Chapel of Versailles

First Chapel

The first chapel of the castle appeared during the reign of Louis XIII . It was located in a separate lightweight pavilion at the north-eastern part of the castle. At the approximate location of this chapel later was located the Golden Cabinet of Pokoev Madame Adelaide, and today - the Cabinet of the Golden Service , which is part of the King’s Small Apartments . This chapel was built according to the traditional architectural model of France for a two-story palace church; subsequent chapels of Versailles also adhered to such a model. In 1665, the first chapel was destroyed during the construction of the Thetis Grotto , which has not survived to our days (Batifol, 1909, 1913; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1968; Verlet, 1985).

Second Chapel

The second chapel of Versailles was built during the second construction campaign (1669–1672) of Louis XIV, when Louis Levo created a new palace . When the new part of the Palace was completed, the chapel was located in the Queen’s Great Chambers and was a symmetrical couple with the Diana Salon in the King’s Great Chambers . The royal family and the courtyard used this chapel until 1678, when the third chapel was built. The second chapel was converted into the Queen's Guardroom (Félibien, 1674; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1972, 1976; Scudéry, 1669; Verlet, 1985).

Third Chapel

Located right next to the Queen’s new Guardroom , this chapel was used by the inhabitants of Versailles for a very short time. Soon after its construction, Louis XIV found it inconvenient and unsuitable for himself, as well as for his court, which he officially placed in Versailles in 1682. In 1682, this building was converted into the Queen’s Great Guard Hall (now the Coronation Hall ) and a new chapel was erected (Combes, 1681; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1972, 1976; Verlet, 1985 )

Chapel Four

During the construction of the Northern wing , the northern wing of the castle, a new chapel was built. The construction of the north wing caused the destruction of Thetis Grotto ; It was in its place in 1682 that a new palace church was built. When the fourth chapel was built, the Salon of Abundance , which was also the front cabinet of the Curiosities and Rare of Louis XIV in the King’s Small Apartments , was converted into the lobby of the chapel - named because it was on the top level of the chapel, from where the King and close members of the royal family listened to daily masses . This chapel was used until 1710, and it witnessed many significant events in the life of the court and the royal family during the reign of Louis XIV. However, it quickly became not roomy enough. Today, the Hercules Salon and the lower lobby are located at the site of this chapel (Félibien, 1703; Kimball, 1944; Le Guillou, 1983, 1989; Marie, 1972, 1976; Piganiole de la Force, 1701; Verlet, 1985).

Fifth Chapel

Being the central element of the fourth (and last) building campaign (1689-1710) of Louis XIV, the final, fifth chapel of the Palace of Versailles became an unconditional masterpiece of art. It is also known as the Royal Chapelle (Chapelle royale) ^[2] . The construction launched in 1689 was prevented by the Nine Years War ; Jules Arduin resumed construction in 1699. A court architect worked on this project until his death in 1708, after which his son-in-law, Robert de Cote, completed the project (Blondel, 1752-1756; Marie, 1972, 1976; Nolhac, 1912-1913; Verlet, 1985; Walton, 1993) . The chapel became the largest among all the former Royal Chapels of Versailles, and since the height of its arch violated the horizontal lines of the roof lines of all other parts of the Palace, it was negatively perceived by some contemporaries of those years. Perhaps the most vivid review was given by the Duke of Saint-Simon , who called the chapel "a huge hearse" ^[3] . Nevertheless, the majestic interior is a delight in our days; they served as inspiration for Luigi Vanvitelli during the construction of the chapel of the Royal Palace in Caserta (Defilippis, 1968).

Dedicated to Louis IX the Saint , the patron saint of the Bourbon dynasty, the chapel was consecrated by the Archbishop of Paris on June 5, 1710. By tradition, a model of a two-story palace church was used, however, the luxurious Corinthian colonnade of the upper level is masterly executed in the style of classicism , which then only came into fashion. The upper level can be reached through the lobby, known as the Chapel Hall , which was built at the same time as the chapel itself. The hall of the chapel is decorated with white stone and decorated with a bas-relief, the Crossing of Louis XIV across the Rhine by Nicholas and Guillaume Cousteau , which is the central element of the decor of the room ^[4] (Nolhac, 1912-1913; Verlet, 1985; Walton, 1993).

The floor of the chapel itself is lined with multi-colored marble, and at the foot of the steps leading to the altar there is a crowned monogram of two interwoven letters “L”, alluding to Louis IX of Saint and Louis XIV (Nolhac, 1912-1913; Verlet, 1985; Walton, 1993) . Motifs from the Old Testament and the New Testament (Lighthart, 1997; Nolhac, 1912-1913; Sabatier, 1999; Verlet, 1985; Walton, 1993) were used in the pictorial and sculptural decoration. On the ceiling of the nave, the work of Antoine Kuapel the Most High in glory brings to the world the promise of redemption ; the half-dome of the apse is adorned with the work of Charles de la Voss Christ in the glory of the Resurrection ; and the royal rostrum, the work of Jean Jouvain, The Apparition of the Holy Spirit to the Virgin Mary and the Apostles (Nolhac, 1912-1913; Walton, 1993).

Throughout the 18th century, the chapel witnessed many events at the court. Thanksgiving services were held to commemorate military victories and in honor of the birth of the King and Queen of children - ( Sons of France and Daughters of France ); marriage chapels were also performed in this chapel, for example, the wedding of the son of Louis XV Dofin Louis and Infanta Maria Theresa of Spain on February 23, 1745, the wedding of Dofin - subsequently Louis XVI - and Marie Antoinette on May 16, 1770. However, among all the ceremonies held in the chapel, the most carefully designed ceremonies of the Order of the Holy Spirit ^[5] (Blondel, 1752-1756; Bluche, 2000; Boughton, 1986; Campan, 1823; Croÿ-Solre, 1906-1921; Hézuques, 1873; Luynes, 1860-1865; Nolhac, 1912-1913).

In the 19th century, the Royal Chapel became a secular venue and has since become the venue for public and private events. It often hosts music concerts ^[6] . At the end of the 20th century, by the name of this chapel in Paris, an ancient music ensemble “ La Chapelle Royale ” was organized, which in the 1980s and 1990s. gained fame as one of the world's best performers of French Baroque music.

Authority

The organ of the Royal Chapel of the Palace of Versailles was built by Robert Clicquot and Julien Tribuo in 1709-1710 ^[7] . Its first official sound marked the celebration of Pentecost on June 8, 1710, with the participation of the royal organist Jean-Baptiste Bütern ^{[8] [9]} .

Discography

1. Du Roy-Soleil à la Révolution, l'orgue de la Chapelle royale de Versailles / From the Sun King to the Revolution, organ of the Royal Chapel of Versailles . Marina Cheburkina at the organ of the Royal Chapel of the Versailles Palace. - Paris: Natives , 2004. EAN 13: 3760075340032
2. Louis Claude Daquin, l'œuvre intégrale pour orgue / Louis Claude Daken , complete works for organ . Marina Cheburkina at the organ of the Royal Chapel of the Versailles Palace. - Paris: Natives, 2004. EAN 13: 3760075340049
3. Louis Marchand, l'œuvre intégrale pour orgue / Louis Marchand , complete body for organ . Marina Cheburkina at the organ of the Royal Chapel of the Versailles Palace. CD I — II. - Paris: Natives, 2005. EAN 13: 3760075340056
4. François Couperin, l'œuvre intégrale pour orgue / Francois Couperin , Complete Works for Organ . Marina Cheburkina at the organ of the Royal Chapel of the Versailles Palace. CD I — II. - Paris: Natives, 2005. EAN 13: 3760075340063

Literature

1. Tchebourkina M. L'Orgue de la Chapelle royale de Versailles, Trois siècles d'histoire. - Paris: Natives, 2010 .-- 256 p. ISBN-13 978-2-911662-09-6
2. Cheburkina M.N. French organ art of the Baroque: Music, Organics, Performance. - Paris: Natives, 2013 .-- 848 p. ISBN-13 978-2-911662-10-2
3. M. Tchebourkina. L'orgue de la Chapelle royale: du Roy-Soleil à ... bien après la Révolution // Livret CD - Du Roy-Soleil à la Révolution, l'orgue de la Chapelle royale de Versailles. - Paris: Natives / CDNAT03, 2004 .-- P. 39-48. EAN 13: 3760075340032
4. M. Tchebourkina. Nouveaux regards sur Le Marché ancien: Ce qui fut fait, fut-il fourni? // Livret CD - Du Roy-Soleil à la Révolution, l'orgue de la Chapelle royale de Versailles. - Paris: Natives / CDNAT03, 2004 .-- P. 51-54. EAN 13: 3760075340032
5. M. Tchebourkina. Nouveaux regards sur Le Marché ancien: Le jeu des nouveaux jeux // Livret CD - Louis Claude Daquin, l'œuvre intégrale pour orgue. - Paris: Natives / CDNAT04, 2004 .-- P. 47-50. EAN 13: 3760075340049
6. M. Tchebourkina. L'orgue de la Chapelle royale de Versailles: À la recherche d'une composition perdue // L'Orgue. - Lyon, 2007. 2007-IV No. 280. - P. 3-112. ISSN 0030-5170.
7. M. Tchebourkina. Tricentenaire de l'orgue de la Chapelle royale de Versailles (1710-2010): De la première mise en service de l'orgue // L'Orgue. - Lyon, 2009. 2009-III-IV No. 287-288. - P. 258-260. ISSN 0030-5170
8. M. Tchebourkina. L'orgue de la Chapelle royale de Versailles (1710-2010): Les progrès de la connaissance ou l'art difficile de l'humilité // L'Orgue. - Lyon, 2010. 2010-III No. 291. - P. 35-69. ISSN 0030-5170
9. M. Tchebourkina. Tricentenaire de l'orgue de la Chapelle royale de Versailles (1710-2010) // Versalia. - Versailles, 2011. No. 14. - P. 143-175. ISSN 1285-8412

• La chapelle royale (Fr.) . Château de Versailles . Date of appeal February 16, 2018.