Vaux-le-Vicomte [SEP] architect
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Vaux-le-Vicomte


The Château de Vaux-le-Vicomte is a baroque French château located in Maincy, near Melun, southeast of Paris in the Seine-et-Marne "département" of France. Built between 1658 to 1661 for Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th-century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the
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Vaux-le-Vicomte


seized, confiscated or purchased 120 tapestries, the statues and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles. Madame Fouquet recovered her property 10 years later and retired there with her eldest son. In 1705, after the death of her husband and son, she decided to put Vaux-le-Vicomte up
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Château de Vincennes


and Cardinal Mazarin, but rebuilding was never pursued once Versailles occupied all attentions. Some splendid apartments show the earliest phase of Louis XIV style, before the example of Vaux-le-Vicomte presented the Sun King with a worthy model. The unlucky builder of Vaux-le-Vicomte, the minister Nicolas Fouquet, found himself transferred to Vincennes, to much less comfortable lodgings. In 1691, another unwilling lodger was John Vanbrugh, soon to become a playwright and architect, who drew some of his Baroque "gothick" from
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The Man in the Iron Mask (1998 film)


In this version, the "man in the iron mask" is introduced as prisoner number 64389000 based on the number related to his namesake found at the Bastille. Château de Vaux-le-Vicomte is the stand in for all the scenes that are supposed to be Versailles, although in the book, the switch between Louis and Philippe happens at Vaux-le-Vicomte. Vaux-le-Vicomte, the prototype for Versailles, was historically built for Nicolas Fouquet, Superintendent of Finances for Louis XlV. In some versions,
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17th-century French art


, was transformed by Louis XIV into a marvelous palace for fêtes and parties. Architect Louis Le Vau, painter and designer Charles Le Brun and the landscape architect André Le Nôtre created marvels : fountains danced; wandering revelers discovered hidden grottos in the gardens. The initial impetus for this transformation of Versailles is generally linked to the private château Vaux-le-Vicomte built for Louis XIV's minister of Finance Nicolas Fouquet. Having offered a lavish festival for the king in the newly finished residence in 1661 (Le Brun, Le Vau
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Gardens of Versailles


who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles. With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign. From this point forward, the expansion of the gardens of Versailles followed the expansions of the château. Accordingly, Louis XIV
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Vaux-le-Vicomte


of public funds. Colbert, who then replaced Fouquet as superintendent of finances, arrested him. Later, Voltaire was to sum up the famous fête: "On 17 August, at six in the evening Fouquet was the King of France: at two in the morning he was nobody." La Fontaine wrote describing the fête and shortly afterwards penned his "Elégie aux nymphes de Vaux". After Fouquet was arrested and imprisoned for life and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king
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Claude Desgots


Claude Desgots (or Desgotz; c. 1658 – 1732) was a French architect and landscape architect, who designed French formal gardens in France and England. He worked with and was strongly influenced by André Le Nôtre, the designer of the gardens at Vaux-le-Vicomte and Versailles that set the pattern for grand gardening in France up to the Revolution. In spite of increasing competition from the informal English landscape style, the French tradition was kept vital through apprenticeship connections in the generation following Le Nôtre's death in 1700,
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Vaux-le-Vicomte


the arts, attracting many artists with his generosity. When Fouquet became King Louis XIV's superintendent of finances in 1656, he commissioned Le Vau, Le Brun and Le Nôtre to renovate his estate and garden to match his grand ambition. Fouquet's artistic and cultivated personality subsequently brought out the best in the three. To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte's garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the
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Vaux-le-Vicomte


, the estate was sold to Alfred Sommier in a public auction. "He came for the [Charles] Le Brun paintings, especially those on the ceiling of the Chambre des Muses – he loved art," according to descenant Alexandre de Vogüé. The château was empty, some of the outbuildings had fallen into ruin and the gardens were completely overgrown. Restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and
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Vaux-le-Vicomte


painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the "Louis XIV style" combining architecture, interior design and landscape design. The garden's pronounced visual axis is an example of this style. Once a small château between the royal residences of Vincennes and Fontainebleau, the estate of Vaux-le-Vicomte was purchased in 1641 by Nicolas Fouquet, an ambitious 26-year-old member of the Parlement of Paris. Fouquet was an avid patron of
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Vaux-le-Vicomte


"). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor, which run the length of house, providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional. Vaux-le-Vicomte was originally planned to be constructed in brick
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Vaux-le-Vicomte


but those characteristics proved tragic for its owner: the king had Fouquet arrested shortly after a famous fête that took place on 17 August 1661, where Molière's play 'Les Fâcheux' debuted. The celebration had been too impressive and the superintendent's home too luxurious. Fouquet's intentions were to flatter the king: part of Vaux-le-Vicomte was actually constructed specifically for the king, but Fouquet's plan backfired. Jean-Baptiste Colbert led the king to believe that his minister's magnificence was funded by the misappropriation
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André Le Nôtre


had three children, although none survived to adulthood. André Le Nôtre's first major garden design was undertaken for Nicolas Fouquet, Louis XIV's Superintendent of Finances. Fouquet began work on the Château de Vaux-le-Vicomte in 1657, employing the architect Louis Le Vau, the painter Charles Le Brun, and Le Nôtre. The three designers worked in partnership, with Le Nôtre laying out a grand, symmetrical arrangement of parterres, pools and gravel walks. Le Vau and Le Nôtre exploited the changing levels across the site
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Louis Le Vau


Louis Le Vau (1612 – 11 October 1670) was a French Classical Baroque architect, who worked for Louis XIV of France. He was born and died in Paris. He was responsible, with André Le Nôtre and Charles Le Brun, for the redesign of the château of Vaux-le-Vicomte. His later works included the Palace of Versailles and his collaboration with Claude Perrault on the Palais du Louvre. Le Vau also designed two mirroring additions across the Parterre to the evergrowing Château de Vincennes, the Château du Raincy
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Vaux-le-Vicomte


the viewer. From a certain designed viewing point, the distortion designed into the landscape elements produces a particular forced perspective and the eye perceives the elements to be closer than they actually are. That point, for Vaux-le-Vicomte, is at the top of the stairs at the rear of the château. Standing atop the grand staircase, one begins to experience the garden with a magnificent perspectival view. The anamorphosis abscondita creates visual effects, which are not encountered in nature, making the spectacle of gardens designed in this
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Vaux-le-Vicomte


gardens. It was said to have employed 18 thousand workers and cost as much as 16 million livres. The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet Jean de La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel and an impressive firework show. The château was lavish, refined and dazzling to behold,
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Vaux-le-Vicomte


at the chateau for its 7th Cycle (Episode 02), televised in August 2011. A confused retelling of the Vaux-le-Vicomte story was given by character Little Carmine Lupertazzi in season 4 of HBOs The Sopranos. More recently it has featured as the Palace of Versailles for BBC/Canal+ production of the TV drama series "Versailles". The chateau is one of the settings of Alexandre Dumas' novel "". The second most expensive wedding was held at the palace in 2004. Vanisha Mittal, daughter of
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French Baroque architecture


as his architect and designer, and assigned André Le Nôtre to create a grand formal garden that could be viewed from the Chateau, on the model of Vaux-le-Vicomte. When Le Vau died in 1670, the project was given to Jules Hardouin-Mansart, the nephew of Francois Mansart. The new Palace surrounded the old brick chateau, with new wings the north, south and to the rear. The facade, like the new Louvre wing, featured colossal order columns, while the roof was flat with a
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Vaux-le-Vicomte


for sale. Marshal Claude Louis Hector de Villars became the new owner without first seeing the chateau. In 1764, the Marshal's son sold the estate to the Duke of Praslin, whose descendants maintained the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when Charles de Choiseul-Praslin killed his wife in her bedroom, but he did so not at Vaux-le-Vicomte but at his Paris residence. In 1875, after thirty years of neglect
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French art


the château de Vaux-le-Vicomte) and Jules Hardouin Mansart (who built the church of the Invalides in Paris), painter and designer Charles Le Brun, and the landscape architect André Le Nôtre who perfected the rational form of the French garden that from Versailles spread in all of Europe. For sculpture Louis XIV's reign also proved an important moment thanks to the King's protection of artists like Pierre Puget, François Girardon and Charles-Antoine Coysevox. In Rome, Pierre Legros, working in a more baroque manner
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Baroque


Vau. The principal architects of the style included François Mansart (Chateau de Balleroy, 1626–1636), Pierre Le Muet (Church of Val-de-Grace, 1645–1665), Louis Le Vau (Vaux-le-Vicomte, 1657–1661) and especially Jules Hardouin Mansart and Robert de Cotte, whose work included the Galerie des Glaces and the Grand Trianon at Versailles (1687–1688). Mansart was also responsible for the Baroque-classicism of the Place Vendôme (1686–1699). The major royal project of the period was the expansion
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Cabinet (room)


a series of cabinets in a suite. At Vaux-le-Vicomte, the architect Le Vau contrived a jewel-like private "cabinet" for the king's minister of finance Nicolas Fouquet that was entirely hung with panels of Venetian looking-glass; later, Louis XIV's "Grand Cabinet" at Versailles (swept away in 18th-century revisions in the name of even more private royal spaces) was similarly mirror-lined: "the king's self-directed gaze was at once religious and narcissistic" as
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Charles de Choiseul-Praslin


Peer of France on 6 April 1845. On 18 October 1824, Choiseul-Praslin married Fanny Altarice Rosalba, the daughter of Marshal Horace Sébastiani de La Porta and his first wife Fanny Franquetot de Coigny. Fanny reportedly had a passionate love for her husband, which was recorded in her correspondence. The couple resided at the Choiseul estate in Vaux-le-Vicomte, and had ten children together. While traveling from Vaux-le-Vicomte to Dieppe, the Choiseul-Praslin family spent the night of 17 August 1847 at
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Château de Chanteloup


") parterre of the Spanish Gate, forming a classic French "patte d'oie" (goose-foot pattern), a feature seen at several grand French châteaux of the 17th century, including the Château de Richelieu, Vaux-le-Vicomte, and Versailles. Choiseul engaged the architect Louis-Denis Le Camus to modernize and enlarge the château. A master plan ("grand dessein") was developed which was never to be completely realized. A version of 1761 at the Bibliothèque nationale de France shows numerous proposed modifications
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William Bruce (architect)


in 1663 he made a further "foreign journey" at the behest of Lauderdale, although his itinerary is unknown. Whether by visit or through studying engravings, he knew several notable French houses including Vaux-le-Vicomte, Blérancourt, and the Chateau de Balleroy, the last the work of French architect François Mansart. These modern French designs, incorporating features then unknown in Scotland, such as the double-pile of major rooms in two enfilades, ranged back-to-back, were also influential on Bruce's designs
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Gabrielle van Zuylen


dynasties of famous garden designers are discussed: Claude and Jacques Mollet (inventor of the parterres de broderie), André Le Nôtre (known for the gardens of Vaux-le-Vicomte, Versailles and the Jardin du Luxembourg). A less well known figure, Peter Joseph Lenné, a 19th-century Prussian gardener and landscape architect who worked in Potsdam and Berlin (Klein Glienicke, Pfaueninsel and Tiergarten). Following the Viennese Prater as the first public park, Napoleon III commissioned around 1850 the prefect of the Seine department,
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Château de Dampierre


axis is extended between the former parterres, now mown hay. The park with formally shaped water was laid out by André Le Nôtre. There are sumptuous interiors. The small scale (compared to Vaux-le-Vicomte for example) makes it easier to compare it to the approximately contemporary Het Loo, for William III of Orange. The "grande galerie" was reconstructed for the amateur archaeologist and collector, Honoré Théodoric d'Albert de Luynes, under the direction of antiquarian architect Félix Duban. Sculptor Pierre-Charles Simart contributed Hellenic
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Dan Kiley


stepped down. At the end of World War II, Kiley designed the courtroom where the Nuremberg Trials were held. While in Europe, he visited the work of André Le Nôtre at Sceaux Chantilly, Versailles, and Vaux-le-Vicomte, whose formality and geometric layout shaped his future Classical Modernist style. Following the war, Kiley found himself one of the only modern landscape architects in the postwar building boom. In California, his friend Garrett Eckbo, Thomas Church and others were developing and practicing the modernist style. Kiley
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Château de Clermont


to have wings attached to the central building in this fashion. They are, however, smaller, lower and have an Italian influence, natural enough at a time when many French architects were studying in Rome and Venice. Clermont was completed just before 1650, the year when, following the trend started by the builders of Vaux-le-Vicomte and François Mansart at the Château de Beaumesnil, the central bodies of the majority of new castles started to be built separated from the wings. In a design that was, at
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John Vanbrugh


Howard was also Vaux-le-Vicomte in France The interiors are extremely dramatic, the Great Hall rising 80 feet (24 m) into the cupola. Scagliola, and Corinthian columns abound, and galleries linked by soaring arches give the impression of an opera stage-set – doubtless the intention of the architect. Castle Howard was acclaimed a success. This fantastical building, unparalleled in England, with its facades and roofs decorated by pilasters, statuary, and flowing ornamental carving, ensured that baroque became an overnight success. While
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Elie Lainé


Elie Lainé (1829-1911) was a French landscape architect, chiefly remembered for the restoration of the gardens at Vaux le Vicomte, the layout of the grounds at Waddesdon Manor and the creation of numerous parks and gardens for Léopold II, the king of Belgium. Lainé was born in 1829 in the northern French town of Brain-sur-l'Authion, Maine-et-Loire, where most of his family were small-scale farmers. He worked as a gardener in the nearby town of Angers in his twenties.
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William Bruce (architect)


Gifford, however, attributes these to a later building phase. The curving walls, a form later seen at Hopetoun, were a new innovation if Bruce did carry them out, possibly inspired by the work of the Italian Gian Lorenzo Bernini. In the gardens he laid out parterres and stepped "Italian" terraces, with a vista leading the eye to the Bass Rock, all inspired by French baroque gardens such as Vaux-le-Vicomte. Internally, Bruce created a new layout of rooms, and it was for his
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Embassy of Russia in Luxembourg


property was purchased by Auguste Dutreux before 1851. The property was purchased on 23 October 1865 by Metz & Co, and in 1866 the Donnersbach was redirected to supply the company's steel mill at Dommeldange. During the 1880s, Émile Metz built a villa on the site; however, this burned to the ground in January 1894. From 1894-1895, Wynand Janssens, an architect from Brussels, built the present château in a historicist style reminiscent of Vaux-le-Vicomte and Château de Fontainebleau. When Metz died in
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Vaux-le-Vicomte


ranking of building materials that would be common in France for a considerable length of time thereafter. The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced. The bridge
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Vaux-le-Vicomte


fronted with a two-storey portico that is almost identical to one at the Hôtel Tambonneau. The use of a central oval salon is an innovation adopted by Le Vau from Italy. Although he himself had never been there, he undoubtedly knew from drawings and engravings of examples in buildings, such as the Palazzo Barberini in Rome, and had already used one to great effect at his Château du Raincy. At Le Raincy the salon spans the "corps de logis" and projects on both sides, but at Vaux, because
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Steninge Palace


Steninge Palace (also known as Steninge Manor) is a Baroque palace overlooking Lake Mälaren near Märsta outside of Stockholm, Sweden. Built 1694-1698 to the design of architect Nicodemus Tessin the Younger, the palace is directly inspired by Château de Vaux-le-Vicomte in France, and has a reputation in Sweden as one of the most elegant examples of Baroque mansions. Steninge Palace was completed in 1705. The estate has a history dating back to the 13th century and has seen many owners, but two families have strongly
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Hippolyte Destailleur


in 19th century England, where he designed Waddesdon Manor in Buckinghamshire for Baron Ferdinand de Rothschild (1874–1882) and the Imperial Mausoleum at Saint Michael's Abbey in Farnborough, Hampshire. He oversaw the designwork and restoration of the Château de Courances and Château de Vaux-le-Vicomte beginning in 1875. He designed the Hôtel de Béhague in Paris (1866-1867) and the Château de Franconville in Oise for the Duc de Massa (1880-1885). His son Walter-André Destailleur was also an architect, who
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Charles de Batz de Castelmore d'Artagnan


Nicolas Fouquet. Fouquet was Louis XIV's finance commissioner and aspired to take the place of Mazarin as the king's advisor. Fouquet was also a lover of grand architecture and employed the greatest architects and artisans in the building of his Chateau Vaux-le-Vicomte. He celebrated the completion with a most extravagant feast, at which every guest was given a horse. The king however felt upstaged by the grandeur of the home and event and, suspecting that such magnificence could only be explained through Fouquet's pilfering the royal treasury
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French Baroque architecture


in the royal hunting lodge and later main Palace of Versailles (1661–1690). On a far grander scale, the palace is a hypertrophied and somewhat repetitive version of Vaux-le-Vicomte. It was both the most grandiose and the most imitated residential building of the 17th century. Mannheim, Nordkirchen and Drottningholm were among many foreign residences for which Versailles provided a model. In 1665 the chief minister of Louis XIV, Jean Colbert, invited the most famous architect and sculptor of the Italian Baroque, Gian Lorenzo Bernini to Paris
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Vaux-le-Vicomte


mass. All of these elements are further emphasized with steep pyramidal caps. Such steep roofs were inherited from medieval times and, like brick, were rapidly going out of fashion. Le Vau would never use them again. The overall effect at Vaux, according to Andrew Ayers, is "somewhat disparate and disorderly". Moreover, as David Hanser points out, Le Vau's elevation violates several rules of pure classical architecture. One of the most egregious is the use of two, rather than three, bays in the lateral
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Vaux-le-Vicomte


logis"), which consists of two rows of rooms running east and west. Traditionally, the middle of the "corps de logis" of French chateaux consisted of a single row of rooms. Double-thick "corps de logis" had already been used in "hôtels particuliers" in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional "piano nobile
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Vaux-le-Vicomte


over the moat on the north side leads from the "avant-cour" to an ample forecourt, flanked by raised terraces on either side, a layout evoking the "cour d'honneur" of older aristocratic houses in which the entrance court was enclosed by anterior wings, typically housing kitchens and domestic quarters. Le Vau's terraces even terminate in larger squares suggesting former pavilions. In more modern residences, like Vaux, it had become the custom to put these facilities in the basement, so these structures were no longer needed.
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Château


world famous with its trilogy on the French Wars of Religion of which "the lady of Monsoreau" is the second volume. The Château de Vaux-le-Vicomte is a baroque French château located in Maincy, near Melun, 55 km southeast of Paris in the Seine-et-Marne département of France. It was built from 1658 to 1661 for Nicolas Fouquet, Marquis de Belle-Isle (Belle-Île-en-Mer), Viscount of Melun and Vaux, the superintendent of finances of Louis XIV.
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Vaux-le-Vicomte


pavilions, resulting in the uncomfortable placement of the pediments directly over the central pilaster. Ayers does concede however that, "although rather ungainly, the entrance facade at Vaux is nonetheless picturesque, in spite, or perhaps because, of its idiosyncrasies." The garden front of the main chateau is considered more successful. The enormous, double-height Grand Salon that substantially protrudes from the "corps de logis" clearly dominates the southern elevation. The salon is covered by a huge slate dome surmounted with an imposing lantern and is
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Charles Le Brun


", 1648), and the Academy of France at Rome (1666), and gave a new development to the industrial arts. Another project Le Brun worked on was Hôtel Lambert. The ceiling in the gallery of Hercules was painted by him. Le Brun started work on the project in 1650, shortly after his return from Italy. The decoration continued intermittently over twelve years or so, as it was interrupted by the renovation of Vaux le Vicomte. In 1660 they established the Gobelins, which at first was a great
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French formal garden


to change in the middle of the 17th century with the development of the first real garden "à la française". The first important garden "à la française" was the Chateau of Vaux-le-Vicomte, created for Nicolas Fouquet, the Superintendent of Finances to Louis XIV, beginning in 1656. Fouquet commissioned Louis Le Vau to design the chateau, Charles Le Brun to design statues for the garden, and André Le Nôtre to create the gardens. It was for the first time that the garden and the chateau
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Tuileries Garden


André Le Nôtre, to redesign the entire garden. Le Nôtre was the grandson of Pierre Le Nôtre, one of Catherine de' Medici's gardeners, and his father Jean had also been a gardener at the Tuileries. He immediately began transforming the Tuileries into a formal garden à la française, a style he had first developed at Vaux-le-Vicomte and perfected at Versailles, based on symmetry, order and long perspectives. Le Nôtre's gardens were designed to be seen from above, from a building or terrace.
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Château de Blandy-les-Tours


The Château de Blandy-les-Tours is a medieval castle in the village of Blandy-les-Tours (Seine-et-Marne, France); it is about 5 km from the château de Vaux-le-Vicomte and 10 km from Melun. The castle is in the middle of the village. Its restoration began in 1992. The site was previously a Merovingian necropolis. It was mentioned in a text in 1216. It belonged to Adam II de Chailly, Viscount of Melun and consisted of a simple
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Charles Le Brun


a template for subsequent artists to follow, were believed to reveal the condition of the soul. It had much influence on art theory for the next two centuries. Many of his drawings are in the Louvre and the Monaco Royal Collection. He was also the teacher of painter Ludovico Dorigny. The Baroque ceiling in the Chambre des Muses at the Chateau Vaux-le-Vicomte outside Paris, was "decorated by Charles Le Brun’s workshop". Many of Charles Le Brun's sketches and designs were later rendered into painting or
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Château de Blandy-les-Tours


the marshal de Villars, owner of the castle of Vaux-le-Vicomte, bought the land and the castle of Blandy. He decided to dismantle it and transformed it into a farm. The roofs were taken from the towers, the parapets were destroyed and the large gatehouse was dismantled. In 1764, it was resold to the duke of Choiseul-Praslin, minister of Louis XV. In 1888, Pierre-Charles Tuot, the mayor of Blandy-les-Tours, bought it and gave it to the municipality
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Charles Le Brun


of the local painters. On his return to Paris in 1646, Le Brun found numerous patrons, of whom Superintendent Fouquet was the most important, for whom he painted a large portrait of Anne of Austria. Employed at Vaux-le-Vicomte, Le Brun ingratiated himself with Mazarin, then secretly pitting Colbert against Fouquet. Colbert also promptly recognized Le Brun's powers of organization, and attached him to his interests. Together they took control of the Academy of Painting and Sculpture ("Académie royale de peinture et de sculpture
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Vaux-le-Vicomte


effect is more distinctive today, as the woodlands are more mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new. Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles. The site was naturally
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Charles Le Brun


and students from the Gobelins would also exert a strong influence on art elsewhere in Europe. The nature of his emphatic and pompous talent was in harmony with the taste of the king, who, full of admiration of the paintings by Le Brun for his triumphal entry into Paris (1660) and his decorations at the Château Vaux le Vicomte (1661), commissioned him to execute a series of subjects from the history of Alexander. The first of these, "Alexander and the Family of Darius," so delighted Louis XIV
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History of the Palace of Versailles


provincial rulers would be kept close to him. He feared that they would rise up against him and start a revolt and believed that if he kept all of his potential threats near him, they would be powerless. After the disgrace of Nicolas Fouquet in 1661 – Louis claimed the finance minister would not have been able to build his grand château at Vaux-le-Vicomte without having embezzled from the crown – Louis, after the confiscation of Fouquet's estate, employed the talents of Le Vau, Le Nôtre, and Le
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Vaux-le-Vicomte


well-watered, with two small rivers that met in the park; the canalized bed of one forms the Grand Canal, which leads to a square basin. Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Nôtre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column
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Style Louis XIV


with theft, put him prison, and took the building for himself. The design was strongly influenced by the classicism of François Mansart. It combined a facade dominated and rhymed by colossal classical columns, beneath a dome, imported from the Italian Baroque architecture, along with a number of original features, such as a semicircular salon which looked out on the vast French formal garden created by André Le Nôtre. Based on the success of Vaux le Vicomte, Louis XIV selected Le Vau to construct an immense new palace at Versailles,
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Style Louis XIV


Les Saisons" by Lully's successor, Pascal Colasse, in 1695. One of the most enduring and popular forms of the Style Louis XIV is The "Jardin à la française" or French formal garden, a style based on symmetry and the principle of imposing order on nature. The most famous example is the Gardens of Versailles designed by André Le Nôtre, which inspired copies all across Europe. The first important garden à la française was the Chateau of Vaux-le-Vicomte, created by Nicolas Fouquet, the superintendent
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Baroque garden


pavilions, grottoes, and theatres. Following the death of the King, his widow built a palace and a garden of her own, now called the Luxembourg Palace. She planted groves of full-grown trees and laid out parterres, alleys and fountains on the model of the gardens of her native Florence. The French Baroque garden reached its summit under Louis XIV, due to his garden designer, André Le Nôtre. Le Nôtre's first large-scale project was for Vaux-le-Vicomte, the chateau of the
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Château de Richelieu


, and views reaching to an exedra cut in the surrounding trees and pierced by an avenue in the woodlands extending to the horizon. The pleasure grounds were enclosed in woodland; since their innovative example was followed and extended at Vaux-le-Vicomte and in the gardens of Versailles, and since André Le Nôtre's father was employed at Richelieu in 1629, it is not improbable that the young boy was employed as well. Construction took place between 1631 and 1642 – the year of the Cardinal's death – and employed around
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Vaux-le-Vicomte


family occupied the first floor, and then the refurbished stables, of this largest private chateau in France with its 1,235 acres of gardens. In 1968, the property was opened for public tours. A major restoration was completed starting in 1976 and it was continuing in 2017; the roof repair alone took six years. The Baroque ceiling in the Chambre des Muses, "decorated by Charles Le Brun’s workshop", was restored in 2016-2017 and was first shown to the public in March of 2017. The business is
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Richelieu, Indre-et-Loire


circular fountain, and views reaching to an exedra cut in the surrounding trees and pierced by an avenue in the woodlands extending to the horizon. The pleasure grounds were enclosed in woodland; since their innovative example was followed and extended at Vaux-le-Vicomte and in the gardens of Versailles, and since André Le Nôtre's father was employed at Richelieu in 1629, and it is not improbable that the young boy was employed as well, it is worth making a detailed survey. Construction took place between 1631 and 1642 –
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Baroque architecture


Chateau of Blois by Francois Mansard (1635–38). Nicolas Fouquet, the superintendent of finances for the young King Louis XIV, chose the new style for his new chateau at Vaux-le-Vicomte (1612–1670) by Louis Le Vau. He was later imprisoned by the King because of the extravagant cost of the palace. The first example of early Baroque in Central Europe was the Corpus Christi Church, Nesvizh in the Polish–Lithuanian Commonwealth, built by the Jesuits on the Roman model between 1586 and 1593 in Nieśwież (
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Vaux-le-Vicomte


and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large "avant-cour" to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social
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Vaux-le-Vicomte


This U-shaped plan of the house with the terraces is a device that again recalls Maisons, where Mansart intended "to indicate that his château was conceived in a noble tradition of French design while at the same time emphasizing its modernity in comparison to predecessors." The entrance front of the main chateau is characteristically French, with the two lateral pavilions flanking a central "avant-corps", again reminiscent of Mansart's work at Maisons. Le Vau supplements these with two additional receding volumes between the pavilions and the central
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Vaux-le-Vicomte


added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes. Le Nôtre employed an optical illusion called anamorphosis abscondita (which might be roughly translated as 'hidden distortion') in his garden design in order to establish decelerated perspective. The most apparent change in this manner is of the reflecting pools. They are narrower at the closest point to the viewer (standing at the rear of the château) than at their farthest point; this makes them appear closer to
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Vaux-le-Vicomte


passed, the large sloping lawn is reached and the garden is viewed from the initial viewpoint's vanishing point, thus completing the circuit as intended by Le Nôtre. From this point, the distortions create the illusion that the gardens are much longer than they actually are. The many discoveries made as one travels through the dynamic garden contrast with the static view of the garden from the château. The chateau buildings and grounds have been used in at least 13 productions, a full 70, in fact, according to the owners.
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Cardinal Mazarin


he worked on sets for Molière's "Les fâcheux", presented by Nicholas Fouquet as part of his grand fête at Vaux-le-Vicomte in honor of the King, the overly ostentatious display which ultimately led to Fouquet's imprisonment. Mazarin was also a famous collector of books. In 1646, he brought to Paris his collection of nine thousand volumes, which he installed in his residence. It was the second-largest library in Paris, second only to the library of the King. However, when Mazarin was
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Château Louis XIV


as: sculptors, mosaic artisans, painters, gilders, iron craftsmen, cabinetmakers, marble masons, landscapers, fibrous plasterers, clockmakers, bronze casting artisans, roofers, carpenters and coppersmiths. The property includes an underwater room built into the moats – the only one of its kind in Europe. The ceiling of the drawing room has a "trompe-l'œil" painting inspired by a fresco created by Charles Le Brun for the Château de Vaux-le-Vicomte, which took master painters several months to create. This,
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Château Louis XIV


system of tenons and mortises. In keeping with age-old techniques, the roofers hand-crafted the slate roof from Angers. The roof also boasts fire pots sculpted in stone and gilded metal spikes on the roof's ridge beam. The Château Louis XIV, nestled in an authentic lush green setting, is consistent with the standards of the 17th century, and its parks and gardens are no exception. In line with André Le Nôtre’s theories for the Château de Versailles and the Château de Vaux-le-Vicomte,
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Farnese Hercules


in 1574, recognizing Hercules as founder of the city, and Julius Caesar, restorer of Híspalis. The first was a copy of the Farnese Hercules, nearly the monumental size of the original. At Wilhelmshöhe, near Kassel, a colossal version 8.5 m high produced by Johann Jacob Anthoni, 1713–1717, has become a symbol for the city. André Le Nôtre placed a full-size gilded version against the skyline at the far end of the main vista at Vaux-le-Vicomte. That at Versailles is a copy by
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Style Louis XIV


and ceremonies, Jean Bérain the Elder. The new style was lighter in form, and featured greater fantasy and freedom of line, thanks in part to the use of wrought iron decoration, and greater use of arabesque, grotesque and coquille designs, which continued into the style of Louis XV. The model of civil architecture in the early part of the reign was Vaux le Vicomte (1658), by Louis Le Vau, built for the King's chief of finance Nicolas Fouquet and completed in 1658. Louis XIV charged Fouquet
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Style Louis XIV


statue of Hercules for his chateau at Vaux-le-Vicomte. He continued to live in th south of France, making notable statues of Milo of Croton, Perseus and Andromeda (now in the Louvre). In 1662 Jean Baptiste Colbert purchased the tapestry workshop of a family of Flemish artisans and transformed it into a royal workshop for the manufacture of furniture and tapestries, under the name of Gobelins tapestry. Colbert placed the workshop under the direction of the royal court painter, Charles Le Brun, who served in that position
18084872
Giardino all'italiana


The giardino all'italiana () or Italian garden is stylistically based on symmetry, axial geometry and on the principle of imposing order over nature. It influenced the history of gardening, especially French gardens and English gardens. The Italian garden was influenced by Roman gardens and Italian Renaissance gardens. The principles of the French garden are based on those of the Italian garden, but André le Nôtre ultimately eclipsed it in scale and concept at the gardens of Vaux-le-Vicomte and Versailles during the 17th Century. The formal early English garden
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French formal garden


gardening was introduced to France and where Claude apprenticed. His son was André Mollet, who took the French style to the Netherlands, Sweden and England. André Le Nôtre (1613–1700) was the most important figure in the history of the French garden. The son of the gardener of Louis XIII, he worked on the plans of Vaux-le-Vicomte, before becoming the chief gardener of Louis XIV between 1645 and 1700, and the designer of the Gardens of Versailles, the greatest garden project of the age. The
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Landscape


ecological sustainability. For the period before 1800, the history of landscape gardening (later called landscape architecture) is largely that of master planning and garden design for manor houses, palaces and royal properties, religious complexes, and centers of government. An example is the extensive work by André Le Nôtre at Vaux-le-Vicomte and at the Palace of Versailles for King Louis XIV of France. The first person to write of making a landscape was Joseph Addison in 1712. The term landscape architecture was invented by Gilbert Laing Meason
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Baroque garden


. In 1662 following the model of Vaux-le-Vicomte, Le Notre made the park ten times larger, centered on a grand canal which reached to the horizon. The new park was divided into an elaborate grid of flowerbeds, paths, and alleys, decorated with fountains and sculptures. A third enlargement expanded the park by another six thousand five hundred hectares, including forests for hunting and several nearby villages, surrounded by a wall forty-three kilometres long with twenty-two gates. The centrepiece of the garden was
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Landscape architecture


and garden design for manor houses, palaces and royal properties, religious complexes, and centers of government. An example is the extensive work by André Le Nôtre at Vaux-le-Vicomte for King Louis XIV of France at the Palace of Versailles. The first person to write of "making" a landscape was Joseph Addison in 1712. The term landscape architecture was invented by Gilbert Laing Meason in 1828, and John Claudius Loudon (1783–1843) was instrumental in the adoption of the term landscape architecture by the modern profession.
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Comédie-ballet


Comédie-ballet is a genre of French drama which mixes a spoken play with interludes containing music and dance. The first example of the genre is considered to be "Les fâcheux", with words by Molière, performed in honour of Louis XIV at Vaux-le-Vicomte, the residence of Nicolas Fouquet, in 1661. The music and choreography were by Pierre Beauchamp, but Jean-Baptiste Lully later contributed a sung courante for Act I, scene 3. Molière, Lully and Beauchamp collaborated on several more examples of
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Giacomo Torelli


and his sons Carlo and Lodovico, Torelli soon fell from royal favour. Torelli’s career in France came to a definitive end in 1661, when he worked on sets for Molière’s "Les fâcheux", presented by Nicholas Fouquet as part of his grand fête at Vaux-le-Vicomte in honour of the King, an overly ostentatious display which ultimately led to Fouquet’s imprisonment. Torelli returned to Fano, designing a theatre, the Teatro della Fortuna, and a final stage setting for "Il trionfo della continenza"
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Jean-Baptiste Lully


single sung courante, added after the work's premiere at Nicolas Fouquet's sumptuous chateau of Vaux-le-Vicomte. Their collaboration began in earnest in 1664 with "Le Mariage forcé". More collaborations followed, some of them conceived for fetes at the royal court, and others taking the form of incidental music ("intermèdes") for plays performed at command performances at court and also in Molière's Parisian theater. In 1672 Lully broke with Molière, who turned to Marc-Antoine Charpentier. Having acquired Pierre Perrin
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Château Louis XIV


, Emad Khashoggi commissioned clock-makers to create a genuine monumental bronze and enamel clock identical to the one on the façade of the Château de Versailles. Several of the ceilings in the reception halls and master suites depict themes that were dear to Louis XIV, and which are also often seen in Versailles. For instance, the imposing painted ceiling of the cupola in the main drawing room was influenced by an Allégoire de l’Aurore project that was conceived by Charles Le Brun for the Château de Vaux-le-Vicomte, but which
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Guilford Bell


2015. Prior to 2015, it had only been altered in parts. Considered the last residential project which Bell completed with Fisher, the Grant House is a well-renowned work of architecture. The "pyramidal" roof reflects his interest from his travels in the Middle East and gives a certain eccentricity to the building. The way in which the residence sits centrally in the expansive landscape is modelled off an André Le Nôtre work, Vaux-le-Vicomte. The distant scenery gives views of the Gippsland Ranges and due to
19990840
Elie Lainé


worked at Waddesdon for at least eleven years, laying out roads, terraces and plantations of mature trees, and helping turn the site from a wild, muddy hill into one of the finest gardens in England. At Vaux le Vicomte, Seine-et-Marne, Lainé was employed by the new owner of the chateau, Alfred Sommier, from about 1876 to restore the classical gardens originally designed by Andre Le Nôtre in the mid-seventeenth century. While Hippolyte Destailleur led the restoration of the chateau, Lainé worked on the
20370690
Julie Depardieu


musician Philippe Katerine. In 2004, she won two César Awards (Best Supporting Actress and Best Young Actress) for "La petite Lili" and won another (Best Supporting Actress) for "Un secret" in 2008. Depardieu was also nominated for a César Award for Best Supporting Actress in 2005 for her performance in "Podium". In 2008, she also directed her first operette "les contes d'Hoffmann" ("Tales of Hoffman") at the Vaux le Vicomte castle, the castle which inspired king Louis XIV
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French Baroque architecture


each story, mostly in pilaster form. The frontispiece, crowned with a separate aggrandized roof, is infused with remarkable plasticity and the whole ensemble reads like a three-dimensional whole. Mansart's structures are stripped of overblown decorative effects, so typical of contemporary Rome. Italian Baroque influence is muted and relegated to the field of decorative ornamentation. Louis Le Vau was another central figure in the early French Baroque style. He designed the Château of Vaux-le-Vicomte (1656-1661) for Nicolas Fouquet, the Superintendent
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Early modern France


Rome to shed their provinciality (Nicolas Poussin, Claude Lorrain), but Simon Vouet brought home the taste for a classicized baroque that would characterise the French Baroque, epitomised in the Académie de peinture et de sculpture, in the painting of Charles Le Brun and the sculpture of François Girardon. With the Palais du Luxembourg, the Château de Maisons and Vaux-le-Vicomte, French classical architecture was admired abroad even before the creation of Versailles or Perrault's Louvre colonnade. Parisian salon culture set standards of discriminating taste from the
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Gabrielle van Zuylen


garden also played a very important role, but in another sense: it was walled, protected from the outside. It was the secret garden, the garden of delights, allegory and theatre of love. The large classical gardens of the monarchy at Vaux-le-Vicomte and Versailles, the gardens "à la française". In the eighteenth-century England, on the contrary, with the landscape gardens developed by the large landowners which are far from the court. The garden is truly a mirror, the counterpart of
20341752
Île-de-France


visitors), the chateau of Vaux-le-Vicomte (300,000 visitors) , and the Château de Malmaison, Napoleon's former country house; and the Basilica of Saint-Denis, where the Kings of France were interred before the French Revolution. The Regional Council is the legislative body of the region. Its seat is in Paris, at 33 rue Barbet-de-Jouy in the 7th arrondissement. On December 15, 2015, a list of candidates of the Union of the Right, a coalition of centrist and
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Vaux-le-Vicomte


. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently. Another surprising feature of the plan is the thickness of the main body of the building ("corps de
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Jean de La Fontaine


and then given to the Comédie Française; Jean-Antoine Houdon’s dates from 1782. There are in fact two versions by Houdon, one now at the Philadelphia Museum of Art, and another at the castle of his former patron Fouquet at Vaux-le-Vicomte (see below). In Paris there is a full length marble statue by Pierre Julien, now in the Louvre, that was commissioned in 1781 and exhibited at the 1785 Salon. The writer is represented in an ample cloak, sitting in contemplation on a
14852729
List of The Sopranos characters – Friends and family


that Nicole had convinced him to exit the deadly turf war with Johnny Sack, as it was too dangerous and she did not want to become a "the richest widow on Long Island". Carmine also shared with Tony that he and Nicole had had domestic problems that they resolved with the help of court-ordered marital counseling. She traveled with Carmine to [[Paris, France]] for a vacation and saw [[Nicholas Fouquet]]'s [[Vaux-le-Vicomte]] estate in [[
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Vaux-le-Vicomte


of the double row of rooms, it is preceded by the vestibule on the entrance side, "thus delaying and dramatizing the visitor's discovery of this, the centrepiece of the house." The lateral pavilions of the garden facade project only slightly but are three bays wide with traditional tall slate roofs like those on the entrance front, effectively balancing the central domed salon. The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This
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Vaux-le-Vicomte


that bisects the site is revealed, as well as a lower level path. As the viewer continues on, the second pool shows itself to be square and the grottos and their niched statues become clearer. However, when one walks towards the grottos, the relationship between the pool and the grottos appears awry. The grottos are actually on a much lower level than the rest of the garden and separated by a wide canal that is over half a mile (almost a kilometre) long. According to Allen Weiss, in "
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Vaux-le-Vicomte


Mirrors of Infinity", this optical effect is a result of the use of the tenth theorem of Euclid's "Optics", which asserts that "the most distant parts of planes situated below the eye appear to be the most elevated". In Fouquet's time, interested parties could cross the canal in a boat, but walking around the canal provides a view of the woods that mark what is no longer the garden and shows the distortion of the grottos previously seen as sculptural. Once the canal and grottos have been
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Vaux-le-Vicomte


For example, the property was used as the California home of the main villain Hugo Drax (played by Michael Lonsdale) in the 1979 James Bond film "Moonraker". It can also be seen in the background in the 1998 film "The Man in the Iron Mask". In addition, the château appeared in several episodes of "The Revolution", which is a documentary television series about the American Revolutionary War that was broadcast by History Channel in 2006. "Australia's Next Top Model" had a fashion shoot
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Melun


which is an interchange station on Paris RER line D, on the Transilien R suburban rail line, and on several national rail lines. The Collegiate Church of Notre-Dame, Melun was the original home of the Melun Diptych. The nearby château of Vaux-le-Vicomte is considered a smaller predecessor of Palace of Versailles. The officers' school of the French Gendarmerie is located in Melun. Melun is the birthplace of: A campus of the École nationale de l'aviation civile (French civil aviation university) is located in
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Nicolas Fouquet


's family traditionally showed a squirrel and bore the motto "Quo non ascendet?" ("What heights will he not scale?"). The symbol can be found in many rooms and decorations at Vaux-le-Vicomte. The choice of this animal derives from the name "foucquet", which in the dialect of Angers (in the west of France) means "squirrel". By August 1661, Louis XIV was already set upon Fouquet's destruction (his disgrace was secretly decided upon on 4 May)
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Patte d'oie


on its central axis continued as the entrance drive. The idea for the "patte d'oie" may have originated in town planning schemes where roads converged onto a single space or feature, such as the Piazza del Popolo in Rome. It is often a feature of site plans for the grander French châteaux of the 17th and 18th centuries, in which the roads converge on an important element of the central axis. Examples include the Château de Richelieu (), the Château de Vaux-le-Vicomte (), and the
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GR 1


, D'Huison-Longueville, Vayres-sur-Essonne, Boutigny-sur-Essonne, Buno-Bonnevaux, turns off towards Malesherbes following the valley of the River Essonne, then goes through the Forest of Fontainebleau from Vaudoué to Melun. It passes in front of the Château de Vaux-le-Vicomte, then goes to Blandy, Champeaux, Andrezel, Verneuil-l'Étang, Chaumes-en-Brie, Fontenay-Trésigny, Marles-en-Brie, La Houssaye-en-Brie and crosses the Forest of Crécy
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