Starting the Visit

The palace is accessible via the Place d'Armes. Once through the main gate, the palace is immediately visible across the courtyard, called the Cour d’Honneur. To the right and left are the Ailes des Ministres (Ministers’ wings). The ticket counter is found in the left wing. And behind the beautiful Grille Royale, decorated with gold leaves, opens the royal court, flanked on either side by the North wing, built by the architect Le Vau, and the Midi (or South) wing, built a century later by Gabriel. And toward the back, organized around the marble courtyard, sit the oldest parts of the palace, dating back to Louis XIII.

La Chapelle royale (1710)

The Royal Chapel, designed by Hardouin-Mansart, is dedicated to Louis IX. Completed in 1710, Louis XIV would only use this chapel during the last five years of his life. The kings of France were thought to have been chosen by God as his representative on Earth, a concept known as the divine right of kings. The configuration and decoration of the chapel reflect this idea. Thus, the passion of Christ, the Resurrection and the descent of the Holy Spirit, thought to inspire the accomplishments and actions of the king, are addressed in a carefully prepared and beautifully executed series of paintings and structures in the chapel. The King and his family attended Mass every day at 10 a.m., and sat in the royal gallery.
The guided tour "Les Petits Apartments Louis XV - Louis XVI" provides a complete visit of the Royal Chapel (the tour "Grands Appartements" only allows for a quick look)

La Galerie de l'Histoire du Château (part of the Musée de l’Histoire de France)

The Gallery of the Palace's History is part of the Museum of the History of France. The palace visit (with or without audio guide) and the Grand Appartements tour begin here. This succession of rooms provides an ideal introduction to the history of the palace. Organized chronologically and thematically, the rooms present the most important stages in the creation and transformation of the palace through works from the collections of Versailles, reproductions, models, and 3-D movies.

The Story of Versailles - Room 1 
: This room presents a model of the present palace, a family tree of the Bourbon dynasty and a 3-D movie that retraces the changes to the palace, from Louis XIII to the Revolution.

The first Versailles - Room 2 : This room houses works based on the recreational stays of Louis XIII and those of the young Louis XIV at Versailles until 1668 (before the palace became his place of residence), as a place for parties and court performances.

The Palace of the Sun - Room 3 
: This room presents the first phase of work by the architect Louis Le Vau, under Louis XIV (1668 -1678).

Versailles, seat of absolute monarchy - Room 4 
 : This room presents the second part of palace additions and renovations by the architect Hardouin-Mansart from 1682 to 1715.

Versailles during the Enlightenment - Room 5 
 : Room decoration from the time of Louis XV and Louis XVI (1715-1789).

The gardens of Versailles - Room 6 
: The gardens and the park are presented in this room. The film "From the Gardens to the Trianon Palaces" is an introduction to understanding the exceptional beauty of the grounds.

Lawns and groves - Room 7 
 : As important as the palace itself, the gardens were conceived and installed by André Le Nôtre. This room showcases the developments and the masterpieces created by the King's gardener.

The grounds of Versailles - Room 8 : This room features a model of the great park. Used by the kings for hunting, its vast perimeter goes well beyond the gardens and the first enclosed park, at about 43 kilometers away.

What future for Versailles after the Revolution? - Room 9 : The 3-D film presented in this room tells the story of the palace, from the Revolution to present day.

The creation of the Museum of the History of France - Room 10 
: As its name suggests, this room is dedicated to conception of the history museum created by Louis-Philippe in 1837.

The revival of Versailles - Room 11 
: And finally, this last room emphasizes the palace’s prominence in history throughout the 20th century.

The first floor, including the Grands Appartements, is accessible after the visit.

King's Apt.

King’s Grand Apartment

The Grand Appartement du Roi (the King’s Grand Apartment, 1668), a series of seven rooms, is where important decisions were made. The paintings, furniture, woodwork and curtains create a stunning ensemble in this set of rooms sumptuously decorated in the style of Italian palaces of the time. Built by Le Vau and decorated by Le Brun, their styling evokes the solar myth so often reinforced by the Sun King. Open to all during the day, the Grand Apartment was booked three nights a week for soirées of the court called the "soirs d’appartement." Visitors can enjoy a view of the top of the Royal Chapel to the left before gaining access to the Hercules Salon.

Le salon d'Hercule (1712)

The largest of the King’s apartments, the Hercules Salon, is housed on the site of the former royal chapel that served from 1682 to 1710. The installation of the salon lasted until 1736, after having been interrupted for a time after the death of Louis XIV. It was, however, decorated in 1712 by the Veronese masterpiece, "The Meal at the House of Simon" (1570), offered by the Republic of Venice in 1664 and hung opposite the fireplace. The decoration of the room was later completed by another one of Veronese’s paintings : Rebecca and Eliezer, located above the fireplace. The frames of the two paintings were sculpted by Jacques Verberckt. The painting of the vault, by François Lemoyne, is an allegorical composition of 142 characters called the Apotheosis of Hercules. This exceptional fresco, rivaling the Italian works of this period, took three years to complete and earned its author the title of first painter to the King. The artist committed suicide just six months after completion of his masterpiece.

Le salon de l’Abondance

The next room, built in 1680, served as a place of refreshment during the "soirs d’appartement." The painted ceiling in the Abundance Salon is the work of René-Antoine Houasse. This room is currently closed for restoration.
And thus begins a series of rooms whose names are taken from the planets, their themes once again relating to the solar myth and imagery that inspired all of the décor of Versailles during the reign of … the Sun King.

Le salon de Vénus

The Venus Salon pays tribute to the Roman goddess of love, represented on the ceiling. Other decorations of the room represent ancient heroes in action, sometimes referring to the King himself. For example, the voussure showing Alexander marrying Roxanne is meant to evoke the marriage of Louis XIV. Rare, fresh fruit was served here during the “soirs d’appartment.”

Le salon de Diane

The Venus and Diane Salons served as a vestibule to the Grand Apartment, which began with the Mars Salon. During the “soirs d’appartement”, while some ate snacks and fruits in the Venus Salon, others might indulge in a game of billiards in the Diane Salon. This room is also called the "the room of applause." The ladies present in this room during the games would applaud the successes of the King from stands on each side (he was very good, it would seem). Diana, Apollo’s sister, was the Roman goddess of the hunt. The allusion to Louis XIV and his passion for the sport is very evident here.

Le salon de Mars

Under Louis XIV during the “soirs d’appartement” the Mars Salon was used as a game room (cards, gambling) before becoming a ballroom. But at its creation, the room served for a few years as a guardroom, and kept its name thereafter. Dedicated to the Roman god of war, it is richly decorated with military-themed paintings, including "The Family of Darius before Alexander,” and a portrait of Louis XV and Marie Leszczynska. The iconography of the ceiling is dedicated to the god Mars and the work of warriors.

Le salon de Mercure

The Mercury Salon is the ceremonial chamber of the king, and not his bedroom. The bed that visitors see today was installed by Louis-Philippe at the creation of the museum. On the ceiling, the Roman god of commerce and messenger of the gods, Mercury, is shown in his chariot pulled by two roosters. He is accompanied by figures representing Arts and Science.

Le salon d’Apollon

The Apollo Salon served as the king’s chamber where he granted regular hearings during the expansion of the palace, and then served as the throne room from 1682 onward. Dedicated to Apollo, the sun god with which Louis XIV identified, it was undoubtedly his most luxurious and most ornate salon. The ceiling imagery represents Apollo in his chariot, and the “four” continents are represented in the corners of the ceiling.

Le salon de la Guerre

The construction of the War Salon is the work of Hardouin-Mansart, and its decoration the work of Le Brun in 1686. The War Salon glorifies the military victories of Louis XIV. Above the fireplace, the King can be seen on horseback trampling his captive enemies. On the ceiling, a figure representing France, wearing a helmet and armor and protected by a shield bearing the King crowned with laurels, throws a bolt of lightning. As it reaches the heavens, it is surrounded by Victory, while in the voussures, the defeated enemies lay dying: Germany kneeling with an eagle, Spain seeming threatening and Holland pounced on by a lion.
The War Salon connects the Grand Apartment with the Hall of Mirrors.

La galerie des Glaces (1684)

The Hall of Mirrors is without a doubt the artistic jewel of the palace, and has the same effect on visitors today as it did on those of the 17th century: it is quite simply dazzling. Open to the public and courtiers, the Hall of Mirrors, at 73 meters long, was a daily passageway and meeting place. Its architecture by Hardouin-Mansart and its baroque design by Le Brun provide an ornate stage for the many works of art highlighting France’s political, economic and artistic achievements.

The vaulted ceiling is composed of 30 paintings chronicling the political successes of the Sun King, whether military, diplomatic or social, in the form of ancient allegories.
Economic prosperity is expressed through the 357 mirrors that adorn the room. Their size, number and quality illustrate the expertise of French mirror artisans, whose work here competed with that of artisans in Venice, thought to be the masters in the field at the time. The mirrors were produced south of Cherbourg, in Normandy.
Artistic success : The tops of the pink marble pilasters are decorated with gilt bronze capitals. Created by Le Brun at the request of Colbert, they represent a fleur-de-lys topped by a royal sun between two roosters,  and symbolize French order. The bronze trophies that adorn Campan’s green marble piers were chiseled by the goldsmith Pierre Ladoyreau.
Through the windows of the gallery unfolds a magnificent view that leads the eye to the Parterre d’Eau (the Water Parterre), toward the gardens. In the late afternoon, when the sun is reflected on the water, the gallery is lit with a soft light. Spectacular.

The Hall of Mirrors in History

The Hall of Mirrors was only used for ceremonies on rare occasions. This was the case when the King received significant foreign leaders like the Doge of Genoa in 1685 or the ambassador of Siam in the following year, the Shah of Persia in 1715 or Queen Victoria of England in 1855. The gallery was also used during the marriage of the Dauphin, the future Louis XVI and Marie-Antoinette of Austria in 1770. During these ceremonies, the King sat on a throne at the end of the gallery, on the side of Peace Solon. Later, the Hall of Mirrors was also a spectator to the great events of history. The German Empire was declared there in 1871 after the French defeat against Prussia. The Treaty of Versailles was also signed there on June 28, 1919, ending the First World War. Since then, France’s presidents under the Fifth Republic have continued to receive official guests and foreign leaders in this magnificent hall: John Fitzgerald Kennedy, President of the United States or the Shah of Iran Mohammad Reza Pahlavi in 1974. Visitors should turn left after exiting the Hall.

Le salon de l'œil-de-bœuf (1701)

The King's Chamber is preceded by the antechamber, called the Bull’s Eye Salon, in which the courtiers waited for the Levées and Couchées of the King. It owes its name to the window found in the frieze on the ceiling. It also features a bust of Louis XIV and portraits of the royal family.

La chambre du Roi

The room overlooking the marble courtyard, facing the rising sun, was the King’s salon during the reign of Louis XIII. After undergoing many changes, it became the King's Chamber from 1701 onward. Symbolic center of the monarchy, access was strictly controlled by the rules of etiquette. Louis XIV sometimes dined alone here (a solitary meal called the “petit couvert”) and it is here that the King’s daily Levée and Couchée ceremonies were held (see "History"). Louis XIV died on September 1, 1715, at the age of 76, after a seventy-two year reign! His successors would prefer a smaller room. Among the glitzy gold and silver décor, visitors will note in particular, overlooking the bed, an allegorical sculpture "France triumphant" by Nicolas Coustou watching over the King as he slept.

The History of etiquette under the reign of King Louis XIV 

The different stages of the Royal day, regulated by the rules of etiquette.

The Levée : A ceremony which was divided into three parts, the "petit lever", the "première entrée" and "grand lever".

The king’s meal : For the “petit couvert” (private meal), the King was served alone in his room. For the “grand couvert,” the royal family reunited in the antechamber of the Queen (antechamber of the Grand Couvert). When the order to begin service was given, the usher and a bodyguard began the service of the "gobelet." An escorted “chief of the gobelet” brought the nave (a golden box in the shape of a ship, containing towels and small scented cushions) into the room. Anyone passing the nave had to salute it. Then the usher, still escorted, led the staff for the meal service. The meat dishes were then brought to the dining room. The usher walked first in line, followed by the butler, and then the servant for the first course, and other officers served for other courses. Each dish was escorted by three guards, rifle on their shoulders. Once in the room, the food was first received by the servants. The servant carrying the first dish would taste it before placing it on the ready table, which was surrounded by three guards. The other dishes followed the same procedure. Then the gentlemen's servants carried the dishes to the King's table, and served them to the royal family.
There were 14 guards around the table, including one permanently near the nave, and another who accompanied the servant who served drink to the King. The King was flanked by two officers in full uniform (with weapons), the bodyguard captain standing directly behind him.

The Couchée begins with "grand coucher" : after the chaplain said the evening prayer in the presence of a large audience, the King was undressed by the master of wardrobe and his valets. One of the most sought-after honors court was to hold the King’s candle. Then came the "petit coucher" : only familiar faces attended this stage where the king finished his routine for the night and gave his orders for the next day (wake-up, wardrobe...). Then all spectators withdrew except the first footman, who would spend the night sleeping at the foot of the royal bed.

Source: Wikipedia.

Le cabinet du Conseil
Between the king's chamber and the Hall of Mirrors.

Under Louis XIV two studies were present at this location. It was in 1755 that Louis XV united them to form the Council Study and receive his ministers. The beautiful woodwork was designed by Gabriel and directed by Antoine Rousseau with new designs for the time. The decoration of the room is complemented by superb vases of Mars and Minerva in Sèvres porcelain, as well as other sumptuous objets d'art.
Visitors will move back through the Hall of Mirrors, toward the Peace Salon.

Le salon de la Paix

On the other side of the Hall of Mirrors, in symmetry with the War Salon, is the Peace Salon. Though it has the same kind of decorations, trophies and marble paneled walls, the ceiling paintings by Le Brun symbolize peace given by France to its enemies. Above the marble fireplace, Louis XV offers his two daughters to Europe as a token of peace (1729). The Peace Salon leads to the Queen’s Grand Apartment.

Queen's Apt.

The Queen’s Grand Apartment

The Queen’s Grand Apartment is symmetrical to that of the King. It overlooks the parterre Sud (Southern Parterre).

La chambre de la Reine

The Queen's Chamber was the most important room in her apartment. Access was governed by the rules of etiquette, and the queen received guests during her morning preparations. The art on the ceiling still testifies to the occupation of the room by Marie-Thérèse of Austria, wife of Louis XIV, where she died in 1683. Louis XV was born here. But most of the décor and furniture, paneling and wall hangings were carried out under Marie-Antoinette (except the ceiling, made for Marie Leszczynska). During the invasion of the castle by rioters on October 6, 1789, Marie-Antoinette, warned by her staff, managed to escape through the small door to the left of the alcove.

Le salon des Nobles

It was in the Nobles Salon, the second antechamber of the Queen, that she conducted hearings. The refined decoration that can be seen today was done under Marie-Antoinette. Only the ceiling paintings of Mercury date back to Marie-Thérèse. In the center you can see Mercury influencing figures representing the Arts and Sciences. In 1785, Richard Mique, architect of the Queen, had the blue marble fireplace and beautiful furniture by Reisener installed.

L’antichambre du Grand Couvert

The antechamber of the Grand Couvert is the first antechamber of the queen. It is here that the family reunited for their public meals, or Grand Couvert, and only members of the royal family could sit at the table. The people present for the dinner stood around the perimeter of the room. At the time of Louis XIV, evening meals were very regular but Louis XV and Louis XVI preferred more intimate dinners. The paintings on the wall depict Marie-Antoinette and her children.

La salle des Gardes

Located between the Antechamber of the Grand Couvert and the Queen’s staircase (or marble staircase), 12 guards from elite units controlled access to the apartments. Along with the King and the Prince, she was the only one to benefit from these bodyguards. It is this part of the palace that the rioters hoped to reach on October 6, 1789. Alerted by a maid, she managed to escape. The guardroom is the only room in these apartments to have retained its mural decoration in marble paneling dating back to Louis XIV. On the ceiling, Jupiter passes through the air along with Justice, Abundance and Piety. The paintings on the walls depict the same theme.

The role of the service of the bodyguards was to guard the doors of the apartments, to take up arms when the princes passed by, to fill the chapel for Mass and to escort the royal family to dinners. They also had to know the minor royalty such as dukes and lords. When they passed, the sentry would hoist their arms and knock their right heel twice before opening the door.

Visitors then cross the salle du Sacre (Sacre Room) composed of monumental paintings. A beautiful painting of David is visible to the left upon entering.

The tour continues by the salle de 1792 (1792 Room) which leads to the Galerie des Batailles (Battles Gallery). These rooms are not always open to the public.

Galerie des Batailles

The Battles Gallery is part of the Musée de l’Histoire de France. Inaugurated in 1837, it was created by the architect Nepveu for Louis Philipe. It occupies almost the entire first floor of the south wing and overlooks the Parterre du Midi (Southern parterre). The thirty paintings and the richly decorated vaulted ceiling present in this gallery recount the various victories in French history: from the victory of Clovis at Tolbiac in 496, to that of the Napoleon at Wagram in 1809. For the sake of national unity, these paintings celebrate national reconciliation and are dedicated to "all the glories of France." As such, it also pays tribute to fallen officers in combat with 80 busts of military figures.
Visitors then descend the Queen’s staircase to return to the royal courtyard.

Other Apt.

Appartement du dauphin, prince héritier et de la Dauphine - Apartment of the Dauphin, the crown prince, and the Dauphine :

These apartments on the ground floor housed the members of the royal family : the Dauphin (crown prince), brother, son or nephew of the King. The current decoration dates back to the mid-18th century.

La première antichambre de la Dauphine (1747)
The Dauphine’s First Antechamber (1747) : Visitors first cross the first antechamber of the Dauphine. The room is decorated with paintings of Louis XV.

La seconde antichambre de la Dauphine (1747)
The Dauphine’s second antechamber (1747) : Portraits of Marie Leszczinska and an equestrian portrait of Louis XV decorate this room.

Le Grand Cabinet de la Dauphine
The Dauphine’s Drawing Room: After crossing the two antechambers of the Dauphine, visitors reach a large drawing room. The interior decoration is composed of a painting of Louis XV in his coronation robes. Note also the beautiful console.

La chambre de la Dauphine (1747)
The Dauphine’s bedchamber (1747) 
: The current design of the room was done after its completion, and the Polish bed was added later. The decoration consists of paintings of members of the royal family and religious scenes such as the Nativity or Saint Joseph with the baby Jesus on his lap. From a historical point of view, Louis XVI, Louis XVIII and Charles X were born here.

Le cabinet intérieur de la Dauphine
The Dauphine’s Private Study : This room adjoins to the next, the Dauphin’s library. The paintings above the doors evoke the four seasons, and they are the work of Jean-Baptiste Audry from 1749. In terms of furniture, notice the chest of drawers and the beautifully sloped Secretary, crafted in 1745. A door in the back of the room leads to the Dauphin’s apartments.

La bibliothèque du Dauphin (ou cabinet de retraite) (1755)
The Dauphin’s library (1755) : This room was used as a study and is decorated with wood paneling depicting musical angels. The flat desk (1756), the chest of drawers and the bronze clock furnish the room beautifully.

Le grand cabinet du Dauphin (1693)
The Dauphin’s Drawing Room (1693) : The current decoration was carried out in 1747 for the son of Louis XV. Not to miss : the magnificent celestial and terrestrial globe made in 1786 for Louis XVI, and the console that dates back to 1787, declared a National Treasure.

La chambre du Dauphin
The Dauphin’s bedchamber : Realized by Gabriel in 1747, it is located below the Queen’s chamber. The bed is not the one used by the Prince, and though it dates back to 1740, it was added later. Also features a beautiful fireplace.

La seconde antichambre du Dauphin (1747)
The second antechamber Dauphin (1747) 
: The tour of the Dauphin’s Apartments ends in this room. The paintings depict Mesdames, the daughters of Louis XV.

Visitors then cross through the Daulphin’s guardroom, which leads to an exit via the marble courtyard.

Les appartements de Mesdames - Mesdames’ Apartments

Appartements de Mesdames, filles de Louis XV
Mesdames’ Apartments (daughters of Louis XV) : Located on the ground floor, under the King's Grand Apartments, Mesdames’ Apartments (the name given to the daughters of Louis XV), date back to 1752. They are symmetrical to the Dauphin’s Apartments.

La première antichambre de Madame Victoire
Madame Victoire’s First Antechamber : Visitors first cross the apartments of Madame Victoire, who lived at the palace until the Revolution. Above the doors hang portraits of two ministers under Louis XV. The chest of drawers in vernis Martin was delivered in 1756 for Madame Adelaide.

La seconde antichambre de Madame Victoire (1767)
Madame Victoire’s second antechamber (1767) : The paintings above the doors are the work of Oudry, and  represent the fables of La Fontaine. The room also features a beautiful Riesner chest of drawers and a screen.

Le grand cabinet de Madame Victoire
Madame Victoire’s Large Chamber
 : Features a fireplace dating back to Louis XIV and a harpsichord.

La chambre de Madame Victoire
Madame Victoire’s bedchamber : The beautiful woodworks are the work of Antoine Rousseau and the alcove coverings in mottled taffeta reproduce Madame Victoire’s “summer furniture.”

Le cabinet intérieur de Madame Victoire (1767)
Madame Victoire’s Interior Chamber (1767)
 : Elegant room in which Antoine Rousseau realized the wonderful woodwork and fireplace. The chest of drawers was delivered the following year, in 1768.

La bibliothèque de Madame Victoire
Library of Madame Victoire 
: Features a beautiful coffee set in Sèvres porcelain in Chinese décor, as well as a charming sloped desk.

La chambre de Madame Adélaïde
Madame Adelaide’s bedchamber : Following Madame Adelaide’s Interior Chamber, Madame Adelaide's bedchamber is decorated with four paintings depicting allegories of Painting, Sculpture, Architecture and Music. The decoration is completed by portraits of Louis XV and two of his daughters, Sophie and Louise. The mantel features a beautiful bust of the Dauphin, brother of Madame Adelaide.

Le grand cabinet de Madame Adélaïde
The large chamber of Madame Adelaide : Musically talented, Adelaide surely played the organ and violin presented in this piece. The portraits are of her sisters, and the bust on the mantel is that of Elizabeth, Louis XVI’s sister and Adelaide’s niece.

La salle des Hoquetons
The Hoquetons Room : This is the room where the palace police were kept, called "hoquetons" because of their tunics. In the trompe l'oeil, dating back to 1672, two statues stand out: a Moor in polychrome marble and a draped woman. The room also features a beautiful clock depicting the Creation of the World (1754).

Les appartements de Marie-Antoinette, Marie-Antoinette’s Apartments :

Behind the Queen’s Grand Apartments were small rooms for the queen’s private use and that of her maids. These rooms are where she fled on October 6, 1789.

Le cabinet Doré
The Gilded Study : Marie-Antoinette received her friends or played music in this room. The current decoration dates back to 1783 and are the design of the architect Richard Mique. This room features a beautiful Reisener chest of drawers and woodwork by the Rousseau brothers.

Le cabinet de la Méridienne
The Cabinet of the Meridian : This room, in a refined décor, served as the Queen’s boudoir. She retired there to read or receive close friends.

Le cabinet du Billiard
The Billiard Room: The silks in this room have just been restored.

L'appartement de la marquise de Pompadour
Madame de Pompadour’s Apartment : Louis XV gave this room to Madame de Pompadour, mistress of the King, who occupied it from 1745 to 1750. The two rooms were only one when it was created, and served as the Salon de Compagnie. It was divided in 1748 to form a new chamber and antechamber for Madame de Pompadour. The woodwork is the artistry of Verberckt.

L'Appartement intérieur du Roi (on guided tour), The King's interior apartment :

These rooms are visited with guided tours. Arranged on the first floor, its rooms overlook the marble courtyard and follow along the King’s Grand Apartments.

La chambre de Louis XV
The bedchamber of Louis XV : Used by the King from 1738 onward until his death on May 10, 1774.

Le cabinet de Garde-robe de Louis XVI

The dressing room of Louis XVI : Exceptionally refined, the dressing room is one of the rare major refurbishments undertaken by Louis XVI. Despite its name, carved decorations that reflect the major areas of government remind visitors that it was first and foremost a place of work.

Le cabinet de la Pendule
The Clock Room : Louis XV, lover of science, and particularly astronomy, furnished this room with a special clock in 1754, which was used to determine the first official time for the kingdom of France. On the floor of this room the Paris meridian has been outlined in a copper beading.

La salle à manger des Retours de chasse

The dining room for “After the Hunt” : Once or twice a week, Louis XV took supper here with the lords and ladies who had accompanied him on the hunt.

Le cabinet intérieur du Roi

The King’s Interior Chamber 
: Sculpted in 1753, the woodwork in this room remains one of the finest achievements of Jacques Verberckt. Also features an outstanding and innovative roll-top desk by Reisener (1769).

La bibliothèque de Louis XVI

The library of Louis XVI 
 : This library, which was designed by the architect Gabriel (1774), was one of Louis XVI’s favorite rooms. The globe, mounted by an Atlantean, allowed him to follow the great maritime explorations of the time, especially that of La Perouse, who he had supported. The large mahogany table, where the King spread out his maps, is the work of Reisener.

Le salon des Jeux de Louis XVI
The game room of Louis XVI : This room was used as a game room where guests played backgammon, billiards or whist.

Ending the Visit

The musée de l'Histoire de France
See "Museums".

Opéra Royal (guided tour)

The realization of the Royal Opera was an epic undertaking. Louis XIV already had the idea in mind, but it was nearly a century before the project would be realized. And it was in great haste that was completed in 1770 for the marriage of the Dauphin, the future Louis XVI, to Marie-Antoinette, Archduchess of Austria. Until the construction of the Royal Opera by Gabriel, performances were given in temporary locations.
The interior is of the utmost refinement, decorated with the gods and goddesses of Greek mythology. The central ceiling in particular depicts Apollo distributing crowns to the Muses. In addition to its beautiful design, its sound quality is superb.

The Congress Room

Located in the South Wing. Congress members held sessions here until 1879, when they returned to the Palais Bourbon in Paris. It is here that the presidential elections were held until 1953. Today, the parliament holds sessions here for constitutional amendments.
The allegorical paintings that adorn the room evoke the various ministries. Above the central console, the painting depicting the Etats Généraux of 1789 is meant to symbolize progress.