#Jules Hardouin-Mansart

[angelkarafilli]

Versailles Orangerie

The Versailles Orangerie (French: L'orangerie du château de Versailles) was built by Jules Hardouin-Mansart between 1684 and 1686, before work on the Château de Versailles had even begun. The Orangerie, which replaced Louis Le Vau's earlier design from 1663, is an example of many such prestigious extensions of grand gardens in Europe designed both to shelter tender plants and impress visitors. With the addition of the Orangerie, the gardens, no longer reserved solely for use by Louis XIV, had the added use of a theatrical setting that could be used to entertain guests at court

[fotograrte]

(via Palacio de Versalles: Fuente de Latona (II) – FOTOGRARTE)

[wolfephoto]

The Royal Chapel - Palace of Versailles, France by John Wolfe Via Flickr: La Chapelle Royale, Château de Versailles, France

[denerdnr]

CHÂTEAU DE CLAGNY (WIP) Part 1 - Exteriors

The Château de Clagny was a French country house that stood northeast of the Château de Versailles; it was designed by Jules Hardouin-Mansart for Madame de Montespan between 1674 and 1680. Although among the most important of the private residences designed by this great architect, it was demolished in 1769 after years of neglect.

According to the writings of Madame de Sévigné, it would have cost not less than 2 million livres, and to have kept 1200 workers occupied. André Le Nôtre designed the layout of the gardens. Currently, its appearance can only be traced through the engravings made of it, and scattered references in the archives of the Bâtiments du Roi.

[blueshistorysims]

September 1921, Henford-on-Bagley, England

Dearest sister,

I hate it. I bloody detest it. Thomas, the title, the fucking castle. I could go on for hours about the castle. It is beautiful, yes, and full of history, but my god, it costs 6,000 bloody pounds a month to even run it. 72,000 a year. That’s more than I would make in fifteen years in my field of work. I think once Thomas dies I am going to sell it. I don’t see the need to live in a Versailles Palace knock-off. I was told that they even hired Jules Hardouin-Mansart and his successor Robert de Cotte to design the place back in 1709. 

I spend six days a week with his grace, learning the skills and duties of a duke. He’s hired an etiquette coach to teach me how to dine properly (there is no need to be so many types of spoons and forks, why is there a fork just for eating cheese and another for snails?), a ballroom instructor to teach me to dance waltzes, and I spend hours with the estate manager, learning to the run the bloody place. Stella has escaped these tortures because her mother thought it be would smart to learn American, English, and French etiquette and dining styles. 

Sundays are my only free day, and I spend it with Stella. She hates it here more than I do. She tells me that she wants to go home, back to New York. I don’t blame her. The countryside has almost no society, and we avoid the neighbors—Thomas doesn’t think we are ready to be in proper society yet. It is so bluntly obvious that he does not like us I almost laugh. 

He leaves for London for parliament soon. I am tempted to sneak away on a boat back to New York. Change my name and run to California where Stella and I will run a hotel. It began as a joke at first, but I wonder if she’s starting to be semi-serious now. I think I will make a case to let us live in London, that way we will be near you and Francesca, and Stella knows people in London. She won’t stuck in a society based on racial privilege and merit. I just want to pursue my own life with my own interests. 

I will send a telegram when I am in London. Hopefully soon. 

Your darling suffering brother, Byron

East London

Giselle set the letter down and sighed. Of course Byron was complaining about living in a castle. She understood why he was angry, but she was living in a tiny apartment in East London, barely making ends meet if she and Francesca weren’t both working. The only person she felt sorry for in the matter was Stella.

“Oh Giselle,” Francesca wailed, opening the door and slamming it behind her. She was crying.

Giselle stood up in shock. “What happened, dearest? What is the matter?”

“I’ve had a telegram from the family lawyer. Aunt Rosamond is dead.”

[history-of-fashion]

1685 Hyacinthe Rigaud - Jules Hardouin Mansart

(Louvre Museum)

[detournementsmineurs]

Entrée du "Pavillon Vendôme" construit pour Jean Delaunay (circa 1670), ayant appartenu ensuite à Françoise Moreau, maîtresse de Philippe de Vendôme qui commanda des embellissements sous la direction de l'architecte Jules Hardouin-Mansart (1699), puis vendu en 1720 à Louis Armand de Bourbon, Prince de Conti (1720), à Clichy, février 2024.

[raoullemercier]

2022 Arles, vestibule de l'Hôtel de Ville 1673-1676 Jules Hardouin-Mansart architecte

[infinitynumber]

Chateau de Versailles Airelles is a must for visitors to Paris

"A Place to Stay With a Touche of Classic Style & Traditional Glamour in "Airelles Chateau de Versailles"

The Story

It began life as a modest hunting lodge built by Louis XIII in 1623, but under the ownership of Louis XIV, Versailles became a magnificent palace renowned throughout the world. Over the course of more than 100 years, and during numerous successions to the throne, the building was embellished and enlarged to accommodate the court of Louis XIV, Louis XV and Louis XVI. Now considered one of the finest achievements of French art, the Palace of Versailles remains a cultural symbol of royal splendour.

Set within the gates of Versailles, Le Grand Contrôle was built in 1681 by Jules Hardouin-Mansart, Louis XIV’s favourite architect and an icon of French classicism. The grandiose building once played host to Europe’s political and cultural elite, from ambassadors and artists, to musicians, writers and scientists of the Enlightenment.

Now, more than two centuries later, Le Grand Contrôle has been entirely restored, offering guests an exclusive peek into the world of Versailles. Unlock access to the 2,000 acre-strong gardens, retrace famous footsteps and explore the palace halls and apartments like never before. With 14 sumptuous Rooms and Suites replete with period furnishings and fittings for a royal stay, guests are invited to step back in history, but one coupled with contemporary comforts.

Paying homage to the rich history, every element at Le Grand Contrôle touches upon its former 18th-century splendour, from carefully-sourced interiors, right down to the uniforms worn by the welcome team. Furniture and paintings that once had a place in the palace have been reunited with their former home. Technology has been thoughtfully considered throughout; in place of TVs, guests will instead discover views of the Orangery Garden and the Lake of the Swiss Guards beautifully framed by drapery, whilst the lighting has been sensitively designed in keeping with 18th-century styling.

Throughout their stay, guests will enjoy revamped takes on royal classics – from the Alain Ducasse restaurant to the Valmont Spa. As always, the art of French service is taken to sublime levels as guests are treated like nobility at every opportunity. When it comes to sustainability, historical traditions have been replaced with 21st-century thinking, with new technology embraced throughout the hotel. Geothermal energy has been used to heat the building whilst LED lights give new life to antique chandeliers. Ingredients for the restaurant have been sourced from local suppliers, and guests will find zero single-use plastics in rooms.

For more info & Booking, please visit the Hotel Airelles Palace website

Photo Credit from The Airelles Palace

[chez-mimich]

Parigi, agosto 2023. La Place de Victoires è la piazza più negletta di Parigi. I turisti non ci vengono, i parigini la ignorano, eppure è una piazza bellissima, ideata da Jules Hardouin-Mansart per Luigi XIV. Hardouin-Mansart è l’architetto che ha ideato anche Place Vendôme ed è l’inventore della “mansarda”. Amo passarci alla sera nel momento in cui il sole ne accarezza i tetti, certamente il momento migliore lontano dalle convulsioni del traffico e senza le incombenze e le esigenze della quotidianità urbana…

[afrocharacter]

La Place Vendôme est l'un des lieux les plus célèbres de Paris. Située dans le 1er arrondissement, elle est réputée pour ses bâtiments historiques et ses boutiques de luxe.

Construite en 1699 par Jules Hardouin-Mansart, sur ordre de Louis XIV, elle a été conçue comme un carré parfait, avec des colonnes en marbre blanc qui s'élèvent à la hauteur de la façade. Au centre de la place se trouve une statue de Napoléon Ier, érigée en 1810.

Connue pour ses boutiques de luxe fréquentées par des célébrités et des personnalités du monde entier, elle est également connue pour ses luxueux hôtels, dont le Ritz et le Meurice.

La Place Vendôme est un lieu très populaire pour les touristes et les parisiens. Fréquenté par des milliers de personnes chaque jour pour ses bâtiments historiques et ses boutiques de luxe, ce lieu unique et magique ne vous laissera pas sans impressions.

[durchiq]

Plaza Vendôme - My maps

La Plaza Vendôme es una plaza histórica ubicada en París. La plaza es conocida por su arquitectura clásica francesa, diseñada por Jules Hardouin-Mansart en 1699, y por la Columna Vendôme, levantada por Napoleón en 1810. La plaza ha sido clasificada como monumento histórico desde 1992 y es una de las plazas más famosas de París.

La arquitectura de la plaza es elegante y austera, con un basamento de arquerías almohadilladas y un orden de pilastras que forman tetrástilos con un frontón. La plaza fue diseñada para estar rodeada de grandes edificios, como la biblioteca Real, el hotel de la Moneda, el hotel de las Academias y el hotel de los Embajadores. La plaza es un símbolo de la alta joyería francesa desde la llegada de las más prestigiosas casas en el siglo XIX.

La place Vendôme se configura a partir de un rectángulo de esquinas despuntadas. Que dan la sensación ser un espacio octagonal (se cree esto podría ser una reeinterpretación del uso del óvalo de Bernini pero con rasgos renacentistas al estar emulado mediante lineas rectas) los edificios que le construyen el contorno son de diseño regular, 3 pisos de altura mas una buhardilla en el techo. La altura total estaba específicamente delimitada para que no fuera superior a los 18 metros de altura de la estatua.

Bibliografias:

https://www.paris.es/plaza-vendome

https://es.m.wikipedia.org/wiki/Plaza_Vend%C3%B4me

Historia II - Dubrasca Maldonado - my maps

[fotograrte]

Palacio de Versalles: Fuente de Latona (II)

Como ya señalé en la anterior entrada sobre esta fuente, representa una historia de las Metamorfosis de Ovidio: la fuente de Latone ilustra la leyenda de la madre de Apolo y de Diana protegiendo a sus hijos de las injurias de los campesinos de Licia, y pidiéndole a Júpiter que la vengue, lo cual hizo transformándolos en ranas y lagartos. El grupo central de mármol, esculpido por los hermanos…

[wolfephoto]

Place Vendôme - Paris 2023 by John Wolfe Via Flickr: The Place Vendôme (French pronunciation: ​[plas vɑ̃dom]), earlier known as Place Louis-le-Grand, and also as Place Internationale, is a square in the 1st arrondissement of Paris, France, located to the north of the Tuileries Gardens and east of the Église de la Madeleine. It is the starting point of the Rue de la Paix. Its regular architecture by Jules Hardouin-Mansart and pedimented screens canted across the corners give the rectangular Place Vendôme the aspect of an octagon. The original Vendôme Column at the centre of the square was erected by Napoleon I to commemorate the Battle of Austerlitz; it was torn down on 16 May 1871, by decree of the Paris Commune, but subsequently re-erected and remains a prominent feature on the square today.

[steliosagapitos]

~ “When Luis XIV died, his great-grandson and heir, he was only five years old. For the next eight, while Felipe de Orleans, as regent, controlled the State, a sketch of what the authentic reign and style of Luis XV was started. The courtes were too fed up with the austerity conditioned by the religious life that the ancient king had forced them into. They longed so much for joy, humor and brilliance, that the excesses of the regent and his followers set a record in what extravagance and indulgence meant. Pleasure was his motto, and the Regency era gave the impression of being a long succession of fun, dances, operas, comedies, concerts and random games. Although during that barahunda no new style was actually developed, the eight year rule of Felipe de Orleans is usually attributed to the transition from previous greatness to unrest in the ornamentation of the Louis XV period. The ornament was its main feature, and the perhaps excessive introduction of the rock and shell was precursor to the rock avalanche that was to arrive later.

In a way, the Regencia style (1715/1723) was a transition between the Luis XIV and Luis XV styles, as it shows common characteristics to both. This has led to confusion in sorting individual pieces of this furniture. During the last years of the reign of Louis XIV, several artists and artisans had already begun to lay the bases of changes in esthetics and forms, which would promote evolution in a new style, during the period of the Regency. Among the most important are the architect Robert de Cotte (1656/1735), disciple of Jules Hardouin Mansart and his successor (in 1709) as Premier Architecte du Roi. Among other things, Cotte designed the Royal Chappel in Versailles and the Hôtel de Toulouse, the building in Paris that now houses the Bank of France. Among the carpenters who worked under his direction and who were influenced by him were Du Goullon, who created the choir chair at Notre Dame, François Potain the Old, who made several cabinets and display furniture for Versailles, Nicolas Foliot the Old who made several furniture for the Prince de Condé and Jean-Baptiste Tilliard, supplier of furniture for court.

In addition to André-Charles Boulle and Jean Berain el Viejo, who had a decisive influence on the decorative arts of the time, Charles Cressent's name deserves a mention. He created elegant and sumptuous furniture for the regent, the Duke of Orleans, which was in accordance with the interiors designed by Gilles-Marie Oppenordt (1672/1742).

Oppenordt was born in Paris and educated at the French Academy in Rome. His work was clearly influenced by Bernini, Borromini and other Italian Baroque architects. After his death, three volumes of his collected drawings were published in 1748, with the titles Petit, Moyen and Grand Oppenordt, and containing designs for boiseries (decorative wood wall coverings), panels, furniture, consoles, lamps and posters.

Despite the curves and countercurves, whims and oddities of their designs, the balance and symmetry of the decorative ornaments of the latter years of the 17th century were preserved to some point. From 1715, Oppennordt was the court architect of the Regency.

Probably the most enduring influence on the decorative arts of this era was painter Jean-Antoine Watteau (1684/1721). Reproductions of his slender and imaginative ethereal figures and landscapes, as well as decorative motifs of his paintings, drawings and posthumous engravings can be found on tapestry, porcelain, glassware and furniture from the time.

Watteau composed paintings inspired by the legendary Cathay: frivolous fantasies with idols and goddesses, priests, courtesians, temples and canopies shaped like canopies, all with an exquisite taste. Sometimes, figures in comedy art look from behind vultures or foliage. He was probably the first artist to incorporate spagnolettes (young Spanish) in his paintings; these were female heads with high and stiff lace necks, popular use in Spain. On the contrary, Claude Audran III designs grotesque and arabesque with dancers, who enjoyed great popularity during the Rococo period, and strange little scenes in which monkeys behave like humans, themes that were adopted by Jean Bérain and Christophe Huet.

The furniture of the Regencia retains part of the heavy monumentality of the previous era, but the fluid line of the Rococó was starting to emerge. The earliest examples of “bug feet” (hoof legs) and curved console-style legs can be found in chairs made around 1690; the chair backs were curved and the seats were more rounded. All types of furniture are remarkable for their vigorous contours. The cabinets acquired curved cupboards and their legs became longer and less flattened, so the furniture seemed thinner and lighter. During the Regency period, carved wood assumed an increasingly important role and towards the end the chambranas between the legs disappeared.

Chairs made from 1718 onwards had shorter armrests, to accommodate women's hooped skirts more comfortably. During this period, multicolored and gilding remained as popular as ever, and ebonyists confirmed the tradition of marquetry and bronze ornaments. Decorative motifs do not differ much from those of earlier times. However, the work of Boulle and other artisans shows the influence of Berain’s designs in his grotesques with clown fantasies, acrobatic monkeys, chimney-shaped arabesque and floral decorations.

The simple, geometric, rhomb-shaped marquetry in palorosa or purple wood was also very popular. The woodworkers developed very quickly new elements of furniture, especially comfortable ones, a variety of side tables, seat furniture, and large desks known as ‘bureaux plates’.” ~

[camigvu]

Hôtel National des Invalides (Los Inválidos)

Paris, Francia.

Arquitectos: Libéral Bruant y Jules Hardouin-Mansart Construcción: 1671 Inauguración: 1687

El Hôtel National des Invalides es un complejo monumental situado en el distrito 7 de París, Francia. Fue construido en el siglo XVII por orden del rey Luis XIV para albergar a los veteranos de guerra y soldados heridos, así como para servir como centro de atención médica y hospital.

El complejo incluye varios edificios, siendo la iglesia de Saint-Louis-des-Invalides el más destacado. Fue diseñada por el arquitecto francés Jules Hardouin-Mansart y es considerada una obra maestra del barroco francés. En su interior, se encuentra la tumba de Napoleón Bonaparte. Incluye varios museos, como el Museo del Ejército, que cuenta con una amplia colección de armas, uniformes y objetos militares desde la Edad Media hasta la Segunda Guerra Mundial, y el Museo de la Orden de la Liberación, que presenta la historia de la resistencia francesa durante la Segunda Guerra Mundial.

En resumen, el Hôtel National des Invalides es un importante monumento histórico y cultural de París, que combina una impresionante arquitectura barroca con una fascinante colección de objetos militares y una conexión directa con la historia de Francia, representada en la tumba de Napoleón Bonaparte.

MAPA + FICHA

Camila Villalba | Historia de la Arquitectura II | Prof. Rebeca Tineo

@lonuevodenuevo