WEBVTT - André Le Nôtre, Part 2

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<v Speaker 1>Welcome to Stuff You Missed in History Class, a production

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<v Speaker 1>of I Heart Radios How Stuff Works. Hello, and welcome

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<v Speaker 1>to the podcast. I'm Holly Fry and I'm Tracy V. Wilson. Uh.

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<v Speaker 1>This is the second part of a two parter on

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<v Speaker 1>Andre Lenore, who is France's famous gardener. We discussed for

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<v Speaker 1>the first episode how that term doesn't really encompass all

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<v Speaker 1>that he was or did, but it is usually how

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<v Speaker 1>he has defined historically. And on the last episode we

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<v Speaker 1>talked about Andre Lenotre's early life and how with one

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<v Speaker 1>high profile project he went from being a well respected

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<v Speaker 1>royal gardener and controller to being tapped by King Louis

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<v Speaker 1>the fourteenth for a project that was going to be

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<v Speaker 1>epic in scale, and so here in part two, we're

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<v Speaker 1>going to pick up with that project, how it played out,

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<v Speaker 1>and then take you right on through the end of

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<v Speaker 1>Lenotre's life and also how his work is seen today.

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<v Speaker 1>You're not gonna be completely lost if you pixings up

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<v Speaker 1>here and you didn't listen to part one, but you're

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<v Speaker 1>gonna miss out on a really juicy story about how

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<v Speaker 1>that big project that kind of made him famous. UH

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<v Speaker 1>contributed to a member of the royal court being imprisoned

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<v Speaker 1>for life, not because Andre's designed it, but because it

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<v Speaker 1>was lavish and beautiful. It's a juicy story. Go back

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<v Speaker 1>and listen. So we're gonna pick up right where we

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<v Speaker 1>left off. So we ended the last episode with the

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<v Speaker 1>king tasking Andre lenotre with designing the gardens of Versailles.

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<v Speaker 1>When Louis fourt decided that he wanted to renovate the

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<v Speaker 1>chateau and have landscaped crowns there, it was initially because

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<v Speaker 1>he just loved the hunting lodge and he liked life

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<v Speaker 1>in the country. He preferred it to Paris, where he

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<v Speaker 1>was always being watched, and it gave him a getaway

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<v Speaker 1>where he could arrange romantic liaisons. But by the mid

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<v Speaker 1>sixteen seventies, the king had decided to move the royal

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<v Speaker 1>court from Paris to the redesigned Versailles. And while Andre

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<v Speaker 1>Lenot had been a royal gardener, as we said before,

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<v Speaker 1>this project heading up the garden plans of Versailles was

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<v Speaker 1>very different because it was a true collaboration with the

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<v Speaker 1>monarch and Louis the fourteen had opinions about plants and gardens,

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<v Speaker 1>as he was an avid gardener, himself, but Lenopla was

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<v Speaker 1>really the perfect creative match for the king. Where Louis

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<v Speaker 1>could be mercurial and impulsive, Lenore was relaxed and steadfast,

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<v Speaker 1>and the two very different personalities managed to achieve a

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<v Speaker 1>balanced sort of harmony as they plotted out and executed

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<v Speaker 1>this massive project. It really helped that Lenota was truly

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<v Speaker 1>a royalist, that he was very devoted to Louis the fourteenth,

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<v Speaker 1>and the young king in turn, who was in his

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<v Speaker 1>twenties at this point, seemed to really enjoy the company

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<v Speaker 1>of the older Lenore, who did not seem to be

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<v Speaker 1>scheming in his relationship with the monarch in any way.

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<v Speaker 1>Lenore also had to work with Lebron and Leveaux, as

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<v Speaker 1>he had at void of Acomte, and he had to

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<v Speaker 1>juggle the personalities of these two men plus the king

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<v Speaker 1>throughout the project. Leva died in sixteen seventy and his

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<v Speaker 1>assistant Friendsois Doorbet finished the work. Later, work on both

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<v Speaker 1>the chateau and the gardens was commissioned by Jules Hardoin Montsart.

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<v Speaker 1>Lenotre didn't seem to let constantly changing targets bother or

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<v Speaker 1>unsettle him, and through it all, he wasn't just working

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<v Speaker 1>with the King and his design collaborators. He was managing

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<v Speaker 1>thousands of people in order to fulfill the desires of

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<v Speaker 1>the Crown at a magnitude that was beyond anything any

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<v Speaker 1>of them had ever worked on before. So if you

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<v Speaker 1>visit their side today, which we have been lucky enough

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<v Speaker 1>to do, it is all paved and landscaped and manicured,

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<v Speaker 1>and it is absolutely breathtaking. But that location, as has

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<v Speaker 1>come up on the show before, was a hunting lodge

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<v Speaker 1>before Louis four decided to redo it and eventually make

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<v Speaker 1>it into a palace, and it was out in the country.

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<v Speaker 1>So what Lenotto was faced with was turning a whole

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<v Speaker 1>lot of swampy, muddy ground. It is something worthy of

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<v Speaker 1>French royalty, no small task. The diarist Louis d'arrouva, the

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<v Speaker 1>Duke de Saint Simol, wrote of the Versailles site that

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<v Speaker 1>it was quote the saddest and most barren of places,

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<v Speaker 1>with no view, no wood, no water, and no earth,

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<v Speaker 1>for it is all shifting sand and marsh, and the

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<v Speaker 1>air consequently is bad. And apart from that, it was

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<v Speaker 1>a lot of land like that. By the time Louis

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<v Speaker 1>the fourteenth finished acquiring parcels of adjacent land to expand

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<v Speaker 1>the existing site. There was about fifteen thousand acres or

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<v Speaker 1>six thousand hectars. Lenotre spent thirty years working on Versailles,

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<v Speaker 1>turning it from that marshy expanse to a place of

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<v Speaker 1>just unparalleled splendor. I feel compelled to point out that

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<v Speaker 1>a lot of people will say Saint Simon in his

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<v Speaker 1>writing was a little bit um of a drama lama

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<v Speaker 1>and could exaggerate things, so it may or may not

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<v Speaker 1>have been quite as bad as he described it. But

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<v Speaker 1>everyone agreed pretty universally that it was a weird place

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<v Speaker 1>for the king. I want to put a lot of

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<v Speaker 1>effort in and that splendor that was created came at

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<v Speaker 1>a very significant cost, partially because of that weird land,

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<v Speaker 1>and that cost was both in money and in men.

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<v Speaker 1>It was estimated that the cost of just leveling and

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<v Speaker 1>excavating the land and preparing the clay basins for water

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<v Speaker 1>tallied up to more than six million livre, and a

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<v Speaker 1>lot of men also died over the course of construction,

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<v Speaker 1>with the numbers of people injured on the job totaling

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<v Speaker 1>in the thousands. The primary causes for these deaths and

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<v Speaker 1>injuries were landslips while digging out the various water features,

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<v Speaker 1>and malaria because that marshy ground is a perfect place

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<v Speaker 1>for mosquitoes to be very very happy. A similar human

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<v Speaker 1>cost had taken place during the construction at Vodeviculte, where

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<v Speaker 1>serious injuries and mortalities were so common that a new

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<v Speaker 1>hospital had to be established to handle them all. I

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<v Speaker 1>read one story, but I didn't read any verification on

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<v Speaker 1>it because I didn't particularly chase after it that at

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<v Speaker 1>Versailles they were basically letting people kind of like fall.

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<v Speaker 1>They would move the bodies, but they wouldn't permanently move

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<v Speaker 1>them off the site until nighttime because they didn't want

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<v Speaker 1>to like be carding dead bodies through the workers and

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<v Speaker 1>demoralize them as they were digging. Just terrible. There are

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<v Speaker 1>a lot of discussions to be had about the moral

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<v Speaker 1>implications of of spending so much money on something like this.

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<v Speaker 1>We're not digging super deep into them, but I want

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<v Speaker 1>to mention that, like, there is human costs when you

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<v Speaker 1>are indulging in something at this level. And this work

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<v Speaker 1>was all done by hand. It was largely staffed by

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<v Speaker 1>soldiers who were doing this work in between military engagements.

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<v Speaker 1>The initial plan for organizing all of us at Versailles

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<v Speaker 1>was to lay the landscaping elements out along a long

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<v Speaker 1>axis with cross axes creating partitions within that, and the

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<v Speaker 1>symmetry there was used to great effect. There was a

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<v Speaker 1>rudimentary version of the east to west access already in

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<v Speaker 1>place on the site when Lenore arrived at Versailles, and

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<v Speaker 1>he fortified and extended it, including adding the gray and

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<v Speaker 1>canal and creating what came to be known as the

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<v Speaker 1>Grand Perspective. This east west alignment of the whole thing

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<v Speaker 1>ensured that the movement of the sun over the gardens

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<v Speaker 1>and the property would make it the perfect place for

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<v Speaker 1>the sun king, because the sun rose on one side,

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<v Speaker 1>crossed the long length of the property and then had

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<v Speaker 1>a beautiful sunset on the horizon on the other side.

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<v Speaker 1>And looking out from the windows in the Hall of

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<v Speaker 1>Mirrors offers a full view of the Grand Perspective, or

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<v Speaker 1>in French the GM perspective, leading the eye down the

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<v Speaker 1>elongated Great Lawn as it meets a rounded fountain that

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<v Speaker 1>sits between the lawn and the canal, and then extending

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<v Speaker 1>the eye line down the canal again sort of to infinity.

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<v Speaker 1>Having seen that perspective, it is a little bit like

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<v Speaker 1>your brain can't process how far it goes on. Uh.

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<v Speaker 1>Lenola also added a north south access, which eventually included

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<v Speaker 1>a number of prominent spaces in the design, including the

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<v Speaker 1>water walk, the Neptune Fountain, and the orangerie. There are

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<v Speaker 1>very few survive having documents that feature Lenotre's garden designs,

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<v Speaker 1>and most of those are sort of dutally rough sketches

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<v Speaker 1>that suggests that he was working out concepts with pen

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<v Speaker 1>and paper. We also don't have any clear notes on

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<v Speaker 1>how he worked or executed his design, so how things

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<v Speaker 1>transitioned from design idea to finished formal garden have to

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<v Speaker 1>be pieced together through the writings of other people, and

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<v Speaker 1>even then there are very few specifics to Lenotre, although

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<v Speaker 1>the best practices written out by men such as Desaier

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<v Speaker 1>darjan Via in his early eighteenth century book Latiori a

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<v Speaker 1>la practic Jardinage are undoubtedly heavily influenced by Lenotre's work.

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<v Speaker 1>There are some people that will say that we don't

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<v Speaker 1>have surviving designs of Lenota because he didn't actually ever

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<v Speaker 1>write out any designs. That seems unlikely. I think most

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<v Speaker 1>historians will say that that doesn't really make any sense um,

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<v Speaker 1>because the stuff he was doing was so careful and

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<v Speaker 1>mathematical that even if he were a genius that could

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<v Speaker 1>see it that way, you would have needed to have

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<v Speaker 1>plans to direct the actual construction and layout and uh

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<v Speaker 1>excavation that had to happen. And the team that Louis

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<v Speaker 1>the fourteenth had assembled was quickly tasked with things like

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<v Speaker 1>creating that orangerie for the orange trees that he had

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<v Speaker 1>taken from vaule Vicomte uh and creating a menagerie space

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<v Speaker 1>for what some would consider the first zoo in the

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<v Speaker 1>Western world. For anybody that has maybe seen pictures of

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<v Speaker 1>Version doesn't know, there's a famous section that you often

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<v Speaker 1>see because it's very striking, which has these little partires

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<v Speaker 1>of low boxwood hedges that are cut into curly Q shapes.

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<v Speaker 1>That is the orangerie. If you look closely, there are

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<v Speaker 1>pathways through it, and there's a circular center part to it,

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<v Speaker 1>and orange trees are arranged in planters all around those walkways.

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<v Speaker 1>So that is that is what we're talking about when

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<v Speaker 1>we say the Orangerie. Yeah, let them take the orange

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<v Speaker 1>trees inside when the weather was not going to be

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<v Speaker 1>conducive to their being there. They do not love a winter.

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<v Speaker 1>They a French winter is too cold for uh citrus normally. Yeah,

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<v Speaker 1>I don't know why. It wasn't until we were in

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<v Speaker 1>Paris and someone explained that to me that I was like, oh, right,

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<v Speaker 1>of course. Obviously, in just a moment, we will talk

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<v Speaker 1>about how Lenore tackled this immense task to turn swamp

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<v Speaker 1>into a royal garden, but will pause first for a

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<v Speaker 1>quick sponsor break. As we said before, set to partition

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<v Speaker 1>the land out in that access based grid for the

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<v Speaker 1>various elements of design that he wanted to include. Low

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<v Speaker 1>parterres were designed to sit nearest the chateau on three sides,

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<v Speaker 1>so that the open sight lines of that lower level

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<v Speaker 1>could be maintained the north partire, the South partire, and

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<v Speaker 1>the water partre. As the gardens extended farther back from

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<v Speaker 1>the chateau, they were then laden with all manner of surprises.

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<v Speaker 1>The paths that crossed the Grand perspective lead visitors into

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<v Speaker 1>the groves of Versailles, each of which is unique. Lenotre

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<v Speaker 1>created fifteen of them. Initially, some were modified and others

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<v Speaker 1>were added by later designers. These groves featured fountains and

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<v Speaker 1>sculptures that were designed by Lebron, each having its own identity.

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<v Speaker 1>These groves included the Ancient Gallery that was an outdoor

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<v Speaker 1>exhibition of sculptures, the Grove of Domes, which includes a

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<v Speaker 1>hexagonal pool in the center, the Grove of three Fountains,

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<v Speaker 1>which is credited as being the King's idea, and a

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<v Speaker 1>marsh grove which featured plants that were sculpted out of

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<v Speaker 1>metal all around its central fountain. There was also a

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<v Speaker 1>ballroom grove which was a tiered amphitheater, which was the

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<v Speaker 1>last grove that lenotre created that was completed in six

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<v Speaker 1>Having walked around some of these wonderful, surprising little spaces

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<v Speaker 1>in Versailles, they're delightful and you wonder how like these

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<v Speaker 1>very complicated structures are existing seemingly tucked into like little

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<v Speaker 1>private areas. But they are so um It's not like

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<v Speaker 1>you find a little open space with benches. I mean,

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<v Speaker 1>they're like little rooms. They're not little either, but compared

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<v Speaker 1>to the rest of the grounds that you're on, they're

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<v Speaker 1>like their own. It's like walking into like themed rooms

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<v Speaker 1>in a really like um creatively designed house or something.

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<v Speaker 1>It's amazing. Yeah. Yeah. In sixteen sixty five, Linota started

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<v Speaker 1>plans for a labyrinth for one of the groves at Versailles.

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<v Speaker 1>That was a feature that was popular on France estates

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<v Speaker 1>at the time. That labyrinth wasn't completed until the mid

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<v Speaker 1>sixteen seventies, in part because the King, on the advice

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<v Speaker 1>of writer Charles Perrault, asked for a redesign. In sixteen

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<v Speaker 1>sixty nine. Perot was the author credited with the first

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<v Speaker 1>published Mother Goose. Stories that have become such classics include

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<v Speaker 1>Being Cinderella, Little Red, Riding Hood, and Sleeping Beauty. Lenotre

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<v Speaker 1>redrafted the labyrinths to include several dozen fountains to represent

0:13:09.080 --> 0:13:14.000
<v Speaker 1>the story of Esop's fables. That's included carefully designed statuary

0:13:14.040 --> 0:13:16.960
<v Speaker 1>and a whole lot of plumbing. The labyrinth and several

0:13:17.000 --> 0:13:21.200
<v Speaker 1>other groves were later replaced and a redesigned by Jules

0:13:21.240 --> 0:13:25.280
<v Speaker 1>hardom Montsart when he was tasked with updating the grounds. Yeah,

0:13:25.320 --> 0:13:29.319
<v Speaker 1>the labyrinth was was taken away, which is a pity. Um.

0:13:29.480 --> 0:13:31.640
<v Speaker 1>As with his other work that we've talked about, Leno

0:13:32.040 --> 0:13:36.120
<v Speaker 1>once again used visual trickery and interest points all over Versailles.

0:13:36.400 --> 0:13:39.600
<v Speaker 1>He made rectangles that would look like squares from certain angles,

0:13:39.760 --> 0:13:43.320
<v Speaker 1>or he created parterres of swirled boxwoods, kind of like

0:13:43.320 --> 0:13:46.320
<v Speaker 1>we talked about in the Orangerie, that were trained and

0:13:46.360 --> 0:13:49.280
<v Speaker 1>cut into shapes that resembled the scrolls that were found

0:13:49.280 --> 0:13:53.680
<v Speaker 1>on carpets, tapestries, and clothing embellishments. While Versailles was a

0:13:53.760 --> 0:13:57.280
<v Speaker 1>career defining accomplishment, Lenore went on to do a whole

0:13:57.280 --> 0:14:00.040
<v Speaker 1>lot of other work after it was finished. As for

0:14:00.120 --> 0:14:02.720
<v Speaker 1>Louis the fourteenth, he continued to make changes to the

0:14:02.760 --> 0:14:06.600
<v Speaker 1>ground as his desires and whims shifted right up until

0:14:06.600 --> 0:14:09.960
<v Speaker 1>his death. But the gardens of Versailles today are still

0:14:10.040 --> 0:14:12.760
<v Speaker 1>very much governed by the designs that were developed and

0:14:12.840 --> 0:14:16.480
<v Speaker 1>executed by Lenore. They didn't, of course, stay that way

0:14:16.840 --> 0:14:20.040
<v Speaker 1>from his time up until now. They have at various

0:14:20.040 --> 0:14:23.440
<v Speaker 1>points been replaced, like we said, fallen into disrepair, etcetera.

0:14:23.480 --> 0:14:25.960
<v Speaker 1>But several of the groves and other features have been

0:14:26.000 --> 0:14:28.160
<v Speaker 1>restored in recent years to how they looked in le

0:14:28.240 --> 0:14:31.680
<v Speaker 1>Nutless time. But there is an interesting difference. In his

0:14:31.720 --> 0:14:34.680
<v Speaker 1>book The Sun King's Garden, author Ian Thompson, who is

0:14:34.720 --> 0:14:38.560
<v Speaker 1>a PhD in landscape architecture notes a key difference between

0:14:38.600 --> 0:14:42.040
<v Speaker 1>the restored Versailles gardens of today versus what they looked

0:14:42.040 --> 0:14:45.840
<v Speaker 1>like when Le Nutla was in charge. Based on eighteenth

0:14:45.880 --> 0:14:48.920
<v Speaker 1>century engravings of the space, it appears that things were

0:14:48.960 --> 0:14:53.320
<v Speaker 1>a lot more angular and sharply maintained in the eighteenth century,

0:14:53.360 --> 0:14:56.400
<v Speaker 1>where quote, the hedges are so immaculately clipped that they

0:14:56.440 --> 0:15:00.760
<v Speaker 1>look like walls. All of the fountains involved in Versailles

0:15:00.920 --> 0:15:04.200
<v Speaker 1>created a need for a lot of water, and that

0:15:04.240 --> 0:15:07.400
<v Speaker 1>was a need that was just impossible to meet. Fountains

0:15:07.400 --> 0:15:10.000
<v Speaker 1>would have to be turned on as the king approached

0:15:10.040 --> 0:15:12.720
<v Speaker 1>and then turn off once he was a distance away.

0:15:12.960 --> 0:15:17.359
<v Speaker 1>A monstrous two hundred twenty one pump device with twenty

0:15:17.400 --> 0:15:21.240
<v Speaker 1>massive water wheels was developed in the sixteen eighties. That

0:15:21.320 --> 0:15:23.960
<v Speaker 1>was called the Machine to Marley, and it was meant

0:15:24.000 --> 0:15:26.720
<v Speaker 1>to bring water in from the sin but it created

0:15:26.920 --> 0:15:29.960
<v Speaker 1>way more problems than it was worth, and it also

0:15:30.120 --> 0:15:33.200
<v Speaker 1>never really fulfilled its mission of bringing in enough water

0:15:33.400 --> 0:15:37.760
<v Speaker 1>to keep more than two thousand fountains going at Versailles. Yeah,

0:15:37.800 --> 0:15:39.680
<v Speaker 1>that is another thing that I would love to make

0:15:39.680 --> 0:15:41.920
<v Speaker 1>into an episode of its own at some point in time,

0:15:41.960 --> 0:15:46.880
<v Speaker 1>because just the drawings of it are bad breaking and

0:15:46.920 --> 0:15:49.400
<v Speaker 1>there is a lot of tragedy associated with it as well.

0:15:49.560 --> 0:15:51.760
<v Speaker 1>When I got to this, as I was reading through

0:15:52.240 --> 0:15:54.360
<v Speaker 1>this this earlier this morning, I was like, I want

0:15:54.400 --> 0:15:58.520
<v Speaker 1>to know more about this machine. Yeah, it's um, it's

0:15:58.520 --> 0:16:01.440
<v Speaker 1>a thing, and I do want to talk about it

0:16:01.480 --> 0:16:04.080
<v Speaker 1>at some point in the future. Uh. Taking on a

0:16:04.120 --> 0:16:07.840
<v Speaker 1>project like Versailles surely occupied a great deal of Andre

0:16:07.920 --> 0:16:11.880
<v Speaker 1>Lenotola's time, but he still did not work exclusively at

0:16:11.880 --> 0:16:15.560
<v Speaker 1>the new palace location, and he continued to accept other contracts.

0:16:16.360 --> 0:16:19.320
<v Speaker 1>This was a very shrewd thing to do, because his

0:16:19.360 --> 0:16:23.080
<v Speaker 1>close association with the king and the universal recognition of

0:16:23.120 --> 0:16:25.560
<v Speaker 1>the genius of the vaux Le Vicomte gardens meant that

0:16:25.640 --> 0:16:28.800
<v Speaker 1>he was in very high demand among the nobility of France,

0:16:29.120 --> 0:16:32.920
<v Speaker 1>and he could command very lucrative commissions. The Notes started

0:16:32.960 --> 0:16:36.040
<v Speaker 1>another challenging project at just about the same time that

0:16:36.080 --> 0:16:38.960
<v Speaker 1>he started work on Versailles. That was the gardens of

0:16:39.040 --> 0:16:43.120
<v Speaker 1>the Prince of Conde Louis, the Second Debble. Those gardens

0:16:43.160 --> 0:16:46.800
<v Speaker 1>at the Chateau de Chaunty posed their own unique problems,

0:16:46.880 --> 0:16:50.040
<v Speaker 1>most notably the fact that while Conde wanted the symmetrical,

0:16:50.240 --> 0:16:54.280
<v Speaker 1>manicured look that Lenore was becoming famous for the chateau

0:16:54.320 --> 0:16:58.800
<v Speaker 1>itself had a really strangely shaped, asymmetrical moat that did

0:16:58.840 --> 0:17:03.680
<v Speaker 1>not naturally lend itself to Lenotre's design aesthetic. To add

0:17:03.680 --> 0:17:06.520
<v Speaker 1>to that dilemma, the Prince of Conde was not willing

0:17:06.600 --> 0:17:08.800
<v Speaker 1>to knock down any of the old buildings on the

0:17:08.840 --> 0:17:13.160
<v Speaker 1>property and service to this new design layout. Still, Leno

0:17:13.560 --> 0:17:15.960
<v Speaker 1>took the job, and he turned his skill at making

0:17:16.080 --> 0:17:18.919
<v Speaker 1>order out of chaos to it. He couldn't make the

0:17:19.000 --> 0:17:22.840
<v Speaker 1>chateau a central point on an access that bisected the land,

0:17:22.880 --> 0:17:25.480
<v Speaker 1>as was normally what he would do, because the house

0:17:25.600 --> 0:17:27.919
<v Speaker 1>was also offset from the center of the property and

0:17:27.960 --> 0:17:31.400
<v Speaker 1>the house itself was not symmetrical. It was kind of like,

0:17:31.600 --> 0:17:33.720
<v Speaker 1>here are a bunch of ingredients that do not make

0:17:33.720 --> 0:17:35.680
<v Speaker 1>any sense for a cake. Please make a cake out

0:17:35.680 --> 0:17:38.520
<v Speaker 1>of them. And he was like, okay. Uh So the

0:17:38.560 --> 0:17:41.639
<v Speaker 1>main access avenue of the design actually runs parallel to

0:17:41.680 --> 0:17:44.080
<v Speaker 1>the front of the chateau, So for a visitor that's

0:17:44.080 --> 0:17:46.520
<v Speaker 1>approaching the main gate, which sits at the center of

0:17:46.520 --> 0:17:49.119
<v Speaker 1>the layout, the chateau is in the distance and to

0:17:49.240 --> 0:17:52.520
<v Speaker 1>the left, and the grand gardens, which are situated beyond

0:17:52.560 --> 0:17:55.320
<v Speaker 1>the chateau can't really be seen until you've reached the

0:17:55.320 --> 0:17:58.000
<v Speaker 1>grand terrace due to the main entry path being a

0:17:58.000 --> 0:18:01.359
<v Speaker 1>slight uphill incline, and the once a visitor reaches the

0:18:01.440 --> 0:18:05.240
<v Speaker 1>central terrace, the large water feature and grand gardens emerge.

0:18:05.600 --> 0:18:08.160
<v Speaker 1>It's kind of like a visual surprise as you get

0:18:08.160 --> 0:18:11.399
<v Speaker 1>to that apex and they stretch out across the property.

0:18:11.480 --> 0:18:14.800
<v Speaker 1>And for all the challenges that Lenotre faced at Schantay,

0:18:15.000 --> 0:18:18.840
<v Speaker 1>the property had one resource that made the engineering aspect

0:18:18.840 --> 0:18:21.760
<v Speaker 1>of it easier than other projects. It had a close

0:18:21.800 --> 0:18:24.840
<v Speaker 1>proximity to the River Nonette, which was a tributary of

0:18:24.880 --> 0:18:28.600
<v Speaker 1>the Wise, meaning that water was always plentiful. So despite

0:18:28.600 --> 0:18:31.480
<v Speaker 1>the challenges, Lenotre, who worked on the gardens there for

0:18:31.600 --> 0:18:34.280
<v Speaker 1>two decades, spoke of it late in his life as

0:18:34.280 --> 0:18:37.920
<v Speaker 1>an example of a great French formal garden. In sixteen

0:18:37.960 --> 0:18:41.600
<v Speaker 1>sixty four, the King and Colbert agreed that Lenore should

0:18:41.640 --> 0:18:45.040
<v Speaker 1>redesign the Tuilerie gardens, and he changed them from the

0:18:45.080 --> 0:18:47.439
<v Speaker 1>designs that had been in place since Catherine de Medici

0:18:47.480 --> 0:18:50.800
<v Speaker 1>had commissioned the gardens to the popular formal French garden

0:18:50.840 --> 0:18:53.800
<v Speaker 1>of which he was the master. He expanded the garden

0:18:53.880 --> 0:18:56.840
<v Speaker 1>by lengthening its access to the west, creating the line

0:18:56.880 --> 0:18:59.800
<v Speaker 1>of what would eventually evolve to the chansa lise. This

0:19:00.400 --> 0:19:03.560
<v Speaker 1>if you are Intoli today, there are some modern editions,

0:19:03.560 --> 0:19:06.720
<v Speaker 1>like their modern play areas and cafes, but the layout

0:19:06.800 --> 0:19:11.120
<v Speaker 1>is still exactly what Lenota set up. In sixteen seventy,

0:19:11.359 --> 0:19:14.160
<v Speaker 1>Jean Baptiste Colbert, who is the same person who had

0:19:14.200 --> 0:19:18.879
<v Speaker 1>schemed to have Nicola Fouquet arrested, hired Lenotre to design

0:19:18.920 --> 0:19:22.080
<v Speaker 1>a park to surround his new home at Chateau to So,

0:19:22.440 --> 0:19:26.000
<v Speaker 1>several miles outside of Paris. There was no accident that

0:19:26.040 --> 0:19:29.280
<v Speaker 1>he had waited nine years after the vote of a

0:19:29.359 --> 0:19:33.520
<v Speaker 1>compe scandal to have his own chateau made over. Colbert,

0:19:33.600 --> 0:19:35.720
<v Speaker 1>like a lot of people in the nobility, didn't want

0:19:35.760 --> 0:19:40.119
<v Speaker 1>to similarly be associated with this conspicuous opulence or to

0:19:40.200 --> 0:19:43.760
<v Speaker 1>look suspicious with their spending in the wake of Fouquets

0:19:43.800 --> 0:19:47.560
<v Speaker 1>fall from grace. Yeah, he basically just like waited it

0:19:47.600 --> 0:19:49.399
<v Speaker 1>out until he felt like it was safe because he

0:19:49.480 --> 0:19:54.720
<v Speaker 1>also wanted a beautiful chateau with grounds designed by Lenotla.

0:19:54.800 --> 0:19:58.080
<v Speaker 1>And even though he hired Lenotla, Colbert was still very

0:19:58.160 --> 0:20:02.199
<v Speaker 1>very careful not to go too far with his chateaus grounds.

0:20:02.320 --> 0:20:05.639
<v Speaker 1>Uh to us it would seem like extremely extravagant and lavish,

0:20:05.680 --> 0:20:08.280
<v Speaker 1>but at the time he had dialed it back. Lenottla

0:20:08.359 --> 0:20:12.800
<v Speaker 1>did design a spectacular eighteen basin cascade feature for so

0:20:13.200 --> 0:20:15.840
<v Speaker 1>as well as the most powerful fountain effect known to

0:20:15.880 --> 0:20:18.800
<v Speaker 1>France at the time. That shot watered twenty five ft

0:20:18.800 --> 0:20:20.880
<v Speaker 1>into the air. That's a little less than eight meters.

0:20:21.359 --> 0:20:25.040
<v Speaker 1>The Notre's work in redefining the tulry and sculpting the

0:20:25.040 --> 0:20:28.320
<v Speaker 1>grounds of Versailles made him even more of a darling

0:20:28.320 --> 0:20:31.360
<v Speaker 1>with the upper class, and that extended outside of France.

0:20:31.800 --> 0:20:34.560
<v Speaker 1>Everyone wanted him to turn his skill at creating grand

0:20:34.760 --> 0:20:38.760
<v Speaker 1>vistas to their own properties. While work at Versailles was ongoing,

0:20:38.920 --> 0:20:41.840
<v Speaker 1>he traveled outside of France and lent his expertise and

0:20:42.000 --> 0:20:45.480
<v Speaker 1>artistry to other landscapes. He traveled to London in the

0:20:45.480 --> 0:20:48.320
<v Speaker 1>early sixteen sixties at the behest of Charles the Second

0:20:48.359 --> 0:20:51.040
<v Speaker 1>to design Greenwich Park, and he took on projects in

0:20:51.119 --> 0:20:54.520
<v Speaker 1>Italy and Germany as well as all over France. Yeah,

0:20:54.560 --> 0:20:57.000
<v Speaker 1>he was so busy. It's one of those things where

0:20:58.160 --> 0:21:01.120
<v Speaker 1>I mean, we work on law to different stuff here,

0:21:01.320 --> 0:21:04.080
<v Speaker 1>but I can't imagine the scale of things he was

0:21:04.119 --> 0:21:07.080
<v Speaker 1>working on, and he would just be juggling like tons

0:21:07.080 --> 0:21:10.240
<v Speaker 1>of these contracts at a time. Uh. Next up, we

0:21:10.280 --> 0:21:13.000
<v Speaker 1>are going to cover the last segment of Lenotre's life

0:21:13.080 --> 0:21:15.080
<v Speaker 1>and his enduring influence, but we're going to take a

0:21:15.160 --> 0:21:25.480
<v Speaker 1>quick sponsor break before we do that. In sixteen seventy five,

0:21:25.600 --> 0:21:29.480
<v Speaker 1>King Louis the fourteenth made Andre Lenore a noble, and

0:21:29.520 --> 0:21:31.840
<v Speaker 1>when the king asked the master gardener what he would

0:21:31.840 --> 0:21:34.720
<v Speaker 1>like to have included on his coat of arms, Lenotrea

0:21:35.000 --> 0:21:38.480
<v Speaker 1>replied that he wanted three snails ahead of cabbage and

0:21:38.520 --> 0:21:41.040
<v Speaker 1>a spade to represent the thing that had brought him

0:21:41.119 --> 0:21:44.560
<v Speaker 1>such favor from the king. I find this so charming

0:21:45.200 --> 0:21:49.080
<v Speaker 1>it is, and you can see um images of what

0:21:49.880 --> 0:21:52.920
<v Speaker 1>are probably the coat of arms designed for him. There's

0:21:52.920 --> 0:21:55.600
<v Speaker 1>some question marks about whether those are the actual ones

0:21:55.880 --> 0:21:59.960
<v Speaker 1>or uh, something that someone else just drew up by

0:22:00.000 --> 0:22:02.760
<v Speaker 1>sat on this story, but they are very, very charming,

0:22:02.760 --> 0:22:06.280
<v Speaker 1>and there are three snails in lieu of a spade

0:22:06.440 --> 0:22:08.960
<v Speaker 1>directly represented. There's like a chevron that kind of is

0:22:08.960 --> 0:22:11.919
<v Speaker 1>intended to represent the tip of an appointed spade, but

0:22:12.000 --> 0:22:14.119
<v Speaker 1>there is a head of cabbage in the top and

0:22:14.200 --> 0:22:18.240
<v Speaker 1>three snails spaced out beautifully on the rest of the

0:22:18.240 --> 0:22:22.159
<v Speaker 1>the coat. In sixteen seventy nine, Lenotre traveled to Italy,

0:22:22.280 --> 0:22:25.240
<v Speaker 1>where he spent the majority of the year visiting gardens

0:22:25.240 --> 0:22:28.400
<v Speaker 1>and important people. There, he made an interesting stop along

0:22:28.440 --> 0:22:32.479
<v Speaker 1>the way, diverting his trip to pin Roll in northwestern Italy.

0:22:33.240 --> 0:22:36.840
<v Speaker 1>This was the prison where his former employer, Nicola Fouquet

0:22:36.840 --> 0:22:38.800
<v Speaker 1>had been sent to live out his life under lock

0:22:38.840 --> 0:22:41.760
<v Speaker 1>and key. So even though he had fallen from his

0:22:41.800 --> 0:22:45.359
<v Speaker 1>position within the French court, it seems that Lenotre had

0:22:45.440 --> 0:22:49.560
<v Speaker 1>maintained at least some relationship with Fouquet. Yeah, this also

0:22:49.640 --> 0:22:53.320
<v Speaker 1>sort of upholds that ongoing image that's always portrayed of

0:22:53.359 --> 0:22:57.120
<v Speaker 1>Lenotre is just being an incredibly nice person, Like, even

0:22:57.119 --> 0:22:59.400
<v Speaker 1>though everyone else kind of turned their back on Fouquet,

0:22:59.800 --> 0:23:02.040
<v Speaker 1>he he didn't think of him as somebody that he

0:23:02.080 --> 0:23:06.680
<v Speaker 1>couldn't maintain a relationship with, even though weren't anybody else

0:23:06.720 --> 0:23:08.840
<v Speaker 1>who made a visit like that. It probably would have

0:23:08.880 --> 0:23:12.119
<v Speaker 1>made Louis the fourteenth really really angry, but Lenotre was

0:23:12.200 --> 0:23:16.159
<v Speaker 1>again so beloved that he was allowed a little more leeway.

0:23:16.240 --> 0:23:19.880
<v Speaker 1>Probably when Lenotre returned from Italy, he went right back

0:23:19.920 --> 0:23:22.199
<v Speaker 1>to work at Versailles, and he started construction of that

0:23:22.240 --> 0:23:26.119
<v Speaker 1>ballroom groove that we mentioned, uh in sixteen eighty and

0:23:26.119 --> 0:23:28.440
<v Speaker 1>it was completed, as we said, in sixteen eighty five.

0:23:28.960 --> 0:23:31.480
<v Speaker 1>And he continued to work on fine tuning the grounds

0:23:31.480 --> 0:23:33.800
<v Speaker 1>with the king for eight more years before he decided

0:23:33.840 --> 0:23:37.080
<v Speaker 1>to retire in sixteen ninety three at the age of eighty.

0:23:37.600 --> 0:23:41.720
<v Speaker 1>Lenotre died on September fifteenth, seventeen hundred, at the age

0:23:41.720 --> 0:23:46.560
<v Speaker 1>of eighty seven. He had managed, through what the diarist

0:23:46.680 --> 0:23:50.000
<v Speaker 1>the Duke de Saint Sement called his quote charming, simplicity

0:23:50.040 --> 0:23:53.000
<v Speaker 1>and truthfulness, to avoid any of the kinds of personal

0:23:53.119 --> 0:23:57.040
<v Speaker 1>scandals or court intrigues that were common. He had stayed

0:23:57.040 --> 0:23:59.920
<v Speaker 1>out of that in his lifetime. Lenore stands as a

0:24:00.040 --> 0:24:02.359
<v Speaker 1>unique figure in the world of Louis the fourteenth and

0:24:02.359 --> 0:24:05.200
<v Speaker 1>that he didn't have any interest in taking others down

0:24:05.320 --> 0:24:08.040
<v Speaker 1>to try to improve his own footing. He was an

0:24:08.119 --> 0:24:12.199
<v Speaker 1>uncommonly good collaborator and happy to share credit, also willing

0:24:12.240 --> 0:24:16.960
<v Speaker 1>to compromise and hard working. Uh yeah, we um. We

0:24:17.080 --> 0:24:20.720
<v Speaker 1>mentioned earlier that Mansart was called in to redo some

0:24:20.760 --> 0:24:22.840
<v Speaker 1>of the grounds at Versailles, and that's another one that

0:24:22.920 --> 0:24:25.200
<v Speaker 1>gets told two different ways. Some people will say that

0:24:25.840 --> 0:24:29.400
<v Speaker 1>Lenotre and Manzart had a sort of rivalry and that

0:24:29.400 --> 0:24:31.840
<v Speaker 1>that was the one person that Lenottla was ever heard

0:24:31.840 --> 0:24:36.040
<v Speaker 1>dissort of criticized. But then there are other suggestions that

0:24:36.080 --> 0:24:38.879
<v Speaker 1>indicate he may have even been the person that recommended

0:24:38.920 --> 0:24:41.760
<v Speaker 1>that Mansart be the person that Louis the fourteenth hired

0:24:41.800 --> 0:24:45.399
<v Speaker 1>for those next rounds of of redesigns. So it's a

0:24:45.400 --> 0:24:48.000
<v Speaker 1>little unclear, but he didn't seem to ever get involved

0:24:48.000 --> 0:24:53.720
<v Speaker 1>in like the gossip or mess of of all of things. Uh.

0:24:53.760 --> 0:24:56.600
<v Speaker 1>Three hundred years after under Lenot's death, in the year

0:24:56.640 --> 0:25:00.560
<v Speaker 1>two thousand, a group of experts in French history to

0:25:00.600 --> 0:25:03.399
<v Speaker 1>compare notes on their knowledge of the landscape artist who

0:25:03.480 --> 0:25:06.879
<v Speaker 1>had so significantly shaped the French garden aesthetic, and they

0:25:06.880 --> 0:25:09.119
<v Speaker 1>published a French language book about the man and his

0:25:09.200 --> 0:25:15.080
<v Speaker 1>work titled Lena inconnu ilost, which translates to an illustrious stranger.

0:25:15.800 --> 0:25:19.239
<v Speaker 1>One of the things that remains certainly to me and

0:25:19.280 --> 0:25:21.719
<v Speaker 1>I would think to others completely sort of brain bending,

0:25:22.440 --> 0:25:25.240
<v Speaker 1>is that Andre Lena was always designing with the thought

0:25:25.280 --> 0:25:27.760
<v Speaker 1>of what the gardens would look like from above, primarily

0:25:27.800 --> 0:25:31.440
<v Speaker 1>from terraces or windows of the chateaus that his design surrounded.

0:25:32.080 --> 0:25:34.720
<v Speaker 1>He even at one point kind of commented about making

0:25:34.760 --> 0:25:38.159
<v Speaker 1>parterres that were beautiful when seen from the windows, that

0:25:38.240 --> 0:25:39.800
<v Speaker 1>it was kind of sad that the only people that

0:25:39.800 --> 0:25:42.159
<v Speaker 1>would ever really see what he was doing were like

0:25:42.200 --> 0:25:44.480
<v Speaker 1>the Nanni's because the top floors tended to be where

0:25:44.520 --> 0:25:48.480
<v Speaker 1>the children's rooms were. Um But even today, what's really

0:25:48.520 --> 0:25:50.760
<v Speaker 1>cool is that when you see full aerial views of

0:25:50.840 --> 0:25:54.720
<v Speaker 1>his work, it is breathtaking. And he was drafting these

0:25:54.720 --> 0:25:57.240
<v Speaker 1>gardens more than a hundred years before the first hot

0:25:57.240 --> 0:26:00.119
<v Speaker 1>air balloon was even invented, so he didn't really have

0:26:00.119 --> 0:26:02.720
<v Speaker 1>a sense that we would ever get these beautiful views.

0:26:02.760 --> 0:26:05.760
<v Speaker 1>So while some higher ground vantage points during his lifetime

0:26:05.880 --> 0:26:08.600
<v Speaker 1>offered a sense of what he had accomplished, kind of

0:26:08.640 --> 0:26:11.560
<v Speaker 1>like the Nasca lines, the true extent of his achievement,

0:26:11.840 --> 0:26:14.119
<v Speaker 1>I think couldn't be seen until much later, when we

0:26:14.160 --> 0:26:17.800
<v Speaker 1>had the technology to fly. It's also interesting to consider

0:26:17.880 --> 0:26:21.200
<v Speaker 1>that while the style of landscape that Lenore became famous

0:26:21.240 --> 0:26:23.760
<v Speaker 1>for is considered very much to be a matter of

0:26:23.880 --> 0:26:28.320
<v Speaker 1>taming nature and making things look precisely designed and curated,

0:26:28.560 --> 0:26:30.600
<v Speaker 1>he always started by looking at the land and seeing

0:26:30.680 --> 0:26:33.800
<v Speaker 1>what it offered. He wasn't so much taming nature as

0:26:33.840 --> 0:26:36.320
<v Speaker 1>figuring out how to work with it challenges at all

0:26:36.720 --> 0:26:39.600
<v Speaker 1>and coming out with something that looked almost unreal and

0:26:39.640 --> 0:26:43.480
<v Speaker 1>its exacting geometric layouts. And that's something I feel like

0:26:43.480 --> 0:26:47.200
<v Speaker 1>we should say that all landscape architects are taught to do.

0:26:48.160 --> 0:26:50.440
<v Speaker 1>But I think because when you look at Lenotre's work,

0:26:50.480 --> 0:26:54.080
<v Speaker 1>it doesn't. It looks a little removed from nature because

0:26:54.119 --> 0:26:57.080
<v Speaker 1>it is so pristine and manicured. But really he was.

0:26:57.359 --> 0:26:59.360
<v Speaker 1>He was doing exactly what you're supposed to do, which

0:26:59.400 --> 0:27:02.360
<v Speaker 1>is looking at like different elevations of any given property

0:27:02.400 --> 0:27:05.160
<v Speaker 1>and figuring out how he could use those to cut

0:27:05.160 --> 0:27:08.199
<v Speaker 1>out terraces in the right places and develop something that

0:27:08.320 --> 0:27:12.360
<v Speaker 1>was not necessarily going to look natural, but worked with

0:27:12.640 --> 0:27:15.840
<v Speaker 1>some of the natural topography he was given. And we

0:27:15.920 --> 0:27:19.840
<v Speaker 1>have mentioned numerous cases where the gardens and landscapes designed

0:27:19.840 --> 0:27:22.760
<v Speaker 1>by Lena can still be seen today, and while some

0:27:22.840 --> 0:27:26.520
<v Speaker 1>have been fairly consistently maintained, others have gone through cycles

0:27:26.520 --> 0:27:29.199
<v Speaker 1>where they have fallen into disrepair or been allowed to

0:27:29.200 --> 0:27:33.240
<v Speaker 1>grow over and have subsequently been restored and revitalized. And

0:27:33.400 --> 0:27:35.920
<v Speaker 1>the bones that he laid out initially for those those

0:27:35.960 --> 0:27:39.720
<v Speaker 1>strong axes of paths and canals and roadways around which

0:27:39.760 --> 0:27:43.600
<v Speaker 1>his symmetrical geometric designs spread out are readily apparent when

0:27:43.600 --> 0:27:46.520
<v Speaker 1>you look at those gardens today. His work continues to

0:27:46.600 --> 0:27:51.479
<v Speaker 1>influence creators today, and you've undoubtedly seen places shaped by

0:27:51.560 --> 0:27:56.440
<v Speaker 1>Lenore's ingenuity and manipulating space to try to create impactful illusions.

0:27:57.040 --> 0:28:00.359
<v Speaker 1>When Pierre Chaos Lafonque worked on the landscape designed for

0:28:00.400 --> 0:28:04.040
<v Speaker 1>the US Capital, he turned to Versailles for inspiration, and

0:28:04.080 --> 0:28:08.240
<v Speaker 1>when architect Peter Walker designed the ultramodern square shaped fountains

0:28:08.240 --> 0:28:11.119
<v Speaker 1>at the Ground Zero Memorial in New York City, he

0:28:11.240 --> 0:28:14.040
<v Speaker 1>referred to Lenore's use of space to guide him. In

0:28:15.280 --> 0:28:18.359
<v Speaker 1>Alan Rickman may He rest in Peace directed a film

0:28:18.400 --> 0:28:21.320
<v Speaker 1>titled A Little Chaos, which is a fictionalized account of

0:28:21.400 --> 0:28:23.919
<v Speaker 1>Lenotre's life. It is very fun, but I want to

0:28:23.920 --> 0:28:26.119
<v Speaker 1>make clear to anybody that goes to it looking for

0:28:26.160 --> 0:28:30.439
<v Speaker 1>an interesting look at Lenotla that it is very fictionalized.

0:28:30.760 --> 0:28:34.160
<v Speaker 1>It revolves the story around an assistant that Lenotre never

0:28:34.200 --> 0:28:37.880
<v Speaker 1>had and a resulting romance between Lenotla and this made

0:28:37.920 --> 0:28:40.920
<v Speaker 1>up woman. We don't know all that many details of

0:28:41.000 --> 0:28:44.360
<v Speaker 1>Lenotre's personal life that is why that that French book

0:28:44.400 --> 0:28:46.840
<v Speaker 1>was titled An Illustrious Stranger. There are a lot of

0:28:46.880 --> 0:28:49.080
<v Speaker 1>question marks about about his day to day life, but

0:28:49.080 --> 0:28:51.040
<v Speaker 1>it seemed more because he was kind of humble and

0:28:51.080 --> 0:28:54.080
<v Speaker 1>didn't think he needed to record his everything. There is

0:28:54.080 --> 0:28:56.880
<v Speaker 1>nothing to ever indicate that he had any kind of affair,

0:28:57.840 --> 0:29:02.480
<v Speaker 1>so that is very much uh speculative and uh fiction,

0:29:03.280 --> 0:29:05.760
<v Speaker 1>but also very fun um. You can see lots of

0:29:05.760 --> 0:29:09.240
<v Speaker 1>pretty things who I literally could watch just like flyovers

0:29:09.240 --> 0:29:12.600
<v Speaker 1>of his gardens four hours and did while working on

0:29:12.640 --> 0:29:15.920
<v Speaker 1>this episode. It was one of those things where I'd

0:29:15.960 --> 0:29:17.280
<v Speaker 1>be like, oh, I just want to go look at

0:29:17.360 --> 0:29:20.160
<v Speaker 1>Vaude Vicomte, and then like two hours later I'd be like, whoops,

0:29:20.560 --> 0:29:24.240
<v Speaker 1>maybe let's look at Versailles. I then three hours later, whoops, whoops,

0:29:24.600 --> 0:29:27.600
<v Speaker 1>I lost half a day. Clearly, I love under Lennotla,

0:29:27.720 --> 0:29:30.720
<v Speaker 1>and I understand why France loves and Andre Lenotla. There

0:29:30.720 --> 0:29:35.440
<v Speaker 1>were also in a lot of really fantastic exhibits and

0:29:35.600 --> 0:29:39.240
<v Speaker 1>retrospectives of his work all over France, and a lot

0:29:39.240 --> 0:29:42.200
<v Speaker 1>of write ups about him all over the world. Since

0:29:42.280 --> 0:29:44.560
<v Speaker 1>that was the the and the four hundredth anniversary of

0:29:44.640 --> 0:29:46.720
<v Speaker 1>his birth, it's kind of weird because we keep talking

0:29:46.720 --> 0:29:49.120
<v Speaker 1>about him in terms of like three hundred years since

0:29:49.120 --> 0:29:51.760
<v Speaker 1>and four hundred years since, but it was because he

0:29:51.840 --> 0:29:54.520
<v Speaker 1>lived almost ninety years and he worked for sixty of

0:29:54.520 --> 0:29:58.600
<v Speaker 1>those really hard. So so that is why I have

0:29:58.800 --> 0:30:02.959
<v Speaker 1>again listener mail. I'm working through holiday stuff, but this

0:30:03.040 --> 0:30:06.440
<v Speaker 1>first one is very very germane to the topic at hand.

0:30:07.120 --> 0:30:09.760
<v Speaker 1>This from our listener Amy, who went to Paris with us.

0:30:11.160 --> 0:30:13.400
<v Speaker 1>She writes, Dear Holly and Tracy, I wanted to share

0:30:13.440 --> 0:30:15.840
<v Speaker 1>my Christmas card with you both because it is primarily

0:30:15.840 --> 0:30:18.440
<v Speaker 1>photos of the trip to Paris. I'm so happy that

0:30:18.480 --> 0:30:20.280
<v Speaker 1>I was able to take this amazing trip. Thank you

0:30:20.320 --> 0:30:22.480
<v Speaker 1>for the podcast and for being so wonderful and kind.

0:30:22.840 --> 0:30:24.800
<v Speaker 1>Also thank you Holly for taking the photo on the

0:30:24.840 --> 0:30:27.840
<v Speaker 1>bottom right of me in the Versailles Gardens. I hope

0:30:27.840 --> 0:30:30.680
<v Speaker 1>to see you again in Yeah. Amy was with us

0:30:30.720 --> 0:30:33.200
<v Speaker 1>and we were there at Versailles that day, and she

0:30:33.440 --> 0:30:37.240
<v Speaker 1>had wandered off by herself and Versailles, as we keep saying,

0:30:37.280 --> 0:30:40.280
<v Speaker 1>it's huge, and so I looked over at one point

0:30:40.880 --> 0:30:43.440
<v Speaker 1>and I just saw her walking around one of the

0:30:43.480 --> 0:30:46.640
<v Speaker 1>circular water features and she was the only person visible

0:30:47.360 --> 0:30:51.240
<v Speaker 1>for like a huge expanse, and there were beautiful statues

0:30:51.280 --> 0:30:52.800
<v Speaker 1>around her, so I just took a picture and then

0:30:52.880 --> 0:30:55.040
<v Speaker 1>later I told her that I had it, and I

0:30:55.080 --> 0:30:56.920
<v Speaker 1>texted it to her and now it's on her Christmas card.

0:30:57.360 --> 0:30:59.240
<v Speaker 1>She was an absolute delight and went out to eat

0:30:59.240 --> 0:31:01.280
<v Speaker 1>with me one night, and we had so much fun

0:31:01.280 --> 0:31:03.920
<v Speaker 1>with everybody that was on that trip. I think about

0:31:03.960 --> 0:31:07.560
<v Speaker 1>it daily. That was one of the best nine days

0:31:07.560 --> 0:31:10.440
<v Speaker 1>in my life. Uh. So, thank you, Amy, and thank

0:31:10.480 --> 0:31:11.800
<v Speaker 1>you for coming in that trip, and we hope we

0:31:11.840 --> 0:31:14.160
<v Speaker 1>see you again this year. I have one more card

0:31:14.160 --> 0:31:18.960
<v Speaker 1>to read. This one is from our listener Nicole, who writes, uh, Derek, Tracy,

0:31:19.000 --> 0:31:20.680
<v Speaker 1>and Holly. I have listened to the podcast for a

0:31:20.720 --> 0:31:22.640
<v Speaker 1>few years now. It is excellent. Thank you for all

0:31:22.640 --> 0:31:24.720
<v Speaker 1>that you do. I've learned so much and I always

0:31:24.760 --> 0:31:26.440
<v Speaker 1>look forward to learning more when I see the new

0:31:26.440 --> 0:31:29.360
<v Speaker 1>episodes drop. I wanted to send this particular card for

0:31:29.400 --> 0:31:32.080
<v Speaker 1>a couple of reasons. First, Edward Gorey, it is a

0:31:32.120 --> 0:31:35.440
<v Speaker 1>beautiful Edward Gorey Christmas card. Uh. Second, I got it

0:31:35.480 --> 0:31:37.400
<v Speaker 1>at the Seattle Art Museum when I went to see

0:31:37.400 --> 0:31:41.240
<v Speaker 1>the Flesh and Blood exhibit, which included Artemisia Gentileski's Judas

0:31:41.280 --> 0:31:44.320
<v Speaker 1>Slaying Holoferrenies, and I had not known anything about her

0:31:44.440 --> 0:31:46.840
<v Speaker 1>or her work prior to your podcast episode. It was

0:31:46.880 --> 0:31:49.320
<v Speaker 1>amazing to be able to see the actual painting and

0:31:49.360 --> 0:31:51.160
<v Speaker 1>connect it to what I had learned that. It's one

0:31:51.200 --> 0:31:54.320
<v Speaker 1>of my favorite things about researching this show is then

0:31:54.360 --> 0:31:56.640
<v Speaker 1>getting to go experience art with a lot more knowledge

0:31:56.640 --> 0:31:58.840
<v Speaker 1>about it. So I'm glad that she had the same experience.

0:31:59.400 --> 0:32:01.520
<v Speaker 1>Uh there's one last bit I'd like to share as well.

0:32:01.600 --> 0:32:04.240
<v Speaker 1>Over the summer, I misheard part of the Packard Versus

0:32:04.240 --> 0:32:08.040
<v Speaker 1>Packard episode. The actual sentence in the show was the

0:32:08.120 --> 0:32:11.480
<v Speaker 1>awful List Packard had his wife institutionalized, But what I

0:32:11.560 --> 0:32:16.000
<v Speaker 1>heard was the awfu list Packard, which I think somebody

0:32:16.000 --> 0:32:18.120
<v Speaker 1>could make that case she had, she said, I had

0:32:18.200 --> 0:32:20.480
<v Speaker 1>quite a laugh. I hope you do too, Wishing you

0:32:20.560 --> 0:32:22.560
<v Speaker 1>both a lovely holiday season and all the best in

0:32:22.600 --> 0:32:25.240
<v Speaker 1>the new year. Nicole Nicol, thank you so much. That

0:32:25.400 --> 0:32:29.080
<v Speaker 1>is so sweet. I'm so glad that, uh, that art

0:32:29.200 --> 0:32:31.000
<v Speaker 1>came alive for you in a new way, and also

0:32:31.880 --> 0:32:34.640
<v Speaker 1>that the awful List sounded like the awful List, because

0:32:35.400 --> 0:32:38.080
<v Speaker 1>I think that's a valid interpretation. If you would like

0:32:38.160 --> 0:32:40.960
<v Speaker 1>to write to us, you can do so at History Podcast.

0:32:41.000 --> 0:32:43.239
<v Speaker 1>At iHeart radio dot com. You can also find us

0:32:43.280 --> 0:32:45.880
<v Speaker 1>everywhere on social media as Missed in History, and you

0:32:45.920 --> 0:32:48.440
<v Speaker 1>can subscribe to the podcast at Apple podcast, the I

0:32:48.520 --> 0:32:56.120
<v Speaker 1>heart Radio app, or wherever it is you listen Stuffy

0:32:56.160 --> 0:32:58.320
<v Speaker 1>Missed in History Class is a production of I heart

0:32:58.400 --> 0:33:01.720
<v Speaker 1>Radios How Stuff Works. For more podcasts for my heart Radio,

0:33:01.880 --> 0:33:05.000
<v Speaker 1>visit the heart Radio app, Apple Podcasts, or wherever you

0:33:05.080 --> 0:33:09.400
<v Speaker 1>listen to your favorite shows. H