grande galerie of the palace of versaillesmauritania pronunciation sound

The hall of mirrors The Hall of Mirrors (French: Grande Galerie or Galerie des Glaces) is the central gallery of the Palace of Versailles in Versailles, France.

In a departure from the decoration of the ceilings in the grand appartement du roi, Le Brun has depicted Louis XIV directly, and has ceased to refer to the king in allegorical guises. Courtiers assembled to meet the king and members of the royal family and might make a particular request by intoning: "Sire, Marly?". It was then that, under the influence of his most eminent curator, Pierre de Nolhac, the castle reconnected with its own history by finding, in the whole of the central body, its aspect of royal residence of Ancien Régime.The Palace of Versailles has never had a protective function in the sense of the medieval castle. Jeanne-Antoinette, who became Louis XV’s mistress, is better known to history as the Marquise de Pompadour.In the 19th century, at the conclusion of the Franco-Prussian War, the Prussian king, William I, was declared German emperor — thus establishing the German Empire — on 18 January 1871 in the Hall of Mirrors by Bismarck and the victorious German princes and lords. The arches themselves are fixed between marble pilasters whose capitals depict the symbols of France. The present decorative schema represents the last of three that were presented to Louis XIV.

The Hall of Mirrors (French: Grande Galerie or Galerie des Glaces) is the central gallery of the Palace of Versailles in Versailles, France. Thus the Doge of Genoa in 1685, the ambassadors of Siam (1686), Persia (1715) and the Ottoman Empire (1742) had to cross the whole gallery, under the eyes of the Court massed on each side on bleachers to reach the king.It is also here that was signed June 28, 1919 the Treaty of Versailles which ended the First World War. The next decorative plan was one in which the exploits of Hercules — as allegories to the actions of Louis XIV — were to be depicted. The central panel of the ceiling, Le roi gouverne par lui-même (“The king governs alone”), alludes to the establishment of the personal reign of Louis XIV in 1661. On these latter occasions, the throne was then installed on a platform at the end of the gallery, on the side of the Salon de la Paix, whose arch was closed. On the other hand, the mirrors also conveyed the king's wealth and the efficiency of the French economy in a subtle way. The Grand Gallery is a set of three highly decorated reception rooms, dedicated to the celebration of the political and military successes of Louis XIV, and used for important ceremonies, celebrations and receptions.The most emblematic place of the Castle, the Hall of Mirrors or Grand Gallery replaces a vast terrace opened on the garden that the architect Louis Le Vau had conceived. These gilded bronze capitals include the fleur-de-lys and the Gallic cockerel or rooster. However, of all the events that transpired in this room during the reign of Louis XIV, the The Hall of Mirrors remains reserved for official ceremonies of the The eastern facade of the palace before the construction of the Hall of Mirrors, 1675 Each arch contains twenty-one mirrors with a total complement of 357 used in the decoration of the galerie des glaces. Following on from the victory over the three united powers, depicted in the War Room, the whole length of the Hall of Mirrors (73m) pays tribute to the political, economic and artistic success of France.

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Located on the ground floor of the palace's central body, it faces west towards the Palace Gardensfor a complete perspective. On the one hand, the mirrors had an aesthetic function, as the mirror image of the garden depicted the exterior of the castle into the interior of the building and reflected the candlelight in the evening. This was seen as a victory with heavy symbolism for the Germans and a stinging insult for the defeated French. This was the manner in which nobles were able to obtain a much sought-after invitation to one of the king's house parties at Its central location and size predestined the Hall of Mirrors as a place for court festivities such as the wedding of the Duke of Burgundy with Foreign audiences were granted, including that of the Doge of Genoa in 1685 and the embassy of King Mahmud I of Turkey in 1742. Political successes are illustrated through the 30 painted compositions on the vaulted ceiling by Le Brun, which depict the glorious history of Louis XIV during the first 18 years of his reign, from 1661 to the peace treaties of Nijmegen.

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