Fontainebleau Palace ( ; French pronunciation: Ã, [f?? t? nblo] ) or ChÃÆ' Â ¢ teau de Fontainebleau , located 55 kilometers (34 miles) southeast of central Paris, in the commune of Fontainebleau, is one of France's largest royal chÃÆ'Â ¢ teaux. The medieval castle and the next palace serve as a residence for the French kings from Louis VII to Napoleon III. It is now a national museum and a UNESCO World Heritage Site.
Video Palace of Fontainebleau
History
The Medieval Palace (12th century)
The earliest records of a fortified castle in Fontaineau from the year 1137. It became a favorite residence and hunting lodge kings of France because the game is abundant and many springs in the surrounding woods. it takes its name from one of the fountains, the de Bliaud fountain, which is now located in the English garden, next to the wings of Louis XV. It was used by King Louis VII, for whom Thomas Becket ordained the chapel in 1169; by Philip Augustus; by Louis IX, or Saint Louis, who built a hospital and convent, Couvent des Trinitaires , in addition to the castle; and by Philippe le Bel, who was born and died in the castle.
 ¢ teau ChÃÆ' Renaissance Francis I (1528-1547)
In the fifteenth century some modifications and ornaments were made to the palace by Isabeau of Bavaria, the wife of King Charles VI, but the medieval structure remained essentially intact until the reign of Francis I (1494-1547). He commissioned architect Gilles le Breton to build a palace in a new Renaissance style, recently imported from Italy. Le Breton preserves the old medieval
Beginning around 1528, Francis built the Gallery of Francis I, which enabled him to pass directly from his apartment to the Trinitaires chapel. He brought in Italian architect Sebastiano Serlio, and Florentine Giovanni Battista painter Jacopo, known as Rosso Fiorentino, to decorate a new gallery. Between 1533 and 1539 Rosso Fiorentino filled the gallery with a mural that glorified the King, framed with plaster in high relief, and lambris carved by furniture maker Francesco Scibec da Carpi. Another Italian painter, Francesco Primaticcio from Bologna, ("Primatice" to France), joined later in the palace decoration. Together their decorating style is known as the first Fontainebleau School. This is the first large gallery decorated in France. Broadly speaking, the Fontainebleau Renaissance was introduced to France.
Around 1540, Francis began another great addition at the chateau. Using the ground on the eastern side of the chateau purchased from the Trinitaire order, he began to build a new square building around a large yard. It was closed to the north by the wing of Ministers, to the east by the wings of Ferrare, and to the south by a wing containing the new gallery of Ulysees. The Chateau is surrounded by a new park in the style of the Italian Renaissance garden, with its first pavilions and caves in France. Primaticcio creates more monumental mural for Ulysses gallery.
ChÃÆ' Â ¢ teau from Henry II and Catherine de 'Medici (1547-1570)
After the death of Francis I, King Henry II decided to continue and expand the chateau. The king and his wife chose the architects Philibert Delorme and Jean Bullant to do the work. They expanded the east wing of the lower courtyard, and decorated it with the famous first horseshoe-shaped staircase. In the oval court, they changed the loggia planned by Francois into a Salle des FÃ © tes test or a grand ballroom with an agreed ceiling. Facing the yard of fountains and fish ponds, they designed a new building, Pavillon des Poeles, to accommodate the King's new apartment. New ballroom decorations and Ulysses galleries with murals by Primaticcio and scuccured plucco continue, under the direction of the painters Mannerist Primaticcio and NiccolÃÆ'² dell'Abbate. By order of Henri, the Nymphe de Fontainebleau was installed at the gate gate of ChÃÆ'Â ¢ teau d'Anet, the main domain of Henri's main mistress, Diane de Poitiers (the original bronze lunette is now in the Louvre, with a replica in its place).
Following Henry II's death in a spear accident, his widow, Catherine de 'Medici, continued the construction and decoration of chÃÆ'  ¢ teau. He named Primaticcio as the new inspector of royal public works. He designed a piece known today as the Belly Cheminà © e wing, noted for its elaborate chimneys and two opposite staircases. In 1565, as a security measure because of the Religious War, he also had a trench dug around the temple to protect him from attack.
ChÃÆ' Â ¢ teau from Henry IV (1570 -1610)
King Henry IV made more additions to chÃÆ' Â ¢ teau than any King since Francis I. He extended the oval palace westward by building two pavilions, called Tiber and Luxembourg. Between 1601 and 1606, he re-created all faÃÆ'§ades around the yard, including the Saint-Saturnin chapel, to provide a greater harmony architecture. On the eastern side, he built a new monumental gate with a dome, called the porte du BaptistÃÆ'¨re . Between 1606 and 1609, he built a new yard, called Courtial or Quartier Henry IV , to provide a place for the kitchen and shelter for court officials. Two new galleries, Galerie de Diane de Poitiers and Galerie des Cerfs , were built to coat Diane's old garden. He also added a large Jeu de paume , or indoor tennis court, the largest court in the world.
"The second school of Fontainebleau" the painters and decorators began to work in the interior. Architects Martin FrÃÆ' © make the decorated Chapel of the Trinity, while painters Ambroise Dubois and Toussaint Dubreuil created a series of heroic paintings for salons. A new wing, named for its central building, 'La Belle CheminÃÆ'Â © e, is built next to a large fish pond.
Henry IV also devoted great attention to the gardens and gardens around the Chateau. The Queen's Garden or Diane Garden, created by Catherine de 'Medici, with the Diane fountain in the center, is located on the north side of the palace. Henry IV's gardener Claude Mollet, trained in ChÃÆ' Â ¢ teau d'Anet, created most of the flower beds, adorned with ancient sculptures and separated by paths into large squares. The Diana fountain and the cave are made by Tommaso Francini, who may have also designed the Medici Fountain at the Luxembourg Gardens for Marie de Medici. On the south side, Henry creates a garden, planted with pines, elm and fruit trees, and unfurls a 1,200-meter-long canal sixty years before Louis XIV built his great canal in Versailles.
ChÃÆ' Â ¢ teau from Louis XIII to Louis XVI
King Louis XIII was born and baptized in ChÃÆ' Â ¢ teau, and resumed the work begun by his father. He completed the decor of the Chapel of the Trinity, and commissioned the architect of the palace Jean Androuet du Cerceau to reconstruct the horseshoe staircase previously designed by Philibert Delorme in a courtyard known as the Cour de Cheval Blanc. After his death, his widow Anne from Austria redecorated the apartment in the Wing of the Queen Mother (Aile des Reines MÃÆ'¨res) next to the Court of the Fountain, designed by Primatrice.
King Louis XIV spent more days in Fontainebleau than any other king; he likes to hunt there every year in late summer and early fall. He made some changes to the exterior chÃÆ' Â ¢ teau, but built a new apartment for his friend, Madame de Maintenon, furnished it with some great AndrÃÆ' Â © -Charles Boulle works and destroyed the old apartment from the baths under Gallery Francis I to create a new apartment for the royal princes, and he made some modifications to the King's apartment. Architect Jules Hardouin-Mansard built a new wing beside the Gallerie des Cerfs and Gallerie de Diane to provide more living space for the Court. He made major changes in parks and gardens; he commissioned AndrÃÆ'Â © Le NÃÆ'Â'tre and Louis Le Vau to redesign a large parter to a formal French garden. He destroyed the Hanging Gardens that Henry IV built next to a large fish pond, and instead built a pavilion, designed by Le Vau, on a small island in the middle of a pond.
Louis XIV signed the Fontainebleau Decree in ChÃÆ'Â ¢ teau on 22 October 1685, revoking the Protestant tolerance policy initiated by Henry IV. Louis welcomed many foreign guests there, including former Queen Christina of Sweden, who had just descended on her crown. While a guest at ChÃÆ'Â ¢ teau on 10 November 1657, Christina suspected her master of horses and her famous lover, Marchese Gian Rinaldo Monaldeschi, betrayed her secret to her enemies. His maid chased him through the halls of ChÃÆ' Â ¢ teau and stabbed him to death. Louis XIV came to see him at ChÃÆ'Â ¢ teau, did not mention the killing, and let him continue his journey.
On May 19-20, 1717, during the District after the death of Louis XIV, the Russian Tsar Peter the Great was a guest at Fontainebleau. Hunting stags organized for him, and a banquet. Officially the visit was a huge success. but in memoirs published later by members of the delegation, it appears that Peter did not like the French hunting style, and that he found ChÃÆ'Â ¢ teau too small, compared to other French royal dwellings. Fontainebleau's routine also does not suit his taste; he prefers beer rather than wine (and carries his own supply with him) and he likes to get up early, unlike the French Court.
Renovation project Louis XV is more ambitious than Louis XIV. To create more lodging for a large number of his servants In 1737-38, the King built a new courtyard, called the Cour de la Conciergerie or Cour des Princes, to the east. from Gallerie des Cerfs . At Cour du Cheval Blanc, the wing of the Ulysees Gallery was torn down and gradually replaced by new bricks and stones, gradually constructed in 1738-1741 and 1773-74, extending westwards toward the Pavilion and the pine cave.
Between 1750 and 1754, the King commissioned the architect Ange-Jacques Gabriel to build new wings along the Cour de la Fontaine and fish ponds. The old des Poeles Pavilion was demolished and replaced by Gros Pavilion , built of cream-colored stone. The luxurious new apartments were created inside the building for Kings and Queens. The new meeting room for the Royal Council was decorated by eminent painters of the day, including FranÃÆ'§ois Boucher, Carle Vanloo, Jean-Baptiste Marie Pierre, and Alexis Peyrotte. A magnificent little theater is built on the first floor of the wing Belle CheminÃÆ'Â © e .
King Louis XVI also made an addition to chÃÆ' Â ¢ teau to create more space for his nobles. A new building was built next to Gallery Francis I; it created a large new apartment on the first floor, and a number of small apartments on the ground floor, but also blocked the window on the north side of Gallery Francis I. Queen Marie-Antoinette's apartment was rebuilt, a Turkish-style salon was created for her in 1777, a room for games at 1786-1787, and workroom in arabesque style. Louis XVI and Marie-Antoinette made their last visit to Fontainebleau in 1786, on the eve of the French Revolution. ChÃÆ' Â ¢ teau during Revolution and First Empire
During the French Revolution, ChÃÆ'Â ¢ teau did not suffer significant damage, but all the furniture was sold at the auction. The buildings were occupied by the Seine-et-Marne Department Headquarters, until 1803, when Napoleon I installed a military school there. As he prepared to become Emperor, Napoleon wanted to retain as much of the Old Testament's palaces and protocols as possible. He chose Fontainebleau as a historic meeting place in 1804 with Pope Pius VII, who had traveled from Rome to the crown of Emperor Napoleon. Napoleon has a suite of rooms decorated for the Pope, and the entire chateau is redecorated and decorated. The bedrooms of the Kings were transformed into the throne room for Napoleon. The apartments are updated and decorated for Emperor and Empress in the new Imperial style. The Cour du Cheval Blanc was renamed Cour d'Honneur , or the Courtyard of Honor. One wing facing the courtyard, Aile de Ferrare , was torn down and replaced with a fence and an ornamental iron gate, making the Palace façade visible. The Diane gardens and pine gardens are replanted and transformed into a landscape garden of England by the landscape designer Maximillien-Joseph Hurtault.
Napoleon's visits to Fontainebleau were not frequent, as he spent so much on military campaigns. Between 1812 and 1814, chÃÆ' Â ¢ teau served as a very elegant prison for Pope Pius VII. Napoleon November 5, 1810, the chapel of Chateau was used for the baptism of Napoleon's nephew, Napoleon III's future, with Napoleon serving as his godfather, and the consort of Marie-Louise as his godmother.
Napoleon spent the last days of his reign at Fontainebleau, before abdicating there on April 4, 1814, under pressure from his marriage, Ney, Berthier, and Lefebvre. On April 20, after a failed attempt to commit suicide, he gave an emotional break with the Old Guard soldiers, who gathered in the Court of Appeal. Then, during the Hundred Days, he stopped there on March 20, 1815.
In his memoir, written while in exile in Saint Helena, he remembers his time at Fontainebleau; "... the true residence of the King, the house of many centuries may not be a rigorous architectural palace, but it must be a well thought-out and very suitable place to live in. It must be the most comfortable and happy palace in Europe."
ChÃÆ' Â ¢ during the Restoration and the reign of Louis-Philippe (1815-1848)
After the restoration of the Monarchy, King Louis XVIII and Charles X each lived in Fontainebleau, but did not make any major changes to the palace. Louis-Philippe is more active, both restoring some rooms and redecorating others in his period style. The Hall of the Guards and Gallery of Plates are redecorated in the Neo-Renaissance style, while the Hall of Columns, under the ballroom, is recreated in neoclassical style. He added a new stained glass window, made by the royal factory of SÃÆ'¨vres.
ChÃÆ' Â ¢ teau during Second Empire
Emperor Napoleon III, who had been baptized at Fountainebleau, continued his long-stay habit at Fontainebleau, especially during the summer. Many historic rooms, such as Gallerie des Cerfs , are restored to something like their original appearance, while private apartments are redecorated to suit the taste of Emperor and Empress. Many guest apartments are squeezed into unused spaces in the buildings. The old palace theater, built in the 18th century, was destroyed by fire on the wing Belly Cheminà ©  © e 1856. Between 1854 and 1857, architect Hector Lefuel built a new theater in Louis XVI's style.
On the ground floor of the Gros Pavilion, The Empress Eugene built a small but rich museum, containing a gift from the King of Siam in 1861, and artwork taken during the looting of the Summer Palace in Beijing. It also features paintings by contemporary artists, including Franz Xaver Winterhalter, and the sculptor Charles Henri Joseph Cordier. Close to, on the wing of Lous XV, the Emperor established his office, and the Empress made her Salon of Lacquer. This is the last room made by the royal residents of Fontainebleau. In 1870, during the Franco-German War, the Empire fell, and ChÃÆ'Â ¢ teau was closed.
ChÃÆ' Â ¢ teau from the Third Republic to this day
During the Franco-Prussian War, the palace was occupied by Prussia on September 17, 1870, and was briefly used as an army base by Frederic Charles of Prussia from March 1871. After the war, two buildings became the home of the secondary school. artillery and engineering of the French Army, who were forced to leave Alsace when the province was annexed by Germany. It is sometimes used as a residence by the President of the Third Republic, and to welcome guests of the country. including King Alexander I of Serbia (1891), King George I of Greece (1892) Leopold II of Belgium (1895). and King Alphonse XIII of Spain (1913). It also received visits by the last survivor of his royal inhabitant, Empress Eugenie, on June 26, 1920.
The main building faÃÆ'§ades received their first refuge with classification as a historic monument on August 20, 1913. In 1923, after the First World War, it became the home of the ÃÆ'â € Coles d'Art AmÃÆ'® ricaines, arts and music schools , which still exists today. In 1927 it became a national museum. Between the upstairs wing war Belly Cheminà ©  © e , which was burned in 1856, was rebuilt by a grant from the Rockefeller Foundation.
During World War II, he was occupied by Germany on June 16, 1940, and was held until November 10, and again from May 15 until the end of October 1941. After the war, most of the Chateau became the headquarters of the Allied Center. Europe, under NATO, until 1966.
The general restoration of Chateau took place between 1964 and 1968 under President Charles DeGaulle and his Minister of Culture, Andre Malraux. It was classified as a UNESCO World Heritage Site in 1981. In 2006, the Ministry of Culture purchased a royal cage, and started their recovery.
Beginning in 2007, the restoration started from the Chateau theater, made by Napoleon III during the Second Empire. The project was funded by the Abu-Dhabi government, and instead the theater was renamed Sheik Khalifa Bin Zayed al Nahyan. Inaugurated on April 30, 2014.
On March 1, 2015, the Chinese Museum of the Chateau was robbed by professional thieves. They broke through around six in the morning, and, despite the alarms and video cameras, in seven minutes stole around fifteen most valuable objects in the collection, including the Siamese crown replicas given by the Siamese government to Napoleon III, Tibetan mandalas, and chimera enamel from the reign the ruler of Quianlong (1736-1795).
Maps Palace of Fontainebleau
Grand Apartments
Gallery Francis I
Gallery Francis I is one of the first and finest examples of Renaissance decor in France. Originally built in 1528 as a hallway between the King's apartment and the oval courtyard and the Trinitaires convent chapel, but in 1531 Francis I made it part of his royal apartment, and between 1533 and 1539 it was decorated by Italian artisans and craftsmen, under the direction of painter Rosso Fiorentino, or Primatice, in a new Renaissance style. The lower wall is the work of the major Italian furniture maker Francesco Scibec da Carpi; they are decorated with the French emblem and salamander, the emblem of the King. The upper wall is covered by a fresco framed with a very sculpted plaster. The frescoes use mythological scenes to illustrate the king's kindness.
On the gallery side with windows, fresco represents Stupidity Hurdles ; National Union ; Cliobis and Biton ; Danae ; Adonis's Death ; Lost Perpetual Youth ; and the Battle of Centaur and the Fighter .
On the side of the gallery facing the window, the fresco represents: A Sacrifice ; The Royal Elephant ; Burning from Catane ; Nymph of Fontainebleau (painted in 1860-61 by J. Alaux to cover ex-entry into the gallery); Ajax Drowning ; Achilles Education and The Frustration of Venus .
Ballroom
This ballroom originally started as an open alley, or loggia , by Francis I. In about the year 1552 King Henry II closed it with tall windows and decorative ornate ceilings, and turned it into a room for celebration and ball. The 'H', the beginning of the King, stands out in decoration, as well as the crescent moon, the symbol of mistress Henry Diane de Poitiers.
At the western end is a monumental fireplace, adorned with bronze statues originally copied from classical statues in Rome. At the eastern end of the room is the gallery where the musicians play during the ball. The decor was restored many times over the years. The floor, which reflects the design of the ceiling, was built by Louis-Philippe in the first half of the 19th century.
The wall paintings on the walls and pillars were painted beginning in 1552 by Nicolo dell'Abate, following pictures by Primatice. At the side of the ballroom park, which represents: The Harvest ; Vulcan forge a weapon for Love upon Venus's request ; Phaeton begs the sun to let him drive his chariot ; and Jupiter and Mercury at Filemon and Baucis's house.
The paintings on the Oval Courtyard side represent: Bacchus Feast ; Apollo and Muses on Mount Parnassus ; The Three Graces dancing in front of the gods ; Thetis and Peleus weddings .
A fresco behind the musicians' gallery shows the musicians at the time of the show.
St. Captain Saturnin
Behind the ballroom, there is the St. Chapel. Saturnin. The lower chapel was originally built in the 12th century, but it was destroyed and rebuilt entirely under Francis I. The window made at SÃÆ'¨vres was installed during the period of Louis Philippe and was designed by his daughter, Marie, an artist himself. The upper chapel is a royal chapel decorated by Philibert de l'Orme. The ceiling, made in the same style as the ballroom, ends with a dome.
Room Guard
A room for the guards is always located next to the royal bedroom. The Salle des Gardes was built during the reign of Charles IX. Some of the original decoration footprints remain from the 1570s, including vaulted ceilings and military cup decorations associated with Ruggiero d'Ruggieri. In the 19th century Louis Philippe transformed the room into a salon and redecorated with a new parquet floor of exotic wood that echoed the design of the ceiling, and a monumental fireplace (1836), which incorporated pieces of ornaments from the destroyed room from the 15th and early 16th century. The statue of Henry IV, associated with Mathieu Jacquet, dates from that period, as do two figures on either side of the fireplace. The frame is sculpted around the breast, by Pierre Bontemps, originally in Henry II's bedroom. The decorations added by Louis Philippe include a large vase decorated with the Renaissance theme, which was created by the SÃÆ'¨vres porcelain factory in 1832. During the reign of Napoleon III, the hall was used as a dining room.
Stairway of the King
The King's ladder was installed in 1748 and 1749, in the space occupied during the reign of Francis I by the bedroom of Anne de Pisseleu, the Duchess of ÃÆ'â € tampes, the King's favorite. It was designed by architect Ange-Jacques Gabriel, who used many decorative elements from the previous room, originally decorated by Primatice. The top of the wall is divided into panels, ovals and rectangles, with scenes representing the love life of Alexander the Great. The paintings were framed by large statues of women by Primatice. The east wall of the room was destroyed during the reconstruction, and was replaced during the reign of Louis Philippe in the 19th century with the paintings of Abel de Pujol.
Queen bedroom
All the Queen and Queen of France from Marie de Medici to Queen Eugènie, sleeping in the Queen's bedroom. The ornate ceiling above the bed was made in 1644 by furniture maker Guillaume Noyers for Queen Anne's Dowager from Austria, Louis XIV's mother, and has initials. The room was redecorated by Marie Leszczynska, Queen Louis XV in 1746-1747. Ceiling ceilings, decorations around windows and wood panels were made by Jacques Vererckt and Antoine Magnonais in the rocaille style of the day. Fireplace decoration dates for the same period.
The doors have an arabesque design, and are made for Marie-Antoinette, such as a panel carved above the door, installed in 1787. The bed was also made especially for Marie Antoinette, but did not arrive until 1797, after the Revolution and her execution. it was used not by the wives of Napoleon, Queen Josephine and Marie-Louise of Austria.
The walls received their decorative textile cover, with the design of flowers and birds, in 1805. Restored in 1968-1986 using the original fabric as a model. The furnishings in the rooms are all dated to the First Empire. Balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804. The chairs with sphinx, console and screen patterns and two chests of drawers were placed in the room in 1806.
Marie-Antoinette's workspace
The working room next to the Queen's bedroom was created for Queen Marie-Antoinette in 1786, and allowed the Queen to have a privacy measure. The room was the best example of a decorative style just before the French Revolution, inspired by ancient Roman models, with fine arabesque paintings, brilliant acting, vases, antique sculptures and garlands of white background, framed by gilded wood.
The room was made for the Queen by a team of artists and craftsmen who also made the game room; design by architects Pierre Rousseau (1751-1829); wood panels carved by Laplace, and painted by Michel-Hubert Bourgeois and Louis-FranÃÆ'§ois TouzÃÆ' ©. The eight characters of Muses were made with plaster by Roland; fireplace mantle made by Jacques-Franç§ois Dropsy, and decorated with bronze works by Claude-Jean Pitoin. The mahogany floor, emblazoned with the Queen's emblem, was made by Bernard Molitor, and completed in 1787. The painted ceiling, by Jean-Simon BerthÃÆ'  © lemy, shows Aurora with a group of angels.
The furniture is designed for room by Jean-Henri Riesener, using the finest materials available; mother of pearl, gold-plated bronze, brass, satin and ebony. Some original furnishings remain, including cylinder desk and table, made between 1784 and 1789. The two chairs are original copy made by Georges Jacob, who is now in the Gulbenkian Museum in Lisbon, while the bench is genuine.
Napoleon Throne Room (the former king-bed room)
In 1808, Napoleon decided to install his throne in the former bedroom of the French Kings from Henry IV to Louis XVI, in the exact place where the royal bed is located. Under the old regime, the King's bed was a symbol of royal authority in France and was honored by the courtiers who passed by. Napoleon wanted to show the continuity of his Empire with the French monarchy of the past. The majority of carved wooden ceilings, the underside of wooden panels, and doors dated to the reign of Louis XIII. The ceiling directly on the throne was made at the end of the reign of Louis XIV. Louis XV created a straight palate on the throne, a new chimney, a wooden medallion carved by a fireplace, a design above the door, and a fine woodcarving facing the throne (1752-54). She also has a white-painted ceiling and is plated and decorated with mosaics, to match the Queen's bedroom ceiling.
Napoleon added the standard with the Imperial hawk and beginnings. The decorations around the throne were originally designed in 1804 by Jacob-Desmalter for the Palace of Saint-Cloud, and the throne itself comes from the Tuileries Palace.
The chimney was initially decorated with portraits of Louis XIII painted by Philippe de Champaigne, which was burned in 1793 during the French Revolution. Napoleon replaced it with a portrait of himself, by Robert LefÃÆ'¨vre. In 1834, King Louis-Philippe lowered the image of Napoleon and was replaced by another Louis XIII, from the Champaigne school painter,
Chamber Board
The Council Chamber, where the Kings and Emperors met with their closest advisers, close to the Throne Room. Initially the office of Francis I, and decorated with painted wood paneling shows the following designs of Primatice, the virtues and heroes of ancient times. The room was enlarged under Louis XIV, and the decorator, Claude Audran, followed the same theme. The room was entirely redecorated between 1751 and 1754 by the architect Ange-Jacques Gabriel, with bale-bale and wood paneling showing virtues, and seasonal and elemental allegories, painted by Jean-Baptiste Marie Pierre and Carle van Loo. Painter Alexis Peyrotte added another medal series on the top wall depicting the theme of flowers, science and art. The five paintings on the vaulted ceiling are the work of FranÃÆ'§ois Boucher, and show the season and the sun begins its journey and chases the night. The half-rotonda on the garden side of the room was added by Louis XV in 1773, with the ceiling painted by LagrenÃÆ'Â © e describing Glory surrounded by his children.
The room was used as a council room by Napoleon I, and the furniture came from that time. The chair at the table for ministers was by Marcion (1806) and the folding chair for advisory was by Jacob-Desmalter (1808).
Apartment Pope and Queen-Mother
The Pope's apartment, located on the first floor of the Queen Mother's wing and from Gros Pavillon, takes its name from the visit of 1804 Pope Pius VII, who lived there on the way to Paris becoming the crown of Napoleon I, the Emperor of France. He stayed there again, unconsciously, under the strict supervision of Napoleon from 1812 to 1814. Prior to that, it began in the 17th century the residence of Queen Mother Marie de 'Medici and Anne of Austria. It was also the home of Grand Dauphin, the eldest son of Louis XIV. In the 18th century it was used by the daughters of Louis XV, and later by Count of Provence, brother of Louis XVI. During the First Empire it was used by Louis, Napoleon's brother, and his wife, Queen Hortense, daughter of Empress Josephine. During the reign of Louis-Philippe, it was used by his eldest son, Duke of Orleans. During the Second Empire, the place was occupied by Stephanie de Bade, the nephew adopted by Napoleon I. It was restored in 1859-1861, and was used thereafter for high-ranking guests. Initially two apartments, which are shared or joined over the years depend on the occupants.
The Salon de Reception is the waiting room to the bedroom Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features gilded ceilings and sculpted divided into seven compartments, representing the sun and the planets are known, along with a smaller compartment for military trophies; it was made in 1558 by Ambroise bedroom Perret for Henry II in the pavilion des Poeles, part of ChÃÆ' Â ¢ teau were then destroyed. Anne moved her into a room and decorated her own emblem, including the pelicans. The wood panel in the room probably dates from the same period.
The bedroom decor is mostly dated 1650s; it includes strange paintings in the compartments on the ceiling, attributed to Charles Errard; rich carved wooden panels featuring oak and puti leaves; and the painting above the door Anne of Austria costumed like Minerva and Marie-Therese from Austria costumed as Abundance, both painted by Gilbert de SÃÆ'¨ve. The bedrooms were modified in the 18th century with the addition of new fireplaces (around 1700) and sculptural borders of a floral cascade around the mirror added in 1784. During the Secone Empire, painted panels imitating the 17th century style were added above the mirror and between mirrors and doors.
Diana Gallery
The Gallery of Diana, the eighty-meter (242.4 feet) corridor now lined with bookshelves, was created by Henry IV in the early 17th century as a place for the Queen to take a walk. The paintings on the vaulted ceiling, painted beginning in 1605 by Ambroise Dubois and his workshop, represent scenes from the mythical Diana, the Hunter goddess. At the beginning of the 19th century, the gallery was destroyed. In 1810 Napoleon decided to turn him into a gallery dedicated to the achievement of his Empire. Some of the paintings still in good condition have been removed and put into the Plate Gallery. The Hurtault architect designed a new plan for the gallery, inspired by the Grand Gallery of the Louvre, featuring paintings on the ceiling depicting the great events of the Napoleonic government. By 1814 the corridors had been rebuilt and painted decorative frames painted by Moench and Redoutà ©  ©, but the painting cycle in the Empire had not yet begun, when Napoleon fell from power.
After the monarchy was restored, King Louis XVIII had completed the gallery in neoclassical style. A new series of Diana goddesses are performed by Merry-Joseph Blondel and Abel de Pujol, using a painted frame prepared for the Napoleonic cycle. Paintings were also added along the corridor, depicting the history of the French monarchy, painted in the style of Troubador in the 1820s and 1830s, painted by a team of prominent academic painters. Beginning in 1853, under Napoleon III, the corridors were converted into libraries and most of the paintings were released, with the exception of a large photo of Henry IV being ridden by Jean-Baptiste Mauzaisse. The large world near the entrance of the gallery, stationed there in 1861, originated from Napoleon's office at the Tuileries Palace.
Napoleon Apartments
In 1804, Napoleon decided that he wanted his private apartment inside the Castle, separate from the old country apartment. He took over a six-room suite that had been made in 1786 for Louis XVI, next to Gallery Francis I, and made them redecorated in Imperial style.
The old apartments include a dressing room ( cabinet de toilette ), study room, library, and bathroom.
Emperor Room
Beginning in 1808, Napoleon had his bedroom in the King's dressing room. From this room, using the door hidden behind the curtain to the right of the bed, Napoleon can go directly to his private library or to the ground floor office.
Most of the original decorations did not change from the time of Louis XVI; fireplaces, carved wooden panels carved by Pierre-Joseph LaPlace and the statue above the door by Sauvage remained just like the original. The walls were painted with the Royal symbols in white gold by Frederic-Simon Moench. The bed, made especially for the Emperor, is the peak of the Imperial style; it was crowned with an imperial eagle and adorned with an allegorical statue representing Glory, Justice, and Abundance. The Emperor had a special carpet made by Sallandrouze in the form of the cross of the Legion of Honor; the cross branches alternate with symbols of military and civilian attributes. The chairs near the fireplace are specially designed, with one side higher than the other, to withstand the heat from the fire while allowing the occupants to see the fireplace decorations. The painting on the ceiling of the room was added later, after the fall of Napoleon, by Louis XVII. Painted by Jean-Baptiste Regnault, it is an allegory representing the King's forgiveness that halts justice on its journey.
The learning is a small room designated as Napoleon's workspace. In 1811, he added a camp bed, similar to the bed he used in his military campaign, so he could rest for a long night at work.
The salon The Emperor is simply furnished and decorated. It was in this room, on a small table on display, that the Emperor signed his resignation in 1814.
Theater
Concerts, drama and other theater productions are part of the palace life at Fontainebleau. Before the reign of Louis XV this took place in various court rooms, but during his reign a theater was built on the wing of Belle-Cheminà ©. It was rebuilt by architect Gabriel, but was destroyed by fire in 1856. It was already considered too small for the palace of Napoleon III, and a new theater had begun in 1854 at the far eastern end of Louis wing. XIV. It was designed by architect Hector Lefuel in the style of Louis XVI, and was inspired by the operatic theater at the court of Versailles and Marie-Antoinette at Trianon Palace. The new theater, with four hundred chairs arranged in a parter, two balconies and a box in the shape of a horseshoe, was completed in 1856. It has an original stage machine, and many of the original sets, including many were moved from the theater long before the 1856 fire.
Theater closed after the end of the Second Empire and rarely used. Recovery began in 2007, funded by ten million Euros by the Abu Dhabi government. Instead, the theater was renamed Sheik Khalifa Bin Zayed al Nahyan. Inaugurated on April 30, 2014. Theater can be visited, but can no longer be used for drama because some parts that function in the theater, including the stage, are not included in the restoration.
Chinese Museum
The Chinese Museum, on the ground floor of Gros Pavillon close to the pool, was among the last rooms decorated in the chateau while still an imperial residence. In 1867, Empress Eugenie had a remade room to display her personal Asian art collection, which included a gift given to the Emperor by a delegate sent by the King of Siam in 1861, and other objects taken during the destruction and looting of the Old Palace of the Season Heat near Beijing by a combined British-French military expedition to China in 1860.
The objects displayed in the vestibule include two royal litters given by the King of Siam, designed for the King and others (with curtains) for a Queen. Inside two museum salons, some walls are covered with black and gold lacquered wood paneling, taken from a 17th century Chinese screen, along with a box specially designed to feature antique porcelain vases. Other objects on display include a Tibetan stupa containing Buddhas taken from the Summer Palace in China; and the crown of the Siamese kingdom given to Napoleon III. The salon is luxuriously decorated with Asian and European furnishings and art objects, including silk-lined furniture and Second Imperial imperts by Charles Cordier and Pierre-Alexandre Stonework. The room also serves as a place for games and entertainment; old bagatelle games and mechanical pianos from that period were on display.
In addition to the Chinese Museum, the Queen created a small office in 1868, Salon of Lacquerware, which was also adorned with lacquered panels and Asian art objects, on the floor of Louis XV's wing, not far from the Emperor's office. This was the last room to be decorated before the fall of the Empire, and eventually the transformation of Chateau into a museum.
The Trinity Chapel
The Chapel of Trinity was built at the end of the reign of Francis I to replace the old chapel of the Trinitaire monastery. It was finished under Henry II, but without decor until 1608, when the painter Martin Freminet was assigned to design the fresco for the ceiling and walls. Sculptor BarthÃÆ'¨lemy Tremblay created a ceiling dome of stucco and sculpture. Freminet's paintings in the central dome illustrate the redemption of Man, from the appearance of God to Noah at the time of the Over the Tribune launch to the Good News. They surrounded this with small paintings depicting the ancestors of the Virgin Mary, the Kings of Judah, the Patriarchs who proclaimed the coming of Christ, and the Virtue. Between 1613 and 1619 Freminet and Tremblay added paintings in a plaster frame between the windows on the side of the chapel, which depicted the life of Christ. Freminet died in 1619 and his work was not continued until 1628.
The Trinity Chapel, like the Sainte-Chapelle in Paris, the other royal chapel, has the top or the tribune, where the King and his family are seated, with separate entrances; and the bottom, where the remaining Court is placed. Beginning in 1628, the side chapel was adorned with iron gates and carved wooden panels, and Florentine sculptor Francesco Bordoni began work on the marble altar. The figure on the left describes Charlemagne, with the features of Henry II, while the figure on the right depicts Louis IX, or Saint Louis, with the features of Louis XIII, his patron. Bordoni also designed colorful marble pavements in front of the altar and on the nave walls. The Holy Trinity painting on the altar, by Jean Dubois the Elder, was added in 1642. In the middle of the seventeenth century, artisans Anthony Girault made wooden doors carved from the center of the church. while Jean Gobert makes the door of the stands where the Royal family worships.
In 1741 the royal tribune was enlarged, while the wrought-iron balconies were added to the royal tribune and the simpler balconies used by the musicians and the people who shouted mass. In 1779, under Louis XVI, the Freminet fresco describing the life of Christ, which had worsened over time, was replaced by new paintings of the same theme. The paintings were made in the same style by about a dozen painters from the Royal Academy of Painting and Sculpture.
Under Napoleon, the old tabernacle of the chapel, which had been removed during the Revolution, was replaced by a new one designed by architect Maximilien Hurtault. Beginning in 1824, the chapel underwent a major renovation and restoration program lasting six years. The twelve paintings of the life of Christ are removed, as well as the gateway to the side chapel. During the Second Empire, the wood panel of the side chapel was replaced. The restoration was not completed until the second half of the 20th century, when twelve paintings, which had been scattered to different museums, were brought together again and returned in their cement frames. Between 1772 and 1774, a small organ made by FranÃÆ'§ois-Henri Cilquot was installed on the left side of the chapel, near the altar.
On September 5, 1725, the chapel was the venue for the wedding of Louis XV and Marie Leszczynska. Napoleon III was baptized there on November 4, 1810, and Ferdinand-Philippe d'Orleans, son of King Louis-Philippe, married there with Helene de Mecklembourg Schwerin on May 30, 1837.
Gardens and parks
From the time of Francis I, the palace was surrounded by formal gardens, representing the major landscape style of their period; the French Renaissance Garden, inspired by the Italian Renaissance Garden; the formal French garden, Louis XIV's favorite style; and, in the 18th and 19th centuries, the landscape garden of France, inspired by the English landscape park.
Diana Park
The Garden of Diana was created during the reign of Henry IV; it is a private garden of Kings and Queens, and is visible from their bedroom window. The Diana fountain was originally in the middle of the park, which at that time was covered by another wing, which contained the office and then, below, Louis XIV, a benign man. The building, and other buildings, the former chancellor, were destroyed in the 19th century, doubling the size of the garden. From the 17th to the end of the 18th century, the garden was in Italian style and then the formal style of France, divided by a straight path to a square flower bed, flower beds, centered in a fountain, and decorated with statues, ornamental plants and orange trees in pots. It changed during the reign of Napoleon I into a landscape garden in the English style, with winding roads and trees grouped into beautiful landscapes, and it was magnified during the reign of Louis-Philippe. opened to the public after the fall of Napoleon III.
The fountain in the center is made by Tommaso Francini, an Italian fountain maker, whose work includes the Medici Fountain at Jardin du Luxembourg in Paris. The bronze statue of Diana, the goddess of hunting, with the young deer, was made by Keller's brother in 1684 for another royal dwelling, in Marly. It is a copy of an antique Roman statue, Diana of Versailles, given by the Pope to King Henry IV, and who is now at the Louvre. The original fountain statue, made by Barthelemy Prieur in 1602, can be seen in the Cerfs Gallery inside the palace. The hunting dog sculptures and deer around the fountain were made by Pierre Biard.
Fishponds, English parks, caves and springs
The large pond next to the palace, with a surface of four hectares, was made during the reign of Henry IV, and was used for boating parties by court members, and as a source of fish for tables and for entertainment. Description of the palace in the 17th century tells about guests to feed the goldfish, some of which reach a very large size, and is said to be a hundred years old. The small octagonal house on an island in the middle of the lake, the Pavillon de l'ÃÆ'Ë †tang, was added during the reign of Louis XIV, then rebuilt under Napoleon I, and decorated with scratch.
The English garden also dates from the reign of Henry IV. In one part of the park, known as pine gardens, against the wings of Louis XV, is an old structure derived from Francis I; the first Renaissance-style cave built in a French garden, a rugged stone structure dotted with four Atlas statues. Under Napoleon, the architect, Maximilien-Joseph Hurtault, transforms this part of the park into an English garden, with winding roads and exotic trees, including catalpas, tulips, sophoras, and cypress trees from Louisiana, and with a beautiful stream. and antique stones. This park has two ancient ancient Roman bronze copies, Gladiator Borghese and Dying Gladiator. A path leads from the garden through a curtain of trees to a spring that gives its name to the palace, next to the Apollo statue.
Parter and channel
On the other side of the chateau, one of the sites of Francis I park, Henry IV creates a large formal garden, or parter. Throughout the parterre axle, he also built a large 1,200-meter canal, similar to one in the nearest chateau of Fleury-en-Biere. Between 1660 and 1664, the heads of Louis XIV's gardeners, Andrà ©  © Le NÃÆ'Â'tre, and Louis Le Vau rebuilt the parter on a larger scale, filling it with geometric designs and paths lined with wooden fences and filled with flowers. They also added a basin, called Les Cascades, adorned with a fountain, at the head of the canal. LeNotre planted shady trees along the canal, and also laid a wide road, lined with elm trees, parallel to the channel.
Louis XIV fountain was removed after his reign. Recently, Cascades is decorated with works of sculpture from the 19th century. A large ornamental fountain was installed in the central basin in 1817. The bronze replica of the ancient Roman sculpture, "The Tiber", was placed in a round basin in 1988. It replaced the earlier 16th century statue that had previously adorned the basin. Two sphinx statues by Mathieu Lespagnandel, from 1664, were placed near the fence of a large canal.
Art and decoration - Fontainebleau School
During the late French Renaissance, Fontainebleau Palace decoration involved some of the best artists and craftsmen from Italy and France, including the painting styles and decorations they created known as the Fontainebleau School, and covering the period from about 1530 until about 1610. This helped shape the French version of Northern Mannerism.
In 1531, artist Florentine Rosso Fiorentino, who lost most of his possessions in Sack of Rome in 1527, was invited by Francis I to work on the inside of the palace. In 1532 he joined another Italian artist, Francesco Primaticcio (from Bologna). Rosso died in France in 1540. At the suggestion of Primaticcio, NiccolÃÆ'² dell'Abbate (from Modena) was invited to France in 1552 by the son of François, Henri II. Other notable artists include:
- Juste de Juste (c.1505-1559), Franco-Italian sculptor and etcher
- Luca Penni (c.1500/1504-1556), Italian painter
- Francesco Scibec da Carpi (died c.1557), Italian furniture maker
- Benvenuto Cellini (1500-1570), Italian sculptor, goldsmith, silver craftsman
The works of "Fontainebleau's first school" are characterized by the widespread use of plaster (prints and picture frames) and frescoes, and complicated (and often mysterious) mystery allegory and iconography systems. Renaissance decorative motifs such as grotesca, strapwork and putti are common, as well as a certain degree of eroticism. The figures are elegant and show the influence of Italian mannerism techniques Michelangelo, Raphael and especially Parmigianino. Primaticcio was also directed to make copies of antique Roman statues for kings, thus spreading the effect of classical sculpture. Many works of Rosso, Primaticcio and dell'Abate have not survived; the parts of the Chateau are rebuilt on various dates. The group's paintings were reproduced in printed form, mostly etchings, apparently produced originally in Fontainebleau itself, and later in Paris. It spread style through France and beyond, and also recorded some unsaved paintings.
From 1584 to 1594, during the War of Religion worked inside the abandoned palace. Upon the throne, Henri IV renovated the Fontainebleau building using a group of artists: Ambroise Dubois (from Antwerp) and Parisians Toussaint Dubreuil and Martin FrÃÆ' Â © minet. They are sometimes referred to as "the second school of Fontainebleau". Their latest art work, much of which has been lost, continues in the use of elongated and bumpy forms and dense compositions. Many of their subjects included mythological scenes and scenes from works of fiction by Torquato Tasso and the ancient Greek novelist Heliodorus of Emesa. Second School of Fontainebleau (from 1594). The important artists of the second school are:
- Ambroise Dubois (c.1542-1614) (Flemish born)
- Toussaint Dubreuil (c.1561-1602)
- Martin FrÃÆ'Â © nntet (1567-1619)
The style of the Fontainebleau school influenced the French artists (with whom the Italians worked) such as the painter Jean Cousin the Elder, sculptor Jean Goujon and Germain Pilon, and, to a lesser extent, the painter and painter François Clouet the son of Jean Clouet. The Fontainebleau style combines allegorical paintings in plasterwork molds where framing is treated as if it were leather or paper, slashed and rolled into rolls and combined with arabesque and grotesques. Fontainebleau's ideal of women's beauty is the Mannerist: a neat little head on a long neck, a long body and limbs, small little breasts - almost back to the Gothic ultimate beauty. New works at Fontainebleau are recorded in fine and detailed carvings circulating among experts and artists. Through carvings by the "School of Fontainebleau" this new style is transmitted to other northern European centers, especially Antwerp, and Germany, and finally London.
While Louis XIV spent more time at Fontainebleau than any other king, he made the most of the modifications to the garden, rather than the interiors and decorations. In the 18th century, the interior underwent major changes in style. Between 1750 and 1754, the architect Ange-Jacques Gabriel built new housing wings and new apartments for Louis XV and Queen. The most famous artists of the time, including Francois Boucher, Carle Vanloo, Alexis Peyrotte and Jean-Baptiste Marie Pierre were assigned to paint works for the Chamber Council. Louis XVI continues his decoration work, especially in the Turkish cabinet (1777) and the Queen's queen room and games room, in an arabesque style. (1786-1787), until the time of the Revolution. Fontainebleau offers many of the best examples of interior design at the end of the Old Regime.
Napoleon I want to continue the traditional majesty of the monarchy, and make the palace completely renewed. He created a new suite of rooms with symbols and imperial styles, and transformed the former king's bedroom into the throne room. It is the only throne room in France that is still in its original condition with original furniture. The rooms Napoleon used in Fontainebleau is one of the best examples of Imperial style.
Museum Napoleon I
Source of the article : Wikipedia
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