The Imperial Theatre / PDF, 2.1 Mo

Cover : west elevation of the Louis XV wing, facing the Cour d’Honneur (main courtyard). Indication of the carpentry works. (Agency of Patrick Ponsot, ACMH, Chief architect in charge of Historic Monuments)
Château de Fontainebleau - Sheikh Khalifa bin Zayed Al Nahyan Theatre
The restoration of the Imperial theatre (1857)
Project progress report and perspectives - July 2012
Initiator of the restoration project :
His Highness Sheikh Khalifa bin Zayed Al Nahyan, an exceptional patron of the arts
As part of the agreement between the French and the United Arab Emirates governments carried out in conjunction with the agreement to
create the universal Louvre Abu Dhabi museum, a renewable budget of 5 million euros has been allocated by His Highness Sheikh Khalifa
bin Zayed Al Nahyan to finance the restoration of the Château de Fontainebleau’s Imperial Theatre. In recognition of this donation the French
Minister of Culture and Communication, Renaud Donnedieu de Vabres, decided on April 27, 2007, in the presence of His Highness Sheikh Sultan
bin Tahnoon Al Nahyan to rename the theatre after the patron of the arts who saved it from falling into ruin. Consequently, the lengthy and
detailed studies could be carried out to develop an ambitious programme of restoration and enhancement works.
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Contents
Initiator of the restoration project : His Highness Sheikh Khalifa bin Zayed Al Nahyan, an exceptional patron of the arts...................... 3
The Imperial theatre of Fontainebleau : a unique showcase of the decorative arts dating from the Second Empire . ............................ 5
Album of photographs . .......................................................................................................................................................... 6
Set of plans . ..................................................................................................................................................................... 32
Preliminary restoration studies
First phase............................................................................................................................................................... 38
Second phase........................................................................................................................................................... 41
Financial estimate and work scheduling................................................................................................................................... 42
Specific preliminary study of the theatre decors....................................................................................................................... 43
Preparation of the detailed work plan...................................................................................................................................... 43
Works on the interior design, the structural system and the technical installations........................................................................ 44
Structural system...................................................................................................................................................... 44
Technical installations................................................................................................................................................ 44
Restoration of the interior design................................................................................................................................. 45
Stage and sets.......................................................................................................................................................... 46
Fire safety................................................................................................................................................................ 48
Accessibility for persons with disabilities....................................................................................................................... 48
Works on the ornamentation and furnishings........................................................................................................................... 49
The objectives of the projects : a comprehensive programme.......................................................................................... 49
Related works : moving towards coordinated and complementary actions .................................................................................. 51
From project studies to the launch of the first phase of the works............................................................................................... 52
Breakdown of projected expenditure and the current financial review ......................................................................................... 54
The continuation of the theatre restoration after 2014 . ............................................................................................................ 55
The imperial theatre after the restoration : a unique place, open to the public.............................................................................. 56
Communicating knowledge ........................................................................................................................................ 56
Reaching a broader public........................................................................................................................................... 56
Breathing new life into the theatre............................................................................................................................... 57
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The Imperial theatre of Fontainebleau :
a unique showcase of the decorative arts dating from the Second Empire
At the behest of Napoleon III, the theatre was designed by the architect Hector Lefuel and built between 1853 and 1856 in order to replace
the old Comédie theatre, built in the 18th century in the Belle Cheminée wing and no longer suitable as it was too small, had no modern
conveniences and was inadequate for hosting the numerous guests invited by the imperial couple during their stays when in residence at
Fontainebleau.
The natural choice for the new theatre was an unfinished part of the château, the western half of the « aile neuve des Princes », (new Princes’
wing) today known as the Louis XV wing that borders on the Cour du Cheval Blanc (White Horse Courtyard), the wing that replaced the Ulysses
gallery of François 1er in the 18th century. Restricted by the layout of the facades and the attic area Lefuel managed nevertheless brilliantly and
with much ingenuity to build a modern space with seating for 400 including all the associated facilities: foyer, passageways, staircases, rooms,
stage and other backstage areas assigned to actors, musicians and stagehands.
Making optimum use of the building’s layout, Napoleon III’s official architect built an elongated space in the form of an ellipse. It consists of four
distinct levels, which in a way correspond to the social hierarchy imposed at the time : the parterre (stalls, lower flat area), the first dress circle
including the imperial box, the upper second dress circle and finally boxes with protective bars on the last level.
This theatre is directly inspired by Marie Antoinette’s small theatre at Versailles, no doubt to satisfy Empress Eugénie who greatly admired her.
This charming court theatre was inaugurated in May 1857 during the visit of the Grand Duke Constantine of Russia, who was Tsar Alexander
II’s brother. The combination of silk upholsteries, floral carpets and hand-painted or gilded gesso ornaments provide a soft and shimmery
atmosphere.
The room has remained in a remarkable condition since it was not often used. From the time it was built during the reign of Napoleon III only
about fifteen performances were held. Another interesting aspect is the stage layout that has remained unchanged and has not suffered from
any modernisation attempts. A lot of the equipment that has been kept could prove to be even older and possibly salvaged from the old Comédie
theatre that was destroyed by fire in 1856 but whose decors and stage scenery had already been taken down. Closed to the public since a long
while and having fallen into disuse, isolated from the rest of the château, the Imperial theatre will at last, thanks to this significant restoration
campaign, be rescued from oblivion.
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Album of photographs : Gilles Coulon/ Tendance Floue/Oppic. October 2008 – March 2009
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 The
gallery and the imperial hall
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p8
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The Imperial salon
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p11
The auditorium
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p13
p14
p15
p16
p17
p18
p19
p20
p21
p22
p23
p24
p25
p26
p27
p28
p29
p30
The stage and the painted decorations
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The circulation spaces and the salons
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Stage equipment
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Set of plans : Agency of Patrick Ponsot, ACMH, Chief architect in charge of Historic Monuments
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Plan of the masonry and framing modifications – Ground Floor
New masonry element to be built
Flooring to be removed for modifications (see details)
Wall to be destroyed and rebuilt (foundations made good)
Masonry to be demolished
Drill opening through timber frame
Fit fireproof panel including trapdoor
Pit door to be retained
Beam and flooring to be removed and retained for reuse
as foundations to be made good (replaced after restoration)
Staircase to be constructed
Removal and demolition of tiled floor to make way for
heating ducts (see drawing p.37)
Wall to be restored
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Plan of the masonry and framing modifications – 1st floor
Fit fireproof panel including trapdoor
New masonry element to be built
Remove flooring to reinforce floor joists
Floor opening and opening to be made
Staircase to be constructed
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Plan of the masonry and framing modifications – 2nd floor
Fit fireproof panel including trapdoor
Remove flooring to reinforce floor joists
New masonry element to be built
Drill opening for door
Floor opening and opening to be made
Staircase to be constructed
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AHU room in attic space – 3rd floor
AHU (Air Handling Unit) room to be built
Flooring structure to support the AHU
Metal beam (HEA 360) to support floor structure
Pillar
Existing structure to be protected
Fastening of side angle bar (180 x120)
RC wall tie doweled to the cornice
Ground drainage of AHU room
Construction of masonry flue and electrical control cabinet flue
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Schematic diagram of the location of the heating ducts – Cross section of the auditorium and the stage
Air intake
Return air duct
Air outlet duct
Air outlet vent
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Preliminary restoration studies
First phase
In order to ensure that the essential studies would be carried out properly the Château de Fontainebleau management seeked the support
of the Ministry of Culture and Communication. An agreement signed on September 3, 2007 between the French Museums Administrations
Management (Direction des Musées de France) also known as DMF and the Directorate of Architecture and Heritage (Direction de l’Architecture
et du Patrimoine, DAPA) appointed a public establishment body : the contracting authority for cultural works (l’Etablissement public de maîtrise
d’ouvrage des travaux culturels, Emoc)1 authorised to carry out the studies with a budget of 200 000 euros deducted from the fund 2.
Generally speaking the studies are an essential and decisive step before the start of any restoration works. The main objectives are to :
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recreate the origins of the work and retrace the history of its restorations,
draw up a detailed inventory,
carry out research and surveys in order to identify the materials used, the type of construction and their state of conservation,
make recommendations (outline the development plans for the conservation, restoration, consolidation and enhancement works),
estimate the cost of the restoration works,
draw up a schedule and if necessary outline the different phases required.
For the likes of such an operation a scientific committee made up of distinguished personalities (curators, art historians, restorers, historic
building inspectors, and the Château management) was formed at the end of the year 2007, with the following objectives :
• follow the progress of the studies regularly,
• advise and inform decision makers concerning the proposals and the restoration choices proposed following the study and concerning
the rules of conduct as well as aesthetics.
The Fontainebleau Château is listed as a historic monument and in accordance with French legislation concerning cultural heritage protection,
the Chief Architect for Historic Monuments (l’architecte en chef des monuments historiques ACMH) in charge of the state-owned Fontainebleau
estate, was entrusted with the main study and assisted by the museum curators. Being a particularly complex study that covers a wide range
of subjects, a multidisciplinary team has been formed around the ACMH, including not only engineering consultants but also highly skilled
specialists on specific subjects (textiles and draperies, painting, gilding, gesso, bronze sculptures etc…).
These specialists were consulted at the beginning of 2008 thus permitting the studies to begin in September 2008.
1. The Emoc is responsible for conducting the cultural restoration works for the Ministry of Culture and Communication and also for public institutions. Since July 22, 2010 the EMOC became the OPPIC (Cultural
heritage operator for cultural heritage and building projects)
2. This agreement contains an endorsement dated September 25, 2008 bringing the budget up to 300 000 euros
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View of the auditorium from the Imperial box and looking towards the stage, c.1865 (château de Fontainebleau)
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The team led and coordinated by Jacques Moulin, the chief architect of the historic monuments included the following specialists :
Field and area of expertise
Graphic surveys
Lead, asbestos and termite testing
Masonry and carpentry and joinery (woodwork) surveys
Floor resistance testing
Geotechnical study
Acoustics study
A study of existing technical installations
Historic lighting study
Painted decorations and relief study
Wallpaper study
Decorative textiles study
Scenography study
Final inspection (Quality control)
Designated representative
Art Graphique & Patrimoine
A-Diag
Aubert-Labansat/SNBR
Xylomeca
Fondasol
Daniel Commins
IECP Ingenierie
Nicolas Personne
Arcoa
Hélène Charbey
Michel Chauveau, Isabelle Bedat, Sébastien Ragueneau
Thierry Guignard
BTP Consultants
All these essential studies were carried out in 2008 and in April 2009 the complete report was handed in to the management of the Château
de Fontainebleau.
The major difficulty of these studies was inherent to the objectives assigned to the project manager. In fact, in addition to the restoration/
conservation of the actual decor, it would have to be taken into account that the space was also meant to be used for various events (concerts,
theatre performances, seminars and conferences) that would lead to major irreversible changes. A debate among the scientific committee
pointed out the dangers that would be caused by such actions especially with regards to the stage, as the old installations would be removed
to make way for the new stage equipment in order to meet current needs in the field. The study as such, could therefore not be approved by
the competent authorities.
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Second phase
Due to the nominations in September 2009 of Jean-François Hebert as president of the Public Administrative Institution of the Château de
Fontainebleau and Patrick Ponsot as chief architect of the historic monuments in charge of the château, the programme and the overall
restoration plan were largely amended.
The most important decision that was made was to keep the original stage fittings and decor as they were, without any new additions. When
the theatre reopens it may stage performances but only exceptionally and in all cases will conform to the existing layout. On the other hand
the auditorium and the stage will become more largely integrated in the visitors’ tours with the possibility of discovering them in the Second
Empire tour already available to visitors or during special themed visits that will include the stage sets whose authenticity is an exceptional
asset to Fontainebleau.
With a view to pursue and finish the studies that began in 2007, it has been decided that the chief architect of the historic monuments will be
entrusted with an additional assignment based on the new guidelines provided by the Public institution.
As for the first phase, the EMOC was entrusted with the administrative and financial follow up of this new phase and signed an additional
agreement3.
Placed under the responsibility of Patrick Ponsot the studies carried out in 2010 led to the validation of the diagnostics and the restoration/
conservation recommendations for the interior design. The modern scenic equipment that had originally been proposed was discarded from
the work programme in favour of the original arrangements, some of which turned out to be even older readaptations. The access for disabled
persons was entirely reviewed in order to induce the minimum alterations possible to the works but all the while respecting regulatory
requirements. Likewise, the fire safety regulations were taken into account but in such a way as to conform to the heritage restrictions of the
site allowing for some exemptions due to the fact that it is a listed building and by proposing in exchange, better suited compensations. In
the new version, the technical installations for the heating and ventilation are dimensioned to guarantee maximum flexibility for use in the
theatre but also to ensure maximum protection of the decors that are highly sensitive to climatic variations. A lighting case study, carried out
by a specialist (Gérard Foucault from the COSIL agency) completes this second phase discerningly by proposing on the one hand the selection
of the appropriate lighting sources available for the electrification of the antique light fixtures and also enhancing occasional support lighting.
3. An agreement for complementary prerequisite studies relative to the restoration of the Sheikh Khalifa bin Zayed Al Nahyan Theatre, signed March 29, 2010 between the EMOC and the Public Administrative
Institution of the Château de Fontainebleau for an amount of 50 000 euros
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Financial estimate and work scheduling
The preliminary studies made it possible to estimate the cost of the works precisely at 6.5 million euros excluding taxes, i.e. total cost of the
operation inclusive of all expenses is 9.6 million euros 4.
Given that an amount of 5 million euros was allocated for the start of the operation it was necessary to divide the works into three phases :
• first phase : restoration of the auditorium and some of the surrounding spaces (foyer and imperial salons, circulation space including staircases),
• second phase : completion of the restoration of the surrounding spaces,
• third phase : restoration of the stage and the scenic equipment.
The breakdown of the amount is as follows :
First phase
Second phase
Third phase
TOTAL
Cost of the works (excl. taxes)
2 945 000
2 210 000
1 380 000
6 535 000
Cost of operation (all incl.)
4 537 000
3 120 000
1 900 000
9 557 000
Work can only commence on the first phase as we await the second instalment of the sponsorship. Nevertheless the operational framework has
been designed in such a way that the following phases may commence at any moment, without having to wait for the first to be completed.
Consequently, the same companies will work through the whole project and continue working from one phase to the next.
4. This calculation includes the project manager fees, assistance to the contracting authority (quality control, coordinator for security and health protection, project steering) various contracting fees (reprography,
publications, insurances etc…), unexpected incidents and unforeseeable circumstances, price revisions and added value tax. Amount updated in January 2012.
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Specific preliminary study of the theatre decors
The Public Administrative Institution of the Château de Fontainebleau also requested a concurrent study of the theatre decors that have been
stored on stage for one hundred and fifty years. No inventory had ever been made but they are in excellent condition and they are a valuable
heritage example of 18th and 19th century theatre history. In fact, very few theatre decors have remained intact up until now due to fires and
also by being voluntarily destroyed because they were no longer up to date.
Château curators and specialists in historic theatres carried out the inventory. To this end, an agreement was passed between the Château de
Fontainebleau and the Château de Versailles and the latter agreed to assign a team of stagehands to carefully handle and lift out the scenery
backdrops (sets), placed under the responsibility of Jean-Paul Gousset, technical director of the Royal Opera of Versailles 5. All the sets were
methodically catalogued, listed in an inventory, dusted off and photographed. As a result of this thorough operation 8 almost completed paintings
were rediscovered and placed in their context, for example : la Forêt, Palais mauresque (already brought out in 2007), Palais gothique, Salon
riche, la Maison rustique… These decors come from very diverse sources 6. Some of them may have been transferred from the old Comédie,
but the majority come from the halls of Château d’Eu, the private residence of the French king, Louis-Philippe. It was even possible to identify
some decor panels that had been originally created for Queen Marie Antoinette’s petit théâtre (small theatre) at Versailles.
Due to their fragility and large dimensions, these decors will remain in place and will only be brought up on stage and presented to the public
for special occasions.
Preparation of the detailed work plan
The work plan is an ambitious one as it concerns the structural system, the interior design, ornamentation, furnishings and all the technical
installations required to ensure the preservation as well as the maintenance of the site. It is therefore necessary to distinguish on the one hand
the works carried out on the interior design and the structure, which fall under the responsibility of the chief architect of the historic buildings
and on the other hand the works on the ornamentation and furnishings which is under the responsibility of the Château curators.
5. Partnership agreement between the EPV and the EPCF for the scientific and technical inventories of the decors and the scenic equipment, signed on May 21, 2010 for an amount of 74 000 euros.
6. To date 250 items are recorded on the inventory.
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Works on the interior design, the structural system and the technical installations
Structural system
Top priority is given to the consolidation of the structural system itself and especially the cross walls that have many cracks mostly caused
by the renovations carried out by the architect Hector Lefuel when the theatre was built in the Louis XV wing. The planned repairs consist in
bonding the cross walls to the facades as well as injecting grouting and inserting anchor rods to restore the structural integrity of the masonry.
On the other hand, the information available concerning the ground quality, the hydrogeological functioning and the type of foundation footings
has led to further investigations and will form part of a specific operation.
Major ground remediation works will be carried out on the ground floor to eradicate crawl space moisture. The salt-polluted ground will be
removed and the flooring will be completely renovated and placed on a limestone aggregate bedding. Drainage will be carried out beforehand.
Major interventions are planned for the old wooden floors made of timber boards and reinforced with metal inserts. Restoration works will include
prior remedial and/or preventive treatment against mould and insects, the replacement of sections that are too damaged or contaminated, as
well as the strengthening of the master planks in view of improving their weight support capacity.
Technical installations
For the technical installations, two types of interventions are planned: those connected to usage and those connected to conservation.
The first category consists of :
• the water facilities (drinking water and fire-fighting water) and waste-water services that need to be replaced or installed
as per the theatre’s needs ;
• electric supply, both low and high voltage (normal lighting and safety emergency lighting, fire detection and security lighting).
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Three types of lighting are planned :
• in the auditorium, the original light fittings, restored by the Château’s workshop will be fitted: a large chandelier and wall sconces in
the first gallery ; special modern lighting will be added on the ramp to light up the stage curtain (kept closed under normal use) ;
• lanterns from the château storerooms will be restored and fitted insofar as possible on the staircases and circulation areas ;
• the last type of lighting is for security : it concerns the illuminated markings for the emergency exits and the safety regulated
lighting. The château’s emergency bulkheads will be used for this type of lighting. The security lighting for the auditorium will
be installed in the second gallery (no public access).
The installation of an Air Handling Unit (AHU) will form part of the second category intervention. Due to the fragile quality of the decors (sets)
it is necessary to improve the conservation conditions by maintaining an ad hoc conservation temperature. The contracting authority would like
the technical installations to be correctly adapted, for and when the auditorium is used for performances, irrespective of the season. These large
units can only be installed in the attic space, as this is the only area sufficiently large to accommodate them. In this regard a special structure
will be set up independently of the building’s structure to support the air handling unit as well as its fireproof partition. The planned new air
intake and discharge vents will integrate the use of existing skylights and chimneys. The existing hot air vents will be largely reused by means
of the existing heat-conveying ducts whereas new ones will be added to ensure optimal distribution of the air supply.
Insulation in the attic space will be placed between the sloping rafters and will be concealed by a plastered sloping rafter.
Restoration of the interior design
The work consists above all in a process of heritage restoration that preserves not only the substrates but also the surfaces that are in
exceptionally good condition. There will be some exceptions to the rule such as replacing certain elements that have irreparably fallen into
disrepair and also reinstating certain elements that have been taken away or removed to access defective structural elements and lastly changes
due to obligatory regulations. In these particular cases, renewal or replacements with like-for-like materials whenever possible is planned.
As use of the theatre for performances will be occasional, essential regulatory equipment will be removable (the balustrade of the first balcony).
When it comes to the actual restoration, the conservation status reports and plans will serve as a basis to decide the type of renovation works
that need to be carried out in accordance with the type of decor that needs restoring. (The white ceiling in the corridors does not need to be
treated with the same care as the marouflage canvas in the Imperial Salon). For the decors (sets), the recommendations by the restorers who
carried out the initial studies validated by the general inspection of the historic monuments will be followed. All the painted decorations on the
walls, ceilings and in relief will be handled with the greatest care, ensuring that the finishes are protected whether it is the gilding, straight
painting or decorative painting. Restoration of the large marouflage canvas painting in the salon will be done in situ, as removing it will not be
required.
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Stage and sets
Studies showed the outstanding historic interest of the sets that have remained intact since they were built, due to the closing of the theatre
after the fall of the Second Empire. Contrary to theatres that are in constant use and need to adapt to new technical requirements at all times
relating to staging and lighting, its closure saved it from inevitable disfigurement and alterations. It has become, over the centuries a true
genuine example of conservation and should therefore be maintained and restored as such.
Heritage restoration of the sets requires that they be cleaned up: the trap room and the stage will be raised and dismantled and then treated
in a workshop. This is a difficult task but the only way to « upgrade » the stage, and the smooth functioning of the carriages (arbours) and
trapdoors. All the mobile equipment and controls (control booth) will be restored: trapdoors, arbours, footlights, prompter’s box, the chandelier
counterweight, the various controls, the bell springs and transmitters.
In order to be able to use the old scenic backdrops (sets), certain modern amenities have to be set up so that they conform to current
legislation. Direct access to the stage from the exterior will be possible by means of a removable « boarding ladder », installed to the right of
the existing door. A small emergency staircase will be built at ceiling level of the control room that had been previously built to the detriment
of the trap room (window opening will be inversed, external removable steps will be used in performance mode).
A door will be built in the partition separating the dressing rooms from the stage area and provide access to the first « service areas » on the
second floor. Stairs will be built to reach the « second service areas » from the first.
The existing spaces between the floor and the front walls that house the fly system will be covered with removable trap doors. This is the
preferred solution of the future operator as opposed to a balustrade. The fly system area will be left clear of any new installations, thus
preserving the authenticity of the space.
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The Gothic Palace decor. 18th-19th Century
The Gothic Palace decor. 18th-19th Century
The Sumptuous Salon decor. 18th-19th Century
The Forest decor. 18th-19th Century
Photography by Jean-Marc Manaï - Château de Fontainebleau
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Fire safety
Thanks to the intervention, at a very early stage of the study, of a group of experts in fire prevention and fire safety from the Heritage Directorate
of the Ministry of Culture, the conservation of the decors in situ, on stage was fought for and gained acceptance from the Departmental
Commission for Fire Safety. In fact, due to their size and historic value, it was impossible to remove the sets and store them elsewhere in the
Château. As they form an integral part of the theatre much in the same way as the furniture and the ornamentation, the commission declared
its support to maintain them in place but subject to additional measures being taken to avoid all fire risks.
In line with their recommendations, numerous propositions were put forward to improve the fire security conditions. It was however impossible
to fully comply with current regulations at the risk of altering and defacing the decors and the interiors. Dispensations including compensatory
measures were requested from the competent authorities and all were granted upon examination by the Departmental Commission for Fire
Safety. In practical terms security improvements include installing emergency lighting, exit paths markings, escape path lighting, signposted
passageways, automatic fire detectors extended to all areas, integrating a smoke evacuation system for the auditorium and the stage and
connected to the detector, insulating certain areas, enclosure and smoke evacuation of the stairwells and finally bringing electrical installations
up to standard.
Moreover, the security commission has imposed an increase in human resources during performances (presence of firemen) to compensate for
the absence of particular specifications that could not be integrated.
Accessibility for persons with disabilities
Disabled access for all types of disabilities is now compulsory in public establishments. Improvements must be carried out taking into account
current regulations and heritage site constraints in the same way as for the fire safety measures. Considering that the building is listed as a
historic monument, exemptions were granted in view of the proposed compensatory measures.
Wheelchair access has been limited to the ground floor of the theatre. For performances, five wheelchairs may be accommodated in the first
row of the stalls. A ramp will provide independent access from the outside. Access to the upper floors is facilitated by means of a ramp added
against the wall in the main staircase and also significant improvement to lighting.
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Works on the ornamentation and furnishings
Started in 1854, construction of the theatre progressed very rapidly. It was decorated and furnished the same year as indicated in the palace
inventory dated 1855. Consisting mainly of seats for the audience, the furnishings include several types adapted to each space, namely bench
seats and stools for the stalls, armchairs in the Imperial box for the Emperor, Empress and guests of the same rank and several groupings of
seats arranged in order of guest hierarchy. The first and second galleries are furnished with identical Louis XVI style upholstered chairs with
seats and armrests covered in yellow damask.
The boxes with protective bars on the third floor are furnished with chairs dating from the Restoration period and come from the suppliers to
the Royal Family. The salons are furnished with upholstered seats, such as sofas and chairs identical to those found in the Imperial household.
The passageways on the second and third floors as well as the main salon on the latter level, have seats dating from the Restoration or the
July Monarch periods.
In relation to the stage, the orchestra pit as well as the areas reserved for the musicians and actors, such as foyers and dressing rooms still
contain the furnishings dating from the Second Empire. All the furnishings and decor of the auditorium are preserved in their original state.
The objectives of the project : a comprehensive programme
In order to offer visitors the possibility to discover a harmonious and authentic whole, the planned intervention includes a complete conservation
campaign coupled with a restoration worksite project involving the decor and the antique furnishings, as well as the renewal of damaged
elements, in accordance with the inventories of the Second Empire and other archived documents.
Skilled professionals are needed to carry out the work on the ornamentation and fittings (carpets, wall hangings, wallpaper) and for the
furnishings (carpentry and joinery, upholstery, gilded bronze objects).
The purpose of the operation is to deliver a theatre that has been emptied of its furnishings and has been “stripped“ of certain decors so that
the architect in chief of the Historic Monuments, who will be overseeing the project, is able to intervene in relation to the fabric of the building.
Fittings that cannot be removed will be protected during the works.
Even though the project is divided into two phases, the works correspond to a comprehensive global approach including the furnishings and the
theatre decors. It is similar to a preventive conservation project and requires fitting out a storage area for the duration of the works carried out
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by the chief architect of the historic monuments. A specially outfitted platform of 400 m2 built in the attic space of the Belle cheminée wing will
be able to house all the various items of furniture and it will be possible to treat them almost entirely against insect infestations. In addition
to the advantage of keeping the collections in the château itself, the installation of a workshop on site offers several advantages, the first ones
being the limitation of transportation of the items between the various craft workshops, creating a means of interdisciplinary work to restore
the furniture and the possibility for the project manager to permanently follow the work in progress.
The workshop must be fitted with all the necessary equipment for dusting off the items, cleaning and fixing the colours (polychromy) and the
wood gilding, as well as mending the antique textiles of the chairs.
Furnishings that cannot be removed from the theatre, such as the bench seats in the stalls will be treated in situ: they will be re-upholstered
on the stage platform, temporarily converted into an upholsterer’s workshop.
Once the major part of the structural work is done and the cleaning of the painted decorations has been completed, the textile specialists will
take over to dust off and mend the yellow damask draperies. At the end of each phase, the antique carpets that have been cleaned and mended
including rewoven portions will be laid on the parquet floors of the theatre. They will be protected by runners in high-traffic areas.
The conditional phase includes similar type of works on the furnishings and carpeting of the adjoining rooms. However, the condition of the
items and the decors as well as the problematics of specific materials makes it necessary to proceed earlier with the interventions. The large
gilded bronze chandelier in the auditorium, whose structure will be preserved, will have to be restored, and that includes restoring all the cut
crystal parts.
In the small oval salons the draperies and the seats need to be replaced, as do the antique curtains that disappeared, ornamental trimmings
made out of silk must also be made. All this means that a significant amount of silk fabric will have to be produced.
The wallpaper that covers the partitions in the salons and the central box on the top floor also need restoring.
The restoration which is not only indispensable for public presentation but also for the preservation of the works and the decor, will be
accompanied by conservation measures to ensure its long-term benefits: all the seats will have removable protective covers and the bays will
be fitted with translucent fabric for the north and south circulation around the auditorium and opaque ones around the stage.
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Related works : moving towards coordinated and complementary actions
Starting this summer 2012, the Louis XV wing, where the Imperial Theatre can be found, will witness intense activity as several works will
take place at the same time: the interior restoration, ground and foundations consolidation, remediation of the immediate surroundings as
well as the renovation of the roofing. In total the public institution of the Fontainebleau Château will invest 3 million euros of its own budget
between 2012 and 2014. This underlines the importance given to the rehabilitation of this part of the Château that is currently in bad condition,
by acting in a concerted and coherent manner in relation to the significant sponsorship received for the theatre. This proactive policy will
thereby guarantee the preservation of this important historic work as a whole. It is certain that the joint actions required an enormous amount
of preparation beforehand not only to obtain the funds but also for the studies that needed to be carried out. It was necessary to act on all
fronts and handle three different operations at the same time (interior decoration, structural and external works) that are nevertheless closely
connected. However as a consequence, this quest for optimised performance led to a perceptible delay in producing the case studies concerning
the Imperial Theatre project. This delay should however be caught up as deadlines to end the works will be reduced, thanks to resource sharing
for the site installations and certain interventions.
West elevation of the Louis XV wing, facing the Cour d’Honneur (main courtyard). Indication of the carpentry works. (Agency of Patrick Ponsot, ACMH, Chief architect
in charge of Historic Monuments)
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From project studies to the launch of the first phase of the works
All the in-depth studies officially handed in, in December 2010 were subject to approval by the General Inspection of the Historic Monuments
(IGMH) as part of the scientific and technical control carried out by the services of the Ministry of Culture and Communications. In the notice
dated May 9, 2011, the IGMH approved the work programme proposal, which allowed the go-ahead of the project studies, last step before
consulting the companies. These studies, more detailed and more technical in particular compared to the diagnostic studies will be of use to
companies when they prepare their financial propositions for the calls to tender.
In line with the provisional schedule of operations, the project managers submitted the project studies constituting the tender documents
for companies, in February 2012. The relatively long delay in producing these documents is due not only to the complexity of the technical
instructions but also to the ongoing interaction that will continue between this project and the other operations planned for the Louis XV wing.
The restoration-conservation of the theatre will be placed under the dual direction of two project managers :
• Patrick Ponsot, Chief Architect of Historic Monuments, for the interior design and structural works,
• Vincent Cochet, Cultural Heritage Curator, representing the museum conservation, for the ornamentation and furnishings.
The contracting authority7 will be assisted by various external partners that have already been selected :
• a technical supervisor, to oversee the safety of the workers and the works (Qualiconsult Sécurité),
• a coordinator for health safety and protection (BECS),
• a manager to handle coordination and scheduling on the worksite (CORBICE).
7. The Oppic received a contracting authority delegation for the operation by the Public administrative institution of Château de Fontainebleau following a mandate agreement signed December 27, 2010
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About twenty different trades will be necessary to complete the works successfully, a certain number are highly skilled craftspeople (gilders, art
restorers, decorators, upholsterers, specialist silk and wallpaper restorers…). They are :
For the architectural and technical work packages :
Lot AT-1 : Worksite installations – Safety installations - Scaffolding
Lot AT-2 : Masonry/Cut stone/Civil engineering/Sanitation (remediation)
Lot AT-3 : Asbestos removal
Lot AT-4 : Plaster works
Lot AT-5 : Roof structures in timber and steel
Lot AT-6 : Woodwork (carpentry)
Lot AT-7 : Metalwork
Lot AT-8 : Painted decorations
Lot AT-9 : Painting
Lot AT-10 : Electricity (high and low voltage)
Lot AT-11 : Restoration of antique light fittings
Lot AT-12 : Heating/Ventilation/ Plumbing
Lot AT-13 : Roofing
For the ornamentation and furnishings packages :
Lot DM-1 : Handling and Transport
Lot DM-2 : Treatment against insects
Lot DM-3 : Removal, protection and carpet cleaning
Lot DM-4 : Supply and the laying of carpets
Lot DM-5 : Seat upholstery
Lot DM-6 : Carpentry and colour restoration (polychromy) and gilding
Lot DM-7 : Textile conservation – restoration
Lot DM-8 : Restoration of bronze objects
Lot DM-9 : Wallpaper restoration
With reference to the general public procurement code (code des marchés publics), consultation of companies (invitation to tender) was a twostep process. First of all and after a call for tenders had been published in official newspapers and specialised magazines for the construction
and public works, the bidding companies and artisans were selected based on their skills, their qualifications and their aptitude for working
on heritage sites. Candidates who corresponded best to the needs of the contracting authority and the architects were selected and invited to
submit their offers as well as their technical brief after they had received the tender document. Once the offers had been evaluated, taking into
account the different criteria stipulated in the statement of requirements, the best offer, i.e. the best offer for each trade was officially selected.
The invitation to tender has been successful: more than 80 applicants (companies, artisans and artists) were selected and around 30 submitted
their offers. Now that the offers have been evaluated and the bidders officially notified of the contract awards, the works can commence in
September 2012 and be finished in January 2014, as scheduled.
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Breakdown of projected expenditure and the current financial review
At the end of several years of in-depth studies and just before the launch of the first phase of works, it is possible to present a first financial
report. The costs incurred to date amount to 700 000 euros including taxes, i.e. 14% of the budget allocated for the first phase of the works.
The first graph, seen hereunder illustrates the breakdown of the projected expenditure of this first phase, i.e. 5 million euros inclusive of all
expenses. It may be noted that the studies and preliminary investigations represent 10% of the overall budget, as do the fees corresponding to
the project management (including drawing up technical reports and the follow up on the work undertaken in the first phase). Additional tasks,
contracting fees, unexpected incidents, unforeseen circumstances and revisions make up 11% of the budget.
Breakdown of expenses
for the first phase of the works :
6%
2%
2%
10%
3%
8%
69%
KEY
Preliminary studies
Additional studies and investigations
Inventory of set decors, urgent cleaning and consolidation works
Project management assignment (only for firm phase)
Specialist assignments: Steering, scheduling, coordinating, technical supervision and health safety
and protection (only for firm phase)
Contracting fees, unexpected incidents, unforeseen circumstances and budget revisions
Works for the firm phase
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The following diagram illustrates the provisional progress of expenses during the first phase :
Timetable of estimated expenses for the first phase
(reminder of the budget agreement OPPIC /EPC F: 4.5 million euros)
800000
700000
600000
500000
400000
300000
200000
100000
0
Total
2011
Q1
2012
Q2
2012
Q3
2012
Q4
2012
Q1
2013
Q2
2013
Q3
2013
Q4
2013
Q1
2014
The continuation of the theatre restoration after 2014
Thanks to the generosity of His Highness Sheikh Khalifa bin Zayed Al Nahyan, the restored theatre will at last be unveiled in January 2014. The
public will discover the theatre like it was when Emperor Napoleon III and Empress Eugenie inaugurated it in 1857.
At this stage the curtain cannot go up just yet, although the first steps have been taken in this direction. In fact, significant efforts need to be
made concerning the surrounding areas on the second level as well as the stage and the stage equipment, as they contain both precious and
remarkable elements.
The additional payment envisaged under the Louvre-Abu Dhabi agreement will enable the completion of this project by launching the two
following phases estimated at 5 million euros, all expenses included. All the premises could then be opened to the public at the end of 2015.
All these combined efforts will enable this distinguished but unknown part of the Château to regain its noble and beautiful appearance such as
it was when it opened a little more than 150 years ago.
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The Imperial theatre after the restoration : a unique place, open to the public
Once the restoration of the Sheikh Khalifa bin Zayed Al Nahyan theatre has been completed, it will play a major role in the cultural activities of
the Château de Fontainebleau.
The programme is based on three main lines of work :
1. communicating knowledge,
2. reaching a broader public,
3. breathing new life into the theatre.
Communicating knowledge
Unjustly forgotten, this charming place deserves to be once again in the limelight. We will carry out several joint actions to make it better known
to the public.
• through TV programs and press articles during the restoration works. Sharing this unique adventure may also be possible by visiting
the works sites ;
• after the works are completed, thanks to the publication of a reference document, emphasising not only the history and origin but also
the restoration of this showpiece. We have already contacted the publisher Nicolas Chaudin, as it promises to be a long-term process ;
• it would also be very interesting to organise an exhibition after the restoration that would be devoted to the works and
craftsmanship, as people are certainly very fascinated by restorations and the enhancement of the national heritage.
Reaching a broader public
Out of the reach of the general public for decades, once it is restored the theatre will become one of the highlights of a visit to the Château de
Fontainebleau. Visitors will discover one of the rare examples in France of a perfectly preserved court theatre dating from the Second Empire.
The objective in time is to propose two types of visits : a « short » tour, included in the Second Empire tour and a « long » tour aimed at visitors
who want see « more and better ». Of course, due to the fragile nature of the decors, the long tour will only be allowed with a guide-lecturer. As
for the short tour they can visit on their own but they will only get a « glimpse » of the theatre from the Imperial Box.
Owing to the forthcoming opening of the Imperial theatre and Napoleon III’s study, the public institution is currently reviewing its offer of cultural
visits with a new extended tour dedicated to the « Two Empires ».
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It has a threefold objective :
• reveal to the public the 19th century masterpieces kept at the Château ;
• enhance the Napoleonic period thanks to the reconfiguration of the Napoleonic Museum ;
• evoke life at court during the Second Empire, thanks to the number of widely varied collections as well as the miraculously saved settings.
Breathing new life into the theatre
Even though Fontainebleau made a deliberate choice to favour public visits over events, in order to preserve the decors of course, it has
nevertheless taken care to allow occasional performances to be held in the theatre. In accordance with the prefectural (local) authorities, five
performances per year will be allowed. It should be noted that the theatre has a capacity of only 250 spectators, due to current evacuation
constraints, although originally it could seat 400 people.
An outline of future programming is also being studied but we can well imagine that the public administrative institution of the Château
de Fontainebleau will be eager to show the plays originally put on for the Emperor Napoleon III and Empress Eugenie when they stayed at
Fontainebleau. The programming will include a rediscovery of the Imperial couple’s tastes and on a larger scale, the echo of a sumptuous past.
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