カテゴリー Ⅰ 日本建築学会計画系論文集第 83 巻第 749 号, ,2018 年 7 月 J. Archit. Plann., AIJ, Vol. 83 No. 749, , Jul., 2018 DOI

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1 カテゴリー Ⅰ 日本建築学会計画系論文集第 83 巻第 749 号, ,2018 年 7 月 J. Archit. Plann., AIJ, Vol. 83 No. 749, , Jul., 2018 DOI 戦争の間鏡の間平和の間の関係の多様性の中にみられるヴェルサイユ宮殿のグランドデザインへの指向 UPON THE GRAND DESIGN OF VERSAILLES PALACE IN DIVERSE RELATIONSHIPS BETWEEN SALON DE LA GUERRE, GALLERIE DES GLACES AND SALON DE LA PAIX *1 中島智章 Tomoaki NAKASHIMA It is said that a characteristic of the Versailles Palace is an architectural appearance unified of the château and the gardens. However, there is a serious difference between the iconography of garden statues and that of ceiling pictures at Galerie des Glaces. In this paper, we bring lateral saloons of the gallery into focus to examine relationships between the château and the gardens at Versailles from the viewpoints of spatial connection, iconographies argued in our paper and, newly in this paper, this gallery s function. In other words, our aim is to clarify complicated design methods of French modern architecture. Keywords : Versailles, France, Louis XIV, absolutism, garden, ritual,, 14,,, 17 (jardins) (bosco) (château) (grand dessin) 1) 2) 3) 2,000 (Palais de Versailles) 4) (la Grande Galerie, dite la Galerie des Glaces) 5) 14 (Louis XIV, ) 6) 1670 (Appartement du Roi) (Appartement de la Reine) (les sept planètes) (bassin de Latone) (bassin d Apollon) 1678 (Guerre de Hollande, ) 14 7) 1680 *1 工学院大学建築学部建築デザイン学科准教授博士 ( 工学 ) Assoc. Prof., Dept. of Architectural Design, School of Architecture, Kogakuin University, Dr.Eng. 1337

(Salon de la Guerre) (Salon de la Paix) 3 8) 3 1 2 3 3 2 2 9) 1 10) 2 11) 12) 3 (1638-1720) 13) (1675-1755) 14 14) 3 15) 16)

2 (Salon de la Guerre) (Salon de la Paix) 3 8) ) 1 10) 2 11) 12) 3 ( ) 13) ( ) 14 14) 3 15) 16) 1678 (Châteauneuf) (Louis XIII, ) (Petit château) (Louis LE VAU, ) (enveloppe)

Fig.3 West façade of the Château neuf of Versailles (drawn by the author) (Jules HARDOUIN- MANSART, 1646-1708) (Charles LE BRUN, 1618-90) 1 11 3 3 2 (Salon de Saturne) (Salon de Venus) 3 2 2 4 4 19 5

3 Fig.3 West façade of the Château neuf of Versailles (drawn by the author) (Jules HARDOUIN- MANSART, ) (Charles LE BRUN, ) (Salon de Saturne) (Salon de Venus) ( ) (Salon de la Reine) 1682 (Antoine COYZEVOX, ) (trophée) (trumeau) ) 2) 2 (un prolongement du château) (salles ou cabinets) (plafonds) (meublés) 24) (Grand appartement 1684 ) (Escalier des Ambassadeurs) (1684 ) (Escalier de la Reine) (Cour de marbre) (Fig.2) (Schloß Schönbrunn, Wien) (Große Galerie) (Kleine Galerie) 1339

3) 28) 12 29) 14 1661 1678 (Paix de Nimègue) 30) 2 Fig 4 Ceiling of Salon de la Guerre (photo by the auther) Fig 5

4 2 25) (parterre d eau) (degrée de Latone) (bassins des lezards) (Allée royale) (Grand canal) (Fig.1) (le Roi-Soleil) 14 ( ) 2 26) 3 (avant-corps) 27) (Fig.3) 28) 12 29) (Paix de Nimègue) 30) 2 Fig 4 Ceiling of Salon de la Guerre (photo by the auther) Fig 5 Ceiling of Salon de la Paix (photo by the auther) 31) 32) 14 (Victoires) (Palmes) (Couronnes de laurier) (Trophées) (Bellone en fureur)( ) ( ) ( ) ( ) ( ) 14 (Mercule) (Jeux) (Ris) (Paix) 1340

7 Reception of the Persian embassy, February 19, 1715 33) 4 (Tourterelles) 34) (Amours) 35 ) (caducée) (Abondance) (Discorde) (Envie) (Autorité souveraine) (Innocence) (Religion) (Hérésie)

5 (vase de la Guerre) (vase de la Paix) Fig.6 Interior plan of the bal in the Galerie de Glaces for the marriage of Louis, duc de Bourgogne and Marie Adélaïde de Savoie, December 11, ) 3) 1) 2) Fig.7 Reception of the Persian embassy, February 19, ) 4 (Tourterelles) 34) (Amours) 35 ) (caducée) (Abondance) (Discorde) (Envie) (Autorité souveraine) (Innocence) (Religion) (Hérésie) (Magnificence) (Europe chrétienne)( ) ( ) ( ) ( ) 1729 (François LEMOYNE, ) 15 (Louis XV donnant la Paix à l'europe) (Marie-Antoinette d'autriche, ) 1) 2) 1) 2) 1) (Genova) (doge) 37) ) (Fig.7) 39) ( ) 2) 14 (Louis, duc de Bourgogne, ) (Marie-Adélaïde de Savoie, ) ) (Fig.6) 41) ) 43) 1701 (Chambre du Roi) 3 44) 2) (Philippe d'orléans, duc de Chartres, ) (Françoise-Marie de Bourbon, Mademoiselle de 1341

6 Blois, ) (Salon de Mars) ) 46) 1) 2) 1) 14 47) 48) 49) 50) 51) 52) 53) 43 (Galerie basse) ) 1342

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10 UPON THE GRAND DESIGN OF VERSAILLES PALACE IN DIVERSE RELATIONSHIPS BETWEEN SALON DE LA GUERRE, GALLERIE DES GLACES AND SALON DE LA PAIX Tomoaki NAKASHIMA *1 *1 Assoc. Prof., Dept. of Architectural Design, School of Architecture, Kogakuin University, Dr.Eng. French gardens in the 17th century consist of boschi and garden roads conformed to geometric figures under the Italian garden s influence. The château is placed as one pole on the garden entrance side, and it is said that the château and the jardin are closely tied together to create a uniform world. The château and the jardin were planned on a grand dessin. Meanwhile, as a result of the transition of the ceiling painting theme of Galerie des Glaces directly facing the jardins, we have already clarified that there was a serious discrepancy between the world of the gallery ceiling painting depicting Louis XIV s own glorious wars and the peaceful world of the garden centered on the sculptures based on the Apollo s myth. Therefore, Versailles Palace since 1680 is not a uniform world in which the garden and the château were united together in a same iconographical program. If we discuss the unity of the garden and the château, we should examine it not only from the viewpoint of architectural planning but from various viewpoints such as iconographical program. So, in this paper, we will discuss the relationship between the three rooms, Salon de la Guerre, Galerie des Glaces and Salon de la Paix occupying an important central position. A reason for considering the relation between the garden and not the gallery alone, but the ensemble including two lateral saloons is that they were planned as one on the architectural plan and the iconographical program. At the same time, it is also a purpose of this paper to reevaluate the significance of these two saloons in the construction of Versailles. Therefore, we adopt the following three methods. We reconsider the viewpoint of spatial theory as discussed by Giedion and the viewpoint of iconographical program as discussed in our previous papers, and newly, about the two saloons, we discuss the viewpoint of how these have been used. The first viewpoint is based on the architectural design theory of the Modern Movement in Architecture, the second is an application of our previous papers issue, and the third is newly tried in this paper. We are trying to clarify that various relationships between the two saloons and the gallery, or relationships of these three rooms with the gardens could contradict each other as we change our viewpoint. In other words, these relationships have practical and symbolic aspects, so, our aim is to clarify complicated design methods of French modern architecture. For the first viewpoint, we summarize discourses of representative histories of Versailles by Verlet, etc. Regarding the second, we summarize the points of our previous papers mentioned above and describe the iconographical program of the two saloons that was not mentioned in them, based on historical documents and previous studies. Regarding the third, in addition to various kinds of image documents, documents by Dangeau and Saint Simon are also used for clarifying how to use these three rooms under the reign of Louis XIV. That is, even if the gallery and two lateral saloons have a relationship from the point of view on the iconographical program, it does not matter about the function. However, when the decoration of the salon de la Paix was remodeled in the 18th century, efforts to maintain the iconographical symmetry of allegory of war and peace have not been abandoned. Even after losing its functional relationships, designers tried to keep iconographical relations. We can see the intention of achieving the so-called Louis XIV s grand design. Exactly in this point, the two lateral rooms played an important role for achievement of the grand design of Versailles. (2017 年 10 月 10 日原稿受理,2018 年 4 月 2 日採用決定 ) 1346

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