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The Baroque architects, gardeners and artists including the chief designer Louis Le Vau and the artist Charles Le Brun undertook a responsible mission in order to erect a palace suitable and grand enough to host the whole royal family and the large court (EAH). One of the most remarkable fragments of Versailles is the Hall of Mirrors built and decorated under the king Louis XIV in the period when absolutism was on its peak. The 73-meters-long gallery was created with intention to glorify the victory of France in the war and symbolize political, economic and cultural success of France (en.chateauversailles.fr). Marble, gilding, mirrors, crystal chandeliers and lavish decoration tell the spectator of the glory and prestige of the French court. The political achievements were depicted by Le Brun on the arches of the gallery referring to ancient allegories. The economic power of the country was transparently stated through the number of mirrors located in front of each window of the gallery and – thus – making the hall even more spacious. The key idea of such lavish mirror use was to demonstrate the production potential of France in mirror-making (mirrors were the objects of luxury at that time). Moreover, the Hall of Mirrors adorned with splendid Baroque paintings alluding to ancient mythology and marble sculptures of the ancient Greek gods was a brilliant specimen of the best cultural and artistic tendencies of the 17th century. To my thinking, the primary purpose is achieved successfully as Versailles and – particularly – the Hall of Mirrors inspires awe even nowadays: no wonder that the hall was often used as a waiting room for visitors because it is a perfect piece to be the “face” of the court and suggest the power and splendor of the King. In this respect, it should be also mentioned that the palace must have elevated the Crown in the eyes of the people of France: the suggestive
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