The Facts And History Of The Palace Of Versailles

The film is not entirely based on the positive details about Louis XIV or Versailles, but also the terrible working conditions during the building of Versailles. According to the film, it was very dangerous to work on the construction of the palace. A lot of people died on the site. People were very upset about the working conditions.

← Doyle, William. The French Revolution: A Very Short Introduction. New York: Oxford University Press, Inc. 2001

Still, the negative aspects of France’s rule under King Louis XIV far outweigh the positive ones. His reign can best be described by the statement “L’état, c’est moi,” (I am the state) that is attributed to him. King Louis XIV spent state money to pay for his own luxuries and monuments that glorified his image. It was also customary for the artists King Louis XIV sponsored to include direct or indirect allusions to him in their productions thus creating a god-like image of him. The Palace of Versailles alone used 5% of France’s income. This liberal

Castles, palaces, and cathedrals are scattered across Europe. Each one possesses unique characteristics and architecture bearing resemblance of their time. Some castles incorporate Greek influence, roman or gothic influence in design. Other castles and palaces are surrounded by sculptures outside in the courtyard or include sculptures worshiped as an altarpiece. While any one of these things would serve to make an ordinary castle more elaborate there is one palace that possesses all of these: The Palace of Versailles in France. The Palace of Versailles has managed to incorporate classic architecture, exquisite sculptures, and amalgamated the old design with the newer design trends of the day.

Another great piece of evidence supporting the statement that Louis XIV is the best example of an absolute monarch is his palace at Versailles. This palace was bigger than any other palace, more expensive, and better in just about everyway, except for being good for its country, France. The palace at Versailles was originally built as a small hunting lodge by Louis XIV’s father, Louis XIII in 1624. In 1669, Louis XIV decided to expand the palace, and moved into the palace in 1682 while parts of the building were still under construction. The palace was of monumental size, with a around 2,000 rooms, 15,000 acres of gardens and lawns and woods, and costing what would cost an estimated $2 billion in 1994, a extremely large sum of money for France. To run the fountains, it would cost so much money and use so much water that Louis’ workers would turn the fountains on when they saw him coming, and turn them off when he passed. The palace usually held about 7,000

It can be easily said that the intended audience for this letter was to Marie Antoinette’s mother, Maria Theresa the empress of Austria. Marie states several times throughout the letter of her many thanks to her mother for the reciprocating letters. The excitement in Marie’s tone is evident that she is astonished, despite the chaotic excitement upon their arrival, the amount of order there is. Marie is overjoyed that despite the hardships that the peasants faced, such as taxes, they remain loyal to her and her husband Louis, and show their affection with cheering and excitement. In response to the love that they received, Marie makes a point to tell her mother that the dauphin and herself wished the citizens not to be harmed despite the fact that they were unable to move for hours from the sheer masses of people who gathered upon their arrival.

Looking further we face the problem of space as such. It is something that is animated by the movements within it or the effect produced by operations of its orientation. If place is location then space is the dimensions of it, the position in which the palace was constructed. Space is more of a three dimensional term because it is determined by the operations which specify it. Considering this we still need to keep in mind that Louis XIV in his palace is immobile and a sovereign figure who beams eternity and unchangeability. This is where we understand the importance of the place related to the absolutism of the king. And while space is rather linked to an action or a process of history, place is the conclusion of the entire action. Simply put space is the largeness of the palace complex. It is what, after realizing the importance of the location, amazes the traveler.

Another thing that Louis changed was the appearance and way of life of France. These great towns of France went under a sort of "metamorphosis". The landscape was altered and monuments were built everywhere. Louis decided that he wanted to isolate the center of government from the city of Paris, so he constructed the palace of Versailles. It was an object of universal admiration and enhanced French prestige. It became Louis’ permanent address in 1682 and was also the home to thousands of the more important nobles, royal officials, and

Charles Darnay (born Charles Evrémonde), author of “Women’s March on Versailles” in Diderot and d’Alembert’s Encyclopédie, was the son of a French noble and the nephew of the Marquis St. Evrémonde. Raised in aristocracy, Darnay grew to resent the opinions from men, such as his uncle, who had little sympathy for those in poverty. Darnay, like his mother, displayed kindness when in contact with his lower-class neighbors, giving whatever support he could (both financially and emotionally). After the death of his mother, Darnay was left in the care of the Marquis and faced criticism for his charity. Growing to despise his wealthy family members in France, Darnay chose to leave the care of his uncle and found a new life in England under his mother’s

The Palace of Versailles was built in 1624 as a modest hunting lodge and private residence for Louis XIII. Louis XIV spent time his here as a child during the civil war and grew fond of the site (Allen, 35). When Louis XIV came to power, he moved France’s capital in Paris to Versailles because he wanted to keep the royal court in one central place away from the gossip and business of Paris (Ropeik). By keeping the royal court together, he was able to centralize the French government in to an absolute monarchy and prevent any of his nobles from developing their own regional power. 1669, he expanded the existing small hunting lodge to 67,000 square meters, the equivalent to 12 football fields (Ropeik). The palace expansion was designed by Louis le Vau, the architect to the aristocracy, and took 21 years to complete. The 700 room building allowed Louis and his friends, family, courtiers, servants and soldiers to live in close proximity (Ropeik).

The nobility of the Kingdom of France has been evaluated by various scholars of history. There is something to be said, however, for those who chronicled their impressions while living them in the 17th and 18th centuries. The excerpts of Charles Loyseau’s A Treatise on Orders, written in 1610, and Isabelle de Charriere’s The Nobleman, written in 1763 provide two very different glimpses on the French nobility from differing time periods. From these two accounts, it is clear that there was a marked shift in the way some viewed the nobility and their role in the operation of the French state. While Loyseau praises the nobility nearly wholeheartedly,

exhibition of his longing for the familiarity of Paris and the sanctity of his past, a

Citation- Price, Munro. The Road from Versailles: Louis XVI, Marie Antoinette, and the Fall of the French Monarchy. New York: St. Martin 's Press, 2003.

Flourishing during the reign of Louis XV and disappearing toward the end of the 18th century, Rococo was a playful opposing response to the solemnity of Classicism and the grandeur of Baroque. As dominant political power was shifting from France to England, and Venice was beginning to become stale in the political sense and become more of a site for tourists, there was a chance for artistic styles to change as well Moreover, with the end of Louis XIV’s reign, movement away from previously mentioned artistic styles began. Taking up residence in Paris, the aristocracy abandoned the Palace of Versailles. This move away from the monarchy in favor of the aristocracy can be seen in Rococo art, as can other elements from the time period.

This dominance was no accident but rather was planned by King Louis XIV and his finance minister Jean-Baptiste Colbert. Jean-Baptiste Colbert declared “fashion is to France what the gold mines of Peru are to Spain.” The King and Colbert deliberately used fashion as a propaganda move to promote France and Versailles among the French people and inspire awe from foreign governments. In addition to inspiration, fashion provided Louis XIV with a distraction to occupy the minds of those at court while he manipulated political matters. By creating an elaborate dress code and complex social rules and manners, the King maintained control over a large group of nobles and soldiers living at Versailles. All who resided at or visited Versailles were expected to adhere to these regulated mannerisms of court etiquette.