The staircases of the King’s private apartments (le Petit appartement du roi) have a complicated history.

The original staircase was the famous Ambassador’s Staircase.  It was so grand that Louis XIV used to receive ambassador’s and foreign dignitaries on it.  Later, in the reign of Louis XV, it was also the venue for Mme de Pompadour’s theatre, which was made of wood and could be assembled and dis-assembled on demand.

Engraving of the Ambassadors’ Staircase. Credit: Wikipedia.

In 1754, wishing to create a suite of rooms for his daughter Mme Adélaïde, Louis ordered this grand staircase to be demolished.

I had never heard of Cristobal de Villalpando (1649-1714) before stepping through the doors of the Palacio de Iturbide in Mexico City’s Centro Historico in May, 2017.

The Palacio (see the previous post for details of this building: http://versaillescentury.com/2017/06/20/versailles-century-building-palacio-de-iturbide/#more-1068) now belongs to the Banamex Cultural Foundation, which happened to be running an exhibition dedicated to Villalpando.

Sign for the Villalpando exhibition at the Banamex Cultural Foundation, May, 2017.

Walking through the exhibition, I was thunderstruck by Villallpando’s canvases and amazed that I had never heard of him.

This week’s musical monarch, Frederick the Great, was not only a music lover, but a proficient flautist and composer.

Frederick the Great.  Credit: Wikipedia.

Prussia’s future third king developed his musical tastes and talent early.  In the little Crown Prince Frederick’s household was one Rentzel, who was not only Frederick’s drill master but a flautist.  Nancy Mitford, in her biography of Frederick, says of Rentzel that “it was he who started Frederick on music and taught him to play the flute, an accomplishment which was to mean so much to him.”  Frederick’s father, King Frederick William I, was not keen on the flute playing, which he regarded as effeminate, and at times attempted to ban his son from pursuing this past time.  He was not successful.

It’s well known that Louis XIV was an avid and accomplished dancer in his youth.  In 2000, the Belgian filmmaker the Gérard Corbieu memorably depicted the young king’s dance spectacles in the movie Le Roi Danse (The King is Dancing).

It’s also quite well known that the Sun King was surrounded by music from morning till evening.  Indeed, he was rarely out of earshot of one group of musicians or another.  Even while he was hunting there would have been horns, after all.

At HMV Canada’s going-out-of-business sale at its flagship store in Toronto, I purchased this boxed set of music from Louis XIV’s court.

Les Menus Plaisirs de Louis XIV de Paris à Versailles (Harmonia Mundi), a 10-CD boxed set of music from Louis XIV’s court.

Though in modern times he’s acquired a reputation for Spartanism, Frederick the Great (1712-1786) did himself proud at table.

Die Tafelrunde by Adolph von Menzel (1850), once in the National Gallery of Berlin, where it was burned during the bombing that the museum sustained.  Fortunately, numerous copies and prints exist.   Credit: Wiki Commons.

It looks like a salon in a grand 18th century hôtel particulier in Paris, doesn’t it?

A salon in the Museu Nacional de Arte Antiga (MNAA), Lisbon.

In fact, this salon is from the Paar Palace in Vienna, but it’s now installed in the Museu Nacional de Arte Antiga (MNAA) in Lisbon.  I apologize for the slight blurriness of these images.  The light was difficult.  I also apologize for the inadvertent selfie!

The Chapel was the last major component of the Château to be completed.

Louis XIV had been planning a grand new chapel in the late 1680s when the War of the League of Augsburg (1688-1697), also known as the Nine Years’ War, broke out.  The plans for the Chapel were then shelved.

The Chapel of the Château de Versailles as seen from a street in the town.

When the planning resumed after the end of the war, the King had changed his mind about a crucial point of the design: instead of marble, the white stone known as banc royal would be used for the interior.

Madame Adélaïde (1732-1800) was one of Louis XV’s children.  As such, she was a “Daughter of France,” and was accorded a truly royal apartment in the main block of the Château.

Portrait of Mme Adélaïde in 1787 by Adélaïde Labille-Guiard. It hangs in her sister’s apartment at Versailles.

Her apartment adjoins that of her younger sister, Mme Victoire (1733-1799).  I previously described Mme Victoire’s apartment in an early post on this blog: http://versaillescentury.com/2016/09/22/versailles-mme-victoires-apartment/#more-304

The 2 sisters were the last of Louis XV’s offspring still alive and living in the Château towards the end of the reign of their nephew, Louis XVI. The latter also gave them the Château de Bellevue, and, unprecedentedly, the joint dukedom of Lauzun.  The layout of the rooms today is as it was arranged for the sisters in the 1780s.

For several years I’ve been looking for a French work from or about the Versailles Century (1682-1789) to translate, preferably one that has never been translated into English before.  It also needs to be in the public domain.  It’s been a slow search because every time I found an interesting property it turned out to have been done already or under copyright.  I’m pleased to say that the search is now over.

Beginning this week, I will be serializing for you, dear readers, a French novel about the 18th century that has never before been published in English: Madame de Boigne’s La Maréchale d’Aubemer (The Widow of Field Marshal d’Aubemer).  It’s original subtitle is right up our alley, so to speak: Nouvelle du XVIIIème (A Novella of the 18th Century).

Now, who is this Mme de Boigne, you may wonder?  Though she lived most of her life in the 19th century, Éléonore-Adèle d’Osmond, Comtesse de Boigne, has unassailable Versailles Century credentials: she was born at the Château de Versailles in 1781.  Her parents, the Marquis and Marquise d’Osmond, were courtiers.  Her half-Irish mother had the more prestigious position: she was a lady-in-waiting to Mme Adélaïde, one of Louis XVI’s aunts.  Little Éléonore-Adèle was chosen to be one of the playmates of Louis XVI and Marie-Antoinette’s eldest son, Louis-Joseph, the first dauphin, who died a month before the fall of the Bastille.  After the Revolution broke out, the Osmond family fled to England.

Mme de Boigne in her youth. Credit: Wikipedia.

The Cour de Marbre is part of the footprint of Louis XIII’s original chateau, which was intended to be nothing more than a hunting lodge and a place of quiet refuge from court life.

The Cour de Marbre facade of the Chateau de Versailles.

Louis XIV, of course, had very different ideas for his father’s hunting lodge.  Still, he respected his father’s memory to such an extent that he planned his expansion of the Chateau around the original building instead of knocking it down and starting fresh.   Thus was born the Enveloppe, literally the “envelope” of new construction that enclosed Louis XIII’s hunting lodge.