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220:, laid out in geometric patterns paths, flower beds, fountains and reflecting pools, which seemed to extend the architecture of the house in every direction. The grand salon of the building opened out onto the garden, a feature which thereafter became a regular feature of Baroque palaces. After seeing the lavishness of the building, the King dismissed and imprisoned Fouquet, took possession of the house for the crown, and soon put Le Vau to work to create his own palace in Versailles.
397:
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912:(1677–1706), both as a symbol of charity and of military glory. The dome is placed on a church in the form of a trek cross. The cube of the building is surmounted by a cylindrical column of two drums, giving the dome exceptional height. The dome itself is richly decorated with sculpture on the entablements as well as ornaments of gilded bronze between the vertical ribs of the dome.
457:
450:, the nephew of Francois Mansart, overlooked the new garden. It was also decorated by Le Brun, who completed it in 1684, after which it became the symbol of the entire French Baroque style. The new Palace was open to almost any visitor, and became an immense theatre, where the King carried out his ceremonies, with meticulous protocol, in public view.
1230:. The old brick and stone of the Henry IV squares was replaced by the Grand Style of monumental columns, which usually were part of the façade itself, rather than standing separately. All the buildings around the square were connected and built to the same height, in the same style. The ground floor featured a covered arcade for pedestrians.
696:, had two levels, with the lower level at the height of the chapels, and an upper level, with a second order of columns, and a fronton over the portal of the church. The upper level was supported by consoles in a reversed S form. The surface of the facade was decorated with statues in niches, and with
121:
that appeared on façades and interiors in Spain, Germany and
Central Europe. It was used less frequently on churches and more often in the design of royal palaces and country residences. Another distinctive element of the French Classicism was the integration of the architecture of the house with the
211:
in Rome. What made it distinctive from earlier styles was the unity of its architecture, interior, and landscape around it. Its façade featured stylized monumental columns, wings combined with mansard roofs and a prominent dome, in the
Baroque style. The interior was lavishly decorated with murals
120:
French
Classicism was, from the beginning, an expression of the power and majesty of the Kings of France. It proceeded deliberately in a different direction from Italy and the rest of Europe, combining classical elements, especially colossal orders of columns, and avoiding the exuberant decoration
1085:) and the other for more practical purposes, such as the stables. The façade of the residential building facing the garden came to occupy the entire width of the piece of land. New specialized kinds of rooms, such as dining rooms and salons, began to appear. Notable examples of the French Baroque
441:
The new palace surrounded the old brick château, with new wings the north, south and to the rear. The façade, like the new Louvre wing, featured colossal order columns, while the roof was flat with a terrance, decorated with balustrades, pilasters, balconies, statues, and trophies. Beginning in
381:
338:
to the
Italian Baroque style. However, in the end Louis turned instead to French designers. He wanted a design that would be distinctly French, rather than a copy of the Italian style. In April 1667, he gave the commission to a committee, the Petit Conseil, consisting of
184:
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.
143:
between 1615 and 1624. The
Luxembourg Palace established a new pattern for royal residences, with pavilions on the corners, lateral wings, and a grand central entrance surmounted by a cupola. The walls feature colossal orders of columns with triangular
881:(1645–1665). The façade has two levels of columns and pediments and a peristyle of detached columns, and the dome is decorated with an abundance of vaults, ribs, statues, contreforts, and ornaments, making it the most Italianate of French domes.
75:
style, but, particularly under Louis XIV, it gave greater emphasis to regularity, the colossal order of façades, and the use of colonnades and cupolas, to symbolize the power and grandeur of the King. Notable examples of the style include the
160:
in Rome, the palace was surrounded by a large garden and fountains. The interior design was also innovative; the pavilions around the main block contained the apartments, allowing a greater flexibility and functionality of the interior space.
1182:
The residential square, a group of houses with of identical size and identical architecture around a square, usually with a fountain in the middle, first based on the
Italian model, appeared in Paris in the Place Royal (now
1237:, In another innovation, this project was partially financed by the sale of lots around the square. All of these projects featured monumental façades in the Louis XIV style, giving a particular harmony to the squares.
442:
1674–75, Le Brun created the interior with a small army of painters, sculptors, and decorators. They used marble, polychrome stone, bronze mirrors, and gilded stucco, while Le Brun himself painted the ceiling. The
227:(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.
508:
472:
745:
653:
by Claude Guérin (1606–21), was still the dominant style. However, between 1690 and 1755 twenty-four new church façades were built in Paris. Competitions for new church designs, particularly the
715:
largely followed the traditional gothic floor-plan of Notre-Dame, though they did add façades and certain other decorative features from the
Italian Baroque. Saint-Roch (1653–90), designed by
88:
in Paris. In the final years of Louis XIV and the reign of Louis XV, the colossal orders gradually disappeared, the style became lighter and saw the introduction of wrought iron decoration in
559:
were designed to complement the architecture of the palace and to express, by it geometric alleys, pools, rows of the trees, flower beds and fountains, the mastery of the King over nature.
819:
The major innovation of French
Baroque religious architecture was the introduction of the cupola or dome over the central nave, a style imported from the Italian Baroque. The dome of the
680:
in Rome, it featured a façade with the three orders of columns, Doric, Ionic and
Corinthian, arranged in stages one above the other. Another variant of the new style appeared in the main
594:
729:
535:, on the model of an Italian building, the Marble Trianon. It had a single floor, decorated with plaster and marble, with a flat roof and balustrade. The plan was very simple, with a
761:
1941:
283:
937:
1995:
488:
630:
570:
in 1708–1710. The room was given more space and light by the use of classical columns instead of massive pillars, and by placing the supporting columns on an upper level.
1043:
reached its maturity during the
Baroque era, particularly in Paris, where members of the nobility built their town houses. They were defined by Nicolas Catherinot in the
434:
to create a grand formal garden that could be viewed from the Château, on the model of Vaux-le-Vicomte. When Le Vau died in 1670, the project was given to his assistant
371:
in the center over the main entry. In 1668 a decision was made to double the width of the south wing, resulting in the construction a new façade on the south, facing the
918:
858:, beginning in 1635. This design featured a hemispherical dome on a tall octagonal drum, the first of its type in France, with four small cupolas in the angles of the
1883:
991:
1240:
Louis XV followed the example of Louis XIV. In the later years of his reign, Louis constructed a major new square in the center of the city, Place Louis XV (now
1219:
960:
796:
784:
1282:
1059:
was usually placed between a walled courtyard in the front and a garden in the back, with the entrance to the courtyard through a pavilion on the street. The
168:, a tireless perfectionist. He was not the first to use the sloping mansard roof, but he used it so effectively that it took his name. In his design for the
614:
1350:
1331:
1315:
649:
The architecture of churches during the early French Classicism period evolved more slowly; the late Mannerist Gothic style, exemplified by the Church of
245:
1300:
975:
827:(1568–1584) served as the prototype. The first Parisian church to have a dome was the chapel of the whose façade is now found in the courtyard of the
1980:
418:. It was begun in 1624 by Louis XIII as a hunting lodge. In 1634, Louis XIII had it enlarged into a château by his chief architect and engineer,
828:
359:
two stories high, resting on top of a massive lower level with tall, segmental-arched windows, modeled on those used for the Renaissance-style
456:
1876:
2080:
1222:
at its center. This was built by an enterprising entrepreneur and nobleman of the court, Jean-Baptiste Prédot, combined with the architect
1163:
543:, or sections in advance of the wings. It had a simplicity and purity of form that inspired similar palace buildings across Europe, from
17:
264:
153:
723:
to integrate themselves into the city's architecture, new churches were aligned with the street. rather than always facing east–west.
1134:
2070:
1869:
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1248:. Following the example of the earlier squares, it featured an equestrian statue of Louis XV, which was pulled down during the
1071:. While the HĂ´tel de Sully was originally planned to be built of brick and stone, it was finally built entirely of stone. The
2065:
1852:
1786:
1749:
2075:
375:. Perrault also designed a new façade on the interior of the court facing west, and a matching new façade on the north.
2085:
1836:
1815:
1767:
1733:
1706:
148:, indicating the classical inspiration behind the French movement. A traditional French feature was the high sloping
836:
2060:
1990:
68:
2090:
177:
60:
1218:(1684–1697), a real estate development of seven large buildings in three segments around an oval square, with a
704:
658:
223:
The same three artists scaled this concept to monumental proportions in the royal hunting lodge and later main
251:
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of the young Louis XIV. The design of the château itself was similar to that of the Luxembourg Palace and the
1929:
1412:
92:
designs. The period also saw the introduction of monumental urban squares in Paris and other cities, notably
885:
2022:
1963:
1946:
576:
continued to add to the Palace, mostly with changes to the interior rooms. His major contribution was the
186:
72:
1187:) between 1605 and 1613. The buildings had high mansard roofs, and tricolor facades of broke, stone, and
563:
180:
and the new style. The structure is strictly symmetrical, with an order applied to each story, mostly in
1919:
1914:
422:. In 1661, Louis XIV decided to enlarge it further, without destroying the original. He commissioned
204:
884:
The second part of the 17th century saw the beginning of two more important domes. The Chapel of the
708:
585:
1252:. Louis XV built other monumental squares following the same architectural model in the centers of
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1110:
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1076:
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between 1635 and 1640. The newer houses also began to have two courtyards, one for ceremony (the
943:
736:
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135:(1571–1626) was one of the first French architects to adopt the style, in the construction of the
327:
839:(1613–20) in the same neighborhood. A larger and still more impressive early dome was built by
1292:
1223:
1021:
909:
768:
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1047:(1688) as "less beautiful than palaces and more beautiful than simple residences." The early
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1407:
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across the Seine from Louvre, and contains his tomb. The grandest of the domes was that of
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was another central figure in the early French Classicism style. He designed the Château of
169:
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34:
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1098:
1039:
8:
2010:
1973:
1968:
1795:
Lemerle, Frédérique & Yves Pauwels (2008). "Baroque Architecture", Flammarion, 2008.
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1208:
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719:, had a Gothic plan but colorful Italian-style decoration. To follow the advice of the
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700:. The interior plan was rectangual, with a large vaulted nave, flanked with chapels.
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Between 1699 and 1702, another square was constructed also by Hardouin-Mansart. the
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2015:
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grew in size and complexity through the 17th century, with the appearance of the
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100:. The style profoundly influenced 18th-century secular architecture throughout
1909:
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331:
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in Paris were influenced partly by Italian architecture and the model of the
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688:, also inspired by the Church of the GesĂą. Designed by the Jesuit architects
621:
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Louis continued to add to the Palace through the end of his reign. In 1687,
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77:
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influence is muted and relegated to the field of decorative ornamentation.
157:
149:
551:(1684–1686) in a similar style, surrounding a formal garden and pool. The
239:
were among many foreign residences for which Versailles provided a model.
755:, the first Paris church with a façade in the new Baroque style (1616–20)
360:
352:
865:
A much larger and higher dome on the Italian Baroque model was begun by
1192:
364:
216:
and it was placed in the center of enormous formal gardens designed by
48:
668:
The first French church façade in the new style was for the church of
351:, and the three men designed the new façade together. It featured the
1204:
536:
64:
52:
30:
566:, begun in 1689 to the designs of Hardouin-Mansart and completed by
1341:
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1257:
1029:
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368:
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89:
56:
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1383:
739:
by Claude Guérin, in the late Mannerist Gothic style (1606–21)
164:
One of the most accomplished formulators of the new style was
1188:
908:, the chapel for the hospital of military veterans, built by
518:(1668–1674) as modified by Jules Hardouin-Mansart (1678–1680)
414:
The most important showcase of the French Classicism was the
372:
1728:. University Park: The Pennsylvania State University Press.
1450:
1438:
1547:
1545:
1543:
584:. Its austere architecture was a sign of the transition to
67:
and was followed in the second half of the 18th century by
1646:
1644:
1604:
1602:
1195:
on horseback was placed in the center. A smaller square,
1214:
The next major urban square constructed in Paris was the
1631:
1629:
1569:
1557:
1540:
1530:
1528:
1226:. The new square was a showcases of the new monumental
1207:
between 1607 and 1610. It faced an equestrian statue of
835:
in Paris. The next, larger dome was constructed at the
334:(Square Courtyard). This design would have aligned the
318:, invited the most famous architect and sculptor of the
1656:
1641:
1614:
1599:
624:
by Jules Hardouin-Mansart and Robert de Cotte (1687–88)
176:, (1630–51), Mansart showed the continuity between the
1199:, originally with thirty-two houses, was built on the
1626:
1525:
1244:, with a harmonious row of new buildings designed by
478:
Marble Court of the enlarged château, as modified by
1465:
1365:
47:, was a style of architecture during the reigns of
1891:
1800:The Triumph of the Baroque: Architecture in Europe
1510:Renault and Lazé (2006), p. 55; Berger 1993, pp. .
1067:, is a good example of the early style, as is the
877:for the chapel of the royal hospital and abbey of
862:above the Corinthian order columns on the façade.
1513:
2047:
1720:. University Park: The College Arts Association.
665:in Paris, brought forward many original ideas.
1805:
1726:The Palace of the Sun: The Louvre of Louis XIV
1459:
1444:
1109:). A notable example outside of Paris is the
703:The interiors of new parish churches, such as
1877:
1356:Nancy, Place Stanislas, E.Héré, 1752–1760.jpg
112:were copied by other courts all over Europe.
1037:The residential building style known as the
790:Interior of Saint-Paul-Saint-Louis (1627–41)
430:as his architect and designer, and assigned
71:. The style was originally inspired by the
1831:. Cambridge, Massachusetts: The MIT Press.
1806:Prina, Francesca; Demartini, Elena (2006).
438:, who completed the initial phase in 1674.
409:
1884:
1870:
1701:. Stuttgart, London: Edition Axel Menges.
900:(1662–1668) was built with a bequest from
387:Proposed Baroque east façade of Louvre by
326:to Paris, to propose a design for the new
115:
1177:
829:École nationale supérieure des Beaux-Arts
657:and the competition for the enlarging of
644:
27:Architecture of the Baroque era in France
1055:, on a smaller scale. The early Baroque
814:
29:
1776:
1739:
1563:
1534:
1471:
925:Church of the Convent of the Visitation
547:to Russia. Mansart also completed the
305:
139:he built for the mother of Louis XIII,
125:around it, in what became known as the
14:
2048:
1842:
1829:The Classical Language of Architecture
1757:
1715:
1662:
1650:
1635:
1620:
1608:
1519:
1418:
969:, Paris by Jacques Lemercier (1653–90)
600:Chapel of the Palace of Versailles by
562:The final piece of the Palace was the
462:Garden façade of the first Chateau by
1865:
1696:
1575:
1551:
1309:(1699–1702) by Jules Hardouin-Mansart
850:Another innovative dome was built by
330:, located on the eastern side of the
1808:Petite encylopédie de l'architecture
1718:Versailles: The Château of Louis XIV
363:. It had a flat roof concealed by a
1344:by Ange-Jacques Gabriel (1730–1775)
24:
1063:(1624–1630) in Paris, designed by
25:
2102:
2081:Ancien RĂ©gime French architecture
1845:Paris- Panorama de l'architecture
1321:Design for the Place Louis XV by
1276:was formally attached to France.
1191:. In the beginning, a statue of
1105:(1624–1639) (now occupied by the
845:Church the Visitation Saint-Marie
1382:
1368:
1349:
1330:
1314:
1299:
1281:
1162:
1148:
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613:
593:
507:
487:
471:
455:
395:
380:
282:
263:
244:
69:French Neoclassical architecture
59:(1715–1774). It was preceded by
2071:Baroque architecture by country
1690:
1683:Texier, Simon (2012), pp. 38-39
1677:
1674:Texier, Simon (2012), pp. 38-39
1668:
1590:
1581:
1030:Residential architecture – the
997:Collége des Quatres-Nations by
684:church in Paris, the Church of
61:French Renaissance architecture
2056:Baroque architecture in France
1798:Millon, Henry A., ed. (1999),
1504:
1495:
1486:
1477:
1425:
837:Église Saint-Joseph-des-Carmes
446:, constructed in 1678–1680 by
13:
1:
1742:L'Art Classique et le Baroque
1413:French Baroque and Classicism
985:by Jacques Lemercier (1635– )
539:flanked by two wings and two
2066:Baroque architectural styles
73:Italian Baroque architecture
7:
2076:French architectural styles
1361:
1264:, was built in the city of
1260:. Another notable square,
252:Château de Maisons-Laffitte
41:French Baroque architecture
18:French baroque architecture
10:
2107:
1779:Les styles en architecture
1760:Caractéristique des styles
1724:Berger, Robert W. (1993).
1716:Berger, Robert W. (1985).
1492:Summerson 1963, figure 47.
1460:Prina & Demartini 2006
1445:Prina & Demartini 2006
1433:Les Styles en Architecture
886:Collège des Quatre-Nations
205:Superintendent of Finances
2086:17th-century architecture
1900:
1699:The Architecture of Paris
1596:Texier (2012) pages 30-35
639:by Jules Hardouin-Mansart
355:, that is, a long row of
1915:Czech (Bohemia, Moravia)
1171:Palais Rohan, Strasbourg
1111:Palais Rohan, Strasbourg
1107:French National Archives
1065:Jean Androuet du Cerceau
1045:Traité de l'architecture
753:St-Gervais-et-St-Protais
670:St-Gervais-et-St-Protais
410:The Palace of Versailles
178:French Renaissance style
2061:17th-century French art
1758:Ducher, Robert (1988).
1740:Cabanne, Perre (1988),
1501:Berger 1993, pp. 51–52.
1483:Berger 1993, pp. 20–27.
328:east wing of the Louvre
116:Early French Classicism
2091:17th century in France
1843:Texier, Simon (2012).
1777:Hopkins, Owen (2014).
1697:Ayers, Andrew (2004).
1293:Jules Hardouin-Mansart
1272:, shortly before that
1224:Jules Hardouin-Mansart
1178:The residential square
1022:Jules Hardouin-Mansart
944:Church of Val de Grace
910:Jules Hardouin-Mansart
769:Saint-Paul-Saint-Louis
686:Saint-Paul-Saint-Louis
645:Religious architecture
602:Jules Hardouin-Mansart
525:Jules Hardouin-Mansart
480:Jules Hardouin-Mansart
448:Jules Hardouin-Mansart
37:
1762:. Paris: Flammarion.
1587:Texier (2012) page 52
1408:Architecture of Paris
1220:monument to Louis XIV
1101:(1655–1660), and the
946:by François Mansart,
815:The debut of the dome
737:Saint-Étienne-du-Mont
651:Saint-Étienne-du-Mont
514:The garden façade by
336:architecture of Paris
33:
1893:Baroque architecture
1323:Ange-Jacques Gabriel
1246:Ange-Jacques Gabriel
1242:Place de la Concorde
709:Saint-Louis-en-l'ĂŽle
637:Versailles Orangerie
582:Ange-Jacques Gabriel
549:Versailles Orangerie
496:Palace of Versailles
416:Palace of Versailles
389:Gian Lorenzo Bernini
367:, with a triangular
324:Gian Lorenzo Bernini
306:The Louvre Colonnade
271:Palais du Luxembourg
237:Drottningholm Palace
225:Palace of Versailles
137:Palais du Luxembourg
127:French formal garden
110:French formal garden
106:Palace of Versailles
98:Place de la Concorde
82:Palace of Versailles
35:Palace of Versailles
1744:, Paris: Larousse,
1578:, pp. 337–338.
1554:, pp. 336–337.
1419:Notes and citations
1390:Architecture portal
1289:Place des Victoires
1216:Place des Victoires
1087:hĂ´tels particuliers
1049:hĂ´tels particuliers
983:College of Sorbonne
856:College of Sorbonne
825:Giacomo della Porta
773:Etienne Martellange
690:Etienne Martellange
676:. Inspired by the
494:Hall of Mirrors at
1338:Place de la Bourse
1209:Henry IV of France
890:Institut de France
821:Church of the GesĂą
678:Church of the GesĂą
233:Nordkirchen Castle
170:Château de Maisons
84:, and the dome of
38:
2043:
2042:
1854:978-2-84096-667-8
1788:978-2-10-070689-1
1751:978-2-03-583324-2
1665:, pp. 28–29.
1653:, pp. 32–33.
1623:, pp. 34–35.
1611:, pp. 30–31.
1566:, pp. 30–31.
1435:(2014), pp. 84-87
1250:French Revolution
1141:HĂ´tel de Beauvais
1099:HĂ´tel de Beauvais
1057:hĂ´tel particulier
1053:Luxembourg Palace
1040:hĂ´tel particulier
1032:hĂ´tel particulier
967:Eglise Saint-Roch
948:Jacques Lemercier
873:and completed by
871:Jacques Lemercier
852:Jacques Lemercier
808:Jacques Lemercier
717:Jacques Lemercier
674:Salomon de Brosse
275:Salomon de Brosse
209:Palazzo Barberini
133:Salomon de Brosse
45:French classicism
43:, usually called
16:(Redirected from
2098:
1930:Queen Anne style
1886:
1879:
1872:
1863:
1862:
1858:
1821:
1810:. Paris: Solar.
1792:
1773:
1754:
1721:
1712:
1684:
1681:
1675:
1672:
1666:
1660:
1654:
1648:
1639:
1633:
1624:
1618:
1612:
1606:
1597:
1594:
1588:
1585:
1579:
1573:
1567:
1561:
1555:
1549:
1538:
1532:
1523:
1517:
1511:
1508:
1502:
1499:
1493:
1490:
1484:
1481:
1475:
1469:
1463:
1457:
1448:
1442:
1436:
1429:
1392:
1387:
1386:
1378:
1373:
1372:
1371:
1353:
1334:
1318:
1303:
1285:
1185:Place des Vosges
1166:
1156:HĂ´tel Carnavalet
1152:
1137:
1122:
1103:HĂ´tel de Soubise
1091:HĂ´tel Carnavalet
1069:HĂ´tel Carnavalet
1014:
1003:François d'Orbay
994:
978:
963:
940:
929:François Mansart
921:
902:Cardinal Mazarin
898:François d'Orbay
867:François Mansart
841:François Mansart
799:
787:
764:
748:
732:
721:Council of Trent
633:
617:
597:
511:
491:
475:
464:Philibert Le Roy
459:
436:François d'Orbay
420:Philibert Le Roy
403:Louvre Colonnade
399:
384:
286:
267:
256:François Mansart
248:
199:(1656–1661) for
174:Maisons-Laffitte
166:François Mansart
152:and the complex
141:Marie de' Medici
55:(1643–1715) and
21:
2106:
2105:
2101:
2100:
2099:
2097:
2096:
2095:
2046:
2045:
2044:
2039:
2028:Churrigueresque
1896:
1890:
1855:
1825:Summerson, John
1818:
1789:
1770:
1752:
1709:
1693:
1688:
1687:
1682:
1678:
1673:
1669:
1661:
1657:
1649:
1642:
1634:
1627:
1619:
1615:
1607:
1600:
1595:
1591:
1586:
1582:
1574:
1570:
1562:
1558:
1550:
1541:
1533:
1526:
1518:
1514:
1509:
1505:
1500:
1496:
1491:
1487:
1482:
1478:
1470:
1466:
1458:
1451:
1443:
1439:
1431:Hopkins, Owen,
1430:
1426:
1421:
1398:Style Louis XIV
1388:
1381:
1374:
1369:
1367:
1364:
1357:
1354:
1345:
1335:
1326:
1319:
1310:
1304:
1295:
1291:(1684–1697) by
1286:
1262:Place Stanislas
1228:Louis XIV style
1180:
1173:
1167:
1158:
1153:
1144:
1138:
1129:
1123:
1035:
1025:
1015:
1006:
995:
986:
979:
970:
964:
955:
941:
932:
922:
817:
810:
800:
791:
788:
779:
777:François Derand
765:
756:
749:
740:
733:
694:François Derand
647:
640:
634:
625:
618:
609:
606:Robert de Cotte
598:
568:Robert de Cotte
529:Robert de Cotte
519:
512:
503:
500:Charles Le Brun
498:, decorated by
492:
483:
476:
467:
460:
444:Hall of Mirrors
428:Charles Le Brun
412:
405:
400:
391:
385:
349:Claude Perrault
345:Charles Le Brun
320:Italian Baroque
308:
301:
292:near Paris, by
290:Vaux-le-Vicomte
287:
278:
268:
259:
249:
229:Mannheim Palace
214:Charles Le Brun
201:Nicolas Fouquet
197:Vaux-le-Vicomte
187:Italian Baroque
118:
28:
23:
22:
15:
12:
11:
5:
2104:
2094:
2093:
2088:
2083:
2078:
2073:
2068:
2063:
2058:
2041:
2040:
2038:
2037:
2032:
2031:
2030:
2020:
2019:
2018:
2013:
2008:
2003:
1993:
1988:
1983:
1978:
1977:
1976:
1966:
1961:
1960:
1959:
1954:
1944:
1939:
1934:
1933:
1932:
1922:
1920:Dutch Republic
1917:
1912:
1907:
1901:
1898:
1897:
1889:
1888:
1881:
1874:
1866:
1860:
1859:
1853:
1847:. Parigramme.
1840:
1822:
1816:
1803:
1796:
1793:
1787:
1774:
1768:
1755:
1750:
1737:
1722:
1713:
1707:
1692:
1689:
1686:
1685:
1676:
1667:
1655:
1640:
1638:, p. 124.
1625:
1613:
1598:
1589:
1580:
1568:
1556:
1539:
1524:
1512:
1503:
1494:
1485:
1476:
1464:
1462:, p. 191.
1449:
1447:, p. 190.
1437:
1423:
1422:
1420:
1417:
1416:
1415:
1410:
1405:
1403:Style Louis XV
1400:
1394:
1393:
1379:
1363:
1360:
1359:
1358:
1355:
1348:
1346:
1336:
1329:
1327:
1320:
1313:
1311:
1305:
1298:
1296:
1287:
1280:
1201:Île de la Cité
1197:Place Dauphine
1179:
1176:
1175:
1174:
1168:
1161:
1159:
1154:
1147:
1145:
1139:
1132:
1130:
1126:HĂ´tel de Sully
1124:
1117:
1095:HĂ´tel de Sully
1082:cour d'honneur
1061:HĂ´tel de Sully
1034:
1028:
1027:
1026:
1016:
1009:
1007:
996:
989:
987:
981:Chapel of the
980:
973:
971:
965:
958:
956:
952:Pierre Le Muet
942:
935:
933:
923:
916:
875:Pierre Le Muet
816:
813:
812:
811:
801:
794:
792:
789:
782:
780:
767:The Church of
766:
759:
757:
751:The Church of
750:
743:
741:
735:The church of
734:
727:
663:Saint-Eustache
646:
643:
642:
641:
635:
628:
626:
619:
612:
610:
599:
592:
557:André Le Nôtre
521:
520:
513:
506:
504:
493:
486:
484:
477:
470:
468:
461:
454:
432:André Le Nôtre
411:
408:
407:
406:
401:
394:
392:
386:
379:
357:double columns
314:of Louis XIV,
312:chief minister
307:
304:
303:
302:
298:André Le Nôtre
288:
281:
279:
269:
262:
260:
250:
243:
218:André Le Notre
123:formal gardens
117:
114:
26:
9:
6:
4:
3:
2:
2103:
2092:
2089:
2087:
2084:
2082:
2079:
2077:
2074:
2072:
2069:
2067:
2064:
2062:
2059:
2057:
2054:
2053:
2051:
2036:
2033:
2029:
2026:
2025:
2024:
2021:
2017:
2014:
2012:
2009:
2007:
2004:
2002:
1999:
1998:
1997:
1994:
1992:
1989:
1987:
1984:
1982:
1979:
1975:
1972:
1971:
1970:
1967:
1965:
1962:
1958:
1955:
1953:
1950:
1949:
1948:
1945:
1943:
1940:
1938:
1935:
1931:
1928:
1927:
1926:
1923:
1921:
1918:
1916:
1913:
1911:
1910:Central Andes
1908:
1906:
1903:
1902:
1899:
1894:
1887:
1882:
1880:
1875:
1873:
1868:
1867:
1864:
1856:
1850:
1846:
1841:
1838:
1837:9780262690126
1834:
1830:
1826:
1823:
1819:
1817:2-263-04096-X
1813:
1809:
1804:
1801:
1797:
1794:
1790:
1784:
1780:
1775:
1771:
1769:2-08-011539-1
1765:
1761:
1756:
1753:
1747:
1743:
1738:
1735:
1734:9780271008479
1731:
1727:
1723:
1719:
1714:
1710:
1708:9783930698967
1704:
1700:
1695:
1694:
1680:
1671:
1664:
1659:
1652:
1647:
1645:
1637:
1632:
1630:
1622:
1617:
1610:
1605:
1603:
1593:
1584:
1577:
1572:
1565:
1560:
1553:
1548:
1546:
1544:
1537:, p. 30.
1536:
1531:
1529:
1521:
1516:
1507:
1498:
1489:
1480:
1474:, p. 84.
1473:
1468:
1461:
1456:
1454:
1446:
1441:
1434:
1428:
1424:
1414:
1411:
1409:
1406:
1404:
1401:
1399:
1396:
1395:
1391:
1385:
1380:
1377:
1376:France portal
1366:
1352:
1347:
1343:
1339:
1333:
1328:
1324:
1317:
1312:
1308:
1307:Place VendĂ´me
1302:
1297:
1294:
1290:
1284:
1279:
1278:
1277:
1275:
1271:
1267:
1263:
1259:
1255:
1251:
1247:
1243:
1238:
1236:
1235:Place VendĂ´me
1231:
1229:
1225:
1221:
1217:
1212:
1210:
1206:
1202:
1198:
1194:
1190:
1186:
1172:
1165:
1160:
1157:
1151:
1146:
1142:
1136:
1131:
1127:
1121:
1116:
1115:
1114:
1112:
1108:
1104:
1100:
1096:
1092:
1088:
1084:
1083:
1078:
1074:
1070:
1066:
1062:
1058:
1054:
1050:
1046:
1042:
1041:
1033:
1023:
1019:
1018:Les Invalides
1013:
1008:
1004:
1000:
993:
988:
984:
977:
972:
968:
962:
957:
953:
949:
945:
939:
934:
930:
926:
920:
915:
914:
913:
911:
907:
906:Les Invalides
903:
899:
895:
891:
887:
882:
880:
876:
872:
868:
863:
861:
857:
853:
848:
846:
842:
838:
834:
833:rue Bonaparte
830:
826:
822:
809:
806:(1653–90) by
805:
798:
793:
786:
781:
778:
774:
771:(1627–41) by
770:
763:
758:
754:
747:
742:
738:
731:
726:
725:
724:
722:
718:
714:
710:
706:
705:Saint-Sulpice
701:
699:
698:renouncements
695:
691:
687:
683:
679:
675:
671:
666:
664:
660:
659:Saint-Sulpice
656:
652:
638:
632:
627:
623:
622:Grand Trianon
616:
611:
607:
603:
596:
591:
590:
589:
587:
586:Neoclassicism
583:
579:
578:Petit Trianon
575:
571:
569:
565:
560:
558:
554:
550:
546:
542:
538:
534:
533:Grand Trianon
530:
526:
517:
510:
505:
501:
497:
490:
485:
481:
474:
469:
465:
458:
453:
452:
451:
449:
445:
439:
437:
433:
429:
425:
421:
417:
404:
398:
393:
390:
383:
378:
377:
376:
374:
370:
366:
362:
358:
354:
350:
346:
342:
337:
333:
329:
325:
321:
317:
313:
310:In 1665, the
300:, (1656-1661)
299:
295:
291:
285:
280:
276:
272:
266:
261:
257:
253:
247:
242:
241:
240:
238:
234:
230:
226:
221:
219:
215:
210:
206:
202:
198:
194:
190:
188:
183:
179:
175:
171:
167:
162:
159:
155:
151:
147:
142:
138:
134:
130:
128:
124:
113:
111:
107:
103:
99:
95:
94:Place VendĂ´me
91:
87:
86:Les Invalides
83:
79:
78:Grand Trianon
74:
70:
66:
62:
58:
54:
51:(1610–1643),
50:
46:
42:
36:
32:
19:
1936:
1844:
1828:
1807:
1802:, 1600–1750.
1799:
1778:
1759:
1741:
1725:
1717:
1698:
1691:Bibliography
1679:
1670:
1658:
1616:
1592:
1583:
1571:
1564:Cabanne 1988
1559:
1535:Cabanne 1988
1515:
1506:
1497:
1488:
1479:
1472:Hopkins 2014
1467:
1440:
1432:
1427:
1239:
1232:
1213:
1203:next to the
1181:
1089:include the
1086:
1080:
1072:
1056:
1048:
1044:
1038:
1036:
1031:
999:Louis Le Vau
894:Louis Le Vau
883:
879:Val-de-Grace
864:
849:
823:in Rome, by
818:
702:
697:
667:
655:Prix de Rome
648:
572:
561:
540:
531:erected the
522:
516:Louis Le Vau
440:
424:Louis Le Vau
413:
341:Louis Le Vau
316:Jean Colbert
309:
294:Louis Le Vau
222:
193:Louis Le Vau
191:
163:
158:Villa Medici
156:. Like the
150:mansard roof
131:
119:
44:
40:
39:
2011:Elizabethan
1981:Philippines
1663:Texier 2012
1651:Texier 2012
1636:Ducher 1988
1621:Texier 2012
1609:Texier 2012
1520:Berger 1985
1143:(1655–1660)
1128:(1624–1639)
1024:(1677–1706)
1005:(1662–1668)
954:(1624–1669)
888:, (now the
860:Greek cross
847:(1632–34).
608:(1689–1710)
555:created by
541:avant-corps
502:(1678–1684)
361:Lescot Wing
353:giant order
332:Cour Carrée
277:(1615–1620)
258:, (1630–51)
2050:Categories
1576:Ayers 2004
1552:Ayers 2004
1193:Louis XIII
804:Saint-Roch
802:Church of
713:Saint-Roch
672:(1616) by
365:balustrade
49:Louis XIII
2006:Naryshkin
1969:New Spain
1895:by region
1781:. Dunod.
1205:Pont Neuf
1077:vestibule
931:(1632–34)
537:peristyle
527:and then
482:(c. 1680)
146:pediments
65:Mannerism
53:Louis XIV
2016:Siberian
1991:Portugal
1827:(1963).
1362:See also
1342:Bordeaux
1270:Lorraine
1258:Bordeaux
854:for the
843:for the
574:Louis XV
369:pediment
182:pilaster
154:roofline
108:and the
96:and the
90:rocaille
57:Louis XV
2035:Ukraine
2001:Petrine
1942:Germany
1925:England
869:, then
553:gardens
545:Prussia
80:of the
1996:Russia
1986:Poland
1974:Mexico
1957:Sicily
1937:France
1905:Brazil
1851:
1835:
1814:
1785:
1766:
1748:
1732:
1705:
1325:(1758)
1254:Rennes
1097:, the
1093:, the
1073:hĂ´tels
950:, and
682:Jesuit
564:Chapel
466:(1634)
347:, and
203:, the
104:; the
102:Europe
2023:Spain
1964:Malta
1952:Milan
1947:Italy
1274:duchy
1268:, in
1266:Nancy
1189:slate
373:Seine
1849:ISBN
1833:ISBN
1812:ISBN
1783:ISBN
1764:ISBN
1746:ISBN
1730:ISBN
1703:ISBN
1256:and
1169:The
1001:and
896:and
775:and
711:and
692:and
661:and
620:The
604:and
426:and
296:and
235:and
63:and
1340:in
1020:by
927:by
892:by
831:on
588:.
580:by
273:by
254:by
212:by
172:in
2052::
1643:^
1628:^
1601:^
1542:^
1527:^
1452:^
1211:.
1113:.
707:,
343:,
322:,
231:,
129:.
1885:e
1878:t
1871:v
1857:.
1839:.
1820:.
1791:.
1772:.
1736:.
1711:.
1522:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
