Hardcover(1st Artabras ed)


Product Details

ISBN-13: 9781558592285
Publisher: Abbeville Publishing Group
Publication date: 12/28/1991
Edition description: 1st Artabras ed
Pages: 424
Product dimensions: 10.80(w) x 12.70(h) x (d)

About the Author

Jean-Marie Pérouse de Montclos (Doctor of Letters, Director of Research at CNRS, the Centre National de la Recherche Scientifique) is the author of numerous scholarly books and articles on post-Renaissance architecture, notably Architecture à la Française (1982), in which he proposes a revisionist interpretation of classical French architecture. He has worked in close collaboration with the eminent art historian André Chastel and served as director of the national inventory of French artistic treasures (LInventaire général des Monuments et Richesses Artistiques de la France), established by André Malraux in the mid-1960s. His work Vocabulaire de l'Architecture has become a standard reference work on matters pertaining to the study and preservation of Frances architectural treasures. He is currently professor at the cole du Louvre and at the Centre d'Etudes Supérieures d'Histoire et de Conservation des Monuments Historiques de Paris.

Robert Polidori was born in Montreal, Canada, to a French Canadian mother and a Corsican father. He moved to the United States in 1961 when he was ten–years old and in 1969 settled in New York. From 1970 to 1972 he worked as an assistant to Jonas Mekas at the Anthology Film Archives in New York and for the next six years produced a number of avant-garde films. In 1979 he received an M.A. from the State University of New York at Buffalo and soon thereafter turned his attention to still photography. He has been living in Paris since 1987.

Read an Excerpt

Excerpt from

The Power of a Symbol by Olivier de Rohan

Versailles is the consummate symbol of sovereign power. Everything about it was calculated and realized with this end in mind. From the crown of a hill with a view extending into infinity, a king whose power was bestowed by God governed France that was then the preeminent European power.

In this new Olympus he was surrounded by images of antique divinities and heroes painted and sculpted by the greatest artists of his era. One autumn day in 1789, when the extensive greenery of the park had begun to turn color, the king of France left Versailles under the pressure of a revolution that wanted France to be governed from Paris. Immediately upon his departure laborers, tapestry weavers, and gardeners set about making the palace yet more beautiful for his anticipated return. But destiny intervened. The king was beheaded and Versailles, symbol of his inherited power, seemed doomed to destruction.

Fortunately, the residents of the town of Versailles managed to prevent this. A few years later Napoleon, having founded a new dynasty, wanted to set up residence there, as did King Louis XVIII after him, having spent his youth there, and his brother Charles X during his short reign that followed—as if occupation of the throne and residence at Versailles were intimately related. The sovereign rulers who came after them never contemplated returning to Versailles, which indicates the extent of their deference to the symbolic power of the place.

Was it for this or other reasons that at Versailles the Third Republic was established and the sovereignty of the German Empire proclaimed; that presidents of France were elected by the assembled chambers there until the Fifth Republic; that the treaties ending the First World War were signed there; that even now modifications of the French constitution must be decided there, and contemporary French heads of state prefer to receive the leaders of the great nations there, when such summit meetings are mandated?

But if power and history have continued, and still continue, to reside in the palace in the absence of kings, a more regular use for the domain, which would justify its conservation and maintenance, remains to be found. We should be grateful to King Louis–Philippe for reviving the idea, born during the Revolution, of creating a museum in the château of Versailles. His was a museum devoted "To All the Glories of France," as inscribed on a pediment of the château.

But what attracts crowds from all over the world to Versailles is, above all, the grandiose manifestation of the power and history, allied with beauty, of a civilization at its apogee, rendered accessible through its architecture, painting, sculpture, furniture, and gardens.

Restoration work proceeds apace in all these areas. Whether it is a question of extensive preservation campaigns or the reconstruction of buildings, of attempts to reassemble the furnishings dispersed during the Revolution or to enrich the museums collections, or of work undertaken to restore the gardens original harmony, Versailles today is marked by various and incessant creative endeavors. Thanks to the good will and assistance of public agencies? Yes, but none of this would have been possible, either yesterday or today, without the passionate commitment of all those throughout the world who love Versailles. One would like to mention all the generous donors who have lent their moral and material support to this enterprise of restoration, but space limitations prohibit this; one example, perhaps the most striking one, the contribution of the Rockefeller family, will have to stand for all.

The admirable photographs in this book, realized by that passionate lover of Versailles, the artist Robert Polidori, evoke very nearly all the pleasures enjoyed by those who, like himself, might wish to prowl about Versailles at all hours and in all epochs. He lends us his eyes and his sensitivity, revealing an infinite variety of marvels: from the surprise of unexpected discoveries, always beautiful, to fresh views of consecrated but eternally vital masterpieces.

To guide us through this spellbinding world, Jean–Marie Pérouse de Montclos here offers a magisterial synthetic text that, like the design of a French garden, opens vast horizons and lays out byways inviting exploration, with new perspectives at each crossroads.

Without doubt, all those fortunate enough to hold this book in their hands will, like is authors, find it impossible to resist the charms of Versailles.

Table of Contents

Table of Contents from

The Power of a Symbol by Olivier de Rohan


Geography and History

Earth, Wind, and Water: The Natural Site; Maps of the Hunt and of Affections Realm; Nature Mastered; The Site Recast

Time, Ideas, and Men: The Construction Campaigns; Actors and Expenditures; The Program; Operation; The Monument and the Museum

The Architecture of the Buildings and the Gardens

The Chateau and Its Subsidiary Buildings: The Building Campaigns of Louis XIII; Louis XIVs First Campaign; Louis XIVs Second Campaign; Louis XIVs Third Campaign; Louis XIVs Fourth Campaign; Completion of the Château after Louis XIVs Death; Subsidiary Facilities in the Town

The Gardens and the Trianons: The Gardens under Louis XIII; The Gardens during Louis XIVs First Campaign; The Gardens during Louis XIVs Second Campaign; The Porcelain Trianon; The Gardens during Louis XIVs Third Campaign; The Marble Trianon; The Gardens and the Trianons under Louis XV, The Small Trianon; The Trianon Gardens and the Hamlet from Louis XVI On

The Arts in Concert

Interior Distribution and the Decorative Arts: The Interiors to 1684; The Interiors from 1684 to the Death of Louis XIV; The Interiors to the Mid-Eighteenth Century; The Interiors after the Mid-Eighteenth Century; Modifications and Restorations in the Nineteenth and Twentieth Centuries

Painting and Sculpture: Painting; Sculpture: Louis XIVs First Campaign; Sculpture: Louis XIVs Second Campaign; Sculpture: Louis XIVs Third Campaign; Sculpture after 1688

From Mythology to History: Mythology and Cosmology during the First Years of Louis XIVs Reign; Contemporary History during the Middle Years of Louis XIVs Reign; Religion during the Last Years of Louis XIVs Reign; Nature and Childhood during Louis XIVs Reign; National History from Louis XVI on

Plans of Versailles



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