VERSAILLES & THE WORLD
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  • INTRODUCTION
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Versailles

& the world

26 JANUARY – 4 JUNE 2022

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VERSAILLES & THE WORLD

From the time of its creation in the late 17th century, and in line with King Louis XIV’s wishes, the Château de Versailles was the most accessible royal residence in Europe.
Located twenty or so kilometres from Paris, the chateau was open daily to all his subjects as well as visitors from all over the world. Travellers, ambassadors, artists, scholars and adventurers came from every continent, drawn to this “incomparable palace”. 

Thanks to these visitors, the French court discovered the riches of civilisations located “at the ends of the earth”, which were still mysterious in many respects.
This fascination inspired artists and helped to instil a taste for exoticism in society. Versailles mirrored this taste at the crossroads of East and West. 

At the same time, the royal power became aware of the strategic issues at stake in scientific research: it was henceforth important for the King of France to have the reputation of being the most modern monarch of his time. Versailles then became a microcosm of the world, gathering and studying flora and fauna from every continent at the heart of its estate, while major expeditions to distant lands and astronomical science were developing, discovering celestial and terrestrial worlds. 

«

Curiosity was the driving force at Versailles in the 17th and 18th centuries. Countries beyond Europe were seen as places of wonder but also of scientific discovery.

 »

– Hélène Delalex, Heritage Curator at the Department of Furniture and Decorative arts at the Musée national des Châteaux de Versailles et de Trianon

«

 This fascination often expressed itself most eloquently in the fine and decorative arts where ideas and motifs were appropriated, not just from the Islamic and oriental worlds, but from other European nations such as England and Italy.

 »

– Bertrand Rondot, Chief Heritage Curator at the Department of Furniture and Decorative arts at the Musée national des Châteaux de Versailles et de Trianon

SELECTION OF ICONIC ARTWORKS

Discover the key works in the exhibition and contemplate portraits of ambassadors, decorative arts inspired by the Orient, and scientific instruments used during major expeditions.

American attendants, led horse and grooms

Head hunt and ring race, done by the King and by the princes and lords of his court, in the Year M. DC. LXII [1662 Author: Charles Perrault (1628-1703) Draughtsman: Henri Gissey (1621-1673) Engravers: Israël Silvestre (1621-1691), François Chauveau (1613-1676), Jean Le Paultre (1618-1682), Gilles Rousselet (1610-1686) Painter: Jacques Ist Bailly (1629-1679) Personal copy of Louis XIV painted in gouache, heightened with gold and silver
Paris, Imprimerie Royale, 1670
The quadrille of Americans was associated with the colour green, the lion and emeralds.
06

The Prince of Condé, Emperor of the Turks

Head hunt and ring race, done by the King and by the princes and lords of his court, in the Year M. DC. LXII [1662] Author: Charles Perrault (1628-1703) Draughtsman: Henri Gissey (1621-1673) Engravers: Israël Silvestre (1621-1691), François Chauveau (1613-1676), Jean Le Paultre (1618-1682), Gilles Rousselet (1610-1686) Painter: Jacques Ist Bailly (1629-1679) Personal copy of Louis XIV painted in gouache, heightened with gold and silver
Paris, Imprimerie Royale, 1670
The quadrille of Turks was associated with the colour blue, the crescent moon and turquoises.
04
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin ; Charles Arquinet © Droits réservés

Marshal of the Persian camp

Head hunt and ring race, done by the King and by the princes and lords of his court, in the Year M. DC. LXII [1662] Author: Charles Perrault (1628-1703) Draughtsman: Henri Gissey (1621-1673) Engravers: Israël Silvestre (1621-1691), François Chauveau (1613-1676), Jean Le Paultre (1618-1682), Gilles Rousselet (1610-1686) Painter: Jacques Ist Bailly (1629-1679) Personal copy of Louis XIV painted in gouache, heightened with gold and silver Versailles, Bibliothèque Municipale, Res grd fol A 21 m (a)
Paris, Imprimerie Royale, 1670
The quadrille of Persians was associated with the colour incarnadine, the full moon and rubies.
03

Roman timpanists

Roman timpanists Head hunt and ring race, done by the King and by the princes and lords of his court, in the Year M. DC. LXII [1662] Author: Charles Perrault (1628-1703) Draughtsman: Henri Gissey (1621-1673) Engravers: Israël Silvestre (1621-1691), François Chauveau (1613-1676), Jean Le Paultre (1618-1682), Gilles Rousselet (1610-1686) Painter: Jacques Ist Bailly (1629-1679) ; personal copy of Louis XIV painted in gouache, heightened with gold and silver Versailles, Bibliothèque Municipale, Res grd fol A 21 m (a)
Paris, Imprimerie Royale, 1670
The quadrille of Romans was associated with the colour purple, the sun and diamonds.
B786466101_4_RESGRDFOLA21MA_0022
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin ; Charles Arquinet © Droits réservés

Indian led horse

Head hunt and ring race, done by the King and by the princes and lords of his court, in the Year M. DC. LXII [1662] Author: Charles Perrault (1628-1703) Draughtsman: Henri Gissey (1621-1673) Engravers: Israël Silvestre (1621-1691), François Chauveau (1613-1676), Jean Le Paultre (1618-1682), Gilles Rousselet (1610-1686) Painter: Jacques Ist Bailly (1629-1679) ; personal copy of Louis XIV painted in gouache, heightened with gold and silver Versailles, Bibliothèque Municipale, Res grd fol A 21 m (a)
Paris, Imprimerie Royale, 1670
The quadrille of Indians was associated with the colour yellow, the Daystar (Venus) and with pearls.
05
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin ; Charles Arquinet © Droits réservés

Machine for the planets, with planetarium and celestial planisphere Machine for eclipses, with eclipsareon and calendar

Clockmaker: Isaac II Thuret (c. 1630-1706), after plans by Ole Rømer (1644-1710) Gilt bronze, steel and ivory Paris, Bibliothèque Nationale de France, Department of Maps and Plans, inv. Ge A-280 Rés and inv. Ge A-281 Rés Bibliothèque nationale de France, Paris
Paris, 1680 1681
These two “astronomical machines,” one showing the movement of the planets in accordance with the system of Nicolaus Copernicus, the other the mechanism of solar and lunar eclipses, gave astronomers a quick way of determining, at any moment within the previous two hundred years, the positions of what were then the six known planets of the solar system, as well as the dates of the eclipses, without the help of tables or calculations. These prestigious objects served as teaching tools in the education of the Dauphin, son of Louis XIV, as indicated by the three dolphins (dauphins) adorning their bases. They were also used for diplomatic purposes: surmounted by a sun with the head of Apollo – emblem of Louis XIV –, copies were offered to the Shah of Persia in 1682, king Phra Naraï of Siam in 1685, and the emperor of China, Kangxi, in 1688.
IFN
Source : Bibliothèque nationale de France, Paris

Louis XVI Giving His Instructions to La Pérouse, 26 June 1785

Nicolas-André Monsiau (1754-1837) Oil on canvas Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. MV 220
Paris, 1817
In the library of his inner apartment in Versailles, Louis XVI, accompanied by his Secretary of State for the Navy, the Marquis de Castries, received the Count de La Pérouse, who was ready to set off on his scientific expedition around the world. The king gave him instructions on the routes to follow as well as the places to reconnoitre. Castries holds the brief containing the instructions for the expedition in his hand. This retrospective painting was commissioned by Louis XVIII, brother of Louis XVI, nearly thirty years later, in order to celebrate the memory of that seminal voyage.
Capture d’écran 2022-02-28 à 13.40
© RMN-Grand Palais (Château de Versailles) / Gérard Blot

“Elephant” clock

Robert Robin, king’s clockmaker Chased and gilt bronze, bronze with antique green, enamel Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. VMB 1139
18th century
The Royal Menagerie played an important role in the history of science. When its animals died, they were dissected by anatomical scientists, thus making a decisive contribution to comparative anatomy. These dissections were usually carried out at the Academy of Paris, but also took place in Versailles during public sessions, which were veritable social events. The most memorable was the dissection of a female elephant from the Congo, on 22 January 1681, performed in an amphitheatre set up in the gardens of Versailles. According to the Academy’s account, when Louis XIV arrived, “he eagerly asked where the anatomist was, since he could not see him. M. du Verney immediately stood, rising from the flanks of the Animal, in which he was, so to speak, engulfed.”
21-536994
© Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Sketches painted from nature of the animals  in the Royal Menagerie at Versailles

Pieter Boel (1622-1647) Oil on canvas Dromedaries and dromedary heads Reims, Musée des Beaux-Arts, 2019.1.7
 17th century
Built by the architect Louis Le Vau in 1663-1664, the Royal Menagerie, which no longer exists, was one of the first and most curious architectural constructions of Louis XIV’s reign. It consisted of an octagonal central pavilion around which seven courtyards were arrayed, housing animals from the four corners of the world. Visitors could admire them all from a balcony, while inside, the salon was decorated with 49 canvases representing the first animals to live in the Menagerie. Some of these animals were diplomatic gifts, such as the tigress given by the sultan of Morocco in 1862, or came from French colonies, such as beavers from Canada, or were purchased during expeditions to distant lands. The animals here were not considered as mere curiosities, but as living beings to be studied and described in accordance with a new scientific classification of species. This is why the Menagerie is now considered to have been the world’s first zoo.
Capture d’écran 2022-02-28 à 09.38
© RMN-Grand Palais / Gérard Blot

Pineapple in a Pot

Jean-Baptiste Oudry (1686-1755) Oil on canvas Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. MV 7035
 1733  
In the 18th century, the acclimatisation of the pineapple, which came from the New World (mainly South America and the Caribbean) represented the cutting edge of experimental cultivation in the royal gardens of Europe, where growing this fruit which was so sensitive to cold and damp was a real feat. After several barren attempts, two pineapples developed from suckers, received by Louis XV from America, bore fruit in winter 1733. Jean-Baptiste Oudry made a veritable portrait of this first Versailles pineapple that Queen Marie Antoinette hung a few decades later in her Gold Room.
Un ananas dans un pot, posé sur une plinthe de pierre
© Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Le cabinet des Chinois de Marie Leszczynska

Marie Leszczynska (1703-1768), Henri-Philippe-Bon Coqueret (1735-1807), Jean-Martial Frédou (1710-1795), Jean-Philippe de La Roche (v. 1710-1767), Jean-Louis Prévost (actif de 1740 à 1762), sans doute sous la direction d’Étienne Jeaurat (1699-1789) Huile sur toile Versailles, musée national des châteaux de Versailles et de Trianon, inv. V 2018.5.1 et 2018.5.2
Versailles, 1761
In 1761, Queen Marie Leszczynska, wife of Louis XV, had a room with Chinese paintings created at the heart of her private apartment in Versailles, making a number of the compositions herself with the help of a team of painters. Skilfully combining Chinese and Western sources of the 17th and 18th centuries, she composed picturesque scenes that were not merely decorative, but traced the main phases of tea cultivation, notably the hand-withering of the leaves and their storage in crates for export. More than a fantasised China, the choice of iconography reveals the fascination of European elites with the Chinese empire in the 18th century, and especially with its agriculture, the products of which were sent around the world.
visuel_quadriptyque
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Boxes in Japanese lacquer

From the collection of Queen Marie-Antoinette in the shape of fans, a basket and musical instruments Wood, lacquer Paris, Musée National des Arts Asiatiques – Guimet, on loan at the Musée National des châteaux de Versailles et de Trianon, inv. MR 380.80, 380.7, 380.78, 380.14, 380.83
Japan, 18th century
On 22 July 1767, Empress Maria Theresa of Austria bequeathed an exceptional collection of fifty boxes in Japanese lacquer to her daughter, Marie-Antoinette. These extremely refined objects reflected the fascination of European courts with the art of Japan, and notably with its lacquer technique, which was unique. The queen had them installed in her Gold Room, the most refined space in her private apartment, in cabinets specially designed to house them.
20-577690
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Perfume fountain of Louis XV

China, Jingdezhen, early Qianlong period, Porcelain with celadon glaze, mount in chased and gilt bronze Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. V5251
c. 1730 (vase) Paris, c. 1743 (mount)
The body of this fountain consists of a vase in crackled Chinese celadon porcelain, the most prized kind in Europe at the time. The gilt bronze mount made in Paris transforms this vase into a perfume fountain. The object was originally accompanied by a jar and two dogs in Japanese porcelain, now lost. Purchased by Louis XV, this luxury object, combining the rarest Chinese porcelain with the excellence of Parisian gilt bronze, was placed in the king’s wardrobe, next to his private chamber in Versailles.
21-514382
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

“Reclining camel”

Fire dog from a pair in the Turkish cabinet of Marie-Antoinette at the Château of Fontainebleau Pierre Gouthière (1732-1813), bronzesmith C. 1777 Chased and gilt bronze Paris, Musée du Louvre, Department of Medieval, Renaissance and Modern Decorative Arts inv. OA 5260
C. 1777
The general taste for Turqueries in the 1770-1780s inspired the creation of precious “Turkish boudoirs” in royal residences illustrating a fantasised Orient. If the picturesque figures of the ostrich and the camel, whose realism is due to the extraordinary quality of the chasing, evoke the exoticism of distant lands, they are also a reminder that these animals could be found at the Royal Menagerie in Versailles. The pearl necklace motifs, sculpted in the wood of the chair, were also a recurrent feature of these Turqueries.
07-537454
Photo © RMN-Grand Palais (musée du Louvre) / Martine Beck-Coppola

Seven-branch “ostrich” candlestick

From the second Turkish Cabinet of the Count d’Artois, brother of Louis XVI, at the Château de Versailles François Rémond (1747-1812), bronzesmith 1782 Chased and gilt bronze Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. OA 5315 et 5315 bis
1782
The general taste for Turqueries in the 1770-1780s inspired the creation of precious “Turkish boudoirs” in royal residences illustrating a fantasised Orient. If the picturesque figures of the ostrich and the camel, whose realism is due to the extraordinary quality of the chasing, evoke the exoticism of distant lands, they are also a reminder that these animals could be found at the Royal Menagerie in Versailles. The pearl necklace motifs, sculpted in the wood of the chair, were also a recurrent feature of these Turqueries.
21-536829
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

The Sultana Giving Her Orders to the Odalisques

Porcelain plaques commissioned by Louis XVI for his inner apartment at Versailles, Nicolas-Pierre Pithou the Younger (1750-1818) After the tapestry cartoons drawn by Charles-Amédée Van Loo (1719-1795), woven at the Manufacture Royale des Gobelins 1786 Soft-paste porcelain and gilt wood Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. V 5142
Manufacture Royale de Sèvres
The fascination with the East was also nourished by literature, notably by the success of the translation of The Thousand and One Nights, a medieval collection of Persian, Indian and Arab tales, completed in 1717. This dreamy vision of the Orient spawned Chinoiseries and Turqueries, which intermixed with the decoration at Versailles.
Capture d’écran 2022-02-28 à 17.22
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin

Prince Nguyen Phuc Canh (1780-1801)

François-Nicolas Maupérin ( active 1766-1806) Oil on canvas Paris, Missions Étrangères
1787
In 1787, the visit by Prince Nguyen Phuc Canh, son of the king of Cochinchina (present-day Vietnam), was the most unexpected of the diplomatic meetings in Versailles. He had been sent by his father to obtain military aid from France in order to overcome the rebellion that had toppled him from this throne. Aged only seven, the prince arrived in Versailles with the first mandarin of Cochinchina, who was none other than a French bishop, Monseigneur Pigneaux. The court, and the French people, took the young boy to heart and supported his cause. Léonard, Marie-Antoinette’s hairdresser, even designed a style inspired by and named after him, “the royal prince of Cochinchina,” inspired by the one worn in this portrait.
Capture d’écran 2022-02-28 à 09.16
© Missions étrangères de Paris, Paris / IRFA

Audience Granted by the Grand Vizier Aïmoli-Carac to the Count de Saint-Priest (French Ambassador), 18 March 1779

Francesco Giuseppe Casanova (1727-1803) Oil on canvas Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. MV 5441
C. 1790
An experienced diplomat, the Count de Saint-Priest played an essential role in resolving the conflict between the Ottoman and Russian empires over the Crimea. As depicted in this scene, peace was sealed by the signing of an arbitration treaty at Ayanali-Kavak, the sultan’s residence on the western bank of the Bosporus. The grand vizier is about to sign, facing the French ambassador accompanied by two representatives of Russia. In the distance we can see the Ayasofya mosque, the former church of Hagia Sophia, one of the most famous monuments in Constantinople (present-day Istanbul).
Audience accordée par le Grand Vizir Aimoli-Carac au comte de Saint-Priest
Photo © Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin 

Teapot

China, second half of the 17th century Silver with partial gilding Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. V 2018.8
China, second half of the 17th century
Among the gifts brought by the Siamese ambassadors for the king and members of the royal family were 1,500 pieces of Chinese and Japanese porcelain and several dozen pieces of gold and silver, mainly Chinese, including this small, miraculously preserved teapot. This is one of the precious pieces selected from the Siamese government’s warehouses all over Asia that were brought together in gift sets, whose variety and richness were designed to demonstrate to the French the centrality of Siam as a hub of trade in the Far East.
18-531012

View of the Château de Versailles and the Orangerie

Attributed to Étienne Allegrain (1644-1736) Oil on canvas Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. MV 6812
C. 1695
Accompanied and guided by a member of the court, visitors in tunic and turban (probably Ottomans), admire the site from the staircase of the Hundred Steps.
versaille
Photo © RMN-Grand Palais (Château de Versailles) / Franck Raux

Trophy with the Arms of Louis XIV

School of Pierre Mignard, “the Roman” (1612-1695) Oil on canvas Versailles, Musée National des Châteaux de Versailles et de Trianon, inv. MV 7217
C. 1690
Flanked by two military trophies from Roman Antiquity (a breastplate and helmet stuck on a lictor’s fasces), a winged spirit brandishes a globe bearing the royal coat of arms: “azure with three gold lilies.” Above the emblematic figure of Louis XIV, a sun with the face of Apollo, the Greek god of the sun, and the Latin motto NEC PLURIBUS IMPAR (literally, “Sufficient for several”), which Louis XIV explained as follows in his Memoirs: “I would be just as capable of ruling still other empires as would the sun of illuminating still other worlds with its rays.” That this power is there to serve peace is indicated by the weapons on the ground and the laurel branch held by the spirit.
trophy
Photo © Château de Versailles, Dist. RMN-Grand Palais / Jean-Marc Manaï

The Carousel of the Five Parts of the World

To celebrate the birth of the dauphin, Louis XIV organised a major carrousel on 5 and 6 June 1662. This event, the most dazzling equestrian show of the Ancien Régime, was inspired by the Arab tradition in which the horse was given a sublime, poetic role. Louis XIV greatly admired these conquering people for their dashing cavalcades, the prodigious splendour of their horses’ harnesses, and their costumes spangled with stones. A young ruler aged only 23, Louis XIV appeared surrounded by 1,300 riders in five quadrilles representing the most illustrious nations of the world: the Romans, the Persians, the Turks, the Indians and the Americans. The extraordinary splendour of this carrousel, commemorated in painted plates heighted with gold in Louis XIV’s personal copy, epitomises the importance of horses in the theatre of royal power.
© Bibliothèque municipale, Versailles

VIRTUAL TOUR

Discover the key works in the exhibition and contemplate portraits of ambassadors, decorative arts inspired by the Orient, and scientific instruments used during major expeditions.

Discover

CURATORIAL TALK

Enter a fascinating world of exchanges and influences between Versailles
and the world while listening to the exhibition’s curators, Hélène Delalex
and Bertrand Rondot, Curator and Chief Curator of Heritage, Furniture and Decorative Arts at the musée national des châteaux de Versailles et de Trianon.

watch

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Deepen your knowledge by browsing the educational resources
or follow the exhibition’s curators by listening to the podcast.

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