiling of the salon slightly lowered, and the lightwells of its attic leveled with the windows of the façade. The pilasters of the Gallery have changed order and are now Corinthian, and the archway lowered to give more room for a larger overdoor with a cartouche in its center.

Fig 8 : Cross section of Versailles, with the projet for the Gallery on the left and the central salon on the right, 1678 Collection Louvre, Inv. 30 282

Despite Colbert’s approval, the drawing in question still appears distinct from the Hall of Mirror as we know it today. A later drawing (fig 9) exists however, featuring the definitive version of the Gallery, with the columns standing on a higher pedestal while keeping their upper level, and with the two niches removed. The rest of the drawing is more foreign: with an added floor to the front yard façade and an elevated roof on the garden side. While this Appearance of the Gallery became the definitive one, Mansart had to downgrade his ambitions and return to his previous ideas shown in earlier drawings for the rest of the project.

Fig 9 : AN, V.A. LXIII-25

As highlighted in those various drawings Mansart’s view of the Gallery was intrinsically linked with that of the three salons, they had to be greater in elevation when compared with the room of the apartments but also more spacious and a with a better flow of light. While the two salons at the edges of the Grand Gallery did benefit from their angular position, allowing the flow of light to come from two different directions, the central salon on the other hand had to rely on the presence of a higher open attic allowing light to penetrate by several lightwells, and to give it the necessary portions to be worthy of its  role as common room for the two royal apartments in Mansart’s greater scheme.

The solution found to house the attic without affecting the harmony of main façade of the courtyard (the Cour de Marbre as it will be known) was to create an an elevated Avant-Corps and place the central salon and its attic behind.  In conformity to the will of the King, the Cour de Marbre façade remained faithful in spirit to the original castle of Louis XIII. The central façade was entirely disassembled and reassembled a foot further[4], and, after the addition of the avant-corp it became the Cour de Marbre(fig 10) as we can still see almost 350 years later

Fig 10 : AN O1 1768A/1-2

The 9th of May 1684, Mansart sent the following letter to Louvois[5](who oversaw the King’s Buildings) about the completion of the facades shown above:

“The exterior of the small castle will be entirely complete by the 8th of next month, with all the gilding of the recently added plumping on the attic as well as the two dormers, I can assure you that they will look fine.

I think it will be better to scrub the balustrades, figures, and vases of the little castle instead of tarnishing the new which will never succeed regardless” 

The 7th of June Louvrois decided to inform the King:

“The yard of the castle is entirely clear, and the entire apartment, salon included, is ready for your majesty” [6]

[1] Compte des Bâtiments I,936-938

[2] Compte des Bâtiments I,1013-1016

[3] Ibid

[4] Gazette des Beaux Arts, 1976 Jean Claude Le Guillou Remarque sur Le corp central du château de Versailles

[5] AN O1/1795

[6] SHAT A1, 714, Fol. 113 as seen in Jestaz 2008, volume 2 p. 180