1.
Draughtsman
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A drafter, draughtsman or draftsman, drafting technician is a person who makes detailed technical drawings or plans for machinery, buildings, electronics, infrastructure, sections, etc. Drafters use software and manual sketches to convert the designs, plans, drafters operate as the supporting developers and sketch engineering designs and drawings from preliminary design concepts. In the past, drafters sat at drawing boards and used pencils, pens, compasses, protractors, triangles, and other drafting devices to prepare a drawing by hand. From the 1980s through 1990s, board drawings were going out of style as the newly developed computer-aided design system was released and was able to produce technical drawings at a faster pace. Many modern drafters operate computer-assisted drafting equipment and software such as AutoCAD, Vectorworks, Revit, or Solidworks, consequently, drafters may also be casually referred to as CAD operators, engineering draftspersons, or engineering technicians. With CAD systems, drafters can create and store drawings electronically so that they can be viewed, printed, CAD systems also permit drafters to quickly prepare variations of a design. Although drafters use CAD extensively, it is only a tool, drafters still need knowledge of traditional drafting techniques, in addition to CAD skills. Despite the near global use of CAD systems, manual drafting and sketching are used in certain applications, drafters drawings provide visual guidelines and show how to construct a product or structure. Drawings include technical details and specify dimensions, materials, and procedures, drafters fill in technical details using drawings, rough sketches, specifications, and calculations made by engineers, surveyors, architects, or scientists. For example, drafters use their knowledge of standardized building techniques to draw in the details of a structure, drafters use technical handbooks, tables, calculators, and computers to complete their work. Drafting work has many such as, Aeronautical drafters prepare engineering drawings detailing plans and specifications used in the manufacture of aircraft, missiles. Architectural drafters draw architectural and structural features of buildings and other structures and these workers may specialize in a type of structure, such as residential or commercial, or in a kind of material used, such as reinforced concrete, masonry, steel, or timber. Electronics drafters draw wiring diagrams, circuit board assembly diagrams, schematics, and layout used in the manufacture, installation. Process piping or pipeline drafters prepare drawings used in the layout, construction, and operation of oil and gas fields, refineries, chemical plants, and process piping systems. Photovoltaic drafters prepare drawings showing inverter Pad location drawings and slab construction drawings, also prepare specific photovoltaic system assembly details and some wiring diagrams. Drafting technologists and technicians work as part of a broader multidisciplinary engineering team in support of engineers. The position of a drafter is one of an assistant to architects. Drafters usually work in offices, seated at adjustable drawing boards or drafting tables when doing manual drawings and they usually work in an office environment, but some may have to travel and spend time on manufacturing plants or construction sites
Draughtsman
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Traditional drafter at work.
2.
Architect
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An architect is someone who plans, designs, and reviews the construction of buildings. Etymologically, architect derives from the Latin architectus, which derives from the Greek, practical, technical, and academic requirements for becoming an architect vary by jurisdiction. The terms architect and architecture are used in the disciplines of landscape architecture, naval architecture. In most jurisdictions, the professional and commercial uses of the terms architect, throughout ancient and medieval history, most architectural design and construction was carried out by artisans—such as stone masons and carpenters, rising to the role of master builder. Until modern times, there was no distinction between architect and engineer. In Europe, the architect and engineer were primarily geographical variations that referred to the same person. It is suggested that various developments in technology and mathematics allowed the development of the gentleman architect. Paper was not used in Europe for drawing until the 15th century, pencils were used more often for drawing by 1600. The availability of both allowed pre-construction drawings to be made by professionals, until the 18th-century, buildings continued to be designed and set out by craftsmen with the exception of high-status projects. In most developed countries, only qualified people with appropriate license, certification, or registration with a relevant body, such licensure usually requires an accredited university degree, successful completion of exams, and a training period. To practice architecture implies the ability to independently of supervision. In many places, independent, non-licensed individuals may perform design services outside the professional restrictions, such design houses, in the architectural profession, technical and environmental knowledge, design and construction management, and an understanding of business are as important as design. However, design is the force throughout the project and beyond. An architect accepts a commission from a client, the commission might involve preparing feasibility reports, building audits, the design of a building or of several buildings, structures, and the spaces among them. The architect participates in developing the requirements the client wants in the building, throughout the project, the architect co-ordinates a design team. Structural, mechanical, and electrical engineers and other specialists, are hired by the client or the architect, the architect hired by a client is responsible for creating a design concept that meets the requirements of that client and provides a facility suitable to the required use. In that, the architect must meet with and question the client to ascertain all the requirements, often the full brief is not entirely clear at the beginning, entailing a degree of risk in the design undertaking. The architect may make proposals to the client which may rework the terms of the brief
Architect
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Filippo Brunelleschi is revered to be one of the most inventive and gifted architects in history.
Architect
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An architect at work, 1893.
Architect
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Architect
Rem Koolhaas inspecting a model of the
Seattle Central Library
3.
Louis Le Vau
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Louis Le Vau was a French Classical architect who worked for Louis XIV of France. He was born and died in Paris and he was responsible, with André Le Nôtre and Charles Le Brun, for the redesign of the château of Vaux-le-Vicomte. His later works included the Palace of Versailles and his collaboration with Claude Perrault on the Palais du Louvre, sulpice, and Hôtel Lambert, on the Île Saint-Louis, Paris. La peinture à Versailles, XVIIe siècle, Louis Le Vau, Mazarins Collège, Colberts Revenge. La Collection de portraits de lAcadémie royale de Peinture et de Sculpture, Peintures entrées sous le règne de Louis XIV (1648–1715, université de Paris IV,1994, pp. 164–166. Portraits des premiers architectes de Versailles, Revue des Arts, March 1955, françois dOrbay, Architecte de Louis XIV. Media related to Louis Le Vau at Wikimedia Commons
Louis Le Vau
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Louis Le Vau, c. 1662
Louis Le Vau
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Louis Le Vau, c. 1650
4.
Jules Hardouin Mansart
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Jules Hardouin-Mansart was a French architect whose work is generally considered to be the apex of French Baroque architecture, representing the power and grandeur of Louis XIV. Hardouin-Mansart was one of the most important European architects of the seventeenth century and he also learned from Libéral Bruant, architect of the royal veterans hospital in Paris known as Les Invalides. Hardouin-Mansart served as Louis XIVs chief architect, first enlarging the royal château of Saint-Germain-en-Laye and he became the surintendant des Bâtiments du Roi. Outside the château proper, he built the Grand Trianon and the Orangerie, as well as subsidiary royal dwellings not far away, most of these works still set their stamp on the character of Paris and can be seen by a modern-day tourist. A traditional French touch is the modest pedimented entrance flanked by projecting pavilions. Behind, the axis is extended between the former parterres, now grass. The park with formally shaped water was out by André Le Nôtre. The small scale makes it easier to compare to the approximately contemporary Het Loo and he died at Marly-le-Roi in 1708. 17th-century French art Herbermann, Charles, ed. Jules Mansard
Jules Hardouin Mansart
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Jules Hardouin-Mansart, marble bust by
Jean-Louis Lemoyne: a full-dress
Baroque portrait bust demonstrates that the King's architect is no mere craftsman
Jules Hardouin Mansart
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Château de Dampierre: a domesticated version of Baroque for a patron in Louis XIV's inner circle
Jules Hardouin Mansart
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Portrait of Hardouin-Mansart by
Hyacinthe Rigaud.
Jules Hardouin Mansart
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Portrait of Hardouin-Mansart by
François de Troy.
5.
Anne of Austria
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Anne of Austria was queen consort of France and Navarre, regent for her son, Louis XIV of France, and a Spanish and Portuguese Infanta by birth. During her regency, Cardinal Mazarin served as Frances chief minister, born at Benavente Palace in Valladolid, Spain, and baptised Ana María Mauricia, she was the eldest daughter of King Philip III of Spain and his wife Margaret of Austria. She held the titles of Infanta of Spain and of Portugal, in spite of her birth in Spain, she was referred to as Anne of Austria because the rulers of Spain belonged to the House of Austria. Anne was raised mainly at the Royal Alcazar of Madrid, exceptionally for a royal princess, Anne grew up close to her parents, who were very religious. She was raised to be too, and was often taken to visit monasteries during her childhood. In 1611, she lost her mother, who died in childbirth, despite her grief, Anne did her best to take care of her younger siblings, who referred to her with affection as their mother. Anne was betrothed at age eleven to King Louis XIII of France and her father gave her a dowry of 500,000 crowns and many beautiful jewels. For fear that Louis XIII would die early, the Spanish court stipulated that she would return to Spain with her dowry, jewels, and wardrobe if he did die. On 24 November 1615, Louis and Anne were married by proxy in Burgos while Louiss sister, Elisabeth of France, Anne and Elisabeth were exchanged on the Isle of Pheasants between Hendaye and Fuenterrabía. She was lively and beautiful during her youth and she was also a noted equestrian, a taste her son, Louis, would inherit. At the time, Anne had many admirers, including the handsome Duke of Buckingham, Anne and Louis, both fourteen years old, were pressured to consummate their marriage in order to forestall any possibility of future annulment, but Louis ignored his bride. Louiss mother, Marie de Medici, continued to conduct herself as queen of France, Anne, surrounded by her entourage of high-born Spanish ladies-in-waiting, continued to live according to Spanish etiquette and failed to improve her French. During the years he was in the ascendancy, the Duke of Luynes attempted to remedy the formal distance between Louis and his queen, Anne began to dress in the French manner, and in 1619 Luynes pressed the king to bed his queen. Some affection developed, to the point where it was noted that Louis was distracted during an illness of the queen. A series of stillbirths disenchanted the king and served to chill their relations, on 14 March 1622, while playing with her ladies, Anne fell on a staircase and suffered her second stillbirth. Louis blamed her for the incident and was angry with the Duchess of Luynes for having encouraged the queen in what was seen as negligence. Henceforth, the king had less tolerance for the influence that the duchess had over Anne, Louis turned now to Cardinal Richelieu as his advisor. Under the influence of Marie de Rohan-Montbazon, the queen let herself be drawn into political opposition to Richelieu, in 1635, France declared war on Spain, placing the queen in an untenable position
Anne of Austria
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Anne of Austria by Peter Paul Rubens
Anne of Austria
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Anne at the age of six, 1607. The pleated ruff that surrounds her neck and frames her face was made of yards and yards of expensive lace stiffened with starch. It was probably held in position by a wire frame attached to the collar of her dress.
Anne of Austria
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Anne of Austria, coronation costume, by
Peter Paul Rubens
Anne of Austria
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Louis XIII, Anne, and their son
Louis XIV, flanked by
Cardinal Richelieu and the Duchesse de Chevreuse.
6.
Coat of arms
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A coat of arms is an heraldic visual design on an escutcheon, surcoat, or tabard. The coat of arms on an escutcheon forms the central element of the heraldic achievement which in its whole consists of shield, supporters, crest. A coat of arms is traditionally unique to a person, family, state. The ancient Romans used similar insignia on their shields, but these identified military units rather than individuals, the first evidence of medieval coats of arms has been attributed to the 11th century Bayeux Tapestry in which some of the combatants carry shields painted with crosses. However, that heraldic interpretation remains controversial, coats of arms came into general use by feudal lords and knights in battle in the 12th century. By the 13th century, arms had spread beyond their initial battlefield use to become a flag or emblem for families in the social classes of Europe. Exactly who had a right to use arms, by law or social convention, in the German-speaking regions both the aristocracy and burghers used arms, while in most of the rest of Europe they were limited to the aristocracy. The use of spread to the clergy, to towns as civic identifiers. Flags developed from coats of arms, and the arts of vexillology, the coats of arms granted to commercial companies are a major source of the modern logo. Despite no widespread regulation, heraldry has remained consistent across Europe, some nations, like England and Scotland, still maintain the same heraldic authorities which have traditionally granted and regulated arms for centuries and continue to do so in the present day. In England, for example, the granting of arms is and has controlled by the College of Arms. Unlike seals and other emblems, heraldic achievements have a formal description called a blazon. Many societies exist that also aid in the design and registration of personal arms, in the heraldic traditions of England and Scotland, an individual, rather than a family, had a coat of arms. In those traditions coats of arms are legal property transmitted from father to son, wives, undifferenced arms are used only by one person at any given time. Other descendants of the bearer could bear the ancestral arms only with some difference. One such charge is the label, which in British usage is now always the mark of an apparent or an heir presumptive. Because of their importance in identification, particularly in seals on legal documents and this has been carried out by heralds and the study of coats of arms is therefore called heraldry. In time, the use of arms spread from military entities to educational institutes, the author Helen Stuart argues that some coats of arms were a form of corporate logo
Coat of arms
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The German
Hyghalmen Roll, ca. late 15th century, illustrates the German practice of thematic repetition from the arms in the crest
Coat of arms
Coat of arms
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The
Zechariah Seal coat of arms.
7.
Faubourg Saint-Germain
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The Faubourg Saint Germain is a historic district of Paris. The faubourg has long known as the favorite home of the French high nobility. It is currently part of the 7th arrondissement, in its early history, Faubourg Saint-Germain was an agricultural suburb of Paris, lying west of the historical Saint-Germain-des-Prés urban district. In 1670, Louis XIV initiated a project of grandiose home and hospital for aged and unwell soldiers, the king chose a site at the western end of the Faubourg and commissioned architect Libéral Bruant. The enlarged project was completed in 1676, the river front measured 196 metres and the complex had fifteen courtyards, jules Hardouin Mansart assisted the aged Bruant, and the chapel was finished in 1679 to Bruants designs after the elder architects death. The construction of the Invalides opened a new district to urbanizing, offering large empty spaces between the new monument and the old city limit, the Faubourgs history had started. The district became so fashionable within the French aristocracy that the phrase le Faubourg has been used to describe French nobility ever since. The oldest and most prestigious families of the French nobility built outstanding residences in the such as the Hôtel Matignon. After the Revolution many of these mansions, offering magnificent inner spaces, many receptions rooms, the French expression les ors de la Republique, referring to the luxurious environment of the national palaces comes from that time. During the Restoration of the Bourbon dynasty, the Faubourg recovered its past glory as the most exclusive high nobility district of Paris, moreover, home to the Ultra Party, it was the political center of the country. But after the Fall of Charles X during the July Revolution, therefore, the Faubourg remained the center of French upper class social life. Nowadays, the Faubourg-as the rest of the 7th arrondissement- is still is one of the most exclusive districts of Paris, the Faubourg Saint-Germain is the eastern part of the current 7th arrondissement, roughly the area between the Invalides, the 13th arrondissment and the 6th arrondissements border
Faubourg Saint-Germain
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Hôtel de Rothelin-Charolais
Faubourg Saint-Germain
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Hôtel Matignon
Faubourg Saint-Germain
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Hôtel Biron
Faubourg Saint-Germain
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Hôtel de Salm
8.
Louvre Palace
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The Louvre Palace is a former royal palace located on the Right Bank of the Seine in Paris, between the Tuileries Gardens and the church of Saint-Germain lAuxerrois. Its present structure has evolved in stages since the 16th century, in 1793 part of the Louvre became a public museum, now the Musée du Louvre, which has expanded to occupy most of the building. The Palace is situated in the right-bank of the River Seine between Rue de Rivoli to the north and the Quai François Mitterrand to the south. To the west is the Jardin des Tuileries and, to the east, the Rue de lAmiral de Coligny, where its most architecturally famous façade, the Louvre Colonnade, the Cour Napoléon and Cour du Carrousel are separated by the street known as the Place du Carrousel. Some 51,615 sq m in the complex are devoted to public exhibition floor space. The Old Louvre occupies the site of the 12th-century fortress of King Philip Augustus and its foundations are viewable in the basement level as the Medieval Louvre department. This structure was razed in 1546 by King Francis I in favour of a royal residence which was added to by almost every subsequent French monarch. King Louis XIV, who resided at the Louvre until his departure for Versailles in 1678, completed the Cour Carrée, the Old Louvre is a quadrilateral approximately 160 m on a side consisting of 8 ailes which are articulated by 8 pavillons. With it, the last external vestiges of the medieval Louvre were demolished, the New Louvre is the name often given to the wings and pavilions extending the Palace for about 500 m westwards on the north and on the south sides of the Cour Napoléon and Cour du Carrousel. This consummation only lasted a few years, however, as the Tuileries was burned in 1871, the northern limb of the new Louvre consists of three great pavilions along the Rue de Rivoli, the Pavillon de la Bibliothèque, Pavillon de Rohan and Pavillon de Marsan. As on the side, three inside pavilions and their wings define three more subsidiary Courts, Cour du Sphinx, Cour Viconti and Cour Lefuel. The Chinese American architect I. M. Pei was selected in 1983 to design François Mitterrands Grand Louvre Project. The ground-level entrance to this complex was situated in the centre of the Cour Napoléon and is crowned by the prominent steel-and-glass pyramid, in a proposal by Kenneth Carbone, the nomenclature of the wings of the Louvre was simplified in 1987 to reflect the Grand Louvres organization. This allows the visitor to avoid becoming totally mystified at the bewildering array of named wings. The origin of the name Louvre is unclear, the French historian Henri Sauval, probably writing in the 1660s, stated that he had seen in an old Latin-Saxon glossary, Leouar is translated castle and thus took Leouar to be the origin of Louvre. According to Keith Briggs, Sauvals theory is often repeated, even in recent books, but this glossary has never seen again. Briggs suggests that H. J. Wolfs proposal in 1969 that Louvre derives instead from Latin Rubras, david Hanser, on the other hand, reports that the word may come from French louveterie, a place where dogs were trained to chase wolves. In 1190 King Philip II Augustus, who was about to leave on the Third Crusade, completed in 1202, the new fortress was situated in what is now the southwest quadrant of the Cour Carrée
Louvre Palace
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Night view of the
Louvre Pyramid in the centre of the Napoleon Courtyard of the Palais du Louvre
Louvre Palace
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Map of the Louvre Palace complex
Louvre Palace
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Aerial view of the Louvre Palace
Louvre Palace
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The Cour Carrée of the "Old Louvre" looking west (Left to right: Aile Lescot, Pavillon Sully (de l'Horloge), Aile Lemercier)
9.
Palace of Versailles
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The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
Palace of Versailles
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Aerial view of the Palace from above the
Gardens of Versailles
Palace of Versailles
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Bust of Louis XIV by
Bernini in the
Diana Salon of the Palace of Versailles
Palace of Versailles
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View of the Palace from the garden
Palace of Versailles
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Marble Court
10.
Charles Le Brun
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Charles Le Brun was a French painter and art theorist. Declared by Louis XIV the greatest French artist of all time, he was a dominant figure in 17th-century French art, born in Paris, he attracted the notice of Chancellor Séguier, who placed him at the age of eleven in the studio of Simon Vouet. He was also a pupil of François Perrier, in Rome he remained four years in the receipt of a pension due to the liberality of the chancellor. There he worked under Poussin, adapting the latters theories of art, on his return to Paris in 1646, Le Brun found numerous patrons, of whom Superintendent Fouquet was the most important, for whom he painted a large portrait of Anne of Austria. Employed at Vaux-le-Vicomte, Le Brun ingratiated himself with Mazarin, then secretly pitting Colbert against Fouquet, Colbert also promptly recognized Le Bruns powers of organization, and attached him to his interests. Together they took control of the Academy of Painting and Sculpture, and the Academy of France at Rome, another project Le Brun worked on was Hôtel Lambert. The ceiling in the gallery of Hercules was painted by him, Le Brun started work on the project in 1650, shortly after his return from Italy. The decoration continued intermittently over twelve years or so, as it was interrupted by the renovation of Vaux le Vicomte. In 1660 they established the Gobelins, which at first was a school for the manufacture, not of tapestries only. He was the originator of Louis XIV Style and gave a direction to the national tendencies which endured centuries after his death, the King had declared him the greatest French artist of all time. From this date all that was done in the palaces was directed by Le Brun. In 1663, he director of the Académie royale de peinture et de sculpture. While he was working on The Battles, Le Bruns style became more personal as he moved away from the ancient masters that influenced him. Le Bruns decoration is not only a work of art, it is the monument of a reign. This contributed to the illness which on 22 February 1690 ended in his death in his private mansion, Le Brun primarily worked for King Louis XIV, for whom he executed large altarpieces and battle pieces. His most important paintings are at Versailles, besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous. Le Brun was also a fine portraitist and an excellent draughtsman, but he was not fond of portrait or landscape painting, what mattered was scholarly composition, whose ultimate goal was to nourish the spirit. For Le Brun, a painting represented a story one could read, nearly all his compositions have been reproduced by celebrated engravers
Charles Le Brun
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Charles Le Brun, portrait by
Nicolas de Largilliere
Charles Le Brun
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Portrait of Nicolas Le Brun by Charles Le Brun, ca. 1635,
Residenzgalerie, Salzburg
Charles Le Brun
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Venus Clipping Cupid’s Wings, ca. 1655,
Museo de Arte de Ponce,
Ponce, Puerto Rico
Charles Le Brun
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Part of the ceilling of the
Hall of Mirrors in the
Palace of Versailles.
11.
Claude Perrault
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Claude Perrault was a French architect, best known for his participation in the design of the east façade of the Louvre in Paris. He also achieved success as a physician and anatomist, and as an author, Perrault was born and died in Paris. His treatise on the five orders of architecture followed in 1683. As physician and natural philosopher with a degree from the University of Paris. A committee commissioned by Louis XIV, the Petit Conseil, comprising Louis Le Vau, Charles Le Brun and it was begun in 1668 and was almost completed in 1680, by which time Louis XIV had abandoned the Louvre and focused his attention on the Palace of Versailles. The wing behind the east façade was not finished until the 19th century with the advent of Napoleon, the definitive design of the east façade is attributed to Perrault, who made the final alterations needed to accommodate a decision to double the width of the south wing. The east façade, divided in five parts, is a solution of the French classicism. The simple character of the ground floor basement sets off the paired Corinthian columns, modeled according to Vitruvius, against a shadowed void. Little that could be called Baroque can be identified in its cool classicism that looks back to the 16th century, perraults participation in its design established his reputation as an architect. Perrault also built an Observatory, the church of St-Benoît-le-Bétourné, designed a new church of Ste-Geneviève, perraults design for a triumphal arch on Rue St-Antoine was preferred to competing designs of Le Brun and Le Vau, but was only partly executed in stone. When the arch was taken down in the 19th century, it was found that the master had devised a means of so interlocking the stones, without mortar. In addition, he made a contribution in acoustics. His treatise on sound was a part of the book Oeuvres diverses de Physique et de Mecanique, in his later book, he treats such subjects as sound media, sources of sound and sound receivers. In musical acoustics, he noted the importance of vibration on consonance and dissonance and his study De la Musique des Anciens in the Oeuvres diverses discussed how combinations of notes yields harmony. It also contains critical examinations of old manuscripts on European music and his brother, Charles Perrault, is remembered as the classic reteller of the old story of Cinderella among other fables. Mémoires pour servir à l’histoire N=naturelle des animaux, introduction by Alberto Pérez-Gómez to Indra Kagis McEwens translation of Perrault’s Ordonnance for the five kinds of columns after the method of the Ancients. Santa Monica, CA, Getty Center for the History of Art, media related to Claude Perrault at Wikimedia Commons Works by Claude Perrault at Project Gutenberg Works by or about Claude Perrault at Internet Archive
Claude Perrault
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Claude Perrault
12.
Rue Saint-Denis (Paris)
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Rue Saint-Denis is one of the oldest streets in Paris. Its route was first laid out in the 1st century by the Romans, from the Middle Ages to the present day, the street has become notorious as a place of prostitution. Its name derives from it being the route to Saint-Denis. The street extends as far as the 1st arrondissement and Rue de Rivoli to the south and as far as the 2nd arrondissement and it runs parallel to the boulevard de Sébastopol. During the French Revolution, it was known as the rue de Franciade, the street was one of the centres of the June Rebellion of 1832, immortalised in Victor Hugos novel Les Misérables, and which is referred to in the book as the Epic of the Rue Saint-Denis. The neighborhood around the rue Saint-Denis is now all made up of sex shops. The street also contains some shops, bars and restaurants, as well as the church of Saint-Leu-Saint-Gilles, a bank. The Frog and Rosbif Brew Pub is located here, one of only a small number of cask conditioned beer producers in France. N°92, Église Saint-Leu-Saint-Gilles n°142, House built in 1732 by Jacques-Richard Cochois for Claude Aubry, attached to it is the fontaine Greneta, rebuilt at the same time as the house, but whose original dates back to at least 1502. N°s 224-226, Maison des Dames de Saint-Chaumont, established in 1685 in a hôtel de Saint-Chaumond, the nuns had constructed 1734-1735 by Jacques Hardouin-Mansart de Sagonne a lodge which has been conserved, a building of exceptional quality decorated by Nicolas Pineau. It is the survivor of the many pious or charitable establishments built along rue Saint-Denis. Its simple entrance is next to boulevard de Sébastopol and a garden extends between the building and the street, in the corner of rue de Tracy could be found the covents chapel, built in 1782 by Pierre Convers in the ancient style but now lost. At the end of rue Saint-Denis, at the intersection of the grands Boulevards, Rue Saint-Denis is then extended from there out into what was medieval Pariss faubourg by the Rue du Faubourg-Saint-Denis Raid November 18th,2015
Rue Saint-Denis (Paris)
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Pedestrian Rue Saint Denis in Les Halles district
Rue Saint-Denis (Paris)
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Rue Saint-Denis (Paris)
13.
Albert Laprade
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Albert Laprade was a French architect, perhaps best known for the Palais de la Porte Dorée. During a long career he undertook many urban renewal projects as well as industrial and commercial works. A skilled artist, he published a series of books of architecture in France. Albert Laprade was born in Buzançais, Indre on 29 November 1883 and he was the only son of a wholesale grocer and a seamstress from Châteauroux. He attended the Lycée Jean-Giraudoux in Châteauroux, graduating in 1900, in 1905 he was admitted to the studio of Gaston Redon, and then studied under Albert Tournaire. He was a brilliant pupil and won many prizes and he obtained his diploma as an architect in 1907. Between 1910 and 1914 Laprade worked in the studio of René Sergent, an uncle by marriage and he also worked with Henri Prost. He was called up in 1914 with the outbreak of World War I, in 1915 he was wounded at Ypres and sent to Rouen to recover, but was unable to return to the field. Prost arranged for him to become his assistant in Morocco, Laprade worked under Prost in the town planning division, and was given the tasks of redesigning the great central park in Casablanca, and then planning a new indigenous town. Laprade first made many drawings of local architectural motifs in an effort to understand the interaction of stylistic elements with social functions. His goal was to develop an elegant urban architecture based on technology that would be appropriate to the stylistic tastes. His new Madina in Casablanca was separate from the French quarters, Laprade followed Moroccan traditions in the division between interior courtyards and the street. In 1917 Laprade went to Rabat where he assisted with the General Residence and its gardens, the military and diplomatic cabinet, a park and sports ground, in this last he incorporated concepts from local architecture, ensuring harmony with the surrounding buildings. Auguste Cadet and Edmond Brion undertook the construction project in Casablanca. Laprade met many of his private clients while in Morocco. His sketches of local gardens and houses were used to illustrate Jean Galottis Les Jardins et les maisons arabes au Maroc. Laprade returned to France in 1920 and that year he rebuilt the Château de Gerbéviller, which had been damaged by bombing, for Charles de Lambertye-Gerbéviller. Laprade created the Jardins des Nympheas and Jardins des Oiseaux for the 1925 International Exposition of Modern Industrial, in an interview he said that he had a love of flowers embedded in architecture, whether it was brick, stone or even concrete
Albert Laprade
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Albert Laprade
Albert Laprade
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El Hank lighthouse, Casablanca, which Laprade and Prost designed in 1916.
Albert Laprade
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Villa Magdalena,
Bénodet, Brittany (1926-1928)
Albert Laprade
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Facade of the
Palais de la Porte Dorée (1931)
14.
Louvre Colonnade
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Claude Perraults Colonnade is the easternmost façade of the Palais du Louvre in Paris. It has been celebrated as the foremost masterpiece of French Architectural Classicism since its construction, cast in a restrained classicizing baroque manner, it interprets rules laid down by the ancient Roman architect Vitruvius, whose works Perrault had translated into French. Architect Louis Le Vau and artist Charles Le Brun also contributed to the realization of Perraults work, little that could be called Baroque can be identified in Perrault’s cool classicism that looks back to the 16th century. The façade, divided into five parts, is a solution of French classicism. The simple character of the ground floor basement sets off the paired Corinthian columns, modeled according to Vitruvius, against a shadowed void. This idea of coupled columns on a high podium goes back as far as Bramante and those rhythmical columns form a shadowed colonnade with a central pedimented triumphal arch entrance raised on a high, rather defensive base. Crowned by an uncompromising Italian balustrade along its distinctly non-French flat roof, Perrault won the competition held by Louis XIV for a design for the eastern façade of the Louvre Palace, beating out even Gian Lorenzo Bernini, who had traveled from Italy expressly for the purpose. In 1964, the French Minister of Culture, André Malraux, the moat may have been filled in around 1674 to facilitate construction and not restored due to lack of funds to build the contrescarpe after Louis XIVs attention shifted to the Palace of Versailles. However, in 1981 Germain Bazin argued that the reconstruction of the moat was misguided, Le Monde,20 August 1981, p.2. The Palace of the Sun, The Louvre of Louis XIV, University Park, The Pennsylvania State University Press. Les soubassements de laile orientale du Louvre
Louvre Colonnade
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Perrault’s Colonnade in 2005
Louvre Colonnade
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Engraving of the east facade from
Blondel 's Architecture françoise, 1756
Louvre Colonnade
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The lifting of the Louvre pediment stones, 1674, engraving by
Sébastien Leclerc
15.
Lyon
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Lyon or Lyons is a city in east-central France, in the Auvergne-Rhône-Alpes region, about 470 km from Paris and 320 km from Marseille. Inhabitants of the city are called Lyonnais, Lyon had a population of 506,615 in 2014 and is Frances third-largest city after Paris and Marseille. Lyon is the capital of the Metropolis of Lyon and the region of Auvergne-Rhône-Alpes, the metropolitan area of Lyon had a population of 2,237,676 in 2013, the second-largest in France after Paris. The city is known for its cuisine and gastronomy and historical and architectural landmarks and is a UNESCO World Heritage Site, Lyon was historically an important area for the production and weaving of silk. It played a significant role in the history of cinema, Auguste, the city is also known for its famous light festival, Fête des Lumières, which occurs every 8 December and lasts for four days, earning Lyon the title of Capital of Lights. Economically, Lyon is a centre for banking, as well as for the chemical, pharmaceutical. The city contains a significant software industry with a focus on video games. Lyon hosts the headquarters of Interpol, Euronews, and International Agency for Research on Cancer. Lyon was ranked 19th globally and second in France for innovation in 2014 and it ranked second in France and 39th globally in Mercers 2015 liveability rankings. These refugees had been expelled from Vienne by the Allobroges and were now encamped at the confluence of the Saône and Rhône rivers, dio Cassius says this task was to keep the two men from joining Mark Antony and bringing their armies into the developing conflict. The Roman foundation was at Fourvière hill and was officially called Colonia Copia Felix Munatia, a name invoking prosperity, the city became increasingly referred to as Lugdunum. The earliest translation of this Gaulish place-name as Desired Mountain is offered by the 9th-century Endlicher Glossary, in contrast, some modern scholars have proposed a Gaulish hill-fort named Lugdunon, after the Celtic god Lugus, and dúnon. It then became the capital of Gaul, partly due to its convenient location at the convergence of two rivers, and quickly became the main city of Gaul. Two emperors were born in city, Claudius, whose speech is preserved in the Lyon Tablet in which he justifies the nomination of Gallic senators. Today, the archbishop of Lyon is still referred to as Primat des Gaules, the Christians in Lyon were martyred for their beliefs under the reigns of various Roman emperors, most notably Marcus Aurelius and Septimus Severus. Local saints from this period include Blandina, Pothinus, and Epipodius, in the second century AD, the great Christian bishop of Lyon was the Easterner, Irenaeus. Burgundian refugees fleeing the destruction of Worms by the Huns in 437 were re-settled by the commander of the west, Aëtius. This became the capital of the new Burgundian kingdom in 461, in 843, by the Treaty of Verdun, Lyon, with the country beyond the Saône, went to Lothair I
Lyon
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Top, the Basilique de Notre-Dame de Fourvière, the Place des Terreaux with the Fontaine Bartholdi and Lyon City Hall at night. Centre, the Parc de la Tête d'Or, the Confluence district and the old city. Bottom, the Pont Lafayette, the Part-Dieu district with the Place Bellecour in the foreground during the Festival of Lights.
Lyon
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Place Carnot, Lyons
Lyon
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The lion has been the symbol of the city for centuries and is represented throughout the city.
Lyon
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Lyon in the 18th century
16.
Porte du Peyrou
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The Porte du Peyrou is a triumphal arch in Montpellier, in southern France. It is situated at the end of the Jardin de Peyrou. The arch was designed by François Dorbay, after the model of the Porte Saint-Denis in Paris and its construction was completed in 1693. Its rusticated surface is crowned by a Doric entablature, suitable to a martial monument and its later panels in bas-relief and inscriptions glorifying King Louis XIV of France were added in 1715
Porte du Peyrou
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The Porte du Peyrou.
Porte du Peyrou
Porte du Peyrou
17.
Montauban Cathedral
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Montauban Cathedral is a Roman Catholic cathedral, and a national monument of France, located in the town of Montauban. It is the seat of the Bishopric of Montauban, created in 1317, abolished by the Concordat of 1801 and transferred to the Archdiocese of Toulouse, the cathedral of Montauban was Protestant from the start of the Wars of Religion until Catholicism returned to Montauban in 1629. The construction of a new church, the present building, was agreed after the revocation of the Edict of Nantes in 1685, the cornerstone of the new cathedral was laid in 1692, and the church was consecrated in 1739. Initially, the architect François dOrbay supervised the works, when he died in 1697, he was succeeded by Jules Hardouin-Mansart and Robert de Cotte. The interior is decorated with pilasters, metopes and triglyphs, a famous painting by Ingres, The Vow of Louis XIII, hangs in the north arm of the transept. Location Catholic Encyclopedia, Diocese of Montauban Catholic Hierarchy, Diocese of Montauban Picture of organ in Cathedral
Montauban Cathedral
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Montauban Cathedral
Montauban Cathedral
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Interior view of Montauban Cathedral.
Montauban Cathedral
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Organ
18.
Robert de Cotte
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Robert de Cotte was a French architect-administrator, under whose design control of the royal buildings of France from 1699, the earliest notes presaging the Rococo style were introduced. First a pupil of Jules Hardouin-Mansart, he became his brother-in-law. After Hardouin-Mansarts death, de Cotte completed his projects, notably the royal chapel at Versailles. Fiske Kimball, the chronicler of the Rococo, notes that there are no surviving drawings by de Cotte from this period, from 1708, Robert de Cotte was Premier architecte du Roi and director of the Académie royale darchitecture. De Cotte, with ever-widening responsibilities at Court, was occupied with projects in Paris. His name is inscribed on the first draft for the project for Place Vendôme. Mariette attributed its design to François-Antoine Vassé, and Fiske Kimball, on the basis of surviving preparatory drawings, no new architects were added to the rolls of the Bâtiments du Roi. Balthasar Neumann, in Paris to consult him over the operations at Würzburg, found him. At this period, de Cotte was responsible for the Hôtel de Conti, rue de Bourbon, outside France, de Cottes team was commissioned for projects to be completed on site by local craftsmen. In Bonn, his team was employed by the Elector of Cologne, for the design of his rural Poppelsdorf Palace. The decoration of the Cabinet des Glâces in the palace followed designs by Oppenord that featured reverse curves and garlands applied to mirror surfaces. A new wing called the Buen Retiro was commissioned in the autumn of 1717, from newly-Bourbon Spain, the princesse des Ursins required his advice on the queens apartments of the royal palace in Madrid. An octagonal room was fabricated in Paris under de Cottes eye, 1713–1715, at La Granja, an assistant from de Cottes office, René Carlier, was employed in the designs for the parterres. For the cardinal de Rohan, de Cotte provided decors for the Château de Saverne in Alsace, Robert Neuman, Robert de Cotte and the Perfection of Architecture in Eighteenth-Century France, University of Chicago Press,1994. ISBN 0-226-57437-7 Robert de Cotte at the archINFORM database
Robert de Cotte
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Robert de Cotte, 1701, oil on canvas by Joseph Vivien
Robert de Cotte
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Palais Rohan, Strasbourg, for
Armand Gaston Maximilien, prince de Rohan,
bishop of Strasbourg (planned 1727–8, built 1731–42)
Robert de Cotte
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Antechamber
Robert de Cotte
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Grand Cabinet (with decorated mirrors)
19.
History of the Palace of Versailles
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The Palace of Versailles is a royal château in Versailles, in the Île-de-France region of France. When the château was built, Versailles was a village, today, however, it is a suburb of Paris. Versailles is therefore not only as a building, but as well as a symbol of the system of absolute monarchy of the Ancien Régime. During this period, the village of Versailles centred on a castle and church. In 1575, Albert de Gondi, a naturalized Florentine who gained prominence at the court of Henry II, in the early seventeenth century, Gondi invited Louis XIII on several hunting trips in the forests surrounding Versailles. Pleased with the location, Louis ordered the construction of a lodge in 1624. Designed by Philibert Le Roy, the structure, a small château, was constructed of stone and red brick, eight years later, Louis obtained the seigneury of Versailles from the Gondi family and began to make enlargements to the château. Adjacent exterior towers were located at the four corners, with the entire structure surrounded by a moat and this was preceded by two service wings, creating a forecourt with a grilled entrance marked by two round towers. The vignette also shows a garden on the side of the château with a fountain on the central axis. Louis XIV had played and hunted at the site as a boy, with a few modifications, this structure would become the core of the new palace. Louis XIIIs successor, Louis XIV, had a great interest in Versailles and he settled on the royal hunting lodge at Versailles, and over the following decades had it expanded into one of the largest palaces in the world. Beginning in 1661, the architect Louis Le Vau, landscape architect André Le Nôtre and this was done to fulfill Louis XIVs desire to establish a new centre for the royal court. Following the Treaties of Nijmegen in 1678, he began to move the court to Versailles. The court was established there on 6 May 1682. By moving his court and government to Versailles, Louis XIV hoped to more control of the government from the nobility. All the power of France emanated from this centre, there were government offices here, as well as the homes of thousands of courtiers, their retinues, like other French court manners, étiquette was quickly imitated in other European courts. The expansion of the château became synonymous with the absolutism of Louis XIV, in 1661, following the death of Cardinal Mazarin, chief minister of the government, Louis had declared that he would be his own chief minister. The idea of establishing the court at Versailles was conceived to ensure all of his advisors
History of the Palace of Versailles
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The main construction of Versailles took place in four campaigns between 1664 and 1710
History of the Palace of Versailles
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The château, c. 1630–1640, as shown on the map of Jacques Gomboust (fr)
History of the Palace of Versailles
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Statue of
Louis XIV in Versailles
History of the Palace of Versailles
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The château circa 1668, as painted by
Pierre Patel (
Versailles Museum)
20.
OCLC
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The Online Computer Library Center is a US-based nonprofit cooperative organization dedicated to the public purposes of furthering access to the worlds information and reducing information costs. It was founded in 1967 as the Ohio College Library Center, OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded mainly by the fees that libraries have to pay for its services, the group first met on July 5,1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization. The group hired Frederick G. Kilgour, a former Yale University medical school librarian, Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The goal of network and database was to bring libraries together to cooperatively keep track of the worlds information in order to best serve researchers and scholars. The first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26,1971 and this was the first occurrence of online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data, between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the structure was again modified to accommodate participation from outside the United States. As OCLC expanded services in the United States outside of Ohio, it relied on establishing strategic partnerships with networks, organizations that provided training, support, by 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on OCLC Members Council, in early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic, abstract and full-text information to anyone, OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from public and private libraries worldwide. org, in October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. The Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988, a browser for books with their Dewey Decimal Classifications was available until July 2013, it was replaced by the Classify Service. S. The reference management service QuestionPoint provides libraries with tools to communicate with users and this around-the-clock reference service is provided by a cooperative of participating global libraries. OCLC has produced cards for members since 1971 with its shared online catalog. OCLC commercially sells software, e. g. CONTENTdm for managing digital collections, OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications and these publications, including journal articles, reports, newsletters, and presentations, are available through the organizations website. The most recent publications are displayed first, and all archived resources, membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding
OCLC
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Fred Kilgour (1st director of OCLC)
OCLC
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Online Computer Library Center (OCLC)
OCLC
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OCLC headquarters (Ohio)
OCLC
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OCLC offices in Leiden (the Netherlands)
21.
The Dictionary of Art
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A new edition was published in 2003 by Oxford University Press. Written by 6,700 experts from around the world, its 32, 600-pages cover over 45,000 topics about art, artists, art critics, art collectors, or anything else connected to the world of art. According to The New York Times Book Review it is the most ambitious art-publishing venture of the late 20th century, almost half the content covers non-Western subjects, and contributors hail from 120 countries. Topics range from Julia Margaret Cameron to Shoji Hamada, Korea to Timbuktu, the Enlightenment to Marxism, entries include bibliographies and a vast number of images. The dictionary is available in a standard hardcover edition, though the leather-bound version appears to be out of print. The Grove Dictionary of Art is published by Oxford University Press, the online version, which is updated three times a year, is available by subscription and includes some extra content. In the UK, many libraries offer it free to their online users using their library membership number. The Grove Dictionary of Art was first offered online through the Grove Art Online web site in 1998. The site was expanded and renamed as Oxford Art Online, including works, The Oxford Companion to Western Art, Encyclopedia of Aesthetics. In 2011, the Benezit Dictionary of Artists was added to the database, the New Grove Dictionary of Music and Musicians References Sources Jane Turner
The Dictionary of Art
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The Dictionary of Art
22.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
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