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The Prince's Palace
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© Centre de Presse de Monaco
An advocate of age-old tradition, the Palace of Monaco was built on the very spot on which the Genoese erected a fortress back in 1215. Its image cannot be dissociated from that of Monaco’s Rocher, a symbol of the Principality and the Grimaldi dynasty. It stands as testimony of architectural history from the XIIIth century to the present day. Considerable changes over the course of history have resulted in the Palace bearing little resemblance to the original fortress, even if it still has the same general appearance, with its crenellated towers and machicolations.
For many centuries, the citadel of Monaco was sought after by the enemies of the Grimaldi family, resulting in numerous conflicts with the Genoese, the French and the Spanish. The Rocher therefore remained a fortress for nearly 400 years, increasingly developing its fortifications. Towards the mid XVIIth century, Prince Honoré II (1597-1662) began initial work to transform the Palace. Although the military fortifications were maintained, the interior was totally refurbished, in order to house magnificent collections of master paintings, tapestries and priceless furniture. Towards 1690, Prince Louis I (1642-1700) had the main entrance cut out. The entrance still exists today and faces the main courtyard from where a magnificent double-revolution staircase in Carrara marble leads to the Galerie d’Hercule.
With the 1815 Treaty of Paris, the sovereignty was fully and wholly restored to Monaco, so Honoré IV (1758-1819) and Honoré V (1778-1841) began restoration work on the Palace, which had been stripped of its collections and largely plundered during the French Revolution. Florestan I (1785-1856) gladly continued the restoration work. Charles III (1818-1889) notably rebuilt the Tower of Sainte-Marie and the surrounding buildings in the same style as a Florentine palace. He gave the Chapel of Saint-Jean-Baptiste (Saint John the Baptist), built in 1656, a new altar. Albert I (1848-1922) erected the Clock Tower in white stone from La Turbie. Louis II (1870-1949) focused his efforts on major maintenance work. As soon as he acceded to the throne in 1949, HSH Prince Rainier III set himself the goal of improving and modernising the Palace: old frescoes were restored; the southern wing, destroyed in the Revolution, was rebuilt and today houses the private quarters of the Royal Family, in addition to the Napoleon Museum and Palace Archives.
The main state apartments are open to the public from June to October, whereas the Napoleon Museum and the archive collection can be visited throughout the year.
Every day at midday, the highly specialised ceremony of the changing of the guards takes place in the Palace Square – one of the main highlights for any visiting tourist.
THE ROYAL COURTYARD
The Royal Courtyard can be considered as the former central part of the fortress back in the XIIIth century. Its current architectural appearance dates from the reign of Honoré II. But it was his successor, Prince Louis I, who decided to open up the monumental entrance in the main façade, which faces the Square and the old town. During renovations on the Palace ordered by HSH Prince Rainier III, the Royal Courtyard was paved with three million white and coloured pebbles forming huge geometrical patterns.
In 1960, the Sovereign Prince opened the Royal Courtyard to the prestigious Orchestra of the National Opera (which was renamed the Monte-Carlo Philharmonic Orchestra in 1980) bestowing upon it international renown and prestige. Since this date, the tradition has been for high-quality classical concerts and recitals, featuring the best soloists and conductors from around the world, to take place in the Royal Courtyard during the summer season.
THE ROYAL COURTYARD STAIRCASE
Leading to the Galerie Hercule, this spectacular horseshoe-shaped staircase, inspired by the one in Fontainebleau Château, stands at the centre of the Royal Courtyard. Built under the reign of Louis I, the godson of King Louis XIV, each of the thirty steps has been carved from the same block of Carrara marble. Rose-shaped Venetian mosaics form the ornamental tiling of the front steps, while the banisters are adorned with Portor marble spheres.
THE CHAPEL OF SAINT-JEAN-BAPTISTE
The Palatine Chapel was built in the XVIIth century, under Honoré II, at the far end of the Royal Courtyard, as a replacement for the old oratory.
Two centuries later, Prince Charles III embarked upon a major restoration programme; frescoes by Jacob Froschle and Deschler d'Augsbourg were added to the external walls, while the interior was given a baroque style by Italian painter and ceramist Ernesto Sprega.
The Palatine Chapel, embellished with a high altar in precious marble, is used solely for private religious ceremonies.
THE GALERIE HERCULE (HERCULES GALLERY)
Overhanging the Royal Courtyard, this Italian-style gallery, designed by Milanese architect Dominico Gallo in the XVIth century, runs parallel to the State Apartments. It is decorated with frescoes depicting mythological characters, including one featuring this famous ancient hero, by Genoese artist Orazio Ferrari, who has succeeded beautifully in giving it the magnificent style of an Italian Renaissance Palace.
The murals have undergone several changes upon the request of HSH Prince Rainier III who asked for four frescoes by Pier Francesco Mazzucchelli and "Il Morazzone", representing mythological or legendary characters, to be brought in.
From this very loggia, the Royal Family addresses the citizens of Monaco who gather in the Royal Courtyard for important events: HRH Princess Caroline’s wedding, the presentation of newborns …
THE GALLERY OF MIRRORS
Connecting the Galerie Hercule to the State Apartments and the Throne Room, for which it also serves as an anti-chamber, the Gallery of Mirrors is obviously composed of mirrors. Positioned opposite each other, the mirrors reduce proportions, infinitely reflecting the ornaments adorning the room – Chinese vases from the Ming dynasty, Japanese cups, as well as busts of Princes Charles III, Albert I, Louis II and Princess Alice.
Both ends of the Gallery are decorated in a highly symbolical fashion: on one side, a portrait of HSH Prince Rainier III, Princess Grace and their three children, painted by Ralph Wolfe Cowan in 1981, beautifully capturing the wonderful image of family joy; on the other side, the statue of "The Nymph Salmacis", the work of Monegasque sculptor Joseph-François Bosio, one of the most renowned artists of the Empire and of the Restoration period, who was the pride of the Principality. A reproduction of the Nymph is awarded as first prize at the Monte-Carlo International Television Festival (created in 1961).
THE YORK ROOM AND BED CHAMBER
The Royal Chamber, sumptuously decorated in red damask by Antoine I, changed its name at the end of the XVIIIth century, due to an event that was to disrupt life at the Palace. In the summer of 1767, Prince Edward-Augustus, Duke of York, was taken ill and moved there whilst on a sea trip from Marseilles to Genoa. Despite the efforts of the doctors called to his bedside, he died several days later. Prince Honoré III therefore transformed the room into a chapel, before sending the corpse of the blood prince back to Great Britain aboard a vessel. The room where the Duke of York had stayed during his illness therefore bears the memory of this grievous episode in history…
However, the richness and beauty of the decor allow us to forget this dismal incident and to associate it rather with a small art museum with its gilded bronze objects, ebony Louis XIV style furniture, marble mosaic floor, four poster bed, frescoes painted by Gregorio de Ferrari and Alexandre Haffner on the ceiling, portraits on the walls of the princes and princesses of Monaco by Hyacinthe Rigaud, François de Troy, Sébastien Bourdon and Pierre Mignard.
Today, the York Chamber accommodates royal guests and heads of State staying at the Palace.
THE YELLOW ROOM AND THE LOUIS XV BED CHAMBER
These two rooms create a harmonious and refined apartment dedicated to high-status ladies. Once again they can be likened to a museum: the talents of painters Boucher, Lemoyne, Lagrenée, Vanloo and Largillière are on display, as is the excellent work of the most renowned cabinet-makers of the XVIIIth century and the elegance of the Alsace printed tapestries. A soft and warm atmosphere reigns….
THE OFFICERS’ ROOM
The Officers’ Room is used by the Palace’s Protocol Office to greet and entertain guests of the Sovereign Prince. All guests are automatically led into this room at official receptions when exiting the Gallery of Mirrors.
Ornately furnished, including two intricately designed Florentine closets dating from the period of François I, its walls are adorned with various paintings of great artistic value: "Les Vendanges" attributed to Jacques Van Arthois, a Flemish landscape artist from the XVIIth century, "Bassin de radoub" attributed to, according to various experts, Guillaume Van de Velde or Abraham Stork, "A portrait of the Duchess d'Aumont-Mazarin" by Marie Verroust, etc.
THE LOUIS XV ROOM
Blue and gold prevail in this room, which precedes the Throne Room. Its particularity lies in the fact that it is separated into two by three arches, under one ceiling decorated with Pompeian-style frescoes.
Once again, numerous oil paintings adorn the walls: two portraits of pageantry by François Stiémart, two portraits of children by Pierre Gobert and two works by the Ecole Française from the XVIIIth century.
THE THRONE ROOM
It is of course in this Room, boasting an immense Renaissance fireplace, also known as the Grimaldi Room, that all official ceremonies have taken place throughout history as far back as the XVIth century – the swearing-in of high-ranking dignitaries and State officials of the Sovereign, the civil marriage between HSH Prince Rainier III and Grace Kelly on 18th April 1956 – and various state receptions. It is in the Throne Room that the Sovereign Prince receives religious, civil and military officials, as well as commissioned consular representatives, on the occasion of the Monegasque National Holiday.
The spectacular Empire-style throne rests under a burgundy Viennese velvet canopy and remains the steadfast emblem of the Principality of Monaco.
THE MAZARIN ROOM
The Mazarin Room acknowledges the union between the Grimaldis and the Aumont-Mazarins. It boasts magnificent arabesque-style coloured wooden features dating from the XVIIth century and a first-class piece of Boulle furniture.
Various collectors’ items which belonged to Prince Louis II - ceramics, surgical instruments, santons,..- are exhibited in showcases on the wall.
A portrait of Cardinal Mazarin, accredited to the Ecole Française from the XVIIth century, is set into the woodwork.
Last but not least, a superb portrait of Princess Grace, painted by Ricardo Macarron in 1974, is displayed on an easel next to the fireplace.
THE LOUIS XIII BED CHAMBER
This Chamber, situated under a marble alcove, connects with the Mazarin Room. It can be considered as a miniature artistic temple in tribute to Italy, not because Cardinal Angelo Roncalli, the future Pope John XXIII, stayed there while passing through Monaco, but because of the various works of art it contains, including a "Portrait of Lucien I" attributed to Leonardo da Vinci’s pupil, Giovanni Ambroglio de Predis, and above all "The Music Lesson" generally attributed to Tiziano.
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