UPON THE GRAND DESIGN OF VERSAILLES PALACE IN DIVERSE RELATIONSHIPS BETWEEN <i>SALON DE LA GUERRE, GALLERIE DES GLACES</i> AND <i>SALON DE LA PAIX</i>

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  • 戦争の間、鏡の間、平和の間の関係の多様性の中にみられるヴェルサイユ宮殿のグランド・デザインへの指向
  • センソウ ノ アイダ 、 カガミノマ 、 ヘイワ ノ アイダ ノ カンケイ ノ タヨウセイ ノ ナカ ニ ミラレル ヴェルサイユ キュウデン ノ グランド ・ デザイン エ ノ シコウ

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Abstract

 French gardens in the 17th century consist of boschi and garden roads conformed to geometric figures under the Italian garden's influence. The château is placed as one pole on the garden entrance side, and it is said that the château and the jardin are closely tied together to create a uniform world. The château and the jardin were planned on a grand dessin. Meanwhile, as a result of the transition of the ceiling painting theme of Galerie des Glaces directly facing the jardins, we have already clarified that there was a serious discrepancy between the world of the gallery ceiling painting depicting Louis XIV's own glorious wars and the peaceful world of the garden centered on the sculptures based on the Apollo's myth. Therefore, Versailles Palace since 1680 is not a uniform world in which the garden and the château were united together in a same iconographical program. If we discuss the unity of the garden and the château, we should examine it not only from the viewpoint of architectural planning but from various viewpoints such as iconographical program. So, in this paper, we will discuss the relationship between the three rooms, Salon de la Guerre, Galerie des Glaces and Salon de la Paix occupying an important central position. A reason for considering the relation between the garden and not the gallery alone, but the ensemble including two lateral saloons is that they were planned as one on the architectural plan and the iconographical program. At the same time, it is also a purpose of this paper to reevaluate the significance of these two saloons in the construction of Versailles. Therefore, we adopt the following three methods. We reconsider the viewpoint of spatial theory as discussed by Giedion and the viewpoint of iconographical program as discussed in our previous papers, and newly, about the two saloons, we discuss the viewpoint of how these have been used. The first viewpoint is based on the architectural design theory of the Modern Movement in Architecture, the second is an application of our previous papers' issue, and the third is newly tried in this paper. We are trying to clarify that various relationships between the two saloons and the gallery, or relationships of these three rooms with the gardens could contradict each other as we change our viewpoint. In other words, these relationships have practical and symbolic aspects, so, our aim is to clarify complicated design methods of French modern architecture. For the first viewpoint, we summarize discourses of representative histories of Versailles by Verlet, etc. Regarding the second, we summarize the points of our previous papers mentioned above and describe the iconographical program of the two saloons that was not mentioned in them, based on historical documents and previous studies. Regarding the third, in addition to various kinds of image documents, documents by Dangeau and Saint Simon are also used for clarifying how to use these three rooms under the reign of Louis XIV. That is, even if the gallery and two lateral saloons have a relationship from the point of view on the iconographical program, it does not matter about the function. However, when the decoration of the salon de la Paix was remodeled in the 18th century, efforts to maintain the iconographical symmetry of allegory of war and peace have not been abandoned. Even after losing its functional relationships, designers tried to keep iconographical relations. We can see the intention of achieving the so-called Louis XIV's grand design. Exactly in this point, the two lateral rooms played an important role for achievement of the grand design of Versailles.

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