Page 159 - Collecting and Displaying China's Summer Palace in the West
P. 159

144  Vincent Droguet































              Figure 9.4 General view of the Musée chinois. © Fontainebleau, Château


              from the temple of “Kao-min-Tsen” (Gaomingcun) and were installed in 1867, the
              room is devoted entirely to the display of the empress’s collection of Oriental objects.
                The idea of devoting one or more rooms to the role of a “museum” in the heart
              of a royal apartment was not completely new. 13  At Versailles, Louis XIV had main -
              tained a “cabinet of curiosities and rarities” adjacent to his apartment and Marie-
              Antoinette, whom Eugénie virtually worshipped, had installed in several rooms of
              her interior apartment the collection of Japanese lacquers inherited from her mother,
              Empress Marie-Thérèse. At Fontainebleau, however, the cabinet of curiosities was
              rather transformed into a room of monumental proportions where the decoration of
              the walls and ceiling played a major role in complementing the collection.
                The wall ornament of this grand room consists of lacquer panels on a gold ground,
              following a decorative principle dating back to the end of the seventeenth century, 14
              panels whose presence often sufficed to identify a room as a “Chinese salon”. These
              panels came from two large screens that were in the furniture collection of the crown
              well before the Second Empire. Split and juxtaposed, the panels were finished with
              other elements purchased from the Parisian merchant Meyer, who had also provided
              the decorative borders. The lower section of the walls is covered with paneling
              painted black and adorned with red wood moulding, all of which was meant to evoke
              an Oriental décor. Above the lacquer panels, the wall is hung with red silk with green
              patterns, which was originally an authentic Chinese fabric.
                On the ceiling, three large  kesi (silk embroideries) from the Yuanmingyuan
              cover the surface, within a frame of black lacquered wood and yellow silk. This fixed
              decoration is again enriched by carved and painted wooden moulding that adorns
              the window jambs and the arcade opening onto the grand salon. These Chinese
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