In addition to these performance in Paris Lully’s stage works also take their place in the history of Versailles. After the festivities of 1664 and then of 1668 which took place at Le Nôtre’s gardens, this building becomes the venue for his dramatic works, a natural scenario for them. The relevance of music to place becomes clearly defined in 1674 with Alceste. The marble courtyard, with its surrounding panels of brick joined by stone, its gilding, the sculptures of busts and statues in antique style all contribute to the formation of an ideal set, made, as it were, for the show. This aesthetic perfection is the vessel for Lully’s lyric poetry. In fact, the genesis of Alceste is linked to the palace, all the rehearsals taking place there. Madame de Sévigné, an admirer of Lully, wrote eloquently of those occasions on which the King took part. Israël Silvestre carved the souvenir of Alceste in the marble patio of Versailles. It represents Lully’s orchestra. In the place of harpsichord continuo Lully employs no less than thirty lutes. In general, the bass dominates, higher registers used as a colorful resources. The French orchestra sounds richer than the Italian and the way the violins are held is characteristic. Lully wants the violins held not under the chin but on the shoulder, which prevents high notes.