Press kit - Fondation Philanthropia

Transcription

Latona's Fountain
brought back to life
restoration of the Fountain and Parterre,
Thanks to sponsorship by Fondation Philanthropia
June 2012 - May 2015
Press contacts
Hélène Dalifard
Aurélie Gevrey
Elsa Martin
Violaine Solari
+ 33(0)1 30 83 75 21
presse@chateauversailles.fr
You must then go straight up to
Latona's Fountain and pause to
consider Latona himself,
the lizards, ramps, statues, the
Royal Way, Apollo's Fountain and
the canal, then turn around to see
the parterre and the palace.
Louis XIV in Manière de montrer les jardins de Versailles
5
Contents
press release
6
the work : a few figures and a few people
8
challenges inherent to the work
13
essential restoration work
14
restoration choices
15
challenges inherent to the work, step by step
17
a synergy of professions of excellence
31
the gardeners
32
fountain engineers
34
metal restorers
35
metal gilders
36
masons compagnons
37
marble restorers
38
roofer compagnons
39
an experience shared with as many people as possible
41
un chantier à cœur ouvert
42
#latone : le chantier en direct sur internet
44
fondation philanthropia
47
the historiy of a masterpiece
51
appendices
59
Versailles, 18th May 2015
Press release
Latona's Fountain brought back to life
Latona's Fountain and Parterre restored thanks to a gift by
Fondation Philanthropia
Thanks to a gift by the Fondation Phil anthropia, Latona's Fountain and Parterre,
two masterpieces of the gardens of Versailles, are get ting a new lease of life.
This exceptional restor ation project has taken more than two years and has
called upon a remarkable synergy of knowledge.
Latona's Fountain is without doubt the most famous work
in the gardens of Versailles with its tiered polychrome marble centrepiece, rich sculptures in lead
and marble and cleverly designed water jets. Situated in the centre of Le Nôtre's Grand Perspect ive,
it is also the key st ructure in the hydraulic system of Versailles.
Created by Jules Hardouin-Mansart,
More than three centuries after its creation,
deterioration had affected the fountain and its
components. Work on the infrastructures, hydrant system and sculptures was needed urgently.
Modifications had affected the st ructure's overall stability with impacts on the general
watertightness of the pool. Launched in 2013, the work is now complete.
The restor ation Latona's Fountain is one of the major works of public interest for
which philanthropy has proven its importance and utility. Private funding complemented State
financing and responsibility, and Fondation Philanthropia's support to the estate of Versailles for
Latona's Fountain is a fine example of this. The foundation, created for clients of Lombard Odier
bank, aims to facilitate their philanthropic engagement.
Press contacts
Palace of Versailles
Hélène Dalifard
Aurélie Gevrey
Elsa Martin
Violaine Solari
+33 (0)1 30 83 75 21
presse@chateauversailles.fr
Fondation
Philanthropia
Luc Giraud-Guigues
+41 (0) 22 709 1908
l.giraud-guigues
@fondationphilanthropia.org
François Mutter
T +41 (0) 22 709 9364
f.mutter@lombardodier.com
«Fondation Philanthropia is committed to supporting the restoration of Latona's Fountain because
transmitting heritage is one of its major concerns. In the case of the fountain, this universal piece of
heritage is not only an architectural gem and its restoration a technical challenge, but it also reveals
the immense wealth of artistic professions involved in its renovation. »
Thierry Lombard, President of Fondation Phil anthropia
has been followed step-by-step by the
millions of visitors to the gardens of Versailles. With the object ive of re-creating the composition's
original appearance, restoration was planned for the overall st ructure including plant life, the
hydrant system, materials and sculptures.
This exceptional ‘open air’ restor ation project
7
This required employing the best techniques and materials of the past and present, as well as a
number of crafts, notably some rare and highly specialised artist ic professions. Multiple craftsmen,
art masters and engineers have worked on the project under the leadership of Pierre-André
Lablaude, Head Architect for Historic Monuments, and the Heritage and Gardens Directorate of
the Palace of Versailles.
In a manifest desire by the Palace of Versailles to preserve heritage and transmit
knowledge, and with the support of Fondation Philanthropia, a special focus was placed on
preserving the knowledge and techniques of those who have worked on this major operation. This
approach has taken on concrete form with the training of apprentices by specialist companies; lead
sculptors, marble workers, gilders, fountain engineers, stonemasons, metal restorers and gardeners
have all contributed to restoring Latona's Fountain to its original splendour.
«The restoration of Latona's fountain has allowed a 'bond of excellence' to be established between the
past and the present through the timeless work of artistic professions. It has offered the public the opportunity to see the transmission of knowledge but has also, more concretely, allowed the employment of ten
or so apprentices. We have decided to systematise this training across all our heritage projects from now
on. This invisible yet exemplary chain that connects the craftsmen and artists of today to those of the
past is what gives the Masterpiece of the gardens of Versailles its sparkle.»
Catherine Pégard, President of the Public Institution of the Palace, Museum and National
Estate of Versailles.
About Fondation Philanthropia
A philanthropic public-benefit foundation connected to Lombard Odier bank, Fondation Philanthropia facilitates the implementation of its donors' philanthropic initiatives in all areas of citizen engagement, including art and culture, social action, education, the environment and medical research.
www.fondationphilanthropia.org
L atona's Fountain
A masterpiece of the garderns brought back to life
With its parterre, gilded lead figures of countrymen and animals, water jets and beautiful
sculpted group in marble topping it all off, Latona's Fountain is the real gem of the gardens of
Versailles. Created by Le Nôtre in 1665 and embellished by Hardouin-Mansart, it has now been
restored to its former glory thanks to an exemplary renovation project.
This book covers the history of this master piece and the adventure of its restoration, made
possible thanks to the use of exceptional knowledge of gardeners, fountain engineers, masons,
carvers and marble restorers, moulders, metal restorers, plumbers, roofers and gilders.
24 x 22 cm, paperback, inside cover, 84 pages, 65 Illustr ations, € 17
Bilingual French / English. Jointly edited by Artlys/ Château de Versailles
8
The work: a few figures
Fountain key dates
The FOUNTAIN
The parterre
12th March 2013: removal of
760m 2 of surface area
110m 3 of dressed-stone in the four-level
1.35 ha total surface area
20,000 box trees
90 yew trees
4,200m 2 of lawn
1,600 tonnes of gravel
150 tonnes of sand
3 km of metal edging
6 months of work
the Latona group of figures
May 2013: removal of the
sculpted lead figures
June – August 2013: removal of
the marble facing from the tiered
centrepiece
October 2013 - February 2014:
disassembly of the dressed-stone
tiered centrepiece
27th and 28th January 2014:
removal of the lead rings of the
spider
February - May 2014: strengthening
of the foundations of the centrepiece
29th September 2014: the lead
rings of the spider put back
September - December 2014: reassembly of the masonry of the tiered
centrepiece
November 2014 - April 2015: the
marble facing put back
tiered centrepiece
3 varieties of marble:
- Carrara marble: 78 metres of
coping, 81 metres of footings
- Red Languedoc marble: 49
metres of vertical slabs
- Campan Grand Melange marble:
28 mètres of vertical slabs
74 sculpted lead decorative figures:
- 6 countrymen being transformed,
- 38 frogs,
- 15 lizards
- 15 tortoises.
27 tonnes of lead for the chanelling
and fountain works
74 water features and 74 nozzles
449 m 3 of water
0.70 m water height
Craftspeople
9 fountain engineers
17 gardeners
7 gilders
9 masons
9 boilermakers, metal sculpture
restorers
4 roofers specialised in lead
roofing
10 apprentices
December 2014 - April 2015:
improved watertightness using lead
sheets
October 2014 - April 2015: restoring the fountain's water supply
March 2014 - March 2015: restoring the lead sculpted figures and
gilding
21st and 22nd April 2015: the
gilded lead figures put back
4th May 2015: placing the group
of sculpted figures, first water
connection
18th May 2015: inauguration
The restoration of Latona's fountain in figures
26 months of work
14 tonnes of lead for the bottom of the 3 oval pools in the tiered
centrepiece for watertightness; lead sheets used
35,000 gold leaves for gilding the 74 lead sculptures
200 'louche' weldings for the restoration of the lead pipes
700 m 2 of paving and 110 metres of white marble coping for the
restoration of the fountain
9
and a few people
Contracting
authority
Project management
Public Institution of the Pal ace, Museum and National Estate of Versailles,
Heritage and
Gardens Directorate, Works Department
Daniel Sancho, Heritage and Gardens Director
Véronique Ciampini, Operations Leader
Pierre-André L abl aude,
Head Architect for Historic Monuments
project manager, agricultural engineer
BMI – Engineering and structures design office : Assistance to the contract ing authority,
diagnosis for the historical foundations of the apron.
Cetim-Certec: diagnosis for the historical lead crowns.
Cossec- Degouy: health, Safety and Prodection Coordination for the fountain
Conpas: Health, Safety and Protection Coordination for the parterres
Alpha contrôle: Technical testing
L aurent Choffé,
green spaces - sandy soils
incorporated watering
Chapelle et Cie: stonemasonry - networks
Companies for
Pinson Paysage:
Latona's Parterre
Idverde:
Companies for
L anfry:
Latona's Fountain
Tollis:
The Public
Institution of
Versailles
Stonemasonry – Dressed stone – new marble work
restoration of the deteriorated marble and copy of the statue of Latona
Fonderie de Coubertin: restoration of the lead sculptures
Gohard: Gilding
Al ain Le Ny: Waterproofi ng – lead sheets
Entreprose: Struct ure
Treccani: Wooden cladding and information panels
Fountains department: execution and steering st udies for work on the hydrant system
(restoration of the pipes, crowns, addition of taps and nozzles for the lead figures.)
Gardens department: planting and pruning the topiary yews in Latona's Parterre.
Technical equipments department: programming and monitoring work on the elect ric networks
in coordination with the project management and contracting authority.
direction of the national museum
direction of exterior rel ations, sponsorship department
Cultur al development director ate:
informative events about the work, showcasing of crafts
professions.
Information and communications director ate:
following the work with photos and video
reports, creation of a dedicated website, informing the press about events, setting up educational
measures for the public (signs, panoramic images), publishing documents.
And all of the other of the institution's departments
Latona, and her Twins, the Bottom crown;
These, to foul Reptiles, change each savage Clown;
Transform them, by th'unnumber'd Spouts they pour;
One swims with Claws, which Fingers were before;
Another, rising, changes with a Glance:
'Twixt Man and Reptile see a Third Advance;
His Wife, loud-croaking, of his Fate complains,
But Woman still, the human Shape retains:
A Fourth, the more he bathes, can less efface
The new ris'n Features which his Form disgrace.
The Scene's a Bason, a capacious Round:
Transform'd to Frogs, the Peasants here are found,
Excited by Revenge, and check'd no more,
They, on the Deities, a Deluge pour.
To crown these Beauties which inchant the Eye,
Fabled Nymphs, Heroes, Gods, at Distance lie;
Terms, whose lone State soft Pity might excite,
Did not the Scenes they view create Delight.
O'er two Parterres the fond Spectator frays,
Pleas'd on the Turfs, with Flow'rs enrich'd, to gaze:
A Bason's in each, whence far their Treasures fly;
Now rise in Jets, and now, half-circling, die.
Thro' various Reptiles, glitt'ring Currents glide;
Here Lizards hiss, to Crocodiles allied:
There Tortoises stretch forth their Necks in vain,
But, ever captive, in their Shells remain.
Jean de La Fontaine, The Loves of Cupid and Psyche, 1668-1669
Part i
Challenges inherent to the work
14
Part I — Challenges inherent to the work
Essential restoration work
Latona's Fountain and Parterre have undergone multiple maintenance and
reparation works. The last restoration campaign dates from 1850. In the 1980s, having suffered acts of
vandalism, the white marble sculptures of Latona and her children were replaced by a moulding.
Over the centuries,
More than three centuries after its creation, deterioration had affected the fountain and its
components. Work on the infrastructures, hydrant system and sculptures was needed urgently.
structural (the central pyramid notably showed
signs of leaning sideways) and affected the overall stability of the structure. It also concerned elements of the decoration: the marble facing and sculpted lead figures were severely affected.
Additionally, the internal and external hydrant system had numerous problems contributing to hydraulic malfunctions in the fountain.
The deterioration identified was first of all
on the fountain and parterre was undertaken, led by Pierre-André
Lablaude, Head Architect for Historic Monuments.
Restoration work
Example of the deterioration of the marble work.
Photo : Thomas Garnier
It was carried out according to the structural organisation of the fountain:
- Infrastructures of the fountain and pyramid.
- Superstructures of the pyramid.
- Elements of the marble facing.
- Watertightness devices.
- Sculptures.
- Water features and related networks.
The restoration operation entailed:
Example of wear on the gilded lead works
- Reinforcement work on the infrastructures and superstructures.
- Restoration of the marble facing.
- Full re-working of the watertightness.
- Conservational restoration of the principal lead columns of the inner chamber and replacement of two of them by new structures.
- Restoration of elements of the sculptures.
- Re-establishment of lost water features and hydraulic recomposition of the fountain.
- Treatment of the sand walkway and lawn strip of Latona's fountain.
- Reconstitution of Latona's Parterre to its original condition.
Example of cracks in the lead
15
restoration choices
Questions for Pierre-André
Lablaude, Head Architect for
Historic Monuments, in
charge of the restoration.
replace only marble (original or that had already
been replaced during previous restoration work
in the middle of the 19th century) that was in such
an advanced state of deterioration that any
st rengthening or conservation work on the
elements through traditional means (staples,
WAS IT NECESSArY TO FULLY DISMANTLE
pins) or modern methods (gluing and
L atona'S FOUNTAIN?
st rengthening with suitable resins) was
Given the state of deterioration of its foundations
impossible. It was definitely the white marble
as well our desire to remove the interior columns
that proved to be the most damaged, fairly
of the hydrant system with a view to preserving
logically since it is naturally more porous and is,
their integrity and allow their conservational
moreover, the most exposed to water flow. The
restoration, fully dismantling the fountain's
new white marble was sourced from the same
tiered water centrepiece turned ot to be essnetial
Carrara quarries in Italy and was chosen from
as early as the completion of the preliminary
st rata possessing similar characterist ics to the
restoration study. This disassembly also
original ones. The others (Campan and
confirmed the diagnosis of the state of
Languedoc) came from quarries that are now
preservation of the foundations, and refined the
closed but the stone was fortunately found
diagnosis of the hydraulic system itself. This
among remains from ancient quarries from
choice was also guided by the desire to ensure
specialist suppliers.
complete reinforcement work and maximal
conservation of each of the ancient marble
WAS CONSErVATION NECESSArY FOr THE LEAD
block s, of which the coloured French marbles
rINGS OF THE 'SPIDEr?
can no longer be found in quarries today.
Once again, disassembly allowed the diagnosis
to be refined and the necessary pressure tests to
IN TErMS OF THE MArBLES, WHAT HAS BEEN
be carried out. The 'spider' hidden within the
CONSErVED? WHAT HAS BEEN rEPL ACED? WHY?
tiered water centrepiece is a giant 'artery' system
The aim of the restoration has been to bring back
of lead chanels dating from 1666 that dist ributes
the composition's original appearance,
the water to the fountain's 74 jets. It was
contrast ing the gold of the lead scultpures with
disassembled to be restored. In the end, two of
the brightness of the white marbles and the
the three rings were kept, including the
iridescence of the veins in the coloured marbles.
hexagonal ring, the most beautiful one. The
Three different types of marble had originally
small round ring, although weakened by age,
been used for the const ruct ion. The first is a
was also kept working but has been backed up,
green-brown marble from the Pyrenees known
for security, by a new analogous ring in case the
as Campan Grand Melange or Campan Royal
old one fails. If it breaks, the new ring will take
(the rarest), only 2% of which had to be replaced
over from the old one without the whole
during the work. The second is a red marble
st ructure needing to be disassembled.
from Languedoc (also rare), of which 8% was
replaced, and last ly a white marble, from
Carrara, of which 30% was replaced. We chose to
16
WHY IS THErE SO MUCH GILDING ON THE
'hierarchy' between elements considered to be
'noble' and those that seem to be less so, by
This is an example of a restoration decision that placing everything on the same levels of 'artistic'
did not strict ly go back to the original technique. and 'technical' heritage. Each element of Latona's
In fact, the archive documents testify to the use fountain, whether it is part of the foundations or
at the time of 'metail' gilding for the decoration whether it is structural, technical, decorative or a
of this lead statue, using paint containing added detail, must be approached and treated as a work
copper powder. Given the speed at which this
of art in its own right, with scrupulous respect
metal oxidises, it needed repainting every year, for the authenticity and integrity of the
something which seems difficult to achieve today const ruct ion, and also for future reversibility of
in terms of maintenance costs. Durability and
the work carried out today. For this reason, new
long term maintenance were thus opted for; the replacements have been limited solely to failing
technique of leaf gilding, also traditional, was
devices and materials that cannot guarantee the
chosen as a replacement, admittedly a more
real durability of the restoration works. Concern
expensive one initially but much more durable in for maximal conservation of the original
the long term and which will naturally be
materials, contrasting with the insensitivity of a
amortized over time.
new refurbishment, allows us to pay homage to
the passing of time and the age of the
WHY NOT PUT BACK THE OLD STATUE OF L atona? arch itect ural work, with all the capacity for
The original statue of Latona in white Carrara
emotion that it continues to bear.
marble, sadly vandalised thirty or so years ago,
had been placed in the Musem, restored, and
IS THIS AN EXCEPTIONAL PrOJECT?
replaced in its original position by a copy
This masterpiece displayed a complex set of
produced according to the innovative techniques symptoms that were the result of its history –
of the time, in synthetic resin and fibreglass.
transformation by Hardouin-Mansart of the first
After thirty years the state of aging of this initial pool by Le Nôtre – but were also due to the fact
replica, especially through the deterioration of
that the st ructure had remained in use for three
its component materials due to ultraviolet light, and a half centuries. The role of Head Architect
led to the decision to replace it with a new
of Historic Monuments's task here was to act like
moulding. This was made using a cast of the first a conductor of an orchest ra, taking into account
replica, which was itself of very high-quality
and considering the project in its entirety,
precision in terms of the impression taken of the including the vegetal, hydraulic, mineral and
original marble one. The material used, tried and decorative elements, and using a large number of
tested through several decades of pract ice, is
professional trades all of which were rare and
made of a mortar of resines with added white
highly specialised artist ic professions. It is this
Carrara marble powder, giving the finished
variety and wealth of knowledge that makes this
moulding an aspect closely resembling the
an exceptional project, one in which nobody who
original material. Moreover the disassembly of
participated will forget how luck y they have been
the statue's pedestal led to a better
to have been able to contribute.
understanding of the role of the movable marble
parts forming its base, dest ined to hide the two
'bubbles' of the hydrant system that feed the top
pool of the tiered water centrepiece. Their inner
pipes, manifest ly abandoned for several
centuries, were put back into use during the
restoration of the whole feature, perfecting the
monumental effect of the terraced waterfall
positioned over the figures of Latona and her
children.
SCULPTUrES TODAY?
HOW DID YOU APPrOACH THIS rESTOr ATION?
With this sort of exceptional work you have to
break away from any notion of a so-called
17
Challenges inherent to the work,
step by step
restoration of Latona's Parterre. December 2012 - April 2013
Bringing back Le Nôtre's original design by combining ancient and contemporary techniques.
The wealth of documentary sources on the state of the
Parterre as Le Nôtre designed it meant that the restoration
work could be launched with a view to returning the composition to its original appearance, in line with the overall
replantation plan for the small Park and the gardens that
has been carried out in Versailles since the 1990s.
After removing all trace of the modifications made in the
19th and 20th centuries and pulling up vegetation, the gardeners carried out major work levelling the ground, a precondition to laying out the large motifs of shells and scrolls.
Archive document: the horseshoe and Latona's fountain and Parterre, 1687
Stockholm, Nationalmuseum.
Marked and laid out using GPS, the shapes were traced
with plaster like in the 17th century. This acted as a landmark for the positioning of metal edging delimiting the
boundaries of the future motifs, then covered with rolls
of turf. Lastly, the sandy walkways twisting amongst these
turf patterns were covered by a layer of crushed flint, which
does not get blown around by the wind.
Laying the metal edgeing. Photo : Thomas Garnier
Harmonising with
the climate
The 2012-2013 winter
period proved favourable for progress in
the work, and the
inauguration was therefore able to coincide
with the launch of the
year of Le Nôtre.
Laying sand in the scroll. Photo : Thomas Garnier
Large shell awaiting the placement of turf. Photo : Thomas Garnier
18
Bringing back the topiary decoration
Lost in later modifications to the Parterre, the topiary once marked
the vertical lines of Le Nôtre's composition, constituting a touch of
fantasy that softened the severity of the French-style garden. To perfect the restoration work the gardeners replanted the box hedges and
topiary, whose large variety of forms has constituted the fame of the
gardens of Versailles since the Ancien Regime.
Pruning the topiary. Photo : Thomas Garnier
Planting a yew. Photo : Thomas Garnier
Example of a topiary form
Arial view of Latona's Parterre following restoration. Photo : Toucan wings
Motifs of the design. Photo : Thomas Garnier
19
Disassembly of the tiered water centrepiece. March - June 2013
The tiered water centrepiece was
fully diassembled for the first time
since its construction by Mansart.
The disassembly allowed:
- Knowledge to be confirmed of the
construction of the fountain and its
elements, as well as the fixing of the
marble facing and integration of the
lead sheets, which is covered in little
detail by the archive documents.
- Better evaluation of the actual state
of conservation of the masonry structure of the tiered centrepiece, which
was more damaged than first thought.
- Creation of an detailed plan of the
positions of the stones in the dressedstone inner chamber designed by
Mansart, before careful disassembly
stone be stone and after the analogous
removal of all the exteriour marble
coverings.
- Confirmation of the highly deteriorated condition of the original base,
constituted of oak beams on a thin
clay layer, and its replacement with a
new foundation.
Detailed notes were made as the
operations progressed to allow an
identical result to be produced upon
final reassembly.
Removal of the st atue of Latona on 12th March
2013 (day of the anniversay of the birth of Le
Nôtre). Photo : Gilles Truyens
Removal of the sculpted lead figures in May 2013.
The terraces of the tiered water centrepiece, after the removal of the sculptures. Photo : Thomas Garnier
We are following the work from a to z.
We are constantly present at every stage
and assist every construction operation.
Laurent Bouillot, Lanfry
Removing the marble facing of the tiered
centrepiece, June to August 2013.
The hydrant system brought up to date. Photo : Thomas Garnier
removing the 'spider'
The master part of the fountain's hydraulic network was
taken out of the ground for the first time in 300 years. Built
in 1666, it later supplied all the fountains and water features
in the central parts of the gardens.
Removal entailed disassembling the interior dressedstone vault of the tiered centrepiece and lifting the whole
structure by crane, which was then posed and restored
nearby so that the public could follow its restoration.
Removal of the lead rings of the spider on 27th and 28th January 2014. Photo : Thomas Garnier
20
restoration of the hydrant system. April 2014 - April 2015
restoration of the hydrant system: a
difficult arbitration between conserving
and replacing
Thanks to a variety of expert skills in piping
and ancient welding techniques:
- Those that could be repaired and those that
could not were able to be identified.
- The type of restoration to carry out could be
identified through analysis of the nature of the
lead and level of impurities, the aim being to
preserve the old parts as much as possible.
- Replacing the modern cast iron structures
from the bottom of the pool with new lead
pipes made by fountain engineers according to
ancient techniques.
Traditional 'louche' welding with a hot iron finish. Photo : Thomas Garnier
Taking dimensions for the new nozzles. Photo : Thomas Garnier
Preparation for traditional welding. Photo : Thomas Garnier
For the pressure to
be consistent throughout, the rings needed
reworking. We hoped
to be able to keep them
all and just do a few
spots of welding or add
cast lead patches, but
one of them had to be
re-made.
Gilles Bultez, Head
of the fountains
service
Preparation for welding on a large pipe. Photo : Thomas Garnier
21
restoration of the marble features. September 2013 - June 2014
Conservation of the old marble features and restoring their contrast and coloured iridescence
The project aimed for maximal conservation of the old marble features. They received structural strengthening and their
dirty surfaces were cleaned in order to restore their original tone and lost polychrome colours.
However, certain sections that were too deteriorated had to be replaced by new ones, using sources of marble from the
original quarries:
- The coping most covered by water in the pools of the tiered water centrepiece, equating to 30%.
- The coloured upright marbles and the white marbles of the foundations, between 5 and 10%.
- White Carrara marble was put back for the outer coping of the fountain itself, which had been replaced by stone in the
19th century.
- Because the old moulding of the statue of Latona had badly aged, a new moulding was cast to maintain harmony with the
restored marble statues.
Restoration using scree of the old marble. Photo : Thomas Garnier
Cleaning the marbles. Photo : Thomas Garnier
We began by cleaning to remove all the dirt
and lichen that had become attached. To do
so we used cellulose compresses soaked with
distilled water that 'softened' the dirtiness.
We then carried out a sort of 'micro-rubbing' with micronised corundum powder.
Our task also consisted in repairing the
cracks. We did so by piercing a hole or a
notch on the back, into which we slid fibreglass pins. This done, we sealed the cracks
by applying a resin with marble powder
added to it, which differed according to the
colour of the zone. Hence marble that had
become brown was revealed to in fact be
white (White Carrara). The colours red
(Languedoc) and green (Campan Grand
Melange) were equally brought out.
François Mugg, Tollis
Taking the dimensions of the marble trim. Photo : Thomas Garnier
22
Lead restoration - March 2014
restoration of the lead figures
The restoration operations for these differents figures
were of a highly delicate nature due to the large number
of reliefs, for example the tortoises' shells, the skin on
the lizards' feet and the folds in the clothes of the
countrymen.
Additions for missing feet or claws were created in cast
lead in sand moulds and fi xed in place with welding,
with the fi nishing touches added by ch iselling.
Cleaning the lead. Photo : Thomas Garnier
Repairing cracks. Photo : Thomas Garnier
Adding the finishing touches by chiseling on a new cast lead piece. Photo : Thomas Garnier
Following a detailed expert assessment
of each lead figure and the initial
pressure cleaning phase with water to
remove the old paint, we proceded to
brush the areas where the lead had
deteriorated with crack s or internal
swelling. We then filled the gaps with
lead, an operation that, in casting terms,
is referred to rather poetically as
'retreating with a leaden heart'. Next
came the caulking, an operation that
consists in pressing down the newly
added lead to remove any interstices
through which water may enter.
Chiselling was used to add the finishing
touches, giving consistency to the
appearance of the metallic surface and
thus removing all signs of reparation.
Philippe Pagnon, Foundry de Coubertin
Tortue en plomb restaurée avant sa mise en dorure. Photo : Thomas Garnier
23
re-gilding the lead - March 2015
A one hundred-year old technique for long-lasting gilding
The lead figures were originally gilded, in stark contrast to the variety of different coloured marble in the tiered centrepiece.
This was once acheived by 'metail' gilding, using a type of varnish containing a large amount of copper filings, but at the
time the rapid oxidation of the latter meant it had to be repainted every year. Today, it was decided to use gold leaf gilding,
also a traditional technique but one that is much more durable and therefore considerably more economical in terms of long
term maintenance. Before proceding, the gilders prepared the lead sculptures by applying an anti-corrosion treatment
followed by two coats of hard surface paint, whose ingredients have remained the same for centuries (linseed oil, turpentine, yellow ochre as pigmentation and glossy varnish). The gold size layer is then applied, which allows the gold leaf to
st ick to the surface. The leaves are then applied a few hours later. Gilders say that they 'put the size to bed' in the morning
and gild in the afternoon'. They st ill use the same tools as in the 17 th century: gilding knife, cushion and pallet.
Applying a coat of primer. Photo : Thomas Garnier
Applying a coat of size. Photo : Thomas Garnier
Leaf gilding. Photo : Thomas Garnier
Finishing the gilding. Photo : Thomas Garnier
Florence
Bruneau,
Atelier Gohard
For the lead
sculptures we gild
using size, onto
which we place 23.5
carat gold leaves.
This is what is
generally used for
outdoor statues.
24
re-assembling the tiered water centrepiece.
September 2014 - April 2015
re-assembling the tiered water centrepiece as it was
before
After reinforcement of the foundations, the tiered water
centrepiece was re-assembled layer by layer, respecting the
original position of the stones, and mainly using old materials
(stone and marble).
Re-assembling the masonry of the tiered centrepiece. September - December 2014.
The main pool before re-assembly of the fountain. June 2014. Photo : Thomas Garnier
29th September 2014: putting back the lead rings of the spider. Photo : Thomas Garnier
Posing the marble monolith pool. Photo : Thomas Garnier
Re-assembling the marble facing. November 2014 - April 2015. Photo : Thomas Garnier
It is our fountain! We have spent two years disassembling it and moving all the stones one by one, and finally
re-assembling it all. When we posed the last slab there
was a silence. It was a pleasure to see two years of work
completed. Laurent Bouillot, Lanfry
Improving the watertightness of the tiered water centrepiece and the pool
Waterproofing using lead sheets. December 2014 April 2015. Photo : Thomas Garnier
Additional waterproofing lining was installed using a modern method (membrane and
resin) in the new stone structure before the marble was put back. A team of highlyskilled lead craftsmen then covered the elliptic pools of the different levels of the tiered
water centrepiece with a waterproofing layer of thick lead sheets, laid in segments spreading from the middle outwards.
This allowed various technical problems linked to the expansion of lead and the lead/
marble interface could to be resolved to avoid leaks, thanks to the development of
fixation systems compatible with lead waterproofing. The main pool itself, covered with
cement in the 19th century, has received new waterproofing all over using a membrane
and resins which were then covered, according to the original structure, with new paving
using sandstone from Fontainebleau.
25
Putting back the gilded lead figures - 21st and 22nd April 2015
return of the 74 figures
Photo : Christian Milet
The gilded lead decoration was put back with careful attention paid to positions in order to reestablish the perfectly balanced water features.
This decoration contrasts, as it did originally, with the white and polychrome marble of the fountain whose structure it lauds.
26
Posing the Latona group of sculpted figures - 4th May 2015
Final stage
Putting back the statue of Latona, which is a new copy of the original work (taken inside in the
1980s), is the final stage of this restoration work. The new resin and marble powder moulding sits
on a new marble monolith pool, whose two bubbling water features were able to be re-established
during the restoration project.
The copy of the group of sculptures at the Tollis
company workshop. Photo : Thomas Garnier
The new copy opposite its predecessor. Photo : Thomas Garnier
27
First water hook-up of the fountain. 4th May 2015.
Bringing back the original water effects
The forms and direction of the various jets were meticulously studied in order to authentically reproduce the wealth of
the various water features of the 17th century, as they were listed in the preliminary study phase using different archive
drawings, paintings or prints of the time. The form of the nozzles was modified in conformity with the original placements. The fountain engineers were able to recreate the form and volume of the jets as they were at the time of the Sun
King. Two fountain engineers were trained in bronze work to create new nozzles. Some of the lost, removed or modified
water features were also able to be restituted, such as the bubbling effects that once animated the upper pool below the
statue of Latona and whose pipes, previously put out of action, were uncovered during the disassembly of the stonework of
the tiered water centrepiece.
The fountain engineers also restituted the original taps for controlling the flow of the jets and in this way modifying the
overall aspect and the hydraulic arrangement.
View from the façade of the Palace of Versailles over the gardens and view of Latona's Fountain
A Heriset (printer). Circa 1715
Versailles, musée national des châteaux de Versailles et de Trianon
© RMN (Château de Versailles) / Droits réservés
A new nozzle for the lead figures. Photo : Thomas Garnier
Photos : Thomas Garnier
28
29
Part II
A synergy of professions of excellence
32
Part II — A synergy of professions of excellence
The gardeners
Le Nôtre's design restored
André Le Nôtre, the king of gardeners and gardener to the
gave the French-st yle garden its marks of nobility. Author of
the most beautiful gardens of the 17 th century, he made Versailles
his masterpiece. The gardeners today, in keeping with tradition of
the grand parterre de broderie, the gardeners today have been able
to being back the face of Latona's Parterre and the area
surrounding the Fountain originally given to them by André Le
Nôtre.
King,
Landscaping for a more than a century
Posing the strips of turf by the
Pinson paysage teams.
3,000 metres
The company Pinson Paysage was charged with the restoration
of Latona's Parterre and the area surrounding the Fountain, in collaboration with the Gardens
Service of the Palace of Versailles.
thanks to its skills, the France's second ranking company for green
spaces. A benchmark actor in landscaping for over a century, it employes more than 600 staff and
executes numerous projects on a regional and national scale.
Today Pinson Paysage is,
of metal edging
700 metres
of box tree border
4,200 m 2 of turf
The company currently employs 30 apprentices
st rips
who was taken on especially for this project.
at different levels of training, including one
4,500 m 2 of
sandy soil
6,000hoursof
work
The project team
PINSON paysage:
2 Team Leaders, 2 Machine Drivers, 4 highly skilled workers, 1 apprentice and
other orphan apprentices from Apprentis d'Auteuil.
33
The legacy of the garden
the gardeners of Versailles and Trianon have
been maintaining with passion one of the world's biggest and most beautiful
parks. The Palace's vegetal equivalent, the park is a majestic setting desired from
the beginning by Louis XIV for his Palace.
For more than four centuries
for the maintenance
and management of the gardens and park of Versailles. Assisted by temporary
workers and apprentices, a team of 23 gardeners are responsable for the 85
hectares of the gardens of Versailles and Balbi, situated next to the Royal
Vegetable Garden, while a team of 22 gardeners look after the 900 hectares of the
gardens of Trianon, the Grand Parc and the Parc du Marly.
No less than two teams of gardeners are required
Pruning the topiary.
is the general upkeep of the gardens and park and ensuring the longevity of
the groves and Parterres (South, North, Grand Trianon, and the Orangery etc.) The gardeners are
allocated to certain areas and work all year round, in every season.
Their principal task
These skilful workers are able to:
We gardeners are
the pairs of hands
at work every
day. Our aim is to
work discretely,
which requires
great rigorousness.
The garden is a
living element that
changes every day.
- plant and prune the topiary and rose bushes by hand (with shears and secateurs),
- see to the product ion of the 700,000 or so annual plants (340,000 for Versailles and
350,000 for Trianon) necessary for the decoration of the differents parterres for
the spring and summer flowering periods,
- design and produce the floral decoration of the large parterres,
- cut the lawn edging by hand in order to highlight the different parts of the garden,
- maintain the green spaces and adjoined areas, such as the perimeter of the Lake of the
Swiss Guard and the Allée des Trianon,
- conserve the collect ion, the only one of its kind in the world, of the 1,500 trees in pots
in the Versailles Orangery, which includes the 40 orange trees and 20 pruned yew trees
for the Palais de l'Élysée.
Joël Cottin, Head
Gardener of the
- and there is an increasing number of the latter - have inherited valuable
knowledge from their predecessors, which they in turn transfer to those they train. They st ill use
some traditional working methods, as old as 300 years, including pruning the topiary, weeding
with hoes and pruning with shears or secateurs.
These men and women
Gardens of Versailles.
their qualifications
ranging from professional diplomas in horticoltural product ion to engineering degrees in
horticulture.
The Versailles gardeners are employed after a competitive exam,
Discover the
job of being a
gardener at the
Palace at
latone.chateauversailles.fr
planted and pruned the
90 topiaries of Latona's Parterre, and are in charge of the daily looking after of these new spaces
now restored to their original arrangements.
After the work done by Pinson paysage, the Versailles gardeners
34
Fountain Engineers
One hundred-year old knowledge
More than a profession, fountain engineering at
is an inheritence full of traditional and skilled
techniques transferred by generations of fountain engineers.
It is this knowledge, which is the only one of its kind in France,
that the team of the Water and Fountains Service of Versailles,
Trianon, Marly and Saint-Cloud has employed during the
restoration of Latona's Fountain.
Versailles
The Francine legacy
Les Fr ancine, the INTENDANTS OF WATER AND FOUNTAINS
'Louche' welding. Photo : Thomas
Garnier
We're ready for 200
years more!
Gilles Bultez, Head
for Louis XIV, are the authors of the hydraulic system of the
Palace of Versailles, and notably of Latona's Fountain. This
famous dynast y of fountain engineers made Versailles a place of excellence for fountain
engineering and a benchmark for the whole of Europe. During the King's visit to the gardens the
fountains were set in motion in accordance with his passing. The blow of a whist le was the signal
for the fountain engineers to turn their 'clé-lyre' keys to act ivate them. The sovereign could thus
enjoy the full splendour of his gardens.
of Service for
Fountains.
A unique profession at Versailles
9 fountain engineers maintain the inestimable hydr aulic heritage of the gardens of
200 'louche'
weldings
1,051 hours of work
on the project
50 hours of studies
and monitoring
39tonnesoflead
used
Techniques
and knowledge are carefully preserved to maintain and put on the oldest show at Versailles: the
Grandes Eaux Fountain Display. The fountain engineers master ancient welding techniques such as
'louche côtelée' and 'joint coulé' welding.
Versailles, constituting 55 fountains, 600 water effects and 35 km of piping.
The fountain engineers are plumbers by training (Certificate of Professional Competence in
plumbing). They become specifically fountain engineers at Versailles after passing a competitive
exam for plumber-fountain engineer organised by the Minist ry of Culture and Communication,
but the real heart of the profession is learned on the job.
The project team
See the videos on
the fountain
engineers
Led by Gilles Bultez, head of service
Guill aume Acarregui, Jean-Pierre Bianchin, Jean Cancellier, Frédéric Dia, Christophe
for L atona.
Di Vito, Olivier Gr ain, Gabriel Novello, Adrien Renault, Julien Garoche
chateauversailles.
fr
renard.
Studies: Patricia Perron, Daniell a Malnar, Gilles Bultez.
and Jean-Luc
35
Part III — A synergy of professions of excellence
Metal restorers
Over seventy pieces of lead to restore
With the exception of the marble group of sculptures of L atona and
her children,
all of the fountain's sculptures are in gilded lead. Countrymen
halfway through transformation, frogs, lizards and tortoises were restored by the
teams of Fonderie Coubertin before being entrusted to the gilders who added
the final touches to this large scale decoration.
Fonderie de Coubertin
Repairing cracks with finishing by
filing down.
13,000 kg of lead
Fondation de Coubertin, recognised as being of public benefit in 1973, aims to
perfect the cultural and professional training of young people from manual
professions, and to transfer to them a certain number of values such as concern
for perfect ion and quality of work and a sense of honest y and responsibility.
Every year the inst itution contributes to the training of thirty of so young
people: joiners, cabinetmakers, metal workers, masons, plasterers and boilermakers, most ly from
the Association Ouvrière des Compagnons du Devoir du Tour de France.
An educational project
sculpted in total.
3 young gr ant-holders, in tr aining with 'compagnons du Devoir', took part in the work
as well as one person in an Action Prior to Recruitment agreement (Pôle
Emploi de Guyancourt et Fondation de Coubertin) in the framework of a professionalisation
contract. Trained in ironwork techniques, the apprentices were able to benefit from the Fondation
de Coubertin training programme which is taught in expert workshops: Ateliers St Jacques for
metalwork, joinery and stonemasonry and Fonderie de Coubertin for boilermaking and decorative
cast iron.
on L atona's Fountain,
3,000 hours
of restoration work
of the sculptures
and placing the lead
pipework.
The project team
Director of Fonderie de Coubertin. Boilermaker Compagnon du Devoir. Philippe PAGNON, in charge of the restoration team, (coppersmith, restorer of metal sculptures, decorative boilermaker). Gilles LAOT, decorative boilermaker, restorer
(coppersmith, restorer of metal sculptures), Boilermaker Compagnon du Devoir. Vincent DUPUIS, decorative boilermaker,
restorer (coppersmith, restorer of sculptures in metal). Boilermaker Compagnon du Devoir.
Young people in training at Fondation de Coubertin: Thomas PAGES, Jérémy LAMBOU, Alaric GIrArD, Coralie SZAMEITAT, boilermakers, from Compagnons du Devoir, Professional Baccalaureate level in Boilermaking.
Young person in training in alternance: Tristan PANSArDI, boilermaker, Advanced Technician's Certificate in boilermaking Technician in Industrial Boilermaking at Lycée Jean Macé d’Ivry /Seine, Professional Baccalureate in boilermaking.
2-year apprenticeship contract.
Yvon rIO,
36
Metal Gilders
The experience of Ateliers Gohard
are located in Paris and New York.
They have made a reputation for themselves for their mastery of gilding,
their knowledge and highly skilled teams. Thanks to their profound
attatchement to respect ing the rules of the art they have executed
prest igious projects such as the flame for the Statue of Liberty in New
York, the dome and cupola of Les Invalides, Place de la Concorde and,
more recently, the principal theatre of Rio de Janeiro and roofs at the
Palace of Versailles. Now it is the turn of the lead suclptures of Latona's
Fountain.
Created in 1962, Ateliers Gohard
has been carrying out work for historic
monuments and private individuals (collectors, art lovers, artists or
decoration professionals) in both decorative painting and gilding.
Since 2013 Ateliers Gohard
Leaf gilding.
Adapted training
on all surfaces. They see to the preparation and primer
coat, the reparure (restitution of the forms in their st yle), the leaf gilding, or strict ly
speaking 'à la détrempe' or 'au mordant', and last ly the finishing (burnishing, polishing,
varnishing etc.)
Gilders work with gold leaf
work
in studios specialised in framing or the restoration of ancient objects. Teaching is focussed
on working with wod (frames, seats), fibrous plaster (decorating celings, cornices) and
metal. A full piece of work requires twenty or so operations, from the primer to the
finishing touches.
Holders of a Certificate of Professional Competence of Ornemanist Gilder
Before / after restoration.
The project team
200m2 total
surface area to be
gilded
35,000 23.5 carat
gold leaves placed
600 hours of work
Lucie Gohard, Laura Mey, Stéphanie Martin, Henda Lazla:
gilders with the Certificate of
Professional Competence for Ornemanist Gilder, trained by Ateliers Gohard, who worked in the
Coubertin workshops.
Fabrice Gohard: a Master of Art who worked from time to time on the project.
Julie Foucart, Marie-Caroline Bardy: 2 apprentices in their 2nd year at the Bonne Graine
training centre (Certificate of Professional Competence for Onemanist Gilder) who contributed
during the Artistic Professions days.
37
Masons Compagnons
reconciling the old and contemporary
Simultaneously inheritors of the legacy of the masons of the 17 th century,
and also craftsmen using the most recent techniques, the team of masons from Lanfry
have ensured the longevity of the restoration project for the fountain. They have
worked on all the structural elements, from the underground chambers dug in the 17 th
century to the fi xation system for the decorative marble.
Education team work
works every day to transfer its knowledge. The quality of the work carried out
with respect for the rules of the art and ancient construct ion techniques is passed on
through apprenticships and ongoing training. Consequently, Lanfry constantly
employ Compagnons who are learning the profession or their perfecting skills. At the
end of their contract, if they have demonst rated their motivation and validate their
correct learning of the skills taught, they are offered a permanent contract. The
permanent aim of Lanfry is to create teams of Professional Compagnons who thrive
in their work, aqcuire skills, create quality st ructures and transfer their knowledge.
L anfry
Putting back the keystones of the stone vault.
where thus able to
perfect their skills in: the removal of structures with the location and restoration of
specific materials; reading a stone-positioning plan; cutting and placing of shoring;
restoration of rubblestone work; carving and placing stones; and treating and
finishing.
The personnel taken on for the work on L atona's Fountain
Restoration of the joints of the
vault.
The experience of Lanfry
proud of its unusual age and knowledge, Lanfry specialises in the restoration of
historic monuments, and is one of the most important in its field on a national level.
A family firm,
3,089 hours
The project team
of cutting and
carving stones in
the workshop
régis Leclerc:
16,038
hours on site.
Works Leader, L aurent Bouillot: General Foreman,
4 people employed on fixed-term contr acts: Xavier Allais, Yacouba Diakitte, Moussa
Diakitte and Pascal Hurteloup
2 stonemason apprentices in the workshop: Jordan Lecourtois and Sacha Kaloupsch i
38
Marble restorers
A team of specialists at the service of Latona
Organised into restor ation workshops,
Tollis is const ituted of specialised
teams in which each restorer brings their specific skills in a variety of domains:
stone, metal, mosaics, stucco, fibrous plaster, gypsum, new sculptures and
mouldings, mural and multicolour painting, removal and transport of works of
art, expert examinations and preventative conservation. These teams, who work
as much for the Musées de France as for historic monuments or private
customers, are made up of young restorers who contribute their knowledge
through the most innovative methods, and Compagnons with a high level of
experience. The company regularly trains apprentices.
in the greatest European
Inst itutions, such as the École nationale Supérieure des Beaux-Arts, École
d'Avignon, the University of Tours, Faculté de la Sorbonne, École Boulle,the
University of Genoa and the Spinelli Inst itute in Florence.
The teams are composed of restorers tr ained
Fixing the marble facing during reassembly. Photo : Thomas Garnier
the craftsmen at Tollis have been able to
demonst rate their skills in the use of diverse materials, such as marble, with respect for
traditional techniques. Enriched by such knowledge, Tollis was entrusted, in 2008 for
example, with the full restoration of the marble marquetry of the floor in the church of the
Dôme des Invalides.
Through to a l arge number of projects
one apprentice restorer was trained. He was able
to help with the removal of parts and the handling in the workshop of the deteriorated marbl,
assist with the pre-st rengthening treatment, cleaning by micro-abraision and putting the
finishing touches to the marble in the workshop.
During the work on L atona's Fountain
Before / after restoration.
Mineral matter is
alive. When you
touch a block, you
see the energy of
those who have
sweated, like us, over
this work.
François Mugg,
Tollis
The project team
Steering and administrative and financial monitoring: Anthony Bécaud, Heidi Derradji, Laurent
Hernandez, Olivier Lescaux, Luc Pelletier and Pierre Salanon.
Restoration of the marble: François Mugg, Jean-Michel Dausse, Christophe Pouyé, Paulo Henriques, Julien rousseau and Gilles Verdure.
Moulding in resin of the group of marble sculptures: Gwladyss Boissinot, Julien Carpentier,
Gilles Houilliez, romain Marot and Philippe Torrès.
Julien rousseau: in social reintegration, employed for the project for treating the marble.
39
roofer Compagnons
The choice of excellence
was entrusted to Le
Ny, a company that has specialised for more than 70 years in the restoration of
historic heritage. A 60-strong team of Compagnons trained in ancient and
modern techniques, Le Ny always meets with excellence every demand connected
to the profession of roofing and waterproofing, and recently worked on the repair
of the roofs of the central sect ion of the Palace of Versailles.
The watertightness of the lead sheets on the fountain
A policy of training
Tr ansfering their knowledge and training young people are priorities for the
craftsmen of Le Ny. An in-depth and exact ing monitoring of the apprentices
gives them the means to carry out their profession with brio; four of them have,
moreover, since been awarded the title of 'Meilleur Ouvrier de
France' (Best Worker in France). More than 100 young people have been trained
by Le Ny over the last 40 years.
They
begin at the age of 16, either in a technical college or in an apprenticeship in an
Apprentice Training Centre. They lead to the following qualifications: Certificate of Professional
Competence, Professional Training Certificate, Professional Diploma, Additional Specialisation in
zinc, Masters diploma and Advanced Technician's Certificate. The Compagnons du Tour de France
are special partners of Le Ny.
There are different forms of tr aining specific to this profession.
Hammering the joints between the
lead sheets.
Photo : DR
1,500 hours
The project team
of work.
12 tonnes of
lead used.
180 ml of
autogenous welding.
Compagnons with a
Certificate of Professional Competence for Zinc Roofing , specialised in the creation of lead
covering for historic monuments
Adil El Mansouri, Works Leader
Patrice Giuliani, Anthony L afond, Antoine Bonnet, Florent Leroux,
part III
An experience shared with as many
people as possible
42
Part III — An experience shared with as many people as possible
The work site uncovered
Because of the central position of Latona's Fountain and Parterre, in the heart of the
gardens and the Grand Perspective,
the Palace of Versailles wanted to open up this exceptional
project to the general public. Through the Public Establishment's approach for the preservation of
heritage and transfer of skills, with the support of Fondation Philanthropia, the craftsmen's skills
and the various artistic professions used for the restoration (decorative plumbing, marble work,
gilding, fountain engineering, sculpting, hydraulic engineering, decorative cast iron work etc.)
have been showcased throughout the duration of the work.
walked along the park's alleys between 2012 and 2015 were thus
able to witness first hand each stage of the restoration of this masterpiece of the architecture of
Le Nôtre's gardens.
The millions of visitors who
In-situ installations for following the project
From 2012, information was provided in a physical format
to prepare the public in advance
before the start of the work.
the work at every stage from a viewing point built overlooking the
site, enabling communication with the visitors.
The public was able to follow
were housed in temporary buildings situated right
next to the site. Visitors were able to discover, for example, the unique restoration processes and
techniques of the Versailles Fountain Engineers. Multiple events with different members of the
public (school groups, people far from museums, the general public etc.) and guided tours were
also organised.
Workshops for the different specialists
with free admission, situated next to the fountain
engineers' workshop, enabled all the specific activities developed in relation to the project to be
broadcast constantly and in multiple languages, thanks to specially designed and developed
material.
Last but not least a multimedia room
In situ information. Photo : Thomas Garnier
Viewing point overlooking the site. Photo : Thomas Garnier
The multimedia room. Photo : Thomas Garnier
43
One-off information events
European Artistic Profession Days on Latona
and sponsorship by Fondation
Philanthropia, a dedicated communications event that lasted for 6 days was put on for school
groups, people far from museums and the general public.
In the framework of the restoration of Latona's Fountain
6,570
participants
in the Artist ic
Professions days
155 school
groups
Free activities, workshops, demonstrations and discussion sessions with the professionals
working on the site were proposed.
Visitors could notably witness on site:
- restoration of the deteriorated marble,
- restoration of the stones,
- restoration of the lead sculptures,
- restoration of the gilding on the fountain's lead sculptures,
- restoration of the lead sheets,
- restoration of the piping,
- restoration of the parterre and topiairies.
a total of 6,570 people to meet the professionals, which included 155 school
groups and groups of people far from musems, equating to 4,295 people, and 2,275 people from the
general public.
These days allowed
An unusual collaboration with EPIDE
the Palace of Versailles offered the young people of EPIDE (a
public establishment for integration), aged between 18 and 25, the opportunity to participate in the
different activities of the Palace: in 2014, 75 young volunteers from EPIDE took part in the artistic
professions days and discovered the work of the craftsmen working on the restoration project for
Latona's Fountain.
In a partnership framework
Workshop with the gardeners on pruning the topiairies.
Educational workshop on lead work.
Demonstration by a marble restorer
44
Part III — An experience shared with as many people as possible
#LATONE: the project live
on the internet
A dedicated website: latone.chateauversailles.fr
158,000
visits since March
2013
362,000 page
visits
For the first time, the Palace of Versailles chose to share a major restoration project live with the
general public online.
internet users were invited to discover the fountain's
history, the mythological legend of Latona and the stages of the restoration.
Throughout the dur ation of the works
Over the seasons and key moments of the works,
several hundred photos and videos were
posted on the dedicated web site, available in 4 languages (French, English, Spanish and Japonese)
as well as on the social networks with the hashtag Latone. These images permitted an
understanding of a major heritage operation, its challenges, different stages and the synergy of
talents that made it possible.
to the gardeners, fountain
engineers, architects and restorers of Latona, and share their own pictures of the work. The web
site's timeline allowed this content posted by users to be viewed and discussions opened between
visitors and specialists.
Enthusiastis and those simply curious could also ask questions
Screen print of latone.chateauversailles.fr
45
Discovering artistic professions
30 videos
A dedicated pl aylist: ht tps://www.youtube.com/chateauversailles
produced and
published.
is a wonderful opportunity to reveal the artistic
professions that bring Versailles to life even today.
120,000
views
Throughout the dur ation of the work a camer a followed
The restor ation of L atona's Fountain
the fountain engineers,
gardeners, marble workers, masons and metal gilders who contributed to this large-scale operation,
unveiling their art.
How is 17 th -century piping restored?
Where are the statues re-gilded? What is 'louche' welding?
All the secrets of this historic restor ation
channel and at latone.chateauversailles.fr
are revealed on the Palace of Versailles's Youtube
Part IV
Fondation Philanthropia
"Fondation Philanthropia is committed to supporting the
restoration of Latona's Fountain. This is because the
Fondation places great importance on transmitting heritage,
one of its major concerns.
At Versailles this heritage is not only an architectural 'gem'; it
also reveals the invaluable skills represented by all the
artistic professions involved in the renovation work. As a
foundation our engagement is to bring about our donor's
philanthropic initiatives. It does not only include the
conservation of masterpieces and the transfer of knowledge,
but also encompasses the adaptation of the estate of the
Palace of Versailles to the major challenges of the future,
whether in the development of new sources of private funding
or long-lasting access to rare, traditional knowledge..."
Thierry Lombard, President of Fondation Philanthropia
"The restoration of Latona's Fountain has allowed a 'bond of
excellence' to be established between the past and the present
through the timeless work of artistic professions. The Latona
project has offered the public the opportunity to see the transmission of knowledge, but has also allowed the employment
of ten or so apprentices by companies involved in the restoration. We have decided to systematise this training across all
our heritge projects from now on."
Catherine Pégard, President of the Public Institution of the Palace, Museum and National Estate of
Versailles.
49
Part IV — Fondation Philanthropia
Encouraging philanthropic
engagement
have taught Lombard Odier bank that giving is an art
that is as wonderful as it is demanding. In order to share this long philanthropical tradition with its
clients, and for them to profit from the experience and expertise acquired over the years, Lombard
Odier has developed a consultancy service in philanthropy. In this way the bank supports its clients
by helping them put together sponsorship st rategies that meet their ambitions and choose without
st ress the ways and means of their donations.
200 years of civic-minded commit tment
is one of the concrete forms of this
philanthropical advice service. It is a recognised public-benefit foundation in Switzerland, registered in the administ rative dist rict of Vaud. It is part of the long Swiss philanthropic tradition with,
in particular, the desire for citizen engagement on a local and international level, continuing in the
spirit of Geneva.
Created by Lombard Odier, Fondation Phil anthropia
Fondation Philanthropia is a foundation that allows its donors to
become involved via two means:
1. Financing projects that bring together multiple donors through funds known as
'Thematic Funds'.
2. Creating their own personalised compartment called 'Hosted Funds'.
Like Fondation de Fr ance,
the administ rative procedures to be simplified and costs to be shared.
It also facilitates the sharing of experiences and consequently maximises efficiency and the impact
of donations.
In this way it allows
- Lombard Odier bank - Fondation
Philanthropia also guarantees donors durability for their philanthropic engagements and respect
for their desires across the generations.
Backed by an establishment that is over 200 years old
covers all domains of citizen engagement such as art and culture,
social act ions, education, the environment and medical research.
Fondation Phil anthropia
Fondation Philanthropia has committed more than 43 million Swiss
Francs to 75 or so organisations.
Since its creation in 2008
the donors of Fondation Philanthropia have supported causes as diverse
as the international work of Apprentis d’Auteuil, the creation of a socio-psychological support unit
for young patients at Institut Curie, and the development of the SOS Amitié telephone listening
platform.
In Fr ance, for example,
have pursued their own projects in areas chosen by the donors, such
as supporting people with Parkinson's disease, research against cancer, education and childhood in
Asia, professional integration for disabled people and giving university bursaries.
In par allel, 18 Hosted Funds
www.fondationphil anthropia.org
Part V
The history of a masterpiece
52
Part V — The history of a masterpiece
Construction of Latona's Fountain
is one of the most prestigious
decorative structures in the park of Versailles, situated
at the top of a Parterre which bears its name. Positioned
on the principal axis of the palace, it was designed in
several phases, each one attatched to the construction
of an element: landscaping work on the Parterre itself,
construction of the main pool and finally construction of
the pyramid.
Today, Latona's Fountain
The current pyramid-like shape of the fountain was
View from the facade of the Palace of
Versailles over the gardens and view
of Latona's Fountain
A Heriset (printer)
Circa 1715
© RMN (Château de Versailles), DR
the work of Jules-Hardouin Mansart (1687-1689). The
Latona pyramid is composed of four oval-shaped tiers
covered with white and red marble. Each of the fountain's three levels form a pool containing a collection of
lead frogs, mixed in the lower pool with people part way
through transformation.
at the top of the upper tier, and Apollo and
Diana, a work by the brothers Gaspard and Balthazar Marsy, dominate the composition and look
towards the Grand Canal. At the foot of the pyramid, surrounding it, are tortoises and lizards emerging from the surface of the water, representing the countrymen punished by Jupiter. The fountain is
animated by multiple water features spread out across the three upper pools and the lower pool. The
74 water jets are fed by a double ring in lead forming a veritable 'spider' situated in the underground
vaulted chamber. With its marble pyramid, decorative statues and water effects, Latona's Fountain
constitutes the greatest decoration of its kind across the park of Versailles, playing an essential decorative and hydraulic role.
The statue of Latona surrounded by her children
Changes to the fountain over the centuries
The first works (1665-1671)
built from 1665 on the site of the current Latona's
Fountain, to open up the Grande Perspect ive harmonize with Apollo's Fountain at the other end.
Lack ing any decoration, the fountain was first embellished with water effects in 1666: 6 bubbling
features were spread out around a tall central water jet and 20 peripheral jets were placed at the
edge.
A single pond, called the Oval Fountain,
In 1667 the first lead decorations were installed. 20 frogs, painted or left plain, were placed
around the edge of the pool. The Oval Fountain then became the Frogs Fountain. At the same time,
24 tortoises were installed to decorate the two circular pools of the Parterre.
53
In May 1668, the Marsy brothers were tasked with sculpting the pool's figures. The
iconographic programme illustrates the flight of Latona and her children, Diana and Apollo, thus
introducing the theme of the sun god so dear to Louis XIV. Gaspard Marsy worked on the white
marble centrepiece depicting Latona and her children isolated on a small rock; this sculpture was to
give the pool and indeed the entire parterre its name. At the same time, Balthazar Marsy created the
lead figures of the 6 countrymen set above the 6 water jets.
In 1670, the countrymen, the frogs and the tortoises were
covered with a gilded size, giving them a precious appearance.
Treatment of lead with bronze paint was a traditional technique
in the late 17th century that was extensively used on the lead
sculptures in the various fountains at Versailles. The golden
appearance was achieved by applying a composition based on
bronze powder (copper, pewter, zinc, iron, etc.)
The definitive fountain by Jules HardouinMansart (1686-1689)
In 1686, Jules Hardouin Mansart enhanced the
View of the façade of the central part
of the Palace of Versailles (prior to
construction of the Hall of Mirrors)
on the Water Parterre and the
Latona Fountain, circa 1675.
Collection published under the reign
of Louis XIV (1643-1715). Perelle
family
Versailles, musée national des
châteaux de Versailles et de Trianon
© RMN (Château de Versailles) /
Gérard Blot
fountain's décor by adding elements in the decorative taste of
the time. An oval centrepiece with four tiers was built. The last tier served as a base for the statue of
Latone; on the other three stand the frogs, which had previously been placed at the edges of the pool's
coping. On the lower tier the countrymen mingle with the frogs. At the foot of the tiers feature new
figures by Bertin: four frogs and six lizards. The pyramid, initially built of stone and given a fake
marble paint, was now rebuilt in real marble.
Restoration campaigns in the 19th and 20th centuries
1824-1826
Work was carried out on the bottom and banks of the pool, including cleaning the marble.
1850-1851
A major restoration was performed by Charles Questel. The work mainly focused on the structural
parts of the pool and the pyramid. A general overhaul of the fountain was also engaged: the marble,
lead and statues were restored.
1888-1889
A maintenance campaign was conducted, mainly to improve the pool's appearance.
1941-1942
After the restorations of the 19th century, no work was done until 1940, when a series of
interventions were carried out on the masonry, the marble and the lead figures.
In the 1980s,
acts of vandalism led to the replacement of the original group of sculptures of Latona
and her children by a marble-powder mould. It is kept in the sculptures and moulds gallery of the
small stables of the Palace of Versailles. The sculpted group is currently on show (until 20 March
2016) at the Musée des Beaux-Arts in Arras, as part of the exhibition titled Le château de Versailles
en 100 chefs-d'œuvre.
54
Mythology at the service of the
message
The legend of Latona
In roman my thology, Latona, the mother of Diane and Apollo, was forced
into perpetual flight by Juno, jealous of the infidelities of her husband Jupiter.
As she passed through Lycia in Asia Minor, she halted by a lake to drink, but
some peasants prevented her from doing so. After pleading with them, Latona
fell into a rage and implored Jupiter to avenge her, cursing the peasants: “May
you live forever in your pond”. The peasants were immediately transformed
into frogs and toads.
Interpretation
as if caught in a
snapshot: the metamorphosis of the peasants while Latona pleads to Jupiter
and her two children st retch out their arms. Some of the peasants have already
become frogs, while others are st ill being transformed. Several of their hands
now have just four fingers and are on the point of becoming webbed. Some of
their heads have assumed hybrid shapes. The monsters were originally created
in polychrome-painted lead to give the illusion of real colour and highlight
the whiteness of the marble group by contrast. The water spouting from their
mouths symbolises the curses and threats they are heaping upon Latona and the harsh croaking
noises to which they are now condemned.
The L atona Fountain portr ays this precise moment
Latona and her children
Historians have seen the tale of L atona as an allusion to the
nobles who rebelled against royal authority
during Louis XIV’s childhood, but there are no commentaries from the period
to back up this interpretation. However, it is undeniable that the theme of the
fountain does illustrate the divine protect ion afforded to Apollo, the symbol
of the sovereign. More generally, it embodies the victory of civilisation,
sculpted in white marble, over the monst rous forces of revolt fighting against
the divine order.
punishment of the 'Frondeur'
Details of the sculpted décor of the
Latona Fountain
55
A masterpiece of hydraulic
engineering
The Latona Fountain is the central element of the garden's
Grand Perspective, but is also the heart of the hydraulic system at
Versailles. It plays a key role in supplying the fountains, forming a
link between the upper pools (on the terraces: Water Parterre and
Fight of the Animals) and the lower pools (Apollo's Chariot,
Bacchus, Great Mirror and Roman Ladies, and the fountains in the
Dauphin, Girandole, Obelisk and Colonnade groves). All these
fountains depend totally on Latona which, thanks to its water
features and water collected in the underground tunnels, supplies
the necessary flow and pressure through valves.
Water effects
Underground machinery of the
Latona Fountain prior to
restoration
Photo: Thomas Garnier
The L atona Fountain is characterised by the number, type, tiering and combination of its water
features dist ributed between the three upper ponds and the lower pool.
In line with the pyr amid, the flowing water supplies pools which flow out incrementally in
waterfalls, ending up in the lower pool.
The water effects
Volume: 449 m
3
Water height: 0.70
m
74 water effects
72 jets: Ø 50
2 sprays: Ø 150
3 water blades
include oblique jets on the peripheral crown at the base of the pyramid and two
large lateral sprays.
The hydraulics of the pool remained virtually unchanged between the 1680s (const ruction of the
pyramid) and the mid-19th century. Since then, the main change has been the removal of the vertical
jets on the second tier. Modifications to the shape and intensity of the jets have also been identified:
transformation of the two lateral lances into sprays, a reduction in the curve radius of the jets on the
ring of lizards and tortoises, etc.
L atona's water effects
the water jets.
rely on adundance, with 74 nozzles allowing the controlled diff usion of
56
Latona Parterre
mark the starting point of
the garden's Grand Perspective and frame the monumental Latona Fountain.
With a surface area of almost 3.5 hectares, the Latona Parterres
Created in 1665 as part of the first embellishment work ordered by Louis XIV,
these
parterres of lawns cut out in the shape of shells lasted until the early 19 century, although they
were modified somewhat in the 17th and 18th centuries.
th
The main changes only concerned the shape of the pieces cut out of the lawn,
as the
original palm leaf was turned into a shell motif. The general arrangement and size of the
parterre remained unchanged, however. In 1818, the parterres were transformed into simple lawn
compartments bordered by flowerbeds.
In 2013, on the occasion of the restoration of the Latona Fountain and the anniversary
of André Le Nôtre's birth,
parterres.
Latona parterres after restoration
Photo : Toucanwings
a decision was made to return to the pattern of the original
57
The sculptures in the Latona Parterre
the gardens of Versailles contain
numerous masterpieces of French sculpture dating from the reign of Louis
XIV. The Year of Le Nôtre in 2013 provided an opportunity to focus on the
sculpted heritage of the gardens with a programme of restitution of statues
in the style of the originals. The copies of two sculpture groups, Milon de
Crotone and Persée et Andromède by Pierre Puget, one of the greatest artists
of the reign of Louis XIV, were re-installed in their original positions at the
entrance to the Great Lawn, thanks to the generosity of Fondation Nexans,
HUGO et Cie, and Mr and Mrs Jacques Morau.
Like an outdoor statue museum,
on the instructions of Louis XIV himself,
these two masterpieces show that the Versailles of Louis XIV did not confine
itself to the talents of official artists working for the king in Paris and
Persée et Andromède. Pierre Puget
Versailles: Puget spent the whole of his career working in Italy and Provence,
1679-1684
Photo : Didier Saulnier
far away from the Royal Court. In terms of iconography, the Milo statue is
also quite surprising: it shows a presumptuous hero, caught out by his own
pride, being devoured by a wild beast, thus seemingly contradicting the image of the all-powerful Sun King. Puget's sculptures, the originals of which are now in the Louvre, left Versailles in
the early 19th century.
Standing in the place of honour
Milon de Crotone. Pierre Puget
1672-1683
Photo : Didier Saulnier
return of the antiques
the Latona Parterre has been home to around 20 marble sculptures which
are copies of the antique masterpieces, now kept in Rome.
Next to Puget's Persée et Andromède, the Paetus et Arria statue, also in the form of a
mould, has recently been returned to its original position. The original work (restored
thanks to the Société des Amis de Versailles and private donors) is now in the sculptures
gallery in the King's Small Stables.
Since the 1680S
Paetus et Arria
François Lespingola
1684-1688
Photo : DR
The campaign to protect the sculpted masterpieces of the gardens
feature in the gardens of Versailles: this is the
world's biggest and finest collection of French sculpture. To protect this legacy of Louis XIV, a
campaign to put the original works in shelter and replace them with copies has been underway
since 2008. The campaign is currently focusing on the terms in the Latona Parterre. After Plato's
term (restored and replaced thanks to a donation from the company International Exchange
– ICE), that of Hercules (restored thanks to a donation from HUGO et Cie) has now been
replaced. The remaining eight terms will be replaced in the coming years.
More than two hundred marble sculptures
partie VI
Appendices
60
Part VI - Appendices
The Park of Versailles,
a colossal work of art
the gardens of
Versailles are an integral part of the royal estate. With
their complex, harmonious architecture echoing the
perspect ives of the Palace, they are an extension, an
outdoor companion of the Palace. Structured by a
succession of terraces, pools, parterres and perspect ives,
they are the very epitome of the French formal garden.
Much more than a haven of greenery,
hidden amongst the park's woodland, contain
water features, sculptures and arrangements that offer
surprise and fantasy to offset this st rict orderliness. Once
used as venues for private funct ions and concerts, they are
outdoor salons enclosed by trellises.
The groves,
View of the Grand Perspective
from Latona parterres to the
Grand Canal
Photo : Bedrone
redesigned countless times under Louis XIV and then
under the reigns of his successors, as well as throughout the 19th century, the gardens of Versailles
have always been a constantly-evolving landscape. Badly damaged by the hurricanes of 1990 and
1999, the park and some of its groves have been replanted and restored over the last 20 years.
The Estate of Versailles in figures
- 1500 trees in boxes in the Orangery, including 900
orange trees
787 hectares
- Grand Parc: 428 hectares
- Domaine de Trianon: 96 hectares
- Garden and its groves : 77 hectares
- Domaine de Marly: 53 hectares
- Lake of the Swiss Guard: 39 hectares
- Grand Canal: 24 hectares
Effects of the 1990 and 1999 hurricanes
Total surface area of
- 1500
trees destroyed in 1990
- 10,000 trees destroyed in 1999
Outdoor statues
Sculptures in the Petit Parc (vases, bowls, terms, statues,
reliefs, mascarons, busts, candelabras, capitals, groups),
including:
- 235
The garden's plant structures
- 350,000
vases
- 155 statues, 86 sculpted groups
trees on the estate
- 40 km of arbours
Pools and fountains
- 32 hectares of lawns
- 55 pools and fountains
- 43
- more than 600 water features
km of walkways
- 700 topiaries in 67 different shapes
- 300,000 flowers planted each year by the gardeners
- 35 km of hydraulic pipes
61
Part VI - Appendices
Prepare your visit to the gardens
For further
information
Access
www.chateauversailles.fr
From the Latona Fountain and through the estate's gates.
By car. Via the Queen's Gate and Saint Antoine's Gate. Car parks.
Authorised access with an admission fee: 7 am-7 pm in high season, 8 am-6pm in low season.
DISABILIT Y ACCESS. Access free of charge to the park for vehicles transporting disabled people.
Elevators at the top of the north parterre and at the Little Venice Gate.
Reserved parking spaces.
Château de Versailles
facebook.com/chateauversailles
@CVersailles
twitter.com/CVersailles
plus.google.com/+chateauversailles
On foot.
Chateauversailles
instagram.com/chateauversailles
Photos Souvenir
flick r.com/groups/versaillesfamille
youtube.com/chateauversailles
Versailles Media
media.chateauversailles.fr
Opening times
High season (1st April - 31 October)
- Park open every day from 7 am to 8.30 pm*.
- Gardens open every day from 8 am to 8.30 pm*.
- Groves accessible only on the Grandes Eaux days: Tuesdays and weekends from 9 am to 6 pm.
Low season (1st November - 31 March)
- Park and gardens open every day from 8 am to 6 pm*.
- Groves closed.
* Except for exceptional events and during bad weather. Check with www.chateauversailles.fr before
your visit.
rates
The park is free of charge every day,
The gardens are free of charge
all year long for pedest rians and cyclists.
except on Grandes Eaux days: Tuesdays and weekends
through to 28 October.
Jardins de Versailles app
For a discovery of the gardens of Versailles, a symbol of French formal
gardens and a masterpiece by their creator, André Le Nôtre.
Free app avail able from the App Store and Google Pl ay, in French, English
and Chinese.
62
Part VI — Appendices
Grandes Eaux Musicales
It was in 1666 - in order to please the King - that the water features in the pools and
the very first Grandes Eaux. Today this
tradition continues at Versailles with water effects and baroque music in the gardens.
gardens were switched on for the first time:
Spectators of the Gr andes Eaux Musicales will discover the fountains, pools and groves with
their water flowing to the sound of music. Several visit circuits include many of these masterpieces
and the most secret parts of the garden.
The L atona Fountain is now restored to the heart of the perspect ive after two years of restoration
work, and will be the highpoint of the Grandes Eaux this year.
4500 m3 of
water per hour
850 hectares
of Parks and
Gardens to visit
13 groves open
Grandes Eaux Musicales
to the sound of music.
Several visit circuits include many of these masterpieces and the most secret parts of the garden. In
the spirit of the ceators of Versailles, relive the masterpeices created over a period of two centuries.
Saturdays and Sundays from 28 March to 1st November, Tuesdays from 26 May to 30 June
Exceptional dates: 8 May, 14 May, 14 July, from 9 am to 6.30 pm
DISCOVErY OF THE FOUNTAINS AND GrOVES AND THEIr WATEr FEATUrES
for the occasion
55 fountains
started up
30 km of pipes,
unchanged since the
17th century
10,000 12,000
visitors each
Jardins Musicaux
In summer, to allow visitors to discover and enjoy the gardens even more,
the groves
and protected parts of the park are open on certain Tuesdays for a musical stroll: a magical moment
of discovery in the French gardens dreamed up by Le Nôtre, amongst the multitude of statues on
the walkways, and in the shade of the spaces protected and preserved by the gardeners of Versailles.
Tuesdays from 2 April to 14 May 2014, then from 2 July to 29 October 2014, 9 am to 6.30 pm.
day...
Grandes Eaux Nocturnes
information and
Every Saturday evening in summer ,
rates at chateauversailles-spectacles.fr
a walk last ing 2hrs30 in the gardens of Versailles with all
the water features in full flow, and with music, light and a firework display at the Grand Canal.
Saturdays from 20 June to 19 September, except Saturday 4 July, walk from 8.30 pm to 11.05 pm, and
firework display from 10.50 pm to 11.05 pm.

Press kit - Fondation Philanthropia

Transcription

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