Prince's Palace

About

The Prince's Palace of Monaco (French: Palais princier de Monaco; Monégasque: Palaçi principescu) is the official residence of the Sovereign Prince of Monaco. Built in 1191 as a Genoese fortress, during its long and often dramatic history it has been bombarded and besieged by many foreign powers. Since the end of the 13th century, it has been the stronghold and home of the Grimaldi family who first captured it in 1297. The Grimaldi ruled the area first as feudal lords, and from the 17th century as sovereign princes, but their power was often derived from fragile agreements with their larger and stronger neighbours. Thus while other European sovereigns were building luxurious, modern Renaissance and Baroque palaces, politics and common sense demanded that the palace of the Monegasque rulers be fortified. This unique requirement, at such a late stage in history, has made the palace at Monaco one of the most unusual in Europe. Indeed, when its fortifications were finally relaxed during the late 18th century, it was seized by the French and stripped of its treasures, and fell into decline, while the Grimaldi were exiled for over 20 years. The Grimaldis' occupation of their palace is also...

The palace is a blend of architectural styles; its ancient origins are indicated by a lack of symmetry. Thus to evaluate the architecture, wings and blocks have to be observed separately. The principal façade appears as a terrace of Renaissance style palazzi from differing periods of the Renaissance era ( Illustrations 1 and 12 ) which—even though they form only one palace—is exactly what they are. These wings are however united by their common rusticated ground floor. This Renaissance architecture seems to mask earlier fortifications, the towers of which rise behind the differing classical façades. These towers—many complete with crenellations and machicolations —were actually mostly rebuilt during the 19th century. At the rear of the palace the original medieval fortifications seem untouched by time. ( Illustration 4 ). A greater architectural harmony has been achieved within the court of honour around which the palace is built, where two tiers of frescoed open arcades serve as both a ceremonial balcony for the prince's appearances and a state entrance and corridor linking the formal state rooms of the palace.

The most notable of the many rooms are the state apartments. These were laid out from the 16th century onwards, and were enhanced in the style of those at Versailles during the 18th century. In the 19th century and again during the late 20th century, large-scale restoration of the state rooms consolidated the 18th-century style which prevails today. Designed as an enfilade and a ceremonial route to the throne room, the processional route begins with an external horseshoe-shaped staircase which leads from the court of honour to the open gallery known as the Gallery of Hercules. From here guests enter the Mirror Gallery, a long hall inspired by the Hall of Mirrors at Versailles. This gallery leads to the first of the state rooms, the Officer's Room, where guests are greeted by court officials before an audience with the prince in the Throne Room. From the Officer's Hall the enfilade continues to the Blue Room. This large drawing room, decorated with blue brocade, is hung with Grimaldi family portraits and has chandeliers of Murano glass. The following room, the largest of the state apartments, is the Throne Room. Its ceiling and frescoes were executed by Orazio de Ferrari and depict the surrender of Alexander the Great. The throne, in the Empire style, is positioned on a dais, beneath a red silk canopy of estate surmounted by a gilt crown. The floors are of Carrara marble. All state ceremonies have been held in this room since the 16th century.

Other rooms in the state suite include the Red Room — so called because its walls are covered in red brocade — a large drawing room containing paintings by Jan Brueghel and Charles Le Brun. Like much of the palace the room contains ornate 18th-century French-style furniture. From the Red Room leads the York Room. Furnished as a state bedchamber, this room is frescoed with illustrations of the four seasons by Gregorio de Ferrari. The following room, known as the Yellow Room (or sometimes as the Louis XV Bedchamber), is another state bedroom.

The most remarkable room in the suite is the Mazarin Room. This drawing room is lined with Italian gilded and painted polychrome boiseries by craftsmen brought to France by Cardinal Mazarin, who was related by marriage to the Grimaldi. Cardinal Mazarin's portrait hangs above the fireplace.

While the overriding atmosphere of the interior and exterior of the palace is of the 18th century, the palace itself is not. Much of its appearance is a result of a long evolution dating from the 12th century, overshadowed by heavy restoration and refurnishing during the 19th and 20th centuries.

Monaco's history predates the Roman occupation of AD 122. Its large natural harbour ensured a steady stream of visitors from Byblos, Tyre, and Sidon. Later the Phoenicians came to trade silk, oil, and spices with the natives. It was the Phoenicians who introduced to this area of the Mediterranean their god Melkart, later known by the Romans as Hercules Monoikos. It was after this god that the Romans renamed the area Portus Hercules Moneici, which has evolved to the present name of Monaco. The seat of the Prince of Monaco was established on the Rocher de Monaco ( Illustration 5 ) as a fortress in 1191 when the harbour, that is today lined by Monte Carlo, was acquired by the Republic of Genoa. The harbour and its immediate area were given to the Genoese by the Emperor Henry IV with the proviso that the Genoese protect the coastline from piracy. Further territory was ceded to the new owners by the Council of Peille and the Abbaye de Saint Pons. In 1215 work began on a new fortress, comprising four towers connected by ramparts protected by a curtain wall. This forms the core of the present palace.

Genoa was important in the politics of 12th-century Europe. The Genoese were a nation of merchants, and such was their wealth that they frequently fulfilled a role as bankers to the other nation states. However, the Genoese became divided following the rift caused when the Emperor Frederick II challenged the power of Pope Innocent IV. Two distinct camps formed: the Guelphs who supported the pope and the Ghibellines who were loyal to the imperial crown. Siding with the Guelphs were one of the patrician families of Genoa—the Grimaldi. Throughout the 13th century these two groups fought. Finally at the end of the century the Ghibellines were victorious and banished their opponents, including the Grimaldi, from Genoa. The Grimaldi settled in the area today known as the French Riviera. Several castles in the area are still known as Chateau Grimaldi, and testify to the strong presence of various branches of the family in the vicinity.

Legend relates that in January 1297 François Grimaldi, disguised as a monk, sought shelter at the castle. On obtaining entry he murdered the guard, whereupon his men appeared and captured the castle. Thus the fortress became the stronghold of the Grimaldi. This event is commemorated by a statue of François Grimaldi in the precincts of the palace ( Illustration 6 ) and in the arms of the House of Grimaldi where François is depicted wielding a sword while in the garb of a monk ( Illustration 2 ).

Charles I, who ruled from 1331 to 1357, and was the son of François Grimaldi's cousin Rainier I, significantly enlarged the fortress by adding two large buildings: one against the eastern ramparts and the second looking out over the sea. This changed the appearance of the fortress, making it appear more of a fortified house than a fortress. The fortifications remained very necessary, for during the next three decades the fortress was alternately lost and regained by the Grimaldi to the Genoese. In 1341 the Grimaldi took Menton and then Roquebrune, thus consolidating their power and strength in the area. Subsequently, they strengthened not only the defences of the harbour but also their fortress on the Rocher. The Grimaldi's stronghold was now a power base from which the family ruled a large but very vulnerable area of land.

For the next hundred years the Grimaldi defended their territory from attacks by other states which included Genoa, Pisa, Venice, Naples, France, Spain, Germany, England and Provence. The fortress was frequently bombarded, damaged, and restored. Gradually the Grimaldi began to make an alliance with France which strengthened their position. Now more secure, the Grimaldi lords of Monaco now began to recognise the need not only to defend their territory, but also to have a home reflecting their power and prestige.

Throughout the 15th century, both the fortress and the Rocher continued to be extended and further defended until it became a garrison accommodating some 400 troops. The slow transformation from fortified house to palace ( Illustration 7 ) began during this era, first with building by Lamberto Grimaldi, Lord of Monaco (who between 1458 and 1494 was "a noteworthy ruler who handled diplomacy and the sword with equal talent"), and then by his son Jean II. This period saw the extension of the east side of the fortress with a three–floored wing, guarded by high scalloped walls connecting the bastion towers—St Mary ( M in Illustration 7 ), Middle ( K ) and South ( H ). This large new wing contained the palace's principal room, the State Hall (today known as the Guard Room). Here the princes carried out their official business and held court. Further, more luxurious, rooms complete with balconies and loggias were designed for the private use of the Grimaldi family. In 1505 Jean II was killed by his brother Lucien.

Jean II was succeeded by his brother Lucien I. Peace did not reign in Monaco for long; in December 1506 14,000 Genoese troops besieged Monaco and its castle, and for five months 1,500 Monégasques and mercenaries defended the Rocher before achieving victory in March 1507. This left Lucien I to walk a diplomatic tightrope between France and Spain in order to preserve the fragile independence of the tiny state which was in truth subject to Spain. Lucien immediately set about repairing the ravages of war to the fortified palace which had been damaged by heavy bombardment. To the main wing (see Illustrations 3 & 7 – H to M ), built by Prince Lambert and extended during the reign of Jean II, he now added a large wing ( H to C ) which today houses the state apartments.

During the reign of Honoré I the internal transformation from fortress to palace was continued. The Treaty of Tordesillas at the beginning of Honoré's rule clarified Monaco's position as a protectorate of Spain, and thus later of the Holy Roman Emperor Charles V. This provided the security to allow the Lord of Monaco to concentrate on the more comfortable side of his residence rather than the constant need to defend it.

The courtyard was rebuilt, the architect Dominique Gallo designing two arcades, stretching between points H and C. The arcades, fronting the earlier wing by Lucien I, each have twelve arches, decorated by white marble balustrading on the upper level. Today the upper arcades are known as the Galerie d'Hercule (gallery of Hercules) because their ceilings were painted with scenes depicting the Labours of Hercules by Orazio de Ferrari during the later reign of Honoré II. These arcades or loggias provide corridors to the state rooms in the south wing (today known as the State Rooms Wings). On the other side of the courtyard a new wing was constructed and the Genoese artist Luca Cambiasi was charged with painting its external walls with frescoes. It is thought that the galleries ( B ) to the north wing overlooking the harbour were built at this time.

Further enlargements were carried out in order to entertain the Emperor Charles V in 1529, when he stayed four nights at the palace during his journey in state to Bologna for his coronation by Pope Clement VII.

Architecturally this was an exciting period, but Honoré I was unable to remodel the fortress in the grand style of a Renaissance palazzo. In spite of the Spanish protection, the risk of attack from France was high and defence remained Honoré's main priority. With this in mind he added two new features: All Saints Tower ( F ) and the Serravalle Bastion ( G ). All Saints Tower was semi-circular and guarded the end of the rock promontory. Complete with gun platforms and cannon, it was connected to man-made caves in the rock itself. Subterranean passages also linked it to the Serravalle Bastion, which was in essence a three-storey gun tower bristling with cannon. Underneath the courtyard a cistern was installed, providing sufficient water for 1000 troops for a 20-month siege, with a huge vaulted ceiling supported by nine columns. Monaco was to remain politically vulnerable for another century and little building work took place from 1581 until 1604, during the reigns of Prince Charles II and Prince Hercule.

Monaco's vulnerability was further brought home in 1605 when the Spanish installed a garrison there. In 1633 Honoré II ( Illustration 8 ), was officially addressed as "Serene Prince" by the Spanish king, thus recognizing Monaco as a principality for the first time. However, as Spanish troops were currently in occupation, this recognition was seen as little more than a gesture to keep Honoré happy.

Honoré II was a francophile. Following his education in Milan, he had been cultivated by the intellectual salons of Paris. Thus, having close affinities with France both culturally and politically, he rebelled against the Spanish presence in Monaco. While he realised that Monaco needed the protection of another power, France was Honoré II's favoured choice. In 1641, heavily supported by the French, he attacked the Spanish garrison and expelled the Spanish, declaring "the glorious liberty of Monaco". The liberty mentioned was entirely dependent on France, as Monaco now entered a period as a protectorate of France which would last until 1814. As a result of this action Honoré II is today regarded as the hero of Monaco.

Highly educated and a patron of the arts, Honoré II, secure on his throne, began collecting works by Titian, Dürer, Raphael, Rubens and Michelangelo which formed the basis of the art collection that furnished the palace slowly evolving from the Monaco fortress. Over the following 30-year period he transformed it into a palace suitable for a prince ( Illustration 9 ).