Château de Versailles – Palace of Versailles

The Château de Versailles counts amongst the world’s most prestigious monument and is designated UNESCO World Heritage site and a “Monument historique”. With over 700 rooms, the palace offers a peek into the lives of the French monarchy’s most influential figures.     

Below is the typical sequence covered by tour groups visiting Versailles from Paris for a 90-min tour. After that you are free to explore the palace on your own, and there are many chambers in the palace itself to lose track of time, but I do recommend you to leave some time to explore the gardens.

Château de Versailles – The Palace of Versailles

The Palace of Versailles was the principal residence of the French kings from the time of Louis XIV to Louis XVI. Embellished by several generations of architects, sculptors, decorators and landscape architects, it provided Europe with a model of the ideal royal residence for over a century.

Salon d’Hercule – Hercules Drawing Room

Built between 1710 and 1736, the Hercules Drawing Room, also known as the Salon d’Hercule, because of the fresco of Hercules on the ceiling, connects the Royal Chapel to the King’s State Apartment and serves as the largest salon in the palace. The ceiling features The Apotheosis of Hercules, a monumental fresco painted by François Lemoyne between 1733 and 1736 depicting over 140 figures on Mount Olympus. The Walls are decorated with rich multi-coloured marbles, Corinthian columns, and gilded bronze.

Started in 1710 by architect Robert de Cotte under Louis XIV, it was built on the site of the palace’s fourth royal chapel. Completed in 1736 under Louis XV after delays following Louis XIV’s death, it was designed primarily to showcase a massive painting gifted to Louis XIV by the Republic of Venice. This massive hall was used for a special equestrian exhibition during our visit.

Chapelle Royale – The Royal Chapel

Right next to the Hercules Salon is a two-storey palatine chapel designed on the model of the Holy Chapel in Paris. Built from 1687 to 1710 by Jules Hardouin-Mansart and ended by Robert de Cotte. The tribune in front was reserved for the king and the royal family.

On the vault, at the bottom, The Resurrection of Christ by Antoine Coypel (1708-1710). In the centre, God Father in His glory by Charles de La Fosse (1708-1710). Above the tribune, The Descent of the Holy Spirit by Jean Jouvenet (1708-1710). Above the high altar, a magnificent organ by Francois Henri Clicquot (1709-1710)

If you look beyond the vestibule on the north-south sculptural profile on this floor, there are statues of successive kings and celebrities known as the High Stone Gallery (Galerie de Pierre Haute). At this point, U-turn and walk back to the Hercules Salon to head towards the State Apartments.

Le Grand Appartement du Roi – The King’s State Apartments

This prestigious series of seven rooms were parade apartment, used for hosting the sovereign’s official acts. For this reason, it was bedecked with lavish Italian-style decoration, much admired by the king at the time, composed of marble panelling and painted ceilings. During the day, the State Apartment was open to all who wished to see the king and the royal family passing through on their way to the chapel. During the reign of Louis XIV, evening gatherings were held here several times a week.

Salon de L’Abondance – Drawing Room of Plenty

This small salon with a plentiful name was furnished in 1680 and served as the antechamber to Louis XIV’s Cabinet of Medals, which could be entered through the end door, where the finest works of art from the royal collections were kept. The ceiling, painted on plaster by René-Antoine Houasse (1645-1710), was completed in 1683. It illustrates royal magnificence and magnanimity, inspiring and rewarding the arts.

The king liked to show his guests the silver vases, gems and medallions kept there which served as a source of inspiration for the decoration of the vault, including a depiction of the royal vessel over the door. The King’s Vessel was a valuable object in the form of a mastless ship which was placed on the king’s table during important occasions or on the sideboard. It contained the sovereign’s serviette and was a symbol of power which had to be hailed by everyone who passed by.

This is perhaps the only piece of furniture left in the palace that was original used by Louis XIV. From a pair intended for the King’s “Petit Cabinet” at Versailles, made of oak, fir, and ebony; veneered in Brazilian rosewood and ebony; marquetry in reverse of engraved brass and inlaid with red tortoiseshell, 1685. Formerly converted into a slant-front desk. In England in the 19th century, having been part of the collection of Baron Ferdinand de Rothschild. Restored to its original state as a broken desk after its acquisition by the Palace of Versailles in 2015. Acquired through the patronage of AXA and the Society of Friends of Versailles in partnership with the Heritage Foundation.

The next room, the Venus Room, as well as the Diana Room, constituted the main entrance to the King’s State Apartment because it was at the top of the great staircase known as the “Ambassadors’ Staircase”, before it was destroyed in 1752. Like all the other rooms, this room was named after a planet, following a running theme linked to sun mythology which inspired the decoration in Versailles during the 1670s.

The Mars Room followed on from the two previous rooms and marked the start of the King’s Apartment. It was used as the King’s Guard Room, making its dedication to the god of war highly appropriate. In the centre of the ceiling is a painting by Claude Audran of Mars on a chariot pulled by wolves.

Salon de Mercure – Mercury Drawing Room

The Mercury Room was originally the royal bedchamber in the King’s State Apartment and was referred to as the “bedroom”, although the bed was removed early on in winter to make room for games tables. The bed currently in the room was brought here by Louis-Philippe while Versailles was being made over into a museum. On either side are two paintings that Louis XIV was particularly fond of, and which he hung in his bedroom: David playing the harp by Domenico Zampieri (1581-1641), an Italian Baroque painter, and Saint John on Patmos, attributed at the time to Raphael, aka Raffaello Sanzio (1483-1520), a famous painter and architect from the Italian Renaissance..

The ceiling was painted by Jean-Baptiste de Champaigne (1631-1681), painter and decorator. He was the nephew of the painter and portrait painter Philippe de Champaigne (1602-1674). and depicts Mercury on his chariot pulled by two roosters. Mercury was the patron god of trade, arts and sciences and, as the gods’ messenger, of ambassadors.

These themes are depicted in the arches in the vault in the ceiling: Alexander the Great bringing various foreign animals to Aristotle to allow him to write his Natural History; Augustus receiving Indian ambassadors; Alexander receiving Ethiopian ambassadors and Ptolemy Philadelphus talking with wise men in the library of Alexandria. These scenes evoke events from the reign of Louis XIV, such as the reception of ambassadors from far-off countries, development of the royal library, and publication of Histoire naturelle by Claude Perrault in the collection in the King’s Cabinet in 1671.

Salon d’Apollon – Apollo Drawing Room

Designed as the sovereign’s Ceremonial Room, the Apollo Room was used as a throne room from 1682 onwards. Until 1689 Louis XIV’s famous silver throne (a huge wooden armchair 2.6m tall and covered with silver plaques and sculptures) once stood here on a platform beneath a baldaquin. This extraordinary throne was melted down and replaced by a succession of gilded chairs in styles that varied according to the period.

The celling was dedicated to the Sun King, the arts and peace. The symbol of the sun, adopted early on by Louis XIV, is illustrated through the image of Apollo on his chariot surrounded by allegorical figures.

The arches illustrate the king’s magnificence and magnanimity though various examples from Antiquity: Vespasien building the Colosseum; Augustus building the port of Miseno, Porus before Alexander and Coriolan entreated by his wife and mother to spare Rome.

Over the fireplace is the most famous portrait of Louis XIV by Hyacinthe Rigaud. The painter made the original portrait in 1701 upon a personal request by the king, who wanted to give it to his grandson who had recently become king of Spain. Exceedingly pleased with the result, Louis XIV decided to keep the original for himself and commissioned copies from the artist. The copy in Versailles was made in 1702. The original painting hangs in the Musée du Louvre.

Appartement Roi – The King’s Apartments

Behind the Hall of Mirrors are the King’s Apartments. The layout of the first floor of the Palace was perfectly symmetrical, with the north belonging to the king and the south to the queen. This was soon changed, however, by the king, who decided to set aside all the rooms around the Marble Courtyard for his new apartments. 

Cabinet du Conseil – Council Study

Here, on different days, the king presided over the various Councils with his ministers as well as granting audiences and receiving oaths of loyalty. The King’s Council Chamber (Salle du Conseil) at the ⁠Palace of Versailles, is where French monarchs, Louis XIV, Louis XV, and Louis XVI, made the most important decisions for the nation and governed France between 1682 and 1789.

For convenience, the room is directly next to the King’s Bedchamber, and was created in its current form in 1755 when Louis XV combined his private study and the Cabinet des Termes into a single, luxurious space. The decor also includes a Rococo-style clock (1754), a bust of Alexander the Great in porphyry, and two vases of Mars and Minerva in Sevres porcelain and chased bronze by Pierre-Philippe Thomire (1787). 

La chambre du Roi – The King’s Bedroom

The room was created by Louis XIV in 1701 and was where he lived until his death on 1 September 1715. In this room the royal rising and going to sleep ceremonies took place. According to our guide, the king did not actually sleep in this room. The successors of Louis XIV were not as passionate about the monarch’s daily routine and, over time, the frequency of the lever and coucher decreased, much to the dismay of their courtiers

Royal rising (lever) and going to bed (coucher) ceremonies were just elaborate daily rituals popularised by King Louis XIV (the Sun King) at the Palace of Versailles. Designed to project divine right and political control, these intimate routines transformed the monarch’s private life into a strict public theatre where attending courtiers vied for royal favour. After spectacle, the king would retire to his preferred bedroom for the night. In fact, the king had often risen early and put in some hours hunting before returning to this bed for the start of the lever.

Salon de l’Œil-de-Bœuf – The Bull’s-Eye Room

This room takes its name from the oval shaped windows that are integrated into the ceiling frieze. Courtiers would wait here before being admitted into the king’s bedroom. The Bull’s Eye Antechamber occupies a strategic position in the Royal Apartment. To the north it leads to the King’s Chamber; to the west, the tall glass windows open directly onto the Hall of Mirrors , enabling courtiers to enter and leave the King’s Apartment; a door in the southern wall to the right of the window leads to the Queen’s Apartment, while a staircase in the eastern wall leads to the Dauphin’s Apartment on the ground floor.

This room was originally divided into two by a partition wall and was composed of the antechamber and the King’s Chamber, in which the bed was placed in the left-hand corner next to the current fireplace. Frustrated by the small size of these rooms, which could barely contain all the courtiers in attendance when he got up and when he went to bed, Louis XIV decided to knock down the wall in 1701 and combine the two rooms into one. He moved his bedroom into the following room, which at the time was just a salon.

As in the preceding rooms, the decoration in this room testifies to changes in the king’s personal taste. With the start of the new century he abandoned rich marble decoration and painted ceilings and replaced them with white ceilings and gilded woodwork. A frieze depicting children’s games runs along the cornice.

Galerie des Glaces – Hall of Mirrors

The gallery served for the monarch’s daily passage to the Chapel and the Queen’s Apartment. It also served for courtly celebrations, extraordinary audiences, receiving ambassadors and for masked and fancy-dress balls. This vast gallery (73 m in length, 10.5 m in height and 12.3 m in width) was constructed by Jules Hardouin-Mansart in 1678 and its vaulted ceiling was painted by Charles Le Brun between 1681 and 1684. The seventeen bay windows are matched by seventeen arches decorated with mirrors.

Mirror glass was an expensive luxury product in the 17th century and could only be produced with great effort. The manufacture of the mirror surfaces was the first major order for the Manufacture royale de glaces de miroirs, a glass factory founded by Jean-Baptiste Colbert, the later Compagnie de Saint-Gobain, with which the Venetian monopoly on the manufacture of mirrors in Europe was broken.¹

It has continued to be a historic location even after the monarchy: William I was declared Emperor of Germany here on 18 January 1871, and the Treaty of Versailles that ended the First World War was signed here on 28 June 1919. These days, concerts are performed here all year round.

The Hall of Mirrors was built during the third building stage between 1678 and 1684 and replaced a large terrace and several smaller salons facing the gardens. The terrace was originally situated directly outside of the King’s and the Queen’s apartments.

The terrace was considered to be a rather misplaced architectural element and exposed to the elements, reducing its utility. Eventually it was decided to demolish it. Architect Jules Hardouin-Mansart was tasked with the design development and the construction of the Mirror Hall Gallery. Artist Charles Le Brun received the honour to create the interior decorative apparatus. The square windows on the upper floor, which can be seen from the outside, only serve aesthetic purposes, as there are no rooms inside.

The Hall of Mirrors is flanked at the far ends by the War Drawing Room (Salon de la guerre) in the north and the Peace Drawing Room (Salon de la paix) in the south, respectively. The Hall of Mirrors connects to the two salons, which were assigned to and incorporated into the king’s apartments in the north and the queen’s apartments in the south. If you are following the route that I have drawn out, coming through the King’s State Apartments, you will come to the War Drawing Room before entering the Hall of Mirrors.

Salon de la Guerre – War Drawing Room

This is the baroque ceiling fresco created by Charles Le Brun that depicts allegories of French military victories and power.

This artwork (above left) is a plaster relief sculpture of Louis XIV depicted as a victorious Roman Emperor, created by Antoine Coysevox in 1715. The relief is set above the chimney-piece in the room and is surrounded by coloured marbles and gilded bronze decoration. When we were visiting, there was a special exhibition of horse armoury, and the room was used to showcase some rare chamfers, a piece of armour to protect the war horse head.

Salon de la Paix – Peace Drawing Room

The Peace Darwing Room is located south end of the Hall of Mirrors and is adjacent to the Queen’s Grand Apartment. It is symmetrical to the War Drawing Room and presents the same decor of marble panels and trophies of gilded and chiselled bronze arms. The fresco was also painted by Charles Le Brun, showing the opposite themes of France offering peace to Europe and various nations accepting treaties.

At the end of the reign of king Louis XIV, this living room was separated from the gallery by a movable bulkhead and considered to be part of the Queen’s apartment, from which it was the last room after the chamber. It was there that under Louis XV, Marie Leszczynska gave every Sunday concerts of profane or religious music which played an important role in the musical life of Versailles, and that, in the following reign, Marie-Antoinette held her game. When necessary, the partition separating the room from the gallery was dismantled and the living room was again part of the large apartment.

Le Grand Appartement de La Reine – The Queen’s Apartments

Coming out of the Peace Drawing Room, we are actually walking through the Queen’s apartments in reverse order, ending at the Queen’s staircase. The Queen’s Apartments, which overlook the Parterre du Midi (South Parterre), are a series of rooms whose layout is identical to that of the King’s State Apartments to the north. Queen Maria Theresa, Louis XIV’s wife, was the first person to live in these apartments, but she died not long after moving in, in 1683. In 1701, Louis XIV had an archway built through the wall of the vestibule leading to his apartments. The resulting loggia was intended to bring light to the Queen’s Staircase, and shares its impressive polychrome marble decor.

La Chambre de la Reine – Queen’s Bedchamber

The Bedchamber is the most important room in the apartments and is where the Queen spent most of her time. It was where she slept, often with the king, and in the morning she received guests here during and after her toilette which, like the King’s getting-up ceremony, was a courtly affair controlled by strict etiquette. Nineteen Princes and Princesses of the Realm were born here between 1682 and 1786, and two queens died here: Maria-Theresa in 1683 and Marie Leszczyńska in 1768.

The jewellery cabinet commissioned to Jean-Ferdinand Schwerdfeger (1734-1818), a German cabinetmaker, by Marie-Antoinette has been placed in its original position in the alcove to the left of the bed. The fabrics hanging on the bed and walls were re-woven in Lyon using the original patterns and the bed and balustrade have been remade using ancient documents. There’s a secret door that can be barely recognised next to the cabinet which is purported to be the door by which Marie-Antoinette escaped to the King’s private chambers when the angry mob came to Versailles.

Many of the original furniture were “sold” during the auctions following the National Convention, bought mainly by aristocrats, collectors, and the original furniture makers who knew the value of these pieces. It took tremendous efforts by subsequent curators and administrators of the museum to replace them. While the cabinet may be attributed to Marie-Antoinette, others pieces of furniture which were lost have been replaced by similar items, such as the sofa delivered for the Countess of Provence, the queen’s sister-in-law.

The next two rooms serve as meeting areas for audiences with the Queen. The first, the Noble’s Drawing Room (Salon des Nobles), was used as a second antechamber. Queen Marie Leszczyńska held formal audiences here, seated under a canopy, as well as her Circle, the name given to the times spent in orderly conversation by the ladies of the Court. The room features walls covered in green apple Damascus fabric, bordered with extensive gold braids, a decoration style commissioned by Marie Antoinette, who was sick and tired of Louis XIV’s outdated tastes. The interior includes a large, circular rug with intricate patterns, ornate crystal chandeliers, and gilded furniture.

L’Antichambre du Grand Couvert – The Royal Table Antechamber

Traditionally, public meals at the Royal Table, taken by the king and the royal family, were held in the Queen’s Antechamber. This lavish ceremony attracted a large number of curious onlookers. Only the members of the royal family were allowed to dine, while privileged duchesses, princesses or those holding important positions sat in front them on stools, and the other ladies and people whose rank granted them entry or who were admitted by the ushers stood around them.

Louis XIV adhered strictly to this ceremonial performance almost every evening, whereas Louis XV more often preferred private dinners. The Queen’s Royal Table Antechamber was restored between 2009-2010 thanks to sponsorship from Martell & Co.

Louis XVI and Marie-Antoinette only ate at the Royal Table once a week. One account at the time reported that “the King ate heartily, but the Queen didn’t even remove her gloves or unfold her serviette, which was a great mistake”. To brighten up what she considered to be a great chore, Marie-Antoinette requested that music was played during meals at the Royal Table, and a platform for musicians was installed in the room to this end.

And as you leave the Queen’s apartments via the Guard Room, do not miss the ceiling fresco by Charles Le Brun featuring a swirling composition of mythological figures and eagles which was restored with contributions from the American Friends of Versailles.

Not to be missed when you go through this theatre of a dining room, a famous oil painting of Marie-Antoinette and her children⁶ hanging on the beautiful wall decorated with maroon and gold wallpaper. Also, the majestic 17th-century French tapestry known as Le Parnasse depicting the Greek mythological figures Apollo and the Muses on Mount Parnassus.

Entry to the Queen’s Apartments from the Queen’s Staircase, also called the “Marble Staircase”, was controlled by the Guard Room, where 12 of the Queen’s Guards were on duty day and night. At Versailles only the king, queen and dauphin were allowed to have a personal guard composed of soldiers from the four elite companies of the King’s Guards. The large adjoining room, today called the “Coronation Room”⁷, was assigned to them and served as a Guardhouse. It was also here that a group of rioters tried to enter the Queen’s Apartments at dawn on 6 October 1789. One of the ladies in waiting was warned by one of the queen’s guards and managed to bolt the door to the Royal Table Antechamber and help the queen hurry through to the king’s apartments via her private chambers.

L’escalier De La Reine – The Queen’s Staircase

A trompe-l’oil painting opposite the archway depicts a perspective of a palace, with figures dressed in Oriental style, a collaboration between three artists: Philippe Meusnier (1655-1734) for the architectural elements, Charles-François Poerson (1653-1725) for the figures, and Jean-Baptiste Belin de Fontenay (1653-1715) for the flowers.

The Marble Courtyard is the original courtyard of the palace, built by Louis XIII in 1623. Its black and white tiles come from the castle of Vaux-le-Vicomte.

Les Jardins du Château – The Gardens of Versailles

Gardens of Versailles are a perfect example of classical French gardens where nature is ordered geometrically. Although they maintain the symmetry of Italian tradition, the Gardens have a network of axial pathways leading off to the horizon. These paths are cadenced by rond-points, pavilions, arboreal architecture, wider areas that suddenly appear ahead, stairways, terraces, ponds, and monumental fountains that expand the visual perception of space.

The Water Garden appears to be an extension of the facade of the Palace. Their layout was modified several times before receiving its definitive form, in 1685. Each pool is decorated with statues of lying-down figures representing the rivers of France, accompanied by nymphs and children.

Parterre De L’Orangerie – The Orangery Garden

The breadth, height and pure lines of the Orangery, built below the Palace, make it one of the greatest masterpieces by the architect Jules Hardouin-Mansart. The Orangery Garden is well worth admiring for its typical formal garden design. From May to October it is adorned with 1,200 boxes containing orange, lemon, pomegranate and oleander trees.

Bassin De Latone – Latone’s Fountain

This group of sculpted marble figures of Latona and her children is one of the most famous works of Versailles, made in 1670 by the Marsy brothers and lending its name to the fountain on which it proudly stands. Inspired by Ovid’s Metamorphoses, Latona’s Fountain illustrates the transformation of the Lycian peasants into amphibians after they prevented the goddess and her children, Diana and Apollo, from quenching their thirst. The pool and parterre surrounding the fountain, designed by André Le Nôtre, were fully restored in 2015.

Le Grande Canal – The Grand Canal

The Grand Canal is the masterpiece of André Le Notre, the designer of Versailles Gardens. He created a 1 670m long east-west perspective in the axis of the Palace by digging the canal. The works lasted from 1668 to 1679. In 1669, Louis XIV ordered rowing boats and ship models. In 1674, the Republic of Venice sent the King two gondolas. In the summer the King’s fleet sailed along the Grand Canal. In the winter, the Grand Canal was left to skaters. It was the setting for nautical spectacles until 1789.

Bassin d’Apollon – Apollo’s Fountain

The original pool here was extended during the reign of Louis XIV and, in 1671, decorated with the famous gilded lead sculpture of Apollo on his chariot. The work was created by Jean-Baptiste Tuby after a drawing by Charles Le Brun and is inspired by the legend of the Sun god, the king’s emblem.

Bosquet De La Colonnad – The Colonnade Grove

The construction of the Colonnade Grove started in 1685 under the direction of Jules Hardouin-Mansart, replacing the Spring Grove built by Le Nôtre in 1679. It takes its name from the peristyle composed of 32 marble columns surrounding the group of sculpted figures of the Abduction of Proserpina by François Girardon, made between 1678 and 1699.

Bosquet de la Girandole – The Girandole Grove

The Girandole Grove, which forms a pair with the Dauphin Grove, has seen few modifications since its creation. It is decorated with terms commissioned by Nicolas Fouquet, once Superintendent of Finances to Louis XIV, for the Château of Vaux-le-Vicomte and made in Rome after models by Poussin.

And nestled among the lush forage of the enormous ground of the palace is a little cafe Le Girandole that serves a small bite and simple snacks. I love this particular location because of its surrounding trees. The ground can get a bit mushy if it has rained earlier, like this particular day I was there with Princess.

Bassin de Saturne – Saturn’s Fountain

Entirely in symmetry with the Flora Fountain, the Saturn Fountain in the south of the gardens was sculpted by François Girardon and symbolises winter. Saturn sits on a throne in the centre, surrounded by cupids, on an island dotted with seashells.

Jardin du Roi – The King’s Garden

The architect Dufour created the enclosed King’s Garden in 1817, under orders from Louis XVIII, in an English style with many superb varieties that were sadly largely destroyed in the storm of 1999. Only the original installation of the Mirror Fountain now remains.

Bassin Du Miroir – Mirror Pool

Built opposite the King’s Garden, the Mirror Pool⁹ was commissioned by Louis XIV in around 1702. Built over three levels, it is framed by two dragons sculpted by Jean Hardy. Five paths lead to it, giving it an even more impressive appearance when seen from above.

Dawn of the Republic

During the 16th and 17th centuries, France transformed from a fractured kingdom torn apart by violent religious civil wars into the dominant, centralised absolute monarchy of Europe under the Bourbon dynasty. Strong chief ministers like Cardinal Richelieu and the young reign of Louis XIV systematically stripped the feudal nobility of independent power, centralising government control in Paris and Versailles. France established its first major colonial empire, founding permanent settlements in New France (Canada), Caribbean sugar islands, and trading posts in India. By the latter half of the 17th century, France became the cultural, military, and artistic superpower of Europe, anchored by the dazzling splendour of the Palace of Versailles.

King Louis XIV, aka the “Sun King”, ruled France from 1643 to 1715, establishing an absolute monarchy and building the Palace of Versailles. His successors faced mounting debt, leading to the French Revolution, the rise and fall of Napoleon, and the eventual birth of modern French republics

On October 6, 1789, a Parisian crowd forced Louis XVI and Marie Antoinette to move to the Tuileries Palace in Paris, ending its time as the seat of royal power. They never made it back – the monarchy was abolished in 1792 and both were guillotined in Place de la Concorde in 1793.     The same year, the National Convention declared the château public property, saving it from systematic demolition. Workers removed crowns, fleurs-de-lis, and royal monograms, while royal furniture and art were sold off or moved to the Louvre.

In the 19th century Versailles was given a new destiny: it was to become the Museum of the History of France dedicated “to all the glories of France”, in accordance with the wishes of Louis-Philippe, who became King of France in 1830. Additions continued to be made to the collections, mainly consisting of paintings and sculpture, until the beginning of the 20th century.

John D. Rockefeller (1839-1937) made two enormous donations to the Palace for its restoration. Recalling the involvement of France in the American War of Independence, the wealthy businessman inaugurated a custom of philanthropy and patronage that became indispensable for the proper functioning of the site.¹⁰

Special Exhibition – “Horse In Majesty, At The Heart Of A Civilisation”

During the 2024 Olympic and Paralympic Games, the Château de Versailles was transformed into a sports venue: the palace hosted the equestrian, para-equestrian and modern pentathlon events. To mark the occasion, and to honour the very special world of horses, the Château organised a major horse exhibition, “Cheval en majesté, au cœur d’une civilisation”, from 2 Jul to 3 Nov 2024.

The Hercules Room plays host to a spectacular group of full sets of ceremonial equestrian armour from major European collections: the Dresden Rüstkammer, the Armeria Reale in Turin, and the Musée de l’Armée in Paris. Some pieces were designed to protect the horse on the battlefield, while the more luxurious pieces had a ceremonial purpose. From right to left:

• Wilhem von Boxberg of Nuremberg, Kolman Helmschmid (Augsburg 1471–1532), Turin, Musei Reali
• Anton Peffenhauser (1520? – 1603), Augsburg, 1586-1590, Dresden, Staatliche Kunstsammlungen, Rüstkammer     
• Louis XIII, France, circa 1620, Paris, Musée de l’Armée     

A horse without armour stands next to these collossal metal monsters. This masterpiece of realistic sculpture, exuding nervous energy and elegance, serves as a reminder of the sensitive being hidden beneath these terrifying cuirasses. This jewel from the collections of the Royal Armouries in London, was created in the 17th century by Grinling Gibbons, one of the most illustrious woodcarvers at the English court, to display King Charles I’s armour.

Justus Sustermans (1597-1681), “Portrait équestre de Léopold de Médicis (1617-1675), futur cardinal romain“

This spectacular work is by the Flemish painter Justus Sustermans – official portraitist to the Court of the Grand Duke of Tuscany from 1620 until the artist’s death in 1681. A true one-of-a-kind, its square format was unusual for the time, but it is the original iconography that really sets it apart. Curiously, the rider on the Imposing mount is a mere child of seven – Prince Leopold de Medici (1617-1675), the youngest son of Grand Duke Cosimo I (1590-1621) and Archduchess Maria Magdalena of Austria (1589-1631), Depictions of such a young child on a majestic horse – the true protagonist of the painting are rare. The intense whiteness of the Andalusian horse’s coat is accentuated by a beam of light highlighting its long, luxuriant, carefully groomed mane. Both the horse, in its extravagant parade gear, and Prince Leopold, in his exotic attire, which was uncommon at the Florentine Court, reflect the high status of the Medici family.

ZEUS, the metallic horse of the opening ceremony of the Paris 2024 Olympic Games

Zeus is a unique, life-sized sculpture of a horse constructed from polished aluminium, famously featured in the Paris 2024 Olympic Games opening ceremony. It was designed by Atelier Blam, an architecture and design studio located in Nantes, France, blending elements of art, technology, and engineering. The sculpture is designed to represent strength, grace, and the competitive spirit, and was exhibited in the Royal Courtyard of the Palace of Versailles.

About Palace of Versailles (Château de Versailles)

Château de Versailles, commonly referred to as Versailles – the city it is located, is a former royal palace and UNESCO World Heritage site near Paris, France, famous for its opulent architecture, stunning gardens, and as the centre of French absolute monarchy under     Louis XIV, aka the Sun King (r. 1643-1715), serving as the seat of power from 1682 until the French Revolution. The estate includes the grand palace (with the Hall of Mirrors), vast gardens, the Grand & Petit Trianon, and the Queen’s Hamlet, offering a glimpse into French royal history and art, making it a major tourist destination.

Opening Hours

• Palace
  from 9.00 am to 6.30 pm
  Closed on Mondays and Décember 25^th, January 1^st and May 1^st
• Estate of Trianon
  from 12.00 pm to 6.30 pm
  Closed on Mondays and Décember 25^th, January 1^st and May 1^st
• Gardens
  from 7.00 am to 8.30 pm
• Park
  from 7.00 am to 8.30 pm

Photos taken by author at Château de Versailles (Oct 2024), unless otherwise indicated.

Footnotes :

1. Stephanie Lowder, The History of Mirror: Through A Glass, Darkly. https://www.furniturelibrary.com/mirror-glass-darkly/ ↩︎
2. By Anonymous, French school – http://www.banqueimages.crcv.fr/fullscreenimage.aspx?rank=1&numero=MV727, Public Domain, https://commons.wikimedia.org/w/index.php?curid=10452744 ↩︎
3. Chanfrein à tête de dragon – Dragon-headed chamfer
   Italie du Nord (Romain des Ursins?), vers 1490, redécoré vers 1535-1550 | Fer forgé, repoussé et gravé, cuivre | Paris, musée de l’Armée. Northern Italy (Romanesque of Ursins?), circa 1490, redecorated circa 1535-1550 | Wrought iron, repoussé and engraved, copper | Paris, Army Museum. ↩︎
4. Chanfrein à décor de chimère – Chimera-decorated chamfer
   Kunz Lochner (1510-1567) | Nuremberg, vers 1550 | Fer forgé, repoussé et gravé, textile, cuir | Paris, musée de l’Armée. Kunz Lochner (1510-1567) | Nuremberg, circa 1550 | Wrought iron, repoussé and engraved, textile, leather | Paris, Army Museum. ↩︎
5. This is the baroque ceiling fresco in the Queen’s Guard Room at the Palace of Versailles.
   The painting, featuring a swirling composition of mythological figures and eagles, was restored with contributions from the American Friends of Versailles. ↩︎
6. It depicts Queen Marie Antoinette with three of her children: Marie-Thérèse, Louis-Charles, and Sophie-Béatrix, with the empty cradle representing the recently deceased youngest child.
   The painting measures approximately 271 x 210 cm and was commissioned by King Louis XVI ↩︎
7. The Coronation Room was dedicated to Napoleon Bonaparte, who made himself Emperor of France. The plan was to display the greatest paintings of his reign, which could not be placed anywhere else in the palace: the two immense paintings commissioned from Jacques-Louis David to commemorate the ceremonies celebrating Napoleon’s crowning as Emperor of the French: The Coronation of 2 December 1804 (1805-1808), and The Distribution of the Eagle Standards on 5 December 1804 (1808-1810). ↩︎
8. The Saturn Fountain, also known as Winter Basin, is a notable water feature in the gardens of Versailles. It is part of the group of basins representing the Four Seasons, which include the Ceres Basin, the Flora Basin, the Bacchus Basin, and the Saturn Basin. The Four Seasons are depicted multiple times throughout Versailles in various sculptures, forming a thematic element that highlights the passage of time and the natural cycles.
   Located in the southern part of the gardens, the Saturn Fountain is symmetrically aligned with the Flora Fountain. The centerpiece of this basin is a gilded lead statue of Saturn, the Roman god of time and agriculture, sculpted by François Girardon in 1672. Saturn is depicted seated on a throne, surrounded by playful cupids on an island adorned with seashells. This composition symbolizes winter, capturing the serene and contemplative aspects of the season.
   Commissioned by Louis XIV in 1674, the Saturn Fountain is part of the Grand Command, a collection of sculptures that includes statues of the Four Seasons. These artworks were designed to enhance the grandeur and symbolic richness of the gardens. The intricate details and the use of gilded lead for Saturn’s statue reflect the artistic and technical prowess of Girardon, one of the leading sculptors of the era. https://www.gpsmycity.com/attractions/bassin-de-saturne-(saturn-fountain)-37394.html ↩︎
9. The Mirror Fountain is an exquisite water feature in the gardens of Versailles, situated opposite the King’s Garden and near the Saturn Fountain. Commissioned by Louis XIV around 1702, the Mirror Fountain stands as a testament to the grandeur and opulence of the French monarchy during the 17th century. Its elaborate design and intricate details reflect the artistic and architectural prowess of the period, making it a prominent attraction in the vast expanse of the Versailles gardens.
   The fountain is spread across three levels, each adorned with sculptures that enhance its visual appeal. The widest lower level features groups of children, creating a lively and playful atmosphere. The upper level is dominated by sculptured Cupids, crafted by the talented sculptor Jean Hardy. Flanking the fountain are two impressive dragons, also carved by Hardy in 1702, adding a mythical and majestic touch to the overall design. The five paths leading to the Mirror Fountain contribute to its impressive appearance, especially when viewed from above, offering a panoramic vista that captures the essence of Versailles’ architectural magnificence.
   The Mirror Fountain awe-inspiring design often hosts musical fountain shows, where water artistry is seamlessly combined with baroque music, providing a sensory delight for visitors. These performances highlight the fountain’s dynamic beauty and its capacity to mesmerize audiences with its choreographed water displays. ↩︎
10. https://en.chateauversailles.fr/discover/history#the-reign-of-louisxiv1638-1715, accessed 1 Aug 2026 ↩︎
11. ZEUS, le cheval métallique de la cérémonie d’ouverture des Jeux Olympiques de Paris 2024. Une œuvre de l’Atelier blam, soutenue par Sanofi. https://en.chateauversailles.fr/news/events/zeus-palace-versailles ↩︎