HARDOUIN-MANSART, Jules

The Place Royale in Dijon was conceived around 1686 on directives by Hardouin-Mansart, formed a large, arcaded semi-circle. It only received a royal statue in 1747. The royal squares became the main expression of a monumental conception of towns. There is no city in France that is not beholden to the charm and openness of these spectacular squares.

In 1679 Hardouin-Mansart began the construction of the château de Marly, intended to be a retreat where Louis XIV could take refuge from the publicity of official court life. The château is now destroyed, but known from engravings and drawings. It was planned on a completely novel principle. The central feature of the design was a square block for the King, in front of which, flanking the parterre, stretched a double row of smaller pavilions for the courtiers, separated from the main building.

The engraving was executed by one of the sons of Gabriel P�relle.

Versailles became the ultimate European palace, not only because of its size, splendour, and advanced layout, but also because of the ideal manner in which it expressed absolute power. Versailles was the symbol of timeless domination, the residence of the Sun King, whose life and works of an exemplary nature and were therefore subject to strict regulation and ritual.

The conversion of Louis XIII’s small hunting lodge in Versailles had been set in motion by 1668. With Le Vau, Le Brun and Le N�tre, the king brought in those artists who had already developed significant new concepts at Vaux-le-Vicomte, the palace of his minister Fouquet. The setting of the natural landscape and the concept of “between courtyard and garden” distinguished this new, but much more ambitious extension. In 1677 the king decided to relocate his residence to Versailles, an action which entailed an enormous amount of additional planning. The young Jules Hardouin-Mansart was given the responsibility for carrying this through. Over the next thirty years he directed the conversion of Versailles, on which at times up to 30.000 workers were employed,

The picture shows the garden fa�ade of the palace.

Versailles became the ultimate European palace, not only because of its size, splendour, and advanced layout, but also because of the ideal manner in which it expressed absolute power. Versailles was the symbol of timeless domination, the residence of the Sun King, whose life and works of an exemplary nature and were therefore subject to strict regulation and ritual.

The conversion of Louis XIII’s small hunting lodge in Versailles had been set in motion by 1668. With Le Vau, Le Brun and Le N�tre, the king brought in those artists who had already developed significant new concepts at Vaux-le-Vicomte, the palace of his minister Fouquet. The setting of the natural landscape and the concept of “between courtyard and garden” distinguished this new, but much more ambitious extension. In 1677 the king decided to relocate his residence to Versailles, an action which entailed an enormous amount of additional planning. The young Jules Hardouin-Mansart was given the responsibility for carrying this through. Over the next thirty years he directed the conversion of Versailles, on which at times up to 30.000 workers were employed,

The picture shows the garden fa�ade of the palace.

The Grand Trianon was built in the park of Versailles by Hardouin-Mansart in only six months in 1687-88. It is a permanent structure with an open columned hall and extended single-storey wings. His light-spirited design based on Italian models.

The Trianon was a hub of flowers, opening onto parterres and beds of roses, gladioli, and tuberoses. It was essentially a small-scale version of Versailles: a ground floor with terrace roofs, two buildings linked by a portico. A long wing was later added to the north, in order to be as close as possible to the garden.

The palace chapel, which occupies the north wing, is one of the most impressive examples of French late Baroque architecture. Begun by Hardouin-Mansart in 1699 and completed after the death of the architect by his brother-in-law, Robert de Cotte (1656-1735), the galleried church with polygonal ambulatory combines classical, medieval, and baroque features and is modeled on the Sainte-Chapelle in Paris. The rich decoration, the openness to the light and the contrast between the light, stone and the blue background of the frescoes by Antoine Coypel anticipate the aesthetic style of the next few decades.

The picture shows the exterior of the palace chapel.

The Grand Trianon was built in the park of Versailles by Hardouin-Mansart in only six months in 1687-88. It is a permanent structure with an open columned hall and extended single-storey wings. His light-spirited design based on Italian models.

The picture shows the columned hall of the Grand Trianon.

The plans for a town hall in Arles probably passed through several hands, but the final design was probably due to Hardouin-Mansart. In 1673 he visited Languedoc, apparently sent there by Jean-Baptiste Colbert, chief minister to Louis XIV, to inspect work on the Canal des Deux-Mers. On the way he produced a design for the H�tel de Ville (1673–75) at Arles, which was inspired by Louis Le Vau’s recent work at Versailles. The final design with quoin-work, projecting avant-corps, attic, and terrace roof resembles Versailles.

This civic building illustrates the growing importance of the bourgeoisie in French cities. It also illustrates the influence of Italian classically-derived architecture. The five-bay structure has a logical elevation of three stories, a flat roof, more characteristic of Italian Renaissance architecture than French buildings with their steep roofs. The central bay has an impressive pediment and sculpture is used to accent various areas of the building.

The photo shows the fa�ade.

Hardouin-Mansart created the most mature structure of French Baroque. In 1676, he had taken over the direction of the Invalides hospital, begun six years previously by Lib�ral Bruant (c. 1635-1697); this was a royal endowment to care for retired soldiers. With the church of Les Invalides, dedicated in 1706, the combination of the nave structure of the simple soldiers’ church with a central building produced a magnificent synthesis of two architectural forms, the square substructure with a portal frontage and a dominant tambour and dome.

The central structure of the complex and the decoration suggest that Louis XIV intended this as his mausoleum. However, in 1861, Visconti had a crypt built in the centre of the cathedral and Napoleon was buried there.

View the ground plan of Les Invalides, Paris.

Hardouin-Mansart created the most mature structure of French Baroque. In 1676, he had taken over the direction of the Invalides hospital, begun six years previously by Lib�ral Bruant (c. 1635-1697); this was a royal endowment to care for retired soldiers. With the church of Les Invalides, dedicated in 1706, the combination of the nave structure of the simple soldiers’ church with a central building produced a magnificent synthesis of two architectural forms, the square substructure with a portal frontage and a dominant tambour and dome.

The central structure of the complex and the decoration suggest that Louis XIV intended this as his mausoleum. However, in 1861, Visconti had a crypt built in the centre of the cathedral and Napoleon was buried there.

View the ground plan of Les Invalides, Paris.

After the court had established itself in Versailles, the king began to look for retreats. He found them in the Trianon and in Marly.

After the demolition of the village of Trianon, Louis XIV had the “Trianon de Porcelaine” built for his mistress by Le Vau in 1670. With the emergence of e new favourite, this pavilion gave way to a new building, the “Trianon de Marbre”, built by Hardouin-Mansart and named after the reddish marble used in the pilasters. The parterre was laid out as “Flora’s kingdom,” a flower garden.

The picture shows the Trianon de Marbre (later known as the “Grand Trianon”), with flower beds.

In 1685 Louis XIV bought the site of the Hotel Vend�me from the bankrupt owner, the Duc of Vend�me, with the intention of making an arcaded square with building to house the royal library and the various academies. The first project was dropped, and the finally completed Place Vend�me is a square with the corners cut off, closed except form two openings which form its main axis. On the axis stood Girardon’s equestrian statue of the King, facing one of the openings. The buildings which surrounded the place were decorated with a colossal Order of pilasters, broken by frontispieces with half-columns at the centres of each side and at the cut-off corners.

In its general conception, as a piece of scenic architecture, the Place Vend�me is close to Roman Baroque architecture which could offer a brilliant solution to this type of problem in the Piazza of St Peter’s. In detail, however, it is restrained and relatively classical, presenting a compromise between classicism and Baroque.

From the eighteenth century the square has suffered increasing degradations, so that it is now hardly possible to imagine its original appearance.

In 1685 Louis XIV bought the site of the Hotel Vend�me from the bankrupt owner, the Duc of Vend�me, with the intention of making an arcaded square with building to house the royal library and the various academies. The first project was dropped, and the finally completed Place Vend�me is a square with the corners cut off, closed except form two openings which form its main axis. On the axis stood Girardon’s equestrian statue of the King, facing one of the openings. The buildings which surrounded the place were decorated with a colossal Order of pilasters, broken by frontispieces with half-columns at the centres of each side and at the cut-off corners.

In its general conception, as a piece of scenic architecture, the Place Vend�me is close to Roman Baroque architecture which could offer a brilliant solution to this type of problem in the Piazza of St Peter’s. In detail, however, it is restrained and relatively classical, presenting a compromise between classicism and Baroque.

From the eighteenth century the square has suffered increasing degradations, so that it is now hardly possible to imagine its original appearance.

In 1685 Louis XIV bought the site of the Hotel Vend�me from the bankrupt owner, the Duc of Vend�me, with the intention of making an arcaded square with building to house the royal library and the various academies. The first project was dropped, and the finally completed Place Vend�me is a square with the corners cut off, closed except form two openings which form its main axis. On the axis stood Girardon’s equestrian statue of the King, facing one of the openings. The buildings which surrounded the place were decorated with a colossal Order of pilasters, broken by frontispieces with half-columns at the centres of each side and at the cut-off corners.

In its general conception, as a piece of scenic architecture, the Place Vend�me is close to Roman Baroque architecture which could offer a brilliant solution to this type of problem in the Piazza of St Peter’s. In detail, however, it is restrained and relatively classical, presenting a compromise between classicism and Baroque.

From the eighteenth century the square has suffered increasing degradations, so that it is now hardly possible to imagine its original appearance.

After the triangular shape of the Place Dauphine and the square of Place Royale, Hardouin-Mansart adopted two other simple geometric forms: a circle for Place des Victoires, and an octagon (with angled corners) for Place Vend�me, two brilliant accomplishments.

the circular Place des Victoires was planned in 1685; it was set in the heart of Paris, somewhat like the round Colonnade in the grounds of Versailles. At the centre was a statue of Louis XIV by Martin Desjardins that bore extravagant inscriptions praising the monarch’s military exploits. The surrounding fa�ades were simple yet rigorous, the large arcade of the ground floor serving as the base for a piano nobile adorned with pilasters. The arrangement was most suitable, since it placed shops at street level, grand dwellings above, and attic apartments on top. But the size of lots did not always facilitate the planning of the residences built behind the fa�ade.

The inauguration took place in March 1686.

After the triangular shape of the Place Dauphine and the square of Place Royale, Hardouin-Mansart adopted two other simple geometric forms: a circle for Place des Victoires, and an octagon (with angled corners) for Place Vend�me, two brilliant accomplishments.

the circular Place des Victoires was planned in 1685; it was set in the heart of Paris, somewhat like the round Colonnade in the grounds of Versailles. At the centre was a statue of Louis XIV by Martin Desjardins that bore extravagant inscriptions praising the monarch’s military exploits. The surrounding fa�ades were simple yet rigorous, the large arcade of the ground floor serving as the base for a piano nobile adorned with pilasters. The arrangement was most suitable, since it placed shops at street level, grand dwellings above, and attic apartments on top. But the size of lots did not always facilitate the planning of the residences built behind the fa�ade.

The inauguration took place in March 1686.

The Galerie des Glaces, with its connecting reception rooms, the Salon de la Guerre and the Salon de la Paix, form the suite of apartments linked with the garden. They provided a sumptuous framework for court festivities and the reception of high-ranking guests.

The seventy-five-meter-long Galerie des Glaces, the Hall of Mirrors was begun in 1679 and completed in 1687. The interior decoration was created by Charles Le Brun, who, according to Colbert, developed for it a unique “French order of architecture” with which to structure the walls. The outstanding feature here, however, is the reflected light from the countless mirrors. They reflect the sunlight or even the candlelight and effectively realize the metaphor of the Sun King.”

The picture shows the interior of the Galerie des Glaces (Hall of Mirrors).

In 1676 Hardouin-Mansart had begun work at the château of Versailles with designs for lodges in the Bosquet de la Renomm�e; each of these two square pavilions (destroyed) had bevelled interior angles, pediments on all four sides and were crowned by domes. Soon afterwards, in 1678, he was commissioned to design new additions for the château itself. His Galerie des Glaces (Hall of Mirrors) replaced Louis Le Vau’s recessed first-floor terrace in the centre of the garden front, requiring Hardouin-Mansart also to redesign the entire garden fa�ade to incorporate the projecting wings of Le Vau’s scheme, which became the Salon de la Guerre and the Salon de la Paix. For this scheme he used round-headed windows on the first floor and a central hexastyle frontispiece based on Le Vau’s lateral fa�ades. Long north and south wings were then added in the same style but with a different rhythm in the projections. These additions have been criticized for destroying the scale and effect of Le Vau’s building, but they provided Louis XIV with the grand ceremonial court setting that he sought, enhanced by the richness of the interior decoration by Charles Le Brun.

In 1676 Hardouin-Mansart had begun work at the château of Versailles with designs for lodges in the Bosquet de la Renomm�e; each of these two square pavilions (destroyed) had bevelled interior angles, pediments on all four sides and were crowned by domes. Soon afterwards, in 1678, he was commissioned to design new additions for the château itself. His Galerie des Glaces (Hall of Mirrors) replaced Louis Le Vau’s recessed first-floor terrace in the centre of the garden front, requiring Hardouin-Mansart also to redesign the entire garden fa�ade to incorporate the projecting wings of Le Vau’s scheme, which became the Salon de la Guerre and the Salon de la Paix. For this scheme he used round-headed windows on the first floor and a central hexastyle frontispiece based on Le Vau’s lateral fa�ades. Long north and south wings were then added in the same style but with a different rhythm in the projections. These additions have been criticized for destroying the scale and effect of Le Vau’s building, but they provided Louis XIV with the grand ceremonial court setting that he sought, enhanced by the richness of the interior decoration by Charles Le Brun.

In 1676 Hardouin-Mansart had begun work at the château of Versailles with designs for lodges in the Bosquet de la Renomm�e; each of these two square pavilions (destroyed) had bevelled interior angles, pediments on all four sides and were crowned by domes. Soon afterwards, in 1678, he was commissioned to design new additions for the château itself. His Galerie des Glaces (Hall of Mirrors) replaced Louis Le Vau’s recessed first-floor terrace in the centre of the garden front, requiring Hardouin-Mansart also to redesign the entire garden fa�ade to incorporate the projecting wings of Le Vau’s scheme, which became the Salon de la Guerre and the Salon de la Paix. For this scheme he used round-headed windows on the first floor and a central hexastyle frontispiece based on Le Vau’s lateral fa�ades. Long north and south wings were then added in the same style but with a different rhythm in the projections. These additions have been criticized for destroying the scale and effect of Le Vau’s building, but they provided Louis XIV with the grand ceremonial court setting that he sought, enhanced by the richness of the interior decoration by Charles Le Brun.

At the ends of the Galerie des Glaces lie the Salon de la Guerre and the Salon de la Paix (the War Salon and the Peace Salon), in which the king’s military successes are celebrated. In the first, Louis XIV is seen triumphing over his enemies, and in the second, the peace achieved during the king’s reign is celebrated.

The picture shows the Salon de la Guerre which is dominated by a [large oval bas-relief](‘/html/c/coysevox/louis14h.html) by Antoine Coysevox, showing the king vanquishing his enemies.

At the ends of the Galerie des Glaces lie the Salon de la Guerre and the Salon de la Paix (the War Salon and the Peace Salon), in which the king’s military successes are celebrated. In the first, Louis XIV is seen triumphing over his enemies, and in the second, the peace achieved during the king’s reign is celebrated.

The picture shows the Salon de la Guerre which is dominated by a [large oval bas-relief](‘/html/c/coysevox/louis14h.html) by Antoine Coysevox, showing the king vanquishing his enemies.

At the ends of the Galerie des Glaces lie the Salon de la Guerre and the Salon de la Paix (the War Salon and the Peace Salon), in which the king’s military successes are celebrated. In the first, Louis XIV is seen triumphing over his enemies, and in the second, the peace achieved during the king’s reign is celebrated.

The picture shows the Salon de la Guerre which is dominated by a [large oval bas-relief](‘/html/c/coysevox/louis14h.html) by Antoine Coysevox, showing the king vanquishing his enemies.

Hardouin-Mansart was already working at Versailles in 1673, but in a quite minor capacity. It was not till after the Peace of Nijmegen in 1678 that he was put in charge of the vast extension of the palace which the King planned. The project consisted of the construction of the Galerie des Glaces and the two salons adjacent to it, the addition of the wings to the north and south of the central block, and certain modifications to the Cour de Marbre.

Externally these alterations were not advantageous. Internally, however, Hardouin-Mansart and Charles Le Brun created the most effective ensemble in the whole palace and the work in which the style of Louis XIV is most completely summed up, the Galerie des Glaces and the two rooms which led to it: the Salon de la Guerre and the Salon de la Paix. These rooms present a compromise between the principles of the Baroque and of classicism typical of the art of Louis XIV.

The picture shows the Salon de la Paix.

During the last decade of the seventeenth century a number of rooms at Versailles, Trianon, and Marly were redecorated under Hardouin-Mansart’s direction, and for them a new style was evolved which marks the first stage towards the Rococo. Paneling became lighter, looking-glasses replaced over-mantels, cornices became less monumental, in fact, everything was done to make the decorations of the walls lighter and more elegant. The Salon de l’Oeil de Boeuf in the Château de Versailles, shown in the photo, is an example of this development.

The palace chapel, which occupies the north wing, is one of the most impressive examples of French late Baroque architecture. Begun by Hardouin-Mansart in 1699 and completed after the death of the architect by his brother-in-law, Robert de Cotte (1656-1735), the galleried church with polygonal ambulatory combines classical, medieval, and baroque features and is modeled on the Sainte-Chapelle in Paris. The rich decoration, the openness to the light and the contrast between the light, stone and the blue background of the frescoes by Antoine Coypel anticipate the aesthetic style of the next few decades.

The picture shows the interior of the palace chapel.

The plans for a town hall in Arles probably passed through several hands, but the final design was probably due to Hardouin-Mansart. In 1673 he visited Languedoc, apparently sent there by Jean-Baptiste Colbert, chief minister to Louis XIV, to inspect work on the Canal des Deux-Mers. On the way he produced a design for the H�tel de Ville (1673–75) at Arles, which was inspired by Louis Le Vau’s recent work at Versailles. The final design with quoin-work, projecting avant-corps, attic, and terrace roof resembles Versailles.

Hardouin-Mansart may also have been responsible for the great flat, pierced vault that spans its entrance hall - a masterpiece in the tradition of French stonework.

The photo shows the entrance hall.

The plans for a town hall in Arles probably passed through several hands, but the final design was probably due to Hardouin-Mansart. In 1673 he visited Languedoc, apparently sent there by Jean-Baptiste Colbert, chief minister to Louis XIV, to inspect work on the Canal des Deux-Mers. On the way he produced a design for the H�tel de Ville (1673–75) at Arles, which was inspired by Louis Le Vau’s recent work at Versailles. The final design with quoin-work, projecting avant-corps, attic, and terrace roof resembles Versailles.

Hardouin-Mansart may also have been responsible for the great flat, pierced vault that spans its entrance hall - a masterpiece in the tradition of French stonework.

The photo shows the ceiling of the entrance hall.

The Château du Val in Saint-Germain-en-Laye (Yvelines) was originally built for Henri IV as one of his hunting lodges. The construction of the new château began at the order of Louis XIV in 1674 according to the plans by Jules Hardouin-Mansart. The plans for this new building and the state of the château towards the end of the reign of Louis XIV is known from L’Architecture fran�aise published by Jean Mariette in 1727. The château was rebuilt several times in the 18th and 19th centuries.

The Château du Val reveals certain qualities which were not to be typical of Hardouin-Mansart’s mature works, notably ingenuity in planning and inventiveness in the shape of rooms. For instance, the right wing consists of four rooms of different and unusual shapes, grouped so that they can all be heated by a single stove fitted into the space left in the middle of the group. This tendency foreshadows the development of architecture in the first years of the eighteenth century, when Hardouin-Mansart’s pupils were responsible for introducing the more comfortable type of private house.

The picture shows the plan of Château du Val from Jean Mariette’s publication.

From the 1690s we know of one project by Hardouin-Mansart for a private house. This design is full of unusual features. In addition to the main door in the middle of the main block, there is a second entrance in the right-hand corner of the court, which creates an asymmetrical arrangement. Inside the house the staircase and vestibule form a single space, which is again contrary to the usual practice of the time. Hardouin-Mansart also breaks away from the conventional rectangular shapes for his rooms.

The engraving is from Architecture Fran�aise by Pierre Jean Mariette (1694-1774).

This print was drawn and engraved by J. Bury. It was published in ‘Monuments Anciens et Moderne’ by Jules Gailhabaud, Paris 1853.

In the major building phase in Versailles between 1661 and 1680, fifteen shrubberies was planted between the pathways in the park. Each shrubbery was a physical world in itself, architecturally designed and with a variety of stereometric formats. In 1684, Hardouin-Mansart was commissioned to “regulate” the shrubbery constructed by Andr� Le N�tre in 1679 and give it a rotunda.

The picture shows a detail of the rotunda constructed by Hardouin-Mansart.

At the Trianon, Hardouin-Mansart built a new pavilion inseparable in design from the garden, where different effects were sought, such as the use of a quincuncial layout with a high-backed fountain of polychrome marble and gilded metal to close off the vista.

In 1685 Louis XIV bought the site of the Hotel Vend�me from the bankrupt owner, the Duc of Vend�me, with the intention of making an arcaded square with building to house the royal library and the various academies. The first project was dropped, and the finally completed Place Vend�me is a square with the corners cut off, closed except form two openings which form its main axis. On the axis stood Girardon’s equestrian statue of the King, facing one of the openings. The buildings which surrounded the place were decorated with a colossal Order of pilasters, broken by frontispieces with half-columns at the centres of each side and at the cut-off corners.

From the eighteenth century the square has suffered increasing degradations, so that it is now hardly possible to imagine its original appearance which is shown in the present eighteenth-century engraving.