The Château de Chantilly comprises two attached buildings: the Petit Château built around 1560 for Anne de Montmorency, and the Grand Château, which was destroyed during the French Revolution and rebuilt in the 1870s. Owned by the Institut de France, the château houses the Musée Condé. It is one of the finest art galleries in France and is open to the public.
The estate's connection with the Montmorency family began in 1484. The first mansion (now replaced by the Grand Château) was built in 1528–1531 for the Constable Anne de Montmorency by Pierre Chambiges. The Petit Château was also built for him, around 1560, probably by Jean Bullant. In 1632, after the death of Henri II, it passed to the Grand Condé who inherited it through his mother, Charlotte Marguerite de Montmorency.
Several interesting pieces of history are associated with the château during the 17th century. Molière's play, Les Précieuses ridicules, received its first performance here in 1659. Madame de Sévigné relates in her memoirs that when Louis XIV visited in 1671, François Vatel, the maître d'hôtel to the Grand Condé, committed suicide when he feared the fish would be served late.
The original mansion was destroyed in the French Revolution. It was repaired in a modest way by the last Condé, but the entire property was confiscated from the Orléans family between the years 1853 and 1872, during which interval it was owned by Coutts, an English bank. Chantilly was entirely rebuilt in 1875–1881 by Henri d'Orléans, duc d'Aumale (1822–1897) to the designs of Honore Daumet. The new château met with mixed reviews. Boni de Castellane summed up one line of thought: 'What is today styled a marvel is one of the saddest specimens of the architecture of our era — one enters at the second floor and descends to the salons'. In the end, the Duc d'Aumale bequeathed the property to the Institut de France upon his death in 1897.
The château's art gallery, the Musée Condé, houses one of the finest collections of paintings in France (after the Louvre). It specializes in French paintings and book illuminations of the 15th and 16th centuries. Works in the art gallery include Sassetta's Mystic Marriage of St. Francis, Botticelli's Autumn, Piero di Cosimo's Portrait of Simonetta Vespucci, Raphael's Three Graces and Madonna of Loreto, Guercino's Pietà, Pierre Mignard's Portrait of Molière as well as four of Antoine Watteau's paintings and Jean-Baptiste-Camille Corot's Le concert champêtre. Other paintings in the collection include works by Fra Angelico, Filippino Lippi, Hans Memling, 260 paintings and drawings by François and Jean Clouet, Veronese, Barocci, Annibale Carracci, Domenichino, Salvator Rosa, Nicolas Poussin, Philippe de Champaigne, Van Dyck, Guido Reni, Jean-Baptiste Greuze, Joshua Reynolds, Eugène Delacroix, Ingres, Géricault.
The library of the Petit Château contains over 1500 manuscripts and 17,500 printed volumes, that is part of the collection of over 700 incunabula, and some 300 medieval manuscripts, including one page of the Registrum Gregorii (c. 983), the Les très riches heures du Duc de Berry, the Ingeborg Psalter and 40 miniatures from Jean Fouquet's Book of Hours of Etienne Chevalier.
The main French formal garden, featuring extensive parterres and water features, was laid out principally by André Le Nôtre for the Grand Condé. The park also contains a French landscape garden with a cascade, pavilions, and a rustic ersatz village, the Hameau de Chantilly. The latter inspired the Hameau de la reine of Marie Antoinette in the Gardens of Versailles.References:
Charlottenburg Palace is the largest palace in Berlin and the only surviving royal residence in the city dating back to the time of the Hohenzollern family. The original palace was commissioned by Sophie Charlotte, the wife of Friedrich III, Elector of Brandenburg in what was then the village of Lietzow. Originally named Lietzenburg, the palace was designed by Johann Arnold Nering in baroque style. The inauguration of the palace was celebrated on 11 July 1699, Frederick's 42nd birthday.
Friedrich crowned himself as King Friedrich I in Prussia in 1701 (Friedrich II, known as Frederick the Great, would later achieve the title King of Prussia). Two years previously, he had appointed Johann Friedrich von Eosander (also known as Eosander von Göthe) as the royal architect and sent him to study architectural developments in Italy and France, particularly the Palace of Versailles. On his return in 1702, Eosander began to extend the palace, starting with two side wings to enclose a large courtyard, and the main palace was extended on both sides. Sophie Charlotte died in 1705 and Friedrich named the palace and its estate Charlottenburg in her memory. In the following years, the Orangery was built on the west of the palace and the central area was extended with a large domed tower and a larger vestibule. On top of the dome is a wind vane in the form of a gilded statue representing Fortune designed by Andreas Heidt. The Orangery was originally used to overwinter rare plants. During the summer months, when over 500 orange, citrus and sour orange trees decorated the baroque garden, the Orangery regularly was the gorgeous scene of courtly festivities.
Inside the palace, was a room described as 'the eighth wonder of the world', the Amber Room, a room with its walls surfaced in decorative amber. It was designed by Andreas Schlüter and its construction by the Danish amber craftsman Gottfried Wolfram started in 1701. Friedrich Wilhelm I gave the Amber Room to Tsar Peter the Great as a present in 1716.
When Friedrich I died in 1713, he was succeeded by his son, Friedrich Wilhelm I whose building plans were less ambitious, although he did ensure that the building was properly maintained. Building was resumed after his son Friedrich II (Frederick the Great) came to the throne in 1740. During that year, stables for his personal guard regiment were completed to the south of the Orangery wing and work was started on the east wing. The building of the new wing was supervised by Georg Wenzeslaus von Knobelsdorff, the Superintendent of all the Royal Palaces, who largely followed Eosander's design. The decoration of the exterior was relatively simple but the interior furnishings were lavish. The ground floor was intended for Frederick's wife Elisabeth Christine, who, preferring Schönhausen Palace, was only an occasional visitor. The decoration of the upper floor, which included the White Hall, the Banqueting Hall, the Throne Room and the Golden Gallery, was lavish and was designed mainly by Johann August Nahl. In 1747, a second apartment for the king was prepared in the distant eastern part of the wing. During this time, Sanssouci was being built at Potsdam and once this was completed Frederick was only an occasional visitor to Charlottenburg.
In 1786, Frederick was succeeded by his nephew Friedrich Wilhelm II who transformed five rooms on the ground floor of the east wing into his summer quarters and part of the upper floor into Winter Chambers, although he did not live long enough to use them. His son, Friedrich Wilhelm III came to the throne in 1797 and reigned with his wife, Queen Luise for 43 years. They spent much of this time living in the east wing of Charlottenburg. Their eldest son, Friedrich Wilhelm IV, who reigned from 1840 to 1861, lived in the upper storey of the central palace building. After Friedrich Wilhelm IV died, the only other royal resident of the palace was Friedrich III who reigned for 99 days in 1888.
The palace was badly damaged in 1943 during the Second World War. In 1951, the war-damaged Stadtschloss in East Berlin was demolished and, as the damage to Charlottenburg was at least as serious, it was feared that it would also be demolished. However, following the efforts of Margarete Kühn, the Director of the State Palaces and Gardens, it was rebuilt to its former condition, with gigantic modern ceiling paintings by Hann Trier.
The garden was designed in 1697 in baroque style by Simeon Godeau who had been influenced by André Le Nôtre, designer of the gardens at Versailles. Godeau's design consisted of geometric patterns, with avenues and moats, which separated the garden from its natural surroundings. Beyond the formal gardens was the Carp Pond. Towards the end of the 18th century, a less formal, more natural-looking garden design became fashionable. In 1787 the Royal Gardener Georg Steiner redesigned the garden in the English landscape style for Friedrich Wilhelm II, the work being directed by Peter Joseph Lenné. After the Second World War, the centre of the garden was restored to its previous baroque style.