The reality of where he lived, the tough projects called Les Bosquets (The Groves), quickly converged with his budding passion.
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"His camera is his weapon," said Jean-Riad Kechaou, a teacher in the district who wrote a book about Les Bosquets.
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The mood appears to die down, in twilit tranquillity, at the close of Ruiz's début day, with Les Bosquets gilded by the sun's last rays.
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One of the more powerful images is from his 2013 return to Les Bosquets, where he wheat-pasted images inside a housing tower due to be demolished the following day.
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Hence the importance of Buzz (Al-Hassan Ly), a harmless kid with a potentially damaging drone at his command; on a lark, he flies it from the roof of his apartment building, in Les Bosquets, the infamous projects of Montfermeil.
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JR is a photographer, activist and social engineer who made his name in the mid- 256s by photographing residents of Les Bosquets, a housing project in a Paris banlieue, up close and with a sense of whimsy, then wheat-pasting those images around the city, a subversive sort of quasi-advertising.
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In Alexandre Francini's engravings (1614) of the royal gardens at Fontainebleau and Saint Germain-en-Laye, compartments of bosquets are already in evidence. In Jacques Boyceau's posthumous Traité du iardinage selon les raisons de la nature et de l'art (1638), designs for bosquets alternate with patterns for parterres. Château d'Amboise: the parterres have been recreated in the twentieth century as rectangles of lawns set in gravel and a formal bosquet of trees In the eighteenth-century, bosquets flanked the Champs-Elysées, Paris. In Paris, bosquets set in gravel may still be enjoyed in the Jardin des Tuileries and the Jardin du Luxembourg.
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Barriac-les-Bosquets is a commune in the département of Cantal in south- central France.
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Typical trees employed for bosquets are fine-scaled in leaf, such as linden (Tilia cordata), hornbeam (Carpinus) or hazelnut (Corylus).
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Owing to the many modifications made to the gardens between the 17th and the 19th centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes. Period sources include: (Anonymous, 1685); (Dangeau, 1854-60); (Félibien, 1703); (Mercure Galant, 1686); (Monicart, 1720); (Piganiole de la Force, 1701); (Princess Palatine, 1981); (Saint-Simon, 1953-61); (Scudéry, 1669); (Sourches, 1882-93) Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi These two bosquets were first laid out in 1663. Located north and south of the east–west axis, these two bosquets were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain. In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain.
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Owing largely to the topology of the land, the English esthetic was abandoned and the gardens replanted in the French style. However, with an eye on economy, Louis XVI ordered the palissades – the labour-intensive clipped hedging that formed walls in the bosquets – to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed. The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon.
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Jacques Boyceau Jacques Boyceau, sieur de la BarauderieAccording to the inscription on his portrait engraved by Grégoire Huret , not "Baraudière" as is sometimes reported. (ca. 1560 - 1633) was a French garden designer, the superintendent of royal gardens under Louis XIII, whose posthumously produced Traité du iardinage selon les raisons de la nature et de l'art. Ensemble divers desseins de parterres, pelouzes, bosquets et autres ornements"Treaty of gardening according to the principles of nature and of art. Together with divers designs of parterres, greens, bosquets and other ornaments" was published in 1638.
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The guiding entrepreneur was Louis Dejean, the proprietor of the Cirque d'Été ("Summer Circus") erected annually in the bosquets that flanked the Champs-Élysées.The grand-daughter of Dejean, Alice (Berlin 1852 - Paris 1901) would marry Emmanuel Chabrier in 1873. Delage, Roger.
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In 1774, shortly after his ascension, Louis XVI ordered an extensive replanting of the bosquets of the gardens, since many of the century-old trees had died. Only a few changes to Le Nôtre's design were made: some bosquets were removed, others altered, including the Bains d'Apollon (north of the Parterre de Latone), which was redone after a design by Hubert Robert in anglo-chinois style (popular during the late 18th century), and the Labyrinthe (at the southern edge of the garden) was converted to the small Jardin de la Reine.Hoog 1996, p. 372; Verlet 1985, pp. 540–545.
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It is a Social Animals production in association with Notting Hill Films, directed by Alastair Siddons. This film was featured as an official Documentary Feature Spotlight selection at the 2013 Tribeca Film Festival, premiered at the SVA Theatre on West 23rd Street, on Saturday, April 20 and debuted on HBO in May 2013. In 2015, JR made the movie Les Bosquets inspired by the riots in the French suburbs in 2005 and featuring the performance of the ballet Les Bosquets of New York City Ballet (2014). The same year, he directed the short film titled Ellis, starring Robert De Niro.
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JR worked with the company's ballet master in chief Peter Martins to create a piece titled Les Bosquets based on his beginnings during the 2005 riots in the Parisian suburbs. For this project, the dancers became his paper and his works were transformed to the stage.
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Montfermeil () is a commune in the eastern suburbs of Paris, France. It is located from the center of Paris. Montfermeil is famous as the location of Thénardiers' inn in Les Misérables. It has made the headlines due to troubles in its social estate called "les Bosquets".
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Bosquet in the Promenade Saint-Antoine, Geneva Bosquets are traditionally paved with gravel, as the feature predates Budding's invention of the lawnmower, and since the maintenance of turf under trees is demanding (but see the modern bosquet at Amboise, right). The shade of paired bosquets flanking a parterre affords both relief from the sunny glare and the pleasure of surveying sunlit space from shade, another Achaemenid invention. Branicki Palace in Białystok, 1750s As they mature, the trees of the bosquet form an interlacing canopy overhead, and they are frequently limbed-up to reveal the pattern of identical trunks. Lower trunks may be given a lime wash to a selected height, which emphasizes the pattern.
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After a century of naturalistic landscape gardening and two generations of revived pattern planting some bosquets re-entered garden design at the turn of the twentieth century. The garden at Easton Lodge, Essex, designed by Harold Peto inherited what was now called a bosquet but was originally a seventeenth-century garden wilderness, the "curious" English variant of the bosquet: "This ornamental grove or thicket was planted with native tree species approximately 400 years ago and originally included a path network of concentric circles and radiating lines." (ref. Easton Lodge) Bosquets, unfamiliar in American gardens, but introduced in the Beaux-Arts gardens of Charles A. Platt, were planted along the Fifth Avenue front of the Metropolitan Museum in 1969-70.
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Formal bosquets seem to have been composed of mandrake, poppy, cornflower, and/or lotus and papyrus. Due to the arid climate of Egypt, tending gardens meant constant attention and depended on irrigation. Skilled gardeners were employed by temples and households of the wealthy. Duties included planting, weeding, watering by means of a shadoof, pruning of fruit trees, digging the ground, and harvesting the fruit.
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The bosquets of Versailles were examples of a matured tradition. They were preceded by simple squares of regularly planted bosquet alternating checkerboard fashion with open squares centering statues, outlined by linking allées in an illustration of an ideal grand garden plan in André Mollet's Le jardin de plaisir, 1651.Illustrated by Sten Karling, "The importance of André Mollet" fig. 20, in The French Formal Garden, Dumbarton Oaks, 1974.
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Larger bushes and trees were sculpted into conical or dome-like shapes, and trees were grouped in bosquets, or orderly clusters. Water was usually present in the form of long rectangular ponds, aligned with the terraces of the house, or circular ponds with fountains. The gardens usually included one more small pavilion, where visitors could take shelter from the sun or rain. Over time, the style evolved, and became more natural.
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In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets and parterres were expanded and new ones created. Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". (Nolhac 1901, 1925) The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill.
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As a member of the corps de ballet, she was an original cast member in JR's Les Bosquets. In 2018, in honor of Nelson Mandela's 100th birthday, Boisson was featured in Melika Dez and Jeremy McQueen's 100 FISTS, a photography series that featured black dancers in New York City. That same year, Boissons and other members of New York City Ballet modeled for Puma's Spring/Summer collection and their Do You campaign.
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After the abbey closed as a monastic community, the buildings were used successively as a military hospital, a cotton manufacture, a poor house, and a military school. During the First World War, the premises were occupied by German troops. In 1921, the League of Friends of La Cambre moved into the abbey to preserve it. The terraced garden and formal clipped bosquets were restored in the 18th-century manner starting in 1924.
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Though his father built a stylish house in Paris with a garden that looked onto the bosquets of the Champs-ÉlyséesIt was generally referred to as the Hôtel Champs-Élysées. (Desnoiresterres 1877:20). and kept a great table,"Grimod de la Reynière faisait la meilleure chère de tout Paris. 'Sa maison' dit Grimm 'est l'auberge le plus distingué des hommes de qualité'" (Desnoiresterres 1877:22); the chef de cuisine was Mérillon (idem, p 25).
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There he wrote the drama Juana y Juan. He was an active participant in the campaign for the liberation of Sacco y Vanzetti and Simón Radowitzky. He was a lecturer and activist in Argentina, Uruguay, Paraguay, Chile, Mexico, Cuba and Spain, a country to which he travelled during the Spanish Civil War of 1936. There he headed the magazine Teatro Social (Social Theatre) and, along with William Bosquets, founded the village Theatre Company.
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These intimate areas defined by clipped walls of shrubs and trees offered privacy and relief from the grand scale and public formality of the terraces and allées. Often a single path with a discreet curve or dogleg provided the only access. Inside the bosquet, privacy was assured; there virtuoso jeux d'eau and sculpture provided allegorical themes: there is a theatre in the Bosquet des Rocailles. The bosquets were altered often during the years Le Nôtre worked at Versailles.
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They decided to keep the main structures and to incorporate them into a postmodern landscape design. A series of gardens were planted within and around the ruins with the use of the traditional horticulture. Clipped hedges, knot gardens, parterres, bosquets and rose gardens had created a juxtaposition between this formal garden that is situated within a post-industrial site. Duisburg-Nord was a successful landscape garden because Latz had altered the relationship that humans had with the existing site.
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His wife, Queen Marie Antoinette, who preferred the Petit Trianon, gave a few theatrical representations in the galerie des Cotelle, a gallery with paintings by Jean l'Aîné Cotelle representing the bosquets of Versailles and Trianon.insecula.com During the French Revolution of 1789, the Grand Trianon was left to neglect. At the time of the First French Empire, Napoleon made it one of his residences, and he furnished it in the Empire Style. Napoleon lived at Trianon with his second wife, Marie Louise of Austria.
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Ly's parents are from Mali and he grew up in Montfermeil, a district of Bosquets. He started making films with his friends Kim Chapiron, Romain Gavras, and JR, in the collective Kourtrajmé. He directed his first films, notably for Oxmo Puccino, and his first documentaries, ' (365 days in Clichy-Montfermeil), filmed after the 2005 French riots; Go Fast Connexion; and 365 jours au Mali (365 days in Mali). In 2011, Ly was given a three year prison sentence for kidnapping and false imprisonment.
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Château viewed from the park The original park was created in the 17th century, and had an area of fifty hectares, 10 hectares in a landscape park and the rest called a "parc agricole," probably for raising fruits and vegetables. A few of the alignments of the early garden exist, and are carefully preserved.Veronique Moreau, pg. 8 In 1856 Antoine Luzarche commissioned the Buhler Brothers, landscape architects, to create a French landscape garden, with perspectives, alleys and bosquets of trees, covering an area of eighteen hectares.
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The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin. During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985). Perrault's description Labyrinthe - Bosquet de la Reine In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie.
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Another group of formal gardens is located on the north side of the water parterre. It includes two bosquets or groves: the grove of the Three Fountains, The Bosquet of the Arch of Triumph, and north of these, three major fountains, the Pyramid Fountain, Dragon Fountain, and the Neptune Fountain. The fountains in this area all have a maritime or aquatic theme; the Pyramid Fountain is decorated with Tritons, Sirens, dolphins and nymphs. The Dragon Fountain is one of the oldest at Versailles and has the highest jet of water, twenty-seven meters.
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Frequently found in French Baroque gardens are water gardens, cascades, grottos and statues. Further away from the country house, stately home, chateau or schloss the parterre transitions into the bosquets. Well known examples are the gardens at the Palace of Versailles in France and the Palace of Augustusburg at Brühl, near Cologne in Germany, which have achieved UNESCO World Heritage status. As fashions changed, many parterres de broderie of stately homes had to give way in the 19th century to English landscape gardens and have not been reinstated.
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Antoine-Joseph Dezallier d'Argenville (Paris, 1 July 1680 – 29 November 1765), avocat to the Parlement de Paris and secretary to the king, was a connoisseur of gardening who laid out two for himself and his family, before writing La théorie et la pratique du jardinage (published anonymously, 1709; second edition, 1713), based on his experience and his reading.Full title: La theorie et la pratique du jardinage. Ou l'on traite à fond des beaux jardins appellés communément les jardins de propreté, comme sont les parterres, les bosquets, les boulingrins, &c.; Contenant plusieurs plans et dispositions generales de jardins; nouveaux desseins…& autres ornemens servant à la décoration & embélissement des jardins.
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Its sixty engravings after Boyceau's designs make it one of the milestones in tracing the history of the Garden à la française (French formal garden). His nephew Jacques de Menours, who produced the volume, included an engraved frontispiece with the portrait of Boyceau. A few of the plates show formally planted bosquets, but the majority are of designs for parterres. The accompanying text asserts that some of these designs have been used at royal residences: the Palais du Luxembourg, where the two axes at right angles survive from Boyceau's original plan, the Jardin des Tuileries, the newly built château of Saint Germain-en-Laye, even at the simple château at Versailles.
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Steps lead from the Piazza del Popolo to the Pincio to the east. Valadier's masterstroke was in linking the piazza with the heights of the Pincio, the Pincian Hill of ancient Rome, which overlooked the space from the east. He swept away informally terraced gardens that belonged to the Augustinian monastery connected with Santa Maria del Popolo. In its place he created a carriage drive that doubled back upon itself and pedestrian steps leading up beside a waterfall to the Pincio park, where a balustraded lookout, supported by a triple-arched nymphaeum is backed by a wide gravelled opening set on axis with the piazza below; formally planted bosquets of trees flank the open space.
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This illegal project became official when the City of Paris put JR's photos up on buildings. At the beginning of his projects, JR wanted to bring art into the street: "In the street, we reach people who never go to museums."Excerpts from the article Déclic Urbain published in L'Express, November 17 – 23, 2005, n°2837 In 2005, JR began pasting photographs of individuals from Les Bosquets on the walls of Paris to rectify the unbalanced coverage and representation of the people in the epicentre of the French riots that year. In 2007, with Marco,Marc Berrebi called Marco contributed to the project Face 2 Face in the Middle East in collaboration with JR. Interview with Marco.
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The Portraits of a Generation project constitutes the first stage of the 28 mm project. After the first unauthorized exhibit on the walls of the Cité des Bosquets housing project, JR returned and set himself up of this housing project and the neighbouring one, the Cité de la Forestière, both in the epicenter of the 2005 riots in the French suburbs. The first portraits were rapidly exhibited on the walls of the last popular neighbourhoods of the capital, in the east of Paris. These photos provoked the passerby in as much as they questioned the social and media representation of a whole generation that for some is only to be seen relegated to the outskirts of the capital.
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André Mollet became royal gardener to Queen Christina in Stockholm. His lasting record is his handsomely-printed folio, Le Jardin de plaisir ("The Pleasure Garden") , Stockholm 1651, which he illustrated with meticulous copperplate engravings after his own designs, and which, with an eye to a European aristocratic clientele, he published in Swedish, French and German. In his designs the rich patterning of parterres, which had formerly been a garden feature of interest in isolation, was for the first time arranged in significant relation to the plan of the house. Mollet's designs coordinated the elements of scythed turf—making its debut here as an essential element of garden design—with gravel paths, basins and fountains, parterres, bosquets and allées.
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The French formal garden was created beginning in 1992 by a new owner, interior designer Jacques Garcia. It was inspired by sketches of the original garden, long vanished, which showed the placement of the great terrace, the broderies and bosquets, and the proportions of the squares of Apollo and Diana. These features were scrupulously reproduced, while the new features of the garden took their "measure and tone" from the model of the original.See the description of the garden on the site of the Committee of Parks and Gardens of the Ministry of Culture of France The garden is listed by the French Ministry of Culture as one of the Notable Gardens of France.
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The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees – the worst such damage in the history of Versailles. The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004. (Thompson, 2006) Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
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In 1749 Louis XV had created a "jardin d'instruction" next to the gardens of Versailles, with domestic animals, a kitchen garden, and a botanical garden of plants brought from around the world. In 1750, he added a pavilion, designed by Ange-Jacques Gabriel, with a formal garden and a few winding paths and bosquets of trees in the new style. A one time he intended the Petit Trianon as a residence for Madame de Pompadour, who took an interest in the design of the house and its gardens. At her death in 1764 the unfinished house passed into the sphere of his new mistress Madame du Barry, who did little with it being more interested in her new Pavilion at Château de Louveciennes.
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The gardens of Versailles Even during the lifetime of Louis XIV and his gardens of Versailles, the formal, symmetrical was criticized by writers La Fontaine, Madame de Sévigné, Fénelon and Saint-Simon for imposing tyranny over nature. In 1709, in his influential book on garden design, Dezallier d'Argenville called for garden designers to pay more attention to nature than to art. Signs of a new, more natural style were seen in the design of the bosquet des Sources at the Trianon, created by André Le Nôtre, and in the bosquets of the Château de Marly, created by Hardouin-Mansart. After the military defeats of France at the beginning of the 18th century and the freezing winter of 1709, the royal treasury was unable to finance upkeep of the elaborate gardens of Versailles.
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The first section considers the principles of siting the maison de plaisance relative to its gardens, techniques of laying out geometric figures in parterres, avenues and formal tree plantations (bosquets), and the planning of garden pavilions and the siting of sculpture, an essential element in the jardin français. The second part applies the principles in earth works, terraces and stairs, and the hydraulics necessary for constructing jeux d'eau: fountains, cascades, pools (bassins) and canals. His rational principles could adapt formal parterre gardening to the simplified programs available to the upper middle class,Previous books on gardening had presented only the grandest royal and aristocratic projects. which accounts for the immense popularity of his book, which is the central document in the 18th century formal garden in the wake of André Le Nôtre.
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Aside from the straight landward approach avenue, less commonly used then than now, the gardens at Villa Vizcaya are centered on two of the façades. One is the boat basin facing Biscayne Bay; its central island is in the form of a boat, railed by balustrades that are punctuated by obelisks, with central landing stairs shoreside and bayside, and bosquets of trees at bow and stern. The main extent of the gardens faces south, with a central axis that rises to a casino, and radiating side axes that offer glimpses of the lake beyond their ends. The main garden element, which had been purchased on one of Deering and Chalfin's trips before the villa was laid out, was the fountain from the main piazza of Bassano di Sutri, near Viterbo, which Deering and Chalfin were convinced was by Vignola.
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In 1716, it was sold to Marie Anne de Bourbon (1666-1739), dowager princess de Conti, the legitimised daughter of Louis XIV and Louise de la Vallière. On her death in 1739 it was sold to the king, by then Louis XV. In spite of the loss of the immediately surrounding woods in favor of parterres with the Seine as backdrop and bosquets punctuated by statuary, the hunting was good in the neighboring forest of Sénart, the king's original motivation for purchasing Choisy. The king enlarged the château from 1740 onwards, under the direction of Ange- Jacques Gabriel, premier architecte du Roi. He was able to use Choisy by 1741. The central block was doubled in depth in the modern way; a theatre was added and the stables were greatly enlarged; Mlle de Montpesier's belle orangerie was rebuilt and in its central salon Edmé Bouchardon's Love shaping his bow from the club of Hercules was installed in 1752.
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With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys. While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full- play all of the time (Thompson, 2006). While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis. In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the garden would signal each other with whistles upon the approach of the king indicating that their fountain needed to be turned on. Once the king passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on (Thompson, 2006).
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The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly. The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile. Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden. Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie- Antoinette, transpired in 1785 (Marie 1968, 1972, 1976, 1984; Perrault 1669; Thompson 2006; Verlet 1985). Bosquet de la Montagne d'Eau - Bosquet de l'Étoile Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau. The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile (Marie 1968, 1972, 1976, 1984; Thompson 2006; Verlet 1985).
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