DenerDNR

New Palace Rooms walls

Hello !

I’m happy to share a new set of 9 palace-inspired walls for The Sims 4 ✨

This collection is inspired by the elegance of historic French palace interiors, featuring richly detailed panelling, ornamental mouldings and refined classical designs to recreate luxurious royal and aristocratic rooms in game.

These walls are perfect for:

palaces and châteaux,

historical builds,

grand reception rooms,

or any classical interior project.

I wanted to capture the atmosphere and sophistication of French ceremonial interiors while keeping the set versatile and easy to use in different styles of builds.

I hope you’ll enjoy building with them 🤍

May 2026 rooms

So here are this months new decors :

Le Salon des Ambassadeurs from the Palais de l'Elysée (walls, mirror and fireplace)

Le Salon des Portraits from the Palais de l'Elysée (walls, mirror, fireplace and paintings)

A white and gold versions of the Salon Vert in the private rooms of Empress Eugenie in the Palais des Tuileries (walls, mirror and fireplace) - the paintings of the previous room can be used there too (reduce the size so it fits with the medallions on the walls)

Download Here

Frederician Rococo Salon

After a long break, I’m excited to share my newest set with you: the Frederician Rococo Salon! It is inspired by the palaces of King Frederick II of Prussia. Rooted in French Rococo, the Frederician Rococo evolved into a distinct style of its own, characterized by a dissolution of lines and a fusion with nature.

The set includes 24 new objects and 14 wall elements:

Frederician Rococo furniture and panelling are combined with decorative objects in the Louis XV style, as well as four rugs from the Savonnerie manufactory.

You can easily find my content in game by searching for „CS“! :)

Frederician Rococo Salon

After a long break, I’m excited to share my newest set with you: the Frederician Rococo Salon! It is inspired by the palaces of King Frederick II of Prussia. Rooted in French Rococo, the Frederician Rococo evolved into a distinct style of its own, characterized by a dissolution of lines and a fusion with nature.

The set includes 24 new objects and 14 wall elements:

Frederician Rococo furniture and panelling are combined with decorative objects in the Louis XV style, as well as four rugs from the Savonnerie manufactory.

You can easily find my content in game by searching for „CS“! :)

Hello! After a long time without posting any builds, here I am! Some bugs in TS4 have been irritating me quite a bit in recent months. This residence, for example: for some strange reason, half of the lot is daytime and the other half is nighttime! O.o I tried saving the house to my library to move it to another lot, but it gives an error and doesn't save. I put one of my Sims to live in it and played for a while, but that didn't help either. Anyway…

About the mansion: there's more information about its owner on the internet than about the residence itself. I found the floor plan of the house, but no photos of its interior, so all the interior decoration is from my imagination. It's a Brazilian house, built in 1885 for Mr. Rafael Aguiar Paes de Barros. It was located on Brigadeiro Rafael Tobias Street, in the city of São Paulo. It is not known for certain who the author of the project was, as it is sometimes credited to the German engineer Mateus Häussler and sometimes to the Brazilian architect Ramos de Azevedo.

The palacete (something like "small palace," as mansions were called during the Brazilian Belle Époque) was in the Palladian style, freely inspired by the Petit Trianon in Versailles, with four large Ionic columns on the facade, topped by Greco-Roman style cast iron statues representing the four seasons. It belonged to Rafael Aguiar Paes de Barros (1835 - 1889), a member of one of the oldest and most important families in the state of São Paulo.

Despite his aristocratic origins and wealth (he was the son of the Baron of Itu), Rafael became known in his youth for being an ardent abolitionist and republican. He studied in England, where he learned about horse racing, a very traditional equestrian sport in continental Europe, and became a great enthusiast. He owned the São Rafael Plantation, which had more than 1 million coffee plants distributed across the six hundred acres of the property. He was the founder of the Jockey Club of São Paulo and a pioneer in the breeding of thoroughbred English horses on Brazilian soil. A successful lawyer and landowner, Rafael was a sophisticated and well-traveled man, but also an influential politician, a member of the Paulista Republican Party during the monarchy. He founded the newspaper "A Província de São Paulo," now "O Estado de São Paulo," one of the most important newspapers in Brazil. He also presided over the Immigration Promotion Society, was Director of the Provincial Museum, and Provider of the Santa Casa de Misericórdia de São Paulo. In 1877, together with the Marquis of Três Rios, he created a company to channel the springs of Cantareira to supply water to the capital of São Paulo.

After so many achievements for society, Rafael Aguiar Paes de Barros died in 1889, leaving behind his wife and 16 children. His heirs remained in the mansion until the end of the 1920s, when it was rented to become the headquarters of the Court of Justice of São Paulo. In the late 1930s, the mansion was sold and later demolished on an unknown date.

Hello, this time I decided to build something smaller than I'm used to, but no less beautiful. The Oliver Gould Jennings House is a mansion located at 7 East 72nd Street on the Upper East Side of New York City. It was originally built in 1898 for Oliver Gould Jennings in the French Beaux-Arts style. It currently belongs to Hamad bin Khalifa Al Thani, the (now former) Emir of Qatar, who purchased the mansion and the nearby Henry T. Sloane House around 2004.

The Henry T. Sloane House is a mansion located at 9 East 72nd Street on the Upper East Side of the borough of Manhattan, New York City. It was designed by Carrère and Hastings in the late Rococo style and built in 1894.

It was originally constructed for Henry T. Sloane, son of a founder of the carpet firm W. & J. Sloane. The Pulitzer family rented it from Sloane, and in 1901 it was purchased by banker James Stillman. He lived there until his death in 1918.

In my opinion, this house and its neighbor, The Oliver Gould Jennings House, go together so well that they almost seem like an extension of each other. For me it was almost impossible to build one and not build the other. :P Both on the same plot, work very well with The Sims 4 For Rent.

I discovered this château through an Instagram post about abandoned residences and immediately fell in love. I wanted to build it for a long time, but the rush of life stopped me. I finally did it! Hope you like it! Georges Dupré de Saint Maur, general councilor of the canton of La Ferté-Saint-Aubin and mayor of Ligny-le-Ribault, had the château built between 1875 and 1882. The building was initially designed to be a place for social receptions and more particularly a hunting meeting place. In 1923, the château, which at that time belonged to the Poniatowski family, was acquired by the Swiss industrialist Henry Burrus to indulge his passion for horse riding. The château has been listed in the inventory of historical monuments since 1991, but is currently abandoned (unfortunately).

Note: special thanks to @labuenosairesfrancaise who taught me how to make symmetrical curved paths. :)

10.1 The New Fireplace

AN O1/1796 item 528

On Sunday, January 22, 1758, the King, feeling cold during his toilette in the Grand Bedchamber, requested that a tiled stove be installed to warm the room. By the next day, the stove was already in place and operational. However, the very letter informing Marigny (Head of the King's Buildings) about the royal decision also mentioned an unfortunate incident involving a similar stove in the antechamber of his sister, Madame de Pompadour. The pipe of her tiled stove caught fire, though fortunately, the flames were quickly extinguished.[200]

Nevertheless, on March 25, 1758, Gabriel, the King's chief architect, decided to add a new fireplace in the bedchamber instead.[201] The precise justification behind this decision is not explicitly stated, but it is likely that either aesthetic concerns or safety considerations—given the recent fire—prompted the change. The inability to find marble matching the existing one, which resembled Brèche Violette, led the administration to consider removing the old fireplace and replacing it with two new fireplaces of the same marble. The southern wall between the bedchamber and the Bullseye Antechamber had to be disassembled to accommodate the new chimney pipe, utilizing the existing chimney in the antechamber, which was also rebuilt in the process.[202]

Two provisional marble fireplaces were installed temporarily. On June 7, 1761, Marigny ordered their demolition and replacement with the new ones.[203]

Some drawings from the time of the project still exist (see fig.), yet no detailed work report regarding the various stages of the project has been found. However, records indicate that payments made to Trouard, the principal marble sculptor of the Crown, in 1761 significantly exceeded those of the preceding and subsequent years, suggesting substantial work at Versailles during this period.

O/1/1770, folder 4, n°6

10.2 Restoration and Enhancement of the Winter Set (Number 1881)

The Winter Set 1881 bed underwent its first recorded restoration in 1736, under the direction of Dutrou and Saillor. The embroideries were restored, and the fleur-de-lys crimson brocade used for the lining of the valances was replaced with crimson Gros de Tours, while the case curtain was entirely remade.[204]

On November 28, 1761, the Garde-Meuble diary recorded the second restoration of Set 1881. The embroideries were again restored, and those from the stools were transferred onto new crimson velvet. As in the previous restoration 25 years earlier, the embroidery work was carried out by Dutrou. Additionally, two new fire screen frames were commissioned, crafted by Foliot and gilded by Bardou, to match the new fireplaces.[205]

In 1765, Louis XV ordered a more comprehensive enhancement and restoration of the Winter Set, which had begun to appear outdated after 64 years of use. Several artisans were commissioned:

Capin for the upholstery

Chasblier for the embroidery

Bardon for the gilding of sculpted wood

Pitoin for the gilding of metal parts

The L’Héritier brothers for supplying golden braids and fleurets for the embroidery

Foliot for the wooden sculptures

10.2.1 The Bed

The most notable addition during the 1765 enhancement was the incorporation of rich sculptural elements onto the upper canopy, mounted on carved joinery. Foliot, responsible for this work, provided a detailed description:

"To be used in the King’s Bedchamber at the Palace of Versailles: The crown of the Winter Bed, measuring three feet in height and seven and a half feet in length, composed in the middle of trophies of war, including banners, shields, weapons, and other instruments, enriched by laurel branches grouped together. The upper section consists of a piece of architecture featuring a lion’s head holding in its mouth a ribbon suspending the trophy. The corners are adorned with corsets of armor supporting the structure, flanked by palm branches. At the front of the crowned canopy, garlands of oak and laurel extend along the piece, forming festoons at the corners where the corsets of armor are located. The sculpture was carved from a ten-foot-long piece of wood, following the creation of a quarter-scale wax model."[206]

Foliot charged 6,400 livres for this work. The gilding was executed by Bardon, whose report provides additional details about specific sculptural elements:[207]

Three sculpted pieces adorned with shields, palms, and oak leaves

Four corsets of armor

Four garlands

Some elements, such as banners, laurels, and the lion, mentioned in Foliot’s report, are not explicitly listed in Bardon’s work but were certainly included to maintain the harmony of the composition.

A crucial note in Capin’s report describes the new canopy shape as ‘bulging’, indicating its convex architectural form. This explains why Chasblier had to entirely remake the valances to match the revised canopy structure:

"The great valances at the front and sides were almost entirely re-embroidered [...]. The embroidered fringe follows the contour of the new crowned canopy."[208]

Finally, the 1775 General Inventory of the Garde-Meuble provides another significant detail not previously mentioned. The description of Set 1881, which had been reassigned inventory number 116 in the embroidery chapter, states:

"The canopy of gilded and sculpted wood, featuring at its front a cartouche bearing the coat of arms of France."[209]

The gilding of the canopy was initially imperfect, as a 1766 report notes that a new order was issued on November 3, 1766, for craftsmen to fix the gilding on-site at Versailles.

9.2.2 – The Armchairs and Stools

In his 1765 report, Capin mentioned the presence of two armchairs, twelve stools, and a third armchair listed as being acquired “by augmentation.” This term, used by the Garde-Meuble, referred to alterations that extended beyond mere restoration, often involving the addition of new elements or the reassembly of upholstery onto a different wooden structure. A notable precedent is set 1379, which was created by augmentation of set 867.

Given the intent to modernize the Grand Bedchamber, particularly the bed, which was deemed somewhat too sober for its prestigious setting, it is plausible that the original 1701 armchairs were also replaced on this occasion with more contemporary designs. The work detailed in Capin’s report describes standard upholstery procedures, including the application of gold braids and gold nails, which further aligns with this hypothesis.

If we accept this assumption, their creation can potentially be traced to a 1765 work report by Foliot the Elder. On August 2, 1765, the same date his son was commissioned to sculpt the canopy ornaments for the King’s bed, Foliot the Elder was entrusted with crafting a bulging canopy frame for Versailles[210]. His next recorded order, on August 7, concerned the creation of two armchairs.

It is worth noting that Foliot the Elder habitually included seats immediately following beds in his work reports—an example being his Polish-style bed frame, executed following the October 4 order, which, like his son’s commission, was later supplemented with two armchairs and eight regular chairs. These pieces are subsequently mentioned by Capin in relation to their upholstery. Based on this pattern, it is reasonable to assume that the two armchairs mentioned immediately after the canopy commission in August 1765 were indeed intended for the Grand Bedchamber.

The upholstery work carried out by Capin in 1765 did not constitute a full restoration of the embroideries. This is evident from the fact that the armchairs and stools were sent to the Garde-Meuble on May 28, 1766,[211] necessitating a comprehensive refurbishment of the embroidery a year later. Aleau was tasked with this embroidery work,[212] and several notable modifications emerge from the associated report:

The twelve stools, originally adorned with campanes, were now embellished with gold fringes.

The two armchairs now featured armrests, with no further mention of campanes or fringes, strongly suggesting a stylistic transition away from the Louis XIV aesthetic. The structure was likely revised so that the seat was now fully enclosed by a visible wooden frame.

Finally, the woodwork, much like that of the canopy, was re-gilded and repaired by Bardou, following an order dated November 3, 1766.[213]

9.2.3 – The Firescreen

As previously noted, the 1701 fireplace was removed on November 28, 1761, and replaced with two new fire screens, executed by Foliot and gilded by Bardou. The textile panels of these screens repurposed the velvet of the tablecloth, which was destroyed in the process. Much like the seating elements, the embroideries on these velvet panels were later restored by Aleau in 1766.[214]

[200] AN O1/1796, item 528; a copy of that letter can also be found in AN O1/1811.

[201] AN O1/1811.

[202] AN O1/1797, item 156.

[203] AN O1/1812.

[204] AN O1/3312, f⁰ 49 v⁰.

[205] AN O1/3317, f⁰ 130 v⁰.

[206] AN O1/3617 – Foliot’s work report.

[207] Ibid. – Bardon’s work report.

[208] Ibid. – Chasblier’s work report.

[209] AN O1/3345, f⁰ 237 v⁰ - 238 r⁰.

[210] AN O1/3617 – Foliot the Elder’s work report.

[211] AN O1/3346, p. 383.

[212] AN O1/3618 – Aleau’s work report.

[213] Ibid. – Bardou’s work report.

Tuscan Order for The Sims 4

Hello Simmer.

I decided to go for CC making as the Sims 4 community lacks a full set of architecturally accurate classical orders. Here, in the screenshot, you can see some parts of my modelling.

I made a series of models for Tuscan order in the correct proportions for the sims 4.

However I need HELP

I do not know what to do later for these models to become CC for the game.

When Louis XV returned to Versailles in 1722 and took possession of his great-grandfather's royal apartments, the Garde-Meuble had to provide a new summer set for the bedchamber cabinet since the previous one had left the palace after the Sun King’s death. Lallie was charged with the task, and on the 8th of May, 1723, he delivered a new set of furniture covered in a purple and crimson background brocade which received the number 2200. The set was created using several brocades from Lyon delivered by Gautier in 1688. The set remained in the bedchamber for the rest of Louis XV’s reign and most of the reign of his successor, who restored it in 1776 [161].

8.1.1 The Tapestry Itself

Described in 1723 as being made of a “brocade from Lyon with purple and crimson background, with compartments, cornucopia, and large flowers woven in silver and gold, with crimson silk used around as contour [nuee de soye cramoisy]” [162], it is said that brocade numbers 48 and 49 were used for that set. The description of these brocades from the 1729 general inventory provides additional details [163]: the compartments are referred to as “large compartments,” and there is mention of rinceaux ornaments woven in gold, which was not noted in 1723. The description also specifies the roles of the purple and crimson: purple was the main background color of the brocade, while crimson was used as the background color within the compartment and as a contour around the woven ornaments. This description allows us to trace the brocade’s origin. Indeed, on the 7th of October, 1688, the Garde-Meuble diary records the entry of a new brocade delivered by Gautier under the numbers 123 [164], 132, 133, and 134, with a description matching that of number 48 from the 1729 general inventory.

In the alcove, five pieces of this brocade were placed alongside six pieces of column brocade similar to those described in Part 7.1, which, by that time, had been renumbered as 52 in the 1729 general inventory [165].

8.1.2 The Bed

As before, the set featured a large state bed containing:

The Headboard: Described as enriched with gold leaf ornaments and gold braid [166].

The Valences: Three outer and four inner valences, described as being “enriched with woven gold leaf ornaments, forming festoons” [167]. The comma in between could suggest that the festoon shape describes only the valences, not the woven details. However, since most valences of the time had woven decorations that followed the valences' shapes, it would be safe to assume that this description applies to both. While no fringes are explicitly mentioned alongside the valences, the presence of woven gold crepines at their bottom may suggest their presence, especially since the bed bases, similar in description, included fringes. Furthermore, the work report by L’Heritier during the 1776 restoration explicitly charged for gold fringes for the valences of the summer bed [168], giving the valences an appearance close to those described in Part 6.2.

The Curtains: Two bonnes grâces, four curtains, and two cantonières made of the purple and crimson brocade with gold braid and fringes, lined with a crimson satin woven with gold and featuring multiple compartments [169].

The Quilt: Made of the same brocade, adorned with gold braids and fringes.

The Case Curtain: Made of crimson gros de Tours, with large and medium-sized gold fringes at the bottom and edges, hanging from a golden rod [170].

The Columns: The four columns were sheathed in crimson satin with gold and silver woven decorations [171].

The Vases/Finials: Four in total (one at each corner), filled with 120 feathers, covered in brocade with added gold leaf patterns and braids [172].

8.1.3 The Armchairs and Stools

Two armchairs and twelve stools were listed for this set. The brocade used for their upholstery differed from that of the bed and the alcove, described as “another narrow brocade with a crimson background, featuring cornucopia and fleurets with gold and silver, with a contour of purple silk to match the bed’s brocade” [173]. This detail reinforces the idea that the bed’s main brocade color was indeed purple. This brocade likely corresponds with brocade number 36 from the 1729 general inventory [174], which is said to have been used for this set at the end of the entry [175]. This brocade came from a delivery in 1686 by the Parisian manufacturer Charlier, initially assigned the number 93 [176].

One detail stands out when comparing descriptions: the contour around the silver and gold decorations is said to have been purple silk when used on the stools and armchairs in 1723, whereas it was originally green silk in 1686. It is likely that this alteration was made by Lallie or one of his suppliers to better match the purple color of the other brocade.

The woods are noted as having been gilded and sculpted “very richly.” This detail is interesting as it may reflect a stylistic shift occurring at that time, with more richly decorated armchairs that, unlike their Louis XIV counterparts, featured backrests framed by a visible, elaborately sculpted wooden border.

The entry also references gold fringes and braids.

8.1.4 The Fire Screen

The screen was covered in the same purple and crimson brocade as used for the bed and the alcove. The wood was sculpted and gilded, and the central motif of the brocade was surrounded by a gold braid [177].

8.1.5 The Table and Tablecloth

The table was made of walnut and described as having a lower cabinet shape (table en bas d’armoire) with a counter on each side, closing with a key. While convertible cabinets were common in the 18th century, this specific design with only a lower part and counters on each side was very unusual. It measured 42 inches long, 29 inches wide, and 31 inches tall [178].

This table is mentioned in the 1751 Versailles inventory as a “lower walnut cabinet opening from both sides” [179] and was present in the winter decor alongside set number 1881 (discussed in Part 4). Although it was omitted from the summer set, we can infer its presence by the mention of the tablecloth and the practice of mentioning items present in both summer and winter only once [180]. Later Versailles inventories omit the table but continue to list the tablecloth used alongside it.

The tablecloth had four bases—three of the purple brocade and the fourth of taffeta—all embellished with gold braids and fringes and lined with taffeta.

8.1.7 The Portiere Tapestries

Set 2200 featured, like the previous sets, four portiere tapestries in front of each of the four doors. Each was made using three pieces of the purple brocade, with gold fringes at the side and bottom, and lined with crimson taffeta [181].

[161] AN O1/3625

[162] AN O1/3309 f⁰ 351 v⁰

[163] AN O1/3338 f⁰ 275 r⁰

[164] AN O1/3306 f⁰ 108 v⁰

[165] AN O1/3338 f⁰ 276 r⁰

[166] AN O1/3309 f⁰ 351 v⁰

[167] AN O1/3309 f⁰ 351 v⁰

[168] AN O1/3625, L’Heritier’s work report

[169] AN O1/3309 f⁰ 351 v⁰

[170] Ibid f⁰ 352 r⁰

[171] Ibid

[172] Ibid

[173] AN O1/3309 f⁰ 352 r⁰

[174] AN O1/3346 f⁰ 273 r⁰

[175] AN O1/3309 f⁰ 354 r⁰

[176] AN O1/3306 f⁰ 14 v⁰

[177] AN O1/3309 f⁰ 352 v⁰

[178] Ibid

[179] AN O1/3454 p. 2

[180] See previous notes

The fate of this set is, like its entry, somewhat perplexing as contemporary sources contradict one another. Memorialists of the time claim that instead of inheriting the set, the Duke of Tresmes, First Gentleman of the Room, received financial compensation [162], while the Garde-Meuble, on the other hand, maintains that the Duke did in fact inherit the set alongside those present in the Antechamber and Cabinet [163]. The latter version is the most plausible, as it explains both the absence of set 1984 from the 1729 general inventory and the decision to create a new summer set for the bedchamber upon Louis XV’s return to Versailles in 1723.

Furthermore, the death inventory of the Duke of Tresmes in 1739 mentions a satin Persian-style crimson background, present on the second floor of his townhouse under the number 135 [164], corresponding to the set described in the death inventory of King Louis XIV, which was meant to be inherited by the Duke.

page from the Duke of Tresmes Death Inventory, Number 135 AN MC ET II 473

7.1 The Tapestry Itself

The brocades used in the creation of set 1984 came from earlier deliveries in 1687 and 1688 by the Parisian fabric supplier Charlier. Indeed, at the end of the 1705 entry, we learn that Lallié used brocades numbered 96, 991, 116, and 128 for the bed, seats, footrest cushions, tablecloth, and fire screen, described as “a satin Persian-style brocade,” also referred to as the small-pattern brocade. Brocades 95 and 98, called the large-pattern brocade, were used for the bed and alcove tapestry. These brocades were described on July 23, 1686, as “pieces of brocade one ell wide, with crimson background with patterns of gold and silver in Persian colors” [165]. The delivery of brocade 98 can be traced to February 4, 1687 [166]. Jules Guiffrey reconstructed a more complete description of the brocade by combining elements mentioned in several sources: “Five pieces of rich brocade, one ell wide, with crimson red satin background; featuring compartments, cornucopias, scrolls, and flowers woven in gold and silver, with contours around the ornaments in violet, green, and blue silk, in the Persian style, made by Mr. Charlier of Paris” [167]. For the 1705 delivery, eight pieces of large brocade were destined for the alcove tapestry alongside seven pieces of column brocade. These column brocades were part of a delivery from November 29, 1688, by Gautier and manufactured in Lyon. They were described as “columns of rich brocade with vine branches and grapes, with a base and capital woven in gold and silver, twisted, with musk, on a crimson satin background” [168] and received the number 124. Designs featuring twisted brocade columns were fashionable at the time; Swedish diplomat Cronström even discussed similar ones in his correspondence with Swedish royal architect Tessin, where they considered possible decor for royal apartments in Sweden. Cronström wrote, “One could also take satins from Turin and have twisted columns and borders or friezes made, cut according to the design of Mr. Berain. All of this would be appropriate, new, and in good taste.” Mr. Berain was indeed the royal ornamentalist for the King of France. The column designs Cronström referenced, which he sketched, are now in the Stockholm National Museum collection.

National Museum, Stockholm, NMH CC 1382 recto

This layout, however, differs from the one described in the King’s bedchamber at King Louis XIV’s death, where set 1984 is mentioned with an alcove tapestry of only five pieces of large brocade alongside six pieces of column brocade [169]. Moreover, the dimensions of the alcove tapestry as described in 1705 far exceed the size of the bedchamber’s western wall, given that each large piece of brocade was one French ell wide (1.18m) and the brocade column half that width, totaling 13.6 meters (44.52 ft). This discrepancy suggests set 1984 was used in the Versailles King’s bedchamber almost incidentally rather than as a planned choice. This discrepancy in the alcove layout of 1715 featured only five pieces of the large brocade, each one ell wide, and six pieces of column brocade, each half an ell wide, totaling eight French ells or 9.44 meters (31 ft), which is much closer to the actual dimension of the King’s alcove.

7.2 The Bed

The main element of set 1984 was its state bed, with its impressive dimensions. Its components were:

• No Headboard: None of the descriptions indicate the presence of a headboard.

• The Headcloth: Made of two pieces of the large brocade according to the 1705 Garde-Meuble diary [170] and four according to the 1715 death inventory [171].

• The Valences: Both the 1705 and 1715 entries spare details on the main fabric used, only noting crimson satin lining. It could be inferred that they were crimson to match the background of the brocade. Large gold fringes formed festoons at the bottom [172], and this style of valence, different from the previously used campanes, was increasingly popular at the time. Similar ones appear in a painting by Louis Silvestre depicting Louis XIV Receiving the Prince Elector of Saxony in his Fontainebleau bedchamber near the end of his life.

: Louis XIV reçoit à Fontainebleau le prince-électeur de Saxe, 27 septembre 1714, Louis de Silvestre and Hyacinthe Rigaud, oil on canvas, 1715, 120 x 155 cm, Château de Versailles, MV 4344

• The Curtains: Two bonnes grâces, four curtains, and two cantonières are mentioned, with gold fringes at the edges and bottom, lined with the same fabric. The brocade used is not specified, but we can infer that it was the smaller pattern given that the headcloth, mentioned afterward, is said to have been of “the larger pattern brocade,” implying the curtains were not.

• The Quilt: See above.

• The Case Curtain: Made of crimson gros de Tours taffeta, with gold fringes at the bottom and edges, hanging from a golden rod.

• The Columns: The two front columns were placed in a sheath of large-pattern brocade.

• The Vases/Finials: Four in total (one at each corner), filled with feathers and covered in the large-pattern brocade.

7.3 The Armchairs and Stools

Two armchairs were included in the 1705 delivery [173] and three in 1715 [174]. We can assume that an additional armchair was added once the set was transferred to the bedchamber, possibly used with the table. They were garnished with gold fringes at the bottom, and their wood was surprisingly painted red with gold floral decorations. The brocade used was the small pattern, specifically brocades 96, 99, 116, and 128 as described on July 23, 1686: “Two pieces of brocade, two feet wide, with crimson background and elevated patterns in gold and silver with Persian colors” [175]. In 1886, Jules Guiffrey attempted to enhance that vague description by referencing entries from the brocade chapter of the 1729 general inventory and brocade discharges from set 1984, creating this more precise description of the small pattern brocade of number 96: “Two pieces of brocade, two feet wide, with crimson satin background, cornucopias, rinceaux, and flowers of elevated gold and silver, with outlines in green and purple silk, in the Persian style, from the Charlier manufacture in Paris” [176]. The specifics of the colors are consistent with brocade discharges noted at the end of the entry for set 1984 [177].

The twelve folding stools were similar in terms of brocade and style to the armchairs, with gold fringes and woods painted in red with some gilded ornaments.

6.4 The Fire Screen

The fire screen was similar to the seats, with the small-pattern brocade, gold braids around the edges, and wood painted to match the fabric. A braid with a lead pear covered with gold bouquets is also mentioned [178].

7.5 The Table and Tablecloth

The set came with a tablecloth made of the smaller brocade, with fringes on the sides and at the bottom, lined with taffeta, along with a red leather table rug with gold fringes. The table mentioned in the 1715 death inventory under these tablecloths was likely the fir table previously listed in the 1708 inventory and used with set 1379 (see Part 6.6) [179].

7.6 The Portières Tapestries

At the time of the 1705 delivery, no portières were included, and they only appear in the 1715 death inventory [180]. They were made from five pieces of brocade each and described as “assorted to the one of the bed.” Each of the four doors was equipped with one, embellished with gold fringes on their sides, and lined with crimson taffeta.

6.7 The Portieres Tapestries

At the time of the 1705 delivery, no portieres were included; they are only mentioned in the 1715 death inventory [160]. Made from five pieces of brocade each and “assorted to the one on the bed,” each of the four doors was equipped with one. They were embellished with gold fringes on their sides and lined with crimson taffeta.

[135] AN O1/3308 f⁰ 9 r⁰

[136] AN O1/3298 folder 3, item 4, f⁰ 1

[137] Verlet 1961 and Castelluccio 2016 mention set 1379 while omitting set 1984, while Meyer 1980 and Richard 2018 mention set 1984 while omitting set 1379.

[138] Hans 2022 confuses sets 1379 and 1984 and provides a description combining elements from both sets.

[139] AN O1/3308 f⁰ 9 r⁰

[140] Ibid f⁰ 134

[141] AN O1/3298 folder 3, item 4, f⁰ 2 v⁰

[142] The folio 135 of the 1705 Garde-Meuble diary (AN O1/3308) is missing.

[143] Saint-Simon, tome XXIII, p. 213; Dangeau Journal, éd. E. Soulié, Paris, Firmin Didot, 1854-1860, tome XVII, p. 177

[144] AN O1/3298 folder 3, item 2

[145] AN MC/ET/II 473

[146] AN O1/3306 f⁰ 31 v⁰

[147] Ibid f⁰ 59 v⁰

[148] Guiffrey, Jules. Inventaire général du mobilier de la couronne sous Louis XIV (1663-1715), deuxième partie. Paris: Au siège de la société, 1886, p. 198

[149] Ibid f⁰ 111 r⁰

[150] AN O1/3298

[151] AN O1/3308 f⁰ 7 v⁰

[152] AN O1/3298

[153] AN O1/3308 f⁰ 7 v⁰

[154] AN O1/3308 f⁰ 7 v⁰

[155] AN O1/3298

[156] AN O1/3306 f⁰ 31 v⁰

[157] Guiffrey, Inventaire général du mobilier de la couronne sous Louis XIV, 1886 edition, vol. 2, p. 198

[158] AN O1/3308 f⁰ 8 r⁰

[159] Ibid

Tradition required the bedchamber decor to be changed twice a year, alternating between a winter set and a summer one. Although set 1881 is not explicitly referred to as the winter set in the Garde-Meuble until 1740 [125], André Félibien informs us that the practice of using red velvet for winter in the King’s bedchamber predated 1701 [126]. If set 1881 was already used for winter by 1701, then which set was used as a summer replacement in 1702? The answer can be found in the 1708 inventory [127], where a set of silver-background brocade is listed under number 1379. Set 1379 was initially delivered in May 1689 as an augmentation of set 867, delivered nine years earlier for the bath apartments [128].

6.1 The Tapestry Itself

Described in 1680 as alternating narrow pieces of two different brocades—one “silver background with figures of a shepherd and shepherdess” and the other “gold and silver with rinceau, outlined at the edge with ponceau” [129]—the 1689 Garde-Meuble entry, while consistent in describing the shepherd silver brocade, specifies that the other had a green background but omits the rinceau ornaments. The most complete description appears in the 1708 inventory: “Rich furniture of two brocades, one with silver background with figures of shepherd and shepherdess in gold and silver, and the other with green background chiseled with gold and with flowers of silver and gold” [130].

The 1689 delivery was intended to fill an alcove with eight pieces of silver shepherd brocade and seven pieces of the green brocade [131]; this layout remained the same in the 1701 bedchamber [132].

6.2 The Bed

The main element of set 1379 was its state bed, impressive in its dimensions. Its components were as follows:

No Headboard: None of the descriptions indicate the presence of a headboard.

The Headcloth: Described in 1689 as being like the curtains, “of ponceau brocade” [133]. As seen in Part 6.1, no ponceau brocade is mentioned in the set; instead, the color ponceau only appears as a border for the green-background brocade. This discrepancy is later clarified in 1708 when the curtains and headcloth are accurately described as “green background brocade with flowers of gold and silver outlined at the edge with ponceau” [134].

The Valences: Unlike previous descriptions, a more precise one does not come from the 1708 inventory, where they are mentioned along with the cantonières, bonne grace, and bases as simply being of “shepherd brocade” [135], but from the May 1689 Garde-Meuble entry, which states: “Three outer valences, with additional buttonholes, shells, tassels, and other embroidery taken from the campane left from the frieze of the tapestry; four inner valences. The seven valences [three outer + four inner] are entirely of the shepherd brocade, garnished at the bottom by large campane embroidery and at the top and sides by smaller campanes, with ponceau gros de tours lining” [136].

The Curtains: The fabric for the curtains matched the set: some were of shepherd brocade, while others were of the green brocade.The 1689 description specifies that the two bonne graces, two cantonières, and three bases were of the shepherd brocade, while the four outer-layer curtains were of the “ponceau brocade” [137]. As with the headcloth, the term "ponceau brocade" actually refers to the “green background brocade with flowers of gold and silver outlined at the edge with ponceau,” as inferred from the 1708 inventory [138].

The Quilt: Described in both 1689 and 1708 as being of “ponceau brocade” [139], the same caution regarding interpretation should be applied as above.

The Case Curtain: Made of 24 pieces of green taffeta sewn together, with large and medium gold and silver fringes at the bottom and sides [140].

The Columns: The two front columns were covered in sheaths: one in a brocade featuring Solomonic columns embroidered in gold and silver on a crimson satin background, and the other in a brocade with silver stripes and satin stripes adorned with gold and silver floral embroidery [141].

The Vases/Finials: Four in total (one at each corner), filled with feathers. No further information about the materials used is provided.

6.3 The Armchairs and Stools

The original 1680 description briefly mentions the presence of two armchairs [142].

In 1689, the armchairs and stools received new frames, which were “gilded and silver-plated.” The 12 stools from 1680 were replaced with eight folding stools at that time [143].

The armchairs were entirely covered with shepherd brocade on the backrest, seat, and armrests, with silver and gold braid and campane ornaments. The folding stools, on the other hand, had cushions made from a square of shepherd brocade surrounded by “ponceau brocade.” This term appears in both the 1689 Garde-Meuble entry [144] and the 1708 inventory [145]. We learn from the 1689 entry that there was not enough campane to decorate all eight folding stools; there was barely enough for six, and the remaining two had to rely on gold fringes instead [146]. This issue seems never to have been addressed, as the 1708 description notes this disparity as well [147].

These stools and armchairs were later encountered long after being removed from the bedchamber and returned to the Garde-Meuble, specifically in the 1775 general inventory of the Garde-Meuble, where they appear under number 106 among the brocade furnishings [148]. In this final description, we learn that, just as in 1708, the disparity in campane ornaments remained unaddressed and that the “ponceau brocade” mentioned in the 1689 and 1708 descriptions surrounding the shepherd brocade was, as expected, actually “of chiseled green background brocade, with silver and gold flowers” [149].

An additional armchair belonging to set 1870 is also listed in the 1708 inventory.

6.4 The Fire Screen

The fire screen was a new addition for the 1701 central bedchamber, as it was not part of the original delivery of set 1379 from May 1689. The 1708 inventory offers a lengthy description worth quoting in full:

“Fire screen with slide [écran à coulisse], covered on each side with a square of silver background brocade with vine, from which a grape hangs, with a shepherdess at the center enclosed by strips of green background brocade chiseled with gold, with gold and silver floral ornaments outlined at the edge with ponceau, garnished by a thin gold braid hiding the seam, with sculpted and gilded wood” [150].

6.6 The Table and Tablecloth

In 1689, at the initial delivery of the set, there were three different carpets (tapis), one of which was referred to as a table carpet (tapis de table) [151]. Although no table was provided with the initial delivery, the 1708 inventory mentions a fir wood table [152] with no inventory number listed directly after two of the aforementioned rugs, indicating that these other rugs were also likely table rugs, as was the first.

The first proper tablecloth was “made of the two brocades, garnished with fringes and gold and silver braids, lined with green taffeta” [153].

The second rug was made of green leather, with green taffeta lining and gold fringes.

The third rug, made of green taffeta with gold and silver fringes, is referred to in 1708 as the slipcover for the first.

6.7 The Portieres

The description of the four portieres is consistent between the 1689 Garde-Meuble entry and the 1708 description, comprising a total of five pieces of brocade sewn together: three of shepherd brocade and two of the green brocade, with campane ornaments at the bottom of two and fringes for the other two.

[125] AN O1/3453

[126] “The King’s bed is covered in red velvet in winter,” can be read in Félibien des Avaux, Description sommaire de Versailles ancienne et nouvelle, 1703 edition, p. 60. Despite the date of the edition, the rooms are described in their pre-1701 layout.

[127] AN O1/3445 f⁰ 2-4

[128] Guiffrey, Inventaire général du mobilier de la couronne sous Louis XIV, 1886 edition, vol. 2, p. 318

[129] Ibid

[130] AN O1/3445

[131] AN O1/3306 f⁰ 123 r⁰

[132] AN O1/3445

[133] AN O1/3306 f⁰ 122 r⁰