7 France (paris & edo p1)

Paris

(paris + edo)

paris = pop = x2 = largest metroplis in Europe at the time

• both absoluet ruler = urban space = manifestation of authirty

• NOT a patchwork

mpw lppl at centtzied syae w asboluet ruler = mew world eoncoecmy =

Paris and Edo demonstrate how powerful centralized rulers used urban development to express authority, organize society, and support the growth of an early modern economy.

• Paris and Edo were the largest metropolitan centers of their time.

  • Paris's population roughly doubled, while Edo grew into one of the world's largest cities.

• Both were ruled by absolute or highly centralized rulers.

  • Louis XIV in France and the Tokugawa shoguns in Japan used urban space as a visible manifestation of political authority.

• Urban planning reflected centralized state power.

  • Cities were organized to project order, control, and hierarchy.

• Neither city developed as a random patchwork.

  • Their growth was shaped by government intervention, administrative control, and infrastructure projects.

• Both became centers of the emerging early modern economy.

  • Population concentration, trade networks, and political centralization helped integrate them into larger economic systems.

major family + people

Hapsburg + brasburg

• Architects traveled between Italy and France, helping Habsburg and Bourbon rulers develop elaborate urban plans that expressed centralized political power.

• The Bourbons built a highly centralized French state with the king at the center of political power.

  
  

monarch —> nobility —> bourgeois

arc = travel 2 bw Italy and France - elaborate set 4 power splay/urban plans

Architects traveled between Italy and France, helping Habsburg and Bourbon rulers develop elaborate urban plans that expressed centralized political power.

King timeline france

• François I (Valois) → Renaissance Louvre, Serlio, Pierre Lescot

• Henri IV (Bourbon) → rebuilding Paris, Pont Neuf, Place Royale

• Louis XIII (Bourbon)

• Louis XIV (Bourbon) → Versailles, Louvre East Façade (Perrault)

Francois I background

+louvre info (og vs his idea)

Moved city 2 Paris from Venice

Louvre = 21st project - og was cube fortress 2 defend city from Norman

Francois I = demolish fortress —> renaissance louvre

He is famous for bringing Italian Renaissance ideas to France.

• Original Louvre

  • Built as a medieval fortress.

  • Intended to defend Paris, especially from threats coming up the Seine, including Norman/Viking attacks.

  • The original structure was essentially a fortified castle.

• François I

  • Wanted a Renaissance royal residence rather than a military fortress.

  • Began demolishing parts of the medieval Louvre.

  • Started transforming it into a Renaissance palace.

Sebastian Serlio + Louvre

proposed series of courtyards to take place of cube

• not commisoned

insteafd brought 3 people - 1 acr. 1 doc, 1 apinetd

• Serlio was invited to France by François I as part of the king's effort to import Italian Renaissance culture.

• The medieval Louvre was still essentially a fortified, cube-like castle.

• Serlio proposed a more Renaissance approach:

  • a sequence of courtyards

  • a more open and ordered composition

  • emphasis on symmetry and classical forms

• His proposal was never commissioned or fully realized.

• Not "rejected" in the same way Bernini was

• Many of his ideas were influential, even if his exact designs were not fully built

• Helped shift the Louvre from a defensive castle to a Renaissance royal residence

who did Francois 1 commission for the Louvre

Pierre Lescot

commisoned 4 Louvre

Aile Lescot - focus with Francois

louvre

aile Lescot wing

(pierre lescot, paris, 1546)

Louvre- Pierre Lescot

• Lescot Wing

Francois 1

• Classical elements used in unconventional ways

• More decorative façades

• Greater emphasis on elegance and visual complexity

• Elongated proportions and rich sculptural ornament

• Focus on verticality

• Courtyard façade (Cour Carrée)

• Three stories

• French Renaissance

• Structure and ornament integrated

• Rich sculptural decoration (Jean Goujon)

Louvre- Pierre Lescot Facade - Francois 1

pilaster, niche. edicules,, seen in niche, repeated on facade, frieze

G floor =recessed arches = pilasteres defined window, carthyids

Projecting pavillion, painted pilasters, round, bullseys winow, Caryatids

2nd floor = slender pilaster

pediment on top alt w triangle and arch pediment

verticality

• Strong vertical divisions

• Tall windows

• Repeated pilasters

• Upward visual movement

• projected pavillion

Ground Floor

• Recessed arches

• Heavier appearance

• Pilasters frame openings

• bullseye window

Creates a solid base.

Piano Nobile (Main Floor)

• Richest decoration

• Larger windows

• Strong classical articulation

• alternate pediment + segmental arch

• slender pilaster

Upper Floor

• More delicate

• Slender pilasters

• Lighter visual weight

• Caryatids

• frieze

• pediment @ v top

• flat roof

• concave roof

• bullseye + clock

• triangular pediments

• Segmental (arched) pediments

This creates visual variety and is a classic Mannerist move.

Henri IV

He was the first Bourbon king of France

Paris had been devastated by:

• Religious wars

• Political instability

• Disease/plague

• Poor sanitation and garbage in the streets

Siege of Paris - capture paris controlled by catholis league, famine, seige lifted

King Henry IV

• Became king after the Wars of Religion

• Sought to reunify France

• Rebuilt and improved Paris

• Used urban projects to strengthen royal authority

• Made Paris a capital worthy of the monarchy

Rebuild Paris and make it a capital worthy of a unified France.

break seighe = attempt to capture capita

france/paris = warfare + plauge + garabahge on street

Henry = rebuild Paris = worthy for his and his institution which he wants to establosh in Paris to help run France

The louvre transiition (quick overview)

The Evolution

Medieval Louvre

• Defense

• Feudalism

↓

Lescot Wing (Francois 1)

• Renaissance palace

• Royal culture

↓

Grand Galerie (Henri IV)

• Unified royal complex

• Centralized monarchy

↓

Louis XIV Louvre

• Monumental royal authority

• French Classicism

↓

Versailles

• Complete expression of absolutism

• Entire landscape organized around the king

The louvre transiition (overview)

Medieval Louvre

• Fortress

• Built for defensse —> Thick walls, towers, moat

• Represents feudal power

• King is one lord among many

Goal: Protect Paris

↓

François I + Pierre Lescot (Renaissance)

• Demolishes portions of the fortress

• Creates a palace instead of a castle

• Courtyard façade (Cour Carrée)

• Classical architecture

• Humanism and culture replace military image

Goal: Show that the king is cultured and powerful

Shift: Fortress → Royal Palace

↓

Henri IV + Le Grand Dessein

• Connects Louvre to Tuileries through the Grand Galerie

• Creates one enormous royal complex

• Unifies previously separate buildings

• Makes royal power visible across the city

Goal: Show the monarchy is permanent, centralized, and unified

Instead of: castle here , palace there, city growing randomly

Henri IV creates: one continuous royal landscape stretching along the Seine.

↓

Louis XIV

Louis XIV continues the Louvre:

• Completes parts of Cour Carrée

• Builds East Façade (Perrault)

• Creates monumental classical architecture

Versailles

Louis XIV decides: Instead of adapting Paris to suit the monarchy, create an entirely new royal city.

Versailles becomes:

• Palace

• Administrative center

• Court

• Political machine

All organized around the king.

Le Grand Dessin -

louvre of henri iv (1594-1610CE)

• Ambitious plan to unify the royal palaces of Paris

• Intended to create a continuous royal complex

• Symbol of a strong, centralized French monarchy

• Helped transform Paris into the political capital of France

• Broke from the medieval image of the Louvre as a fortress

grand gallery across the Seine

• Built along the Seine River

• Connected the Louvre Palace to the Tuileries Palace

• One of the longest galleries in Europe at the time

• Physical and symbolic link between royal residences

• Tangible symbol of royal power and unity

• Demonstrated permanence and stability after the Wars of Religion

Kouvre symbol + construction

tanegible symbol pof

not connected to medivbal past

keep building on couryard

not finished until Louix 14th

Why connect Louvre and Tuileries?

Political reason

• France had just emerged from the Wars of Religion.

• Henri IV wanted to demonstrate a unified kingdom.

• One giant palace complex = one king, one state.

Urban reason

• Began organizing Paris around royal institutions.

• Created a stronger connection between buildings and the city.

Symbolic reason

• The monarchy becomes larger than any individual building.

• Power is expressed through the entire urban environment.

Grand gallery connects to Lopuvre @ Tuilerires Palace

• Le Grand Dessein = unification of Louvre + Tuileries

• Expressed centralized Bourbon authority

• Linked architecture to state-building

Exam Flashcard

Why was Le Grand Dessein important?

• Connected the Louvre and Tuileries through the Grand Galerie.

• Unified previously separate royal buildings.

• Symbolized centralized Bourbon authority.

• Marked the transformation of the Louvre from a medieval fortress into the core of a royal urban complex.

• Served as a precursor to the larger state-planning ambitions later realized at Versailles.

A professor would probably say:

The physical connection of the Louvre and Tuileries mirrored the political connection of France itself under a centralized monarchy. That is why the Grand Galerie is much more than a hallway; it is an architectural expression of nation-building.

Palace Royal

Palace Royal - place des vosges

inspo = italian piazza

1st planed urban housing proj/square in Paris (rectange enclosed by uniform row houses)

• like Palazzo Mayor

• follow common design = harmony

exclusive 4 residents

• Henry IV - 2 pavilion (N&S)

  • Two prominent pavilions:

    • Pavillon du Roi (King's Pavilion) to the south

    • Pavillon de la Reine (Queen's Pavilion) to the north

• - each lot = nobility —> deigsned conformed

  • 4 bays wide 3 bays high brick

• Henri IV

• Inspired by Italian piazzas

• Uniform square enclosed by row houses

• Two pavilions (King & Queen)

• Lots sold to nobility but façades had to conform

• 4 bays wide, 3 stories high

• Brick + stone construction

• Early example of planned urban design and centralized authority

Henry IV urban

social purpose

• Intended for the nobility and wealthy elite

• Created a prestigious residential district in the city center

• Encouraged nobles to maintain residences in Paris

• Helped concentrate political and social elites near the monarchy

• Nobles traditionally preferred large country estates

• Henri IV wanted elite families to spend more time in Paris

• Urban residences placed nobles closer to government and royal institutions

• Strengthened royal oversight and influence

scoial gorup nmeet by unofrim aracde

country tuler - temoiry resindet in central city

• not convied court houses better than their bigger country houses 4 rulers

Palace Royal Arc Features (7)

• Uniform façades

• Red brick with stone trim

• Arcades at ground level

• 4 bays wide

• 3 stories high

• Two dominant pavilions:

  • Pavillon du Roi (King)

  • Pavillon de la Reine (Queen)

+Uniform arcades

• Continuous arcades around the square

• Created sheltered pedestrian space

• Encouraged interaction among residents

• Allowed different social groups to gather in a common public space

• Unified the appearance of the square

Hotel Particulier

Hotel Particulier basics

• Private town house for wealthy nobles or aristocrats

• Located within the city, especially Paris

• Not a hotel in the modern sense

• Urban counterpart to a country estate/château

• A type of building, not a specific building

• Private urban mansion for French aristocrats and wealthy nobles

• Usually found in Paris during the 16th-18th centuries

• Urban equivalent of a country château

Hotel Particulier

sequence

1. 1. Porte Cochrere

2. 2. Cour d Honner

3. 3. Gcuries

4. 4. Corpse de Logis

5. 5. Garden

a. Cor de CUsine

b. antichambre

c. cabiney

d. chambre

1. 1. Porte Cochrere

carriage entrance

stree wakk

covered entracen - seen in many french surbvana houses

Monumental carriage entrance from the street

Allows horses and carriages to enter directly

Separates the private residence from the public street

1. 2. Cour d Honner

ceronomial couryard

seperate main building from street w foundatins scultures

• Formal entrance courtyard

• Ceremonial arrival space

• Displays wealth and status before entering the house

• Main façade typically faces this courtyard

1. 3. Corspe de logis

main block repcetion + priavte bedroom

• Main residential block

• Principal living quarters of the owner

• Most prestigious part of the residence

Écuries

• Stables and service buildings

• Housing for horses, carriages, and servants

• Usually located off the courtyard

5. Garden

behind corpse de logis

private outdoor space

• Buffer from neighboring properties

• Brings light, air, and nature into the urban residence

Ground floor

family lving qyarers

a. Cor de CUsine

service yard kicthens serven stirage

• Service court

• Kitchen and deliveries

• Servants' circulation

• Usually separated from formal rooms

very close by = need service quick

b. antichambre

bistors

waiting room

• Reception/waiting room

• Controls access to owner

• Visitors stop here first

c. cabiney

small privaet room

attached to cahmbre

study or writing

• Main chamber/bedchamber

• Important ceremonial room

• More private than antichambre

d. chambre

private/ceremonial/bed

• Small private study

• Reading, writing, collections

• Most private room

hôtel de sully, jean androuet du cerceau, paris, 1624-1629

hôtel de sully, jean androuet du cerceau, paris, 1624-1629

• Built for Maximilien de Béthune, Duke of Sully (Henri IV's minister)

• One of the best-preserved examples of a Parisian hôtel particulier

• center of paris

• Perfect example of the French aristocratic urban mansion

• Demonstrates the sequence:

  • Street → Porte Cochère → Cour d'Honneur → Corps de Logis → Garden

• Separates public and private life

• Creates a ceremonial approach to the house

• Allows aristocrats to live in the city while maintaining privacy and prestige

Sequence:

• Porte Cochère

• Cour d'Honneur

• Écuries

• Corps de Logis

• Garden

What stays the same?

what changes?

What stays the same?

• Porte cochère

• Cour d'honneur

• Corps de logis

• Garden

• Strong hierarchy of spaces

What changes?

• More decorative and monumental

• Additional service courts (cour de cuisine)

• Richer ornament and sculptural detail

• More complex circulation routes

• The garden is integrated into a larger urban setting

• Growing wealth of the nobility

• Increasing emphasis on ceremony and status

• More separation between servants and owners

• More refined control of privacy

edicule (west wing)

borrow stuche = elemnts (water/earth)

hôtel lambert, louis le vau, île st louis, paris, 1640-1644

hôtel lambert, louis le vau, île st louis, paris, 1640-1644

• WE top of S louid

• - lighter, complicted not a

• - cant do normal sequnce

• 4 gardned

• - not rlly a corpse de logiua

more free classic past seeen in Italy = baruoq = inc elemnts of academic plan - diff distribution

Hotel de Lambert Basic

• Courtyard and garden are arranged differently than in a typical hôtel particulier

• Main rooms face the river

• Greater emphasis on views and landscape

• Garden becomes a key visual feature

• Strong relationship between building and river setting

• Combines urban residence with the feeling of a country estate

Hotel Lambert diff Hotel Particular design

Not a simple rectangular corps de logis

Multiple garden spaces

River views become an important design feature

Blends urban mansion and riverside villa

• Located at western tip of island

• Irregular site prevents standard hôtel particulier sequence

• More complex plan than Hôtel de Sully

• Multiple gardens/views

• Strong relationship to the Seine

• Adapts the hôtel particulier type to a constrained urban site

What changes? (3)

1. The gardens become destinations

In a standard hôtel particulier:

• garden = private backyard

At Hôtel Lambert:

• gardens are carefully positioned to capture river views

• gardens become part of the experience of moving through the house

• landscape becomes almost as important as the building

2. The Seine becomes a façade

Normally:

• the important façade faces the Cour d'Honneur

At Hôtel Lambert:

• many of the important rooms open toward the river

• the scenery becomes part of the architecture

Think of it almost like a villa rather than a city mansion.

3. Less emphasis on the central Corps de Logis

doesn't mean there is no corps de logis.

• the traditional single block is less dominant

• the composition spreads out

• gardens, terraces, and views become equally important

The whole property is experienced as a sequence of spaces rather than one big house.

• Rue Saint-Louis-en-l'Île runs along the bottom.

• The Cour d'Honneur is on the left.

• The Corps de Logis stretches across the middle.

• The garden is pushed to the far right at the tip of the island.

• Beyond the garden is the Seine.

Because it's on the tip of Île Saint-Louis:

• The site narrows toward the end.

• The garden becomes a special destination rather than just a backyard.

• The garden is strategically placed to take advantage of river views.

• The building engages the landscape much more than a typical hôtel particulier.

Compare

Hotel de Sully and Hotel Lamber

Compare

Hôtel de Sully

• Classic hôtel particulier arrangement

• Focus on courtyard sequence

Hôtel Lambert

• Modified arrangement due to constrained island site

• Emphasis on river views and landscape

• More spatially innovative within the hôtel particulier tradition

Lescot mistake (louvre)

miscalc height of tower + diemsion which would have impacted the light = dec = GOOD THO bc he neever built it

Louis XIV (r. 1643–1715)

•  → epitome of absolutist monarchy.

•  rise of rational organization, scientific principles, and bureaucratic coordination in governance.

• Expanded the French army = Europe’s largest, efficient force.

• National defense prioritized state protection over individual cities.

• The king’s image =  “Sun King” = w media, performance, and spectacle—costume, choreography, literature, and architecture unified to project divine authority.

louvre, east façade (louis le vau,

charles lebrun, claude perrault,

paris, 1667-1670CE)

louvre, east façade (louis le vau, charles lebrun, claude perrault, paris, 1667-1670CE)

• 3 people brought in

• 1 arc, 1 soc, 1 painted

• east facad of Louvre

• inter coloumns = space btw coloumns

• Vitruvius = correct space

  • new narrow sapce

  • diff space

• 6th explore by Le Vau

• paired corinthian coloumns

• pvillion - projected

• rustication

• roof hideen = horizionatlly

• coloumns - even space but every other colpoumn = moved

• french - light approah wide space (strcuture + ornament calss

louvre, east façade (louis le vau, charles lebrun, claude perrault, paris, 1667-1670CE)

details

Classical Proportions

• Focus on the spacing between columns, known as intercolumniation.

• Vitruvius established rules for the correct spacing of columns.

• The façade experiments with different column spacing, creating a new and narrower rhythm between supports.

Architectural Features

• Paired Corinthian columns form a monumental colonnade.

• Every other column is slightly adjusted, creating subtle variations while maintaining an overall sense of regular spacing.

• Central and end pavilions project outward from the façade, emphasizing important points in the composition.

• Ground level features rustication, giving the base a heavier, more textured appearance.

• The roof is concealed from view, strengthening the façade's strong horizontal emphasis.

French Classical Approach

• Wider spacing and a lighter treatment of the façade compared to many Italian classical precedents.

• Architecture balances structure and ornament, creating a sense of elegance and order.

• Emphasizes clarity, proportion, and horizontal composition.

Cardinal Mazarin (1602–1661)

•  Italian diplomat, successor to Richelieu, prime minister under Queen Anne of Austria.

• Deeply influenced by Roman Baroque and the Barberini circle of Pope Urban VIII.

• Commissioned Martino Longhi the Younger’s ornate façade for Santi Vincenzo e Anastasio (1646, Rome) → triple portico overlooking Trevi Fountain.

• Promoted Roman taste in Parisian architecture.

Val‑de‑Grâce, Paris

Val‑de‑Grâce, Paris

Convent church of Val‑de‑Grâce (begun 1645, completed 1665) → designed by François Mansart and Jacques Lemercier for Queen Anne.

• Strongly Roman character: façade inspired by Giacomo della Porta and Carlo Maderno.

• Grand volutes transition between levels, Corinthian entry porch framed by shadow pilasters and niches.

• Dome: compact crown of colonnaded buttresses— St. Peter’s dome.

Collège des Quatre Nations (Institut de France) - Architecte: Louis Le Vau (de louvre architecture after mazarin death took over) (completed 1662).

Collège des Quatre Nations (Institut de France) - Architecte: Louis Le Vau (de louvre architecture after mazarin death took over) (completed 1662).

• Founded by Mazarin 

• Funded = beloved program - divert attention from corruption → created his wea;th 

• Intended as a mausoleum and college for students from newly annexed regions.

• Features: lateral oval dome, concave wings, balustraded parapets, and steep French roofs—fusion of Roman fluidity and French restraint.

Vaux‑le‑Vicomte

Vaux‑le‑Vicomte

• Build 1656–1661 for finance minister Nicolas Fouquet; architecture Le Vau, gardens by André Le Nôtre.

• Plan = Collège des Quatre‑Nations: central oval dome, concave wings, and symmetrical axial gardens.

• Gardens: terraced geometric progression of topiaries, hedges, basins, and broderie parterres.

• The Oval salon served as a double‑height reception hall opening to garden views.

• Fouquet’s lavish fête (1661) for Louis XIV led to his downfall—imprisoned for ostentation and perceived disloyalty.

From Vaux‑le‑Vicomte to Versailles

• Fouquet’s imprisonment (1661) led Louis XIV to appropriate his design team—Le Vau, Le Nôtre, and Le Brun—for Versailles.

• Versailles evolved from a small hunting lodge into the largest architectural project of seventeenth‑century Europe.

Jean‑Baptiste Colbert

• Colbert (1619–1683) → Mazarin’s protégé and Louis XIV’s chief administrator.

• Reorganized France’s finances and created a state‑run propaganda system to glorify the king.

• Founded Gobelins Manufactory (1667) for tapestries and luxury furnishings.

• Expanded royal academies (letters, arts, architecture) → promoted rationalism and classical order in design.

• Advocated architectural competitions and invited Bernini (1665) to design the Louvre east façade.

Bernini and the Louvre

• Jean‑Baptiste Colbert

• Bernini’s early designs echoed Le Vau’s oval composition; later versions simplified into flat, rhythmic pilasters and colossal half‑columns.

• Only the flat cornice line—a hallmark of Italian palaces = in the final scheme.

• After Bernini’s departure, Le Vau, Claude Perrault, and Charles Le Brun completed the façade (1667–1670).

• Perrault: physician, scientist, translator of Vitruvius, and advocate of empirical modern classicism—architecture guided by reason, not imitation.

• Final design: east facade - central block w central pediment, columns, corner towers with paired pilasters, paired Corinthian  behind and balanced rhythm—a synthesis of ancient proportion and modern clarity.

Versailles: The Sun King’s Vision

château de versailles, garden façade (louis le vau, andré le nôtre, jules-hardouin mansart, versailles, begun 1661CE)

Versailles: The Sun King’s Vision

(basic)

• Louis XIV expanded Versailles (17 km west of Paris) as a symbol of absolute power and cosmic order. ( center of stellated pattern of the town adjacent, and vast park = expanded beyond horizon) 

• Move from Paris served dual purposes: security and control of the nobility, who were required to reside at court.

• Paris unified = went to Versailles

Château = og hunting lodge - C-shaped lodge - sill there 

Versailles = absolute monarchy - chateu- ow city

Versailles: The Sun King’s Vision

(site)

• BAD CHOICE: mqarshy land _ no H@) supply + no growth 

• Built marshy - 2 supply H2O

Versailles: The Sun King’s Vision

(1st expansion)

• Added series of volumes flanking U‑shaped Marble Court, kitchens, stables, ministries, and offices.

• Brick façades ennobled with marble columns, gilded balconies, and busts (2 lvls) 

• King’s apartment placed at the geometric center, over entry porch - 2 sets of tall windows = look over town.

Landscape and Later Expansio

• Le Value = original brick building = limestone calf envelope

•  = x2 area

• Le Vaue = superimposed trident radiating from marble court = 

• Le Nôtre’s gardens: behind kings apartment 

• City plan integrated with palace axis; population = grew.

• Hardouin‑Mansart (1678–1687) → lateral wings on both sides of main block = tripling the rear façade 

• Versailles became the architectural embodiment of absolutism—a total environment uniting art, science, and monarchy.

• Hardouin‑Mansart enclosed the rear terrace with the Hall of Mirrors (17 mirrored bays) → symbol of royal spectacle and spatial infinity.

• Exterior: pure volume articulated by pilasters and three Ionic porches with sculptural crowns.

Versailles: The Sun King’s Vision

(Palace + soical order)

By the late 17th century, ≈ 1,500 nobles and their retinues resided at Versailles.

• Like the Escorial—but secular—the palace became a social experiment integrating hundreds of apartments, kitchens, dining halls, billiard rooms, theater, and church.

Le Nôtre Gardens

• Louis XIV valued the gardens above the architecture; personally authored a guidebook for visitors.

• extended long terrace =overlook  terraces neverending garden = metaphor = control.

• Le Notre - Primary east–west axis: terraces, twin basins, and parterres descending toward the Grand Canal (2 km).

  • Perspective from palace → illusion of infinite, widening landscape governed by symmetry and proportion

• Gardens - Off‑axis bosquets and secret gardens introduced localized symmetries within the larger order.

• Orangerie south of the terrace housed hundreds of orange trees;

• Grand Canal used for naval prototypes; water supplied by Marly pump (5 km north) and Maintenon aqueduct.

• Versailles became a self‑contained world, rarely left by the king after its completion.

King + Versaillies + Queen

1 perspective = 2 notice by King from bedroom

• Opposite wings 

• Redone multiple timesd 

Terrace = hall of mirrors

• Court of loggia in hotel p 

• 12 mirrors - relate to archways - looking outside 

• Mirror = expect tech only from benice 

• Venician worker = france 

• Venice capital = happy - sent s;iers 2 p possession workers 

• Used by King - see Queen wing 

• Lots of meetings on the way
  
  

Hall of Baths 

• Courts of French vitoire

Chapel - altar built by Louis IV

• Opera - Louis IV commissioned - died even though built for huim 

château de versailles, city façade (louis le vau, andré le nôtre, jules-hardouin mansart, versailles, begun 1661CE)

basics

• The façade facing the town of Versailles

• Formal public face of the palace

• First view visitors encountered when approaching Versailles

• Acts as a monumental gateway into Louis XIV's world

• 
  

château de versailles, city façade (louis le vau, andré le nôtre, jules-hardouin mansart, versailles, begun 1661CE)

Architecture

Architecture Symmetry

• Strong central axis

• Balanced wings extending outward

• Expresses order and control

Horizontal Emphasis

• Long façade stretches across the landscape

• Communicates immense scale

• Suggests the vast reach of royal power

Classical Elements

• Columns and pilasters

• Regular rhythm of windows

• Pediments and balustrades

• Classical ornament used in a controlled manner

Mansard Roof

• Characteristic French roof profile

• Adds vertical emphasis while maintaining overall horizontality

• Creates a distinctive skyline

château de versailles, city façade (louis le vau, andré le nôtre, jules-hardouin mansart, versailles, begun 1661CE)

Versailles Politics

All organized around Louis XIV. - palace, gardens, town, gov center

Louis XIV wanted nobles near him rather than on distant estates.

Versailles:

• Housed the court

• Housed government officials

Sixtus V 

• Planning 4 Rome - I’enfan plan for Washington, D.C 

• Axis planning from Versailles 

Versailles

• Palace at center

• Axes radiate outward

• Monarchy as organizing force

Washington, D.C.

• Capitol, White House, and monuments become focal points

• Diagonal avenues cut across a grid

• Government institutions replace the king as the organizing force

Versailles Planning and Urban Design

• alace, gardens, and city planned together

• Strong axial planning

• Geometric order and symmetry

• Radiating avenues centered on the palace

• Town organized around royal authority

• Expresses absolute monarchy through urban design

• Influenced later capitals such as Washington, D.C.

• Palace is the physical and political center

• Main avenues radiate from the palace

• Town streets align with palace axes

st. louis des invalides, jules-hardouin mansart, paris, 1670-1708CE

St Louis des Invalides - Jules Hadoni Marscoty Paris

st. louis des invalides, jules-hardouin mansart, paris, 1670-1708C

• LOUIS XIV

Triple dome - seen in Paris later = Baruoe optical dome 

• Oculus - dome = open 2 2nd form - looks like heaven 

• Reward soldier 4 fighting → built miloiatry 

• Largher than 

• Dome = added *isnpo St peyers) 

1. Interior 

2. Opticial effect estate 

3. Exterior 

• Opening at the top of the inner dome

• Allows viewers to see the painted dome above

• Creates illusion of heaven opening up

• Typical Baroque emphasis on visual drama and spiritual experience

  • baroque connection> illusion

    • percieve greater height

turgot plan de paris,

Turgot 

• Louis = down walls of paris 

• Fortfided city

• Urban glocal capital 

Medieval Paris

• Defensive walls

• Dense, irregular street network

• Growth based on necessity and defense

• City contained within fortifications

By the Time of the Turgot Plan

• Walls becoming less significant

• Expansion beyond medieval boundaries

• New bridges connect parts of the city

• Large royal projects reshape urban form

• Paris functions as the political and cultural capital of France