The Original Sound of Music Tour (Salzburg, Austria)

The Original Sound of Music Tour

The next day, after an early breakfast at our hotel, we again walked to Mirabell Gardens where we joined Panorama Tours “The Original Sound of Music Tour” with other tourists on board an airconditioned bus.  The Sound of Music is a movie based on a successful Rogers and Hammerstein Broadway musical that premiered in New York on March 2, 1965.

Our Panorama Tours bus

Panorama Tours started as Kleinbusse am Mirabellplatz which, for three months during the film’s shooting in 1964, provided six Volkswagen vans for director Bob Wise to transport his 250 stars and staff around.  In the 1970s, the company morphed into today’s Panorama Tours, doing two four-hour “Sound of Music” tours a day, every day, all year.

Check out “Mirabell Palace and Gardens

During the 4-hour tour, we were to be shown the most important sights in and around Salzburg where the movie was filmed.  It was the biggest grossing musical of all time, if receipts are adjusted for inflation. Because of its core family values, hummable tunes and stunning scenery, the film turned into a worldwide success.

Our tour guide Peter Nussbaumer

Julie Andrews starred as Maria von Trapp, a real-life ex-nun who married Capt. Von Trapp (Christopher Plummer), an Austrian naval officer, after she became governess to his children. Both musical and film are based on the “The Story of the Trapp Family Singers” written by Maria von Trapp in 1949.

Hohensalzburg Fortress

In Austria, the film ran only for a very short period and was subsequently dropped probably because of instances of Nazi complicity depicted in the film which were certainly too much to bear for the Austria of the 1960s, which was forging a new, democratic future for itself. In 1966, the first American tourists started arriving and were asking about the film settings from bemused locals.

Hohensalzburg Fortress as seen from the movie (www.pinterest.com)

Two dozen locations in Salzburg were featured in the film. At Mirabell Palace and Gardens, most of the “Do-Re-Mi” song was filmed. Throughout the trip, our Australian guide Peter Nussbaumer was very funny and made the tour entertaining.  Along the way, we passed by (but did not stop) at Nonnberg Abbey, Hohensalzburg Fortress and Mozart Bridge (Mozartsteg) where a number of movie scenes were shot.

Check out “Hohensalzburg Fortress

Nonnberg Abbey

At Nonnberg Abbey, they include the opening part where nuns go to mass and Maria returns too late; performance for the song Maria” was staged in the courtyard and the children came to the Abbey’s gate to ask Maria to return to their home.

The Von Trapp children at the abbey gate to ask Maria to return to their home (www.pinterest.com)

The escape scene, with the Nazi cars parked outside the Abbey gate, was also shot in the original spot.

Mozart Bridge (Mozartsteg)

The Mozartsteg, a filigree Art Nouveau iron pedestrian foot bridge over the Salzach River, was built in 1903 by a private group called the Mozartstegverein to connect the Steingasse area to Mozartplatz. It was inaugurated by the Governor of the Duchy of Salzburg and the then Mayor of the city.

Georg Krimml, a wealthy owner of Café Corso, lobbied and donated the funds for its construction to increase customer traffic to his café.  Up until 1920, it was privately owned and you can still see the toll booth (now a tiny coffee shop) on the Mozartplatz side of the bridge. The bridge was used in the sequence, at the beginning of the My Favorite Things montage, where Maria takes the von Trapp children on the picnic in the mountains.  

From Mirabell, a short 4.3 km. (10-min.) drive via Leopoldskronstraße brought us to our first destination – Leopoldskron Palace (Schloss Leopoldskron), a rococo palace and a national historic monument in Leopoldskron-Moos, a southern district of the city. The palace, and its surrounding 7-hectare park, is located on the lake Leopoldskroner Weiher. The grounds, adjacent to those of Schloss Leopoldskron, were one of the main exterior locations and ten outdoor scenes were filmed there portraying the von Trapp home.

Mountain view from the palace

However, the interior of the palace was never used as the Von Trapp villa. Terrace scenes, using a replica of Leopoldskron’s terrace and “horse-gates” that lead to the lake, such as the family drinking pink lemonade (“not too sweet, not too sour, just too… pink!”), Maria and the Captain arguing and the children and Maria falling off the boat into the lake in the famous boating scene, were actually filmed on an adjacent property (known as Bertelsmann, at the time).

Terrace scene at The Sound of Music (www.pinterest.com)

For The Sound of Music, the pathway from the villa to the lake was constructed but was later removed. The statues, as well as the gate, remain.

Liesl at the terrace (www.pinterest.com)

Shots of the building itself, as well as the scene where the Captain watches the children arrive in a boat with Maria, were filmed at Schloss Frohnburg. As the Leopoldskron’s Venetian Room was smaller and too narrow than the ballroom in the film, the decor of the room was meticulously copied and recreated in the 20th Century Fox studios in Los Angeles for the waltz scenes in the ballroom.

The Baroness (Eleanor Parker), Maria Von Trapp (Julie Andrews) and Capt. Von Trapp (Christopher Plummer) at the ballroom

In 1987, the “Sound of Christmas,” a special production starring Julie Andrews, John Denver, and Plácido Domingo was also filmed at the Schloss Leopoldskron. In 2014, the palace, home to Salzburg Global Seminar since 1947, and the neighboring Meierhof building, were opened as a privately owned Hotel Schloss Leopoldskron.

Hellbrunn Palace

From Leopoldskron, a short 4.8 km. (8-min.) drive, via Morzger Str., brought us to Hellbrunn Palace (Schloss Hellbrunn), site of the Sound of Music Pavilion, the glass gazebo setting for the two main love scenes between Liesl (Charmian Carr) and Rolf (Daniel Truhitte), featuring the song Sixteen Going on Seventeen, and the kissing scene (Something Good) of Maria  and Capt. Von Trapp.

The author outside the Sound of Music Pavilion

The scenes were originally situated in the gardens of the Leopoldskron Palace. Only long shots of the Austrian gazebo are seen in the film as the gazebo interiors were shot on a Hollywood sound stage. At the end of the filming, the gazebo was presented as a gift to the city of Salzburg.

Rolf kisses Liesl inside the pavilion (www.pinterest.com)

After their numbers became too big for the business convention center housed there, constant trespassing resulted in it being moved and, in 1991, was reconstructed and shown publicly by the city council in the ornamental gardens of  Hellbrunn.

The tree-lined avenue where Capt. Von Trapp saw his children dangling from trees

Neaby is the tree-lined road leading to the castle where Capt. Von Trapp unknowingly noticed his own children dangling from the branches of the trees, to the horror of their father.

Lake Wolfgang and the town of St. Gilgen in the foreground

After our film-location tour within the Salzburg, we were driven out into the Salzburg Lake District Area (Salzkammergut) at St Gilgen, passing Lake Fuschl and Lake Wolfgang, where panoramic aerial shots and scenes of the picnic were filmed. The Salzkammergut extends over the entire area of lakes belonging to the Alps and Lower Alps and 3 Austrian provinces (Salzburg, Styria and Upper Austria) share this unique countryside. At our photo stop, we had a wonderful view down St. Gilgen and Lake Wolfgang.

L-R: Kyle, Cheska, Grace and Jandy

Nonnberg Abbey: Nonnberggasse 2, 5020 Salzburg, Austria. Tel: +43 662 841607

Hotel Schloss Leopoldskron: Leopoldskronstraße 56-58, 5020 SalzburgAustria.

Schloss Hellbrunn: Furstenweg 37, 5020 Salzburg.

The Sound of Music Panorama Tour: Hubert-Sattler-Gasse 1, 5020 Salzburg, Austria.  Tel: +43 662 883 211-0 and +43 662 874 029

Makartsteg Bridge (Salzburg, Austria)

Jandy, Cheska and Kyle at Makartsteg Bridge

The Makartsteg Bridge,  the most modern bridge over the Salzach River in the Salzburg city center, is open for pedestrians and cyclists only.  Connecting the new part of the city with the old town (Altstadt), it was named after the 19th century Historicist painter Hans Makart, who was born and raised in Salzburg.  Providing artwork for many of the pompous buildings of the Ringstraße, Makart became famous as a painter of the Viennese Historicism.

The current bridge is is already the third Makartsteg, the first one built in 1905 in Art Nouveau (Jugendstil) and demolished in 1967. The second Makartsteg, famously known as the “swinging bridge” (if you stood still at the center, you could feel it move rather strongly), was crossed by some 20,000 pedestrians on an average day and soon was in bad shape, being demolished once again in 2000.

View of the Salzach River, Hohensalzburg Fortress and the city from the bridge

One year later, the current Makartsteg bridge was opened with a massive festival, with live music along the river banks during a warm June night, fireworks and some 25,000 people cheering at the most elegant Makartbridge the city had seen so far.

Port of the Amadeus tourist boats

On the left side of the bridge is the “port” of the Amadeus tourist boat. Though there’s nothing special about the bridge itself, the panoramic view of the city, the cathedral, Hohensalzburg Fortress, the sunset and the boat traffic from this bridge is good.

Locks attached to the bridge’s chain link fence

However, this is not what the bridge is so famous for as the chain link fence of the bridge is covered in a sea of locks brought there by lovers from all around the world.

The locks at night

Hence, the name “Love Lock Bridge.” Following a popular, century-old tradition, these lovers inscribe their lock with their initials, affix the new love lock to the popular footbridge, snap photographs and then tossing the key into the river, an act symbolizing their unbreakable and eternal love.

Jandy enjoying the night time view of the city from the bridge

This practice is viewed, by many, as a romantic gesture while others consider it a popular form of vandalism as many cities around the world are struggling with what some call litter and vandalism on their most cherished public walkways. In fact, the French did away with the one in Paris completely due to weight issues.

In May 2011, on the basis of a resolution of the City Hall (which declared them to be inconsistent with the regulations in force concerning “posters and similar things”), the first 42 love padlocks were removed. However, it was soon acknowledged that this was a misapprehension and, probably counting on greater profits from tourism , this tradition was allowed to continue.

Manny and Cheska

Locks are purchased in a few of the stores just off of the. Prices reflect being in a highly tourist area. The locks are said to be removed every few years to make room for new ones. However, there is no mention about all of the keys laying on the bottom of the river.

The Sound of Salzburg Dinner Show (Austria)

The Sound of Salzburg Dinner Show

For our first night in Salzburg, Grace, Manny, Jandy, Cheska, Kyle and I proceeded to Sternbrau Restaurant, at the old heart of the city (next to the famous “Getreidegasse” shopping street), to watch the amazing “Sound of Salzburg Dinner Show,” (Check out video here) a daily show & dinner event with 74 seats available.

Sternbrau Restaurant

The most successful dinner show in Salzburg, it has, for 24 consecutive years, been mesmerizing and entertaining Salzburg visitors from all around the world with its harmonic blending of songs from The Sound of Music movie, Wolfgang Amadeus Mozart, operettas and other excerpts of Salzburg’s musical past.

Cheska, Kyle and Grace at the entrance of the restaurant

In 1991, three entrepreneurs – Franz Langer (music director), Martin Uitz (former CEO of Salzburg Land Tourism) and Stefan Herzl (CEO of Panorama Tours) – created the Sound of Music Dinner Show (as it was called back then), a dinner concert with live on-stage performance of The Sound of Music compositions combined with an Austrian dinner. It was staged daily, from May till October, in the big hall of the Salzburger Stieglkeller underneath the famous Hohensalzburg Castle.

In 2000, the dinner concert moved, from the Stieglkeller, to the Sternbräu with Franz Langer updating the program, featuring more compositions of W.A. Mozart and Salzburg‘s operettas, and renaming the daily event to “The Sound of Salzburg Dinner Show.”  Even a stepdaughter of Maria von Trapp, also called Maria, used to visit the show several times.

In 2014, Roman Forisch took over from Franz Langer (since 1997 sole owner of the show) as new manager and relocated “The Sound of Salzburg Dinner Show” to the Festungssaal (Fortress Hall) on the first floor of the K+K Restaurants am Waagplatz, a historical landmarked building next to the famous Salzburg Cathedral and right in the middle of the historic district of Salzburg.

Festungssaal (Fortress Hall)

The building, one of the oldest sites in Salzburg, was a brewery in the Middle Ages first mentioned in 1542.  Wolfgang Amadeus Mozart liked to come here regularly, especially in 1777. At the beginning of 2013, the building was restored, modernized and, after almost two years, re-opened as a restaurant in 2014.

Soup of the Day

Viennese-style Schnitzel with Noodles

The move to this historical building added a final piece to the cultural tourism highlight, providing the makings of a truly wonderful evening with its ideal combination of a splendid, high class culinary experience and a comfortable and atmospheric  Medieval location.

Roast Pork with Dumpling and Cabbage Salad with Bacon

Before the show, a dinner is served at 7.30 PM (Doors open at 7 PM).  We enjoyed a traditional Viennese 3-course meal, in a candlelit setting, prepared by chef de cuisine Michael Pratter and his team.  It featured a starter (Soup of the Day), a choice of white or red meat (Roast Pork with dumpling and cabbage salad with bacon or Vienna-style Schnitzel with Noodles) and their famous homemade Grandma’s Apple Strudel with Whipped Cream for dessert.

Grandma’s Apple Strudel with Whipped Cream

The one-and-a-half-hour show began at 8.30 PM at a stage with an area of about 10 square meters, right in front of the dinner tables. The “Sound of Salzburg Show” features a group of 4 singers (2 female and 2 male), all trained artists from all over the world, and 1 female pianist.

The four performers and the pianist (at right)

On stage, they performed a program which includes the greatest hits of the aforementioned The Sound of Music musical (Richard Rodgers & Oscar Hammerstein) and  Wolfgang Amadeus Mozart as well as Salzburg‘s operettas.   For the Sound of Music, they performed “The Sound of Music (song),” “Do-Re-Mi,” “Do-Re-Mi (Reprise),” “Do-Re-Mi (Fuge),” “Climb Ev’ry Mountain,” “Maria,” “My Favorite Things,” “Lonely Goatherd,” “Laendler Tanz,” “Edelweiss” and “So Long, Farewell.”

The two lady performers dressed up as nuns

The Mozart repertoire consisted of “Eine Kleine Nachtmusik,” “Ronda Alla Turca,” “Papageno Arie (Zauberflöte),” “Pa-Pa Duett (Zauberflöte),” “Vedrai Carino Arie (Don Giovanni)” and a “Minuet from Don Giovanni.”

Salzburg operettas featured, with live piano accompaniment, were Ralph Benatzky’s “Regenlied (Im weißen Rößl),” “Im Salzkammergut, da kammer gut (Im weißen Rößl)” and “Im weißen Rößl am Wolfgangsee (Im weißen Rößl); Fred Raymond’s “Saison in Salzburg (Saison in Salzburg)” and  Franz Lehar’s “Dein ist mein ganzes Herz (Das Land des Lächelns)” and “Lippen Schweigen (Die lustige Witwe).”  A folk song, Und jetzt gang i ans Petersbruennele, was also featured. 

Cheska dancing with a male performer

The show thus featured 5 different composers who each have their own style and lived in various parts of the musical history.  Thus, the job of the singers (who perform in 15 countries around the world as musical ambassadors for Austria) of the Sound of Salzburg show wasn’t easy as every single song they sang was supposed to be sung in the right way, in the way the composer intended.

They also needed to have a broad understanding of music to perform every one of them, know what the songs were actually about as well as to learn them by heart. In short, they have to live the song.

The real Maria von Trapp

The show also included an 8-minute, really interesting film clip of an interview from the real Maria von Trapp. The video, not the best quality, was from the 1980’s but you can see and hear everything you need to understand the real von Trapp story behind the movie.

Manny, on stage, serenaded by a lady performer

The dinner side of the show was great and the show itself was very entertaining.  The show was in English so we didn’t have to worry about not understanding anything. There were a couple of songs sung in German but we didn’t need to understand German to enjoy the tunes.  The performers also did a little audience participation.  Manny was pulled on stage, seated and serenaded by a lady singer.

Kyle (center) on stage with performers and other members of the audience

The male singers also grabbed a few ladies from the crowd (including my daughter Cheska) and taught them how to dance a traditional Viennese dance. Some kids (including my grandson Kyle) also joined the performers on stage. If you love “The Sound of Music” or simply just love Austrian music and culture, you would have a great night at the “Sound of Salzburg Dinner Show.” I definitely would recommend it. 

Kyle (second from right) with the performers

Sound of Salzburg Dinner Show: Sternbräu Restaurant, Griesgasse 23 5020 Salzburg. Tel: +43 660 5020520 and +43 699 10248666.  E-mail: office@soundofsalzburg.info . Website: www.soundofsalzburg.info. Daily show times (from mid May to mid October): 7 – 10 PM (dinner & show) and 8:30 – 10 PM (show only). Admission: € 39 (adults), € 32 (Salzburg Card & Students), € 20 (children 7-14 years of age) and free for children under the age of 7 (accompanied by an adult). Click here to book tickets online)

Guests can choose between three different 3-course menus (drinks not included) or our deluxe 4-course menu with premier seating (with drinks, the show and a CD). Menu choices for vegetarians and seafood lovers are available on request.  Food and beverages must be paid directly at the restaurant.

Mirabell Palace and Gardens (Salzburg, Austria)

The Grand Parterre of Mirabell Gardens

The Grand Parterre of Mirabell Gardens

After checking in and freshening up at Hotel Garni Evido Salzburg City Center, we all met up at the lobby to begin our exploration of the city, starting with the nearby Mirabell Palace and Gardens, a listed cultural heritage monument and part of the Historic Centre of the City of Salzburg UNESCO World Heritage Site. One of the most beautiful Baroque gardens in Europe, it was built along a north-south axis and oriented towards the Hohensalzburg Fortress and the Salzburger Dom cathedral.

View, from Rose Hill, of the Small Parterre, Salzburger Dom and Hohensalzburg Fortress

View, from Rose Hill, of the Small Parterre, Salzburger Dom and Hohensalzburg Fortress

The palace, outside the medieval walls of Salzburg, was built about 1606 according to Italian and French models, at the behest of Prince-Archbishop Wolf Dietrich  von Raitenau as a residence for his mistress Salome Alt. From their union, 15 children were born, 10 of whom survived. When von Raitenau was deposed and arrested in 1612, Salome and her family were expelled. After Wolf Dietrich’s death, the palace was renamed “Mirabell” (from the Italian word mirabilebella meaning “amazing” or “wonderful”) by his successor, Markus Sittich von Hohenems.

Mirabell Palace

Mirabell Palace

Prince-Archbishop Franz Anton von Harrach had Mirabell Palace redesigned, according to plans designed by the famous architect Johann Lukas von Hildebrandt, in a lavish Baroque style from 1721 to 1727, integrating the individual buildings into a self-contained complex. On June 1, 1815 the later King Otto of Greece was born here, while his father, the Wittelsbach crown prince Ludwig I of Bavaria served as stadtholder in the former Electorate of Salzburg.

Rosenhugel (Rose Hill)

Rosenhugel (Rose Hill)

On April 30, 1818, the palace was damaged by the great fire that swept through the city.  A number of frescoes, including those by Johann Michael Rottmayr and Gaetano Fanti, were destroyed by the flames but the masterly grand marble staircase that led into the palace and the marble hall, one of the most precious works of art at Mirabell Palace, survived unscathed.

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From about 1818, Mirabell Palace owes its present unassuming Neoclassical appearance to Peter de Nobile, the court’s architectural consultant and director of the Vienna School of Architecture. The edging of the windows, the capitals and stucco work are details that bear witness to the palace’s former splendor. Charming putti (cherubs) decorate the marble balustrade and the sculptures in the niches, all among the finest products of the European Baroque, are the work of the famous Georg Raphael Donner.

The Rape of Persephone

The Rape of Persephone

Aeneas and Anchises

Aeneas and Anchises

On June 3, 1944 Gretl Braun, the sister of Eva Braun (later to marry Adolf Hitler), married SS-Gruppenführer Hermann Fegelein, Reichsführer-SS Heinrich Himmler‘s liaison officer on Hitler’s staff, at the Mirabell Palace, with Hitler, Himmler and Martin Bormann as witnesses. Eva made all the wedding arrangements.

Rape of Helen by Paris

Rape of Helen by Paris

Today, Mirabell Palace houses the offices of Salzburg’s mayor and the municipal council (its rooms are not open to the public). The Marble Hall, considered to be one of the most beautiful wedding halls in the world, was formerly the prince-archbishops’ ballroom and a concert venue for Leopold Mozart and his children Wolfgang Amadeus Mozart and Maria Anna “Nannerl” Mozart.  Meetings, awards ceremonies and romantic concerts (Salzburg Palace Concerts) are regularly held here. Mirabell Palace is also a popular location for weddings.

The author at the Grand Panterre

The author at the Grand Panterre

Grace at the Grand Parterre Fountain

Grace at the Grand Parterre Fountain

The famous, geometrically-arranged Mirabell Gardens was redesigned, under Prince-Archbishop Johann Ernst Graf von Thun, in 1689 based on plans by Johann Bernhard Fischer von Erlach, and completely remodeled around 1730 by Franz Anton Danreiter. Noted for its boxwood layouts, it has mythology-themed statues dating from 1730.

Grace and Jandy

Grace and Jandy

The “Grand Parterre,” the oldest part of the Mirabell Gardens that is still preserved, is embraced by a marble railing decorated with vases by Fischer von Erlach.

Vase by Fischer von Erlach

Vase by Fischer von Erlach

In the heart of the garden is a large fountain, with four statue groups sculpted by Italian sculptor Ottavio Mosto from 1690 around it – “The Rape of Prosperina,” “The Rape of Helena by Paris,” “Aeneas and Anchises,” and “Hercules and Antaeus,”  symbolizing the 4 elements (fire, air, earth and water).

Statues of Roman gods and godesses

Statues of Roman gods and goddesses

On the balustrades are statues of Roman gods and goddesses (Ceres, Pomona. Venus, Vesta, Juno and Chronos, Bacchus, Jupiter, Mars, Hercules, Vulcan, Hermes and Apollo) made by B. van Opstal in 1689.

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The Heckentheater (Hedge Theater), a hedge maze located in the main part of the Mirabell Gardens, was created between 1704 and 1718 and is one of the oldest hedge theaters north of the Alps.  The Heckentheater is still used for performances in the summer, including concerts of the Salzburg Festival.

The Von Trapp children at the Hedge Theater

The Von Trapp children at the Hedge Theater

The Zwergerlgarten (Dwarf Garden) features a number of misshapen creatures, made of white Untersberg marble, dating back to the time of Archbishop Franz Anton Harrach.  In 1854, the gardens were opened to the public by Emperor Franz Joseph I.

Kyle and Cheska at the Small Panterre

Kyle and Cheska at the Small Panterre

The “Small Parterre,” the part of the Mirabell Gardens just along the backside of the Mirabell Palace, is directly attached to the Grand Parterre.  At its core is the Pegasus Fountain with a copper statue of Pegasus made in 1661 by Kaspar Gras from Innsbruck for the well on the Kapitelplatz near the Salzburger Dom cathedral.

Pegasus Fountain

Pegasus Fountain

There it stayed until 1690. After that time, it was used for the well on the Mirabellplatz Square until the great fire of 1818, and finally transferred to its current location in 1913. From Rosenhügel ( “Rose Hill”), we had a beautiful view all over the Small Parterre towards Salzburger Dom and Hohensalzburg Fortress.

Maria and the Von Trapp children at the Small Panterre

Maria and the Von Trapp children at the Small Panterre

Several scenes from the 1965 movie The Sound of Music were recorded here. Maria (Julie Andrews) and the von Trapp children (Charmian Carr as Liesl, Nicholas Hammond as Friedrich,  Heather Menzies as Louisa,  Duane Chase as Kurt,  Angela Cartwright as Brigitta,  Debbie Turner as Marta and Kym Karath as Gretl) sing ‘Do-Re-Mi‘ while dancing around the Pegasus Fountain and using the steps as a musical scale.

Fraulein Maria and the children at the Grand Parterre Fountain

Fraulein Maria and the children at the Grand Parterre Fountain

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Mirabell Palace and Gardens: Mirabellplatz 4, 5020 Salzburg, Austria. Tel: +43 662 80720. Open Mondays, Wednesdays and Thurdays, 8 AM – 4 PM; Tuesdays and Fridays, 1 – 4 PM.   No visit in case of special occasions.  The Mirabell Gardens are  open daily from approximately 6 AM to dusk.  Admission is free. The Hedge Theater and Dwarf Garden are closed during the winter.   The Orangerie is open all year round, 9 AM – 4 PM.

Gare de Paris Est Train Station (Paris, France)

Gare de l'Est Train Station

Gare de l’Est Train Station

It was our last day in Paris and, after breakfast at the hotel, we all  walked, with our luggage in tow, to the nearby Gare de Paris Est Train Station, one of six large SNCF (Société nationale des chemins de fer français or “National society of French railways” or “French National Railway Company”) termini in Paris. Here, we were to take  the train to Munich (Germany), the first leg of our trip to Salzburg (Austria).

Gare de l'Est  Train Station (1)

One of the largest and the oldest railway stations in Paris, it is the western terminus of the Paris–Strasbourg railway and the Paris–Mulhouse railway. It provides train transportation to major cities in Central Europe such as Zurich, Switzerland; Munich, Germany and Vienna, Austria.

Hall Alsace which gives access to the yellow train platforms, lanes numbered 2 to 12

Hall Alsace which gives access to the yellow train platforms, lanes numbered 2 to 12

Opened in 1849 by the Compagnie du Chemin de Fer de Paris à Strasbourg (the Paris-Strasbourg Railway Company) under the name “Strasbourg platform” (corresponds today with the hall for main-line trains), it was designed by architect François Duquesnay and was renamed the “Gare de l’Est” in 1854, after the expansion of service to Mulhouse.

Gare de l'Est Train Station (7)

The Paris East Train Station (Gare de Paris-Est) represents the Belle Epoque generation of railway buildings. The west wing is the original building built in 1847 and, in 1854, due to increased rail traffic, the east wing was built.

Gare de l'Est Train Station (1)

Central train platform

In 1885 and 1900, the Gare de l’Est station was renovated and, in 1931 it was doubled in size, with the new part of the station built symmetrically with the old part, thus significantly changing the surrounding neighborhood.

Gare de l'Est Train Station (5)

At the top of the west façade is a statue by the sculptor Philippe Joseph Henri Lemaire, representing the city of Strasbourg, while the east end of the station is crowned by a statue personifying Verdun, by Varenne.  Strasbourg and Verdun are important destinations serviced by Gare de l’Est.

Gare de l'Est Train Station (6)

On October 4, 1883, the Gare de l’Est Station saw the first departure, for Istanbul, of the Orient Express . As a terminus of a strategic railway network extending towards the eastern part of France, the Gare de l’Est saw large mobilizations,  at the beginning of World War I, of French troops, most notably in 1914. In the main-line train hall, a monumental painting by Albert Herter, dating from 1926, illustrates the departure of these soldiers for the Western front.

Gare de l'Est Train Station (4)Paris Est Train Station: Place du 11 Novembre 1918, Rue du 8 Mai 1945, 75010 Paris, France. Open daily, 5:30 AM – 1 AM.

Basilica of the Sacred Heart of Paris (Paris, France)

Basilica of the Sacred Heart of Paris

Basilica of the Sacred Heart of Paris

From the Eiffel Tower, we again walked to the Champ de Mars Metro Station where we took the Metro to Anvers, the nearest Metro station to our next destination – the imposing Basilica of the Sacred Heart of Paris, known for its many artists that have been omnipresent since 1880.  From Anvers, we walked for 2 to 3 mins., up the Rue Steinkerque, to the hill at the foot of Sacre-Couer.

The Montmartre Funicular

The Montmartre Funicular

Upon arrival, we all rode the Montmartre Funicular (a.k.a. Funiculaire de Montmartr) which runs from Place Suzanne-Valadon to Place Willette below Sacre-Couer.  Other tourists climbed the staircase alongside the tracks.  It was cold, windy and overcast during our visit.

Statue of Jesus Christ at the facade

Statue of Jesus Christ at the facade

This minor basilica, in the 18th arrondissement, to the west of the Gare de Nord and north of the Opéra Garnier, is commonly known as Sacré-Cœur Basilica or simply Sacré-Cœur (FrenchBasilique du Sacré-Cœur). This popular and iconic landmark, located at the summit of the Butte Montmartre (said to be derived from either Mount of Martyrs or from Mount of Mars), the highest point in the city, is a double (political and cultural) monument.

Statue of Joan of Arc

Statue of Joan of Arc

Sacré-Cœur is both a national penance for the secular uprising of the Socialist Paris Commune of 1871 (Montmartre had been the site of the Commune’s first insurrection) and the subsequent defeat of France in the 1871 Franco-Prussian War and is publicly dedicated to the Sacred Heart of Jesus, an increasingly popular vision of a loving and sympathetic Christ.

Statue of King St. Louis IX

Statue of King St. Louis IX

Designed by Architect  Paul Abadie (who won  over 77 other architects in a competition), its foundation stone was laid on June 16, 1875.  Abadie died in 1884 and 5 architects continued with the work: Honoré Daumet (1884–1886), Jean-Charles Laisné (1886–1891), Henri-Pierre-Marie Rauline (1891–1904), Lucien Magne (1904–1916, who added an 83 m./272-ft. high clock tower), and Jean-Louis Hulot (1916–1924)

The cathedral's interior

The cathedral’s interior

It was not completed until 1914, when war intervened, and was formally consecrated on October 16, 1919, after the end of World War I when its national symbolism had shifted.  The structure’s overall style, showing a free interpretation of RomanByzantine features, is a conscious reaction against the Neo-Baroque excesses of the Palais Garnier, which was cited in the competition, and has many design elements that symbolize nationalist themes.

The basilica's dome

The basilica’s dome

Built with travertine quarried in Château-Landon (Seine-et-Marne), its stone, when it rains, reacts to the water and exudes calcite which acts like a bleacher, ensuring that the basilica remains white even with weathering and pollution. Its portico, with three arches, is adorned by two bronze equestrian statues of French national saints Joan of Arc (1927) and King Saint Louis IX, both done (by Hippolyte Lefebvre.  The 19 ton Savoyarde bell, one of the world’s heaviest, was cast in 1895 in Annecy.  It alludes to the annexation of Savoy in 1860.  The Savoyarde clock, at the clock tower, is one of the world’s largest.

Christ in Majesty

Christ in Majesty

A 480 sq. m. mosaic in the apse ceiling, entitled Christ in Majesty and created by Luc-Olivier Merson, is the largest in France and among the largest in the world. On display in a monstrance above the high altar is the Blessed Sacrament (a consecrated host which, according to Church teaching, has become by the consecration of the priest Christ’s Body and Blood during Mass), continually on display there since 1885.

The cathedral's high altar

The cathedral’s high altar

The basilica also has a large and very fine pipe organ, built by Aristide Cavaillé-Coll and installed in Paris in 1905 by Charles Mutin Cavaillé-Coll’s successor and son-in-law), is composed of 109 ranks and 78 speaking stops spread across four 61-note manuals and the 32-note pedalboard (unusual before the start of the 20th century; the standard of the day was 56 and 30), spread across three expressive divisions (also unusual for the time, even in large organs).  The organ was ahead of its time, containing multiple expressive divisions and giving the performer considerable advantages over other even larger instruments of the day.

The parvis

The parvis

The basilica complex includes a garden for meditation, with a fountain. From its parvis, we had one of those perfect Paris postcard views. The top of the dome (the second-highest point in Paris after the Eiffel Tower), open to tourists, affords a spectacular panoramic 360°view (up to 30 kms. on a clear day) of the city of Paris, which is mostly to the south of the basilica.

View of Paris from the parvis

View of Paris from the parvis

The entrance to the dome and the chapel-lined crypt is located on the left side of the basilica. Buy a ticket, then climb a steep 234-step spiral staircase to the base of the dome. The crypt can also be visited for an additional €2.

Cheska, Jandy and Grace

Cheska, Jandy and Grace

Sacre Couer de Montmartre Basilica: 35 Rue du Chevalier de la Barre, 75018 Paris, France. Tel: +33 1 53 41 89 00. Website: www.sacre-coeur-montmartre.com.  Open day, 6 AM to 10:30 PM. Admission is free. The dome is accessible from 9 AM to 7 PM in the summer and 6 PM in the winter. When visiting the basilica, tourists and others are asked to dress appropriately and to observe silence as much as possible, so as not to disturb persons who have come from around the world to pray in this place of pilgrimage. The use of cameras and video recorders is forbidden inside the Basilica. 

How to Get There: The basilica is accessible by buses 30, 31, 80, and 85 which can be taken to the bottom of the hill of the Basilica. Line 12 of the Metro can be taken to Jules Joffrin station and visitors can then change to the Montmartrobus and disembark at Place du Tertre. Line 2 or 12 of the Metro can be taken to Pigalle station where visitors can change to the Montmartrobus and disembark at Norvins, or to Anvers station which gives easy access to the steps or the funicular car that leads directly to the Basilica. The Montmartrobus operates on a circular route from Place Pigalle (near the Pigalle Métro stop) to the top of the Butte, where you can get off for the short walk to Sacré-Coeur. Or you can stay on the bus until it goes down and around the other side of the hill, then passes Sacré-Coeur on its way back to Pigalle.

Versailles Palace – Queen’s Grand Apartment (France)

Queen’s Grand Apartment

The Queen’s Grand Apartment (grand appartement de la reine), a suite of rooms, of exceptional splendor, in the Palace of Versailles that were reserved for the personal use of the queen, overlooks the  Parterre du Midi and formed a parallel enfilade with that of the Grand Apartment of the King (grand appartement du roi,).

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The queen’s apartments served as the residence of three queens of France, originally arranged for the use of Marie-Thérèse d’Autriche (wife of Louis XIV, she died not long after moving in, in 1683),  by  Marie Leczinska (wife of Louis XV) and, finally, for the Austrian archduchess Marie-Antoinette (wife of Louis XVI).  Additionally, Princess Marie-Adélaïde of Savoy (Duchesse de Bourgogne), Louis XIV’s granddaughter-in-law and wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.

When Louis Le Vau‘s envelope of the old palace (château vieux) was completed, the Queen’s Grand Apartment came to include a suite of seven enfilade rooms on the first floor in the left wing with a perfectly symmetrical layout that mirrored, almost exactly, the Grand Apartment of the King in the right wing.

The Chapel corresponded to the Salon de Diane in the King’s Grand Apartment, the Salle de Gardes to the Salon of Mars (Salon de Mars), the Antichambre to the Salon of Mercury (Salon de Mercure), the Chambre to the Salon of Apollo (Salon d’Apollon), the Grand Cabinet to the Salon of Jupiter (Salon de Jupiter), the Oratory to the Salon of Saturn (Salon de Saturne) and the Petit Cabinet to the Salon of Venus (Salon de Vénus).

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With regards to the ceiling decoration, those in the Grand Apartment of the King depicted the heroic actions of Louis XIV as allegories from events taken from the antique past while the decoration of the Queen’s Grand Apartment depicted heroines from the antique past and harmonized with the general theme of a particular room’s decor.

The construction of the Hall of Mirrors, which began in 1678, changed the configuration of the Queen’s Grand Apartment. The chapel was transformed into the Queen’s Guards Room (salle des gardes de la reine) and the decorations from the salon de Jupiter were reused here. The Queen’s Guards Room communicates with a loggia that issues from the Queen’s Staircase (escalier de la reine), which corresponded (albeit a smaller, though similarly-decorated example) to the Ambassador’s Staircase (escalier des ambassadeurs ) in the King’s Grand Apartment.

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The loggia also provides access to the King’s Grand Apartment. Toward the end of Louis XIV‘s reign, the Queen’s Staircase became the principal entrance to the palace, with the Ambassador’s Staircase used on rare state occasions. In 1752, after the destruction of the Ambassador’s Staircase, the Queen’s Staircase became the main entrance to the palace.

However, this was soon changed when the king decided to set aside all the rooms around the Marble Courtyard for his new apartments, limiting the queen’s space to her State Apartments (which were modified by Marie Leczinska and later Marie-Antoinette) and to a few smaller rooms for more private use, situated behind the official apartments, overlooking two inner courtyards. The Queen’s Apartments consist of the Queen’s Bedchamber (Chambre de la reine),  the Nobles’ Room, the Antechamber to the Grand Couvert (formerly the Salle des gardes) and the Queen’s Guard Room (Salle des gardes de la reine).

The Queen’s bed

In 1729, to commemorate the birth of his only son and heir, Louis, Louis XV ordered a complete redecoration of the room. Elements of the Queen’s Bedchamber (chambre de la reine), as it had been used by Marie-Thérèse d’Autriche and Princess Marie-Adélaïde of Savoy, were removed and a new,  more modern decor was installed.

During her life at Queen’s Grand Apartment, Marie Leszczynska (1703–1768) annexed the salon de la paid to serve as a music room. In 1770, when Marie-Antoinette married the dauphin (later Louis XVI), she took up residence in these rooms and, upon Louis XVI‘s ascension to the throne in 1774, ordered major redecoration of the Queen’s Grand Apartment which achieved the arrangement that we see today.

The bedchamber ceiling

The Bedchamber, the most important room in the apartments, is where the Queen spent most of her time, where she slept (often with the king) and, in the morning, where she received guests during and after her toilette (like the King’s getting-up ceremony, it was a courtly affair controlled by strict etiquette).

It was also here that the queen gave birth, in public (actually misleading since, in reality, only doctors, ladies in waiting, the governess of the Princes and Princesses of the Realm, the Princesses of the royal family and a few members of the church were allowed to enter) to the Princes and Princesses of the Realm. The queen was placed on a labor bed specially brought in, and was hidden behind a screen or canvas tent.

The bust of Marie Antoinette

After giving birth, she was returned to her own bed while the whole court (waiting in the other rooms in the Apartment whose doors were all symbolically left open) filed through to present their compliments. Between 1682 and 1786, 19 Princes and Princesses of the Realm were born here and two queens died here (Maria-Theresa in 1683 and Marie Leszczyńska in 1768).

The decoration in the room, still reflecting the three queens who once occupied it, features partitions on the ceiling dating back to the reign of queen Marie-Thérèse d’Autriche, a greyscale painting by François Boucher and wood panelling added for Marie Leszczyńska, all elements that survived the reign of Marie-Antoinette who replaced the furniture and fireplace and put up paintings of her mother Empress Maria-Theresa and her brother, Emperor Joseph II.

The jewelry cabinet, commissioned to Schwerdfeger by Marie-Antoinette, is placed in its original position in the alcove to the left of the bed. The 1745 Baillou and Crescent clock Marie-Antoinette placed in the bedchamber has been restored to its place. Other items returned to the room include Sené’s chimney piece, andirons by Boizot and Thomire and the bedspread by Desfarges.

Other pieces of furniture which were sold at an auction that lasted a year, such as the sofa delivered for the Countess of Provence (the queen’s sister-in-law), have been replaced by similar items. The armchairs by Tilliard and folding stools were taken from the suite of rooms belonging to the Countess d’Artois. The fabrics, hanging on the bed and walls, were re-woven in Lyon using the original patterns; the bed and balustrade have been remade and the Savonnerie carpet rewoven using ancient documents.

Queen’s Nobles Room

The Grand Cabinet, now the Nobles’ Room (salon des nobles), was used as a second antechamber where Queen Marie Leszczyńska (and, later, Marie-Antoinette) held formal audiences, seated under a canopy, as well as her Circle (the name given to the times spent in orderly conversation by the ladies of the Court). When not used for formal audiences, the Noble’s Room served as an antechamber to the queen’s bedroom.

Commode

In 1785, Marie-Antoinette, not too fond of the Louis XIV style of the room, entrusted Richard Mique, her architect,  with completely redecorating it (except for the ceiling which was kept). Apple-green damask, bordered with a wide gold stripe, were hung on the walls, and new, extremely modern and refined furniture were delivered.

Commode

When making the majestic commodes and corner cupboards for the room, the queen’s favorite cabinetmaker Riesener followed the latest English fashion by abandoning the customary marquetry in favor of large panels of mahogany. In this magnificent collection, the gilded bronze decoration and the small tables in Bleu Turquin marble matched the decoration on the new fireplace.

Mercury Spreading his Influence over the Arts (Michel Corneille)

The ceiling paintings, by Michel Corneille, depicts Mercury Spreading his Influence over the Arts.

Tapestry Portrait of Louis XV (Cozette)

A tapestry portrait of Louis XV by Cozette hangs on the wall, with mythological paintings by Francois Boucher. The mantlepiece ornaments show a Turkish influence while the commodes and corner cupboards, by Riesner and Gouthière, are dated 1786. The overdoors depict Pygmalion and Dibutade by Regnault while the bronze fireplace ornaments are by Gouthière.

Antechamber of the Grand Couvert

Traditionally, public meals at the Royal Table or Grand Couvert (a lavish court ceremony attracting a large number of curious, decently dressed onlookers), taken by the king and members of the royal family, were held at the Royal Table Antechamber, now the Antechamber of the Grand Couvert (Antichambre du Grand Couvert).  Privileged duchesses, princesses or those holding important positions sat in front them on stools while the other ladies and people whose rank granted them entry or who were admitted by the ushers stood around them.  In the 1680s, the room was sometimes used as a theatre for the château.

Almost every evening, Louis XIV strictly adhered to this ceremonial performance (seated alone at a table in front of the fireplace, his spoon, fork, and knife were brought to him in a golden box and courtiers could watch as he dined) whereas Louis XV, more often, preferred private dinners.  Louis XVI and Marie-Antoinette only ate at the Royal Table once a week, sitting with their backs to the fireplace.  Louis XVI ate well but Marie Antoinette, who was bored, requested that music be played during meals, installing a platform for musicians to this end.

Marie Antoinette and her Children (Elizabeth Louise Vigee Le Brun)

Designed for Queen Marie-Thérèse d’Autriche, the room’s lower panels were made of marble and two famous paintings of Marie Antoinette hang on the walls, including that which includes all her children. Portraits of Louis XVI’s aunts by Madame Labille-Guiard are part of the decor. Above the doors are works by Madeline de Boulogne dated 1675.

Ceiling painting of Darius’ Family at Alexander’s Feet (Charles Le Brun)

The original, very large painting of ancient heroines on the ceiling, illustrating royal virtues, by the artist Claude-François Vignon and Paillet, quickly deteriorated and, in 1814-1815, was replaced with a Veronese canvas Saint Mark Rewarding the Theological Virtues.  Later, in 1861, it was substituted by the current, equally large marouflé canvas, Darius’ Family at Alexander’s Feet, a tapestry cartoon painted by Henri Testelin after a work by Le Brun. The gilt stuccos were sculpted by Pierre I Le Gros the Younger and Benoît Massou.

In 2007, due to the bulging of the camaieus on the arches, emergency measures were taken.  Between April 2009 and July 2010, the Antechamber of the Grand Couvert was restored, thanks to sponsorship from Martell & Co.  Thanks to a 1788 inventory of the furniture in this room (the pieces were well documented but are now lost), the furniture is now as they would have been when the royal family was forced to leave the palace, with Louis XV period seats and stools with Savonnerie manufactory upholstery and a large table placed in the center of the room as it would be when the King and Queen sat down for the Grand Couvert.  In order to evoke the royal dinnerware which is close to that used by French royalty but which disappeared during the Revolution, the Louvre lent silverware produced for George III of England by Robert-Joseph Auguste.

Autumn or The Triumph of Bacchus and Ariadne

Facing the large windows is the tapestry Autumn or The Triumph of Bacchus and Ariadne, was put on deposit here by the Mobilier National from the ensemble in the gallery of the Château de Saint Cloud after cartoons by Pierre Mignard. A deep crimson damask fabric, woven according to the description afforded by a document from the first half of the 18th century, was placed on the walls.

Fireplace

The Queen’s Guard Room, where 12 of the Queen’s Guards (composed of soldiers from the four elite companies of the King’s Guards) were on duty day and night, controlled entry to the Queen’s Apartments from the Queen’s Staircase (also called the “Marble Staircase”). In 1672, the room was used as a Chapel and, in 1676-1681, received its final decoration.

The Marble Staircase

Since the Queen never spent time here and there was therefore no need to modernize it, the Queen’s Guard Room is the only room in the Apartments in which the 17th-century decoration has been fully preserved, still contains the marble paneling, enhanced with gilded bronze designed by Le Brun and executed by Le Gros and Massou, characteristic of the State Apartments’ original condition, as well as the paintings, by Noël Coypel, which were brought here in 1680 from the old Jupiter Drawing Room (later replaced by the War Room).

At dawn on October 6, 1789, a group of rioters demanding bread tried to enter the Queen’s Apartments. Warned by one of the queen’s guards, one of the ladies in waiting managed to bolt the door to the Antechamber of the Grand Couvert and help the queen hurry, through a private corridor, to the king’s apartments, via her private chambers, and flee from the Paris mob. 

Queen’s Guards Room (photo: www.chateauversailles.fr)

NOTE:

On January 2016, the Queen’s Apartment was closed for major works and, on April 16, was again open to the public.  The revived magnificence of the Rococo style of Marie-Antoinette’s bedchamber or that of the Queen’s Guard Room was restored, thanks to the patronage of American Friends of Versailles and the Société des Amis de Versailles.  Today, the tour route passes through the rooms in the opposite direction to the traditional order during our visit, now starting in the bedchamber and ending in the Queen’s Guard Room, which originally marked the entrance to the Queen’s Apartments during the Ancien Régime.

Queen’s Grand Apartment: First Floor, Chateau De Versailles, Place d’Armes, 78000 Versailles, France. Tel: +33 1 30 83 78 00. Website: www.chateauversailles.fr.  Open daily (except on Mondays and May 1)from 9:00 AM to 6:30 PM.  Last admission is 6 PM while the ticket office closes at 5.45 PM. The estate of Trianon and the Coach Gallery only open in the afternoon while the Park (7 AM to 8:30 PM) and Gardens (8 AM to 8.30 PM, last admission: 7 PM) are open every day. Access to the Gardens is free except on days of fountains shows. You can access the estate of Trianon through the Gardens or through the city. The Petit Trianon is only possible via the Grand Trianon.

Admission: 27 € for Passport with Timed Entry (days with Musical Fountains Shows or Musical Gardens), 20 € for Passport with Timed Entry (without musical fountains show or musical gardens), 12 € for Estate of Trianon ticket(without Musical Fountains Show or Musical Gardens), 10 € for Passport with Timed Entry (free admission, days with Musical Fountains Show or Musical Gardens), 9,50 € for Musical Fountains Show ticket, 8,50 € for Musical Gardens ticket, 28 € for the Fountains Night Show.

How to Get There: The cheapest option for reaching Versailles is by train. There are three train stations in Versailles.  RER line C arrives at Versailles Château – Rive Gauche train station, the closest one of the Palace (just 10 minutes’ walk to the Palace). SNCF trains from Gare Montparnasse arrive at Versailles Chantiers train station, which is 18 minutes on foot to the Palace. SNCF trains from Gare Saint Lazare arrive at Versailles Rive Droite train station, 17 minutes on foot to the Palace. RER C and SNCF train times are available on www.transilien.com

 

Versailles Palace – Gallery of Great Battles (Paris, France)

Gallery of Great Battles

The highlight of our visit of the Museum of the History of France is the 120 m. long and 13 m. wide (390 ft. x 43 ft.) Gallery of Great Battles (Galerie des Batailles).  Occupying almost the entire the first floor of the Aile du Midi of the of the South Wing of the Palace of Versailles, is the largest room in the palace.

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Joining onto the grand and petit appartements de la reine, it is an epigone of the grand gallery of the Louvre and was intended to glorify nearly 15 centuries of French military history and successes, from the Battle of Tolbiac (traditionally dated 496), won by Clovis I, to the Battle of Wagram (July 5–6, 1809) won by Napoleon I..

Battle of Austerlitz (François Gérard). Widely regarded as the greatest victory achieved by Napoleon, here the Grande Armée of France defeated a larger Russian and Austrian army led by Emperor Alexander I and Holy Roman Emperor Francis II (December 2, 1805). The Battle of Austerlitz brought the War of the Third Coalition to a rapid end, with the Treaty of Pressburg signed by the Austrians later in the month. The battle is often cited as a tactical masterpiece, in the same league as other historic engagements like Cannae or Gaugamela.

Its creation an idea of Louis-Philippe I, it was designed in 1833 and its construction started the same year. The gallery was solemnly inaugurated on June 10, 1837.

Battle of Fleurus (Jean-Baptiste Mauzaisse). This engagement (June 26, 1794), between the army of the First French Republic (under General Jean-Baptiste Jourdan) and the Coalition Army (Britain, Hanover, Dutch Republic, and Habsburg Monarchy), commanded by Prince Josias of Coburg, resulted in an Allied defeat that led to the permanent loss of the Austrian Netherlands and to the destruction of the Dutch Republic. The battle marked a turning point for the French army, which remained ascendant for the rest of the War of the First Coalition.

The gallery replaced apartments which had been occupied in the 17th and 18th centuries by Philippe I, Duke of Orléans (Louis XIV‘s brother)  and his second wife, Elizabeth Charlotte of the Palatinate; Philippe II, Duke of Orléans (regent during Louis XV‘s minority) and his wife; Louis d’Orléans, Duke of Orléans (the regent’s son); Princess Maria Josepha of Saxony (1731–1767) as dauphine; Charles X of France (whilst Comte d’Artois) and Princess Élisabeth of France.

Battle of Rivoli (Henri Félix Emmanuel Philippoteaux). A key victory (January 14-15, 1797) in the French campaign in Italy against Austria, here Napoleon Bonaparte’s 23,000 Frenchmen defeated an attack of 28,000 Austrians under General of the Artillery Jozsef Alvinczi, ending Austria’s fourth and final attempt to relieve the Siege of Mantua. Rivoli further demonstrated Napoleon’s brilliance as a military commander and led to the French consolidation of northern Italy.

Its solemn decorative scheme, designed by Frédéric Nepveu and, almost certainly, with advice from architect Pierre-François-Léonard Fontaine, evokes the latter’s projects for the Grande Galerie in the Louvre during the Consulat and the Empire.

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Battle of Fontenoy (Horace Vernet). A major engagement of the War of the Austrian Succession (May 11, 1745), was a battle fought 8 kms. outside Tournai (Belgium) by a French army of 50,000 under Marshal Saxe which defeated a Pragmatic Army of 52,000, led by the Duke of Cumberland.

Its solemn space, with finely decorated with marble and painted and gilded stuccos, features a wide cornice supporting a coffered painted ceiling lit up by glass, with entablatures supported and punctuated by an avant-corps of Corinthian columns along the length of the gallery. On the walls are 13 bronze tablets inscribed with the names of princes, admirals, constables, marshals and warriors killed or wounded whilst fighting for France.

Battle of Rocroi (Francois Joseph Heim, 1834). Fought on May 19, 1643, this major engagement of the Thirty Years’ War was fought between a French army, led by the 21-year-old Duke of Enghien, and Spanish forces, under Gen. Francisco de Melo only five days after the accession of Louis XIV to the throne of France following his father’s death. Rocroi is regarded as the graveyard of the myth of invincibility of the Spanish Tercios, the terrifying infantry units that had dominated European battlefields for 120 years up to that point.

The main contents of the rooms are the 33 vast paintings showing major military events and the greatest battles that had influenced the history of France, some already in existence but mostly specially commissioned for the gallery between 1834 and 1845. All the dynasties (the Merovingians, Carolingians, Capetians, House of Valois, House of Bourbon,etc.) from the history of France are evoked.

Battle of Marsaglia (Eugene Deveria). This battle, in the Nine Years’ War, was fought in Italy on October 4, 1693, between the French army of Marshal Nicolas Catinat and the army of the Grand Alliance under Duke Victor Amadeus II of Savoy. Here, the greatly superior regimental efficiency of the French, and Catinat’s minute attention to details in arraying them, gave the new marshal a victory that was a worthy pendant to Neerwinden.

Louis-Philippe’s skillfully incorporated depictions of the victories by the Revolution and the Empire had a simple message: France had built itself over the course of battles against enemies from both abroad and within; the country is henceforth glorious, at peace and ready to enter a new era built on peace and prosperity. Today it is still one of the most impressive examples of Louis Philippe’s project for Versailles and one of the finest examples of major museum projects of the 19th century.

Entry of Henry IV Into Paris (Francois Gerard)

The four largest paintings were commissions from previous regimes.  The 9.58 m. by 5.10 m. Battle of Austerlitz, an oil on canvas by François Pascal Simon Gérard (1770–1837), was commissioned by Napoleon I for the ceiling of the Salle du Conseil d’État at the palais des Tuileries in Paris.  Henry IV‘s Entry into Paris, also by Gérard, measures 5.1 m. by 9.58 m.  The 5.1 m. by 9.58 m. Battle of Bouvines (1827) and the 5.1 m. by 9.58 m. Battle of Fontenoy (1828), both by Horace Vernet, were commissioned during the Restoration.

Battle of Taillebourg (Eugène Delacroix). This major medieval battle, fought in July 1242, was the decisive engagement of the Saintonge War. It pitted a French Capetian army, under the command of King Louis IX and his younger brother Alphonse of Poitiers, against forces led by King Henry III of England, his brother Richard of Cornwall and their stepfather Hugh X of Lusignan.

All the other works were created especially for the Gallery by great historical painters of the time including Jean Alaux, Francois Bouchot, Louis Charles Auguste Couder (1790-1873), Eugène Delacroix (1798–1863), Devéria Eugène (1805–1865), Eloi Firmin Feron (1802-1876), Fragonard son, Jean-Pierre Franque (1774–1860), François Joseph Heim (1787–1865), Charles-Philippe Larivière (1798–1876), Jean-Baptiste Mauzaisse, François-Édouard Picot (1786–1868), Ary Scheffer (1795–1858), Hendrik Scheffer, Henry Scheffer, Jean-Victor Schnetz, Henri Frederic Schopin and Charles de Steuben. A number of them were of questionable quality, but a few masterpieces, such as the Battle of Taillebourg by Eugène Delacroix, are displayed here.

Battle of Bouvines (Horace Vernet, 1827). Fought on July 27, 1214 near the town of Bouvines in the County of Flanders, it was the concluding battle of the Anglo-French War of 1213–1214. Here, a French army of approximately 7,000 men, commanded by King Philip Augustus, defeated an Allied army of approximately 9,000, commanded by Holy Roman Emperor Otto IV.

The 33 paintings, arranged chronologically, are:

Some of the 80 busts on display

The gallery, also designed as a Pantheon to national glory, also features a series of 80 busts of officers killed in combat, as well as tables in bronze bearing the names of princes, constables, Maréchals and admirals also killed or wounded for France.

Hall of busts

The busts are placed on supports against the columns and between the paintings. The 80 busts on display are those of:

Jandy among the busts of the Gallery of Great Battles

Today, the Royal Serenade and King’s Tour take place in the Gallery of Great Battles. 

Battle of Wagram (Horace Vernet). Fought July 5-6, 1809), this military engagement of the Napoleonic Wars ended in a costly but decisive victory for Emperor Napoleon Bonaparte’s French and allied army against the Austrian army under the command of Archduke Charles of Austria-Teschen. The battle led to the breakup of the Fifth Coalition, the Austrian and British-led alliance against France.

Gallery of Great Battles: South Wing, Chateau De Versailles, Place d’Armes, 78000 Versailles, France. Tel: +33 1 30 83 78 00. Website: www.chateauversailles.fr.  Open daily (except on Mondays and May 1)from 9:00 AM to 6:30 PM.  Last admission is 6 PM while the ticket office closes at 5.45 PM. The estate of Trianon and the Coach Gallery only open in the afternoon while the Park (7 AM to 8:30 PM) and Gardens (8 AM to 8.30 PM, last admission: 7 PM) are open every day. Access to the Gardens is free except on days of fountains shows. You can access the estate of Trianon through the Gardens or through the city. The Petit Trianon is only possible via the Grand Trianon.

Admission: 27 € for Passport with Timed Entry (days with Musical Fountains Shows or Musical Gardens), 20 € for Passport with Timed Entry (without musical fountains show or musical gardens), 12 € for Estate of Trianon ticket(without Musical Fountains Show or Musical Gardens), 10 € for Passport with Timed Entry (free admission, days with Musical Fountains Show or Musical Gardens), 9,50 € for Musical Fountains Show ticket, 8,50 € for Musical Gardens ticket, 28 € for the Fountains Night Show.

How to Get There: The cheapest option for reaching Versailles is by train. There are three train stations in Versailles.  RER line C arrives at Versailles Château – Rive Gauche train station, the closest one of the Palace (just 10 minutes’ walk to the Palace). SNCF trains from Gare Montparnasse arrive at Versailles Chantiers train station, which is 18 minutes on foot to the Palace. SNCF trains from Gare Saint Lazare arrive at Versailles Rive Droite train station, 17 minutes on foot to the Palace. RER C and SNCF train times are available on www.transilien.com

Versailles Palace – 1792 Room (France)

1792 Room

The 1792 Room, a transition room in the Versailles Palace devoted to September 1792 (a pivotal year of the French Revolution) when the Republic was proclaimed, was developed for the History of France Museum from what had formerly been known as the Room of the Merchants of the Court during the reign of Louis XV.

Check out “Versailles Palace

It presages the messages of the Gallery of Battles and, beyond it, the 1830 Room, in a trilogy that represents King Louis Philippe’s response to the Hall of Mirrors built by his ancestor, Louis XIV, surrounded by the War and Peace Rooms.

Check out “Versailles Palace – Hall of Mirrors” and “Versailles Palace – Grand Gallery

Entrance with the portrait of the young Napoleon above the door

The only remnant of the rooms that Louis-Philippe I devoted to the French Revolution, it offers the keys to understanding the king’s political and historic project.

The 1792 Room marks both the end of a world (the French monarchy fell on August 10, 1792) and the beginning of a new era full of hopes as well as worries as the European monarchies were united against France, which found, within itself, the driving forces that would unite to defend it.

In this room, there are paintings of some of the most emblematic battles of the Revolution that evoke the call to arms to defend “the imperiled nation.”

The Battle of Valmy

The Battle of Jemmapes

They include the September 20, 1792  Battle of Valmy (Mauzaisse after Horace Vernet, 1826) and the November 6, 1792 Battle of Jemappes (Henry Scheffer after Horace Vernet, 1821) in which Louis-Philippe I (then known as the Duke of Chartres), participated along with his younger brother Antoine Philippe (the Duke of Montepensier). There’s also The National Guard of Paris Leaves to Join the Army in September 1792 by Léon Cogniet.

Portrait of King Louis Philippe I

Louis-Philippe I also gathered portraits of the many military commanders and heroes of the Revolutionary Wars and Empire Wars, wearing the uniforms and badges of their ranks, who led France to victory such as François Christophe de KellermannCharles François DumouriezNicolas Luckner, are featured alongside veterans of the American Revolutionary War Jean-Baptiste Donatien de Vimeur, comte de Rochambeau and Gilbert du Motier, Marquis de Lafayette.

Portrait of the Marquis De La Fayette (Joseph-Désiré Court, 1834)

Portrait of Adam Philippe, Comte de Custine

Lining the archways around the windows are portraits of young officers who would become future generals and marshals of the Consulate and the Empire while above the entrance, the portrait of a young Napoleon has pride of place.

Entry of the French Army in Mons (November 7, 1792, Hippolyte Bellangé)

Combat of Anderlecht (November 13, 1792, Hippolyte Bellangé)

There is a subtle hierarchy between the portraits, with King Louis-Philippe I presenting himself as a Revolutionary fighter (being a participant in the two abovementioned battles), heir of the Enlightenment and a proponent of new ideas. 

Entry of the French Army in Mons (November 7, 1792, Hippolyte Bellangé)

1792 Room: Chateau De Versailles, Place d’Armes, 78000 Versailles, France. Tel: +33 1 30 83 78 00. Website: www.chateauversailles.fr.  Open daily (except on Mondays and May 1), from 9:00 AM to 6:30 PM.  Last admission is 6 PM while the ticket office closes at 5.45 PM. The estate of Trianon and the Coach Gallery only open in the afternoon while the Park (7 AM to 8:30 PM) and Gardens (8 AM to 8.30 PM, last admission: 7 PM) are open every day. Access to the Gardens is free except on days of fountains shows. You can access the estate of Trianon through the Gardens or through the city. The Petit Trianon is only possible via the Grand Trianon. 

Admission: 27 € for Passport with Timed Entry (days with Musical Fountains Shows or Musical Gardens), 20 € for Passport with Timed Entry (without musical fountains show or musical gardens), 12 € for Estate of Trianon ticket(without Musical Fountains Show or Musical Gardens), 10 € for Passport with Timed Entry (free admission, days with Musical Fountains Show or Musical Gardens), 9,50 € for Musical Fountains Show ticket, 8,50 € for Musical Gardens ticket, 28 € for the Fountains Night Show.

How to Get There: The cheapest option for reaching Versailles is by train. There are three train stations in Versailles.  RER line C arrives at Versailles Château – Rive Gauche train station, the closest one of the Palace (just 10 minutes’ walk to the Palace). SNCF trains from Gare Montparnasse arrive at Versailles Chantiers train station, which is 18 minutes on foot to the Palace. SNCF trains from Gare Saint Lazare arrive at Versailles Rive Droite train station, 17 minutes on foot to the Palace. RER C and SNCF train times are available on www.transilien.com.