Category: Île-de-France

Vaux le Vicomte

 

 

View from the rond d’eau of the garden

Rhythmic massing of the entrance front.

The Château de Vaux-le-Vicomte is a baroque French château located in Maincy, near Melun, 55 kilometres (34 mi) southeast of Paris in the Seine-et-Marne département of France.

Constructed from 1658 to 1661 for Nicolas Fouquet, Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th-century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the “Louis XIV style” combining architecture, interior design and landscape design. The garden’s pronounced visual axis is an example of this style.[1]

Contents

History

Fouquet

Once a small château between the royal residences of Vincennes and Fontainebleau, the estate of Vaux-le-Vicomte was purchased in 1641 by Nicolas Fouquet, an ambitious 26-year-old member of the Parlement of Paris. Fouquet was an avid patron of the arts, attracting many artists with his generosity.

When Fouquet became King Louis XIV’s superintendent of finances in 1657, he commissioned Le Vau, Le Brun and Le Nôtre to renovate his estate and garden to match his grand ambition. Fouquet’s artistic and cultivated personality subsequently brought out the best in the three.[2]

To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed 18 thousand workers and cost as much as 16 million livres.[3]

The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet Jean de La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel and an impressive firework show.[4]

Fête and arrest

Colbert

The château was lavish, refined and dazzling to behold, but those characteristics proved tragic for its owner: the king had Fouquet arrested shortly after a famous fête that took place on 17 August 1661, where Molière‘s play ‘Les Fâcheux’ debuted.[5] The celebration had been too impressive and the superintendent’s home too luxurious. Fouquet’s intentions were to flatter the king: part of Vaux-le-Vicomte was actually constructed specifically for the king, but Fouquet’s plan backfired. Jean-Baptiste Colbert led the king to believe that his minister’s magnificence was funded by the misappropriation of public funds. Colbert, who then replaced Fouquet as superintendent of finances, arrested him.[6] Later, Voltaire was to sum up the famous fête: “On 17 August, at six in the evening Fouquet was the King of France: at two in the morning he was nobody.” La Fontaine wrote describing the fête and shortly afterwards penned his Elégie aux nymphes de Vaux.

After Fouquet

After Fouquet was arrested and imprisoned for life and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.

Madame Fouquet recovered her property 10 years later and retired there with her eldest son. In 1705, after the death of her husband and son, she decided to put Vaux-le-Vicomte up for sale.[2]

Recent history

View of the garden front

Marshal Claude Louis Hector de Villars became the new owner without first seeing the chateau. In 1764, the Marshal’s son sold the estate to the Duke of Praslin, whose descendants maintained the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when Charles de Choiseul-Praslin killed his wife in her bedroom, but he did so not at Vaux-le-Vicomte but at his Paris residence.[2]

In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction. The château was empty, some of the outbuildings had fallen into ruin and the gardens were completely overgrown. Restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and the gardens had recovered their original appearance. His son, Edme Sommier, and his daughter-in-law completed the task. His descendants continue to preserve the château, which remains privately owned by Patrice and Cristina de Vogüé, the Count and Countess de Vogüé. It is now administered by their three sons: Alexandre, Jean-Charles and Ascanio de Vogüé. Recognized by the state as a monument historique, it is open to the public regularly.[7]

Features

Architecture

Engraving of the entrance front
Plan of the ground floor, as engraved by Jean Marot

The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the centre, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates and only later were filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.[8]

Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally, the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau’s Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor, which run the length of house, providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.[9]

Service building in brick and stone

Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart’s Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.[9]

Perspective view from the garden showing the moat and bridge

View of the forecourt platform with the moat surrounding it

The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau’s work replaced.[9]

The bridge over the moat on the north side leads from the avant-cour to an ample forecourt, flanked by raised terraces on either side, a layout evoking the cour d’honneur of older aristocratic houses in which the entrance court was enclosed by anterior wings, typically housing kitchens and domestic quarters. Le Vau’s terraces even terminate in larger squares suggesting former pavilions. In more modern residences, like Vaux, it had become the custom to put these facilities in the basement, so these structures were no longer needed. This U-shaped plan of the house with the terraces is a device that again recalls Maisons, where Mansart intended “to indicate that his château was conceived in a noble tradition of French design while at the same time emphasizing its modernity in comparison to predecessors.”[10]

View of the entrance front
View of the garden front

The entrance front of the main chateau is characteristically French, with the two lateral pavilions flanking a central avant-corps, again reminiscent of Mansart’s work at Maisons. Le Vau supplements these with two additional receding volumes between the pavilions and the central mass. All of these elements are further emphasized with steep pyramidal caps. Such steep roofs were inherited from medieval times and, like brick, were rapidly going out of fashion. Le Vau would never use them again. The overall effect at Vaux, according to Andrew Ayers, is “somewhat disparate and disorderly”.[9] Moreover, as David Hanser points out, Le Vau’s elevation violates several rules of pure classical architecture. One of the most egregious is the use of two, rather than three, bays in the lateral pavilions, resulting in the uncomfortable placement of the pediments directly over the central pilaster.[11] Ayers does concede however that, “although rather ungainly, the entrance facade at Vaux is nonetheless picturesque, in spite, or perhaps because, of its idiosyncrasies.”[12]

The garden front of the main chateau is considered more successful. The enormous, double-height Grand Salon that substantially protrudes from the corps de logis clearly dominates the southern elevation. The salon is covered by a huge slate dome surmounted with an imposing lantern and is fronted with a two-storey portico that is almost identical to one at the Hôtel Tambonneau. The use of a central oval salon is an innovation adopted by Le Vau from Italy. Although he himself had never been there, he undoubtedly knew from drawings and engravings of examples in buildings, such as the Palazzo Barberini in Rome, and had already used one to great effect at his Château du Raincy. At Le Raincy the salon spans the corps de logis and projects on both sides, but at Vaux, because of the double row of rooms, it is preceded by the vestibule on the entrance side, “thus delaying and dramatizing the visitor’s discovery of this, the centrepiece of the house.”[9] The lateral pavilions of the garden facade project only slightly but are three bays wide with traditional tall slate roofs like those on the entrance front, effectively balancing the central domed salon.[9]

Gardens

17th-century engraving of the parterres as first laid out

The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are more mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new.

Le Nôtre’s garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km),[2] with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.[13]

The site was naturally well-watered, with two small rivers that met in the park; the canalized bed of one forms the Grand Canal, which leads to a square basin.

Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Nôtre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view.[14] Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.[3]

Anamorphosis abscondita in the garden

The gardens.

Le Nôtre employed an optical illusion called anamorphosis abscondita (which might be roughly translated as ‘hidden distortion’) in his garden design in order to establish decelerated perspective. The most apparent change in this manner is of the reflecting pools. They are narrower at the closest point to the viewer (standing at the rear of the château) than at their farthest point; this makes them appear closer to the viewer. From a certain designed viewing point, the distortion designed into the landscape elements produces a particular forced perspective and the eye perceives the elements to be closer than they actually are. That point, for Vaux-le-Vicomte, is at the top of the stairs at the rear of the château. Standing atop the grand staircase, one begins to experience the garden with a magnificent perspectival view.[15] The anamorphosis abscondita creates visual effects, which are not encountered in nature, making the spectacle of gardens designed in this way extremely unusual to the viewer (who experiences a tension between the natural perspective cues in his peripheral vision and the forced perspective of the formal garden). The perspective effects are not readily apparent in photographs, either, making viewing the gardens in person the only way of truly experiencing them.

From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature: the elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centrepiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks. Next, a circular pool, previously seen as ovular due to foreshortening, is passed and a canal that bisects the site is revealed, as well as a lower level path. As the viewer continues on, the second pool shows itself to be square and the grottos and their niched statues become clearer. However, when one walks towards the grottos, the relationship between the pool and the grottos appears awry. The grottos are actually on a much lower level than the rest of the garden and separated by a wide canal that is over half a mile (almost a kilometre) long. According to Allen Weiss, in Mirrors of Infinity, this optical effect is a result of the use of the tenth theorem of Euclid‘s Optics, which asserts that “the most distant parts of planes situated below the eye appear to be the most elevated”.

In Fouquet’s time, interested parties could cross the canal in a boat, but walking around the canal provides a view of the woods that mark what is no longer the garden and shows the distortion of the grottos previously seen as sculptural. Once the canal and grottos have been passed, the large sloping lawn is reached and the garden is viewed from the initial viewpoint’s vanishing point, thus completing the circuit as intended by Le Nôtre. From this point, the distortions create the illusion that the gardens are much longer than they actually are. The many discoveries[example needed] made as one[who?] travels through the dynamic garden contrast with the static view of the garden from the château.[15]

Use in film, television and popular culture

The house and its grounds were used as the Californian home of the main villain Hugo Drax (played by Michael Lonsdale) in the 1979 James Bond film Moonraker.[16] It can also be seen in the background in the 1998 film The Man in the Iron Mask. In addition, the château appeared in several episodes of The Revolution, which is a documentary television series about the American Revolutionary War that was broadcast by History in 2006. Australia’s Next Top Model had a fashion shoot at the chateau for its 7th Cycle (Episode 02), televised in August 2011. A confused retelling of the Vaux-le-Vicomte story was given by character Little Carmine Lupertazzi in season 4 of HBOs The Sopranos. More recently it has featured as the Palace of Versailles for BBC/Canal+ production of the TV drama series Versailles.

See also

References

Notes
  1. Federic Lees, The Chateau de Vaux-le-Vicomte’, Architectural Record, Asian Institute of Architects, p.413-433
  2. “Château de Vaux-le-Vicomte – Vaux le Vicomte”. Vaux le Vicomte. Retrieved 14 December 2015.
  3. “Vaux le Vicomte’s and Baroque garden design”. Retrieved 14 December 2015.
  4. Ernest C. Peixottop, Through the French Provinces, p.73
  5. William Driver Howarth, Molière, a Playwright and His Audience, p.43
  6. “Nicolas Fouquet”. Vaux le Vicomte. Retrieved 14 December 2015.
  7. “Château de Vaux-le-Vicomte”. chateaux-france.com. Retrieved 14 December 2015.
  8. Hanser 2006, p. 274; Ayers 2004, p. 371.
  9. Ayers 2004, pp. 368–373.
  10. Ayers 2004, p. 369.
  11. Hanser 2006, p. 274
  12. Ayers 2004, p. 370.
  13. Beatrix Jones, Le Notre and his Gardens, Scribner’s Magazine, v.38 (1905), pp.43-55
  14. Leonard Benevolo, The Architecture of the Renaissance, pp.714-723
  15. Allen S. Weiss, Mirrors of Infinity:The French Formal Garden and 17th-Century Metaphysics, Princeton Architectural Press: New York, 1995, p.33-51
  16. “Moonraker (1979)”. IMDb. Retrieved 14 December 2015.

 

Sources
  • Ayers, Andrew (2004). The Architecture of Paris. Stuttgart; London: Edition Axel Menges. ISBN 978-3-930698-96-7.
  • Hanser, David A. (2006). Architecture of France. Westport, Connecticut: Greenwood Press. ISBN 978-0-313-31902-0.

 

 

 

 

Click Refresh to view slides

 

Official Website

Fontainebleau

 

Fontainebleau is a town southeast of Paris, known for the opulent Fontainebleau Palace. Built by French royalty, with parts dating back to the 1100s, the palace houses Marie Antoinette’s Turkish boudoir, the Napoleon Museum and a lavish theater. Its formal gardens feature ornamental lakes and sculptures. Surrounding the town and chateau is Fontainebleau forest, home to Le Grand Parquet, an equestrian stadium.

 

 

 

 

Click Refresh to view slides

Les Tuilerie Jardins

 

 

 

 

Click Refresh to view slides

 

The Tuileries Garden (French: Jardin des Tuileries) is a public garden located between the Louvre Museum and the Place de la Concorde in the 1st arrondissement of Paris. Created by Catherine de’ Medici as the garden of the Tuileries Palace in 1564, it was eventually opened to the public in 1667 and became a public park after the French Revolution. In the 19th and 20th centuries, it was a place where Parisians celebrated, met, strolled, and relaxed.[1]

Contents (Wikipedia)

History and development

Garden of Catherine de’ Medici

Th;;3t ng by Jacques I Androuet du Cerceau. (The engraving also includes a plan for the expansion of the palace which was never executed.)

In July 1559, after the accidental death of her husband, Henry II, Queen Catherine de’ Medici decided to leave her residence of the Hôtel des Tournelles, at the eastern part of Paris, near the Bastille. Together with her son, the new king of France François II, her other children and the royal court, she moved to the Louvre Palace. Five years later, in 1664, she commissioned the construction of a new palace just beyond the wall of Charles V, not far from the Louvre, from which it would be separated by a neighborhood of private hotels, churches, convents, and the Hospice des Quinze-Vingts near the Porte Saint-Honoré.

For that purpose, Catherine had bought land west of Paris, on the other side of the portion of the wall of Charles V situated between the Tour du Bois and the 14th century Porte Saint-Honoré. It was bordered on the south by the Seine, and on the north by the faubourg Saint-Honoré, a road in the countryside continuing the rue Saint-Honoré. Since the 13th century this area had been occupied by tile-making fabrics called tuileries (from the French tuile, meaning “tile”).

Catherine further commissioned a landscape architect from Florence, Bernard de Carnesse, to create an Italian Renaissance garden, with fountains, a labyrinth, a grotto, and decorated with faience images of plants and animals, made by Bernard Palissy, whom Catherine had tasked to discover the secret of Chinese porcelain.

The Tuileries Garden in 1615, where the Grand Basin is now located. The covered promenade can be seen, and the riding school established by Catherine.

The garden of Catherine de’ Medici was an enclosed space five hundred metres long and three hundred metres wide, separated from the new palace by a lane. It was divided into rectangular compartments by six alleys, and the sections were planted with lawns, flower beds, and small clusters of five trees, called quinconces; and, more practically, with kitchen gardens and vineyards.[2]

The Tuileries garden was the largest and most beautiful garden in Paris at the time. Catherine used it for lavish royal festivities honoring ambassadors from Queen Elizabeth I of England, and the marriage of her daughter, Marguerite de Valois, to Henri III of Navarre, better known as Henry IV, King of France and of Navarre.[3]

Garden of Henry IV

King Henry III was forced to flee Paris in 1588, and the gardens fell into disrepair. His successor, Henry IV (1589–1610), and his gardener, Claude Mollet, restored the gardens, built a covered promenade the length of the garden, and a parallel alley planted with mulberry trees where he hoped to cultivate silkworms and start a silk industry in France. He also built a rectangular ornamental lake of 65 metres by 45 metres with a fountain supplied with water by the new pump called La Samaritaine, which had been built in 1608 on the Pont Neuf. The area between the palace and the former moat of Charles V was turned into the “New Garden” (Jardin Neuf) with a large fountain in the center. Though Henry IV never lived in the Tuilieries Palace, which was continually under reconstruction, he did use the gardens for relaxation and exercise.

Garden of Louis XIII

The Tuileries Garden in 1652 with the Parterre de Mademoiselle east of the Palace

In 1610, at the death of his father, Louis XIII became the new owner of the Tuileries Gardens at the age of nine. It became his enormous playground – he used it for hunting, and he kept a menagerie of animals. On the north side of the gardens, Marie de’ Medici established a riding school, stables, and a covered manege for exercising horses.

When the king and court were absent from Paris, the gardens were turned into a pleasure spot for the nobility. In 1630 a former rabbit warren and kennel at the west rampart of the garden were made into a flower-lined promenade and cabaret. The daughter of Gaston d’Orléans and the niece of Louis XIII, known as La Grande Mademoiselle, held a sort of court in the cabaret, and the “New Garden” of Henry IV (the present-day Carousel) became known as the “Parterre de Mademoiselle.” In 1652, “La Grande Mademoiselle” was expelled from the chateau and garden for having supported an uprising, the Fronde, against her cousin, the young Louis XIV.[4]

Garden of Louis XIV and Le Nôtre

Tuileries Garden of Le Nôtre in the 17th century, looking west toward the future Champs Élysées, engraving by Perelle

Le Nôtre’s Tuileries Garden plan, engraving by Israël Silvestre (1671)

The statue of Renommée, or the fame of the king, riding the horse Pegasus, (1699) by Antoine Coysevox (1640–1720) at the west entrance of the Garden. Originally located on Louis XIV’s estate at Marly, it was moved to the Tuileries in 1719

The new king quickly imposed his own sense of order on the Tuileries Gardens. His architects, Louis Le Vau and François d’Orbay, finally finished the Tuileries Palace, making a proper royal residence. In 1662, to celebrate the birth of his first child, Louis XIV held a vast pageant of mounted courtiers in the New Garden, which had been enlarged by filling in Charles V’s moat and had been turned into a parade ground. Thereafter the square was known as the Place du Carrousel.[5]

In 1664, Colbert, the king’s superintendent of buildings, commissioned the landscape architect André Le Nôtre, to redesign the entire garden. Le Nôtre was the grandson of Pierre Le Nôtre, one of Catherine de’ Medici’s gardeners, and his father Jean had also been a gardener at the Tuileries. He immediately began transforming the Tuileries into a formal garden à la française, a style he had first developed at Vaux-le-Vicomte and perfected at Versailles, based on symmetry, order and long perspectives.

Le Nôtre’s gardens were designed to be seen from above, from a building or terrace. He eliminated the street which separated the palace and the garden, and replaced it with a terrace looking down upon flowerbeds bordered by low boxwood hedges and filled with designs of flowers. In the centre of the flowerbeds he placed three ornamental lakes with fountains. In front of the centre of the first fountain he laid out the Grande Allée, which extended 350 metres. He built two other alleys, lined with chestnut trees, on either side. He crossed these three main alleys with small lanes, to create compartments planted with diverse trees, shrubs and flowers.

On the south side of the park, next to the Seine, he built a long terrace called the Terrasse du bord-de-l’eau, planted with trees, with a view of the river He built a second terrace on the north side, overlooking the garden, called the Terrasse des Feuillants.

On the west side of the garden, beside the present-day Place de la Concorde, he built two ramps in a horseshoe shape and two terraces overlooking an octagonal lake 60 m (200 ft) in diameter with a fountain in the centre. These terraces frame the western entrance of the garden, and provide another viewpoint to see the garden from above.

Le Nôtre wanted his grand perspective from the palace to the western end of the garden to continue outside the garden. In 1667, he made plans for an avenue with two rows of trees on either side, which would have continued west to the present Rond-Point des Champs Élysées.[6]

Le Nôtre and his hundreds of masons, gardeners and earth-movers worked on the gardens from 1666 to 1672. In 1682, however, the king, furious with the Parisians for resisting his authority, abandoned Paris and moved to Versailles.

In 1667, at the request of the famous author of Sleeping Beauty and other fairy tales, Charles Perrault, the Tuileries Garden was opened to the public, with the exception of beggars, “lackeys” and soldiers.[7] It was the first royal garden to be open to the public.

In the 18th century

After the death of Louis XIV, the five-year-old Louis XV became owner of the Tuileries Garden. The garden, abandoned for nearly forty years, was put back in order. In 1719, two large equestrian statuary groups, La Renommée and Mercure, by the sculptor Antoine Coysevox, were brought from the king’s residence at Marly and placed at the west entrance of the garden. Other statues by Nicolas and Guillaume Coustou, Corneille an Clève, Sebastien Slodz, Thomas Regnaudin and Coysevox were placed along the Grande Allée.[8] A swing bridge was placed at the west end over the moat, to make access to the garden easier. The creation of the place Louis XV (now Place de la Concorde) created a grand vestibule to the garden.

Certain holidays, such as August 25, the feast day of Saint Louis, were celebrated with concerts and fireworks in the park. A famous early balloon ascent was made from the garden on December 1, 1783 by Jacques Alexandre César Charles and Nicolas Louis Robert. Small food stands were placed in the park, and chairs could be rented for a small fee.[9] Public toilets were added in 1780.[10]

During the French revolution

The Tuileries, renamed the “Jardin National” during the French Revolution- the Festival of the Supreme Being (1794)

On October 6, 1789, as the French Revolution began, King Louis XVI was brought against his will to the Tuileries Palace. The garden was closed to the public except in the afternoon. Queen Marie Antoinette and the Dauphin were given a part of the garden for her private use, first at the west end of the Promenade Bord d’eaux, then at the edge of the Place Louis XV.

After the king’s failed attempt to escape France, the surveillance of the family was increased. The royal family was allowed to walk in the park on the evening of September 18, 1791, during the festival organized to celebrate the new French Constitution, when the alleys of the park were illuminated with pyramids and rows of lanterns.[11] On August 10, 1792, a mob stormed the Palace, and the king’s Swiss guards were chased through the gardens and massacred. After the king’s removal from power and execution, the Tuileries became the National Garden (Jardin National) of the new French Republic. In 1794 the new government assigned the renewal of the gardens to the painter Jacques-Louis David, and to his brother in law, the architect August Cheval de Saint-Hubert. They conceived a garden decorated with Roman porticos, monumental porches, columns, and other classical decoration. The project of David and Saint-Hubert was never completed. All that remains today are the two exedres, semicircular low walls crowned with statues by the two ponds in the centre of the garden.[12]

While David’s project was not finished, large numbers of statues from royal residences were brought to the gardens for display. The garden was also used for revolutionary holidays and festivals. On June 8, 1794, a ceremony in honor of the Cult of the Supreme Being was organized in the Tuileries by Robespierre, with sets and costumes designed by Jacques-Louis David. After a hymn written for the occasion, Robespierre set fire to mannequins representing Atheism, Ambition, Egoism and False Simplicity, revealing a statue of Wisdom.[13]

In the 19th century

Édouard Manet, La Musique aux Tuileries, 1862

Camille Pissarro, The Garden of the Tuileries on a Spring Morning, 1899

Around 1900

In the 19th century, the Tuileries Garden was the place where ordinary Parisians went to relax, meet, stroll, enjoy the fresh air and greenery, and be entertained.

Napoleon Bonaparte, about to become Emperor, moved into the Tuileries Palace on February 19, 1800, and began making improvements to suit an imperial residence. A new street was created between the Louvre and the Place du Carrousel, a fence closed the courtyard, and he built a small triumphal arch, modeled after the arch of Septimius Severus in Rome, in the middle of the Place du Carrousel, as the ceremonial entrance to his palace.

In 1801 Napoleon ordered the construction of a new street along the northern edge of the Tuileries, through space that had been occupied by the riding school and stables built by Marie de’ Medici, and the private gardens of aristocrats and convents and religious orders that had been closed during the Revolution. This new street also took part of the Terrasse des Feuillants, which had been occupied by cafés and restaurants. The new street, lined with arcades on the north side, was named the rue de Rivoli, after Napoleon’s victory in 1797.

Napoleon made few changes to the interior of the garden. He continued to use the garden for military parades and to celebrate special events, including the passage of his own wedding procession on April 2, 1810, when he married the Archduchess Marie-Louise of Austria.

After the fall of Napoleon, the garden briefly became the encampment of the occupying Austrian and Russian soldiers. The monarchy was restored, and the new King, Charles X, renewed an old tradition and celebrated the feast day of Saint Charles in the garden.

In 1830, after a brief revolution, the new king, Louis-Philippe, became owner of the Tuileries. He wanted a private garden within the Tuileries, so a section of the garden in front of the palace was separated by a fence from the rest of the Tuileries. A small moat, flower beds and eight new statues by sculptors of the period decorated the new private garden.

In 1852, following another revolution and the shortlived Second Republic, a new Emperor, Louis Napoleon, became owner of the garden. He enlarged his private reserve within the garden further to the west as far as the north–south alley that crossed the large round basin, so that included the two small round basins. He decorated his new garden with beds of exotic plants and flowers, and new statues. In 1859, he made the Terrasse du bord-de-l’eau into a playground for his son, the Prince Imperial. He also constructed twin pavilions, the Jeu de paume and the Orangerie, at the west end of the garden, and built a new stone balustrade at the west entrance. When The Emperor was not in Paris, usually from May to November, the entire garden, including his private garden and the playground, were open to the public.

In 1870, Emperor Louis Napoleon was defeated and captured by the Prussians, and Paris was the scene of the uprising of the Paris Commune. A red flag flew over the Palace, and it could be visited for fifty centimes. When the army arrived and fought to recapture the city, the Communards deliberately burned the Tuileries Palace, and tried to burn the Louvre as well. The ruins were not torn down until 1883. The empty site of the palace, between the two pavilions of the Louvre, became part of the garden.

In the 20th century

Jardin des Tuileries in winter

At the end of the 19th and beginning of the 20th century, the Tuilieries garden was filled with entertainments for the public; acrobats, puppet theatres, lemonade stands, small boats on the lakes, donkey rides, and stands selling toys. At the 1900 Summer Olympics, the Gardens hosted the fencing events.[14] The peace in the garden was interrupted by the First World War in 1914; the statues were surrounded by sandbags, and in 1918 two German long-range artillery shells landed in the garden.

In the years between the two World Wars, the Jeu de paume tennis court was turned into a gallery, and its western part was used to display the Water Lilies series of paintings by Claude Monet. The Orangerie became an art gallery for contemporary western art.

During World War II, the Jeu de paume was used by the Germans as a warehouse for art they had stolen or confiscated.

The liberation of Paris in 1944 saw considerable fighting in the garden. Monet’s paintings Water Lilies were seriously damaged during the battle.[15]

Until the 1960s, almost all the sculpture in the garden dated from the 18th or 19th century. In 1964–65, André Malraux, the Minister of Culture for President Charles de Gaulle, removed the 19th century statues which surrounded the Place du Carrousel and replaced them with contemporary sculptures by Aristide Maillol.

In 1994, as part of the Grand Louvre project launched by President François Mitterrand, the Belgian landscape architect Jacques Wirtz remade the garden of the Carrousel, adding labyrinths and a fan of low hedges radiating from the triumphal arch in the square.

In 1998, under President Jacques Chirac, works of modern sculpture by Jean Dubuffet, Henri Laurens, Étienne Martin, Henry Moore, Germaine Richier, Auguste Rodin and David Smith were placed in the garden. In 2000, the works of living artists were added; these included works by Magdalena Abakanowicz, Louise Bourgeois, Tony Cragg, Roy Lichtenstein, François Morrellet, Giuseppe Penone, Anne Rochette and Lawrence Weiner. Another ensemble of three works by Daniel Dezeuze, Erik Dietman and Eugène Dodeigne, called Prière Toucher (Eng: Please Touch), was added at the same time.[16]

In the 21st century

Café de Pomone, Jardin des Tuileries, in springtime

At the beginning of the 21st century, French landscape architects Pascal Cribier and Louis Benech have been working to restore some of the early features of the André Le Nôtre garden.[17]

Areas of special interest

Jardin du Carrousel

Arc de triomphe du Carrousel

Also known as the Place du Carrousel, this part of the garden used to be enclosed by the two wings of the Louvre and by the Tuileries Palace. In the 18th century it was used as a parade ground for cavalry and other festivities. The central feature is the Arc de triomphe du Carrousel, built to celebrate the victories of Napoleon, with bas-relief sculptures of his battles by Jean Joseph Espercieux. The garden was remade in 1995 to showcase a collection of 21 statues by Aristide Maillol, which had been put in the Tuileries in 1964.

Terrasse

The elevated terrace between the Carrousel and the rest of the garden used to be at the front of the Tuileries Palace. After the Palace was burned in 1870, it was made into a road, which was put underground in 1877. The terrace is decorated by two large vases which used to be in the gardens of Versailles, and two statues by Aristide Maillol; the Monument to Cézanne on the north and the Monument aux morts de Port Vendres on the south.

Moat of Charles V

Two stairways descend from the Terrasse to the moat (fr:fossés) named for Charles V of France, who rebuilt the Louvre in the 14th century. It was part of the old fortifications which originally surrounded the palace. On the west side are traces left by the fighting during the unsuccessful siege of Paris by Henry IV of France in 1590 during the French Wars of Religion. Since 1994 the moat has been decorated with statues from the facade of the old Tuileries Palace and with bas-reliefs made in the 19th century during the Restoration of the French monarchy which were meant to replace the Napoleonic bas-reliefs on the Arc de Triomphe du Carrousel, but were never put in place.[18]

Grand Carré of the Tuileries

Tuileries Garden panorama

The Grand Carré (Large Square) is the eastern, open part of the Tuilieries garden, which still follows the formal plan of the Garden à la française created by André Le Nôtre in the 17th century.

The eastern part of the Grand Carré, surrounding the round pond, was the private garden of the king under Louis Philippe and Napoleon III, separated from the rest of the Tuileries by a fence.

Most of the statues in the Grand Carré were put in place in the 19th century.

  • Nymphe (1866) and Diane Chasseresse (Diana the Huntress) (1869) by Louis Auguste Lévêque, which mark the beginning of the central allée which runs east-west through the park.
  • Tigre terrassant un crocodile (Tiger overwhelming a crocodile) (1873) and Tigresse portant un paon à ses petits (Tigress bringing a peacock to her young) (1873), both by Auguste Cain, by the two small round ponds.

The large round pond is surrounded by statues on themes from antiquity, allegory, and ancient mythology. Statues in violent poses alternate with those in serene poses. On the south side, starting from the east entrance of the large round pond, they are:

On the north side, starting at the west entrance to the pond, they are:

Plan of the Jardin des Tuileries

Le Grand Couvert of the Tuileries

The Grand Couvert is the part of the garden covered with trees. The two cafes in the Grand Couvert are named after two famous cafes once located in the garden; the café Very, which had been on the terrace des Feuiillants in the 18th–19th century; and the café Renard, which in the 18th century had been a popular meeting place on the western terrace.

The Grand Couvert also contains the two exedres, low curving walls built to display statues, which survived from the French Revolution. They were built in 1799 by Jean Charles Moreau, part of a larger unfinished project designed by painter Jacques-Louis David in 1794. They are now decorated with plaster casts of moldings on mythological themes from the park of Louis XIV at Marly.

The Grand Couvert contains a number of important works of the 20th century and contemporary sculpture, including:

Orangerie, Jeu de Paume, and West Terrace of the Tuileries

Westernmost portion of the Tuileries Garden

Claude Monet, Les Nymphéas (Water Lilies) 1920–26, oil on canvas, 86.2 × 237 in. (219 × 602 cm) in the Orangerie

The Orangerie (Musée de l’Orangerie), at the west end of the garden close to the Seine, was built in 1852 by the architect Firmin Bourgeois. Since 1927 it has displayed the series Water Lilies by Claude Monet. It also displays the Walter-Guillaume collection of Impressionist painting

On the terrace of the Orangerie are four works of sculpture by Auguste Rodin: Le Baiser (1881–1898); Eve (1881) and La Grande Ombre (1880) and La Meditation avc bras (1881–1905). It also has a modern work, Grand Commandement blanc (1986) by Alain Kirili.

The Jeu de Paume (Galerie nationale du Jeu de Paume) was built in 1861 was the architect Viraut, and enlarged in 1878. In 1927 it became an annex of the Luxembourg Palace Museum for the display of contemporary art from outside France. During the German Occupation of World War II, from 1940 to 1944, it was used by the Germans as a depot for storing art they stole or expropriated from Jewish families. From 1947 until 1986, it served as the Musée du Jeu de Paume, which held many important Impressionist works now housed in the Musée d’Orsay. Today, the Jeu de Paume is used for exhibits of modern and contemporary art.

On the terrace in front of the Jeu de Paume is a work of sculpture, Le Bel Costumé (1973) by Jean Dubuffet.

Sculptures

Mercury riding Pegasus, (1701–02) by Antoine Coysevox (1640–1720). Originally at Marly, moved to the Tuileries in 1719 and placed at the west gate of the garden. In 1986 the original of marble was moved to the Louvre and replaced by a copy.

Nymphe by Louis Auguste Lévêque, (1866). In the Grand Carré, at the beginning of the Grand Allée.

Theseus and the Minotaur (1821) by Jules Ramey, in the Grand Carré

The Oath of Spartacus (1871) by Louis-Ernest Barrias (1841–1905)

Auguste Rodin, 1881–1904, L’Ombre (The Shade), bronze

Auguste Rodin, 1881–ca.1899, Éve, bronze

Auguste Rodin, 1881–ca.1905, Méditation avec bras, bronze

Le Baiser (The Kiss) by Auguste Rodin, (1934 cast of the marble original), West Terrace

  • Bibliography
  • Allain, Yves-Marie and Janine Christiany, L’art des jardins en Europe, Citadelles et Mazenod, Paris, 2006.
  • Hazlehurst, F. Hamilton, Gardens of Illusion: The Genius of André Le Nostre, Vanderbilt University Press, 1980. (ISBN 9780826512093)
  • Impelluso, Lucia, Jardins, potagers et labyrinthes, Hazan, Paris, 2007.
  • Jacquin, Emmanuel, Les Tuileries, Du Louvre à la Concorde, Editions du Patrimoine, Centres des Monuments Nationaux, Paris. (ISBN 978-2-85822-296-4)
  • Jarrassé, Dominique, Grammaire des Jardins Parisiens, Parigramme, Paris, 2007. (ISBN 978-2-84096-476-6)
  • Prevot, Philippe, Histoire des jardins, Editions Sud Ouest, 2006.
  • Wenzler, Claude, Architecture du jardin, Editions Ouest-France, 2003.
  • See also
  • History of Parks and Gardens of Paris
  • Sources and citations
  1. Emmanuel Jacquin, Les Tuileries Du Louvre à la Concorde.
  2. Jacquin, Les Tuileries — Du Louvre à la Concorde, p. 4.
  3. Jacquin, p. 6
  4. Jacquin, p. 10
  5. Jacquin p. 15
  6. Jarrassé, Grammaire des Jardins Parisiens, p. 51.
  7. Jarrassé, p. 47
  8. The statues in the park now are copies; the originals are in the Louvre.
  9. Chairs were still being rented for a small sum until 1970.
  10. Jacquin, p. 24.
  11. Jacquin, p. 25
  12. The two exedres have been restored, with plaster copies of the original statues.
  13. Jacquin, p. 26–27
  14. 1900 Summer Olympics official report. p. 16. Accessed 14 November 2010. (in French)
  15. Jacquin, p. 41
  16. Jacquin, p. 42–43
  17. Jarrassé, p. 49
  18. Jacquin, p. 46 

La Crypte archéologique de l’île de la Cité

History of the archaeological crypt and excavations

Converted in 1980 under the square in front of Notre-Dame de Paris cathedral to display archaeological remains discovered during excavations from 1965 to 1972, the crypt provides a unique overview of urban and architectural development of the Île de la Cité, the historical heart of Paris. Visitors can travel back in time by discovering successive buildings erected on the site from Ancient Times to the twentieth century and walk through ancient ruins on which mediaeval and classical remains are superimposed. The aim of the tour is to provide a better understanding of how the city has been in a continuous state of reconstruction for over 2,000 years by revealing its various archaeological layers.

Timeline

The Gallo-Roman town of Lutetia began to develop on the left bank of the Seine in the reign of Augustus (27 BC to 14 AD). This site was occupied by the Gaulish tribe, the Parisii, whose name features on coins recovered fromthe river Seine. In the first quarter of the first century AD, several small islands were joined together to form the current Île de la Cité.

From the middle of the third century right up until the fifth century AD, Lutetia which was threatened by the first Germanic invasions, was a strategic site for the defence of the Roman Empire against the barbarians. The Île de la Cité was fortified in 308, becoming the active centre of the city and the settlement on the left bankwas partially abandoned.

The Middle Ages saw the rise of development focused around the cathedral, whose construction began in 1163. This included the creation of a new street, the rue Neuve Notre-Dame, in line
with the central great door of the cathedral, the reconstruction of theHôtel-Dieu hospital to the South of the cathedral square and the construction of buildings and churches.

In the eighteenth century, many mediaeval buildings were destroyed to ease traffic and improve sanitation in the Île de la Cité. The squarewas extended, the rue Neuve Notre-Dame was widened and the Hospice des Enfants-Trouvés foundling hospital was built.

In the nineteenth century, the city prefect, Haussmann, carried out a radical programme of urban restructuring, destroying many old buildings and lanes. Barracks (which are now the police  headquarters) were erected at the back of the square, in addition to the currentHôtel–Dieu on the side of the square. The current layout of the square is the result of these major changes.

Visit the Website

Marmottan Monet Museum

 

 

The Marmottan Monet Museum, former hunting lodge of Christophe Edmond Kellermann, Duke of Valmy, was acquired in 1882 by Jules Marmottan. His son Paul made it his home and enlarged it with a hunting lodge designed to house his collection of First Empire art and paintings.

At his death, in 1932, he bequeathed to the Academy of Fine Arts all his collections as well as his mansion which became the museum Marmottan in 1934 and the library of Boulogne rich in historical documents.

In 1957, the Marmottan Monet Museum received as a donation the collection of Victorine Donop de Monchy, inherited from his father Dr. Georges de Bellio, doctor of Manet, Monet, Pissarro, Sisley and Renoir who was one of the first lovers of painting impressionist.

Michel Monet, second son of the painter, bequeathed in 1966 to the Academy of Fine Arts his Giverny property and his collection of paintings inherited from his father for the Marmottan Museum. It provides the Museum with the world’s largest collection of Claude Monet’s works. The academic and curator architect of the Jacques Carlu Museum then built a room inspired by the large decorations of the Orangerie des Tuileries to receive the collection.

The works brought together by Henri Duhem and his wife Mary Sergeant came to complete this fund in 1987 thanks to the generosity of their daughter Nelly Duhem. Painter and companion in arms of the post-impressionists, Henri Duhem was also a passionate collector gathering the works of his contemporaries.

In 1996, the Denis and Annie Rouart Foundation was created within the Marmottan Monet Museum in accordance with the wish of its benefactor. The Museum then enriched its collections with prestigious works by Berthe Morisot, Edouard Manet, Edgar Degas, Auguste Renoir and Henri Rouart.

Daniel Wildenstein offered his father’s exceptional collection of illuminations at the Marmottan Museum in 1980.

Since then, many other legacies, just as important, have come to complete the museum’s collections. In fact, the generosity of many patrons has also contributed to the splendor of the collections now on display in the Marmottan Monet Museum.

Housed in the former hunting lodge of the Duke of Valmy, a lavish 19th-century mansion in Paris’ 16th arrondissement, the Musée Marmottan, or the Marmottan Monet museum, is as impressive from the outside as it is inside. Founded around the vast Napoleonic era art collection bequeathed to the Academy of Fine Arts by Jules Marmottan, the museum opened its doors back in 1934 and has since amassed an incredible compilation of works by some of the world’s finest artists.

The museum’s permanent galleries feature paintings by Berthe Morisot, Edgar Degas and Édouard Manet, alongside celebrated works by Camille Pissarro, Paul Gauguin and Pierre-Auguste Renoir, and a host of other renowned names. Most unique are a collection of illuminated medieval manuscripts and a showcase of Flemish primitive paintings. Even the décor is a work of art, with plush furnishings and precious antiques dotted throughout the elegant salons and stunning views over the neighboring Jardin de Ranelagh, or Ranelagh Gardens.

The museum is most acclaimed for housing the world’s largest collection of works by iconic French impressionist, Claude Monet. Donated by the legendary artist’s son, Michel Monet, after his death in 1966, the Monet collection is displayed in a specially designed basement gallery, elaborately decorated in homage to the Orangerie des Tuileries gallery. Key pieces include the 1892-96 ‘Cathédrale de Rouen’ series, a striking depiction of the London Houses of Parliament and ‘Impression, Soleil Levant’ (Impression, Sunrise), credited for giving name to the Impressionist movement.

 

Marmottan Museum Website

 

Musée Picasso

 

 


Central staircase.

HISTORY – Translated from Musée Picasso website

The decision to install the “dation Picasso” (works donated in lieu of estate taxes) in the Hôtel Salé was made very quickly, in 1974, just one year following the artist’s death. But in some way the fate of Pablo Picasso’s estate had been pre-planned, in particular by the “acceptance in lieu” mechanism introduced in the late 1960s, made urgent by the artist’s advancing years. With this process, which gave the State permission to acquire the bulk of Picasso’s works, enriched by donations from his heirs, it was important to find a place to preserve and exhibit them. Supported by the artist’s family, Michel Guy, French Secretary of State for Culture, chose the Hôtel Salé, a private mansion at 5 rue de Thorigny in Paris’ 3rd arrondissement, to house Picasso’s collection. Owned by the City of Paris, the building had been awarded the Historic Monument status on 29 October 1968.

 

The Historic Monuments department commenced the restoration programme in 1974. In March 1975, after deliberation, Paris City Council confirmed that the Hôtel Salé would indeed house the Musée National Picasso, a natural choice given that the artist’s work was produced within the walls of large private mansions and other historic buildings, such as the châteaux of Boisgeloup and Antibes and Villa La Californie. The intention was also to create an architectural contrast between the nascent Centre Pompidou, whose foundations were just being laid, and the monographic heritage site the old Hôtel Salé was transforming into, a nearby showcase for 20th century art and a depository for Pablo Picasso’s estate. Picasso’s art was to shine in the multiple exhibition areas dedicated to 20th century art divided between highly-contemporary architecture and patrimonial spaces. A lease of 99 years was agreed in 1981, the City of Paris renting the Hôtel Salé from the State for a token sum provided it carried out the renovation and took care of the building’s upkeep.

 

The property was renovated and refurbished between 1979 and 1985 by the architect Roland Simounet to become a dedicated place to preserve and display art. Following a public design competition that put four architects in the running (Roland Simounet, Carlos Scarpa, Jean Monge and Roland Castro’s GAU Group), Roland Simounet was awarded the contract to install the Musée National Picasso within the Hôtel Salé. A well-recognised and experienced architect, Roland Simounet was born in 1927 in Algeria where he worked until 1964 after a period studying at the École d’architecture du Quai Malaquais in Paris. He worked on temporary settlements, carrying out a study for the shanty town in Algiers on behalf of the International Congress for Modern Architecture in 1953, and building the Djenan el Hassan housing project in 1957. His experience combined the modernist architecture of Le Corbusier with Mediterranean tradition—which had already inspired him, and he became interested in horizontality. The LaM, a modern art museum in Villeneuve d’Ascq (1983), for which he won the public competition in 1973, is a good representation of his approach to arranging architectural blocks in an organised sequence, a model also found in the Museum of Prehistory in Nemours (1981), with its asymmetrical footprint comprising different wings, adapted to the uneven terrain.

 

The Hôtel Salé presented a particular challenge. The project consisted of appropriating the space inside an existing building and respecting the listed parts of the property with its superb stucco and stone décor as seen in the hallway, central staircase, and Salon de Jupiter. Simounet confronted these constraints just like he had done with the bumps in the ground in Nemours: his proposal was the only one submitted to the competition to fit the museum within the confines of the building without the need to extend the property. The modernist box designed by Roland Simounet was superimposed within the monument in a dialectical style as subtle as it was complex, in every dimension.

 

The central staircase, which leads “naturally” to the first floor, was a pivotal component of the project. The exhibition route flowed like a sinusoid carved with nooks and crevices. A ramp provided an alternative means of moving from floor to floor. The gloss paint contrasted with the matt paint to make the walls flow. This work differed from the renovation of the Abbey of Saint-Germain des Prés, for which the interior was structured like a shell inside the building. In the Hôtel Salé, the building retained its spaciousness and its external and internal visibility. Through the variety of ambiences established in each part of the building and the transparency between the original building and exhibition spaces, the museum offered an architectural promenade introducing visitors to a grand 17th-century house at the same time as Picasso’s work. The furnishings were designed by Diego Giacometti.

 

However, due to technical problems, budget cuts and a slew of planning changes, the completed renovation was in many respects different from the initial design supported by Roland Simounet. The ramps and mezzanines had to be reduced. Certain spaces were abandoned, such as the temporary exhibition spaces, originally planned to take up the outbuildings, and the multimedia room for which the outbuildings’ basement was initially designated. The plan to create a building for artist studios and services running along the gardens, on the side of rue du Vieille du Temple, was also rejected, the area instead converted into a large technical facility. These lost spaces made it impossible to display the full magnitude of the collection.

 

The Musée National Picasso was inaugurated in October 1985.

 

Roland Simounet was awarded the Silver T-Square architecture prize for his work on the Hôtel Salé.

INA archives

In partnership with the INA, France’s national audiovisual institute, here is a selection of videos regarding the opening of the museum.
1975 : TF1, 1 pm news programme, 21 January 1975: the Musée Picasso installed in the Hôtel Salé in Paris’ Marais district. To commemorate its renovation, the programme broadcast the long and rich history of this remarkable building. (in French)

1979 : Antenne 2, Zig Zag, 12 December 1979: Maurice Aicardi, President of the Interministerial Commission for the Preservation of National Artistic Heritage, explained the circumstances surrounding the Pablo Picasso “dation” and more generally the principles underlying the law of 31 December 1968 regarding the acceptance in lieu mechanism. Presented from the main staircase at the Hôtel Salé, during its renovation. (in French)

1984 : TF1, the 1 pm news programme, 5 July 1984:the architect Roland Simounet presents, on the site of the Musée Picasso, the main components of the Hôtel Salé’s renovation, illustrated by the technical innovations shown during the course of the news item. (in French)

1985 : Antenne, 2. Midi 2, 23 September 1985: for the occasion of the inauguration of the Musée Picasso, a report on transferring Pablo Picasso’s works from the Palais de Tokyo’s storerooms to the picture rails in the Hôtel Salé. The first images of the works being hung are explained by Dominique Bozo, chief curator at the Musée Picasso. (in French)

The Hôtel Salé

 

The Hôtel Salé is probably, as Bruno Foucart wrote in 1985, “the grandest, most extraordinary, if not the most extravagant, of the grand Parisian houses of the 17th century”. The building has seen many occupants come and go over the centuries. However, paradoxically, before the place was entrusted to the museum, it was rarely “inhabited”, but instead leased out to various private individuals, prestigious hosts and institutions.

 

It was built by salt-tax farmer, Pierre Aubert, around the same time as another ambitious construction was realised—Château de Vaux-le-Vicomte by Nicolas Fouquet. Indeed, Pierre Aubert was a protégé of Fouquet. Aubert made his fortune in the 1630s-1640s by various schemes, including an advantageous marriage and the purchase of successive appointments, eventually becoming an important financier on the Parisian market and advisor and secretary to the King. Joining the salt tax offices, Pierre Aubert collecting taxes on salt as a lump sum in the name of the king, consolidated his standing. His position created a name for the house, which quickly became known as the Hôtel Salé (“salé” meaning “salty” in French).

 

The future owner of Hôtel Salé was therefore a “middle-class gentleman” seeking to assert his recent social advancement. As a site, he chose an area still underdeveloped, and where Henry IV of France wished to encourage construction with the building of the Place Royale. This urban extension of the old Marais (“marsh” in French) bordered the Hôpital Saint-Gervais and its “fields” (cultures) corrupted to “habits” (coutures) worn by the Saint Anastasia nuns. Pierre Aubert, Lord of Fontenay, purchased land covering 3,700 square metres, in the north of Rue de la Perle, for 40 000 pounds from this Order. To design the building, he chose the young unknown architect Jean Boullier de Bourges (or Jean de Boullier), of whom we know little today. He belonged to a local family of stonemasons and his grandfather had already served Pierre de Fontenay’s in-laws, the Chastelain family. Three years later, in the final days of 1659, the work was completed and Pierre Aubert took up his new property. The sculpted décor including the sumptuous main staircase was entrusted to brothers Gaspard and Balthazar Marsy and to Martin Desjardins.

 

The Hôtel Salé is a typical Mazarin building, whose style is marked by a revival of architectural forms, under the influence of new patrons like Pierre Aubert or Nicolas Lambert who a few years earlier had commissioned Louis Le Vau to design his house. The Italian baroque, introduced by Cardinal Mazarin, was in fashion inspiring architects to take new approaches to space, which they combined with François Mansart’s legacy of introducing classicism into Baroque architecture in France. An innovation of the time, the Hôtel Salé comprised two corps de logis, two lines of rooms which extended the building’s surface area.
Its footprint is asymmetrical: the façade giving onto the courtyard is divided in two by a perpendicular wing that separates the main courtyard from the rear courtyard. The courtyard, following a wide curve that energises the façade, reflects the innovations of the time. The façade itself is punctuated by seven open bays to emphasise the central avant-corps on three levels.

 

The classical pediment of the small avant-corps is a nod to Mansart; above it, the immense pediment emblazoned with acanthus, fruit and flower motifs looks towards the Baroque style. The abundance of sculpture (sphinxes and cupids) also suggest the general Baroque character of the façade. The façade overlooking the garden is less ornate.

 

The central staircase is the masterpiece of the house and has just been entirely restored to its original condition. It is based on the stair plan designed by Michelangelo for the Laurentian Library in Florence. Instead of a closed staircase, two Imperial flights of stairs are overlooked by a projecting balcony and then a gallery. Combining multiple effects of perspective and high-angle views, the staircase resembles a theatre. As for the sculpted stucco, French historian Jean-Pierre Babelon’s description of it as a “sort of physical translation of Hannibal Carache’s paintings in the Farnese Gallery” still holds true with eagles holding a lightning bolt, cupids adorned in garlands, Corinthian pilasters and various divinities vying for attention.

 

Finally, in 1660, Pierre Aubert de Fontenay purchased various properties that obstructed access to Rue Vieille-du-Temple by their gardens. Among them, a real tennis court housing the Théâtre du Marais from 1634 to 1673, where Corneille created his first plays and for which Pierre Aubert maintained the lease to allow the actors to continue to practise their art.

 

However, Pierre Aubert was unable to enjoy the sumptuous surroundings for very long, since in 1663 he was brought down by the same scandal that ruined Fouquet, the Superintendent of Finances! After his fall, the splendid house was coveted by a number of creditors. The legal proceedings lasted for 60 years. During this time, occupants included the Embassy of the Republic of Venice before the house was sold in 1728. In 1790, the house was sequestered and used during the French Revolution as a place to store and take an inventory of the books discovered in the local convents. It was sold again in 1797 and stayed in the same family until 1962. During this period, it was leased to various institutions: the Ganser-Beuzelin boarding school, where Balzac studied; the municipal École centrale des arts et manufactures (prestigious engineering school) (1829-1884), which made significant modifications to the building interior; Henri Vian, a master bronze-maker, followed by a consortium carrying out the same activity (until1941), and then, in 1944, the building was occupied by the City of Paris École des Métiers d’Art. The City acquired the house in 1964 and the property was granted Historical Monument status on 29 October 1968. None of its original contents remain. From 1974 to 1979, the hotel was restored and returned to its former spaciousness, before Roland Simounet was commissioned for its renovation.

 

To find out more : BABELON Jean-Pierre, « La maison du Bourgeois gentilhomme, l’Hôtel Salé, 5 rue de Thorigny, à Paris », Revue de l’art, année 1985, volume 68, n°68, p.7-34. Link (in French).

 

View of the entrance from Rue de Thorigny

 

 

 

Click Refresh to view slides

 

 

 

 

 

 

 

 

Place de la Bastille

Revealed: What the future Place de la Bastille will look like

The Local
news.france@thelocal.com
@thelocalfrance
20 November 2017
10:40 CET+01:00
bastille

Share this article

Revealed: What the future Place de la Bastille will look like
Photos: IN Suta
Plans have been unveiled for how the iconic Place de la Bastille in Paris will look after a major makeover.

From spring next year work will begin to transform the historic Place de la Bastille in Paris.

Last week Mayor Anne Hidalgo rubber stamped the plans that will see a major makeover of one of the city’s most iconic spots.

The mayor’s plan is to make the square more pedestrian friendly rather than it just being a huge roundabout permanently clogged with traffic, as it is currently.

Under the revamp the roundabout will go and cars will travel in two directions around three sides of the square.

Around half of the whole area will be pedestrianized with the stand-out feature being the creation of new access from the square down to the picturesque Bassin de L’Arsenal where many small boats are moored.

A new stairway will be built from the square down to the canal below, passing under the bridge that carries trains on Metro line 1.

“We really wanted pedestrians to have direct access to the canal, but we were working on how to get there.  Then planners came up with this great idea, and we had it priced. We can assume it will be both spectacular and respectful of heritage,” said Anne Hidalgo.

Around 50 trees will be planted around the square and the famous Paris cobbles will be stripped from the road and replaced with a new surface in order to reduce the noise from traffic.

Authorities also want to acknowledge the historic significance of the square, where revolutionaries stormed the prisons on July 14 1789 in what was seen as the most symbolic act of the French revolution.

A quote from the French philosopher Alexis de Tocqueville will be engraved on the square. It will read: “Les Français ont fait en 1789 le plus grand effort auquel se soit jamais livré aucun peuple”. (Roughly: “In 1789 the French made the most resolute effort by any nation.”)

And the the Colonne de Juillet, this monument n the middle of the roundabout will reopen to the public.

Built in 1835 in memory of the victims of the 1830 July Revolution, the colonne The Colonne de Juillet actually houses two large tombs which contain the remains of between 500 and 700 revolutionaries who died in the uprisings of 1830 and 1848.The plans ave been put together by architects Bernard Althabegoīty and Annick Bayle.

A public meeting will be held in December with residents to discuss the plans, with works to take place between April 2018 and Summer 2019.

The plans to revamp Bastille are part of a €44 million project to give seven historic squares a makeover including Place de l’Italie and Place de la Nation.

Hidalgo’s aim is to return the squares to pedestrians as she continues her war on cars that has seen her pedestrianise part of the right bank of the Seine, much to the anger of motorists and ban the most polluting cars from the city centre.

READ ALSO: Paris gives green light for revamp of historic squares

Paris gives green light for revamp of historic squares

 

Palais de la Cité

 

 

From Wikipedia

The Palais de la Cité, located on the Île de la Cité in the Seine River in the center of Paris, was the residence of the Kings of France from the sixth century until the 14th century. From the 14th century until the French Revolution, it was the headquarters of the French treasury, judicial system and the Parlement of Paris, an assembly of nobles. During the Revolution it served as a courthouse and prison, where Marie Antoinette and other prisoners were held and tried by the Revolutionary Tribunal. The palace was built and rebuilt over the course of six centuries; the site is now largely occupied by the buildings of the 19th century Palais de Justice, but a few important vestiges remain; the medieval lower hall of the Conciergerie, four towers along the Seine, and, most important, Sainte-Chapelle, the former chapel of the Palace, masterpiece of Gothic architecture. Both parts of the Conciergerie and Saint-Chapelle are classified as national historical monuments and can be visited, though most of the Palais de Justice is closed to the public.

The Palais de la Cité as it appeared between 1412 and 1416, as illustrated in the Très Riches Heures du Duc de Berry. Sainte-Chapelle is to the right, the royal residence is in the center, with the Grosse Tour behind it; the Grand Salle (Great Hall) is to the left.

Contents

History

The Roman and Merovingian Palace

Archeological excavations have found traces of human habitation on the [Île de la Cité from 5000 BC until the beginning of the Iron Age, but no evidence that the Celtic inhabitants, the Parisii, used the island as their capital. However, after the Romans conquered the Parisii in the first century BC. the island was developed quickly. While the forum and largest part of the Roman town, called Lutetia, was on the left bank, a large temple was located on the east end of the island, where the Cathedral of Notre Dame de Paris is found today. The west end of the island was residential, and was the site of the palace of the Roman prefects, or governors. The palace was a Gallo-Roman fortress surrounded by ramparts. In the year 360 AD, the Roman prefect Julian the Apostate was declared Emperor of Rome by his soldiers while he was resident in the city. [1]

Beginning in the 6th century, the Merovingian kings used the palace as their residence when they were in Paris. Clovis, the King of the Franks, lived in the palace from 508 until his death in 511. The Kings who followed him, the Carolingians, moved their capital to the eastern part of their empire, and paid little attention to Paris. At the end of the 9th century, after a series of invasions by the Vikings threatened the city, King Charles the Bald had the walls rebuilt and strengthened. Hugh Capet (941-996), the Count of Paris, was elected King of the French on 3 July 987, and resided in the fortress when he was in Paris, but he and the other Capetian kings spent little time in the city, and had other royal residences in Vincennes, Compiègne and Orleans. The administration and archives of the kingdom travelled wherever the king went.[2]

The Capetian palace

Drawing of the Palace as it looked following the construction of Sainte-Chapelle (consecrated in 1248), by Viollet-le-Duc

At the beginning of the Capetian dynasty, the King of France ruled little more than what is now the Île de France; but through a policy of conquest and intermarriage, they began to expand their kingdom, and to transform the old Gallo-Roman fortress into a real palace. Robert the Pious, the son of Hugh Capet, who ruled from 972 to 1031, stayed in Paris more often than his predecessors. He rebuilt the fortress in particular to meet the demands of his third wife, Constance of Arles, for greater comfort. Robert reinforced the old walls and added fortified gates; the main entrance, most likely, was on the north side. The walls surrounded a rectangle 130 meters long and 110 meters wide. Within the walls Robert had constructed the Salle de Roi, the meeting room for the Curia Regis, the assembly of nobles and for the royal council. To the west of this building he built his own residence, the chambre de Roi. Finally, he built a chapel dedicated to Saint Nicholas. [2]

Floor plan of the palace at the sane epoch, by Eugene Viollet-le-Duc; Saint-Chapelle is in the center, the site of the modern Conciergerie below it

Further additions were made by Louis VI, with the help of his friend and ally, Suger, the Abbot of the Basilica of Saint-Denis. Louis VI finished the chapel of Saint Nicholas, demolished the old tower or donjon in the center, and built a massive new donjon, or tower, the Grosse Tour, 11.7 meters wide at the base, with walls three meters thick. This tower existed until 1776.

His son, Louis VII (1120-1180) enlarged the royal residence and added an oratory; the lower floor of the oratory later became the chapel of the present Conciergerie. The entrance to the palace at this time was on the eastern side, on the Cour du Mai, where a grand ceremonial stairway was constructed. The western point of the island was transformed into a walled garden and orchard. [3]

Philip-Augustus

Philip-Augustus (1180-1223) modernized the royal administration, and placed the royal archives, the treasury and courts within Palais de la Cité, and thereafter the city functioned, except for brief periods, as the capital of the kingdom. In 1187 he welcomed the English king, Richard the Lion-Hearted, to his palace. The court records show the creation of a new official position, the Concierge, who was responsible for the administration of the lower and mid-level law courts within the Palace. The palace later took its name from this position. Philip also greatly improved the air and aroma around the Palace by having the muddy streets around the Palace paved with stone. These were the first paved streets in Paris. [4]

Louis IX and Sainte-Chapelle

The grandson of Philip Augustus, Louis IX (1214-1270), later known as Saint Louis, built a new shrine within the palace walls to demonstrate that he was not just King of France, but also the leader of the Christian world. Between 1242 and 1248, on the site of the old chapel, he built Sainte-Chapelle to hold the sacred relics Louis had acquired in 1238 from the governor of Constantinople including the reputed crown of thorns and wood from the cross of the Crucifixion of Christ, The chapel had two levels; the lower level for ordinary servants of the king, and the upper level for the king and royal family. The upper chapel was connected directly to the King’s residence by a covered passage, called the Galerie Merciére. Only the King was allowed to touch the crown of thorns, which he took out each year on Good Friday.[5]

Louis IX also created several new offices to manage the finances, administration and judicial system of his growing Kingdom. This new bureaucracy, housed within the Palace, eventually led to conflict between the royal government and the nobles, who had their own high court, the Parlement de Paris. To make room for his growing bureaucracy, and to create residences for the Chanoines or Canons, who managed the religious establishment, he had the southern wall of the Palace demolished and replaced with housing. On the north side of the palace, just outside the walls to the Tour Bonbec, he built a new ceremonial hall, the Salle sur l’eau.

Philip IV Le Bel

 
A banquet in 1358 hosted by Charles V of France in the Grand’Salle for his uncle Charles IV of Luxembourg, by Jean Fouquet

King Philip IV (1285-1314) and his Chamberlain, Enguerrand de Marigny, reconstructed, enlarged and embellished the Palace. On the north side of the Palace, he expropriated land belonging to the Counts of Brittany and constructed new buildings for the Chambre des Enquetes, which supervised public administration; the Grand’Chambre, another high court; and two new towers, the Tour Cesar and the Tour d’Argent, as well as a gallery connecting the palace to the Tour Bombec. The royal offices took their names from the different chambers, or rooms, of the palace; the Chambre des Comptes, chamber of the accounts, was the treasury of the kingdom, and the courts were divided between the Chambre civile and the Chambre criminelle. [5]

The Grand’Salle of the Palace in the 16th century, by Androuet du Cerceau

On the site of the old Salle de Roi he built a much larger and more richly decorated assembly hall, the Grand’Salle which had a double nave, each covered with a high arched wooden roof. A row of eight columns in the center of the hall supported the wooden framework of the roof. On each of the pillars, and on columns around the walls, were placed polychrome statues of the Kings of France. In the center of the hall was an enormous table made of black marble from Germany, used for banquets, the taking of oaths, meetings of military high courts, and other official functions. A fragment of the table still exists, and is on display in the Conciergerie. The Grand’Salle was used for royal banquets, judicial proceedings, and theatrical performances.[6][7] At the west end of the island, where Place Dauphine is today, was a walled private garden, a bath house where the King could bathe in the water of the river, and a dock, from which the king could travel by boat to his other residences, the Louvre fortress on the right bank and the Tour de Nesle on the left bank.[5]

The lower floor beneath the Grand’Salle contained the Salle des Gardes for the soldiers who protected the King, as well as the dining room for the household of the King, including officers, clerks, court officers and servants. High court officials had their own houses in the city, while lower officials and servants lived within the Palace. The household of the King at the time of Philip le Bel numbered about three hundred persons; counting the servants of the Queen and of the King’s children, the number grew to about six hundred. [8]

Philip made several further major changes to the Palace. He reconstructed the south wall of the Palace, and moved the wall on the east side to enlarge the ceremonial courtyard, The new wall, more that of a palace than a fortress, had two large gates and echauguettes, or small elevated posts for watchmen at the angles of the wall. He restored the Salle d’Eau, extended the logos de Roi, or royal residence further south, built a new building for Chambre des comptes, or royal treasury, and enlarged the garden. The works were almost complete when the King died in 1314. Philip’s successors made a few further additions; Jean II le Bon (1319-1364) constructed new kitchens on two levels northwest of the Grand’Salle, and built a new square tower. Later, his son, Charles V (1338-1380) installed a clock in the tower, and it became known as the Tour de l’Horloge. [9]

Palace of justice and prison (14th century)

The Hundred Years War between England and France changed the history and function of the Palace. King Jean Le Bon was taken hostage by the English. In 1358 the leader of the Paris merchants, Etienne Marcel, led an uprising against royal authority. His soldiers invaded the palace, and, in the presence of the King’s son, the future Charles V, they killed the King’s counselors, Jean de Conflans and Robert de Clermont. The rebellion was abandoned and Marcel was killed, but when Charles V took the throne in 1364, he decided to move his residence a safe distance from the center of the city. He built a new residence, the Hôtel Saint-Pol, in the Marais quarter, close to the safety of the Bastille fortress; and later the Louvre Palace and then the Tuileries Palace became the royal residences.

The Kings of France did not entirely abandon the Palace. They returned frequently for ceremonies in the Grand’Salle, receptions for foreign monarchs, to preside over sessions of the Parlement de Paris, and to display the sacred relics at Saint-Chapelle for the veneration of the court. Until the 16th century, some of the Kings made extended stays within the Palace. Nonetheless, the chief occupation of the Palace became the administration of the treasury and especially of royal justice. It became the headquarters of the Parlement of Paris, which was not a legislative body but a high court of the nobility. The Parlement registered all royal decrees, and was the court of appeals for the nobility from decisions of royal tribunals. It met in the Grand’Chambre, with the King presiding. The management of the Palace became the responsibility of the Concierge, a high court official named by the King. At one point in the 15th century, the title belonged to Isabeau of Bavaria, the wife of King Charles VI. The palace gradually took its name from this official, and was called the Conciergerie.

As early as the 14th century, the Palace was also used to confine important prisoners, since it was not necessary to transfer them from the city’s major prison at Châtelet for trial. Furthermore, the Palace had its own torture chambers, used to encourage the rapid confessions of prisoners. By the 15th century the Palace was one of the major prisons of Paris. The entrance of the prison was located on the main courtyard, the Cour du Mai, named for the tree that the clerks of the Palace traditionally placed there every spring. The prison cells were located in the lower floors of the Palace and in the towers, where the torture was also conducted. Prisoners were rarely kept there for a long time. As soon as judgement was given, they were taken briefly to the parvis in front of the Cathedral of Notre Dame to have their confession heard, then to their execution on the Place de Greve. [10]

Notable prisoners held at the Palace before their executions included Enguerrand de Marigny, the chancellor of King Philip le Bel, who oversaw the construction of much of the Palace, accused of corruption by the King’s successor, Louis X; Gabriel the Count of Mongomery, whose lance fatally wounded Henry II during a tournament, who was later accused of advocating religious reforms and disobedience to King Charles IX; François Ravaillac, the assassin of Henry IV; Marie-Madeleine d’Aubray, the marquise of Brinvilliers, a famous poisoner; the bandit Cartouche; and Robert François Damien, a Palace servant who tried to kill Louis XV. Jeanne de Valois, the Countess de la Motte, the central figure in the notorious Affair of the Diamond Necklace, who plotted to defraud Marie Antoinette, was held there, whipped, branded with a V for Voleur (thief), then transferred to the Saltpétriére Prison for a life sentence, but escaped a few months later. [11]

From the Renaissance to the Revolution

The Palace in 1615. Place Dauphine had replaced the Palace garden, and the Pont Neuf had just been finished.

The Chambre de Comptes (center) and Sainte Chapelle (right) in about 1640

From the 14th through the 18th century, the Kings of France made many modifications to the palace, particularly to Sainte-Chapelle. in 1383, Charles VI replaced the spire of Sainte-Chapelle, and, at the end of the century, an oratory was built on the outside of the chapel against the south wall. From 1490 to 1495, Charles VIII installed a new rose window on the western facade of the chapel. In 1504, Louis XII added a monumental stairway on the south side of the palace, and constructed a new building for the Chambre des comptes, the royal treasury. In 1585, Henry III added a sundial to the wall of the clock tower, and began the construction of the Pont Neuf, a new bridge to connect the island to the left and right banks of the Seine. In 1607, Henry IV gave up the royal garden at the end of the island and had a new residential square, Place Dauphine, constructed on the site. In 1611, Louis XIII had the banks of the river around the island rebuilt of stone.

In 1618, a major fire destroyed the Grand’Salle. It was reconstructed following the same plan by Salomon de Brosse in 1622. In 1630 another fire destroyed the spire of Sainte-Chapelle, which was replaced in 1671. In 1671, King Louis XIV, always short of money for his grandiose projects, followed the earlier practice of Henry IV at Place Dauphine, and began dividing excess land around the palace into lots for new building. By the 18th century, the palace was completely surrounded by private houses and shops built right up against its walls. [12]

Louis XIV arrives at the Palais de la Cité to preside over a session of the Parlement de Paris (1715)

The Parlement de Paris meets as a high court in 1723

In the late 17th and 18th centuries, the palace was struck by a series of natural catastrophes. The river Seine rose during the winter of 1689-1690, flooding the Palace and causing considerable damage, including the destruction of the stained glass windows on the lower level of Sainte-Chapelle. In 1737, a fire destroyed the Cour de Comptes. The reconstruction of the building was accomplished by Jacques Gabriel, the father of Ange-Jacques Gabriel, architect of the Place de la Concorde. An even more serious fire occurred in 1776, causing serious damage to the residence of the King, the Grosse Tour, and the buildings around the Cour de Mai. In the reconstruction, the old Treasury of Chartres, the Grosse Tour and the eastern wall of the palace were demolished. A new face, the present facade, was given to what became known as the Palace of Justice; a new gallery was built at Sainte-Chapelle; a new chapel was constructed inside the Conciergerie to replace the oratory from the 12th century, and many new prison cells were constructed, which were to play a notorious role in the French Revolution. [12]

The Revolution and the Terror

The Conciergerie during the Revolution (1790)

In the turbulent years before the French Revolution, one important center of opposition to the authority of the King, the Parlement of Paris, was found within the Conciergerie. In May, 1788, he nobles, who met the Grand’Salle of the Conciergerie, refused to allow the King to launch an investigation of one of their members.

In July, 1789, after the storming of the Bastille, power passed to a new Constituent Assembly, which had little sympathy for the nobles of the Parlement of Paris. The Assembly put the Parlement on an indefinite vacation, and in 1790 the first elected mayor of Paris, Jean Sylvain Bailly, closed and sealed the offices of the Parlement.

The Revolution took a more radical turn in August 1792, when the first Paris Commune and the ’’Sans-culottes’’ seized the Tuileries Palace and arrested the King. In September, the ‘’sans-Culottes’’ massacred 1,300 prisoners in four days, including those held in the Conciergerie, who were killed in the ‘’Cour des Femmes’’, the yard where women prisoners were allowed to exercise.[13]

The new revolutionary government of the Convention was soon divided into two factions, the more moderate Girondins and the more radical Montagnards, led by Robespierre. On March 10, 1793, Convention, over the opposition of the Girondins, ordered the creation of a Revolutionary Tribunal, with its headquarters in the Conciergerie. The tribunal met in the ‘’Grand’Salle’’, where the Parlement of Paris had held its meetings, which was renamed the ‘’Salle de la Liberte’’. It was headed by Fouquier-Tinville, a former state prosecutor, aided by a jury of twelve members. In the Convention, Robespierre had a new Law on Suspects passed, which deprived prisoners before the Tribunal of most of their rights. There was no appeal to decisions of the tribunal, and sentences of death were carried out the same day.

Marie Antoinette on trial before the Revolutionary Tribunal, after Hippolyte de la Charlerie, engraved by Jacob Meyer-Heine for Blanc’s Histoire de la Revolution

Among the first to be tried was Marie Antoinette, who had been held a prisoner for two and half months since the trial and execution of her husband, Louis XVI. She was tried on October 16, 1793 and executed on the same day. On October 24, twenty Girondin members of the Convention were put on trial for conspiring against the unity of the new Republic, and immediately executed. Others brought before the Tribunal and executed included Philippe Egalite, a cousin of the King, who had voted for the King’s execution (November 6); Bailly, the first elected Mayor of Paris; (November 11), and Madame du Barry, a favorite of the King’s father, Louis XV (December 8).[14]

Prisoners rarely spent a long time in the Conciergerie; most were brought there a few days or at the most a few weeks before their trial. There were as many as six hundred prisoners there at a time; a small number of wealthy prisoners were given their own cells, but most were crowded into large common cells, with straw on the floor. At dawn the cell doors were opened the prisoners were allowed to exercise in the courtyard or in the corridors. Women prisoners went to a separate courtyard with a fountain, where they could wash their clothes. Prisoners gathered at the foot of Bonbec Tower each evening to hearP the guards read the names of those who would be brought before the Tribunal the next day. Those whose names were announced were traditionally given a meager banquet with other prisoners that night.[15]

Soon the Tribunal tried anyone who opposed Robespierre. Jacques Hébert, Danton, Camille Desmoulins, and many others were brought before the Tribunal, judged and executed. many opponents of Robespierre were arrested that the Tribunal began trying them in groups. By July 1794 an average of thirty-eight persons a day were judged and guillotined. Gradually, however, opposition grew against Robespierre, who was accused of wishing to be a dictator. He was arrested on July 28, 1794, after trying unsuccessfully to shoot himself. He was taken to the infirmary of the Conciergerie, then, a few hours later, tried by the Tribunal, and executed on the Place de la Revolution. The chief of the Tribunal, Fouquier-Tinville, was arrested, and after nine months in prison in the Conciergerie, was also executed on May 9, 1795. The Revolutionary Tribunal was abolished on May 7, 1795, after having put to death 2,780 persons in 718 days. [15]

The Palace in the 19th century

The Palais in 1858, by Adrien Dauzats

Following the Revolution, the Palace became the headquarters of the judicial system of France, but also continued its vocation as a prison. During the Consulate of Napoleon Bonapartre, the rebel Georges Cadoudal was imprisoned there until his execution in 1804. After Napoleon’s downfall, one of his most famous generals, Marshal Michel Ney, were imprisoned there before his execution in 1815, as was Napoleon’s nephew, Louis-Napoleon Bonaparte, the future Napoleon III, after his failed attempt to overthrow King Louis Philippe. The anarchists Giuseppe Fieschi and Felice Orsini, who tried respectively to kill Louis-Philippe and Napoleon III, were both imprisoned there, as was another famous anarchist, Ravachol, who was executed in 1892. [16]

During the Revolution, Sainte-Chapelle had been turned into a storage vault for legal documents, and half of the stained glass removed. Between 1837 and 1863, a major campaign was begun to restore the chapel to its medieval splendor. At the same time, the Conciergerie and Palace of Justice underwent major changes. Between 1812 and 1819, Antoine-Marie Peyrie restored the vaulted ceiling of the old Medieval hall of the men-at-arms, and also, at the request of the restored King Louis XVIII, built an expiatory chapel where the cell of Marie-Antoinette had been. Between 1820 and 1828, he built a new facade for the Conciergerie along the Seine between the Tour de l’Horloge and the Tour Bonbec. In 1836, a new entrance was to the Conciergerie was made between the Tour d’Argent and the Tour César

The ruins of the Palace of Justice after the Paris Commune (1871)

Another large building project by architects Joseph Louis Duc and Etienne Theodore Dommey by between 1847 and 1871 greatly enlarged the Palais de Justice. They built a new facade along the Boulevard du Palais, constructed a building for the Correctional Police, reconstructed the roof of the Salle des pas-perdus, and restored the Tour de l’Horloge. They also demolished some of the last vestiges of the old palace, including what remained of the Logis du Roi and the Salle sur L’eau’, and began construction of a new building for the Cour de cassation.

In May 1871, the Palace was struck by another catastrophe; during the last days of the Paris Commune, the soldiers of the Commune set fire to important government buildings, including the Tuileries Palace, the Hotel de Ville and the new Palais de Justice. The new Palais was largely destroyed. A major restoration project by architect Viollet Le Duc over twenty years rebuilt it. Duc also finished the Harlay facade, while architect Honore Daumét completed the building of the Court of Appeals. The last building of the Palace of Justice, the Tribunal Correctionelle on the corner of the Quai d’Orfevres, was completed between 1904 and 1914.

The Conciergerie was declared a national historical monument in 1862, and some rooms were opened to the public in 1914. It continued to function as a prison until 1934. [17]

Vestiges of the Medieval Palace

The towers

The Bonbec Tower (1226-1270) held the torture chamber of the palace prison

The four towers (Horloge (L), César, Argent, Bonbec (R))

The Tour de l’Horloge, or clock tower (14th century)

The clock on the Tour de l’Horloge (14th century)

The four towers along the Seine date back to the Middle Ages, while the facade is more modern, dating to the early 19th century. The tower on the far right, the Tour Bonbec, is the oldest, built between 1226 and 1270 during the reign of Louis IX, or Saint Louis. It is distinguished by the crenolation at the top of the tower. It originally was a story shorter than the other towers, but was raised to match their height in the renovation of the 19th century. The tower served as the primary torture chamber during the Middle Ages; it was said that prisoners tortured would sing like birds, with a “bon bec’, or beak open wide.

The two towers in the center, the Tour de César and the Tour d’Argent were built in the 14th century. Each has four levels. Starting in the 15th century, the top levels held the offices of the clerks of the court, both criminal and civil. The lower floors contained jail cells.

The tallest tower, the Tour de l’Horloge, was constructed by Jean le Bon in 1350, and modified several times over the centuries. The first public clock in Paris, made by Henri d’Vic, was added by Charles V in 1370. The sculptural decoration around the clock, featuring allegorical figures of The Law and Justice, was added in 1585 century by Henry III. They were smashed during the Revolution but later restored. At the top of the tower was a bell, which was rung to announce important events in the life of the royal family, and was also rung to signal the Saint Bartholomew’s Day Massacre. The original bell was removed and melted down during the Revolution.

The facades were constructed in the 19th century in the neogothic and neoclassic style, during the restoration and rebuilding of the Palace. The facade to the east, or left, is by Antoine-Marie Peyre, and that to the west, or right, by Joseph Louis Duc and Étienne Theodore Dommey.[18]

The Medieval halls

The Salle des gens d’armes, below the now vanished Medieval Grand’Salle.

The Salle des gardes, beneath the former Grand’Chambre

Stairways in the Salle des gardes to the Argent and Cesar towers

The two halls in the lower part of the Conciergerie, the Salle des Gardes (Hall of the Guards) and the Salle des Gens d’armes (Hall of the Men at Arms), along with the kitchens, are the only surviving rooms of the original Capetian palace. When they were built, the two halls were at street level, but over the centuries, as the island was built up to prevent floods, they were below the street. The Salles des Gardes was built at the end of the 13th and beginning of the 14th century, as the ground floor of the Grand’Chambre, where the King conducted judicial hearings, and where, during the Revolution, the Revolutionary Tribunal met. It was connected with the hall above by a stairway in the southwest part of the hall, and by a second stairway in a tower which was demolished in the 19th century. It is one of the finest examples of medieval architecture in Paris. The hall is 22.8 meters long, 11.8 meters wide, and 6.9 meters high. The massive columns have decorative sculpture of combat of animals and narrative scenes. Two stairways on the north side of the hall lead up to the towers of Argent and Cesar where prison cells were located. During the Revolution, the apartment of the chief prosecutor of the Terror, Fouquier-Tinville, was on the upper floor, and his office was in the Tower of Cesar. The Salle des Gardes was filled with prison cells until the mid-19th century, when the hall was restored to its original appearance.

The Salle des Gens d’armes was the ground floor below the magnificent Grand’Salle, where the Kings of France held banquets to welcome royal guests, and to celebrate special events, such as the visit of German Emperor Charles IV in 1378, hosted by Charles V shortly before he moved out of the Palace, and the marriage of Francis II with Mary Stuart, Queen of Scots. The hall itself, with a high double-vaulted wooden roof, burned several times, most recently in fires started by the Paris Commune in May 1871. It was replaced by a new grand hall, the Salle des Pas Perdu , of the Palace of Justice. During the Middle Ages the lower floor was used largely as a restaurant and holding area for the large staff of the Royal household; it could serve as many as two thousand persons. A large stairway, now walled off, connected the lower floor with the Grand’Salle. The Salle is 63.3 meters long, 27.4 meters wide, and 8.5 meters high. Beginning in the 15th century the hall was divided into smaller rooms and prison cells.

The hall underwent many changes and restorations over the centuries. After a fire destroyed most of the upper hall in 1618, the architect Salomon de Brosse built a new hall, but made the error of not placing the new columns over the original columns in the lower level. This led in the 19th century to the collapse of part of the roof of the lower hall, which was rebuilt with additional columns. In the 19th century windows were also added on the north side looking out at the courtyard. The circular stairway in the northeast corner of the Salle, built in the medieval style, was constructed in the 19th century during the reign of Napoleon III, who had briefly been held a prisoner himself in the building. [19]

Sainte-Chapelle

Main article: Saint Chapelle

The exterior of Sainte-Chapelle (1241-1248)

The windows of the upper chapel

The ceiling of the lower chapel

Sainte Chapelle was constructed by King Lous IX, later known as Saint Louis, between 1241 and 1248 to keep the holy relics of the Crucifixion of Christ obtained by Louis, including what was believed to be the Crown of Thorns. The lower level of the chapel served as the parish church for the residents of the Palace. The upper level was used only by the King and royal family. The stained glass windows of the upper chapel, about half of them original, are one of the most important monuments of Medieval art in Paris. The chapel was turned into a storage depot for court documents from the Palace of Justice after the Revolution, but was carefully restored during the 19th century.

The 18th century prison

The Rue de Paris

Prison cells

The Chapel of the Girondins, converted to prison cells

Recreation of the cell of Marie-Antoinette

The prison quarter of the Palace visible today dates to the late 18th century. After a fire in 1776, Lous XVI had a section of Conciergerie prison rebuilt; During the French Revolution it served as the principal prison for political prisoners, including Marie Antoinette, before their trials and execution r. The prison was extensively rebuilt in the 19th century, and many famous rooms, such as the original cell of Marie Antoinette, disappeared. However, part of the prison was restored for the 200th anniversary of the French Revolution in 1989, and can be seen by visitors.

The Rue de Paris was a section of the Salle des gardes which was separated by a grill from the rest of the hall during the 15th century. During the Revolution it was used as a common cell for prisoners when the all the other cells were full. It took its name from “Monsieur Paris”, the nickname for the executioner.

The Chapel of the Girondins is one chamber that has changed little since the Revolution. It was constructed after the 1776 fire on the site of medieval oratory of the Palace. In 1793 and 1794, when the prison was overcrowded, it was converted to prison cells. It took its name from the Girondins, a Revolutionary faction of deputies who opposed the more Montagnards of Robespierre. The Deputies were arrested, and held a last “banquet” in the chapel the night before their execution. [20]

The Cour des Femmes was the courtyard where women prisoners, including Marie-Antoinette, were allowed to walk, to wash their clothing in the fountain, or to eat at an outdoor table. The courtyard is little changed from the time of the Revolution.

The cell where Marie-Antoinette passed two and half months before her trial and execution was turned into an expiatory chapel by King Louis XVIII after the restoration of the monarchy. The chapel occupies both the space of her original cell and the infirmary of the prison, where Robespierre was held after his suicide attempt and before his trial and execution. Though not in the same location, the cell faithfully copies the arrangement and details of the original cell, including the 24-hour surveillance of the Queen by a soldier. [21]

References

Notes and citatation

  1. Delon 2000.
  2. Fierro 1996, p. 22.
  3. Delon 2000, pp. 6-7.
  4. Delon 2000, pp. 10.
  5. Bove & Gauvard 2014, pp. 77-82.
  6. Delon 2000, pp. 12-13.
  7. Sarmant 2012, pp. 43-44.
  8. Delon 2000, p. 14.
  9. Delon 2000, p. 15.
  10. Delon 200, pp. 16-20.
  11. Delon 200, pp. 19-20.
  12. Delon 2000, pp. 20-21.
  13. Delon 2000, p. 30.
  14. Delon 2000, p. 30-32.
  15. Delon 2000, p. 32.
  16. Delon 2000, p. 34.
  17. Delon 2000, pp. 35–37.
  18. Delon 2000, p. 41.
  19. Delon 2000, pp. 45-50.
  20. Delon 2000, p. 58.
  21. Delon 2000, p. 63.

Bibliography

Bove, Boris; Gauvard, Claude (2014). Le Paris du Moyen Age (in French). Paris: Belin. ISBN 978-2-7011-8327-5.

Combeau, Yvan (2013). Histoire de Paris. Paris: Presses Universitaires de France. ISBN 978-2-13-060852-3.

De Finance, Laurence (2012). La Sainte-Chapelle – Palais de la Cité. Paris: Éditions du patrimoine, Centre des Monuments Nationaux. ISBN 978-2-7577-0246-8.

Delon, Monique (2000). La Conciergerie – Palais de la Cité. Paris: Éditions du patrimoine, Centre des Monuments Nationaux. ISBN 978-2-85822-298-8.

Fierro, Alfred (1996). Histoire et dictionnaire de Paris. Robert Laffont. ISBN 2-221–07862-4.

Hillairet, Jacques (1978). Connaaissance du Vieux Paris. Paris: Editions Princesse. ISBN 2-85961-019-7.

Héron de Villefosse, René (1959). HIstoire de Paris. Bernard Grasset.

Meunier, Florian (2014). Le Paris du moyen âge. Paris: Editions Ouest-France. ISBN 978-2-7373-6217-0.

Piat, Christine (2004). France Médiéval. Monum Éditions de Patrimoine. ISBN 2-74-241394-4.

Sarmant, Thierry (2012). Histoire de Paris: Politique, urbanisme, civilisation. Editions Jean-Paul Gisserot. ISBN 978-2-755-803303.

Schmidt, Joel (2009). Lutece- Paris, des origines a Clovis. Perrin. ISBN 978-2-262-03015-5.

Dictionnaire Historique de Paris. Le Livre de Poche. 2013. ISBN 978-2-253-13140-3.

Square of the Saint-Jacques tower


Monument to Gérard de Nerval translated from Wikipedia

Illustrative image of the article Square de la Tour Saint-Jacques
General view of the square.
Country la France
town 4th arrondissement of Paris
District Saint-Merri
Area 0.6016 ha
Creation 1836
Botanical species Morus alba , Broussonetia papyrifera

 

 

 

The square of the Saint-Jacques tower is a green space located in the Saint-Merri district of the 4th arrondissement of Paris. Opened in 1836, it extends on a rectangle bordered on the north by the street of Rivoli (of which it is the official address in n 39), on the south by the avenue Victoria, to the west by boulevard de Sébastopol, and east by rue Saint-Martin.

 

History

After the destruction of the church Saint-Jacques-la-Boucherie, stood at the foot of the old steeple market Saint-Jacques. The tower was accessible from the market and from the rue du Petit-Crucifix, which ran along it to the west.

Created in 1856 after the acquisition of the land by the city ​​of Paris in 1836, it is the first Parisian square landscaped and built by Jean-Charles Alphand, as part of the major Haussmanian development improvements being hygiene and traffic in the center of Paris. The creation of the square required the disappearance of the rue du Petit-Crucifix.

The square is designed around the tower of Saint-Jacques built in the sixteenth century in the flamboyant Gothic style, remodeled for the occasion in the factory by Theodore Ballu. Among the elements of interest, the square houses since 1857 the statue of Blaise Pascal (because of the experiments on the atmospheric pressure that it made in the tower) carried out by Jules Cavelier and since 1955 the Monument to Gérard de Nerval (in memory his suicide by hanging on the Place du Châtelet) composed of a medallion and a stone in which are engraved verses of the poet.

General view with the tower, the statue of Pascal and the monument to Nerval

Plaque commemorating Gérard de Nerval

Plaque with an excerpt from a poem by Gérard de Nerval

Saint-Jacques tower which gives its name to the square.

On June 7, 1990, one of the trails in the square was renamed to the Waslaw-Nijinski alley in memory of the Russian ballet dancer, who performed at the nearby Châtelet theater in the years 1910-1920.

The Square is restructured in 1997 and then from 2006 to 2009 the square as well as the tower Saint-Jacques are restored. New plantations were made including the white mulberry “Let’s grow here” planted in April 2008 by the municipal authorities in the presence of the first assistant to the mayor, Anne Hidalgo, to support the action of the Association of Education Network without borders. There is another variety of mulberry in the square, the paper mulberry.

Waslaw-Nijinski Lane

The White Mulberry “Let’s Grow Here” from the Education Without Borders Network