1.
French people
–
The French are an ethnic group and nation who are identified with the country of France. This connection may be legal, historical, or cultural, modern French society can be considered a melting pot. To be French, according to the first article of the French Constitution, is to be a citizen of France, regardless of origin, race. The debate concerning the integration of this view with the underlying the European Community remains open. A large number of foreigners have traditionally been permitted to live in France, indeed, the country has long valued its openness, tolerance and the quality of services available. Application for French citizenship is often interpreted as a renunciation of previous state allegiance unless a dual citizenship agreement exists between the two countries, the European treaties have formally permitted movement and European citizens enjoy formal rights to employment in the state sector. Seeing itself as a nation with universal values, France has always valued. However, the success of such assimilation has recently called into question. There is increasing dissatisfaction with, and within, growing ethno-cultural enclaves, the 2005 French riots in some troubled and impoverished suburbs were an example of such tensions. However they should not be interpreted as ethnic conflicts but as social conflicts born out of socioeconomic problems endangering proper integration, the name France etymologically derives from the word Francia, the territory of the Franks. The Franks were a Germanic tribe that overran Roman Gaul at the end of the Roman Empire, in the pre-Roman era, all of Gaul was inhabited by a variety of peoples who were known collectively as the Gaulish tribes. Gaul was militarily conquered in 58-51 BCE by the Roman legions under the command of General Julius Caesar, the area then became part of the Roman Empire. Over the next five centuries the two cultures intermingled, creating a hybridized Gallo-Roman culture, the Gaulish vernacular language disappeared step by step to be replaced everywhere by Vulgar Latin, which would later develop under Frankish influence into the French language in the North of France. With the decline of the Roman Empire in Western Europe, a federation of Germanic peoples entered the picture, the Franks were Germanic pagans who began to settle in northern Gaul as laeti, already during the Roman era. They continued to filter across the Rhine River from present-day Netherlands, at the beginning, they served in the Roman army and reached high commands. Their language is spoken as a kind of Dutch in northern France. Another Germanic people immigrated massively to Alsace, the Alamans, which explains the Alemannic German spoken there and they were competitors of the Franks, thats why it became at the Renaissance time the word for German in French, Allemand. By the early 6th century the Franks, led by the Merovingian king Clovis I and his sons, had consolidated their hold on much of modern-day France, the Vikings eventually intermarried with the local people, converting to Christianity in the process
French people
–
Louis XIV of France "The Sun-King"
French people
–
Row 1:
Joan of Arc
French people
–
Liberty Leading the People by Eugène Delacroix
French people
–
French people in Paris, August 1944
2.
Classical architecture
–
Different styles of classical architecture have arguably existed since the Carolingian Renaissance, and prominently since the Italian Renaissance. Although classical styles of architecture can vary greatly, they can in all be said to draw on a common vocabulary of decorative and constructive elements. The term classical architecture also applies to any mode of architecture that has evolved to a highly refined state, such as classical Chinese architecture and it can also refer to any architecture that employs classical aesthetic philosophy. The term might be used differently from traditional or vernacular architecture, for contemporary buildings following authentic classical principles, the term New Classical Architecture may be used. Classical architecture is derived from the architecture of ancient Greece and ancient Rome, with the collapse of the western part of the Roman empire, the architectural traditions of the Roman empire ceased to be practised in large parts of western Europe. In the Byzantine Empire, the ancient ways of building lived on, the first conscious efforts to bring back the disused language of form of classical antiquity into Western architecture can be traced to the Carolingian Renaissance of the late 8th and 9th centuries. In general, therefore, they are not considered classical architectural styles in a strict sense, nonetheless, the classical architecture of the Renaissance from the outset represents a highly specific interpretation of the classical ideas. Most of the styles originating in post-renaissance Europe can be described as classical architecture and this broad use of the term is employed by Sir John Summerson in The Classical Language of Architecture. The elements of architecture have been applied in radically different architectural contexts than those for which they were developed. For example, Baroque or Rococo architecture are styles which, although classical at root, during these periods, architectural theory still referred to classical ideas but rather less sincerely than during the Renaissance. Neoclassical architecture held a strong position on the architectural scene c. With the advent of Modernism during the early 20th century, classical architecture arguably almost completely ceased to be practised, as noted above, classical styles of architecture dominated Western architecture for a very long time, roughly from the Renaissance until the advent of Modernism. That is to say, that classical antiquity at least in theory was considered the source of inspiration for architectural endeavours in the West for much of Modern history. Furthermore, it can even be argued that styles of architecture not typically considered classical, like Gothic, therefore, a simple delineation of the scope of classical architecture is difficult to make. The more or less defining characteristic can still be said to be a reference to ancient Greek or Roman architecture, and the architectural rules or theories that derived from that architecture. In the grammar of architecture, the word petrification is often used when discussing the development of sacred structures, such as temples, during the Archaic and early Classical periods, the architectural forms of the earliest temples had solidified and the Doric emerged as the predominant element. And not everyone within the reach of Mediterranean civilization made this transition. Nor was it the lack of knowledge of working on their part that prevented them from making the transition from timber to dressed stone
Classical architecture
–
Caryatids on the
Erechtheion, (
Athens), an example of a
Greek architectural element taken up by later classical architecture.
Classical architecture
–
Sebastiano Serlio 's canon of the
Classical orders, a prime example of classical
architectural theory.
Classical architecture
–
The forms of ancient
Roman temples like the pictured
Maison Carrée in
Nîmes (France) has served as an inspiration for plenty of much later classical architecture, e.g.
Virginia State Capitol.
Classical architecture
–
Lorsch Abbey gatehouse (Germany), c. 800, an example of the architectural style of the short-lived
Carolingian Renaissance, a first classical movement in architecture.
3.
Baroque architecture
–
It was characterized by new explorations of form, light and shadow, and dramatic intensity. Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, the new style manifested itself in particular in the context of the new religious orders, like the Theatines and the Jesuits who aimed to improve popular piety. The architecture of the High Roman Baroque can be assigned to the reigns of Urban VIII, Innocent X and Alexander VII. Dissemination of Baroque architecture to the south of Italy resulted in variations such as Sicilian Baroque architecture or that of Naples. To the north, the Theatine architect Camillo-Guarino Guarini, Bernardo Vittone and Sicilian born Filippo Juvarra contributed Baroque buildings to the city of Turin and the Piedmont region. A synthesis of Bernini, Borromini and Cortona’s architecture can be seen in the late Baroque architecture of northern Europe which paved the way for the more decorative Rococo style. During the 17th century, Baroque architecture spread through Europe and Latin America, michelangelos late Roman buildings, particularly St. Peters Basilica, may be considered precursors to Baroque architecture. Colonialism required the development of centralized and powerful governments with Spain and France, the initial mismanagement of colonial wealth by the Spaniards bankrupted them in the 16th century, recovering only slowly in the following century. While this was good for the industries and the arts, the new wealth created an inflation. Rome was known just as much for its new sumptuous churches as for its vagabonds, one of the first Roman structures to break with the Mannerist conventions exemplified in the Gesù, was the church of Santa Susanna, designed by Carlo Maderno. The dynamic rhythm of columns and pilasters, central massing, there is an incipient playfulness with the rules of classic design, but it still maintains rigor. These concerns are more evident in his reworking of Santa Maria della Pace. Probably the most well known example of such an approach is Saint Peters Square, the piazza, designed by Gian Lorenzo Bernini, is formed principally by two colonnades of free standing columns centred on an Egyptian obelisk. Berninis own favourite design was his church of SantAndrea al Quirinale decorated with polychome marbles. His secular architecture included the Palazzo Barberini based on plans by Maderno, Berninis rival, the architect Francesco Borromini, produced designs that deviated dramatically from the regular compositions of the ancient world and Renaissance. His building plans were based on geometric figures, his architectural forms were unusual and inventive. Borrominis architectural spaces seem to expand and contract when needed, showing some affinity with the style of Michelangelo. A later work, the church of SantIvo alla Sapienza, displays the same playful inventiveness and antipathy to the flat surface, following the death of Bernini in 1680, Carlo Fontana emerged as the most influential architect working in Rome
Baroque architecture
–
Façade of the
Church of the Gesù, the first truly baroque façade
Baroque architecture
–
Elector's Palace in
Trier,
Germany
Baroque architecture
–
Santa Susanna in
Rome,
Italy
Baroque architecture
–
Church of Saints Peter and Paul in
Kraków,
Poland
4.
Louis XIV of France
–
Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest of any monarch of a country in European history. In the age of absolutism in Europe, Louis XIVs France was a leader in the centralization of power. Louis began his rule of France in 1661, after the death of his chief minister. By these means he became one of the most powerful French monarchs, under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished. The revocation effectively forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to virtually destroy the French Protestant minority. During Louis reign, France was the leading European power, and it fought three wars, the Franco-Dutch War, the War of the League of Augsburg. There were also two lesser conflicts, the War of Devolution and the War of the Reunions, warfare defined Louis XIVs foreign policies, and his personality shaped his approach. Impelled by a mix of commerce, revenge, and pique, in peacetime he concentrated on preparing for the next war. He taught his diplomats their job was to create tactical and strategic advantages for the French military, Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria. He was named Louis Dieudonné and bore the title of French heirs apparent. At the time of his birth, his parents had married for 23 years. His mother had experienced four stillbirths between 1619 and 1631, leading contemporaries thus regarded him as a divine gift and his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, in defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his sons behalf. His lack of faith in Queen Annes political abilities was his primary rationale and he did, however, make the concession of appointing her head of the council. Louis relationship with his mother was uncommonly affectionate for the time, contemporaries and eyewitnesses claimed that the Queen would spend all her time with Louis. Both were greatly interested in food and theatre, and it is likely that Louis developed these interests through his close relationship with his mother. This long-lasting and loving relationship can be evidenced by excerpts in Louis journal entries, such as, but attachments formed later by shared qualities of the spirit are far more difficult to break than those formed merely by blood
Louis XIV of France
–
Louis XIV by
Hyacinthe Rigaud (1701)
Louis XIV of France
–
Louis-Dieudonné,
Dauphin of France, in 1643 by
Claude Deruet
Louis XIV of France
–
Louis XIV as a child, unknown painter
Louis XIV of France
–
1655 portrait of Louis, the Victor of the Fronde, portrayed as the god
Jupiter
5.
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
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
–
Gold coins minted by the Parisii (1st century BC)
Paris
–
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)
6.
Charles Le Brun
–
Charles Le Brun was a French painter and art theorist. Declared by Louis XIV the greatest French artist of all time, he was a dominant figure in 17th-century French art, born in Paris, he attracted the notice of Chancellor Séguier, who placed him at the age of eleven in the studio of Simon Vouet. He was also a pupil of François Perrier, in Rome he remained four years in the receipt of a pension due to the liberality of the chancellor. There he worked under Poussin, adapting the latters theories of art, on his return to Paris in 1646, Le Brun found numerous patrons, of whom Superintendent Fouquet was the most important, for whom he painted a large portrait of Anne of Austria. Employed at Vaux-le-Vicomte, Le Brun ingratiated himself with Mazarin, then secretly pitting Colbert against Fouquet, Colbert also promptly recognized Le Bruns powers of organization, and attached him to his interests. Together they took control of the Academy of Painting and Sculpture, and the Academy of France at Rome, another project Le Brun worked on was Hôtel Lambert. The ceiling in the gallery of Hercules was painted by him, Le Brun started work on the project in 1650, shortly after his return from Italy. The decoration continued intermittently over twelve years or so, as it was interrupted by the renovation of Vaux le Vicomte. In 1660 they established the Gobelins, which at first was a school for the manufacture, not of tapestries only. He was the originator of Louis XIV Style and gave a direction to the national tendencies which endured centuries after his death, the King had declared him the greatest French artist of all time. From this date all that was done in the palaces was directed by Le Brun. In 1663, he director of the Académie royale de peinture et de sculpture. While he was working on The Battles, Le Bruns style became more personal as he moved away from the ancient masters that influenced him. Le Bruns decoration is not only a work of art, it is the monument of a reign. This contributed to the illness which on 22 February 1690 ended in his death in his private mansion, Le Brun primarily worked for King Louis XIV, for whom he executed large altarpieces and battle pieces. His most important paintings are at Versailles, besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous. Le Brun was also a fine portraitist and an excellent draughtsman, but he was not fond of portrait or landscape painting, what mattered was scholarly composition, whose ultimate goal was to nourish the spirit. For Le Brun, a painting represented a story one could read, nearly all his compositions have been reproduced by celebrated engravers
Charles Le Brun
–
Charles Le Brun, portrait by
Nicolas de Largilliere
Charles Le Brun
–
Portrait of Nicolas Le Brun by Charles Le Brun, ca. 1635,
Residenzgalerie, Salzburg
Charles Le Brun
–
Venus Clipping Cupid’s Wings, ca. 1655,
Museo de Arte de Ponce,
Ponce, Puerto Rico
Charles Le Brun
–
Part of the ceilling of the
Hall of Mirrors in the
Palace of Versailles.
7.
Vaux-le-Vicomte
–
The Château de Vaux-le-Vicomte is a baroque French château located in Maincy, near Melun,55 kilometres southeast of Paris in the Seine-et-Marne département of France. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and their collaboration marked the beginning of the Louis XIV style combining architecture, interior design and landscape design. The gardens pronounced visual axis is an example of this style, Fouquet was an avid patron of the arts, attracting many artists with his generosity. When Fouquet became King Louis XIVs superintendent of finances in 1657, he commissioned Le Vau, Le Brun and Le Nôtre to renovate his estate, fouquet’s artistic and cultivated personality subsequently brought out the best in the three. To secure the necessary grounds for the plans for Vaux-le-Vicomte’s garden and castle. The displaced villagers were employed in the upkeep and maintenance of the gardens. It was said to have employed 18 thousand workers and cost as much as 16 million livres, the château and its patron became for a short time a focus for fine feasts, literature and arts. The poet Jean de La Fontaine and the playwright Molière were among the close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with an event organized by François Vatel. The celebration had been too impressive and the superintendents home too luxurious, Fouquets intentions were to flatter the king, part of Vaux-le-Vicomte was actually constructed specifically for the king, but Fouquets plan backfired. Jean-Baptiste Colbert led the king to believe that his ministers magnificence was funded by the misappropriation of public funds, Colbert, who then replaced Fouquet as superintendent of finances, arrested him. Later, Voltaire was to sum up the famous fête, On 17 August, at six in the evening Fouquet was the King of France, La Fontaine wrote describing the fête and shortly afterwards penned his Elégie aux nymphes de Vaux. After Fouquet was arrested and imprisoned for life and his wife exiled, the king seized, confiscated or purchased 120 tapestries, the statues and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists to design what would be a larger project than Vaux-le-Vicomte. Madame Fouquet recovered her property 10 years later and retired there with her eldest son, in 1705, after the death of her husband and son, she decided to put Vaux-le-Vicomte up for sale. Marshal Claude Louis Hector de Villars became the new owner without first seeing the chateau, in 1764, the Marshals son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction, the château was empty, some of the outbuildings had fallen into ruin and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, when Sommier died in 1908, the château and the gardens had recovered their original appearance
Vaux-le-Vicomte
–
View from the rond d'eau of the garden
Vaux-le-Vicomte
–
Rhythmic massing of the entrance front.
Vaux-le-Vicomte
–
Fouquet
Vaux-le-Vicomte
–
Colbert
8.
Palace of Versailles
–
The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
Palace of Versailles
–
Aerial view of the Palace from above the
Gardens of Versailles
Palace of Versailles
–
Bust of Louis XIV by
Bernini in the
Diana Salon of the Palace of Versailles
Palace of Versailles
–
View of the Palace from the garden
Palace of Versailles
–
Marble Court
9.
Claude Perrault
–
Claude Perrault was a French architect, best known for his participation in the design of the east façade of the Louvre in Paris. He also achieved success as a physician and anatomist, and as an author, Perrault was born and died in Paris. His treatise on the five orders of architecture followed in 1683. As physician and natural philosopher with a degree from the University of Paris. A committee commissioned by Louis XIV, the Petit Conseil, comprising Louis Le Vau, Charles Le Brun and it was begun in 1668 and was almost completed in 1680, by which time Louis XIV had abandoned the Louvre and focused his attention on the Palace of Versailles. The wing behind the east façade was not finished until the 19th century with the advent of Napoleon, the definitive design of the east façade is attributed to Perrault, who made the final alterations needed to accommodate a decision to double the width of the south wing. The east façade, divided in five parts, is a solution of the French classicism. The simple character of the ground floor basement sets off the paired Corinthian columns, modeled according to Vitruvius, against a shadowed void. Little that could be called Baroque can be identified in its cool classicism that looks back to the 16th century, perraults participation in its design established his reputation as an architect. Perrault also built an Observatory, the church of St-Benoît-le-Bétourné, designed a new church of Ste-Geneviève, perraults design for a triumphal arch on Rue St-Antoine was preferred to competing designs of Le Brun and Le Vau, but was only partly executed in stone. When the arch was taken down in the 19th century, it was found that the master had devised a means of so interlocking the stones, without mortar. In addition, he made a contribution in acoustics. His treatise on sound was a part of the book Oeuvres diverses de Physique et de Mecanique, in his later book, he treats such subjects as sound media, sources of sound and sound receivers. In musical acoustics, he noted the importance of vibration on consonance and dissonance and his study De la Musique des Anciens in the Oeuvres diverses discussed how combinations of notes yields harmony. It also contains critical examinations of old manuscripts on European music and his brother, Charles Perrault, is remembered as the classic reteller of the old story of Cinderella among other fables. Mémoires pour servir à l’histoire N=naturelle des animaux, introduction by Alberto Pérez-Gómez to Indra Kagis McEwens translation of Perrault’s Ordonnance for the five kinds of columns after the method of the Ancients. Santa Monica, CA, Getty Center for the History of Art, media related to Claude Perrault at Wikimedia Commons Works by Claude Perrault at Project Gutenberg Works by or about Claude Perrault at Internet Archive
Claude Perrault
–
Claude Perrault
10.
Palais du Louvre
–
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
–
Night view of the
Louvre Pyramid in the centre of the Napoleon Courtyard of the Palais du Louvre
Palais du Louvre
–
Aerial view of the Louvre Palace
Palais du Louvre
–
The Cour Carrée of the "Old Louvre" looking west (Left to right: Aile Lescot, Pavillon Sully (de l'Horloge), Aile Lemercier)
Palais du Louvre
–
The Louvre Palace looking west across the Cour Napoleon and the
Louvre Pyramid
11.
Institut de France
–
The Institut de France is a French learned society, grouping five académies, the most famous of which is the Académie française. The Institute, located in Paris, manages approximately 1,000 foundations, as well as museums and it also awards prizes and subsidies, which amounted to a total of €5,028,190.55 for 2002. Most of these prizes are awarded by the Institute on the recommendation of the académies, the Institut de France was established on 25 October 1795, by the French government. Académie française – initiated 1635, suppressed 1793, restored 1803 as a division of the institute, Académie des inscriptions et belles-lettres – initiated 1663. Académie des sciences – initiated 1666, the Royal Society of Canada, initiated 1882, was modeled after the Institut de France and the Royal Society of London
Institut de France
–
Institut de France, from the
pont des Arts
Institut de France
–
Cupola of the Institut de France
Institut de France
–
Henri Grégoire was a founding member of the Institut de France.
Institut de France
–
Esplanade in front of the Institut, 1898.
12.
Saint-Sulpice (Paris)
–
Saint-Sulpice is a Roman Catholic church in Paris, France, on the east side of the Place Saint-Sulpice within the rue Bonaparte, in the Luxembourg Quarter of the 6th arrondissement. At 113 metres long,58 metres in width and 34 metres tall, it is slightly smaller than Notre-Dame. It is dedicated to Sulpitius the Pious, construction of the present building, the second church on the site, began in 1646. During the 18th century, a gnomon, the Gnomon of Saint-Sulpice, was constructed in the church. The present church is the building on the site, erected over a Romanesque church originally constructed during the 13th century. Additions were made over the centuries, up to 1631, the new building was founded in 1646 by parish priest Jean-Jacques Olier who had established the Society of Saint-Sulpice, a clerical congregation, and a seminary attached to the church. Anne of Austria laid the first stone, gittard completed the sanctuary, ambulatory, apsidal chapels, transept, and north portal, after which construction was halted for lack of funds. Gilles-Marie Oppenord and Giovanni Servandoni, adhering closely to Gittards designs, the decoration was executed by the brothers Sébastien-Antoine Slodtz and Paul-Ambroise Slodtz. He also built a bell-tower on top of the transept crossing and this miscalculation may account for the fact that Oppenord was then relieved of his duties as an architect and restricted to designing decoration. In 1732 a competition was held for the design of the west facade, won by Servandoni, the 1739 Turgot map of Paris shows the church without Oppenords crossing bell-tower, but with Servandonis pedimented facade mostly complete, still lacking however its two towers. Unfinished at the time of his death in 1766, the work was continued by others, primarily the obscure Oudot de Maclaurin, Chalgrin also designed the decoration of the chapels under the towers. The principal facade now exists in altered form. Large arched windows fill the vast interior with natural light, the result is a simple two-storey west front with three tiers of elegant columns. The overall harmony of the building is, some say, only marred by the two mismatched towers, one can still barely make out the printed words ‘’Le Peuple Francais Reconnoit L’Etre Suprême Et L’Immortalité de L’Âme’’. Further questions of interest are the fate of the frieze that this must have replaced, the responsible for placing this manifesto. Inside the church to either side of the entrance are the two halves of a shell given to King Francis I by the Venetian Republic. They function as holy water fonts and rest on rock-like bases sculpted by Jean-Baptiste Pigalle, Pigalle also designed the large white marble statue of Mary in the Lady Chapel at the far end of the church. The stucco decoration surrounding it is by Louis-Philippe Mouchy, pigalles work replaced a solid-silver statue by Edmé Bouchardon, which vanished at the time of the Revolution
Saint-Sulpice (Paris)
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Church of Saint-Sulpice, Paris
Saint-Sulpice (Paris)
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Former Church of Saint-Sulpice, by Matthys Schoevaerdts, 17th century.
Saint-Sulpice (Paris)
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South transept with portal designed by
Gilles-Marie Oppenord in 1723
Saint-Sulpice (Paris)
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Saint Paul's, London
13.
Albert Laprade
–
Albert Laprade was a French architect, perhaps best known for the Palais de la Porte Dorée. During a long career he undertook many urban renewal projects as well as industrial and commercial works. A skilled artist, he published a series of books of architecture in France. Albert Laprade was born in Buzançais, Indre on 29 November 1883 and he was the only son of a wholesale grocer and a seamstress from Châteauroux. He attended the Lycée Jean-Giraudoux in Châteauroux, graduating in 1900, in 1905 he was admitted to the studio of Gaston Redon, and then studied under Albert Tournaire. He was a brilliant pupil and won many prizes and he obtained his diploma as an architect in 1907. Between 1910 and 1914 Laprade worked in the studio of René Sergent, an uncle by marriage and he also worked with Henri Prost. He was called up in 1914 with the outbreak of World War I, in 1915 he was wounded at Ypres and sent to Rouen to recover, but was unable to return to the field. Prost arranged for him to become his assistant in Morocco, Laprade worked under Prost in the town planning division, and was given the tasks of redesigning the great central park in Casablanca, and then planning a new indigenous town. Laprade first made many drawings of local architectural motifs in an effort to understand the interaction of stylistic elements with social functions. His goal was to develop an elegant urban architecture based on technology that would be appropriate to the stylistic tastes. His new Madina in Casablanca was separate from the French quarters, Laprade followed Moroccan traditions in the division between interior courtyards and the street. In 1917 Laprade went to Rabat where he assisted with the General Residence and its gardens, the military and diplomatic cabinet, a park and sports ground, in this last he incorporated concepts from local architecture, ensuring harmony with the surrounding buildings. Auguste Cadet and Edmond Brion undertook the construction project in Casablanca. Laprade met many of his private clients while in Morocco. His sketches of local gardens and houses were used to illustrate Jean Galottis Les Jardins et les maisons arabes au Maroc. Laprade returned to France in 1920 and that year he rebuilt the Château de Gerbéviller, which had been damaged by bombing, for Charles de Lambertye-Gerbéviller. Laprade created the Jardins des Nympheas and Jardins des Oiseaux for the 1925 International Exposition of Modern Industrial, in an interview he said that he had a love of flowers embedded in architecture, whether it was brick, stone or even concrete
Albert Laprade
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Albert Laprade
Albert Laprade
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El Hank lighthouse, Casablanca, which Laprade and Prost designed in 1916.
Albert Laprade
–
Villa Magdalena,
Bénodet, Brittany (1926-1928)
Albert Laprade
–
Facade of the
Palais de la Porte Dorée (1931)
14.
Catholic Encyclopedia
–
The first volume appeared in March 1907 and the last three volumes appeared in 1912, followed by a master index volume in 1914 and later supplementary volumes. It was designed to give its readers full and authoritative information on the cycle of Catholic interests, action. The Catholic Encyclopedia was published by the Robert Appleton Company, a company incorporated at New York in February 1905 for the express purpose of publishing the encyclopedia. The five members of the encyclopedias Editorial Board also served as the directors of the company, in 1912 the companys name was changed to The Encyclopedia Press. Publication of the volumes was the sole business conducted by the company during the projects lifetime. The encyclopedia was designed to serve the Roman Catholic Church, concentrating on information related to the Church and it records the accomplishments of Catholics and others in nearly all intellectual and professional pursuits, including artists, educators, poets and scientists. The volumes came out sequentially the first two in 1907 and the last three in 1912, The editors had their first editorial meeting at the office of The Messenger, on West 16th Street, New York City. The text received a nihil obstat from an official censor, Remy Lafort, on November 1,1908 and this review process was presumably accelerated by the reuse of older authorized publications. A first supplement was published in 1922, a supplement in nine loose-leaf sections was published by The Gilmary Society between 1950 and 1958. In 1912, a special completely illustrated commemorative volume was awarded to patrons who contributed to the start of the enterprise by buying multiple encyclopedia sets early on. The encyclopedia was later updated under the auspices of The Catholic University of America and a 17-volume New Catholic Encyclopedia was first published in 1967, and then in 2002. The Catholic Encyclopedia and its makers states that, The work is entirely new, the editors have insisted that the articles should contain the latest and most accurate information to be obtained from the standard works on each subject. Those who wrote new articles in English include Anthony Maas and Herbert Thurston, under United States copyright law, all works published in the United States before 1923 are in the public domain. Knight founded the website New Advent to house the undertaking, volunteers from the United States, Canada, France, and Brazil helped in the transcription of the original material. The site went online in 1995, and transcription work ended in 1997, in 2007, Catholic Answers published a watermarked version derived from page scans. This version has since replaced with a transcription of the Encyclopedia similar to that found at the New Advent website. The Catholic Answers transcription, however, is a transcription of the original text, whereas the New Advent version at times modernizes certain words. Other scanned copies of the 1913 Encyclopedia are available on Google Books, at the Internet Archive, wikisource also hosts a transcription project backed by the scans hosted at Commons
Catholic Encyclopedia
–
Cover page of 1913 Catholic Encyclopedia, Volume 1.
15.
Laprade, Albert
–
Albert Laprade was a French architect, perhaps best known for the Palais de la Porte Dorée. During a long career he undertook many urban renewal projects as well as industrial and commercial works. A skilled artist, he published a series of books of architecture in France. Albert Laprade was born in Buzançais, Indre on 29 November 1883 and he was the only son of a wholesale grocer and a seamstress from Châteauroux. He attended the Lycée Jean-Giraudoux in Châteauroux, graduating in 1900, in 1905 he was admitted to the studio of Gaston Redon, and then studied under Albert Tournaire. He was a brilliant pupil and won many prizes and he obtained his diploma as an architect in 1907. Between 1910 and 1914 Laprade worked in the studio of René Sergent, an uncle by marriage and he also worked with Henri Prost. He was called up in 1914 with the outbreak of World War I, in 1915 he was wounded at Ypres and sent to Rouen to recover, but was unable to return to the field. Prost arranged for him to become his assistant in Morocco, Laprade worked under Prost in the town planning division, and was given the tasks of redesigning the great central park in Casablanca, and then planning a new indigenous town. Laprade first made many drawings of local architectural motifs in an effort to understand the interaction of stylistic elements with social functions. His goal was to develop an elegant urban architecture based on technology that would be appropriate to the stylistic tastes. His new Madina in Casablanca was separate from the French quarters, Laprade followed Moroccan traditions in the division between interior courtyards and the street. In 1917 Laprade went to Rabat where he assisted with the General Residence and its gardens, the military and diplomatic cabinet, a park and sports ground, in this last he incorporated concepts from local architecture, ensuring harmony with the surrounding buildings. Auguste Cadet and Edmond Brion undertook the construction project in Casablanca. Laprade met many of his private clients while in Morocco. His sketches of local gardens and houses were used to illustrate Jean Galottis Les Jardins et les maisons arabes au Maroc. Laprade returned to France in 1920 and that year he rebuilt the Château de Gerbéviller, which had been damaged by bombing, for Charles de Lambertye-Gerbéviller. Laprade created the Jardins des Nympheas and Jardins des Oiseaux for the 1925 International Exposition of Modern Industrial, in an interview he said that he had a love of flowers embedded in architecture, whether it was brick, stone or even concrete
Laprade, Albert
–
Albert Laprade
Laprade, Albert
–
El Hank lighthouse, Casablanca, which Laprade and Prost designed in 1916.
Laprade, Albert
–
Villa Magdalena,
Bénodet, Brittany (1926-1928)
Laprade, Albert
–
Facade of the
Palais de la Porte Dorée (1931)
16.
OCLC
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The Online Computer Library Center is a US-based nonprofit cooperative organization dedicated to the public purposes of furthering access to the worlds information and reducing information costs. It was founded in 1967 as the Ohio College Library Center, OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded mainly by the fees that libraries have to pay for its services, the group first met on July 5,1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization. The group hired Frederick G. Kilgour, a former Yale University medical school librarian, Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The goal of network and database was to bring libraries together to cooperatively keep track of the worlds information in order to best serve researchers and scholars. The first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26,1971 and this was the first occurrence of online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data, between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the structure was again modified to accommodate participation from outside the United States. As OCLC expanded services in the United States outside of Ohio, it relied on establishing strategic partnerships with networks, organizations that provided training, support, by 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on OCLC Members Council, in early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic, abstract and full-text information to anyone, OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from public and private libraries worldwide. org, in October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. The Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988, a browser for books with their Dewey Decimal Classifications was available until July 2013, it was replaced by the Classify Service. S. The reference management service QuestionPoint provides libraries with tools to communicate with users and this around-the-clock reference service is provided by a cooperative of participating global libraries. OCLC has produced cards for members since 1971 with its shared online catalog. OCLC commercially sells software, e. g. CONTENTdm for managing digital collections, OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications and these publications, including journal articles, reports, newsletters, and presentations, are available through the organizations website. The most recent publications are displayed first, and all archived resources, membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding
OCLC
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Fred Kilgour (1st director of OCLC)
OCLC
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Online Computer Library Center (OCLC)
OCLC
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OCLC headquarters (Ohio)
OCLC
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OCLC offices in Leiden (the Netherlands)
17.
Louvre-Lens
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The Louvre-Lens is an art museum located in Lens, Pas-de-Calais, Northern France, approximately 200 kilometers north of Paris. It displays objects from the collections of the Musée du Louvre that are lent to the gallery on a medium- or long-term basis, the Louvre-Lens annex is part of an effort to provide access to French cultural institutions for people who live outside of Paris. Though the museum maintains close links with the Louvre, it is primarily funded by the Nord-Pas-de-Calais region. Only the Nord pas de Calais applied for the museum and proposed six cities, Lille, Lens, Valenciennes, Calais, Béthune, in 2004, Jean-Pierre Raffarin, then French Prime Minister, announced Lens as the recipient city. The last mine in Lens closed in 1986, which caused the unemployment rate to well above the French national average. France abandoned us when the coal stopped, and we became a ghost town, other critics pointed out that the museum makes no attempt to address Lens turbulent history or its current economic difficulties. The construction company Eiffage was chosen to construct the Lens-based Louvre branch, the Louvre-Lens Museum, SANAA + Imrey Culberts first building in France, was awarded the Prix darchitecture de lEquerre dArgent for 2013. The French government hopes that the location near the border of France will be a draw for English, Belgian. In addition, the Louvre-Lens is near several World War memorials, including the Canadian National Vimy Memorial in Vimy, the museum is built on a 20-hectare mining site that closed in the 1960s. The area is elevated due to filling in of the mine. Altogether, the museum is 360 m long and contains 28,000 m2 of exhibition space, the design of a central building flanked by two wings mimics the Paris Louvre. The square, central building is the reception area. It contains several curved glass rooms that contain a cafeteria, bookstore, to the east of the entry hall is the 3,000 m2 Galerie du Temps which houses approximately 200 items from the Paris Louvre collection. The items in the large, open hall are arranged chronologically, from 3,500 BC to mid-19th century, beyond the Galerie du Temps is the Pavillon de Verre which exhibits works from neighboring museums. The building to the west of the hall is a gallery for temporary exhibits and, beyond that. The Exhibitions Temporaires is dedicated to exhibits which last 3 months, the first exhibition, titled Renaissance, included Leonardo da Vincis recently-restored The Virgin and Child with St. Anne. The second exhibit was dedicated to Rubens and included 170 of his works, the following weekend, the museum welcomed its first visitors, three weeks after the opening, the museum welcomed its 100, 000th visitor. On May 2013, during Long Night of Museums 2013,500,000 visitors viewed the masterpieces displayed in the Louvre-Lens Museum, while 700,000 visitors were anticipated for the first year, the years final tally was approximately 900,000
Louvre-Lens
Louvre-Lens
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Kazuyo Sejima (pictured) and partner
Ryue Nishizawa are
Pritzker Prize winners (2010) and founders of
SANAA, a Japanese architectural firm.
Louvre-Lens
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Raqqa Syria Fragment curls Koranic inscription architectural in angled Arabic (ca. 1100–1200 BC)
18.
Louvre Abu Dhabi
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The Louvre Abu Dhabi is a planned museum, to be located in Abu Dhabi, UAE. On Tuesday 7 March 2007, the Louvre in Paris announced that a new Louvre museum would be completed by 2012 in Abu Dhabi, the opening has been repeatedly delayed, first to late 2016 and most recently to 2017. This is part of an agreement between the city of Abu Dhabi and the French government. The museum is to be located on the Saadiyat Island Cultural District, the final cost of the construction is expected to be between €83 million and €108 million. Artwork from around the world will be showcased at the museum, however, the construction of the museum has caused much controversy in the art world, as many objections have been raised as to the motives of the Louvre in this deal. The establishment of this museum was approved by the French Parliament on 9 October 2007, the architect for the building will be Jean Nouvel and the engineers are Buro Happold. Jean Nouvel also designed the Institut du Monde Arabe in Paris and it will be chaired by French financier and member of the countrys Académie des Beaux-Arts, Marc Ladreit de Lacharrière, publisher of the periodical Revue des Deux Mondes. Bruno Maquart, the former Executive Director of Centre Georges Pompidou, Saadiyat Islands Cultural District plans to house the largest single cluster of world-class cultural assets. The museum will be designed as a seemingly floating dome structure, the overall effect is meant to represent rays of sunlight passing through date palm fronds in an oasis. The total area of the museum will be approximately 24,000 square metres, piling works In Louvre were to be completed by August 2010, with the piling and enabling works package awarded to the German specialized company. The total of 4536 piles consisted of RC Piles and H-Piles and was completed on 3 August 2010, on 29 October 2011, Tourism Development & Investment Company, the project manager owned by the government of Abu Dhabi, announced it would delay establishing the museum. The company gave no new date, according to the UAE newspapers Gulf News and The National, the delay could be explained by a review of the emirates economic strategy. In January 2012 it was confirmed that the Louvre Abu Dhabis new opening date would be 2015, construction on the main phase of the museum began in early 2013 by a consortium headed by Arabtec, Constructora San José and Oger Abu Dhabi. This stage includes waterproofing and the two basement levels, along with four pillars that will support the 7,000 tonne dome. Work on the construction of the spaces and initial preparation for the dome began in the fourth quarter of 2013. On 5 December 2013, the first element of the canopy was lifted into place. On 17 March 2014 TDIC announced the completion of the first permanent gallery structure to mark the first anniversary of the start of construction. At this time, it was claimed that a total of ten million man hours had been worked and 120,538 cubic meters of concrete used
Louvre Abu Dhabi
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Model of the future Louvre Abu Dhabi
Louvre Abu Dhabi
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A model of the museum's proposed design
Louvre Abu Dhabi
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The interior of the museum, showing the distinctive domed ceiling
Louvre Abu Dhabi
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The interior of the Louvre Abu Dhabi
19.
Louvre Palace
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The Louvre Palace is a former royal palace located on the Right Bank of the Seine in Paris, between the Tuileries Gardens and the church of Saint-Germain lAuxerrois. Its present structure has evolved in stages since the 16th century, in 1793 part of the Louvre became a public museum, now the Musée du Louvre, which has expanded to occupy most of the building. The Palace is situated in the right-bank of the River Seine between Rue de Rivoli to the north and the Quai François Mitterrand to the south. To the west is the Jardin des Tuileries and, to the east, the Rue de lAmiral de Coligny, where its most architecturally famous façade, the Louvre Colonnade, the Cour Napoléon and Cour du Carrousel are separated by the street known as the Place du Carrousel. Some 51,615 sq m in the complex are devoted to public exhibition floor space. The Old Louvre occupies the site of the 12th-century fortress of King Philip Augustus and its foundations are viewable in the basement level as the Medieval Louvre department. This structure was razed in 1546 by King Francis I in favour of a royal residence which was added to by almost every subsequent French monarch. King Louis XIV, who resided at the Louvre until his departure for Versailles in 1678, completed the Cour Carrée, the Old Louvre is a quadrilateral approximately 160 m on a side consisting of 8 ailes which are articulated by 8 pavillons. With it, the last external vestiges of the medieval Louvre were demolished, the New Louvre is the name often given to the wings and pavilions extending the Palace for about 500 m westwards on the north and on the south sides of the Cour Napoléon and Cour du Carrousel. This consummation only lasted a few years, however, as the Tuileries was burned in 1871, the northern limb of the new Louvre consists of three great pavilions along the Rue de Rivoli, the Pavillon de la Bibliothèque, Pavillon de Rohan and Pavillon de Marsan. As on the side, three inside pavilions and their wings define three more subsidiary Courts, Cour du Sphinx, Cour Viconti and Cour Lefuel. The Chinese American architect I. M. Pei was selected in 1983 to design François Mitterrands Grand Louvre Project. The ground-level entrance to this complex was situated in the centre of the Cour Napoléon and is crowned by the prominent steel-and-glass pyramid, in a proposal by Kenneth Carbone, the nomenclature of the wings of the Louvre was simplified in 1987 to reflect the Grand Louvres organization. This allows the visitor to avoid becoming totally mystified at the bewildering array of named wings. The origin of the name Louvre is unclear, the French historian Henri Sauval, probably writing in the 1660s, stated that he had seen in an old Latin-Saxon glossary, Leouar is translated castle and thus took Leouar to be the origin of Louvre. According to Keith Briggs, Sauvals theory is often repeated, even in recent books, but this glossary has never seen again. Briggs suggests that H. J. Wolfs proposal in 1969 that Louvre derives instead from Latin Rubras, david Hanser, on the other hand, reports that the word may come from French louveterie, a place where dogs were trained to chase wolves. In 1190 King Philip II Augustus, who was about to leave on the Third Crusade, completed in 1202, the new fortress was situated in what is now the southwest quadrant of the Cour Carrée
Louvre Palace
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Night view of the
Louvre Pyramid in the centre of the Napoleon Courtyard of the Palais du Louvre
Louvre Palace
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Map of the Louvre Palace complex
Louvre Palace
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Aerial view of the Louvre Palace
Louvre Palace
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The Cour Carrée of the "Old Louvre" looking west (Left to right: Aile Lescot, Pavillon Sully (de l'Horloge), Aile Lemercier)
20.
Lescot Wing
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The Lescot Wing is the oldest portion above ground of the Louvre Palace, in Paris, France. It was executed to the designs of the architect Pierre Lescot between 1546 and 1551, strongly tinged with Italian Mannerism, it became the Parisian Renaissance style, thus setting the mold for all later French architectural classicism. The Lescot Wing is situated between the Pavillon du Roi and the Pavillon de lHorloge, and overlooks the inner Cour Carrée of the Louvre, the court facade consists of two main stories plus an attic richly embellished with Jean Goujons panels of bas-reliefs. It is crowned by a roof, a traditional feature of French architecture. The deeply recessed arch-headed windows of the ground story give the impression of an arcade, in the second storey slender fluted pilasters separate the windows, which alternate delicate triangular and arched pediments. King Francis I appointed architect Pierre Lescot to take charge of the projects at the Palais du Louvre. This was confirmed after Francois’ death by his heir Henry II, only the Lescot Wing, the Pavillon du Roi, and part of the south wing of the Square Court were completed. Of Lescots interior designs in the Lescot Wing, there only the Salle des Gardes. Just to the north of the Lescot Wing are the Pavillon de lHorloge, the Lemercier Wing, and the Pavillon de Beauvais. This northern extension was begun in 1624 under Louis XIII and Richelieu, the Lemercier Wing is a symmetrical extension of Lescots Wing in exactly the same Renaissance style. With the addition of the Lemercier Wing, the last external vestiges of the medieval Louvre were demolished, façade of the Cour Carrée at the Web Gallery of Art. Lescot Wing webpage at Louvre Website
Lescot Wing
–
The Lescot Wing of the
Palais du Louvre
Lescot Wing
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Lescot's facade as illustrated in Les Plus Excellents Bastiments de France (1576) by
Jacques I Androuet du Cerceau
Lescot Wing
–
Goujon's Allegory of War: two angels bear the monogram of
Henry II of France. (Center pediment, Lescot Wing, Louvre Palace, Paris.)
21.
Pavillon de Flore
–
The Pavillon de Flore, part of the Palais du Louvre in Paris, France, stands at the southwest end of the Louvre, near the Pont Royal. It was originally constructed in 1607–1610, during the reign of Henry IV, the pavilion was entirely redesigned and rebuilt by Hector Lefuel in 1864–1868 in a highly decorated Second Empire Neo-Baroque style. The most famous sculpture on the exterior of the Louvre, Jean-Baptiste Carpeauxs The Triumph of Flora, was added below the pediment of the south facade at this time. The Tuileries Palace was destroyed by fire in 1871, and a north facade, currently, the Pavillon de Flore is part of the Musée du Louvre. The Pavillon de Flore is in central Paris, on the Right Bank and is connected to the Louvre and it is directly adjacent to the Pont Royal on the Quai François Mitterrand, which is between the Passerelle Léopold-Sédar Senghor and the Pont du Carrousel. Its geographic coordinates are 48°51′40″N 2°19′50″E, the Pavillon de Flore was part of a larger plan, devised during the reign of King Henry IV, to connect the Palais du Louvre and Palais des Tuileries via two long wings at their north and south ends. First, the Petite Galerie, running south from the Palais du Louvre to the River Seine, was connected to the Grande Galerie. The latter was constructed east to west along the Seine until it reached the Tuileries, the cornerstone of the pavilion was laid in 1607. Its design has traditionally been assigned to Jacques Androuet II du Cerceau, the Palais des Tuileries was extended south from the Pavillon Bullant to the Pavillon de Flore via the Petite Galerie des Tuileries. Work on the Grand Design was abandoned following the assassination of Henry IV in 1610, however, by this time, the building of the Grande Galerie, the Petite Galerie des Tuileries, and the Gros Pavillon de la Rivière had been completed. King Louis XIV danced in Isaac de Benserades Ballet royal de Flore in February 1669 at the Tuileries and it has been suggested that this is when the name Pavillon de Flore came into use, although the earliest known written mention is in 1726. Pavillon de Flore is the name used today, although other names have been used in between, for several years, the apartments of Marie Antoinette were located within the structure. During the French Revolution, the Pavillon de Flore was renamed Pavillon de lÉgalité, under its new name, it became the meeting point for several of the Committees of the period. Many other committees of the Revolutionary Government occupied the Palais des Tuileries during the time of the National Convention, notable occupiers included the Monetary Committee, the Account and Liquidation Examination Committee. However, the most famous was the Committee of Public Safety, the Committee of Public Safety was the principal and most renowned body of the Revolutionary Government, forming the de facto executive branch of France during the Reign of Terror. Run by the Jacobins under Robespierre, the group of twelve centralized denunciations, trials, the committee was responsible for the deaths of thousands, mostly by guillotine. The executive body was installed in the apartments of Marie-Antoinette, situated on the first floor. The governing body met twice a day and the executions themselves were carried out across the gardens
Pavillon de Flore
–
Jacques Androuet II du Cerceau's Pavillon de Flore (1607) as it stands today.
Carpeaux's sculpture Flore is inset in the middle of the south face, on the right in this picture.
Pavillon de Flore
–
The Pavillon de Flore –
lithograph by
Thomas Shotter Boys (1830–1840)
Pavillon de Flore
–
The Pavillon de Flore – drawing in brown ink (1814)
Pavillon de Flore
–
Le Triomphe de Flore (The Triumph of Flora). South façade of the Pavillon de Flore,
Louvre Palace, Paris
22.
Louvre Pyramid
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The Louvre Pyramid is a large glass and metal pyramid designed by Chinese-American architect I. M. Pei, surrounded by three smaller pyramids, in the main courtyard of the Louvre Palace in Paris. The large pyramid serves as the entrance to the Louvre Museum. Completed in 1989, it has become a landmark of the city of Paris, commissioned by the President of France, François Mitterrand, in 1984, it was designed by the architect I. M. Pei. The structure, which was constructed entirely with glass segments and metal poles, reaches a height of 21.6 metres and its square base has sides of 34 metres and a base surface area of 1,000 square metres. It consists of 603 rhombus-shaped and 70 triangular glass segments, the pyramid structure was engineered by Nicolet Chartrand Knoll Ltd. of Montreal and Rice Francis Ritchie of Paris. Visitors entering through the pyramid descend into the spacious lobby then re-ascend into the main Louvre buildings, for design historian Mark Pimlott, I. M. Pei’s plan distributes people effectively from the central concourse to myriad destinations within its vast subterranean network. Several other museums have duplicated this concept, most notably the Museum of Science, the Dolphin Centre, featuring a similar pyramid, was opened in April 1982, by Prince Richard, Duke of Gloucester. The construction work on the base and underground lobby was carried out by the Vinci construction company. In 1839, according to one account, in ceremonies commemorating the glorious revolution of 1830, The tombs of the Louvre were covered with black hangings. In front and in the middle was erected a monument of a pyramidical shape. The construction of the pyramid triggered many years of strong and lively aesthetic, Pei being insufficiently French to be entrusted with the task of updating the treasured Parisian landmark. Meanwhile, Political critics referred to the structure as Pharaoh Francois Pyramid, while some continue to feel the harsh modernism of the edifice is out of place, others consider the juxtaposition of contrasting architectural styles a successful merger of the old and the new. During the design phase, there was a proposal that the design include a spire on the pyramid to simplify window washing, Pei objected, however, and this proposal was eliminated. It has been claimed by some that the glass panes in the Louvre Pyramid number exactly 666, the story of the 666 panes originated in the 1980s, when the official brochure published during construction did indeed cite this number. The number 666 was also mentioned in various newspapers, the Louvre museum, however, states that the finished pyramid contains 673 glass panes. A higher figure was obtained by David A. Shugarts, who reports that the pyramid contains 689 pieces of glass, Shugarts obtained the figure from the Peis offices. The side with the entrance, however, has 11 panes fewer, however, David A. Shugarts reports that according to a spokeswoman of the offices of Pei, the French President never specified the number of panes to be used in the pyramid. La Pyramide Inversée is a skylight in the Carrousel du Louvre shopping mall in front of the Louvre Museum and it looks like an upside-down and smaller version of the Louvre Pyramid
Louvre Pyramid
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Inside the Pyramid: the view of the Louvre Museum in Paris from the underground lobby of the Pyramid.
Louvre Pyramid
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The large glass pyramid seen at night
Louvre Pyramid
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The large glass pyramid seen by day
23.
Pierre Lescot
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Pierre Lescot was a French architect active during the French Renaissance, the man who was first responsible for the implantation of pure and correct classical architecture in France. Lescot was born in Paris, France, festive corner pavilions of commanding height and adorned by pillars and statues were to replace the medieval towers. Elsewhere in the Louvre, little was actually achieved beyond razing some of the old feudal structure, the deeply recessed arch-headed windows of the ground story give the impression of an arcade, while the projecting central and end pavilions bear small round oeil de boeuf windows above them. In the second storey slender fluted pilasters separate the windows, which alternate delicate triangular, of Lescots constructions at the Louvre there also remain the Salle des Gardes and the Henry II staircase. His first achievements were the rood-screen in Saint-Germain lAuxerrois, of only some sculptures by Goujon have been saved. Here and especially in the design of the Fountain of Nymphs and he was also responsible for the Château de Vallery. All of Lescots known works have sculptural decoration by Trebatti and by Jean Goujon, unlike the other architects of the French Flamboyant Gothic and Renaissance, Pierre Lescot was not from a line of masons, with practical experience, but the son of a seigneur. His father, also Pierre Lescot, was sieur of Lissy-en-Brie and Clagny, at his death, Lescot was succeeded at the Louvre by Jean Baptiste Androuet du Cerceau
Pierre Lescot
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The
Lescot Wing of the
Palais du Louvre
Pierre Lescot
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The Henri II staircase at the north end of the
Lescot Wing of the Louvre
Pierre Lescot
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Lescot's Fontaine des nymphes 1549, rededicated as
Fontaine des innocents
24.
Jacques Lemercier
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Lemercier was born in Pontoise, the son of a master mason, one of a large interrelated tribe of professionals. As early as 1618 he appears as architecte du roy, with a salary of 1200 livres, in this manner Lemercier built the northern half of the west side and the famous Pavillon de lHorloge at the center of the west wing. Its high squared dome breaks the roofline and three arched openings provide access to the enclosed court. Two superposed orders of columns and rich sculptural decor in pediments and niches, on piers, the Hôtel de Liancourt stands out among Lemerciers Paris hôtels particuliers for aristocratic patrons. Lemercier built Richelieus Paris residence, the Palais-Cardinal, todays Palais Royal, Richelieus palace was destroyed by fire in 1763. Only one remnant survives, a fragment with a relief of ship anchors and prows, signs of the Cardinals role as Superintendent of the Navy. This remnant is located in the Galerie des Proues, on the east side of the second court, the lost château itself was an improvisation on the theme set by Brosses Luxembourg. Also for the Cardinal Lemercier rebuilt the Château de Rueil, not so far from Paris, the Château of Thouars, with its majestic long façade, is his also, and survives. Less known, because gardens are less permanent, are parterre gardens laid out to Lemerciers designs, at Montjeu, at Richelieu, at the Sorbonne, the college has been rebuilt, but its domed church is the acknowledged surviving masterpiece of Lemercier. The interior was intended to be frescoed, the square intersection is surrounded by cylindrical vaults and a semicircular choir apse. The north side consists of a portico, in the church Richelieu was interred in 1642. At the royal church of Val-de-Grâce Lemercier succeeded the elder Mansart who completed the structure to the cornice line. Lemercier completed it with a dome, one of his last commissions was the design of the Church of Saint-Roch, where the cornerstone was laid by Louis XIV in 1653. With a length of m. it is one of the largest churches of Paris, the deep choir emphasizes the extent of the interior, scarcely interrupted by the discreet low dome over the crossing, which is hidden on the exterior beneath the transept roof. Lemercier completed the choir and crossing and the rest of the interior was carried out to his plan, work was interrupted 1701–1740 save for a chapel inserted 1705–1710 designed by Jules Hardouin-Mansart. The present façade is an 18th-century composition by Robert de Cotte, in a long career, the scrupulous Lemercier amassed no fortune. Other French architects of the first half of the 17th century, Salomon de Brosse Liberal Bruant Pierre Le Muet Louis Le Vau François Mansart Clément Métezeau Ballon, the Architecture of Cardinal Richelieu, pp. 246–259, in Richelieu, Art and Power, edited by Hilliard Todd Goldfarb. The Montreal Museum of Fine Arts, Jacques Lemercier, architecte et ingénieur du roi ISBN 2-7351-1042-7 Review by Thierry Sarment
Jacques Lemercier
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Jacques Lemercier, by
Philippe de Champaigne: Lemercier's
Sorbonne is in the background.
Jacques Lemercier
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Lemercier's
Pavillon de l’Horloge at the Louvre
Jacques Lemercier
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Relief of ship anchors and prows, a surviving remnant of Lemercier's
Palais-Cardinal
Jacques Lemercier
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The chapel at the
Sorbonne, 1635: prototype for
Mansart 's at
Les Invalides.
Herbermann, Charles, ed. (1913). "Louis Levau". Catholic Encyclopedia. New York: Robert Appleton Company.
Herbermann, Charles, ed. (1913). "
Media related to Louis Le Vau at Wikimedia Commons
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