Prince's Palace of Monaco

The Grimaldi ruled the area first as feudal lords, and from the 17th century as sovereign princes, but their power was often derived from fragile agreements with their larger and stronger neighbours.

Indeed, when its fortifications were finally relaxed during the late 18th century, it was seized by the French and stripped of its treasures, and fell into decline, while the Grimaldi were exiled for over 20 years.

The throne, in the Empire style, is positioned on a dais, beneath a red silk canopy of estate surmounted by a gilt crown.

This drawing room is lined with Italian gilded and painted polychrome boiseries by craftsmen brought to France by Cardinal Mazarin, who was related by marriage to the Grimaldi.

Charles I, who ruled from 1331 to 1357, and was the son of François Grimaldi's cousin Rainier I, significantly enlarged the fortress by adding two large buildings: one against the eastern ramparts and the second looking out over the sea.

For the next hundred years the Grimaldi defended their territory from attacks by other states which included Genoa, Pisa, Venice, Naples, France, Spain, Germany, England and Provence.

Now more secure, the Grimaldi lords of Monaco now began to recognise the need not only to defend their territory, but also to have a home reflecting their power and prestige.

[2] The slow transformation from fortified house to palace (Illustration 7) began during this era, first with building by Lamberto Grimaldi, Lord of Monaco (who between 1458 and 1494 was "a noteworthy ruler who handled diplomacy and the sword with equal talent"[6]), and then by his son Jean II.

This period saw the extension of the east side of the fortress with a three–floored wing, guarded by high scalloped walls connecting the bastion towers—St Mary (M in Illustration 7), Middle (K) and South (H).

[7] Further enlargements were carried out in order to entertain the Emperor Charles V in 1529, when he stayed four nights at the palace during his journey in state to Bologna for his coronation by Pope Clement VII.

Underneath the courtyard a cistern was installed, providing sufficient water for 1000 troops for a 20-month siege, with a huge vaulted ceiling supported by nine columns.

In 1633 Honoré II (Illustration 8), was officially addressed as "Serene Prince" by the Spanish king, thus recognizing Monaco as a principality for the first time.

The new prince had an urbane personality and spent much time with his wife at the French court, where he enjoyed the unusual distinction of being both a foreign head of state and a peer of France.

Thus he was responsible for two of the palace's most notable features: the entrance—a huge Baroque arch surmounted by a broken pediment bearing the Grimaldi Arms (Illustration 10)—and more memorable still, a double horseshoe staircase modelled on that at Fontainebleau.

However, the cost of upholding his position at the papal court caused him to sell most of his grandfather Honoré II's art collection, denuding the palace he had earlier so spectacularly enhanced.

On its ceiling, Gregorio de Ferrari and Alexandre Haffner depicted a figure of Fame surrounded by lunettes illustrating the four seasons.

[d] Jacques I assumed the name and arms of the Grimaldi, but the French aristocracy showed scant respect towards the new prince who had risen from their ranks and chose to spend his time absent from Monaco.

Thus Monaco's ruling family acquired all the estates bequeathed by Cardinal Mazarin, including the Duchy of Rethel, and the Principality of Château-Porcien.

Florestan, an eccentric (he had been a professional actor), left the running of Monaco to his wife, Maria Caroline Gibert de Lametz.

With time on his hands, Charles III now devoted his time to completing the restoration of his palace begun by his uncle Honoré V. He rebuilt St Mary's Tower (Illustration 14) and completely restored the chapel, adding a new altar, and having its vaulted ceiling painted with frescoes, while outside the façade was painted by Jacob Froëschle and Deschler with murals illustrating various heroic deeds performed by the Grimaldi.

[4] By the time of Charles III's death in 1889, Monaco and Monte Carlo were synonymous as one and the same place, and had acquired, through gambling, a reputation as a louche and decadent playground of the rich.

It attracted everyone from Russian grand dukes and railway magnates, often with their mistresses, to adventurers, causing the small country to be derided by many including Queen Victoria.

[16] In fact so decadent was Monaco considered that from 1882, when she first began visiting the French Riviera, Queen Victoria refused to make a courtesy social call at the palace.

Albert's second wife, Alice Heine, an American banking heiress who was the widow of a French duke, did much to turn Monte Carlo into a cultural centre, establishing both ballet and the opera in the city.

Having brought a large dowry into the family she contemplated turning the casino into a convalescent home for the poor who would benefit from recuperation in warm climes.

As Prince of Monaco, Louis II spent much time elsewhere, preferring to live at the Château de Marchais, the family's French estates, about a hundred miles northeast of Paris.

[21] This caused a rift with his grandson Rainier, his daughter's son, and the heir[g] to Louis's throne, who strongly supported the Allies against the Nazis.

[citation needed] By 1946 he was spending most of his time in Paris, and on 27 July of that year, he married a French actress, Ghislaine Dommanget, who became Princess of Monaco.

The frescoes decorating the open arcade known as the Gallery of Hercules were altered by Rainier III, who imported works by Pier Francesco Mazzucchelli depicting mythological and legendary heroes.

[22] Many of the marble floors have been restored in the staterooms and decorated with intarsia designs which include the double R monogram of Prince Rainier III.