CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE LIBRARY K, A -,-,-.-. .9P1"*" University Library NA 7736. V5A76 1914 ^•le Petit Trianon, being a reproduction o 3 1924 015 209 681 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924015209681 Photo by Mr. H. B. Russell MUSIC PAVILION IN THE GROUNDS OF THE PETIT TRIANON THE PETIT TRIANON BEING A REPRODUCTION OF PLATES FROM A WORK BY JAMES A. ARNOTT AND JOHN WILSON ARCHITECTS, OF EDINBURGH Fl-E.SCHMANN CONSTRUCTION Co NEW YORK THE ARCHITECTURAL BOOK PUBLISHING COMPANY PAUL WENZEL AND MAURICE KRAKOW M-DCCCC-XIV HISTORICAL NOTICE. THE Palace of the Petit Trianon,* whose gardens adjoin those of the Grand Trianon, is situated in the park of the Chateau of Versailles, and, like the larger building, its origin lay in the caprice of a royal mistress. Louis XV. had already established a great botanical garden close to the gardens of the Grand Trianon, and had also erected near them a "Salon de jeu et de conversation," known as the French Pavilion. He took great pleasure in .his visits to this spot, and Mme de Pompadour, to further interest the king, induced him to erect a small country house in the grounds. Jacques-Ange Gabriel was, accordingly, instructed to prepare plans, and the building was begun in 1762 and completed in 1768. After completion this building was first associated with Mme. du Barry who, enamoured of the place, often gave suppers to the king and some of his intimate friends. These supper parties, although perfectly in order, were often transformed, in the imagination of the writers for the press of that day, into orgies. While on a visit to the Petit Trianon in April 1774, the king became ill and was removed to the Chateau of Versailles, where he died about a fortnight later. "S^^^i^l^i"^^ "^ ^ ^'' ^ Y^ As in the case of the 'Grand Trianon, which was gifted by Louis XIJV. to his wife, Marie (Leczinska, Louis XVI., upon succeeding to the throne, made a present of the Petit Trianon to his wife, Marie Antoinette, and it is with her that the building is chiefly associated. Marie Antoinette had already ardently desired, whenever possible, to live a simple country life free from the restraints of court life, and here she found the means of doing so. At times she would spend the day in the garden gathering roses, and in the evening would return and pass the night at Trianon. Frequently she would give entertainments here. One day she would have a children's ball, to which none but the little ones and their nurses would be invited. Another day a fair would be held, where the ladies of tlie court sold at the stalls and the queen acted as a lemonade girl. It was considered a great privilege to be allowed to spend a day or two at the Trianon, and none but the queen's most intimate friends were invited. The king would frequentlv call with his brothers, Monsieur and the Comte d'Artois, but never on any occasion did he stay overnight. It was customary for guests to arrive at 2 o'clock for dinner, but, unless close personal friends, they returned in the evening to Versailles. As chatelaine of this charming house Marie Antoinette presided with grace, and her ofaly thought was to please those who were her guests. One who was her guest has written ; — " The^queen remained sometimes for a month at a time at " the Petit Trianon and had estabUshed there all the customs of country life ; when she entered " the drawing-room the ladies did not leave the piano nor lay down their needlework ; the men "did not break off their game of billiards or backgammon. . . . The queen was accompanied "by Mme. Elizabeth, but dispensed with the ladies of honour and the ladies of the palace. ... The king and the princes came to supper regularly. A .dress of white muslin, a * "Trianon, called in the 12th century Trianuni, is the name of an ancierlt palace belonging to the diocese of Chartres. Louis XIV, purchased it from the "Abbaye of Sie. Genevieve. It has always been called the region of fiowers, on account of the enchanting gardens by which it is surrounded." — France in iSoz, by H. R. Yorke, ed. by J. A. C. Sykes, p 82. 'gauze fichu, and a straw hat— such was the whole attire of the princesses."* Another writer tells us that "the queen and her friends played at blind man's buff and other games in the 'garden, and jumped over flower beds and low hedges; or they rushed through rooms, shaking 'the furniture and overturning statues and porcelain vases that were thus broken to atoms. Once ' when the Princesse de Lamballe was complaining that she had not been mvited to the Trianon the 'previous evening, the queen replied, 'You lost nothing by your absence; not a thing was "broken."'! On the occasion of the visits of her brother. Emperor Joseph II., and the Comte and Comtesse du Nord, magnificent fetds were given in their honour. Hundreds of guests were invited to supper, and the bands of the French and Swiss Guards played in the gardens The paths and the shrubberies were illuminated with coloured lanterns, which gave so subdued a light that, as an eye-witness has written, "the water, the trees, and the people all seemed ethereal." After supper some sjpectacle or ballet finished the evening, but what made these entertainments so attractive was the charm and amiability of the queen. The Comte de Mercy, in writing to Marie Antoinette's mother, Marie Theresa, about these entertainments, said, " Provided .that they do not " become too frequent or too expensive, they can only aid in establishing good form at the court " and a species of amusement which is fitting." The queen, when dauphiness, had shown a liking for private theatricals, and with her youthful companions had organised representations in her private rooms, and it was only the displeasure of the old king that put an end to them. After taking possession of the Trianon she had a theatre built on the north side of the gardens, where she, and some of the royal set, acted on the stage. A favourite haunt of Marie Antoinette was the Hamlet, a little group of rustic houses in the east corner of the gardens, and here were lodged three households — the farmer's, the caretaker's, and the gardener's. These houses were built in 1783 and consist of a dairy, poultry house, mill, granary, lodges for keepers, and buildings for the use of the queen. This charming spot had a fascination for all who visited it, and it was only quitted with feelings of regret. The Hamlet was last visited by the queen at the time of the advance of the revolutionary mob on Versailles. t She was sitting in the garden when a messenger arrived with the news which caused her to leave the place never to return. ■ There were many fables rife concerning the life led by the royal family at the Hamlet, but they were for the most part the misrepresentations of malicious courtiers. As one looks at these simple country houses a. feeling of surprise is experienced that this taste for simplicity existed just on the verge of the Revolution. There is such a diversity between the accounts given of the life of the queen by Mme. Campan and M. Weber on the one hand, and MM. Besenval and Lauzun on the other, that the exact truth lies, as M. Rocheterie says, " somewhere between the libel and the legend, but on the whole hearer the " legend. Marie Antoinette was not a sinner, neither was she a saint. She was a pure and charming " woman, somewhat heedless and frivolous, but always chaste ; a queen somewhat too hot headed in " the patronage she bestowed and inconsiderate in her political actions, but proud and energetic ; a " true queen by reason of the dignity of her bearing and the splendour of her majesty ; a true woman " in virtue of the seductiveness of her manners and the tenderness of her heart till she became a martyr " through the extremity of her trials and her triumphant death "§ Malicious tongues, which never ceased to pursue her as long as she lived and attacked her every word and action, especially singled out the Petit Trianon with which to reproach her. When she was on her trial the judges brought against her the charge of extravagance at the Trianon, which malice had magnified. During the First Empire Napoleon's favourite sister, Pauline Borghese, lived in the Petit *De Nolhac, Versailles and the TrianOns, p. 289. t 5th October 1789. t Clara Tschudi, Marie Antoinette, pp. 80-1. % Revue, des Questions Historiques, April 1874, p. 594, 3 Trianon for some time. On the 25th August 18 n Napoleon gave a splendid feast with illuminations in the gardens and representations of rural life. During the reign of Louis Philippe, who made some slight alterations, the Duke and Duchess of Orleans used it as a private residence. During the Second Empire the Empress Eugenie, who was an ardent admirer of the memory of Marie Antoinette, instituted an exhibition in the building of works of art, paintings, furniture, etc., which had been the property of the ill-fated queen. At the present day the Republic have formed the Trianon into a museum, with the rooms furnished as they probably were at the time of the Revolution. GENERAL DESCRIPTION. THE Petit Trianon was designed by Jacques-Ange Gabriel (1698- 1782), a well-known architect, who also built the Ecole Militaire, the Garde Meuble, and other well-known buildings in Pans.* Although the building was erected at the close of the reign of Louis XV. (1762-68), it has the chief characteristics of the time of Louis XVI. The exterior is simple in design, and depends entirely for effect on its good proportions and refinement of detail The walls are built of a rich cream-coloured lirnestone, which shows as yet no sign of decay. The building is rectangular in plan and of small dimensions. On the south side it is approached by a spacious avenue leading from the main road to the Grand Trianon. The entrance courtyard is bounded on the east and west sides by high, walls,, partially masked by beech hedges, and, on the south side, by the iron railing and gates which' are;,flanked by two sentry boxes. Beyond the west wall of the courtyard lie the chapel and offices of the Petit Trianon, which form part of the south boundary of the gardens. On the west and the north sides the building is flanked by terrace walls. The French garden is situated on the west side, and extends to the park of the Grand Trianon. The garden, except for the small formal flower garden, was actually finished before the building was erected; and it is laid out with groves and ornamented with basins of water. This garden was, according to M. Desjardins,t the last laid out in this style, as im- mediately afterwards the so-called "^English garden" became the fashion. In the centre of the garden the French Pavilion or Concert Room is situated. It is an octagonal building in stone, designed in 1705 by Jacques- Jules Gabriel — the father of the architect of the Petit Trianon — and was used as a place for music and card playing. On the north side of the garden is the theatre which was built for Marie Antoinette by her architect, Richard Mique, in 1778-79. To the north and east of the Petit Trianon lies the famous "English garden" of Marie Antoinette. It was designed in the new style at that time called Anglo-Chinese, and remains, with few changes, to the present day. The structural work in connection with the lakes and grotto was designed ' i^ by Richard Mique, and the magnificent trees, which are jts chief beauty, were planted by theOe<^ gardener Claude Richard. Beyond the last mentioned garden is situated the group of houses ^^ called the Hamlet. This delightful group was designed by Richard Mique and the queen's j painter, Hubert Robert. It was begun in 1782 and finished in 1788. The main entrance to the Petit Trianon is from the north end of the courtyard, which has already been described. On the ground floor are the staircase hall, which extends through two, floors, the billiard room, guard room, kitchen, offices, etc. On the west and north sides of the' first floor are the reception rooms, consisting of the anteroom, dining room, small salon and salon ; and, on the east side, communicating with the salon, is the suite of private rooms consisting of the boudoir, bedroom, and the dressing room of Marie Antoinette. The ceilings of these latter rooms are much lower in height than those of the reception rooms, and admit of an entresol being placed * Lady Dilke's French Architects and Sculptors, p. 22. t G. Desjardins' U Petit Trianon. 5 over. The boudoir was originally a private staircase,* which gave access to the entresol rooms, and the bedroom and the dressing room were respectively the "Cabinet du Roi" and the Library of Louis XV- This arrangement, however, was altered, and other changes were made on the ground and second floors when Marie Antoinette obtained possession. The staircase kading tO the entresol and second floor is situated in the south-east angle of the building with an entrance from the landing of the main staircase, as well as from the queen's dressing room. The rooms in the entresol over the bedroom and the dressing room ot the queen were used by Louis XV. as his bedroom and dressing room. This dressing room was used as a bedroom at a later period by the Princesse de Lamballe. The rooms on the second floor were originally intended for the gentlemen of the king's suite, and subsequently, those facing the gardens were used by Marie Antoinette for the accommodation of her guests. The small closets, some of them lit by borrowed" lights from the passages and all without any provision for ventilation (a fact showing that little attention was at that time paid to hygiene), were mostly occupied by personal servants.! Compared with a rnodern plan it will be noticed that there is a remarkable absence of servants' accommodation in the basement, as the staircase hall, the guard room, the billiard room, and the room adjoining take up more than a third of the whole area of the plan; and much of the space under the dining room is lost, owing to the arrangement which formerly existed for lowering the dining table, unless It is considered purely as a serving room. The principal staircase is very quiet and stately In design ; the walls are of stone throughout and give the effect of great massiveness and solidity. The dignified treatment of the staircase Is carried through . the suite of reception rooms, which have high ceilings with wood panelling carried to the underside of the plaster cornice. The dining room, which nearly approaches a square on plan (a most excellent arrangement giving ample room between the fireplace and the table), has been considered the most Important apartment and overlooks the formal garden, where all the gardener's art has been concentrated. It will also be noticed that the room has a western aspect, so that at the early dinner, customary at that period, the formal garden could be seen under, full sunshine without inconvenience to host or guests. The small salon and the ante-chamber share the same prospect, whilst the salon has a prospect to the north over the " English garden," which is in reality a park. The private suite of rooms, as mentioned before, have low ceilings and are designed in accordance with their use. The boudoir has exquisite carving on the wall panelling, consisting of roses interspersed with doves, cornucoplae, crowns, and quivers; with the monogram M.A., " pierced with harmless arrows and framed with daisies." The bedroom also has beautifully carved woodwork, but of a more vigorous type than that of the boudoir. Nearly all the rooms throughout the building are panelled in oak, and It will be noticed that the framing varies considerably In width in each room. In every case wood pins are used to fasten the framing together. To obviate the difficulty of framing up large portions of panelling, certain panels are made ^ project or pilasters are introduced, and in this way long horizontal rails are dispensed with. The doors are thin and vary from i^ inch to ij inch in thickness. The floors of most of the roorns are of oak parquetry In squares of over three feet, built up of boards 3 Inches wide and laid diagonally, though In a few of the rooms the parquetry is of boards three Inches wide, laid In a^herrlng bone pattern. The panelling throughout the buildino" * G. Desjardins' Le Petit Trianon, pp. 32 and 133. + VioUet-Ie-Duc, in the article on latrines, in the Dictiotmaire raisonne de V architecture frati^aise, says, " Le chateau de Versailles ne renfermait qu'un nombre teHement restreint de priv^s, que tous les personnages de la cour devaient avoir des chaises percees dans leur garde-robe . . Nous nous souvenons de I'odeur qui s'^tait rdpandue du temps du roi Louis XVIIL, dans les corridors de Saint-Cloud, car les traditions de Versailles s'y ^taient conserv^es scrupuleusement. Ce fait relatif i Versailles n'est point exag^r<5. Un jour que nous visitions, etant tres jeune, ce palais avec une respectable dame de la cour de Louis XV., passant dans un couloir empest^, elle ne put retenir cette exclamation de regret : 'Cette odeur me rappelle un bien beau temps.'" 6 was originally painted in a pale shade of bluish green, with the carvings picked out in white with toi^ches of gold.* At the time of Louis Philippe the woodwork was painted a greyish white and It remains so to this day. The skirting in each room is painted in imitation of the marble of which the chimney-piece is made, with the exception of those rooms where the chimney-piece is m white marble, in which cases the skirtings are in imitation of dove marble. This practice, not uncommon at the period, may be defended on utilitarian grounds. * De Nolhac, {^ersaiUes and the Trianons, p. 287. inrT:mr^K~p^ *-AVtmx. ABOUT 7ooi^LoMq ii^i^ifiHU \ < -J UJ oo D < U Q I M PLI D Q O o z D O O o 2 < < CO w Ix, z o < uj S U >« y 3 2 tt! s "i 9 ;^ Kb OS uj uj Q o ^ Pi O U w CO o < W w h en < w on UJ H Q D oO oo UJ Q < < u^ I w w X CO Z O < > UJ -J UJ H < UJ Q < D O V Ill < D o H w Q a: O z H < J P4 .PLATE VIM. tLROJip flOOR. Llyt'^'lyl , LEVtL OF IHTHANCE COLlR.T.-i^ ..,'-£, iv,i.':^5350ii PART SOUTH ELEVATION„ SECTION A'A PART PLAN AT GROUND FLOOR LEVEL. FART PLAN AT GROUND FLOOR * LEVEL. ' I f .,i / r I ' r r r r r r i - tj* I f'! [IS LJb | 7 i ia iij* i to rzi la^ feet ' 1^^^ I I I ! 1 I |-r- JW t JA A I DETAIL OF SOUTH ELEVATION DETAIL DE LA FACADE SUD, < Cu PLATE XI. DETAILS OF EXTERNAL STONEWORK. DETAILS DE PIERRE DES EXTERIEURS. PLATE XIII. COPE OF TERRACE WALLS EAST AND SOUTH FACADES 1\ FULL SIZE CORNICE OF PIERS AT | ENDS OF TERRACE WALLS] if\ FULL SIZE. I ^■- I - — 7 ARCHITRAVE OF CIRCULAR ->^^ WINDOWS OF PAVILIONS //|-F-S- /gkemest projection / of carving round •^ ^ WINDOW. L1i __^ GREAtEST PROJECTION OF CARVINQ RBUNO WINDOW. ARCHITRAVE OF ELLIPTICAL V^ WINDOWS IN CIRCULAR. PORTION '*^- — »<.—'' OF BOUNDARY WAU OF ENTRANCE. COURT !4 FS- / 12. INS I X f I I 1 f I I 0, 5 ,l( I I I I I I I I I I I .X.0 ^ SCROLLS AT BALUSTRADES OF STAIRS FROM TERRACE l£VEL TO GARDEN NORTH AND WEST FACADES. ;4-FUU.5IZE. CsEE PUTES 67-^) KWSED PANEL ON r\Ct OF PIER..- IX. INS .50C1«.. OE ;|i METRE. / CORNICE OF PAVIUON3 AT ENTRANCE GATE. 'A FULL SIZE.. CO k--^'/8- P' -* BASE OF PAVILIONS AT ENTRANCE GATE.. A FULL SIZE 5^ o -Jc _ ^QROIM O LEVE.1 ^p^ >|^ J■W^r•d.A.^, DETAILS OF STONEWORK. DETAILS DE PIERRE. > w < 3 a 3 > Z •M 2i o LLl X 1- 8 li'ftliiVi'iAnf'i'V "I'f .r'-fWV •'•1 .1 ''jj' ( lie IM* , l^ 7 -J2 Ct < 3; r- a ■j^ LU H _J W _! Q- Oi UJ O 1 H LU t < UJ r- H Z Z O UJ z ~uij 5 H ^- Z LU f— ' O O 2 > o z f — c O ^ O H UJ f- , , UJ Z^ < LU tr X 1- r- Z O en u. X < o z a < < H Z o oi u< I H ai O z Q P w a <: < Z o oi fa H O , / '/'^-/f? % H CO O U Q < U < z o o; fa H fa fa fa Q < fa Z o CO < fa CKOUND rLOORUVpi. SECTION THRO' LANDING SHEWING NORTH WALL, ANTECHAMBEH. ,,.JIiu^ D)N1NG ROOM. PLAN AT PRINCIPAL FLOOR LEVEL. kXXXWXX^ f PRINCIPAL STAIRCASE, ESCALIER PRINCIPAL PRINCIPAL STAIRCASE. ESCALIER PRINCIPAL. PLATE XVIII. PRINCIPAL STAIRCASE. nPTAiis OF WRniir.HT-iRnN RAILING— NEWEL. •ESCALIER PRINCIPAL. DETAILS DE LA RAMPE EN PER FORGE. PLATI'; .\).\. ■^r '«o • - iTj^'^A ^i:?f -i^iv /fir' /M^ ^^ ■ "^ *- -., . -1 , ^ -'/J^*'^. !.-Mt^S ^-V^/^ X.'-tn', V '■--^. .,c<^°'"' ^- -' ::? :/ /$«*'■ ■'^k.^.-^rjw i'ii_^./' Ff-^Q^ E.^' .ftOV „- 7-' r.^■i^ ,,-^f* TO THt IKON fOS r;CTiO'i& OF COP; AMD CT^fC MOUi-CED PAKT3 SEE. Twi; t'-- o' A AT5°rUli,olIt.r SPACE y A,.A^ f^m>'0P> f ,.)^' li if life ^ ^ "^ i In :*^if'^ on Ci.D«' ~> V 7<^ < sw;;. -> i'^ICc Braw. ,_'.i. PRINCIPAL STAIRCASE. DETAILS OF WPOUGHT-IRON RAILING ESCALIER PRINCIPAL HETAILS DE LA RAMPE EN PER FORGE PANNEAUX. ^LATK XX: If '.-'-. ^ VIK^ UPE3R 1 TOUTION OF ■KLE'vATlON OF SCROLL ' J.INE OF StONE BASE. OR STRINGER 'UNDEH SCROLI.. A*il.'i1. iqoj. PRINCIPAL STAIRCASE. DETAILS OF WROUGHT-IRON RAILING SCROLL ON NEWEL. ^V-ylX'^l^U KJlt IVl^VVi^ ESCALIER PRINCIPAL. DETAILS DE LA RAMPE EN PER FORGE RINCEAU AU DEPART. PLATE XXI. PRINCIPAL STAIRCASE. nFTAUS np u/pr)rir-LJ-r_]RON RAILING ESCALIER PRINCIPAL. /DETAILS DE LA RAMPE EN PER FORGE PLATE XXU. PRINCIPAL STAIRCASE. WORK. ESCALIER PRINCIPAL. DETAILS DE PIERRE. PLATE XXIV. BILLIARD ROOM. DETAILS OF WINDOW AND DOOR FURNITURE. SALLE DE BILLARD. DETAILS DE LA GARNITURE DES FENETRES ET DE LA PORTE. > y. < J t/o LL) u <■ u. (D UJ Q (JJ UJ a: _J CQ •m :s < -UJ UJ H s H a. > UJ _j _j ai. < w ^ OQ u. :^ O < C/) X o u f- UJ •< H fS Z < _1 UJ >■ UJ ^ PLATE XXVI. ELEVATION OF WEST WALL. THE SHWTING IS PAINTED TO imiWE THE BROWN WtRBLE or FLOOR fcT WINDOW. PLAN THRO' WINDOW. M DENOTES BROWN MOTTLED MhRBLE W • WHITE MARBLt. THE GREATEST PROJECTION OF CARVING IN SMALL HORIZONTAL PANELS IS ABOUT I'/a' THE LEAVES AT BORDtRS Of SWAGS HAVE ^fd'Toft" PROJECTION THE GBtATtST PROJtCTI0(4 OF CARVING AT LOWER PART OT LONG NARROW PANEL IS ABOUT jV. THE FRUIT IN VASE PROJECTS ^t FROM rACE OF PANEL THE STILES AND RAILS OF WALL PANELLING ARE PINNtD AT JOINTS. ANTECHAMBER. ELEVATION OF WEST WALL ANTICHAMBRE. ELEVATION DU COTE QUEST. N61V5 oi aooo I'LATE XXi.V. JcUi, ''YT^-'^TTTT'g ■ ''.'^T7'jnr7~ir^jwwr^n mm w^:wr ' SEC no: ELf;',:i;rio: i _ t b: All- v,o'j:.i::iGS amd Cisvirici SI, ■':>'-=:,!'.".;=•• : ..-, l-,0 sl'jC. '0 i^r-i'T,' ;/:: A r""-| .^^!! Pt.iri'^=L TO 1^' -■v:,- .■.■A?i-': a? '-.^• .V',;yPi:';Ei A^'.£ ■- - -■- ; '- F)f?;,C^ ■.:!'.:(■. '•It i:;»;ea'!e;t ?sc,i LCTiO I o~ S'MCS or-'i. ASCH A '/it A'^es T^o.fv' rj'ro S.:'i FSOM UP? S^ i^r- C'A Of AKCtJ'TKA/E. THE ;sy.Tt:T as;- )'-•-.- Crt 5' THE- -■'^'Ji-I.j *< ^"i"WP.- i'JM O'/tP ?C^-:.«: '.1 S.;n:. --it 3TIII4NtYP;ECE IS Or ;_ MRK tUUC MAP51E. . CJRVINC ON iOWtK PART Of WECE PANELS flA5 GKEATtST PKOJ!! I IH . ( fSurT w VASE) TVIC SHIELD PfttJECTS-'^" LEAVES tiC AVE,RX;t /*. aKi'iNC GH i.mvi. PACT Of lakce; panels has CREATEST PROJ! A» 'ih?UTHJ. THE FloVEifG in frSTOOHi. OfoJtCT l!i^ rdr CEAST PfOJ". IS ABOUf /lb' C'HErL f^OT-S CIVCM ON ^LattS TiPJ^Ovll^jj PLAN. > > i.Ax DINING ROOM. DETAIL OF PART FIREPLACE WALL. SALLE A MANGER DETAIL D'UNE PARTIE DU COTE DE LA CH EMI NEE. PLATE XXXI. NOTf- PANE.L MOULD 5 15 5AME AS PANEL MOULD 5 BUT MAS NO ENRICHWENT AND HAS PLAIN TIELDING IN PLACE OF CARVING. FACE STILd. PANEL MOULD 3 SAME AS PANEL MOULD 4 BUT WITHOUT RAISED rlLLCT- DINING ROOM. SALLE A MANGER. DETAILS DES BOISERIES. X X X Id H <; Oh aL <.n UJ UJ O a: Z C/5 < O § UJ U) UJ '< Q in w -J kJ -^ (ti Q Q PLATE XXXtV. '.-•--JA /■* ^i.fCJ- >^#-c ',^V X J ■'£■ '^i ■ • - ~'^<-i — ^ ■J -.- '.>^ I "^•.-^-^ \fe**L.r '"" "'^•''^■''- -/'...-i '. / :^ ^/V-' ^- "MOULD INC CAKl/EO 5£T, KATE IV13^. s^ - [o/dh .'-lA,-^/^ I' V' '' ■Tf / «3> :^/ y r-- 'fi T-u''' DINING ROOM. DAMniC I OAC-r ^;\LI__ SALLE A MANGER. PANNEAUX I.— COTE EST. > X w < o -^ <. -ai CO a. -< z ^ U- r-i o < CO I/) z O J (- ►-J <• < > IS cy-) PLATE XXXVI ELEVATION OF EAST WALL. ivi-Yi''iVWr4!43ir'l'IWKri' k; '— DOOR TO SALON. NO ENR1CHWENT OM MOULDINGS 01 \.KKCl PANF_LS in DtDO PLAN THRO' FIREPLACE. 4 y 'I.OM ^^v. ^^1. -, / -A, -:;■ .;=.«; BRICK HEiK-fH \ ' T V ; i"" """ J i , A ■-■"?t?-.^ ^k ITALIAN CBIO-nf- 3% WHnt ^>ARBlL f^srH-V .l*>N C.RIOTTE, iJ'i l2 ^'. llALliN CFI^TTL FOR DESCRIPTIVE MOTFS SEE PLATI W 37 'inluliAlil ^ t L SMALL SALON. ELEVATION OF EAST WALL PETIT SALON ELEVATION DIJ COTE EST X X < C/3 LU U if if) Q Ul -J o -"^ ►J "J < p C/5 & to Z O > _] Z O ►J < t/5 !3 < u. o Z O ? > -J LO >- PLATE XL. r / ^>- ''^^1 .^ ') J/ ■ ,%^-r^ -r ■<^% 11 1 ii 1. •' I r^ii it i: t I -1 ffe- ■viy,? ^*'«•*^ I J! f ? ■ i- .St 3 ^ £ i^ ^ C 1 I i Hi --1 ^[f']H l^-t |i4.i|:; -\~ •\ V- 4i .;^r.!,t V.C SALON. DETAIL OF PART FIREPLACE WALL SALON. DETAIL D'UNE PARTIE DU COTE DE LA CHEMINEE. X u (1. PLATE XLIII. SALON. SALON. PLATE XUV. :dt: :^1 i \ ■^ 2 - V-i',"' /'■ I \. , — ~ > - I .,-4-'- U'i I -/■'"' V^ , «■■ '' 1 ■'.<*•.: J'-£)Y '^'^^ -1- e-iTt V r ■ j..i..t I r ~ — ' > .- ""■ A), , ] Z^J-. V i '"/-•■ / (ffj^ij ^?^-:- / ! i ii ^tA.. NOTE.'- "-= :COS COVEi, -SIDES A-vT 5->vv_ Svs,'f.._Tb AND SALON. CHIIVINEYPIECE. SALON. CHEMINEE > J X w < \ mu f'l > > © o I'' SI frl ;''i 1- % \ \ ^<';)-- ./ n ik -0(30;tt X- (®) o -J < CO n^ t[' -U y z Qi o u Q < Q z o < PLATE XLVI. SALON. nFTAiis OF r>nnR fiirniture. SALON. DETAILS DE LA GARNITURE DES PORTES. PLATE XLVII. SALON. DETAILS OF WINDOW FURNITURE. SALON. DETAILS DE LA GARNITURE DES FENETRES. _1 < >i^^J-V- k- - — . ''/t^-j!r- ^ CO ot ^ v^ "- ^- ^ ^ ^ <§ >" ft? ° b ^ 03 a: v^ 3 1 1 1 «J z >^ 1 ^ '-» fj C( n ]^ ? It. ^ !t ll' € J* ^ 1 t ~ i3 u p . o z < 00 m u if CO UJ Q LU -J . _J o -a ^ t OQ CL C/3 z o H < > -OJ -J S «- ul >^ S 5 ui«- 1 3 5? Ul O Q O OQ < a. O (/5 > w >■ w I'LATK XLIX. ■'5!3|pij|jli™>l[[|%TA---«tT PLASTER CORNICE T>1E i.V\e 03CM1CE. IS USED INTHt 8£DROO,-A AND DCtSSiNC R00r\. BACK OF DOOR TO 5ALON IN FIREPLACE WALL BACK OF DOOR TO BEDROCKS IN \»yALL TO BeDROOf■^ R^NEL nOULD 7 NOTE; THt DETAILS OFWiNDOWi ARE SIMILAR TOTHOSE OF BEDROO^^-6EE PLATE N°57- TWS FIELDINq LS OA\ITTtP OM PANELS A60VE. DADO RAIU ■ PANEL nOULD 2 PANEL MOULD 2 THIS iPA^TEWAS OQit^lNAllY ACQOO^ Foe Q1A5S ^MCRORS WHICH SUO DOWWrROM, a,botE AND FORMED ^5HCflTt^S ATWqift PAM£LA\0ULD3 NOTE: ALLTHE SECTIONS Cf nOULDlNqS ARL DRAWN FULL SHE PANEL AOULD ^ DADO RAIL AND iKll?TINC, ABE RETUENE.D HEJJt mc.t DOOR TO TERRACE ^., M'i-l) JAA+J.\4. BOUDOIR. BOUDOIR. DETAILS DES BOISERIES. < -4- -"aooij woaj y/ ■ k"- 1^ '37.(5 -nnd V im"€m ^S3 1— H ULJ o z p :?: D O pa u CQ ci:: u )— ( UJ O Q- Q >- UJ D z O fe CQ o Ill H < Oh U < • U. , , CO O S OQ ,< a: u O ^ O ^ c^ o CQ u J PLATE LIIL I' ~>rN "^BEDROOM. CHAMBRE A COUCHER. 4'-l , ._i -^^< ■ 'd •o o ^-- O m ^ :■■- Q , --T -*■-' -o • i jQ J ■ J ' i -M i: >^, 5 ^-. «J O ^A 71- i^ ;iw o 3 H t: f- ^r- -M . ^•" ^^ 5^=5 S^. ,., t i£ \ / o H < S 2 O I Q z s ^ Q UJ > < % PLATE LV BEDROOM. IRNITIIRF. CHAMBRE A COUCHER. DETAILS DU GARNITURE DES FENETRES. > 'J w H < 0- > a < 04 X H ►J X J w .< ►J < UJ -UJ >< UJ Q ttH -UJ U] DC U X w < jt 3001 - S J > X 1 K- - \3 f~ ..f\ tu y '-' ^3 i- i-J^' ."-' ^< < P-. : —-^l 'Q < o •< [», Ul '. -^. ci^ — X. ~l o z „j, f ^ 5 2 T=i ii 1 "T , 3 2 M -" g 9 tc 5 f-' < ssvisa - Qi Ol o z < , S H Z '< ►J ,-1 PQ ,1 PL) n < o s s o o o o a: w n u: 2 D z H Q 1— 1 Z Z oc "" D UJ n Uh o s s o u > H < ►J PL, ^^ ^ ;^-^-^, ) ,^>C- V Vv ■"3Nn 'aULN-a:]' •4 Oi OI O 2 < , S H '•< 2 < C/5 ^ CQ < Q S < to Q O S s o u s o o OS w (T ai z D z H a 1—1 2 z (2i; ■""■ D UJ n ML, o s s o u ^:^- ^^.v>^J I "^ > w H < UJ u r) o u H'< ^ I UJ < OQ ^ UJ < ^ Q O O U s o o UJ cc D^ Q D o ^ I o u I'L'ATE r.XVKI. FURNITURE. COMMODE IN BEDROOM. DETAILS. AMEUBLEMENT COMMODE DE LA CHAMBRE A COUCHER. DETAILS. PLATK LXJ.V FIIRNITTIRF AMEUBLEMENT. PLATE LXX. FITRNITIIRF AMEUBLEMENT. VLATE LXXI. BWT gIDB VIE'W OF UPPER PART OF SCROLL. ON ARM OF COUCH c AMEUBLEMENT w < H UJ P tu D H D PLATE LXXIII. "front view of scrouj on ARM« [METRE. innnnn FrTRNITTTRE _.__ -ROOM. AMEUBLEMENT FAUTEUIL DE LA SALLE A MANGER. K lavnos -X^ ■X X J w < Oh ^ 1 L ^^ v_ ^ e * i > X X J a < > lU Q "0 H Z UJ IS UJ CQ D UJ < 1 > H O UJ a: D Z D Q UJ OQ PLATE LXXVI. r^Tirs ivTiTPTTn IE. A MEU ELEMENT. DETAILS DU LIT. PLATE LXXVII. RE. AMEUBLEMENT. DETAILS DU LIT. PLATE LX XVIII. "mt DETAILS ARE DRAWN FVUU5IZE >^ BOASS LJ <~y THE TAPER .ON Ltq IS SLItiHTW ■ HOXOWEO. TXE INLAY ON SIDES IS SMILAR TOTHATONTOf PART FVLL iSKE DETAE^ MTA. aw. piANn BRAM MOULfflMq PLATE LXXtX ^D TABLE. BILLARD. PLATE LXXXr. FURNITURE. AMEUBLEMENT. J < 0^ 1^ UWtttO W:3< -^ -^ o j' iii ji ii g ilXUl 1-++i .r^^-^-.^ ---^ :Fr' < 1 uj lU d e2 ■*y/-rt*-. 2^ ^ § I 1 e 5 5 f - 5? iti o o < ill z ^ z & Q uj W ^ u 3 85 ^ tf fi « o S < F I- ui 2 g u- S ui '^ ?==^ it " O O S < Z a U o . - fe < o X H Z 2 «£• tNtrrasjvd OL ^Tj,% ^ aioo'w aoa^iW -3d03 oava DNm^NVd ox O/OI ENVOIS OF THE ROTCH TRAVELING SCHOLARSHIP SCACX ' ' ; . S/XT£^y/''Vi "A \ " ' * ."^ci'-fi."? ON£ /DOT ENVOIS BY JOSEPH MAGINNISS ENVOIS OF THE ROTCH TRAVELING SCHOLARSHIP %k6S^\ ?/<> ■ ■ ■; A"S 7^ ::?rjBr ^F"=^ f ^ ENVOIS BY JOSEPH MAGINNISS ENVOIS OF THE ROTCH TRA\"EI,ING SCHOLARSHIP ENVOIS BY JOSEPH MAGINNISS ENVOIS OF THE ROTCH TRAVELING SCHOLARSHIP : lii t:NVOi tif TKK fi'>Vi:K " ENVOIS HY JOSEPH AIAGINNISS SKETCH BY MR. CARROLL BILL