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Author: Admin | 2025-04-28
Like Louis XIV, who made the Apollo Room in the State Apartments his throne room and a physical and symbolic expression of his power.Apollo as a metaphor for the KingFrom this point onwards the Gardens revealed the god’s different attributes and brought together representations of the unlimited scope of his power in fountains and groves, which – like the motto nec pluribus impar adopted by Louis XIV – also revealed other worlds. André Félibien, author of the famous work Description Sommaire du Château de Versailles (“Summary description of the Palace of Versailles”) published in 1674, highlighted the correlation between the Palace’s indoor spaces and the gardens, all for the glory of the monarch: ‘Since the sun is the emblem of Louis XIV, and poets link the sun with Apollo, there is nothing in this superb house that does not relate to this divinity’. The preferred material for the sculptures, primarily destined to decorate the fountains, was lead, which was less costly, could be coloured or gilded and did not corrode. Figures created by great artists appear to be genuinely emerging from pools or playing with the jets of water they are directing.Apollo also ensures that time proceeds properly. At the end of the Royal Way, Apollo in his Chariot (Jean-Baptiste Tuby, 1668-1670, lead) emerges from the depths of the water and to start a new day, at the end of which – after having spread his blessings across the land – he will end his journey and go to rest
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