Gardens of Versailles

Infobox
name =
title =


caption =
Plan of the chateau of Versailles and the gardens dating from 1746, by the Abbé Delagrive, geographer of the city of Paris.

headerstyle = background:#ccf;
labelstyle = background:#ddf;

header1 = Statistical Information on the gardens of Versailles
label1= Creators:
data1= André Le Nôtre; Louis Le Vau; Jules Hardouin-Mansart; Charles Le Brun
label2= Size:
data2= 800 ha.
label3=Number of trees:
data3= 200,000
label4= Flowers planted annually:
data4= 210,000
label5= Number of fountains:
data5= 50
label6= Number of jets of water:
data6= 620
label7= Surface area of the Grand Canal:
data7= 23 ha.
label8= Perimeter of the Grand Canal:
data8= 5.57 km
label9= Amount of piping to feed the fountains:
data9= 35 km.
label10= Amount of water consumed by the fountains
during the ‘‘Grandes Eaux’’:
data10= 3,600 m³

belowstyle = background:#ddf;
below = Source: Official site of the Chateau de Versailles: [http://www.chateauversailles.fr/fr/331_Quelques_chiffres.php]

The gardens of Versailles occupy part of what was once the "Domaine royale de Versailles". Situated to the west of the palace, the gardens cover some 800 hectares of land, much of which is landscaped in the classic French Garden style. The gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum at Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.

As part of "le domaine national de Versailles et de Trianon", an autonomous public entity operating under the aegis of the French Ministry of Culture, the gardens are now one of the most visited public sites in France, receiving more that six million visitors a year. [Source: Château de Versailles [http://www.chateauversailles.fr/fr/331_Quelques_chiffres.php] ] In addition to the meticulous manicured lawns, parterres of blooming flowers, and sculptural masterwork are the fountains, which are located throughout the garden.

Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique. On weekends from late spring to early autumn, the administration of the museum sponsors the "Grandes Eaux" – spectacles during which the fountains in the gardens are in full-play and which are open to the public.

In 1979, the gardens along with the chateau were inscribed on the UNESCO World Heritage List, one of 31 such designations in France. [Source: UNESCO [http://whc.unesco.org/en/list/83] ]

Louis XIII

With Louis XIII’s final purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630s, formal gardens were laid out west of the chateau. Records indicate that late in the decade Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660s. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines the gardens evolved. This evidenced in the clear definition of the main east-west and north-south axes that anchors the gardens’ layout (Berger I, 1985; Bottineau, 1988; Mariage, 1986; Marie, 1968; Nolhac, 1901, 1925; Thompson, 2006; Verlet, 1961, 1985; Waltisperger, 1984; Weber, 1993).

Louis XIV

In 1661, after the disgrace of the finance minister, Nicolas Fouquet, who embezzled crown funds in order to build his home at Vaux-le-Vicomte, Louis XIV turned his attentions to Versailles. With the aid of Fouquet’s architect – Louis Le Vau – painter – Charles Le Brun – and landscape architect – André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign (Verlet 1985).

From this point forward, the expansion of the gardens of Versailles followed the expansions of the chateau. Accordingly, the building campaigns of Louis XIV apply to the gardens as well. [The campaign dates are as follows: First building campaign, 1661-1666; Second building campaign, 1670-1678; Third building campaign, 1680-1687; Fourth building campaign, 1704-1715.]

First building campaign
In 1662, minor modifications to the chateau were undertaken; however, greater attention was given to developing the gardens. Existing bosquets and parterres were expanded and new ones created. Most significant among the creations at this time were the Orangerie and the Grotte de Thétys (Nolhac 1901, 1925).

The Orangerie, which was designed by Louis Le Vau, was located south of the chateau, a situation that took advantage of the natural slope of the hill. The Orangerie provided a protected area in which orange trees were kept during the winter months (Nolhac 1899, 1902).

The Grotte de Thétys, which was located to the north of the chateau, formed part of the iconography of the chateau and of the gardens that aligned Louis XIV with solar imagery. The grotto would be completed during the second building campaign (Verlet 1985).

By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the "fête galante" called "Les Plaisirs de l’Île Enchantée". The event, which officially was to celebrate his mother, Anne d’Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis’ mistress, was held in May of that year. Guests were regaled with fabulous entertainments in the gardens over a period of one week. As a result of this fête – particularly the lack of housing for guests (most of the guests at the fête had to sleep in their carriages), Louis realized the shortcomings of Versailles and began to expand the chateau and the gardens once again (Verlet, 1961, 1985).

Second building campaign
Between 1664 and 1668, a flurry of activity was evidenced in the gardens – especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens consciously exploited Apollo and solar imagery as metaphors for Louis XIV. Louis LeVau’s "enveloppe" of the Louis XIII’s chateau provided a means by which, though the decoration of the garden facade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens (Lighthart, 1997; Mâle, 1927).

With this new phase of construction, the gardens assumed the topographical and iconological design vocabulary that would remain in force until the 18th century. As André Félibien noted in his description of Versailles, solar and apollonian themes predominated with projects constructed at this time: “Since the sun was the emblem of Louis XIV, and that poets join the sun and Apollo, there is noting in this superb house that does not relation to this divinity.” ["Comme le soleil est le devise du Roi, et que les poëtes confondent le soleil et Apollon, il n’y a rien dans cette superbe maison qui n’ait rapport à cette divinité"] (Félibien, 1674).

Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the Grotte de Thétys, the Bassin de Latone, and the Bassin d’Apollon.

Grotte de Thétys Started in 1664 and finished in 1670 with the installation of the statuary by the Gilles Guérin, François Girardon, Thomas Regnaudin, Gaspard Marsy, and Balthazar Marsy, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the Grotte de Thétys related to the myth of Apollo – and by that association to Louis XIV. It was as the cave of the sea nymph, Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the chateau. The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids (central grouping) and his horses being groomed by attendants of Thetis (the two accompanying statue groups). Originally, these statues were set in three individual niches in the grotto and were surrounded by various fountains and water features (Marie 1968; Nolhac 1901, 1925; Thompson 2006; Verlet 1985).

Technically, the Grotte de Thétys played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.

Parterre d’Eau
Situated above the Latona Fountain is the terrace of the chateau, known as the Parterre d’Eau. Forming a transitional element from the chateau to the gardens below and placed on the north-south axis of the gardens, the Parterre d’Eau provided a venue in which the imagery and symbolism of the decors of the grands appartements synthesized with the iconography of the gardens. [For the relation of the imagery of the garden and the decor of the grands appartements, see Lighthart, 1997.] In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d’Eau. The "Grande Commande", as the commission is known, comprised 24 statues of the classic quaternities and four additional statues depicting abductions from the classic past (Berger I, 1985; Friedman, 1988,1993; Hedin, 1981-1982; Marie, 1968; Nolhac, 1901; Thompson, 2006; Verlet, 1961, 1985; Weber, 1981).

Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets: The Bosquet du Marais in 1670; the Bosquet du Théâtre d’Eau, Île du Roi and Miroir d’Eau, Salle des Festins (Salle du Conseil), the Bosquet des Trois Fontaines in 1671; the Labyrinthe and the Bosquet de l’Arc de Triomphe in 1672; the Bosquet de Renommée (Bosquet des Dômes) and the Bosquet de l’Encélade in 1675; and the Bosquet des Sources in 1678 (Marie 1972, 1976; Thompson 2006; Verlet 1985).

In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d’Eau des Suisses.

Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the chateau below the Parterre du Nord and the Allée des Marmousets [Also known as the Allée d’Eau, this incline forms a transitional element between the Parterre du Nord and the Bassin de Neptune. In 1688, the bronze sculptures depicting children were installed as fountains. The statues – groups of three children – supported basins into which a single jet of water issued. Originally, the basins contained gilded lead fruit which were highly prized souvenirs during the reign of the Sun King.] was designed to form a topological pendant along the north-south axis with the Pièce d’Eau des Suisses located at the base of the Satory hill south of the chateau. Later modifications in the garden would transform this fountain into the Bassin de Neptune (Marie 1972, 1975; Thompson 2006; Verlet 1985).

Pièce d’Eau des Suisses
Excavated in 1678, the Pièce d’Eau des Suisses – named for the Swiss Guard who constructed the lake – occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden. This water feature, with a surface area of more than 15 hectares, is the second largest – after the Grand Canal – at Versailles (Marie 1972, 1975; Nolhac 1901, 1925; Thompson 2006; Verlet 1985).

Third building campaign
(Nolhac 1901; Thompson 2006).

Beginning in 1684, the Parterre d’Eau was remodeled under the direction of Jules Hardouin-Mansart. Statues from the "Grande Commande" of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the rivers of France. In the same year, Le Vau’s Orangerie, located to south of the Parterrre d’Eau was destroyed to accommodate a larger structure designed by Jules Hardouin-Mansart. In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d’Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the chateau their present configuration and decoration. Additionally, to accommodate the anticipated construction of the Aile des Nobles – the north wing of the chateau – the Grotte de Thétys was destroyed (Marie 1968, 1972, 1976; Nolhac 1899, 1901, 1902, 1925).

With the construction of the Aile des Nobles between 1685-1686, the Parterre du Nord was remodeled to respond to the new architecture of this part of the chateau. To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water Jules Hardouin-Mansart designed new and larger reservoirs situated due north of the Aile des Nobles (Thompson 2006).

Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles (Hedin 1992; Thompson 2006; Verlet 1985) .

During this phase of construction, three of the garden’s major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d’Eau (1678). This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed. The following year, construction began on the Salle de Bal. Located in a secluded section of the garden south of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin. Between 1684 and 1685 Jules Hardouin-Mansart built The Colonnade. Located on the site of Le Nôtre’s Bosquet des Sources, this bosquet featured a circular peristyle formed from 32 arches with 28 fountains and was Hardouin-Mansart’s most architectural of the bosquets built in the gardens of Versailles (Marie 1972, 1976; Thompson 2006; Verlet 1985)

Fourth building campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704. Between 1704 and 1709, bosquets were modified – some quite radically with new names suggesting the new austerity the characterized the latter years of Louis XIV’s reign (Marie 1976; Thompson 2006; Verlet 1985)

Louis XV

With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty. In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather’s admonition not to engage in costly building campaigns, Louis XV did not undertake the costly building campaigns at Versailles that Louis XIV had. During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738-1741) (Marie 1984; Verlet 1985).

Rather than expend resources on modifying the gardens at Versailles, Louis XV – an avid botanist – directed his efforts at Trianon. In the area now occupied by the Hameau de la reine, Louis XV constructed and maintained "les jardins botaniques" – the botanical gardens. In 1750, the year in which "les jardins botaniques" were constructed, the "Jardinier-Fleuriste", Claude Richard (1705-1784), assumed administration of the botanical gardens. In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the "jardins botaniques". It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; on 10 May 1774, the king died at Versailles (Marie, 1984; Thompson, 2006).

Louis XVI

Upon Louis XVI’s ascension to the throne, the gardens of the Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774-1775 witnessed a complete replanting of the gardens. Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the "jardins français" of Le Nôtre and Hardouin-Mansart into an English-style garden.

The attempt to convert Le Nôtre’s masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English esthetic was abandoned and the gardens replanted in the French style. However, with an eye on economy, Louis XVI ordered the palissades – the labor-intensive clipped hedging that formed walls in the bosquets – to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed. The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d’Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed (Thompson 2006; Verlet 1985).

Revolution

In 1792, under order from the National Convention, some of the trees in gardens were felled, while parts of the Grand Parc were parceled and dispersed. Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754-1821) – director of the "jardins botaniques" and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens and that orchards could occupy the open areas of the garden. Fortunately, these plans were never put into action; however, the gardens were opened to the public – it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry (Thompson 2006).

Napoléon I

The Napoleonic era largely ignored Versailles. In the chateau, a suite of rooms was arranged for the use of the empress Marie-Louise; but the gardens were left unchanged, save for the disastrous felling trees in the Bosquet de l’Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees (Thompson 2006; Verlet 1985).

=Restoration=

With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du roi and the Miroir d’Eau into an English-style garden – the Jardin du roi (Thompson 2006).

The July Monarchy; The Second Empire

While much of the chateau’s interior was irreparably altered to accommodate the Museum to all the Glories of France (inaugurated by Louis-Philippe, 10 May 1837), the gardens, by contrast, remained untouched. With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fete that recalled the fetes of Louis XIV, Napoléon III ignored the chateau, preferring instead the chateau of Compiègne (Thompson 2006; Verlet 1985).

Pierre de Nolhac

With the arrival of Pierre de Nolhac as director of the museum, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the chateau and preservation of the gardens, which are on going to this day (Thompson 2006; Verlet 1985).

Bosquets of the gardens

Owing to the many modifications made to the gardens between the 17th and the 19th centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes. [Period sources include: (Anonymous, 1685); (Dangeau, 1854-60); (Félibien, 1703); ("Mercure Galant", 1686); (Monicart, 1720); (Piganiole de la Force, 1701); (Princess Palatine, 1981); (Saint-Simon, 1953-61); (Scudéry, 1669); (Sourches, 1882-93)]

Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. Located north and south of the east-west axis, theses two bosquets were arranged as a series of path around four "salles de verdure" and which converged on a central “room” that contained a fountain. In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin. During the replantation of 1774-1775, both the Bosquet de la Gironodole and the Bosquet du Dauphin were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. (Loach, 1985) In 1669, Charles Perrault – author of the Mother Goose stories – advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin’s education (Perrault, 1669). Between 1672 and 1677 Le Nôtre redesigned the Labyrinthe to feature 39 fountains that depicted stories from Aesop’s Fables. The fountains were accompanied by a plaque on which the fable was printed; from these plaques, Louis XIV’s son learned to read. Once completed in 1677 the Labyrinthe contained 39 fountains with 333 painted metal animal sculptures. Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe destroyed in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden. Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785 (Marie 1968, 1972, 1976, 1984; Perrault 1669; Thompson 2006; Verlet 1985).

Bosquet de la Montagne d’Eau - Bosquet de l’Étoile
Originally designed by André Le Nôtre in 1661 as a "salle de verdure", this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d’Eau. The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l’Étoile (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet du Marais - Bosquet du Chêne Vert – Bosquet des Bains d’Apollon – Grotte des Bains d’Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner. The center of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert. In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d’Apollon, which was created to house the statues had once stood in the Grotte de Thétys. During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statutes. The bosquet was renamed the Grotte des Bains d’Apollon (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Île du roi - Miroir d’Eau - Jardin du roi
Originally designed in 1671 as two separate water features, the larger – Île du roi – contained an island that formed the focal point of a system of elaborate fountains. The Île du roi was separated from the Miroir d’Eau by a causeway that featured 24 water jets. In 1684, the island was removed that the total number of water jets in the bosquet was significantly reduced. 1704 witness a major renovation of the bosquet at which time the causeway was remodeled and most of the water jets were removed. A century later, in 1817, Louis XVIII ordered the Île du roi and the Miroir d’Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du roi (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Salle des Festins - Salle du Conseil - Bosquet de l’Obélisque
In 1671, Le Nôtre conceived a bosquet – originally christened Salle des Festins and later called Salle du Conseil – that featured a quatrefoil island surrounded by a channel that contained 50 water jets. Each lobe of the island contained simple fountain; access to the island was obtained by two swing bridges. Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l’Obélisque (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet du Théâtre d’Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671-1674, was an auditorium/theater sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades. Between 1680 and Louis XIV’s death in 1715, there was near-constant rearranging of the statues that decorated the bosquet. In 1709, the bosquet was rearranged with the addition of the Fontaine de l’Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774-1775, the Bosquet du Théâtre d’Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet des Trois Fontaines (Berceau d’Eau)
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d’Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms. Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th century and were subsequently spared during the 1774-1775 replantation of the gardens. In 1830, the bosquet was replanted at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and reinaugurated on 12 June 2004 (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet de l’Arc de Triomphe
Originally, this bosquet was planned in 1672 as a simple "pavillon d’eau" – a round open expanse with a square fountain in the center. In 1676, this bosquet, located to the east of the Allée des Marmousets and forming the pendant to the Bosquet des Trois Fontaines, was enlarged an redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added – hence the name. As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th century, but was replanted in 1830 at which time the fountains were removed. As of 2008, this bosquet is in the process of being restored (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet de la Renommée -- Bosquet des Dômes
Built in 1675, Bosquet de la Renommée featured a fountain statue of Fame – hence the name of the bosquet. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodeled to accommodate the statues and the Fame fountain was removed. At this time the bosquet was rechristened Bosquet des Bains d’Apollon. As part of the reorganization of the garden that was ordered by Louis XIV in the early part of the 18th century, the Apollo grouping was moved once again tot the site of the Bosquet du Marais – located near the Latona Fountain – which was destroyed and was replaced by the new Bosquet des Bains d’Apollon. The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin. The old Bosquet des Bains d’Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet de l’Encélade
Created in 1675 at the same time a the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Titan who was condemned to live below Mt. Etna, being consumed by volcanic lava. From its conception, this fountain was conceived as an allegory of Louis XIV’s victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708. When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles – 25 meters (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Bosquet des Sources - La Colonnade
Designed as a simple unadorned "salle de verdure" by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets. In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured 32 arches and 31 fountains – a single jet of water splashed into a basin center under the arch. In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from 31 to 28. The statue that currently occupies the center of the Colonnade – the Abduction of Persephone – (from the "Grande Commande" of 1664) was set in place in 1696 (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Galerie d’Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d’Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copes of antique statues acquired by the Académie de France in Rome. Surrounding a central area paved with colored stone, a channel was decorated with 20 statues on plinths each separated by three jets of water. The galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with chestnut tree – hence the current name Salle des Marronniers (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Salle de Bal
Located west of the Parterre du Midi and south of the Latona Fountain, this bosquet, which was designed by Le Nôtre and built between 1681-1683, features a semi-circular cascade that forms the backdrop for this "salle de verdure". Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV’s son, the Grand Dauphin, with a dance party. The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).

Replantations of the garden

Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and esthetic reasons.

During the winter of 1774-1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the tress were diseased or over-grown and needed to be replaced. Also, as the formality of the 17th century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens – that would also be less expensive to maintain – of Versailles. This, however, was not achieved as the topology of the gardens favored the "jardins français" over an English-style garden. Then in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area damaging and uprooting scores of trees, which necessitated a massive replantation program. However, owing to the Franco-Prussian War and the "Commune de Paris", which toppled Napoléon III, replantation of the garden did not get underway until 1883 (Thompson, 2006).

The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees – the worse such damage in the history of Versailles. The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004. (Thompson, 2006).

Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.

The Problem of water

The marvel of the gardens of Versailles – then as now – is the fountains. Yet, the very element that animates the gardens – water – has proven to be the affliction of the gardens since the time of Louis XIV.

The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.

To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to gardens from ponds near the chateau, with the Clagny pond serving as the principal source. [The Clagny pond, which was located near the Rive droite train station in the city of Versailles, was filled in during the 18th century due to sanitary concerns.] Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the chateau (Verlet, 1985).

By 1664, increased demand for water necessitated additional sources. In this year, Louis Le Vau designed the "Pompe", a water tower built north of the chateau. The "Pompe" drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the "Pompe"’s building. The capacity of the "Pompe" – 600 m³ of water per day – alleviated some of the water shortages in the garden (Thompson, 2006).

With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys. While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time (Thompson, 2006).

While it was possible to keep the fountains in view from the chateau running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis. In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the garden would signal each other with whistles upon the approach of the king indicating that their fountain needed to be turned on. Once the king passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on (Thompson, 2006).

In 1674, the "Pompe" was enlarged – hence referred to as the "Grande Pompe". Pumping capacity was increased via increased horsepower and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 m³ of water per day; however, the increased capacity of the "Grande Pompe" often left the Clagny pond dry (Thompson, 2006).

The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668-1674 a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 m³ of water to the gardens (Thompson, 2006).

Despite the augmentation of water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken. Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain, construction of the Machine de Marly began the following year.

The Machine de Marly was designed to lift water from the Seine in three stages to the Louveciennes aqueduct some 100 meters above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 meters above the river. From this first reservoir, water was raised an additional 56 meters to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.

In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 m³ of water per day – approximately one-half the expected output. [Water from the Machine de Marly could be diverted for use at either Versailles or Marly but not to both.] The machine was a must-see for visitors to France. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817 (Thompson, 2006).

During Louis XIV’s reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run "à l’ordinaire" – which is to say at half-pressure. With this measure of economy, fountains still consumed 12,800 m³ of water per day, far above the capacity of the existing supplies. In the case of the ‘‘Grandes Eaux’’ – when all the fountains played to their maximum – more than 10,000 m³ of water was needed for one afternoon’s display. Accordingly, the ‘‘Grandes Eaux’’ were reserved for special occasions such as the Siamese Embassy of 1685-1686 (Hedin, 1992; "Mercure Galant", 1685). One final attempt to solve water shortage problems was undertaken in 1685.

In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m. above the garden reservoirs. The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal. Between 9,000-10,000 troops were pressed in service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the War of the League of Augsburg began, one-tenth of France’s military was at work on the Eure project. With the outbreak of the war, the project was abandoned, never to be completed. Had the Eure project been completed, some 50,000 m³ of water would have been sent to Versailles – more than enough to solve the water problem of the gardens (Thompson, 2006).

Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal. Assiduous husbanding of this resource by museum officials prevents tapping into the supply of potable water of the city of Versailles (Thompson, 2006).

ources

The following are sources that have contributed to the above article. It is not an exhaustive list, yet it represents the most readily available imprints:

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* Dangeau, Philippe de Courcillon, marquis de. "Journal". (Paris, 1854-60).
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* Félibien, Jean-François. "Description sommaire de Versailles ancienne et nouvelle." (Paris, 1703).
* Fennebresque, Juste. “Construction projetée sous Louis XIV à Versailles d'un pavillon d'Apollon.“ "Revue de l'Histoire de Versailles" (1902): 91-100.
* Francastle, Pierre. "La Sculpture de Versailles". (Paris: Maison des Sciences de l'Homme, 1970).
* Friedman, Ann. “The evolution of the Parterre d'eau.“ "Journal of Garden History" vol. 8, no. 1 (January-March 1988): 1-30.
* Friedman, Ann. “Charles Le Brun as Landscape Architect: His Designs for the First Parterre d'eau at Versailles.“ "Eighteenth Century Life" vol. 17, n.s., 2 (May 1993): 24-35.
* Girard, Jacques. "Versailles gardens: sculpture and mythology". Preface by Pierre Lemoine. (New York: Vendôme Press, 1983).
* Hedin, Thomas. “The Parterre d'eau at Versailles: an eighteenth-century recollection.“ "Minneapolis Institute of Arts Bulletin" 65 (1981-1982): 50-65.
* Hedin, Thomas. “Versailles and the 'Mercure Gallant': The Promenade of the Siamese Ambassadors.“ "Gazette des Beaux-Arts" 6 pér., vol. 119 (avril 1992): 149-172.
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Notes