318 RENAISSANCE ARCHITECTURE IN FRANCE. 



des Glaces," over the western loggia, and a long wing to the south 

 (1678-81) (Fig. 306). The wing to the north, involving the destruction 

 of the grotto of Tethys, followed later (1684-8). It is these additions 

 which cause the defects of the present garden front ; for the central 

 block, now an unrelieved square mass, projects so far that when not 

 viewed directly in front it hides one of the wings and renders a satis- 

 factory general effect impossible. 



THE DECORATION : GREAT STAIRCASE. Before Le Brun's death 

 the most important works of internal decoration were completed. These 

 were to be found in the suite of State apartments which run round the 

 three outer sides of the central block including the Ambassadors' 

 Staircase, by which they were approached at the north-east, and the 

 Queen's staircase, which still leads to them on the south-east. Much of 

 this work remains intact, but one of Le Brun's most complete com- 

 positions, the " Degre des Ambassadeurs," the State staircase of the palace 

 (1672-80), was destroyed under Louis XV. to make room for Madame 

 de Pompadour's theatre. It occupied an oblong hall. A first broad 

 flight led to the centre of a landing in one of the long sides with a 

 fountain facing those ascending. Thence other flights went up right 

 and left to a gallery running along the ends and opposite side. The 

 stairs and wall decorations were in coloured marbles. The upper part 

 had an order of Ionic pilasters between which were painted recesses 

 containing bronze trophies. The hall was lit by a sky-light, and the 

 deep cove below this was divided into three tiers of panels, the lowest 

 of which had a rich decoration comprising ships' prows, the scheme 

 commemorating Louis' campaigns and especially his naval victories. 



THE "GALERIE DES GLACES," &c. Le Brun's most important sur- 

 viving work at Versailles is the "Galerie des Glaces" (1680-4) (Fig- 36)- 

 Its similarity of shape and proportions suggest a comparison with the 

 " Galerie d'Apollon," which it surpasses both in the richness of its 

 materials and in its dimensions it measures about 240 by 34 feet, and is 

 43 feet high to the crown of the vault. The ceiling, which is of barrel 

 form, is decorated almost entirely with painting. Only the gilded frames 

 of the chief subjects and a row of trophies over the cornice are in wood 

 or stucco. This deep-coloured vault, divided into large panels and 

 lacking in longitudinal lines, seems a load too heavy for the substructure 

 to bear. For the walls are treated in light tones white marble panelled 

 with soft colours and are pierced by seventeen arched openings forming 

 windows on one side and filled with mirrors on the other, so that the 

 order of slender Corinthian pilasters of green marble with gilt bronze 

 capitals appears to carry the whole burden. Notwithstanding this 

 defect this gallery, denuded though it is of its rich appointments, its 

 curtains of white brocade, its orange trees in silver vases, its chased 

 silver tables and chairs, its Boule cabinets loaded with works of art, is 



