Palace of Versailles embroidery in cross stitch - Second part
To read the first part: Versailles Palace embroidery - first part
The Bull's Eye Antechamber Tapestry
This is the detail of a door curtain in the Bull’s Eye Antechamber, named after the circular window which lets light through to the room on the south side.
Refurbished in 1701 at the same time that Louis XIV set up his formal Bedchamber in the centre of the Palace, the antechamber welcomed the courtiers who came to watch the king’s getting up and going to bed ceremonies. The tapestry on this door curtain represents the French coat of arms in the centre.
I wanted to include the fleur-de-lys, symbol of the French royalty, in this pattern chart. It was difficult to place this motif, and finally, it fell naturally and nimbly slightly overlapping the title.
The Marble Courtyard and the Hall of Mirrors
It may not have a lot to do with textiles, however it is easy to imagine that the geometric motif was made to be embroidered in cross stitch.
By the side is the interpretation of a tapestry from the Savonnerie Manufactory which covers one of the 32 stools in the Hall of Mirrors. These carved wood stools date from the period of Louis-Philippe and are decorated with a squirrels, birds and rose bouquets.
The tapestry was reconstructed in 1978 by Maison Hamot in Paris, now, unfortunately, no longer in existence.
The Queen's bedchamber in the palace of Versailles
Known as “gros de Tours”, a heavy taffeta decorated with a cloud of flowers, ribbons and peacock feathers, also known as “The Queen’s Brocade”.
The original fabric was woven in Lyon by Desfarges Brothers.
It was dispersed after the Revolution and was re-woven in the 20th Century by Maison Lamy & Gautier, again in Lyon.
On the right, just as admirable as the wall hangings are the borders composed of roses and lilac, also found on the couches and stools. They are woven on an “apple green” base, which I have not included in this small sample.
The Queen's bedchamber in Le Petit Trianon
It is often said that Marie-Antoinette created a Trianon style. Pierre de Nolhac (1859-1936), one of the enlightened curators of the Palace said of the Petit Trianon - “good taste instead of expected luxury”, in other words, extreme refinement at its simplest.
The gold at Versailles and Apollo the Sun God
I am not a fan of embroidery with metallic threads, but I could not leave out this important characteristic, so here is my interpretation:
the double “L” for Louis, a grid and a pompom measuring roughly 3cm.
Do the embroideries first, then make the pompom using the remaining thread and fix into place where indicated.
On the right, The Sun God for the Sun King, the presence of Apollo can be seen all over the Palace of Versailles.
In the Apollo room, of course, but also on many paintings, statues, tapestries, chair covers and door decorations.
The Versailles Kings and Queens
I liked the idea of placing them in this pattern chart as it adds a touch of humanity to this spectacular place where they all spent a large part of their life.
And from a purely practical point of view, it added a harmonious touch to the bottom part of the embroider..
and our collection of Versailles and Marie-Antoinette themed products.
Also discover the pattern chart about Marie-Antoinette.