Documentary about the Royal Palace of Brussels ( version 2010) part 2

Now we come to the throne room. Here, more than anywhere else, we see the ambitions of Leopold II. The monarch felt cramped in the palace left him by his father. He harbored great ambitions for his kingdom and felt that the royal palace should reflect the full grandeur of Belgium. He commissioned the architect Alphonse Ballin to design a vast ballroom, which would ultimately become the throne room. Leopold II made no mystery of his interest in classic French architecture, especially the prestigious palaces of Tuileries and Versailles. The room is divided into three sections, accentuated by massive pillars. Among the sculptors who were invited to make the reliefs were Vincent and Rodin. The works, which reflect an epic spirit, represent the kingdom's provinces, certain allegories, as well as the rivers of the Meuse and the Esko, which symbolize the two parts of the country. Because a palace doesn't live outside of time and ecological concerns, the chandeliers have been outfitted with LED bulbs, which provide significant energy savings. The bulbs, especially developed for these chandeliers, were designed by a Belgian company. Since its creation, this room has played a role in all the great moments in Belgian history. The arrival of Queen Elizabeth changed forever the status of the monarch's wife. She was not content to remain a figure in the background, and the monarchy was deeply affected by her stance. During the two world wars, at the Queen's initiative, a hospital was set up in the throne room. Elizabeth was also passionate about the arts, as she was about all domains of human intelligence. The greatest musicians, writers, painters and sculptors were all welcomed at the palace. In 1960, it was in this room that King Baudouin and Queen Fabiola celebrated their civil marriage. Over the years, little by little, the memory of the highly discreet Queen Marie Aurillette faded. Decidedly tireless, Leopold II called on thousands of architects, artists and artisans to accomplish his masterpiece. His spirit hovers in the Grand Gallery like a Versaillesan perfume, which isn't the least bit surprising, as the Hall of Mirrors always fascinated Leopold II. The paintings are all inspired by the great court painter of Louis XIV, Charles Le Brun. As for the furniture, the influence is more that of Louis XVI, and once again, the neoclassical style. Among the other masters of the premises, the palace retained strong vestiges of King Leopold III, father of the current monarch, and of his wife, the mythic Queen Astrid, who was tragically killed in 1935 in a car accident in Switzerland. In the beginning, Leopold II wanted to dedicate a room to the Belgian Congo. Quite naturally, the pediments that rise above the chimney were thus decorated with maps of Africa. Other works were planned, but the king died before the paintings could be completed. For economic reasons, Albert I preferred to decorate the room with mirrors, hence the name, the Hall of Mirrors. Since the accession of Albert II to the throne in 1993, the Royal Palace of Brussels has undergone profound changes. This rejuvenating experience, initiated by Queen Paola, brought contemporary art into this venerable edifice. Under her leadership, an Arts Council was created for the purpose of evaluating what place contemporary art should hold within the palace. By 2000 and 2001, three preliminary artists had been selected for palatial display, Jan Faber, Dirk Breikman, and Marta Wery. The first of these would create a very impressive work for the Hall of Mirrors. He covered the barrel vault, the two vertical arches, and the central chandelier of the room with close to 1.5 million wing cases of Thai beetles. These shells reflect the light and provide an extraordinary visual effect. The Hall also boasts an astonishing monogram, P, for Paola, made of insect shells. In launching this ambitious program, the Queen knew that she would be subject to criticism. She approached her for mixing genres and styles, and yet she has done nothing but pursue a tradition that was long since established at the Royal Palace. From its earliest origins, each of the palace's occupants has strived to help it keep up with the times. While every year it opens its doors to the public, the Brussels Palace is by no means a museum. It is a work and living space, housing the King and Queen's offices, but also those of the princes. While he lives at the Royal Castle of Lachen, Prince Philippe, Duke of Brabant, has his office at the Royal Palace of Brussels. Heir to the throne, he receives visitors, sometimes informally, to discuss the major problems at stake for the country and the wider world. In his capacity as Ambassador of Foreign Commerce for Belgium, Prince Philippe regularly receives representatives from the Belgian business world at the palace. His main ambition is to promote the expertise of national businesses. His wife, Princess Mathilde, also conducts her multiple activities at the Royal Palace of Brussels. Here she holds innumerable meetings and prepares for her activities in Belgium and abroad. Despite the solemnity of the decor, which could be intimidating to visitors, the princess always tries to establish an open and spontaneous dialogue with her invited guests. In a modern monarchy, the exercise of official activities is also shared. Both the prince and princess have their favorite domains and strive to maintain an open dialogue with the people. Not only a place of work and study, the Royal Palace is also used for meetings and grand official appointments. It is thus a sort of theater for formal events that punctuate the monarchy's public life, such as the traditional New Year's wishes ceremony with the diplomatic corps. The awarding of the Princess Mathilde Prize has become an imperative event. Every year, the prize is awarded for a particular initiative targeting people with vulnerabilities and striving to come to their aid. These events constitute an occasion to bring together the royal family. Princess Astrid, Prince Lorenz and Princess Claire also go to meet their guests, while the King speaks with the highest authorities of the realm. The Asia-Europe Summit is an important forum for political, economic, financial and sociocultural discussions. The time has almost come to draw our visit to a close, our heads still swimming with images. More than just an edifice erected of stone and wood and gold leaf, this vast house is a living space that remains as well a place of work, fashioned over centuries by all those who occupied it in some capacity. Like a bridge over time, the history of the palace merges not only with that of Brussels, but also with the destiny of these regions that acquired their independence in 1830. In a state of perpetual change over the centuries, the Royal Palace has nonetheless lost none of its rich traditions or roots. Neither does that prevent it from looking resolutely toward the future, most notably through the integration of works of modern art or the organization of events within international reach, which occur harmoniously within its centuries-old decor. Just like the monarchy, an institution well anchored in current-day realities but also deeply rooted in history, the Royal Palace of Brussels is sure to fascinate us for centuries to come. Far from being a cold and solemn place, it is rather a building full of life, reflecting the history of a country of which it is undoubtedly the most striking emblem.