King Louis XIV |
King Louis XIV decided to construct Versailles in a swampy area that was the sight of
his father’s old hunting lodge. The original château was on a hill and Louis
was told that was not a good location for a grand palace; however, he dismissed
everyone’s concerns. Louis believed himself directly appointed by god, and like
other 17th century monarchs and nobody could tell him what to do. He would not hear of his palace being built anywhere else and he wanted
the old house to remain untouched and have the new design incorporate the old
building.
Even
though the building itself is incredibly spectacular, the gardens of Versailles are just as important as the Château. Louis XIV
commissioned André Le Nôtre to design the grand landscape of Versailles in 1661, which he made his true masterpiece. The creation
of the gardens was a tremendous amount of work. The gardens are elaborate
structures and inventively geometric, formal, and Nôtre did a fantastic job for
creating a sense of cohesion thought out the massive gardens. The idea of a
principal axis was incredible important for the gardens, and Nôtre found a way
to make the axis into an indefinite distance and erasing all visible boundaries
(p. 92). The huge number of flowerbeds, fountains, pools, sculptures, geometric
topiary, and canals were substantial. Louis XIV
even had mature trees from other parts of France uprooted and brought to
Versailles because he did not wait to wait to have the trees grow in. Apollo
was his inspiration, as seen by his nickname the Son God. Therefore, he had
statues and references to Apollo thought the gardens.
In 1682, Louis XIV moved the government and court to Versailles. He used Versailles as a place to impress foreign dignitaries with ceremonies, festivals and concerts. He had a great impact over the music, art, literature, and theater during his time. This grand estate was meant to show off in every possible way. The fact that Louis had Versailles built over this difficult marshland displayed his power over nature and it was a “symbol of monarchial magnificence” (p. 92).
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