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Rare example of a counterproof copperplate engraving illustrating the entrance façade of the Château de Versailles as it appeared in the late 17th century.

The scene captures a perspective view of the Royal Courtyard (Cour Royale) and the entrance to the château, meticulously portraying the architectural design of Jules Hardouin-Mansart following the renovations completed in 1678. The engraving was produced after Silvestre’s preliminary drawings, which was created as part of a royal commission for the Cabinet du Roi. The final print was included in the fifth volume of Plans, élévations et vues du château de Versailles, published by the Cabinet du Roi.

The engraving shows the grand façade of the central building, emphasizing the symmetrical layout and the intricate detailing of the classical architecture. The prominent clock, framed by the sculptures of Mars and Hercules by Gaspard Marsy and François Girardon, crowns the central pediment, which is further adorned by a balustrade lined with statues. The foreground is lively, populated with figures on horseback, carriages, and pedestrians, illustrating courtly life at Versailles.

Silvestre’s print differs slightly from the preparatory drawing, where many of the figures and carriages were initially sketched in graphite and later added more fully to the engraving. In the Royal Courtyard, the basin with its central fountain—installed in 1679 and removed by 1683—is accurately depicted. Interestingly, the sculpted groups by Jean-Baptiste Tuby and Antoine Coysevox that were placed at the entrance gates in 1682 were not included in Silvestre’s original drawing but do appear in this final engraving, indicating that it was likely completed after their installation.

The engraving also includes a careful rendering of the courtyard architecture, with some features, such as the southern wing (Aile du Midi) to the left, outlined but not fully developed, reflecting the state of construction at the time. Notably, the northern wing (Aile du Nord), still in planning stages, is absent, highlighting the evolving nature of Versailles’ layout.

Silvestre’s work is marked by its rigid symmetry and perspectival accuracy, creating a balanced and harmonious portrayal of the Versailles complex. His engraving captures the grandeur and formality of the château’s architecture and serves as a historical document, offering insights into the state of Versailles shortly after its transformation into the center of Louis XIV’s court.

The present engraving is presented here as a counterproof, an important detail in understanding its production. A counterproof is created by taking a fresh impression from an original print while the ink is still wet, effectively reversing the image. This process allows for the resulting print to display the image in the correct orientation as it would have appeared on the original copperplate, providing both artists and collectors with a more faithful representation of the intended design.