Gabrielle ange jacques - biography. Ange Jacques Gabriel and his famous works Ange Jacques Gabriel

25 Architecture of the first half of the 18th century in France. Rococo and early classicism. J.-A. Gabriel

Weakening of the absolutist system. Feudal-Catholic reaction. The revocation of the Edict of Nantes in 1685 and the expulsion of the Huguenots, who were experienced artisans and architects.

The problem of urban redevelopment. There is a growing understanding of the city as a whole. The square is now perceived as a node in the urban network. The predominance of an open type of square with a wide view of the surrounding streets. This creates a direct perspective, making it possible to connect individual parts of the city with each other. In Bordeaux, Gabriel the Father creates a square open to the embankment.

Competition 1748-1753 for the creation of Place Louis 15 in Paris. The final project was entrusted to Jacques Gabriel. Nowadays it is the Square of Concord. It was created open on three sides. From the north it was limited by two buildings of the same type; between them there was a view of the Rue Royale and the Church of the Madeleine. Here the scheme of Versailles is transformed and thereby a connection is made between them.

Two plans for Paris were created: the Delagrive plan (1728) and the Turgot plan (1737). They already show the central connections of squares, boulevards and street lines. The Saint-Germain suburb of Paris is populated.

The treasury is depleted, large castles stop being built. Gabriel has been the king's architect since 1739.

Petit Trianon in the Park of Versailles commissioned by Louis 15 in 1762-1768. The heavy, flattened bottom of the building with an open gallery, massive entrances to the park, and the light volume of the two upper floors of the palace raised on this wide pedestal. A combination of miniature and monumental. Composition 1 to two. The garden facade has two floors, and the main one has three. There is a tendency towards a transition to a new type of country palace, close to a rich city hotel.

English Park of the Petit Trianon (Jussier and Antoine Richard) - wildlife. It contains the French Pavilion (Gabriel, 1751)

Reconstruction of the central part of the Palace of Versailles in the spirit of classicism (Gabriel, 1742). All that remains of Levo and Mansar is the Mirror Gallery, the War and Peace Halls and the King's Bedroom. The new building echoed the façade of the Louvre in its shape. At the end there is a pavilion with a portico supporting a pediment. The wings are unchanged, only a theater was added to the end of the southern wing.

Works at the royal residences of Fontainebleau and Chantilly. At Fontainebleau – Gabriel Pavilion 1749-1751. In Chantilly - Manege (1719-1740, Jacques D'Aubert) and stables.

Country palaces are increasingly becoming like hotels (Compiègne, Montmorency). The desire for comfort is a corridor system, sanitary facilities are placed in turrets outside the walls of the building. Hotel Malgrange in Nancy (Germaine Boffrand) – Rococo forms are carried out from the interior to the external façade of the building, this is rare.

Germain Boffrand - student of Mansart. Sculptor, architect and painter. Buildings in Paris: Arsenal, Opera, Town Hall, Palace of Justice, hotels - Amelo, Brisac, Colbert, Demar, Duras, Montmorency, Soubise, Villar, etc. Castles - Saint-Cloud, Butefort.

ROCOCO. The art of the highest circles of the French aristocracy. In France, it is characterized by the stability of classicism techniques in facades with a complete departure from them in interiors. Inside there is painting, carved wood, stucco. The theme of the paintings is fantastic scenes, Chinese motifs. “Lambri” - painting in the frieze part of the walls. Greatly reduced fireplaces become stands for a large mirror.

The first movement of Rococo in architecture was the Mansar School. Refined and sophisticated interiors while maintaining classicism on the facades. Connections with 17th century architecture.

The second is Rococo on the facade. It was represented by Oppenor, Meyssonnier and Pinault, who came from Flanders and studied in Italy and gravitated towards the pomp of the Baroque. An example is the Golyon Oppenora Hotel. Their ideas nevertheless became more widespread in interiors.

Hotels: everything for comfort. Ceilings are lowered and windows are larger for lighting. Bathrooms and closets are the size of rooms. Houses with facades facing the street begin to appear. Oval and semi-oval rooms and vestibules disappear. Hotel Amelo Boffran.

Mansart's students - Robert de Cotte, Pierre Queneto.

Hotel de Soubise is a classic example of French Rococo (1705 Delamere, Boffrand decor). The layout of the hotel is between a courtyard and a garden.

Hotel Demar - all services are located along the street.

Hotel Bourbon (Guarini, 1722-1729), is close in plan to the Chateau Maisons, but is classic and much more austere.

Military School in Paris 1750-1771. Gabriel. Facade overlooking the Champ de Mars. In the center of it is a portico of the Corinthian order with a pediment carrying a sculpture. Above it is a four-rib high dome, reminiscent of the Louvre Clock Pavilion. The military school was established in the 18th century. so that poor nobles could receive a military education. In 1777, this educational institution became the Higher Cadet School, where the future Napoleon Bonaparte entered in 1784. The Military School building was designed by the architect Jacques Ange Gabriel; the complex occupies an entire block. Between the Ecole Militaire and the Seine is the Champ de Mars, which is also the merit of Gabriel, who transformed this urban outskirts into a field for maneuvers and parades for the students of the Ecole Militaire. It is quite clear that the square received its name in honor of the god of war, Mars. Nowadays the Military Academy is located in the building of the Military School.

A type of theater is being formed: arch. Shimon brought theater plans from Italy in 1756. Gabriel builds a theater in Versailles. And together with Soufflot, he was tasked with adapting the engine room of the Tuileries Theater into an auditorium.

The competition of 1731-1735 for the restoration of the Church of Saint-Sulpice was won by the architect Servandoni for his design of a church with two towers in the facade and a two-tier portico.

Gabriel Jacques Ange (1698-1782)

The largest architect of France in the 18th century. One of the founders of neoclassicism. He studied with his father, the architect Jacques Gabriel, and from 1718 at the Academy of Architecture in Paris. In 1728 he became superintendent of royal buildings, and in 1742 - “the king's first architect” and president of the Academy of Architecture. For thirty years he was mainly engaged in the construction and interior design of royal palaces. In his works (reconstruction of the interiors of the palace at Versailles and reconstruction of its northern wing, 1735-74; Military School in Paris; French Pavilion and the Royal Opera at Versailles), Gabriel opposed emphasized representativeness architecture XVII V. and the capricious whimsicality of Rococo decor, the rationality of planning, logical clarity, noble simplicity and clarity of forms, the grace of restrained finishing. The harmonious, exquisitely proportioned Petit Trianon, built by Gabriel in the park of Versailles, has rightfully become one of the most remarkable works of European architecture. Gabriel's most significant work is Place Louis XV (now Place de la Concorde) in Paris.

He worked only on royal orders, so he can be considered an exponent of official taste in French architecture of the mid-18th century. The work of Jacques Ange Gabriel does not fully belong to neoclassicism, although, of course, it reflected new trends.

The military school was established in the 18th century. so that poor nobles could receive a military education. In 1777, this educational institution became the Higher Cadet School, where the future Napoleon Bonaparte entered in 1784. The Military School building was designed by the architect Jacques Ange Gabriel; the complex occupies an entire block. Between the Ecole Militaire and the Seine is the Champ de Mars, which is also the merit of Gabriel, who transformed this urban outskirts into a field for maneuvers and parades for the students of the Ecole Militaire. It is quite clear that the square received its name in honor of the god of war, Mars. Nowadays the Military Academy is located in the building of the Military School.

Jacques Ange Gabriel's most significant work in Paris was Place Louis XV (now Place de la Concorde). The king decided to build this square at the end of the Tuileries Park, where there was then a huge wasteland. In 1753, after a competition in which many architects participated, the final choice fell on Gabriel's design. The square was built until 1775.

Unlike the closed squares of 17th century Paris, surrounded by buildings, Place Louis XV is open to the city. It is adjoined from the west and east by the alleys of Champs Elysees Avenue and Tuileries Park, and from the south by the Seine embankment. Only on the northern side do the palace buildings overlook the square. In the center was an equestrian statue of Louis XV by sculptor Edme Bouchardon. During the Great French Revolution (1789-1799), the statue of the king was demolished. In 1793, a guillotine was installed in the center of the square: executions took place here. In 1836, the place of the guillotine was taken by an Egyptian obelisk, which has survived to this day. This obelisk, twenty-three meters high, which previously stood in the temple of Pharaoh Ramesses II in Thebes, was presented to France by the Egyptian Pasha Mehmet Ali. Later, at the end of the Rue Royale, laid between the buildings of the palaces, the Church of the Madeleine was erected (1806-1842). Although it does not belong to the ensemble of the square, it is included in it in the same way as the building of the Bourbon Palace (1722-1727, portico - 1804-1807; now the Chamber of Deputies), located on the other bank of the Seine opposite the Madeleine Church. The axis between these buildings, perpendicular to the axis of the square itself, completes one of the most beautiful urban ensembles in Europe.

In the works of Jacques Ange Gabriel one can feel the advent of a new era in the history of architecture. His work influenced the entire subsequent development of French neoclassicism.

Royal Opera at Versailles Gabriel 1769-1770. The largest French theater of the time (712 seats), the Royal Opera House was built by Gabriel on the basis of an old building from the 17th century. On May 16, 1770, the Opera opened with a festive performance in honor of the marriage of the future King Louis XVI and the Austrian Princess Marie Antoinette. During the French Revolution, the Opera was closed. During the reign of Louis Philippe, the interior decoration of the building was updated. IN late XIX V. The National Assembly met in the building. In 1952-57. The Royal Opera House has been restored and reopened for performances on special occasions.

Gabriel Ange Jacques

Gabriel, Ange-Jacque (1698–1782), French architect, one of the founders of 18th-century classicism.

Born in Paris on October 23, 1698, he studied with his father, the architect Jacques Gabriel, and from 1718 at the Academy of Architecture in Paris.

In 1728 he became superintendent of royal buildings, and in 1742 - “the king's first architect” and president of the Academy of Architecture. For thirty years he was mainly engaged in the construction and interior design of royal palaces. Among his largest works: the Opera House in Versailles (1748–1770), reconstruction of the interiors and reconstruction of the northern wing of the Palace of Versailles (1734–1774), Petit Trianon (1762–1764).

Gabriel was the author of the project for Place Louis XV (now Place de la Concorde) in Paris (1754) and began to build the Military School, completed by other masters. He completed several projects for decorating the Louvre apartments, but, unfortunately, little of his plans were realized. The wide scope of his plans, the harmony and elegance of the proportions of the buildings constructed and the interiors designed give reason to call him the largest architect of France in the 18th century. Gabriel died in Paris on January 4, 1782.

The Petit Trianon is distinguished by a clear division of the façade, which is built on a grid of squares. The Place de la Concorde is distinguished by new methods of dividing space: located between the Champs Elysees, the Seine Embankment and the Champs de Mars (?), it has “closedness”, which was achieved using the construction of “dry ditches”. Compositionally, the square is closed by the buildings of the Military School (Ecole Maritim) and the Royal Furniture Storehouse. Not preserved.

Bibliography

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Versailles. Part 34. / Small Trianon, part 1.

Petit Trianon is a small palace (French château), located on the grounds of the Palace of Versailles in France. Designed by Ange-Jacques Gabriel (French: Ange-Jacques Gabriel) by order of Louis XV for his favorite Marquise de Pompadour and built in 1762-1768.

The Petit Trianon is located approximately 2 km northwest of the Palace of Versailles. Initially, there was a royal botanical garden created by Claude Richard.

Vue du château du Petit Trianon prise depuis le jardin anglais sous Louis-Philippe de Guérard Charles Jean

Vue du château du Petit Trianon de Bourgeois du Castelet (dit), Bourgeois Florent Fidèle Constant

Vue du jeu de bague chinois de Trianon par Claude-Louis Châtelet (1753-1795)

Park on the plan of the late 18th century

In 1749, by order of Louis XV, the architect A.-J. Gabriel built a so-called menagerie (ménagerie), where various animals were placed, which were often used to breed new breeds. In the neighborhood there were other economic services - a barn, a chicken coop, a dovecote, and a dairy farm.

Francois-Hubert Drouet. Louis XV (1710-1774), King of France and Navarre

The idea of building a small palace on the territory of the botanical garden belonged to the favorite of Louis XV, the Marquise de Pompadour.

Jeanne Antoinette Poisson, Marquise de Pompadour

The building was erected over six years from 1762 to 1768 according to the project of A.-Zh. Gabriel. Madame de Pompadour died in 1764, before she could see the palace in its finished form. Together with the king, the Petit Trianon was opened by his new favorite, Countess DuBarry.

Elisabeth Vigée Le Brun. Madame Du Barry

The appearance of the palace reflects the architectural style, called “Palladianism” in honor of the Italian architect Andrea Palladio, who revived the principles of classical temple architecture Ancient Greece And Ancient Rome with its adherence to symmetry and consideration of perspective.

As a result, the Petit Trianon became a brilliant example of the transition from the pompous Rococo style to the restrained and laconic neoclassicism.

All four facades of the relatively small, square two-story building are made according to a single compositional scheme with an accent in the middle - a portico of the Corinthian order, which rests on four supports. There is a terrace adjacent to the building from the garden side. A balustrade runs along the perimeter of the palace roof.

Upon his accession to the throne in 1774, Louis XVI gave the Petit Trianon to Queen Marie Antoinette.

Antoine-François Calle. Louis XVI (1754-1793), King of France and Navarre

Joseph Ducret. Marie Antoinette Lorrain-Habsburg

The entrance to the royal apartments, accessed by a magnificent staircase with wrought iron railings, is located on the western, front, facade. The queen's chambers were on the ground floor, the king's chambers and guest rooms were on the second, and the ground floor housed various service rooms.

Marie Antoinette came here to take a break from the formal life of the court and the heavy duties of the queen. Everything in the Petit Trianon was subject to the queen's authority. No one, not even the king himself, could set foot on this land without her invitation. This caused discontent among the aristocrats, since only the queen's inner circle was allowed here.

Marie-Antoinette de Lorraine-Habsbourg, archiduchesse d "Autriche, reine de France (1755-1793) de Ducreux Joseph

Portrait de la reine Marie-Antoinette de ,D"après Vigée-Le Brun Elisabeth Louise

Marie-Antoinette de Lorraine-Habsbourg, archiduchesse d'Autriche, reine de France (1755-1795) de Vigée-Le Brun Elisabeth Louise

Marie-Antoinette, reine de France (1755-1793) de Gautier d'Agoty Jean-Baptiste-André

Reine Marie-Antoinette assise, en manteau bleu et robe blanche, tenant un livre à la main de Vigée-Le Brun Elisabeth Louise

Marie-Antoinette de Lorraine-Habsbourg, reine de France et ses enfants de Vigée-Le Brun Elisabeth Louise

Marie-Antoinette, reine de France (1755-1793) de Vigée-Le Brun Elisabeth Louise (atelier de)

Portrait de Marie-Antoinette

Marie-Antoinette de Janinet Jean François

The building was designed to reduce interaction between guests and servants as much as possible. For example, mobile dining tables were conceived. The servants would serve them in the back rooms of the kitchen, and then the tables would be lifted by a mechanical elevator to the dining room. These tables were never made, but the specific structure of the basement remains.

On the ground floor there is an oven and stove, as well as a room with silverware and dishes used by Marie Antoinette.

Kitchen

Hall with silverware and dishes

Security room, now there is an exhibition dedicated to Marie Antoinette.

Il Parnasso Confuso - Johann Georg Weikert, 1778

Marie Antoinette and her brothers, 1765, by Johann Georg Weikert

Living room with Marie Antoinette's favorite pastime - billiards.

Marie-Antoinette d "Autriche, reine de France (1755-1793), en robe à paniers vers 1785 de Vigée-Le Brun Elisabeth Louise

Portrait of the Royal Family of France, circa 1782

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ROCOCO (first half of the 18th century)

Rococo is characterized by mannered luxury in the design of rooms and furniture, fragmented and pretentious forms, curvilinearity and broken lines, fragile decorativeness, and an abundance of gilding. The order was not used in the design of the premises.

Wall panels, ceiling rosettes, and the frames of numerous mirrors were decorated with small ornaments reminiscent of shells, sea waves and stones, acanthus leaves, and Chinese motifs were woven in. The major, intense colors of the “Louis XIV style” are replaced by muted, pale tones of pearl gray, bluish, crab meat color, pale ocher, etc.

A lot of gold and silver were used. The atmosphere of court intrigue, love affairs, ballet and masquerade celebrations gave birth to the so-called gallant style. These are the times of Madame de Pampadour, the favorite of King Louis XV, who emphatically said: “After us there may be a flood.” Prominent representatives of Rococo in painting were Francois Boucher, Antoine Watteau, J.B. Fragonard.

Rococo features can be found in the painting of Thomas Gainsborough. In Rococo music, it was inherent in the work of composers Couperin and Rameau. A style developed in European plastic arts of the 1st half. 18th century arose in France during the crisis of absolutism, reflecting the hedonistic moods characteristic of the aristocracy, the tendency to escape from reality into the illusory and idyllic world of theatrical acting.

In architecture, he influenced mainly the character of the decor, which acquired a mannered, sophisticated, emphatically elegant and sophisticated appearance. In the early period of the development of French Rococo (before approximately 1725), fractional ornamentation was introduced into the decoration of rooms, and furnishings were given whimsically curved shapes (the so-called Regency style). Developed Rococo (approximately 1725-50) widely used carved and stucco patterns, curls, torn cartouches, rocailles, cupid-head masks, etc. in decoration; in the decoration of the premises, a large role was played by reliefs and picturesque panels in exquisite frames (desud-portes, etc.), as well as numerous mirrors that enhanced the effect of light movement (the so-called Louis XV style). The ornamentation and orientation of the Rococo style limited its influence on the tectonics and external appearance of buildings.

BiographyJacques-Ange Gabriel(1698-1782)

Ange-Jacques is the most captivating master of French architecture. He created during the reign of Rococo. However, Gabriel's style is an extremely original and organic phenomenon, generated by the natural, “deep” development of French architecture. His work is distinguished by closeness to the person, intimacy, as well as the exquisite subtlety of decorative details. The work of Jacques-Ange Gabriel does not fully belong to neoclassicism, although, of course, it reflected new trends.

Ange-Jacques Gabriel was born on October 23, 1698 in Paris. His father was the famous architect Jacques V Gabriel. Jacques worked with him on the construction of the king's buildings in the interiors of Versailles, Fontainebleau, and the Tuileries. Gabriel's participation in his father's urban planning work prepared him well for solving ensemble problems, which by the middle of the 18th century already played a more important role in architectural practice. Just at this time, the press was intensifying attention to Paris, to the problem of turning it into a city worthy of the name of capital. Paris had beautiful architectural monuments, a number of squares created in the previous century, but all of these were separate, self-contained, isolated islands of organized development. In the mid-18th century, a square appeared that influenced the formation of the ensemble of the Parisian center - the current Place de la Concorde. It owes its appearance to a whole team of French architects, but its main creator was Jacques-Ange Gabriel.

In 1748, on the initiative of the capital's merchants, a decision was made to erect a monument to Louis XV. The Academy announced a competition to create a square for this monument. As a result of the first competition, none of the projects were selected, but the location for the square was finally established. After a second competition, held in 1753 only among members of the academy, the design and construction were entrusted to Gabriel, so that he would take into account other proposals.

The site chosen for the square was a vast wasteland on the banks of the Seine on what was then the outskirts of Paris, between the garden of the Tuileries Palace and the beginning of the road leading to Versailles. Gabriel took unusually fruitful and promising advantage of this open and coastal location. Its area became the axis further development Paris. This was possible thanks to her versatile orientation. On the one hand, the square is thought of as the threshold of the Tuileries and Louvre palace complexes. It is not for nothing that three rays envisaged by Gabriel lead to it from outside the city - alleys Champs Elysees, the mental point of intersection of which is at the entrance gate of the Tuileries Park. The equestrian monument of Louis XV is oriented in the same direction - facing the palace.

At the same time, only one side of the square is architecturally accentuated - parallel to the Seine. The construction of two majestic administrative buildings is planned here, and between them Royal Street is being designed, the axis of which is perpendicular to the Champs Elysees - Tuileries axis. At the end of it, very soon, the Madeleine Church by the architect Contan d'Ivry begins to be built, closing the perspective with its portico and dome. On the sides of its buildings, Gabriel designs two more streets, parallel to the Royal. This gives another possible direction of movement, connecting the square with other quarters growing city. Very wittily and in a completely new way, Gabriel solves the boundaries of the square. By building up only one of its northern side, putting forward the principle of free development of space, its connection with the natural environment, he at the same time strives to avoid the impression of its amorphousness, uncertainty. From all four On the sides he designs shallow dry ditches, covered with green lawns, bordered by stone balustrades.The gaps between them give an additional clear accent to the rays of the Champs Elysees and the axis of the Royal Street.

The appearance of the two buildings that close the northern side of the Place de la Concorde clearly expresses the characteristic features of Gabriel’s work: a clear, calm harmony of the whole and details, the logic of architectural forms easily perceived by the eye. The lower tier of the building is heavier and more massive, which is emphasized by the large rustication of the wall; it carries two other tiers, united by Corinthian columns, a motif that goes back to the classical eastern facade of the Louvre.

But Gabriel’s main merit lies not so much in the masterful design of the facades with their slender fluted columns rising above the powerful arcades of the lower floor, but in the specific ensemble sound of these buildings. Both of these buildings are unthinkable without each other, and without the space of the square, and without a structure located at a considerable distance - without the Church of the Madeleine. It is towards this that both buildings of the Place de la Concorde are oriented - it is no coincidence that each of them does not have an accentuated center and is, as it were, just one of the wings of the whole.

Thus, in these buildings, designed in 1753 and began construction in 1757-1758, Gabriel outlined the principles of volumetric-spatial solutions that would be developed during the period of mature classicism.

The obelisk was erected later, in 1829. It was presented to the French government by the Egyptian Viceroy Mehmet Ali. In 1840, it was solemnly installed in the center of the square, which has since acquired its final form.

The pearl of French architecture of the 18th century is the Petit Trianon, created by Gabriel at Versailles in 1762-1768. This small palace was intended at one time for Countess DuBarry. The Petit Trianon is an almost square building raised onto a wide stone terrace. All four facades are different, but each is a variation of the same theme, and this reinforces the impression of integrity and unity that the Petit Trianon gives. rococo architect palace

The facade facing the open space of the ground floor, perceived from the farthest distance, is interpreted in the most plastic way. Four attached columns connecting both floors form a kind of slightly protruding portico. A similar motif, however in a modified form - the columns are replaced by pilasters - sounds in two adjacent sides, but each time differently, since due to the difference in levels in one case the building has two floors, in the other - three. The fourth facade, facing the thickets of the landscape park, is completely simple - the wall is dissected only by rectangular windows of different sizes in each of the three tiers. Thus, with meager means, Gabriel achieves amazing richness and richness of impressions. Beauty is derived from the harmony of simple, easily perceived forms, from the clarity of proportional relationships. The interior layout is also designed with great simplicity and clarity. The palace consists of a number of small rectangular rooms, the decorative decoration of which, built on the use of straight lines, light cold colors, and the parsimony of plastic materials, corresponds to the elegant restraint and noble grace of the external appearance. The builder's plan is crystal clear; it is based on simple and strict geometric relationships. The Trianon, with its miniature dimensions, with huge windows that give the building an amazing lightness, belongs to the number of graceful park pavilions characteristic of the 18th century, located at a considerable distance from the main palace, deep into the park. And at the same time, the severity of forms and laconicism of solutions make it a wonderful example of classical architecture. It was the miniature size of the Petit Trianon that helped Gabriel achieve such composure and harmony. Over his long life, Gabriel raised many students: Sh.A. d'Avile, J. Beren, Pierre Le Nôtre, Lassurance, J. Boffrand, Robert de Cotte and others. 1742 the king's first architect and president of the Academy of Architecture. One of the founders classicism 18th century. Gabriel died in Paris on January 4, 1782.

Main works:

§ Reconstruction of the palace in Choisy, 1740 --1777

§ Castle in Compiegne, 1750

§ Butard Pavilion, 1750 in the town of La Celle-Saint-Cloud ( La Celle-Saint-Cloud)

§ Reconstruction of the estate Menard (Loir et Cher), 1760 --1764 , For Madame Pompadour

§ Petit Trianon V Versailles, 1762 --1768

§ Military school on Champ de Mars in Paris

§ Palace Opera at Versailles, 1769

§ North wing Louvre

§ Place de la Concorde, 1772

§ Facades of mansions on the Place de la Concorde, including the Maritime Mansion, Paris, 1775

§ Exchange Square in Bordeaux, 1755 : former Royal Palace overlooking Garonne.

Gabriel's work was a transitional link between the architecture of the first and second half of the 18th century. In the buildings of the 1760-1780s of the younger generation of architects, a new stage of classicism was being formed. It is characterized by a decisive turn to antiquity, which became not only an inspiration for artists, but also a treasury of the forms they used.

Petit Trianon

On the right side of the Grand Canal of Versailles is the Trianon complex, consisting of the Grand and Petit Palaces with their own garden surroundings. The Small Palace, or porcelain Trianon, is extraordinary architectural structure. It was designed Ange-Jacques Gabriel by order Louis XV for his favorite and built in 1762 --1768 gg. The original pavilion, lined with faience tiles on the outside, was dedicated by the king Marquise de Pompadour.

The toy one-story building of the Petit Trianon is located in the depths of a small courtyard. The center of its facade, according to the fashion of that time, was decorated with pilasters supporting a classical pediment. On the high roof there were vases arranged in steps, skillfully made to look like earthenware. The same vases decorated the courtyard benches and garden fountains.

In the pavilion itself, the main interest is the royal setting. Numerous visitors and tourists are simply amazed by the interiors of the “Chinese House”. Its internal walls are completely covered with Delft tiles, and the floors in the halls are also lined with them. The main salon of the "House of Pleasure" is lined with white and azure patterned faience tiles. The walls of the “Hall of Cupids” are covered with white taffeta, strewn with gold and silver Chinese flowers. In Diana's Room there were screens decorated with images of exotic birds, vases, flower garlands and the king's monograms. The same pattern was on the silk covering the walls, on the carpets and tile designs. The porcelain “Chinese House” was truly an intricate structure. It also included a “Cabinet of Fragrances”, special rooms “for making jam”, “for light dishes” served before dessert, and “for soups”. At the fairy-tale house there was also a garden overflowing with wonderful curiosities, in which then rare orange trees, wild chestnuts were cultivated, left-handed leaves, anemones, Spanish jasmine, Istanbul daffodils were planted... The Petit Trianon became the favorite place of stay of the French queen Marie Antoinette. Detailed description The Austrian writer Stefan Zweig talks about this in his novel “Marie Antoinette”.

Louis XVI, partly out of weakness of character, partly out of gallantry, presents her with a small summer palace Trianon - a tiny country, a sovereign state in the huge kingdom of France... Here it is, her trinket, perhaps the most charming of those that were created by French taste - delicate lines, perfect forms, a real jewelry box, a frame worthy of a young woman and the graceful queen... In subsequent years, the queen changed very little in the decoration of the small castle. Revealing true taste, she does not spoil these rooms, designed for an intimate mood, with anything luxurious, pompous, or deliberately expensive... They do not strive for defiant splendor here, not for theatrical imposingness, but for unobtrusiveness and subduedness. It is not the power of the queen that should be emphasized here, but the charm of the young woman, whose image is subtly reproduced by all the objects surrounding her.

Trianon is a miniature fantasy world; It is symbolic that neither Versailles, nor Paris, nor villages are visible from its windows. In ten minutes you can walk around the palace, and yet this tiny space for Marie Antoinette is much more important than the whole kingdom with twenty million subjects.... Here the queen feels great and soon gets used to such a free lifestyle that in the evenings It becomes increasingly difficult for her to return to Versailles. In the Petit Trianon, Marie Antoinette wants to have an innocent landscape, a “natural” garden, and the most natural of all fashionable natural gardens... In this “Anglo-Chinese garden” they want to present not just nature, but all of nature, in a space the size of square kilometers - the whole world on a toy scale. Everything should be on this tiny piece of land: French, Indian, African trees, Dutch tulips, southern magnolias, a pond, a river, a mountain and a grotto, romantic ruins and rural huts, a Greek temple and eastern landscape... - everything is artificial, but gives the impression of the real thing.

Spurred on by the queen's impatience, hundreds of workers begin to conjure to implement the plans of engineers and artists... First of all, a quiet, lyrically muttering stream flows through the meadow. True, water must be carried from Marly through pipes up to a thousand feet long, and a lot of money flows through these pipes at the same time, but the winding bed of the stream looks so pleasant and natural! A quietly babbling stream flows into an artificial pond with an artificial island, a charming bridge is connected to the island, white swans in sparkling plumage swim gracefully along the pond...

Every year the queen has new whims, more and more refined... In order to host Italian and French comedians, she gives orders to build a small theater, extremely elegant in its proportions. And then she herself makes the jump onto the stage. The cheerful, noisy company surrounding the queen is also keen on the idea of amateur performances... Even the king appears several times to pay tribute to his wife’s admiration as an actress. This is how the carnival in Trianon continues all year round. Marie Antoinette retires to the Trianon not in order to become sensible, but in order to have more variety and freedom of entertainment.

To entertain herself and her guests, she ordered a small village to be built around Trianon. Of course, this royal village was a toy in which peasant girls, for example, had to rinse clothes in a stream and hum while they did so. The cows here were thoroughly washed every day and colored bows were tied to them. In addition, Marie Antoinette ordered paintings to be painted so that cracks would appear on the facades of newly built peasant houses. The royal village contained a mill, a poultry farm and a dairy. Nowadays, in this place, guides usually tell visitors an entertaining story that cups are kept here, their shape representing a cast of Marie Antoinette’s breasts. From these bowls, the queen loved to treat guests with milk from her cows in “her dairy.” The guides also say that private royal chambers (for example, Marie Antoinette’s bed) subsequently often served as a place for scandalous adventures of influential people who came here to spend the night comfortably. During the revolution, the Parisians beheaded the queen, whom they hated: for the people she was an Austrian, a libertine and a spender of the people's property. They say that, having ascended the scaffold, the queen accidentally stepped on the executioner’s foot, but politely said: “Sorry, monsieur, I did it by accident.” The palaces and parks of Versailles could tell about many adventures, and not only those that took place several centuries ago. For example, in 1901, not far from the Petit Trianon, a “performance from the past,” so to speak, took place. People have been thinking about the existence of the physical movement of persons in time for a long time, because there have always been phenomena that one would swear that for some moment they were clearly transported to another era.

CastlePortici - Naples

Royal Palace of Portici-- summer residence of the King of Naples Charles III, built by him in the surrounding area Naples and subsequently abandoned in favor of a more grandiose Caserta residence.

While visiting a villa built in Portici French Duke d'Elboeuf, the young king and his wife were captivated by the views of the Bay of Naples and on Vesuvius. In 1738, the architect Antonio Canevari called for this order from Lisbon, was commissioned to begin construction of a country palace in Portici in the style baroque.

At the palace there was a menagerie with strange animals and a museum where finds made during excavations were exhibited Herculaneum. The first owner of the residence, Maria Amalia of Saxony, decorated the interiors porcelain trinkets produced by the manufactory she founded in Capodimonte. Decoration in style rococo developed Giuseppe Bonito.

The construction started by the monarch in Portici increased the prices of real estate along the " golden mile» (segment of coast from Naples to Torre del Greco). Neapolitan aristocrats rushed to own villas overlooking Vesuvius (the so-called Vesuvian villas), from where it was a stone's throw to the royal court in Portici. However, the king soon lost interest in Portici and turned his attention to the construction of a new palace in Caserta.

Approaching Naples Napoleonic troops statue " Resting Hermes"and other Portico antiquities were taken to Sicily. Having acquired the royal title, he settled in Portici Murat, who furnished the palace with French furniture in the style empire style. Subsequent Neapolitan monarchs spent little time in Portici. Currently, the palace occupies one of the faculties University of Naples.

Conclusion

The architecture of the 18th century in France is traditionally divided into two periods, which correspond to two architectural styles: in the first half of the 18th century. The dominant position is occupied by Rococo, in the second - Neoclassicism. These styles are completely opposite to each other, which is why the transition from Rococo to Neoclassicism is often called a “rebellion.”

The Rococo style moved away from the strict rules of 17th-century classicism; his masters were more attracted to sensual, free forms. Rococo architecture, even more strongly than Baroque, sought to make the outlines of buildings more dynamic and their decoration more decorative, but it rejected the solemnity of Baroque and its close connection with the Catholic Church.

The very word “neoclassicism” in the 18th century. didn't exist yet. Critics and artists used other definitions - “true style” or “revival of the arts.” Interest in antiquity in the 18th century acquired a scientific character: archaeologists began methodical excavations of ancient monuments, architects began to make precise measurements and drawings of surviving fragments and ruins. For neoclassicists, architecture was a way to restructure the world. Although neoclassicism dominated the second half of the 18th century, Ange-Jacques Gabriel was ahead of his time in his work and foresaw future trends.

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