凡尔赛宫教堂房间的百叶窗面板 - 美国大都会艺术博物馆展品查阅

品名（中）	凡尔赛宫教堂房间的百叶窗面板
品名（英）	Panels from the shutters formerly in the Chapel Room at Versailles
入馆年号	1907年，07.225.145a–m
策展部门	欧洲雕塑和装饰艺术（European Sculpture and Decorative Arts）
创作者	Robert de Cotte【1657 至 1735】【法国人】
创作年份	公元 1705 - 公元 1715
创作地区
分类	木工制品（Woodwork）
尺寸	整体: 204 x 101英寸 (518.2 x 256.5厘米) 整体 ("c" only: assembled door of 3 panels with fleur-de-lys): 91 1/2 x 39 1/4 x 1 7/8 英寸 (232.4 x 99.7 x 4.8 厘米)
介绍（中）	在晨祷和上完厕所后，路易会离开他的房间，穿过国家公寓前往教堂室，这是二楼的一个沙龙，可以进入国王参加弥撒的小教堂的皇家论坛。教堂房间铺有大理石。壁龛中的科林斯式柱子和雕塑使墙壁活跃起来，代表世界四个部分的寓言灰泥装饰填满了拱形天花板的角落。三个大窗户装有室内百叶窗，由雕塑家朱尔斯·德古隆斯（Jules Degoullons，约 1671-1737 年）和他的合作伙伴于 1710 年雕刻而成，他们在建筑师罗伯特·德·科特（Robert de Cotte，1656-1735 年）的设计下为负责皇宫的部门 Bâtiments du Roi 工作。在十九世纪从凡尔赛宫移走后的某个时候，百叶窗从中间分成更薄的面板，大概是为了让正面和背面的雕刻可以分开使用。随后，这些面板被安装在新的橡木基材上，用线条框住，并制成与来自另一个来源的门上雕刻相匹配的门。当乔治·霍恩舍尔（Georges Hoentschel）购买两套雕刻有国家和皇家符号的双门时，人们认为它们来自马利城堡（Château de Marly），这是朱尔斯·哈杜安·芒萨尔（Jules Hardouin Mansart）为路易十四建造的乡村住宅。1907年他们到达博物馆后，人们意识到框架不是同一时期的，门上的雕刻也不属于门。Degoullons发现了一个非常详细的描述，描述了他和他的同事为教堂室的百叶窗雕刻的三个垂直和交替的水平面板中的每一个，最近人们认识到门是由这些面板任意组成的。尽管被切割、重新安装并剥离了原始油漆，但雕刻精美的面板是凡尔赛辉煌的宝贵遗迹。 [丹妮尔·基斯鲁克-格罗希德，2006年]
介绍（英）	Following his morning prayers and toilet, Louis would leave his chamber and proceed through the State Apartments to the Chapel Room, a salon on the second floor that gave access to the royal tribune in the chapel where the king attended Mass. The Chapel Room was paved with marble. Corinthian columns and sculptures in niches enlivened the walls, and allegorical stucco decoration representing the four parts of the world filled the corners of the vaulted ceiling. The three large windows were fitted with interior shutters carved in 1710 by the sculptor Jules Degoullons (ca. 1671–1737) and his partners, who worked for the Bâtiments du Roi, the department in charge of the royal palaces, after designs by architect Robert de Cotte (1656–1735). Sometime after they were removed from Versailles during the nineteenth century, the shutters were split through the middle into much thinner panels, presumably so that the carving on the fronts and backs could be used separately. The panels were subsequently mounted on a new oak substrate, framed with moldings, and made into doors that were matched with over-door carvings from another source. When Georges Hoentschel acquired two sets of these double doors carved with state and royal symbols, they were thought to have come from the Château de Marly, a country residence built for Louis XIV by Jules Hardouin Mansart. After they arrived at the Museum in 1907 it was realized that the frameswere not of the same period and that the over-door carvings, not nearly as fine, did not belong to the doors. The discovery of an account by Degoullons describing in great detail each of the three vertical and alternating horizontal panels he and his associates carved for the shutters in the Chapel Room has more recently led to the recognition that the doors were arbitrarily made up from those very panels. Despite having been cut apart and remounted and stripped of their original paint, the exquisitely carved panels are valuable remnants of the splendor of Versailles. [Daniëlle Kisluk-Grosheide, 2006]