Sciences at Versailles part 4: Cascade creation, water engineering

Louis XIV wanted magnificent gardens for his palace. To meet his desires and bring water to the estate, engineers had to tame nature by deploying impressive ingenuity.

View of the Palace of Versailles by Pierre PatelPalace of Versailles

Surveying and levelling

When the estate was originally created, the scale of the Park and Gardens, not to mention the water they required, made it necessary to deploy the very latest scientific and technical expertise.

In order to survey and level the land, plotting out grand views over unprecedented distances, the members of the Academy made use of geodesy, geometry and optics-perspective.

In order to supply water to an ever-growing number of fountains, on a site naturally lacking in fresh water, the king’s engineers came up with a spectacular network of pipes. Finding sufficient water to supply Versailles involved such great distances that astronomers were called in to design new telescopes for the surveyors, and the calculations were adjusted to take account of atmospheric refraction and the curvature of the earth.

View of the Palace and Gardens of Versailles, 1668

This vast topographical view of Versailles from the air is the only image thought to have survived from the series of views of royal palaces commissioned from artist Pierre Patel. It is a remarkably precise representation of the palace and gardens of Versailles just before the vast programme of construction work overseen by architect Louis le Vau in the 1670s and 1680s. The brick and stone house built here by Louis XIII had already been expanded with two new wings to house the service quarters and stables, but work to encase the palace in its grand stone “envelope” had not yet begun.

This painting shows that the Gardens, a great passion of Louis XIV, pre-existed the palace: before the final phase of construction had even begun, the broad outlines of the park, designed by André Le Nôtre, were already in place. Starting from scratch and faced with obstacles which seemed all but insurmountable, the King’s Gardener excelled himself to “tame the wilds of nature,” transforming stagnant lakes into sumptuous water features, and overseeing the metamorphosis of the marshes and forests of Versailles into the most magnificent gardens in Europe.

Trianon from the garden side (1601/1700)Palace of Versailles

Applied geometry in the gardens

The contemporary trend was for regularly-ordered gardens, a style which came to be known as the “French Garden,” and the treatise published by military engineer, geographer and cartographer Alain Manesson-Mallet was a key reference work. Divided into four books and illustrated with 500 engraved plates, his Practical Geometry was a sort of manual for architects and gardeners, providing a clear method for measuring distances and areas, and directly applying the principles of geometry to the creation of gardens and parterres.

Graphometer with sights with a transverse scale and shadow square, with monopod stand (1700) by Michael Butterfield, private collectionPalace of Versailles

The sight-vane graphometer

Invented by Philippe Danfrie in 1597, for over two centuries the graphometer (or semi-circumferentor) was the most prized tool of French surveyors. It was used to create small-scale maps by measuring the relative angles, from a given observation point, between the defining features of a landscape: a clock tower, a tree, a house, a hilltop etc. The graphometer was still very much in use during the construction of Versailles, but it only allowed for the measurement of short distances.

Graphometer with sights with a transverse scale and shadow square (1700) by Michael Butterfield, Versailles, private collectionPalace of Versailles

The graphometer is composed of a moving rod, known as an alidade, with vanes or pinnules at each end (little copper plates with vertical slots through which the user would view objects) and a compass which serves to direct the instrument.

Versailles, the challenge of water (2014) by Palace of Versailles and the city of ArrasPalace of Versailles

One the marshy terrain had been levelled, and nature tamed, the scholars and Academy members set about searching for a water source. Their quest was to inspire the greatest leap forward in hydraulic technology since the Roman era…

View of the Machine of Marly and Palace of Louveciennes (1722) by Pierre-Denis MartinPalace of Versailles

The Marly Machine

During the reign of Louis XIV, a vast system of pumps, aqueducts, reservoirs and artificial lakes was created. The Marly Machine was the spectacular centrepiece of this system. True to his nickname of “Jupiter,” the King ordered Colbert to “raise the river:” that meant pumping water from the Seine up to an altitude of 150 metres (a feat never before achieved) to irrigate first the gardens of Marly, and then Versailles.

Condensing two millennia of developments in hydraulic engineering, the Marly Machine, designed by Liège-based engineer Rennequin Sualem, was based on technical knowledge which was already tried-and-tested, but had never before been applied on such a scale.

Work began in 1681 and was completed four years later. The cost was considerable: 3.5 million Pounds, not counting the even more substantial outlay required to keep the machine running.

Perspective view of Apollo’s Fountain and the Grand Canal with its flotilla. (1701/1725) by French schoolPalace of Versailles

The magic of water

The Gardens of Versailles once boasted as many as 2000 fountain heads, four times more than there are today. An underground network of pipes stretching for over 46 kilometres supplied the ponds and fountains with running water.
The pressure required to keep this much water flowing forced the engineers to invent a whole new hydraulic system: the original terra cotta, wood and lead pipes were replaced with cast iron pipelines comprised of standardised sections which could be slotted together without welding, a technology perfected in the foundries of Normandy and Champagne.

Nozzles for shaping fountain jets: two sprays, a lance and a blade (1701/1900) by fountains departmentPalace of Versailles

Nozzles

These copper cylinders were attached to the ends of the pipes which fed into the fountains. Nozzles were used to create different shapes and effects with the water from the fountains.

Versailles, the magic of water (2014) by Palace of Versailles and the city of ArrasPalace of Versailles

View of the Palace of Versailles from the Dragon Fountain and Neptune Fountain (1670/1700) by Jean-Baptiste Martin the ElderPalace of Versailles

View of the Palace of Versailles from the Dragon and Neptune fountains

The Neptune fountain, formerly known as the Dragon fountain, was created between 1678 and 1684, during the reign of Louis XIV. The fountain marks the end of the North-South axis, providing a counterpoint to the Lake of the Swiss Guard shown in the background.

Louis XIV was keen for the design of this fountain to be particularly magnificent, but the three monumental sculptures (in lead, previously gilded) which now adorn the supporting wall were not installed until 1740, during the reign of Louis XV. The most remarkable asset of this fountain is its set of 99 jets, an extraordinary hydraulic achievement whose sheer scale and variety makes this one of the most spectacular water features in all of the gardens.

Credits: Story

Catherine Pégard, President of the Palace of Versailles

Laurent Salomé, Director of the museum

Thierry Gausseron, General administrator

Hélène Delalex, curator at the furniture and art object department and curator of the digital exhibition

Géraldine Bidault, in charge of the photography library and the digitization of the collections, curator of the digital exhibition

Ariane de Lestrange, Head of communication

Paul Chaine, Head of digital service

Gaëlle Bertho, coordinator of the digital exhibition

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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