Gardens of Versailles

The Gardens of Versailles occupy part of what was once the Domaine royal de Versailles, the royal demesne of the château of Versailles. Situated to the west of the palace, the gardens cover some of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre. Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain to the west, and by the Satory Forest to the south.
Administered by the Public Establishment of the Palace, Museum and National Estate of Versailles, an autonomous public entity operating under the aegis of the French Ministry of Culture, the gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
In addition to the meticulous manicured lawns, parterres, and sculptures are the fountains, which are located throughout the garden. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique. On weekends from late spring to early autumn, the administration of the museum sponsors the Grandes Eaux – spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles. In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat he wanted. The Petit Trianon is associated with Marie Antoinette, who spent her time there with her closest relatives and friends.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List for their cultural importance during the 17th and 18th centuries.

Planning diagram

Louis XIII

With Louis XIII's final purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630s, formal gardens were laid out west of the château. Records indicate that late in the decade Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660s. This early layout, which has survived in the so-called Du Bus plan of, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.

Louis XIV

In 1661, after the disgrace of the finance minister Nicolas Fouquet, 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's building campaigns apply to the gardens as well. At every stage the prescribed tour was carefully managed, under the Sun King's directions.

First building campaign

In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets and parterres were expanded and new ones created. Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto would be completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de l’Île enchantée. The event, which officially was to celebrate his mother, Anne of Austria, and his consort Maria-Theresa but in reality celebrated Louise de La Vallière, Louis' mistress, was held in May of that year. Guests were regaled with fabulous entertainments in the gardens over a period of one week. As a result of this fête – particularly the lack of housing for guests, Louis realized the shortcomings of Versailles and began to expand the château and the gardens once again.

Second building campaign

Between 1664 and 1668, a flurry of activity was evidenced in the gardens – especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens consciously exploited Apollo and solar imagery as metaphors for Louis XIV. Le Vau's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the topographical and iconological design vocabulary that would remain in force until the 18th century. As André Félibien noted in his description of Versailles, solar and apollonian themes predominated with projects constructed at the time: "Since the sun was the emblem of Louis XIV, and that poets join the sun and Apollo, there is nothing in this superb house that does not relation to this divinity.".
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".

Grotte de Thétys

Started in 1664 and finished in 1670 with the installation of the statuary by the Gilles Guérin, François Girardon, Thomas Regnaudin, Gaspard Marsy, and Balthazar Marsy, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo – and by that association to Louis XIV. It was as the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château. The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids and his horses being groomed by attendants of Thetis. Originally, these statues were set in three individual niches in the grotto and were surrounded by various fountains and water features.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.

Bassin de Latone

Located on the east–west axis just west and below the Parterre d'Eau, is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicted an episode from Ovid's Metamorphoses. Latona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs. This episode from mythology has been seen by historians in reference as an allegory to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasized by the reference to "mud slinging" in a political context. The revolts of the Fronde – the word fronde also means slingshot – have been regarded as the origin of the use of the term "mud slinging" in a political context.

Bassin d'Apollon

Further along the east–west axis is the Bassin d'Apollon – the Apollo Fountain. Occupying the site of Rondeau/Bassin des Cygnes of Louis XIII, the Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.

Grand Canal

With a length of and a width of, the Grand Canal, which was built between 1668 and 1671, physically and visually prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties. In 1674, as a result of a series of diplomatic arrangements that benefited Louis XIV, the king ordered the construction of Petite Venise. Located at the junction of the Grand Canal and the junction of the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice, hence the name.
Above and beyond the decorative and festive aspects of this garden feature, the Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water it drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill-powered and horse-powered pumps.