Grand appartement du roi


The grand appartement du roi is the King's grand apartment of the Palace of Versailles.
As a result of Louis LeVau's envelope of Louis XIII’s château, the king and queen had new apartments in the new addition, known at the time as the château neuf. The State Apartments, which are known respectively as the grand appartement du roi and the grand appartement de la reine, occupied the main or principal floor of the château neuf. LeVau’s design for the state apartments closely followed Italian models of the day, as evidenced by the placement of the apartments on the next floor up from the ground level – the piano nobile – a convention the architect borrowed from 16th- and 17th-century Italian palace design.
Le Vau’s plan called for an enfilade of seven rooms, each dedicated to one of the then-known planets and their associated titular Roman deity. LeVau’s plan was bold as he designed a heliocentric system that centered on the salon d’Apollon. The salon d’Apollon originally was designed as the king’s bedchamber, but served as a throne room. The original arrangement of the enfilade of rooms was thus:
  1. Salon de Diane
  2. Salon de Mars
  3. Salon de Mercure
  4. Salon d’Apollon
  5. Salon de Jupiter
  6. Salon de Saturne
  7. Salon de Vénus
The configuration of the grand appartement du roi conformed to contemporary conventions in palace design. However, owing to Louis XIV’s personal tastes the grand appartement du roi was reserved for court functions — such as the thrice-weekly appartement evenings given by Louis XIV.
The rooms were decorated by Charles LeBrun and demonstrated Italian influences. The quadratura style of the ceilings evoke Cortona’s sale dei planeti at the Pitti, but LeBrun’s decorative schema is more complex. In his 1674 publication about the grand appartement du roi, André Félibien described the scenes depicted in the coves of the ceilings of the rooms as allegories depicting the “heroic actions of the king.” Accordingly, one finds scenes of the exploits of Augustus, Alexander the Great, and Cyrus alluding to the deeds of Louis XIV. For example, in the salon d’Apollon, the cove painting “Augustus building the port of Misenum” alludes to the construction of the port at La Rochelle; or, depicted in the south cove of the salon de Mercure is “Ptolemy II Philadelphus in his Library”, which alludes to Ptolemy’s construction of the Great Library of Alexandria and which accordingly serves as an allegory to Louis XIV’s expansion of the Bibliothèque du roi. Complementing the rooms’ decors were pieces of massive silver furniture. Regrettably, owing to the War of the League of Augsburg, in 1689 Louis XIV ordered all of this silver furniture to be sent to the mint, to be melted down to help defray the cost of the war.
LeVau’s original plan for the grand appartement du roi was short-lived. With the inauguration of the third building campaign, which suppressed the terrace linking the king and queen’s apartments and the salons of Jupiter, Saturn and Venus for the construction of the Hall of Mirrors, the configuration of the grand appartement du roi was altered. The decor of the salon de Jupiter was removed and reused in the decoration of the salle des gardes de la reine; and elements of the decoration of the first salon de Vénus, which opened onto the terrace, were reused in the salon de Vénus that we see today.
From 1678 to the end of Louis XIV’s reign, the grand appartement du roi served as the venue for the king’s thrice-weekly evening receptions, known as les soirées de l’appartement. For these parties, the rooms assumed specific functions:
In the 18th century during the reign of Louis XV, the grand appartement du roi was expanded to include the salon de l’Abondance — formerly the entry vestibule of the petit appartement du roi — and the salon d’Hercule — occupying the tribune level of the former chapel of the château.