1.
Oil painting
–
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old
Oil painting
–
Mona Lisa,
Leonardo da Vinci, c. 1503–06
Oil painting
–
Self-portrait, at work,
Anders Zorn, 1897
Oil painting
–
Self-portrait of
Rembrandt, 1630. An example of oil painting on copper.
Oil painting
–
Flax seed is the source of linseed oil.
2.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
3.
French language
–
French is a Romance language of the Indo-European family. It descended from the Vulgar Latin of the Roman Empire, as did all Romance languages, French has evolved from Gallo-Romance, the spoken Latin in Gaul, and more specifically in Northern Gaul. Its closest relatives are the other langues doïl—languages historically spoken in northern France and in southern Belgium, French was also influenced by native Celtic languages of Northern Roman Gaul like Gallia Belgica and by the Frankish language of the post-Roman Frankish invaders. Today, owing to Frances past overseas expansion, there are numerous French-based creole languages, a French-speaking person or nation may be referred to as Francophone in both English and French. French is a language in 29 countries, most of which are members of la francophonie. As of 2015, 40% of the population is in Europe, 35% in sub-Saharan Africa, 15% in North Africa and the Middle East, 8% in the Americas. French is the fourth-most widely spoken mother tongue in the European Union, 1/5 of Europeans who do not have French as a mother tongue speak French as a second language. As a result of French and Belgian colonialism from the 17th and 18th century onward, French was introduced to new territories in the Americas, Africa, most second-language speakers reside in Francophone Africa, in particular Gabon, Algeria, Mauritius, Senegal and Ivory Coast. In 2015, French was estimated to have 77 to 110 million native speakers, approximately 274 million people are able to speak the language. The Organisation internationale de la Francophonie estimates 700 million by 2050, in 2011, Bloomberg Businessweek ranked French the third most useful language for business, after English and Standard Mandarin Chinese. Under the Constitution of France, French has been the language of the Republic since 1992. France mandates the use of French in official government publications, public education except in specific cases, French is one of the four official languages of Switzerland and is spoken in the western part of Switzerland called Romandie, of which Geneva is the largest city. French is the language of about 23% of the Swiss population. French is also a language of Luxembourg, Monaco, and Aosta Valley, while French dialects remain spoken by minorities on the Channel Islands. A plurality of the worlds French-speaking population lives in Africa and this number does not include the people living in non-Francophone African countries who have learned French as a foreign language. Due to the rise of French in Africa, the total French-speaking population worldwide is expected to reach 700 million people in 2050, French is the fastest growing language on the continent. French is mostly a language in Africa, but it has become a first language in some urban areas, such as the region of Abidjan, Ivory Coast and in Libreville. There is not a single African French, but multiple forms that diverged through contact with various indigenous African languages, sub-Saharan Africa is the region where the French language is most likely to expand, because of the expansion of education and rapid population growth
French language
–
The
"arrêt" signs (French for "stop") are used in
Canada while the international stop, which is also a valid French word, is used in France as well as other French-speaking countries and regions.
French language
–
Regions where French is the main language
French language
–
Town sign in
Standard Arabic and French at the entrance of
Rechmaya in
Lebanon.
French language
–
An obsolete 100
Lebanese pound note with the French language inscriptions "Banque du Liban" and "Cent livres".
4.
July Revolution
–
Supporters of the Bourbon would be called Legitimists, and supporters of Louis Philippe Orléanists. On 16 September 1824, Charles X ascended to the throne of France and he was the younger brother of Louis XVIII, who, upon the defeat of Napoleon I, and by agreement of the Allied powers, had been installed as King of France. Both Louis and Charles ruled by right rather than Revolution. Upon the abdication of Napoleon in 1814, continental Europe, the Congress of Vienna met to redraw the continents political map. Another very influential person at the Congress was Charles Maurice de Talleyrand, although France was considered an enemy state, Talleyrand was allowed to attend the Congress because he claimed that he had only cooperated with Napoleon under duress. Talleyrand proposed that Europe be restored to its borders and governments. France returned to its 1789 borders and the House of Bourbon, the Congress however forced Louis to grant the Charte constitutionnelle française, the French Constitution otherwise known as La Charte. This document was the trigger of the July Revolution. On 16 September 1824, after an illness of several months. Therefore, his brother, Charles, aged 66, inherited the throne of France. On 27 September Charles X as he was now known, made his entry into Paris to popular acclaim. But eight months later, the mood of the capital had sharply worsened in its opinion of the new king, the causes of this dramatic shift in public opinion were many, but the main two were, The imposition of the death penalty for anyone profaning the Eucharist. The provisions for financial indemnities for properties confiscated by the 1789 Revolution and these indemnities to be paid to any one, whether noble or non-noble, who had been declared enemies of the Revolution. Critics of the first accused the king and his new ministry of pandering to the Catholic Church, the second matter, that of financial indemnities, was far more opportunistic than the first. But opponents, many of whom were frustrated Bonapartists, began a campaign that Charles X was only proposing this in order to shame those who had not emigrated. Both measures, they claimed, were nothing more than clever subterfuge meant to bring about the destruction of La Charte and this, too, was about to change. On 12 April, propelled by both genuine conviction and the spirit of independence, the Chamber of Deputies roundly rejected the proposal to change the inheritance laws. The popular newspaper Le Constitutionnel pronounced this refusal a victory over the forces of counter-revolutionaries, the popularity of both the Chamber of Peers and the Chamber of Deputies skyrocketed, and the popularity of the king and his ministry dropped
July Revolution
–
Charles X in coronation robes
July Revolution
–
Scenes of July 1830, a painting by
Léon Cogniet alluding to the July revolution of 1830.
July Revolution
–
Taking of the
Hôtel de Ville (revolutionaries went there in 1789, and later 1848 and 1870), by Amédée Bourgeois
July Revolution
–
Battle outside the Hôtel de Ville, by Jean Victor Schnetz
5.
Charles X of France
–
Charles X was King of France from 16 September 1824 until 2 August 1830. For most of his life he was known as the Count of Artois, an uncle of the uncrowned King Louis XVII, and younger brother to reigning Kings Louis XVI and Louis XVIII, he supported the latter in exile and eventually succeeded him. His rule of almost six years ended in the July Revolution of 1830, which resulted in his abdication, exiled once again, Charles died in 1836 in Gorizia, then part of the Austrian Empire. He was the last of the French rulers from the branch of the House of Bourbon. Charles Philippe of France was born in 1757, the youngest son of the Dauphin Louis and his wife, Charles was created Count of Artois at birth by his grandfather, the reigning King Louis XV. As the youngest male in the family, Charles seemed unlikely ever to become king and his eldest brother, Louis, Duke of Burgundy, died unexpectedly in 1761, which moved Charles up one place in the line of succession. He was raised in childhood by Madame de Marsan, the Governess of the Children of France. At the death of his father in 1765, Charless oldest surviving brother, Louis Auguste and their mother Marie Josèphe, who never recovered from the loss of her husband, died in March 1767 from tuberculosis. This left Charles an orphan at the age of nine, along with his siblings Louis Auguste, Louis Stanislas, Count of Provence, Clotilde, Louis XV fell ill on 27 April 1774 and died on 10 May of smallpox at the age of 64. His grandson Louis-Auguste succeeded him as King Louis XVI of France, in November 1773, Charles married Marie Thérèse of Savoy. The marriage, unlike that of Louis XVI and Marie Antoinette, was consummated almost immediately, in 1775, Marie Thérèse gave birth to a boy, Louis Antoine, who was created Duke of Angoulême by Louis XVI. Three years later, in 1778, Charles second son, Charles Ferdinand, was born, in the same year Queen Marie Antoinette gave birth to her first child, Marie Thérèse, quelling all rumours that she could not bear children. Charles was thought of as the most attractive member of his family and his wife was considered quite ugly by most contemporaries, and he looked for company in numerous extramarital affairs. According to the Count of Hézecques, few beauties were cruel to him, later, he embarked upon a lifelong love affair with the beautiful Louise de Polastron, the sister-in-law of Marie Antoinettes closest companion, the Duchess of Polignac. Charles also struck up a friendship with Marie Antoinette herself. The closeness of the relationship was such that he was accused by Parisian rumour mongers of having seduced her. As part of Marie Antoinettes social set, Charles often appeared opposite her in the theatre of her favourite royal retreat. They were both said to be very talented amateur actors, Marie Antoinette played milkmaids, shepherdesses, and country ladies, whereas Charles played lovers, valets, and farmers
Charles X of France
–
Signature
Charles X of France
–
Portrait by
Baron Gérard, c.1829
Charles X of France
–
Charles Philippe with his younger sister Clotilde on a goat.
Charles X of France
–
Charles as Count of Artois (1798).
6.
Liberty
–
Liberty, in philosophy, involves free will as contrasted with determinism. In politics, liberty consists of the social and political freedoms to all community members are entitled. In theology, liberty is freedom from the effects of sin, spiritual servitude, as such, the exercise of liberty is subject to capability and limited by the rights of others. Philosophers from earliest times have considered the question of liberty, according to Thomas Hobbes, a free man is he that in those things which by his strength and wit he is able to do is not hindered to do what he hath the will to do. John Locke rejected that definition of liberty, while not specifically mentioning Hobbes, he attacks Sir Robert Filmer who had the same definition. According to Locke, In the state of nature, liberty consists of being free from any power on Earth. People are not under the will or lawmaking authority of others but have only the law of nature for their rule, in political society, liberty consists of being under no other lawmaking power except that established by consent in the commonwealth. People are free from the dominion of any will or legal restraint apart from that enacted by their own constituted lawmaking power according to the trust put in it. Thus, freedom is not as Sir Robert Filmer defines it, A liberty for everyone to do what he likes, to live as he pleases, freedom is constrained by laws in both the state of nature and political society. Freedom of nature is to be no other restraint but the law of nature. Freedom of people under government is to be under no restraint apart from standing rules to live by that are common to everyone in the society and made by the lawmaking power established in it. Persons have a right or liberty to follow their own will in all things that the law has not prohibited and not be subject to the inconstant, uncertain, unknown, and arbitrary wills of others. John Stuart Mill, in his work, On Liberty, was the first to recognize the difference between liberty as the freedom to act and liberty as the absence of coercion, the modern concept of political liberty has its origins in the Greek concepts of freedom and slavery. To be free, to the Greeks, was to not have a master and that was the original Greek concept of freedom. It is closely linked with the concept of democracy, as Aristotle put it, This, another is that a man should live as he likes. This, they say, is the privilege of a freeman, since, on the other hand and this applied only to free men. In Athens, for instance, women could not vote or hold office and were legally and socially dependent on a male relative, the populations of the Persian Empire enjoyed some degree of freedom. Citizens of all religions and ethnic groups were given the rights and had the same freedom of religion, women had the same rights as men
Liberty
–
The
Magna Carta (originally known as the Charter of Liberties) of 1215, written in iron gall ink on parchment in medieval Latin, using standard abbreviations of the period. This document is held at the British Library and is identified as "British Library Cotton MS Augustus II.106"
Liberty
–
John Stuart Mill.
Liberty
–
A romanticised 19th-century recreation of King John signing the
Magna Carta
Liberty
–
The
Statue of Liberty, donated to the US by France, an artistic personification of liberty.
7.
French Revolution
–
Through the Revolutionary Wars, it unleashed a wave of global conflicts that extended from the Caribbean to the Middle East. Historians widely regard the Revolution as one of the most important events in human history, the causes of the French Revolution are complex and are still debated among historians. Following the Seven Years War and the American Revolutionary War, the French government was deeply in debt, Years of bad harvests leading up to the Revolution also inflamed popular resentment of the privileges enjoyed by the clergy and the aristocracy. Demands for change were formulated in terms of Enlightenment ideals and contributed to the convocation of the Estates-General in May 1789, a central event of the first stage, in August 1789, was the abolition of feudalism and the old rules and privileges left over from the Ancien Régime. The next few years featured political struggles between various liberal assemblies and right-wing supporters of the intent on thwarting major reforms. The Republic was proclaimed in September 1792 after the French victory at Valmy, in a momentous event that led to international condemnation, Louis XVI was executed in January 1793. External threats closely shaped the course of the Revolution, internally, popular agitation radicalised the Revolution significantly, culminating in the rise of Maximilien Robespierre and the Jacobins. Large numbers of civilians were executed by revolutionary tribunals during the Terror, after the Thermidorian Reaction, an executive council known as the Directory assumed control of the French state in 1795. The rule of the Directory was characterised by suspended elections, debt repudiations, financial instability, persecutions against the Catholic clergy, dogged by charges of corruption, the Directory collapsed in a coup led by Napoleon Bonaparte in 1799. The modern era has unfolded in the shadow of the French Revolution, almost all future revolutionary movements looked back to the Revolution as their predecessor. The values and institutions of the Revolution dominate French politics to this day, the French Revolution differed from other revolutions in being not merely national, for it aimed at benefiting all humanity. Globally, the Revolution accelerated the rise of republics and democracies and it became the focal point for the development of all modern political ideologies, leading to the spread of liberalism, radicalism, nationalism, socialism, feminism, and secularism, among many others. The Revolution also witnessed the birth of total war by organising the resources of France, historians have pointed to many events and factors within the Ancien Régime that led to the Revolution. Over the course of the 18th century, there emerged what the philosopher Jürgen Habermas called the idea of the sphere in France. A perfect example would be the Palace of Versailles which was meant to overwhelm the senses of the visitor and convince one of the greatness of the French state and Louis XIV. Starting in the early 18th century saw the appearance of the sphere which was critical in that both sides were active. In France, the emergence of the public sphere outside of the control of the saw the shift from Versailles to Paris as the cultural capital of France. In the 1750s, during the querelle des bouffons over the question of the quality of Italian vs, in 1782, Louis-Sébastien Mercier wrote, The word court no longer inspires awe amongst us as in the time of Louis XIV
French Revolution
–
The
August Insurrection in 1792 precipitated the last days of the monarchy.
French Revolution
–
The French government faced a fiscal crisis in the 1780s, and King Louis XVI was blamed for mishandling these affairs.
French Revolution
–
Caricature of the Third Estate carrying the First Estate (clergy) and the Second Estate (nobility) on its back.
French Revolution
–
The meeting of the Estates General on 5 May 1789 at Versailles.
8.
Flag of France
–
The national flag of France is a tricolour flag featuring three vertical bands coloured blue, white, and red. It is known to English speakers as the French Tricolour or simply the Tricolour, the royal government used many flags, the best known being a blue shield and gold fleur-de-lis on a white background, or state flag. Early in the French Revolution, the Paris militia, which played a prominent role in the storming of the Bastille, wore a cockade of blue and red, the citys traditional colours. According to Lafayette, white, the ancient French colour, was added to the militia cockade to create a tricolour, or national and this cockade became part of the uniform of the National Guard, which succeeded the militia and was commanded by Lafayette. The colours and design of the cockade are the basis of the Tricolour flag, the only difference was that the 1790 flags colours were reversed. A modified design by Jacques-Louis David was adopted in 1794, the royal white flag was used during the Bourbon restoration from 1815 to 1830, the tricolour was brought back after the July Revolution and has been used ever since 1830. The colours adopted by Valéry Giscard dEstaing, which replaced a version of the flag. Currently, the flag is one and a half times wider than its height and, initially, the three stripes of the flag were not equally wide, being in the proportions 30,33 and 37. Blue and red are the colours of Paris, used on the citys coat of arms. Blue is identified with Saint Martin, red with Saint Denis, at the storming of the Bastille in 1789, the Paris militia wore blue and red cockades on their hats. White had long featured prominently on French flags and is described as the ancient French colour by Lafayette, white was added to the revolutionary colours of the militia cockade to nationalise the design, thus creating the tricolour cockade. Although Lafayette identified the white stripe with the nation, other accounts identify it with the monarchy, Lafayette denied that the flag contains any reference to the red-and-white livery of the Duc dOrléans. Despite this, Orléanists adopted the tricolour as their own, blue and red are associated with the Virgin Mary, the patroness of France, and were the colours of the oriflamme. The colours of the French flag may represent the three main estates of the Ancien Régime. Blue, as the symbol of class, comes first and red, representing the nobility, both extreme colours are situated on each side of white referring to a superior order. Lafayettes tricolour cockade was adopted in July 1789, a moment of unity that soon faded. Royalists began wearing white cockades and flying flags, while the Jacobins. The tricolour, which combines royalist white with red, came to be seen as a symbol of moderation
Flag of France
–
Multiple French flags as commonly flown from public buildings.
Flag of France
–
France
Flag of France
–
The White flag of the monarchy transformed into the Tricolore as a result of the
July Revolution, painting by
Léon Cogniet (1830).
Flag of France
–
"Lamartine, before the
Hôtel de Ville, Paris, rejects the Red Flag," February 25, 1848. By
Henri Felix Emmanuel Philippoteaux (1815–1884).
9.
Musket
–
A musket is a muzzle-loaded, smoothbore firearm, fired from the shoulder. Muskets were designed for use by infantry, a soldier armed with a musket had the designation musketman or musketeer. The musket replaced the arquebus, and was in turn replaced by the rifle. By the end of the 17th century, a version of the musket had edged out the arquebus, and the addition of the bayonet edged out the pike. In the 18th century, improvements in ammunition and firing methods allowed rifling to be practical for use. In the 19th century, rifled muskets became common, combining the advantages of rifles, about the time of the introduction of cartridge, breechloading, and multiple rounds of ammunition just a few years later, muskets fell out of fashion. Musket calibers generally ranged from 0.50 to 0.90 in, rifled muskets of the mid-19th century, like the Springfield Model 1861, were significantly more accurate, with the ability to hit a man sized target at a distance of 500 yards or more. However, in the Italian War of 1859, French forces were able to defeat the longer range of Austrian rifle muskets by aggressive skirmishing and rapid bayonet assaults during close quarters combat. According to the Etymology Dictionary, firearms were often named after animals, and the word derived from the French word mousquette. An alternative theory is that derives from the 16th century French mousquet, -ette, from the Italian moscetto, -etta, the Italian moscetto is a diminutive of mosca, a fly. Hand cannons arrived in Europe from Asia sometime in the early 14th century and they were more commonly used by the early 15th century, particularly in the Hussite wars. It is possible that the noise was at least as important as the missile and these were very short ranged, inaccurate and difficult to load and fire. Hand cannons had a handle, or no handle at all. A wooden stock was added, allowing the weapon to be easily held. The hand cannon evolved into the arquebus by the mid 15th century, the matchlock mechanism was a simple solution to this problem, and placed the match in a clamp on the end of a lever. When a trigger was pulled, the lever would rotate and allowed the match to come in contact with the touch hole, the first European usage of firearms in large ratios was in Hungary under king Matthias Corvinus. Every third soldier in the Black Army of Hungary had an arquebus, gradual advances in the empirical understanding of the corning of gunpowder made possible a more powerful explosive. The cost of gunpowder also gradually fell, by the 16th century the handheld firearm became commonplace, replacing the crossbow and longbow in all advanced armies, and known as the arquebus
Musket
–
Muskets and
bayonets aboard the
frigate Grand Turk.
Musket
–
Early matchlocks as illustrated in the
Baburnama (16th century)
Musket
–
Various antique
Tanegashima.
Musket
–
Large Korean Jochong(Matchlock Musket) in
Unhyeon Palace with Korean cannon
Hongyipao (Culverin).
10.
Marianne
–
Marianne is a national symbol of the French Republic, an allegory of liberty and reason, and a portrayal of the Goddess of Liberty. Marianne is displayed in places in France and holds a place of honour in town halls. She symbolizes the Triumph of the Republic, a bronze sculpture overlooking the Place de la Nation in Paris. Her profile stands out on the official government logo of the country, is engraved on French euro coins and appears on French postage stamps, Marianne is one of the most prominent symbols of the French Republic, and is officially used on most government documents. Marianne is a significant republican symbol, opposed to monarchy, in classical times it was common to represent ideas and abstract entities by gods, goddesses and allegorical personifications. Less common during the Middle Ages, this practice resurfaced during the Renaissance, during the French Revolution of 1789, many allegorical personifications of Liberty and Reason appeared. These two figures finally merged into one, a figure, shown either sitting or standing, and accompanied by various attributes, including the tricolor cockade. This woman typically symbolised Liberty, Reason, the Nation, the Homeland, in September 1792, the National Convention decided by decree that the new seal of the state would represent a standing woman holding a spear with a Phrygian cap held aloft on top of it. A feminine allegory was also a manner to symbolise the breaking with the old monarchy headed by kings, even before the French Revolution, the Kingdom of France was embodied in masculine figures, as depicted in certain ceilings of Palace of Versailles. Furthermore, France and the Republic themselves are, in French, feminine nouns, as are the French nouns for liberty, the use of this emblem was initially unofficial and very diverse. A female allegory of Liberty and of the Republic makes an appearance in Eugène Delacroixs painting Liberty Leading the People, Marianne made her first major appearance in the French spotlight on a medal in July 1789, celebrating the storming of the Bastille and other early events of the Revolution. From this time until September 1792, the image of Marianne was overshadowed by other such as Mercury. It was not until September 1792 when the new Republic sought a new image to represent the State that her popularity began to expand. Marianne, the allegory of Liberty, was chosen to represent the new regime of the French Republic. The imagery of Marianne chosen as the seal of the First French Republic depicted her standing, young and it was symbolic of the First Republic itself, a newly created state that had much to prove. Marianne is clad in a classical gown, in her right hand, she wields the pike of revolution with the Phrygian cap resting on it, which represents the liberation of France. Marianne is shown leaning on a fasces, a symbol of authority, although the initial figure of Marianne from 1792 stood in a relatively conservative pose, the revolutionaries were quick to abandon that figure when it no longer suited them. By 1793, the figure of Marianne had been replaced by a more violent image
Marianne
–
Bust of Marianne sculpted by Théodore Doriot, in the
French Senate.
Marianne
–
Liberty Leading the People by
Eugène Delacroix (1830), which celebrates the
July Revolution (
Louvre Museum).
Marianne
–
Bust of Marianne, displayed in the corridors of the
Luxembourg Palace, seat of the
French Senate. (anonymous artist)
Marianne
–
" Freedom for France, freedom for the French " Marianne (1940)
11.
Romanticism
–
Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
Romanticism
–
Caspar David Friedrich,
Wanderer Above the Sea of Fog, 1818
Romanticism
–
Eugène Delacroix,
Death of Sardanapalus, 1827, taking its
Orientalist subject from a play by
Lord Byron
Romanticism
–
Philipp Otto Runge, The Morning, 1808
Romanticism
–
William Blake,
The Little Girl Found, from
Songs of Innocence and Experience, 1794
12.
Age of Enlightenment
–
The Enlightenment was an intellectual movement which dominated the world of ideas in Europe during the 18th century, The Century of Philosophy. In France, the doctrines of les Lumières were individual liberty and religious tolerance in opposition to an absolute monarchy. French historians traditionally place the Enlightenment between 1715, the year that Louis XIV died, and 1789, the beginning of the French Revolution, some recent historians begin the period in the 1620s, with the start of the scientific revolution. Les philosophes of the widely circulated their ideas through meetings at scientific academies, Masonic lodges, literary salons, coffee houses. The ideas of the Enlightenment undermined the authority of the monarchy and the Church, a variety of 19th-century movements, including liberalism and neo-classicism, trace their intellectual heritage back to the Enlightenment. The Age of Enlightenment was preceded by and closely associated with the scientific revolution, earlier philosophers whose work influenced the Enlightenment included Francis Bacon, René Descartes, John Locke, and Baruch Spinoza. The major figures of the Enlightenment included Cesare Beccaria, Voltaire, Denis Diderot, Jean-Jacques Rousseau, David Hume, Adam Smith, Benjamin Franklin visited Europe repeatedly and contributed actively to the scientific and political debates there and brought the newest ideas back to Philadelphia. Thomas Jefferson closely followed European ideas and later incorporated some of the ideals of the Enlightenment into the Declaration of Independence, others like James Madison incorporated them into the Constitution in 1787. The most influential publication of the Enlightenment was the Encyclopédie, the ideas of the Enlightenment played a major role in inspiring the French Revolution, which began in 1789. After the Revolution, the Enlightenment was followed by an intellectual movement known as Romanticism. René Descartes rationalist philosophy laid the foundation for enlightenment thinking and his attempt to construct the sciences on a secure metaphysical foundation was not as successful as his method of doubt applied in philosophic areas leading to a dualistic doctrine of mind and matter. His skepticism was refined by John Lockes 1690 Essay Concerning Human Understanding and his dualism was challenged by Spinozas uncompromising assertion of the unity of matter in his Tractatus and Ethics. Both lines of thought were opposed by a conservative Counter-Enlightenment. In the mid-18th century, Paris became the center of an explosion of philosophic and scientific activity challenging traditional doctrines, the political philosopher Montesquieu introduced the idea of a separation of powers in a government, a concept which was enthusiastically adopted by the authors of the United States Constitution. Francis Hutcheson, a philosopher, described the utilitarian and consequentialist principle that virtue is that which provides, in his words. Much of what is incorporated in the method and some modern attitudes towards the relationship between science and religion were developed by his protégés David Hume and Adam Smith. Hume became a figure in the skeptical philosophical and empiricist traditions of philosophy. Immanuel Kant tried to reconcile rationalism and religious belief, individual freedom and political authority, as well as map out a view of the sphere through private
Age of Enlightenment
–
German philosopher
Immanuel Kant
Age of Enlightenment
–
History of
Western philosophy
Age of Enlightenment
–
Cesare Beccaria, father of classical criminal theory (1738–1794)
Age of Enlightenment
–
Like other Enlightenment philosophers,
Rousseau was critical of the
Atlantic slave trade.
13.
Academic art
–
Academic art, or Academicism, is a style of painting and sculpture produced under the influence of European academies of art. In this context it is often called academism, academicism, Lart pompier, and eclecticism, in this medicean institution students learned the arti del disegno and heard lectures on anatomy and geometry. Another academy, the Accademia di San Luca, was founded about a later in Rome. The Accademia di San Luca served a function and was more concerned with art theory than the Florentine one. Accademia di San Luca later served as the model for the Académie royale de peinture et de sculpture founded in France in 1648, and which later became the Académie des beaux-arts. The Académie royale de peinture et de sculpture was founded in an effort to distinguish artists who were practicing a liberal art from craftsmen. This emphasis on the component of artmaking had a considerable impact on the subjects. This battle of styles was a conflict over whether Peter Paul Rubens or Nicolas Poussin was a model to follow. Debates also occurred over whether it was better to learn art by looking at nature, academies using the French model formed throughout Europe, and imitated the teachings and styles of the French Académie. In England, this was the Royal Academy, one effect of the move to academies was to make training more difficult for women artists, who were excluded from most academies until the last half of the 19th century. This was partly because of concerns over the propriety of life classes with nude models, special arrangements were often made for female students until the 20th century. Since the onset of the debate, many artists worked between the two styles. In the 19th century, in the form of the debate, the attention. One artist after another was claimed by critics to have achieved the synthesis, among them Théodore Chassériau, Ary Scheffer, Francesco Hayez, Alexandre-Gabriel Decamps, and Thomas Couture. William-Adolphe Bouguereau, an academic artist, commented that the trick to being a good painter is seeing color. Another development during this period included adopting historical styles in order to show the era in history that the painting depicted, called historicism and this is best seen in the work of Baron Jan August Hendrik Leys, a later influence on James Tissot. Its also seen in the development of the Neo-Grec style, historicism is also meant to refer to the belief and practice associated with academic art that one should incorporate and conciliate the innovations of different traditions of art from the past. The art world also grew to give increasing focus on allegory in art, as artists attempted to synthesize these theories in practice, the attention on the artwork as an allegorical or figurative vehicle was emphasized
Academic art
–
Birth of Venus,
Alexandre Cabanel, 1863.
Academic art
–
Life class at the
Royal Danish Academy of Fine Arts in 1826 by
Wilhelm Bendz.
Academic art
–
Students painting "from life" at the École. Photographed late 1800s.
Academic art
–
Demosthenes at the Seashore, a Royal Academy prize winning drawing, 1888.
14.
Barricade
–
Barricade, from the French barrique, is any object or structure that creates a barrier or obstacle to control, block passage or force the flow of traffic in the desired direction. Adopted as a term, a barricade denotes any improvised field fortification. Stripes on barricades and panel devices slope downward in the traffic must travel. There are also pedestrian barricades - sometimes called bike rack barricades for their resemblance to a now obsolete form of bicycle stand and they originated in France approximately 50 years ago and are now produced around the world. They were first produced in the U. S.40 years ago by Friedrichs Mfg for New Orleanss Mardi Gras parades, anti-vehicle barriers and blast barriers are sturdy barricades that can respectively counter vehicle and bomb attacks. Contrary to a number of sources, barricades were present in various incidents of the great French Revolution of 1789. The barricade had, by the middle of the nineteenth century, Barricade references appear in many colloquial expressions and are used, often metaphorically, in poems and songs celebrating radical social movements. Bulwark Border barrier Rampart Jersey barrier Visi-Flash Barricade Lights
Barricade
–
Polish barricade during the
Warsaw Uprising
Barricade
–
Revolutionary barricades during the
May Uprising in Dresden
Barricade
–
Street Fighting on Rue Soufflot, Paris, June 25, 1848
Barricade
–
Hydraulic barricade defends
Wall Street
15.
Paris Salon
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
Paris Salon
–
Formally dressed patrons at the Salon in 1890
Paris Salon
–
This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Paris Salon
–
Salon of 1932, Grand Palais, Paris.
Paris Salon
–
Salon of 1753
16.
Allegory
–
As a literary device, an allegory is a metaphor whose vehicle may be a character, place or event, representing real-world issues and occurrences. Many ancient religions are based on astrological allegories, that is, allegories of the movement of the sun, in classical literature two of the best-known allegories are the Cave in Platos Republic and the story of the stomach and its members in the speech of Menenius Agrippa. One of the examples of allegory, Platos Allegory of the Cave. In this allegory, Plato describes a group of people who have lived chained in an all of their lives. The people watch shadows projected on the wall by things passing in front of a fire behind them and begin to ascribe forms to these shadows, using language to identify their world. He tries to tell the people in the cave of his discovery, also allegorical is Ezekiel 16 and 17, wherein the capture of that same vine by the mighty Eagle represents Israels exile to Rome. Allegory has an ability to freeze the temporality of a story, Mediaeval thinking accepted allegory as having a reality underlying any rhetorical or fictional uses. The allegory was as true as the facts of surface appearances, if, then, the Greeks or others say that they were not committed to the care of Peter and his successors, they necessarily confess that they are not of the sheep of Christ. This text also demonstrates the frequent use of allegory in religious texts during the Mediaeval Period, following the tradition, since meaningful stories are nearly always applicable to larger issues, allegories may be read into many stories which the author may not have recognised. This is allegoresis, or the act of reading a story as an allegory. S, lewis and A Kingdom Far and Clear, The Complete Swan Lake Trilogy by Mark Helprin. The story of the apple falling onto Isaac Newtons head is another famous allegory and it simplified the idea of gravity by depicting a simple way it was supposedly discovered. It also made the scientific revelation well known by condensing the theory into a short tale. According to Henry Littlefields 1964 article, L. Yet, George MacDonald emphasised in 1893 that, A fairy tale is not an allegory, I much prefer history – true or feigned– with its varied applicability to the thought and experience of readers. I think that many confuse applicability with allegory, but the one resides in the freedom of the reader, and this further reinforces the idea of forced allegoresis, as allegory is often a matter of interpretation and only sometimes of original artistic intention. Like allegorical stories, allegorical poetry has two meanings – a literal meaning and a symbolic meaning, some unique specimens of allegory can be found in the following works, Edmund Spenser – The Faerie Queene, The several knights in the poem actually stand for several virtues. Nathaniel Hawthorne – Young Goodman Brown, The Devils Staff symbolises defiance of God, the characters names, such as Goodman and Faith, ironically serve as paradox in the conclusion of the story. Nathaniel Hawthorne – The Scarlet Letter, The scarlet letter symbolises many things, the characters, while developed with interiority, are allegorical in that they represent ways of seeing the world. George Orwell – Animal Farm, The pigs stand for political figures of the Russian Revolution, lászló Krasznahorkai - The Melancholy of Resistance and the film Werckmeister Harmonies, It uses a circus to describe an occupying dysfunctional government
Allegory
–
Allegory of Music by
Filippino Lippi (between 1475 and 1500): The "Allegory of Music" is a popular theme in painting. Lippi uses
symbols popular during the
High Renaissance, many of which refer to Greek mythology.
Allegory
–
Salvator Rosa:
Allegory of Fortune, representing
Fortuna, the Goddess of luck, with the
horn of plenty
Allegory
–
British School 17th century - Portrait of a Lady, Called Elizabeth, Lady Tanfield. Sometimes the meaning of an allegory can be lost, even if art historians suspect that the artwork is an allegory of some kind.
Allegory
–
Allegory of
Arithmetic, by
Laurent de La Hyre, c. 1650
17.
Pedestal
–
A pedestal or plinth is the support of a statue or a vase. In the imperial China, a tortoise called bixi was traditionally used as the pedestal for important stele. An elevated pedestal or plinth which bears a statue and which is raised from the substructure supporting it is called an acropodium. The term is from the Greek akros or topmost and pous or foot, Pedestal crater Pedestal desk Pedestal table, a table with a single central leg This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Pedestal
Pedestal
–
A statue of
Henry IV of France on a pedestal
Pedestal
–
The Chinese
bixi has been traditionally used as a pedestal for carrying important steles
18.
Phrygian cap
–
The Phrygian cap is a soft conical cap with the top pulled forward, associated in antiquity with several peoples in Eastern Europe and Anatolia, including Phrygia, Dacia and the Balkans. In early modern Europe it came to signify freedom and the pursuit of liberty through a confusion with the pileus, accordingly, the Phrygian cap is sometimes called a liberty cap, in artistic representations it signifies freedom and the pursuit of liberty. It is used in the coat of arms of certain Republics or of republican State institutions in the place where otherwise a Crown would be used and it thus came to be identified as a symbol of the republican form of government. A number of national personifications, in particular Frances Marianne, are depicted wearing the Phyrgian cap. By the 4th century BC the Phrygian cap was associated with Phrygian Attis, the consort of Cybele, at around the same time, the cap appears in depictions of the legendary king Midas and other Phrygians in Greek vase-paintings and sculpture. Such images predate the earliest surviving references to the cap. By extension, the Phrygian cap came to be applied to several other non-Greek-speaking peoples as well, other Greek earthenware of antiquity also depict Amazons and so-called Scythian archers with Phrygian caps. Although these are military depictions, the headgear is distinguished from Phrygian helmets by long ear flaps, the headgear also appears in 2nd-century BC Boeotian Tanagra figurines of an effeminate Eros, and in various 1st-century BC statuary of the Commagene, in eastern Anatolia. Greek representations of Thracians also regularly appear with Phrygian caps, most notably Bendis, the Thracian goddess of the moon and the hunt, and Orpheus, a legendary Thracian poet and musician. While the Phrygian cap was of wool or soft leather, in times the Greeks had already developed a military helmet that had a similarly characteristic flipped-over tip. These so-called Phrygian helmets were usually of bronze and in prominent use in Thrace, Dacia, Magna Graecia and the rest of the Hellenistic world from the 5th century BC up to Roman times. Due to their similarity, the cap and helmet are often difficult to distinguish in Greek art unless the headgear is identified as a soft flexible cap by long earflaps or a long neck flap. The Greek concept passed to the Romans in its sense, and thus encompassed not only to Phrygians or Trojans. On Trajans Column, which commemorated Trajans epic wars with the Dacians, parthians appear with Phrygian caps in the 2nd-century Arch of Septimius Severus, which commemorates Roman victories over the Parthian Empire. Likewise with Phrygians caps, but for Gauls, appear in 2nd-century friezes built into the 4th century Arch of Constantine, the Phrygian cap reappears in figures related to the first to fourth century religion Mithraism. This astrology-centric Roman mystery cult projected itself with pseudo-Oriental trappings in order to distinguish itself from both traditional Roman religion and from the mystery cults. In the artwork of the cult, the figures of the god Mithras as well as those of his helpers Cautes and Cautopates are routinely depicted with a Phrygian cap. The function of the Phrygian cap in the cult are unknown, early Christian art build on the same Greco-Roman perceptions of Zoroaster and his Magi as experts in the arts of astrology and magic, and routinely depict the three wise men with Phrygian caps
Phrygian cap
–
Bust of
Attis wearing a Phrygian cap (
Parian marble, 2nd century AD).
Phrygian cap
–
The "
three wise men " with Phrygian caps to identify them as "orientals". 6th-century, Basilica of Sant'Apollinare Nuovo in Ravenna, Italy.
Phrygian cap
–
Bendis,
Thracian goddess of the moon and the hunt, wearing a Phrygian cap.
Tanagra -style terracotta figurine, c. 350 BC.
Phrygian cap
–
Paris of Troy wearing a Phrygian cap. Marble, Roman artwork from the Hadrianic period (117-138 CE).
19.
Top hat
–
Top Hat is a 1935 American screwball musical comedy film in which Fred Astaire plays an American dancer named Jerry Travers, who comes to London to star in a show produced by Horace Hardwick. He meets and attempts to impress Dale Tremont to win her affection, the film was written by Allan Scott and Dwight Taylor. It was directed by Mark Sandrich, the songs were written by Irving Berlin. Top Hat, White Tie and Tails and Cheek to Cheek have become American song classics and it has been nostalgically referred to — particularly its Cheek to Cheek segment — in many films, including The Purple Rose of Cairo and The Green Mile. Top Hat was the most successful picture of Astaire and Rogers partnership, while some dance critics maintain that Swing Time contained a finer set of dances, Top Hat remains, to this day, the partnerships best-known work. An American dancer, Jerry Travers comes to London to star in a show produced by the bumbling Horace Hardwick, while practicing a tap dance routine in his hotel bedroom, he awakens Dale Tremont on the floor below. She storms upstairs to complain, whereupon Jerry falls hopelessly in love with her, Dale mistakes Jerry for Horace, who is married to her friend Madge. Jerry proposes to Dale, who, while believing that Jerry is Horace, is disgusted that her friends husband could behave in such a manner. Fortunately, Bates, Horaces meddling English valet, disguises himself as a priest and conducts the ceremony, on a trip in a gondola, Jerry manages to convince Dale and they return to the hotel where the previous confusion is rapidly cleared up. The reconciled couple dance off into the Venetian sunset, to the tune of The Piccolino, Top Hat began filming on April 1,1935 and cost $620,000 to make. Shooting ended in June and the first public previews were held in July. These led to cuts of ten minutes, mainly in the last portion of the film, the carnival sequence. After Mutiny on the Bounty, it made more money than any film released in 1935. Dwight Taylor was the principal screenwriter in this, the first screenplay written specially for Astaire, Astaire reacted negatively to the first drafts, complaining that it is patterned too closely after The Gay Divorcee, and I am cast as. A sort of young man without charm or sympathy or humour. Of his role in the creation of Top Hat, Taylor recalled that with Sandrich, the whole style of the picture can be summed up in the word inconsequentiality. When I left RKO a year later, Mark said to me, on the films release, the script was panned by many critics, who alleged it was merely a rewrite of The Gay Divorcee. Eight songs from the score were discarded as they were not considered to advance the films plot
Top hat
–
theatrical release poster
Top hat
–
The final supported backbend – Astaire and Rogers in the climax to "Cheek to Cheek"
20.
Bicorne
–
The bicorne or bicorn is a historical form of hat widely adopted in the 1790s as an item of uniform by European and American military and naval officers. Later, the hat became more triangular in shape, its two ends became more pointed, and it was worn with the cockade at the right side. This kind of bicorne eventually became known in the English language as the cocked hat, worn in the side-to-side athwart style during the 1790s, the bicorne was normally seen fore-and-aft in most armies and navies from about 1800 on. This change in style coincided with the out of the pronounced front peak of the original headdress. The French gendarmerie continued to wear their bicornes in the classic side-to-side fashion until about 1904 as do the Italian Carabinieri in their full dress. Some forms of bicorne were designed to be folded flat, so that they could be tucked under the arm when not being worn. A bicorne of this style is known as a chapeau-bras or chapeau-de-bras. The bicorne was worn until World War I as part of the full dress of officers of most of the worlds navies. This practice generally ceased after World War I except in the context of diplomatic uniform. g, by footmen in full state livery - the term bicorn tended to be preferred. A cockade in the national colours might be worn at the right side, cocked hats were often trimmed with gold or silver bullion lace and tassels. Naval officers wore them without further decorations, but those worn by military, to be knocked into a cocked hat is to be soundly and swiftly defeated. Members of the Académie française wear the habit vert at the Académies ceremonies, the habit includes a black jacket and a bicorne in the cocked-hat style, each embroidered in green. Students at the École Polytechnique wear a bicorne as part of their Grand Uniforme, female students used to wear a tricorne hat but now also wear a bicorne. The bicorne is still worn by the members of the Cadre Noir in full dress uniform, the uniform of the horsemen of the Spanish Riding School of Vienna includes a bicorne. Diplomatic uniforms worn on occasions as the presentation of credentials by ambassadors normally included bicornes worn with feathers. At the annual Trooping the Colour in London, the Major-General commanding the Household Division wears full dress uniform consisting of a scarlet tunic, similar hats with distinctive upright plumes are worn by the Equerries on this and other State occasions. Senior officers holding certain royal or special appointments also wear cocked hats, in most British regiments prior to 1914, certain Regimental Staff officers in full-dress uniform wore cocked hats in place of the usual regimental headdress. A cocked hat is sometimes seen as part of Court uniform
Bicorne
–
Napoléon Bonaparte in his characteristic bicorne hat
Bicorne
–
Grand Admiral
Alfred von Tirpitz wearing a bicorne
Bicorne
–
British Army cocked hat with General officer's plume, worn by
Lord Dannatt, (
Constable of the Tower).
Bicorne
–
The full-dress uniform of
École Polytechnique of
France comprises black trousers with a red stripe (a skirt for women), a coat with golden buttons and a belt, and a cocked hat (officially called a bicorne).
21.
Notre Dame de Paris
–
Notre-Dame de Paris, also known as Notre-Dame Cathedral or simply Notre-Dame, is a medieval Catholic cathedral on the Île de la Cité in the fourth arrondissement of Paris, France. The cathedral is considered to be one of the finest examples of French Gothic architecture. The naturalism of its sculptures and stained glass are in contrast with earlier Romanesque architecture, as the cathedral of the Archdiocese of Paris, Notre-Dame contains the cathedra of the Archbishop of Paris, currently Cardinal André Vingt-Trois. The cathedral treasury contains a reliquary, which some of Catholicisms most important relics, including the purported Crown of Thorns, a fragment of the True Cross. In the 1790s, Notre-Dame suffered desecration in the phase of the French Revolution when much of its religious imagery was damaged or destroyed. An extensive restoration supervised by Eugène Viollet-le-Duc began in 1845, a project of further restoration and maintenance began in 1991. The Notre-Dame de Paris was among the first buildings in the world to use the flying buttress, in response, the cathedrals architects built supports around the outside walls, and later additions continued the pattern. The total surface area is 5,500 m², many small individually crafted statues were placed around the outside to serve as column supports and water spouts. Among these are the famous gargoyles, designed for water run-off, the statues were originally colored as was most of the exterior. The cathedral was complete by 1345. It is possible therefore that the faults with the structure were exaggerated by the Bishop to help justify the rebuilding in a newer style. According to legend, Sully had a vision of a new cathedral for Paris. To begin the construction, the bishop had several houses demolished and had a new road built to transport materials for the rest of the cathedral. Construction began in 1163 during the reign of Louis VII, however, both were at the ceremony. Bishop de Sully went on to devote most of his life, construction of the choir took from 1163 until around 1177 and the new High Altar was consecrated in 1182. By this stage, the facade had also been laid out. Numerous architects worked on the site over the period of construction, between 1210 and 1220, the fourth architect oversaw the construction of the level with the rose window and the great halls beneath the towers. Shortly afterwards Pierre de Montreuil executed a similar scheme on the southern transept,1160 Maurice de Sully orders the original cathedral demolished
Notre Dame de Paris
–
The southern facade of Notre-Dame de Paris
Notre Dame de Paris
–
The western facade illuminated at night
Notre Dame de Paris
–
The spire and east side of the cathedral
Notre Dame de Paris
–
The Archaeological Crypt of Notre-Dame de Paris.
22.
Nicolas Charlet
–
Nicolas Toussaint Charlet, French designer and painter, more especially of military subjects, was born in Paris. Charlet was the son of a dragoon in the Republican army, whose death in the left the widow. Madame Charlet, however, a woman of determined spirit and an extreme Bonapartist, managed to give her boy a moderate education at the Lycée Napoléon and it was only towards 1822, however, that he began to be successful in a professional sense. With much wit and whim in the descriptive mottoes, one of the most famous sets is the Vie civile, politique, et militaire du Caporal Valentin,50 lithographs, dating from 1838 to 1842. In 1838 his health began to fail owing to an affection of the chest, Charlet married in 1824, and two sons survived him. A life of Charlet was published in 1856 by a military friend and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Nicolas Toussaint Charlet. Illustrations Anne S. K. Brown Military Collection, Brown University Library numerous military lithographs and some original drawings by Charlet
Nicolas Charlet
–
Nicolas Charlet and Bruno Lavaine in the company of
Valerie Donzelli, at Premiere of ' The Big Bad Wolf.
23.
French franc
–
The franc, also commonly distinguished as the French franc, was a currency of France. Between 1450 and 1999, it was the name of coins worth 1 livre tournois and it was revalued in 1960, with each new franc being worth 100 old francs. The French franc was a commonly held reserve currency of reference in the 19th and 20th centuries. The first franc was a gold coin introduced in 1360 to pay the Ransom of King John II of France and this coin secured the kings freedom and showed him on a richly decorated horse earning it the name franc à cheval. The obverse legend, like other French coins, gives the title as Francorum Rex. Its value was set as one livre tournois, john’s son, Charles V, continued this type. It was copied exactly at Brabant and Cambrai and, with the arms on the horse cloth changed, conquests led by Joan of Arc allowed Charles VII to return to sound coinage and he revived the franc à cheval. John II, however, was not able to strike enough francs to pay his ransom, John II died as a prisoner in England and his son, Charles V was left to pick up the pieces. Charles V pursued a policy of reform, including stable coinage, an edict dated 20 April 1365 established the centerpiece of this policy, a gold coin officially called the denier d’or aux fleurs de lis which had a standing figure of the king on its obverse. Its value in money of account was one livre tournois, just like the franc à cheval, in accordance with the theories of the mathematician, economist and royal advisor Nicolas Oresme, Charles struck fewer coins of better gold than his predecessors. In the accompanying deflation both prices and wages fell, but wages fell faster and debtors had to settle up in better money than they had borrowed, the Mayor of Paris, Etienne Marcel, exploited their discontent to lead a revolt which forced Charles V out of the city. The States General which met at Blois in 1577 added to the pressure to stop currency manipulation. Henry III agreed to do this and he revived the franc and this coin and its fractions circulated until 1641 when Louis XIII of France replaced it with the silver Écu. Nevertheless, the franc continued in accounting as a synonym for the livre tournois. The decimal franc was established as the currency by the French Revolutionary Convention in 1795 as a decimal unit of 4.5 g of fine silver. This was slightly less than the livre of 4.505 g, silver coins now had their denomination clearly marked as “5 FRANCS” and it was made obligatory to quote prices in francs. e. Coinage with explicit denominations in decimal fractions of the franc also began in 1795, decimalization of the franc was mandated by an act of 7 April 1795, which also dealt with of weights and measures. France’s first decimal coinage used allegorical figures symbolizing revolutionary principles, like the designs the United States had adopted in 1793
French franc
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Franc à cheval
French franc
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Franc à pied
French franc
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1795 five centimes, the first year of decimal fractions for the franc.
French franc
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1799 two-decimes
essai coin
24.
Palais du Luxembourg
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The Luxembourg Palace is located at 15 rue de Vaugirard in the 6th arrondissement of Paris. It was originally built to the designs of the French architect Salomon de Brosse to be the residence of the regent Marie de Medici. After the Revolution it was refashioned by Jean Chalgrin into a legislative building, since 1958 it has been the seat of the French Senate of the Fifth Republic. Immediately west of the palace on the rue de Vaugirard is the Petit Luxembourg, now the residence of the Senate President, and slightly further west, the Musée du Luxembourg, in the former orangery. On the south side of the palace, the formal Luxembourg Garden presents a 25-hectare green parterre of gravel and lawn populated with statues, after the death of Henry IV in 1610, his widow, Marie de Médicis, became regent to her son, Louis XIII. Marie de Médicis desired to make a similar to her native Florences Palazzo Pitti. Marie de Médicis bought the Hôtel de Luxembourg and its fairly extensive domain in 1612 and commissioned the new building, the suites of paintings she commissioned, in the subjects of which she expressed her requirements through her agents and advisers, are scattered among museums. Marie de Médicis installed her household in 1625, while work on interiors continued, the apartments in the right wing on the western side were reserved for the Queen and the matching suite to the east, for her son, Louis XIII, when he was visiting. The 24 Marie de Medici cycle canvases, a series commissioned from Peter Paul Rubens, were installed in the Galerie de Rubens on the floor of the western wing. A series of paintings executed for her Cabinet doré was identified by Anthony Blunt in 1967, Louis XIII commissioned further decorations for the Palace from Nicolas Poussin and Philippe de Champaigne. In 1642, Marie bequeathed the Luxembourg to her second and favourite son, Gaston, duc dOrléans, who called it the Palais dOrléans, but by popular will it was still known by its original name. Upon Gastons death, the passed to his widow, Marguerite de Lorraine, then to his elder daughter by his first marriage, Anne, duchesse de Montpensier. In 1660, Anne de Montpensier sold the Luxembourg to her younger half-sister, Élisabeth Marguerite dOrléans, duchesse de Guise who, in turn, gave it to her cousin, King Louis XIV, in 1694. In 1715, the became the residence of Marie Louise Elisabeth dOrleans. The widowed Duchess was notoriously promiscuous, having the reputation of a French Messalina, the Luxembourg palace and its gardens thus became stages where the radiantly beautiful princess acted out her ambitions, enthroned like a queen surrounded by her court. According to various songs which scurrilously evoked her amours the Lady of the Luxembourg hid several pregnancies. Her taste for strong liquors and her sheer gluttony also scandalised the court, on 21 May 1717, Madame de Berry received Peter the Great at the Luxembourg. On 28 February 1718, the Duchess of Berry threw a magnificent party for her visiting aunt, the entire palace and its gardens were elaborately illuminated
Palais du Luxembourg
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Luxembourg Palace garden façade
Palais du Luxembourg
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The Luxembourg Palace was modeled after
Palazzo Pitti in
Florence at the request of
Marie de Médicis.
Palais du Luxembourg
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Ceiling of the Salle du Livre d'Or
Palais du Luxembourg
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Floor plan (1752) shows the large enclosed
cour d'honneur and the long Rubens gallery in the right wing
25.
Louis-Philippe of France
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Louis Philippe I was King of the French from 1830 to 1848 as the leader of the Orléanist party. He spent 21 years in exile after he left France in 1793 and he was proclaimed king in 1830 after his cousin Charles X was forced to abdicate in the wake of the events of the July Revolution of that year. His government, known as the July Monarchy, was dominated by members of a wealthy French elite and he followed conservative policies, especially under the influence of the French statesman François Guizot during the period 1840–48. He also promoted friendship with Britain and sponsored colonial expansion, notably the conquest of Algeria and his popularity faded as economic conditions in France deteriorated in 1847, and he was forced to abdicate after the outbreak of the French Revolution of 1848. He lived out his life in exile in Great Britain, Louis Philippe was born in the Palais Royal, the residence of the Orléans family in Paris, to Louis Philippe, Duke of Chartres, and Louise Marie Adélaïde de Bourbon. As a member of the reigning House of Bourbon, he was a Prince of the Blood and his mother was an extremely wealthy heiress who was descended from Louis XIV of France through a legitimized line. Louis Philippe was the eldest of three sons and a daughter, a family that was to have erratic fortunes from the beginning of the French Revolution to the Bourbon Restoration. Louis Philippes father was exiled from the court, and the Orléans confined themselves to studies of the literature. Louis Philippe was tutored by the Countess of Genlis, beginning in 1782 and she instilled in him a fondness for liberal thought, it is probably during this period that Louis Philippe picked up his slightly Voltairean brand of Catholicism. When Louis Philippes grandfather died in 1785, his father succeeded him as Duke of Orléans, from October 1788 to October 1789, the Palais Royal was a meeting-place for the revolutionaries. Louis Philippe grew up in a period that changed Europe as a whole and, following his fathers support for the Revolution. In his diary, he reports that he took the initiative to join the Jacobin Club. In June 1791, Louis Philippe got his first opportunity to become involved in the affairs of France, in 1785, he had been given the hereditary appointment of Colonel of the 14th Regiment of Dragoons. With war on the horizon in 1791, all proprietary colonels were ordered to join their regiments, Louis Philippe showed himself to be a model officer, and he demonstrated his personal bravery in two famous instances. The young colonel broke through the crowd and extricated the two priests, who then fled, at a river crossing on the same day, another crowd threatened to harm the priests. Louis Philippe put himself between a peasant armed with a carbine and the priests, saving their lives, the next day, Louis Philippe dove into a river to save a drowning local engineer. For this action, he received a crown from the local municipality. His regiment was moved north to Flanders at the end of 1791 after the Declaration of Pillnitz, Louis Philippe served under his fathers crony, the Duke of Biron, along with several officers who later gained distinction in Napoleons empire and afterwards
Louis-Philippe of France
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Louis Philippe I; Painting by
Franz Xaver Winterhalter
Louis-Philippe of France
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The duke of Chartres (dismounted) and his brother, the
Duke of Montpensier (on horseback), in
dragoon uniform at the
battle of Valmy (1792).
Louis-Philippe of France
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Ferdinand, Duke of Orléans
Louis-Philippe of France
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Louise d'Orléans
26.
June Rebellion
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The June Rebellion or the Paris Uprising of 1832, was an anti-monarchist insurrection of Parisian republicans on 5 and 6 June 1832. The death of Jean Maximilien Lamarque was a spark shortly before the revolutionaries rose to their barricades, the rebellion was the last outbreak of violence linked with the July Revolution of 1830. Author Victor Hugo described the rebellion in his novel Les Misérables, in the 1830 July Revolution, the elected Chamber of Deputies had established a constitutional monarchy and replaced Charles X of the House of Bourbon by the more liberal Louis-Philippe. This angered republicans who saw one king replaced by another, in the spring of 1832 Paris suffered a widespread outbreak of cholera, which ended with a death toll of 18,402 in the city and 100,000 across France. The poor neighbourhoods of Paris were devastated by the disease, arousing suspicion of the government poisoning wells, the epidemic soon claimed two well known victims. Prime Minister Casimir Perier fell sick and died on 16 May, the conservative Perier was given a grand state funeral. The monarchy of Louis Philippe, which had become the government of the class, was now attacked from two opposite sides at once. Before these two deaths, there had been two significant rebellions, in Frances second city, Lyon, a workers uprising known as the Canut revolt, caused by economic hardships, had occurred in December 1831. Troops were sent in after members of the local National Guard defected to the rebels. This was followed by an insurrection in the Bourbon heartland of the Vendée led by Caroline, Duchess of Berry, mother of Henri, Count of Chambord, the duchess was captured in late 1832 and imprisoned until 1833. After this, the Legitimists renounced war and fell back on the press as a weapon, the republicans were led by secret societies formed of the most determined members of their movement. These groups planned to provoke riots similar to those that had led to the 1830 July Revolution against the ministers of Charles X, the Society of the Rights of Man was one of the most instrumental. It was organized like an army, divided into sections of twenty each, with a president. The republican conspirators made their move at the funeral of General Lamarque on 5 June. Groups of demonstrators took charge of the cortege and redirected it to the Place de la Bastille and they gathered around the catafalque on which the body rested. Speeches were made about Lamarques support for Polish and Italian liberty, when a red flag bearing the words La Liberté ou la Mort was raised, the crowd broke into disorder and shots were exchanged with government troops. The Marquis de Lafayette, who had given a speech in praise of Lamarque, called for calm, but the outbreak spread. The subsequent uprising put the roughly 3,000 insurgents in control of much of the eastern and central districts of Paris, cries were heard that the rioters would sup at the Tuileries Palace that evening
June Rebellion
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An 1870 illustration depicting the rebellion
June Rebellion
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General Jean Lamarque was admired by republicans for his defeat of Legitimists in the Vendée in 1815 and his support of international republican movements
June Rebellion
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The death of
Éponine during the June Rebellion, illustration from Victor Hugo's Les Misérables.
27.
Salon (Paris)
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The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
Salon (Paris)
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Formally dressed patrons at the Salon in 1890
Salon (Paris)
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Salon of 1932, Grand Palais, Paris.
Salon (Paris)
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This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Salon (Paris)
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Salon of 1753
28.
Palais du Louvre
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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
Palais du Louvre
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Night view of the
Louvre Pyramid in the centre of the Napoleon Courtyard of the Palais du Louvre
Palais du Louvre
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Aerial view of the Louvre Palace
Palais du Louvre
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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)
Palais du Louvre
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The Louvre Palace looking west across the Cour Napoleon and the
Louvre Pyramid
29.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
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In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
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The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
Liberty Leading the People, Accidental Icon? (26 min), Canal Educatif.
