1.
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)
2.
Rue de Vaugirard
–
Rue de Vaugirard is the longest street inside Paris walls, at 4.3 km. It spans the 6th and 15th arrondissements, Rue de Vaugirard is mostly a one-way street from the Latin Quarter towards the edge of Paris. Traffic flows in both directions between Rue de Rennes and the Place de lOdéon, numbering starts in the Latin Quarter, reaching the 400s by Porte de Versailles. It is one of the longest streets in Paris, Vaugirard came from an old French noun-and-genitive construction val Girard = valley of Girard, after an Abbé Girard, who owned the land over which the road passes. The road appeared in the 15th century, and led from Philip IIs city walls towards the village of Vaugirard and this route was itself based on an old Roman road. A substantial chunk of Line 12 of the Paris Metro follows Rue de Vaugirard, the following stations have entrances on the road, Porte de Versailles Convention Vaugirard Volontaires Pasteur Falguière Saint Placide
Rue de Vaugirard
–
Rue de Vaugirard in the 15th arrondissement.
Rue de Vaugirard
–
Rue de Vaugirard
Rue de Vaugirard
–
Medical Center of
Pasteur Institute
Rue de Vaugirard
–
Ministry of Agriculture and Fishing, Direction Générale de l'Alimentation
3.
Geographic coordinate system
–
A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
Geographic coordinate system
–
Longitude lines are perpendicular and latitude lines are parallel to the equator.
4.
French Senate
–
The Senate is the upper house of the Parliament of France, presided over by a president. Indirectly elected by elected officials, it represents territorial collectivities of the Republic, the Senate enjoys less prominence than the lower house, the directly elected National Assembly, debates in the Senate tend to be less tense and generally receive less media coverage. Frances first experience with a house was under the Directory from 1795 to 1799. With the Restoration in 1814, a new Chamber of Peers was created, at first it contained hereditary peers, but following the July Revolution of 1830, it became a body to which one was appointed for life. The Second Republic returned to a system after 1848, but soon after the establishment of the Second French Empire in 1852. In the Fourth Republic, the Senate was replaced by the Council of the Republic, with the new constitution of the Fifth Republic enforced on 4 October 1958, the older name of Senate was restored. In 2011, the Socialist Party won control of the French Senate for the first time since the foundation of the French Fifth Republic, in 2014, the centre-right Gaullists and its allies won back the control of the Senate. Until September 2004, the Senate had 321 senators, each elected to a nine-year term and that month, the term was reduced to six years, while the number of senators progressively increased to 348 in 2011, in order to reflect the countrys population growth. Senators were elected in every three years, this was also changed to one-half of their number every three years. Senators are elected indirectly by approximately 150,000 officials, including regional councilors, department councilors, mayors, city councilors in large towns, however, 90% of the electors are delegates appointed by councilors. This system introduces a bias in the composition of the Senate favoring rural areas, the Senate has also been accused of being a refuge for politicians that have lost their seats in the National Assembly. The senators elect a President from among their members, the current incumbent is Gérard Larcher. This happened twice for Alain Poher—once at the resignation of Charles de Gaulle, under the Constitution, the Senate has nearly the same powers as the National Assembly. Bills may be submitted by the administration or by either house of Parliament, because both houses may amend the bill, it may take several readings to reach an agreement between the National Assembly and the Senate. This does not happen frequently, usually the two eventually agree on the bill, or the administration decides to withdraw it. The power to pass a vote of censure, or vote of no confidence, is limited, as was the case in the Fourth Republics constitution, new cabinets do not have to receive a vote of confidence. Also, a vote of censure can occur only after 10 percent of the sign a petition, if rejected. If the petition gets the support, a vote of censure must gain an absolute majority of all members
French Senate
French Senate
–
Senate Sénat
French Senate
–
The Palais du Luxembourg
5.
Germain Boffrand
–
Germain Boffrand was a French architect. A pupil of Jules Hardouin-Mansart, Germain Boffrand was one of the creators of the precursor to Rococo called the style Régence. His uncle, Philippe Quinault, introduced him to prospective clients among the aristocracy of Paris, in 1709, he was placed in charge of the interior apartments of the Hôtel de Soubise, where he soon succeeded the architect Pierre-Alexis Delamair. None of his early interiors survive, largely replaced by his spectacular Rococo work of the years following 1735, Boffrand was received by the Académie royale darchitecture in 1709. The following year he was among those employed in the additions to the Palais Bourbon, in 1732, he was appointed inspecteur général des ponts et chaussées and produced plans for restructuring Les Halles. He was a participant in the competition for the design of Place Louis XV, named chief architect to the hôpital général in 1724, he constructed in the Île de la Cité a foundling hospital, the Hôpital des Enfants Trouvés. Boffrand also worked for the hospitals at the Salpêtrière, at Bicêtre and he built a series of hôtels particuliers in Paris as speculative business enterprises. Boffrands pavilion of 1712-15 that inaugurated the new quarter of the Faubourg Saint-Honoré was purchased, abroad, Boffrand worked for the Duke of Lorraine, where he was appointed Premier Architecte to Duke Léopold in 1711, but little of significance remains. He also constructed a fountain and a hunt pavilion, Bouchefort, in the gardens of the schloss belonging to the Elector of Bavaria, in 1724 Boffrand worked on site at Würzburg with Balthasar Neumann, who had been consulting him in Paris, on the Prince-Bishops Residenz. His designs were carried out in the suite of rooms. Among the architects trained in his atelier were François Dominique Barreau de Chefdeville, Charles-Louis Clérisseau and Emmanuel Héré de Corny, Boffrands two sons collaborated in the office, both dying young, in 1732 and 1745. Boffrands folio, Livre darchitecture, was published in 1745, there are no surviving caches of his drawings. In January 1745 he was elected a Fellow of the Royal Society of London, Germain Boffrand died in Paris in 1754 at age 86. The following commissions of Boffrand are largely taken from Fiske Kimball, Hôtel Le Brun,49 rue du Cardinal-Lemoine, for Charles II Le Brun, the nephew and heir of the premier peintre du roi Charles Le Brun and a relative of Boffrands. One of the first hôtels particuliers noted and commended by contemporary critics, remodelling of the Hôtel de Mesme. Remodelling of the Hôtel de Livry, Hôtel de Soubise,60 rue des Francs-Bourgeois, and the suite of interiors, Boffrands last major work and his masterpiece, for the prince de Rohan and his wife Marie Sophie de Courcillon. Façade of the Convent of Fathers of Mercy,45 rue des Archives, built for the prince de Soubise to provide a suitable sdtreet front opposite his new hôtel. Renovation for Anne Henriette of Bavaria, princess Palatine, widow of the Henri Jules, much of Boffrands decoration survives, including the staircase with its coved cornices filled with scrolls and foliage and rounded corners
Germain Boffrand
–
Portrait of Germain Boffrand by
Lambert-Sigisbert Adam
Germain Boffrand
–
Hôtel de Soubise (1704-1707); Boffrand reurned to execute a suite of high
rococo interiors (1735-1740)
Germain Boffrand
–
Wall elevation in the bedroom of the Prince de Rohan at the Hôtel de Soubise
Germain Boffrand
–
Château de Lunéville (1708-1709)
6.
Palais du Luxembourg
–
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
–
Luxembourg Palace garden façade
Palais du Luxembourg
–
The Luxembourg Palace was modeled after
Palazzo Pitti in
Florence at the request of
Marie de Médicis.
Palais du Luxembourg
–
Ceiling of the Salle du Livre d'Or
Palais du Luxembourg
–
Floor plan (1752) shows the large enclosed
cour d'honneur and the long Rubens gallery in the right wing
7.
6th arrondissement of Paris
–
The 6th arrondissement of Paris is one of the 20 arrondissements of Paris, France. Sulpice Church and square, the Pont des Arts and the Jardin du Luxembourg and it is a major locale for art galleries and one of the most fashionable districts of Paris as well as Paris most expensive area. The new Palace turned the neighborhood into a district for French nobility. The land area of the arrondissement is 2.154 km², in 1999, the population was 44,919 inhabitants while the arrondissement provided 43,691 jobs. Toei Animation Europe has its office in the arrondissement. The company, which opened in 2004, serves France, Germany, Italy, Spain, 6th arrondissement travel guide from Wikivoyage
6th arrondissement of Paris
–
The "Deux Magots" cafe
6th arrondissement of Paris
–
Palace Hôtel Lutetia at night
6th arrondissement of Paris
6th arrondissement of Paris
–
Le Café de Flore in
Saint-Germain-des-Prés
8.
Rococo
–
Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
Rococo
–
Pair of lovers group of
Nymphenburg porcelain, c. 1760, modelled by
Franz Anton Bustelli
Rococo
–
The Rococo
Basilica at Ottobeuren (Bavaria): architectural spaces flow together and swarm with life.
Rococo
–
Rococo-style
House of the Good Shepherd in
Bratislava (
Slovakia) - an example of the 18th century
bourgeoisie house.
Rococo
–
François Boucher, Le Déjeuner, (1739,
Louvre), shows a rocaille interior of a French bourgeois family in the 18th century. The porcelain statuette and vase add a touch of
chinoiserie.
9.
Pair de France
–
The Peerage of France was a hereditary distinction within the French nobility which appeared in 1180 in the Middle Ages, and only a small number of noble individuals were peers. The prestigious title and position of Peer of France was held by the greatest, French peerage thus differed from British peerage, for the vast majority of French nobles, from baron to duke, were not peers. The title of Peer of France was an honour granted only to a small number of dukes, counts. It was analogous to the rank of Grandee of Spain in this respect, the French word pairie is equivalent to the English peerage. The individual title, pair in French and peer in English, derives from the Latin par and it signifies those noblemen and prelates considered to be equal to the monarch in honour, and it considers the monarch thus to be primus inter pares, or first among equals. The main uses of the word refer to two historical traditions in the French kingdom, before and after the First French Empire of Napoleon I, the word also exists to describe an institution in the Crusader states. Some etymologists posit that the French word baron, taken from the Latin baro, such a derivation would fit the early sense of baron, as used for the whole peerage and not simply as a noble rank below the comital rank. Medieval French kings conferred the dignity of a peerage on some of their pre-eminent vassals, some historians consider Louis VII to have created the French system of peers. A peerage was attached to a territorial jurisdiction, either an episcopal see for episcopal peerages or a fief for secular ones. Peerages attached to fiefs were transmissible or inheritable with the fief, the traditional number of peers is twelve. But since the first two were absorbed into the early in the recorded history of the peerage, the Duke of Burgundy has become the premier lay peer. In their heyday, the Duke of Normandy was undoubtedly the mightiest vassal of the French crown, the constitution of the peerage first became important in 1202, for the court that would try King John of England in his capacity as vassal of the French crown. In 1216, Erard of Brienne claimed the County of Champagne through the right of his wife, again this required the peers of France, so the County of Champagne is also a peerage. Six of the peers were identified in the charter - the archbishop of Reims, the bishops of Langres, Chalons, Beauvais and Noyon. The tenth peerage that could be identified in the documents is the County of Flanders, in that year John de Nesle entered a complaint against Joan of Flanders, the countess responded that she could only be cited by a peer. Thus, though there had been differences in the dates of the identification of the peers, they were probably instituted simultaneously. Parallels may also be seen with the mythical Knights of the Round Table under King Arthur, in later periods peers also held up by poles a baldaquin or cloth of honour over the king during much of the ceremony. This paralleled the arch-offices attached to the electorates, the more prestigious and powerful first college in the Holy Roman Empire
Pair de France
–
Chamber of Peers in the Palais du Luxembourg (1841)
Pair de France
–
Heraldic depiction of a duke's
coronet, with blue bonnet of a peer
10.
Cardinal de Richelieu
–
Cardinal Armand Jean du Plessis, Duke of Richelieu and Fronsac, commonly referred to as Cardinal Richelieu, was a French clergyman, nobleman, and statesman. He was consecrated as a bishop in 1607 and was appointed Foreign Secretary in 1616, Richelieu soon rose in both the Catholic Church and the French government, becoming a cardinal in 1622, and King Louis XIIIs chief minister in 1624. He remained in office until his death in 1642, he was succeeded by Cardinal Mazarin, Cardinal de Richelieu was often known by the title of the kings Chief Minister or First Minister. He sought to consolidate power and crush domestic factions. By restraining the power of the nobility, he transformed France into a strong and his chief foreign policy objective was to check the power of the Austro-Spanish Habsburg dynasty, and to ensure French dominance in the Thirty Years War that engulfed Europe. Although he was a cardinal, he did not hesitate to make alliances with Protestant rulers in attempting to achieve his goals. While a powerful figure, events like the Day of the Dupes show that in fact he very much depended on the kings confidence to keep this power. As alumnus of the University of Paris and headmaster of the Collège de Sorbonne, Richelieu was also famous for his patronage of the arts, most notably, he founded the Académie Française, the learned society responsible for matters pertaining to the French language. Richelieu is also known by the sobriquet lÉminence rouge, from the red shade of a cardinals clerical dress and this in part allowed the colony to eventually develop into the heartland of Francophone culture in North America. He is also a character in The Three Musketeers by Alexandre Dumas. Born in Paris, Armand du Plessis was the fourth of five children, at the age of nine, young Richelieu was sent to the College of Navarre in Paris to study philosophy. Thereafter, he began to train for a military career and his private life seems to have been typical of a young officer of the era, in 1605, aged twenty, he was treated by Théodore de Mayerne for gonorrhea. King Henry III had rewarded Richelieus father for his participation in the Wars of Religion by granting his family the bishopric of Luçon. The family appropriated most of the revenues of the bishopric for private use, they were, however, challenged by clergymen, to protect the important source of revenue, Richelieus mother proposed to make her second son, Alphonse, the bishop of Luçon. Alphonse, who had no desire to become a bishop, became instead a Carthusian monk, thus, it became necessary that the younger Richelieu join the clergy. He had strong interests, and threw himself into studying for his new post. In 1606 King Henry IV nominated Richelieu to become Bishop of Luçon, as Richelieu had not yet reached the canonical minimum age, it was necessary that he journey to Rome for a special dispensation from the Pope. This secured, Richelieu was consecrated bishop in April 1607, soon after he returned to his diocese in 1608, Richelieu was heralded as a reformer
Cardinal de Richelieu
–
Portrait of Cardinal Richelieu, 1633–40,
Philippe de Champaigne,
National Gallery,
London
Cardinal de Richelieu
–
The young King
Louis XIII was only a figurehead during his early reign; power actually rested with his mother,
Marie de Médicis.
Cardinal de Richelieu
–
Henri Motte 's depiction of Cardinal Richelieu at the
Siege of La Rochelle.
Cardinal de Richelieu
–
Letter of Cardinal Richelieu to
Claude de Razilly asking him to do everything in his power to relieve
Ré Island in the
Siege of Saint-Martin-de-Ré, July 1627.
11.
Palais-Cardinal
–
The Palais-Royal, originally called the Palais-Cardinal, is a palace located in the 1st arrondissement of Paris. The screened entrance court faces the Place du Palais-Royal, opposite the Louvre, the larger inner courtyard, the Cour dHonneur, has since 1986 contained Daniel Burens site-specific art piece Les Deux Plateaux, known as Les Colonnes de Buren. In 1830 the Cour dHonneur was enclosed to the north by what was probably the most famous of Pariss covered arcades, demolished in the 1930s, its flanking rows of columns still stand between the Cour dHonneur and the popular Palais-Royal Gardens. Originally called the Palais-Cardinal, the palace was the residence of Cardinal Richelieu. The architect Jacques Lemercier began his design in 1629, construction commenced in 1633 and was completed in 1639, upon Richelieus death in 1642 the palace became the property of the King and acquired the new name Palais-Royal. After Louis XIII died the year, it became the home of the Queen Mother Anne of Austria and her young sons Louis XIV and Philippe, duc dAnjou. From 1649, the palace was the residence of the exiled Henrietta Maria and Henrietta Anne Stuart, wife, the two had escaped England in the midst of the English Civil War and were sheltered by Henrietta Marias nephew, King Louis XIV. Henrietta Anne was later married to Louis younger brother, Philippe de France, the following year the new duchesse dOrléans gave birth to a daughter, Marie Louise dOrléans, inside the palace. After their marriage, the became the main residence of the House of Orléans. The Duchess created the gardens of the palace, which were said to be among the most beautiful in Paris. Under the new couple, the Palais-Royal would become the social center of the capital. The court gatherings at the Palais-Royal were famed all around the capital as well as all of France and it was at these parties that the crème de la crème of French society came to see and be seen. Guests included the members of the royal family like the Queen Mother, Anne of Austria, the duchesse de Montpensier, the Princes de Condé. Philippes favourites were also frequent visitors, the palace was redecorated and new apartments were created for the maids and staff of the Duchess. After Henrietta Anne died in 1670 the Duke took a wife, the Princess Palatine. Saint-Cloud thus became the residence of her eldest son and the heir to the House of Orléans. For the convenience of the bride, new apartments were built and it was at this time that Philippe commissioned the gallery for his famous Orleans Collection of paintings, which was easily accessible to the public. The architect was Jules Hardouin-Mansart, and the cost of reconstruction was totaled to be 400,000 livres
Palais-Cardinal
–
Entrance front of the Palais-Royal on the
rue Saint-Honoré
Palais-Cardinal
–
Garden-side view with the columns of the former Galerie d'Orléans
Palais-Cardinal
–
The Palais-Cardinal (c. 1641)
Palais-Cardinal
–
Philippe de France, duc d'Orléans the younger brother of
Louis XIV.
12.
Duchess of Aiguillon
–
Marie Madeleine de Vignerot du Pont de Courlay, Duchesse dAiguillon was a French aristocrat, also remembered for her charitable work and her patronage of artists and mathematicians. Courlay was the daughter of Cardinal Richelieus sister, Françoise du Plessis, in 1620 Courlay married a nephew of the constable de Luynes, Antoine de Beauvoir du Roure, sieur de Combalet, who died in 1622. In 1625, through her uncles influence, she was made a lady-in-waiting to the queen-mother Marie de Medici, the Duchess did not marry a second time, although Richelieu wished to marry her to a prince, either to the comte de Soissons or to the kings brother. After the death of the cardinal in 1642, the Duchess retained her honours and titles and she became a patron of work involving science and the arts, providing funding for many notable initiatives. She died on 17 April 1675, the Duchess worked with St. Vincent de Paul and helped him to establish the Bicêtre Hospital for foundlings. She also took part in re-organizing the Hôtel-Dieu de Paris and establishing several others in the provinces, additionally, she founded and funded the establishment of the Hôtel-Dieu de Québec for the colonists of New France. The Duchess was the patroness of Pierre Corneille, who in 1636 dedicated his tragedy Le Cid to her and she also had the vision to provide patronage to Marie Crous, a mathematician who introduced the decimal system to France with her published research. This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Aiguillon
Duchess of Aiguillon
–
Duchesse d'Aiguillon
13.
Anne of Bavaria, Princess Palatine
–
Following her father-in-laws death, her husband succeeded as Prince of Condé, a purely honorary title, but one of the highest ranking in France. She was also the Princess of Arches in her own right from 1708, Anne was born in Paris the second of the three daughters of Prince Palatine Edward. Her mother was Anna Gonzaga, a well known Parisian political hostess, at the age of fifteen, she was engaged to Henri Jules, Duke of Enghien, the only surviving child of the famous military commander the Grand Condé. The Grand Condé was the most senior Prince du Sang at the French court, Henri Jules was his heir and prior to his succession to the purely honorary title of Prince of Condé, was styled the Duke of Enghien and was addressed Monsieur le Duc. The marriage ceremony took place at the Palais du Louvre on 11 December 1663 with Louis XIV of France, at this time, Anne became Madame la Duchesse, as Duchess of Enghien. At the death of her father-in-law in 1684, Anne took on the style of Madame la Princesse and she was also known as Anne, princesse Palatine. Anne and Henri Jules had ten children, Henri Jules, who suffered from clinical lycanthropy, was greatly supported by his wife. Anne is described as pious, generous, and charitable. Despite that her husband, who was prone to great rages, would beat his quiet wife. Of her many children, five survived infancy, four of those went on to marry. Her mother was instrumental in helping bring about a marriage between her niece by marriage, Elisabeth Charlotte of the Palatinate and the brother of Louis XIV, Philippe, Elisabeth Charlotte was Annes first cousin, their fathers being brothers. In 1708, when her cousin Charles IV, Duke of Mantua died, being his heiress, Charles IV was the last Duke of Mantua. The next year, Annes husband died in Paris on 1 April 1709, aged 65, making her son, Louis, Louis died the next year and his son Louis Henri, Duke of Bourbon became the next holder of the title. Anne was the princess for whom the Rue Palatine was named - the road in the 6th arrondissement of Paris where she had lived in the Petit Luxembourg, Anne also owned the Château du Raincy which was sold to the House of Orléans in 1769. The Princess Palatine died in Paris at the age of 74, having outlived her husband and all but two of her children, namely the Princess of Conti and the Duchess of Maine. On her death, the principality of Arches became extinct, the title was claimed by her son, the Prince of Condé and her nephew and she was buried at the Carmel du Faubourg Saint-Jacques in Paris
Anne of Bavaria, Princess Palatine
–
Anne by
Gobert
Anne of Bavaria, Princess Palatine
–
Marie Thérèse de Bourbon Princess of Conti
Anne of Bavaria, Princess Palatine
–
Louis de Bourbon Duke of Bourbon Prince of Condé
Anne of Bavaria, Princess Palatine
–
Anne Marie de Bourbon Mademoiselle d'Enghien Mademoiselle de Condé
14.
Turgot map of Paris
–
The Turgot map of Paris is a highly accurate and detailed map of the city of Paris as it appeared in 1734–1736. The Turgot map was published in 1739 as an atlas of 20 non-overlapping sectional birds-eye view maps in isometric perspective toward the southeast, additionally, there is one simplified general map with a 4 x 5 grid showing the layout of the 20 sectional maps. The atlas covers an area corresponding to the first eleven of the modern-day arrondissements. Each sectional map is 50 cm high by 80 cm wide, if the sectional maps are assembled, the composite is 250.5 cm high x 322.5 cm wide. It has been called the first all-comprising graphical inventory of the capital, down to the last orchard and tree, detailing every house and naming even the most modest cul-de-sac. He asked Louis Bretez, member of the Royal Academy of Painting and Sculpture and professor of perspective, to draw up the plan of Paris, by contract, Turgot requested a very faithful reproduction with great accuracy. Louis Bretez, was allowed to enter into the mansions, houses and gardens in order to take measurements, in the eighteenth century, the trend was to abandon portraits of cities for a geometric plan, more technical and mathematical. In 1736, Claude Lucas, engraver of the Royal Academy of Sciences, the plan was published in 1739, and the prints were bound in volumes offered to the King, the members of the Academy, and the Municipality. Additional copies were to serve as representations of France to foreigners, the 21 engraved brass plates are kept by the Chalcography of the Louvre, where they are even now used for re-printing employing the same techniques as two centuries ago. Commons, Turgot map of Paris Notes Sources Boutier, Jean, les Plans de Paris, second edition. Plan de Paris, commencé lanneé1734, dessiné et gravé sous les ordres de Messire Michel Étienne Turgot, Marquis de Sousmons at WorldCat
Turgot map of Paris
–
The Turgot map of Paris in its assembled form
Turgot map of Paris
15.
Corps de logis
–
Corps de logis is an architectural term referring to the principal block of a large, usually classical, mansion or palace. It contains the rooms, state apartments and an entry. The grandest and finest rooms are often on the first floor above the ground level, the corps de logis is usually flanked by lower secondary wings. When the secondary wings form a three sided courtyard, the courtyard is known as the Cour dHonneur, examples of a corps de logis can be found in many of the most notable Classical Era buildings of Europe including the Palace of Versailles, Blenheim Palace and the Palazzo Pitti. In France, the block of medieval castles and manor houses is often referred to as the corps de logis
Corps de logis
–
Blenheim Palace, unscaled plan of the corps de logis, the large central block. Secondary wings containing kitchens and domestic offices flank the corps de logis creating the "
Cour d'Honneur ".
16.
Mannerist
–
Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, lasting until about 1580 in Italy, when the Baroque style began to replace it. Northern Mannerism continued into the early 17th century, stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, Mannerism is notable for its intellectual sophistication as well as its artificial qualities. Mannerism favors compositional tension and instability rather than the balance and clarity of earlier Renaissance painting, Mannerism in literature and music is notable for its highly florid style and intellectual sophistication. The definition of Mannerism and the phases within it continue to be a subject of debate among art historians, for example, some scholars have applied the label to certain early modern forms of literature and music of the 16th and 17th centuries. The term is used to refer to some late Gothic painters working in northern Europe from about 1500 to 1530. Mannerism also has been applied by analogy to the Silver Age of Latin literature, the word mannerism derives from the Italian maniera, meaning style or manner. Like the English word style, maniera can either indicate a type of style or indicate an absolute that needs no qualification. Vasari was also a Mannerist artist, and he described the period in which he worked as la maniera moderna, james V. Mirollo describes how bella maniera poets attempted to surpass in virtuosity the sonnets of Petrarch. This notion of bella maniera suggests that artists thus inspired looked to copying and bettering their predecessors, in essence, bella maniera utilized the best from a number of source materials, synthesizing it into something new. As a stylistic label, Mannerism is not easily defined, “High Renaissance” connoted a period distinguished by harmony, grandeur and the revival of classical antiquity. The term Mannerist was redefined in 1967 by John Shearman following the exhibition of Mannerist paintings organised by Fritz Grossmann at Manchester City Art Gallery in 1965. The label “Mannerism” was used during the 16th century to comment on social behaviour, however, for later writers, such as the 17th-century Gian Pietro Bellori, la maniera was a derogatory term for the perceived decline of art after Raphael, especially in the 1530s and 1540s. From the late 19th century on, art historians have used the term to describe art that follows Renaissance classicism. By the end of the High Renaissance, young artists experienced a crisis, no more difficulties, technical or otherwise, remained to be solved. The young artists needed to find a new goal, and they sought new approaches, at this point Mannerism started to emerge. The new style developed between 1510 and 1520 either in Florence, or in Rome, or in both cities simultaneously and this period has been described as a natural extension of the art of Andrea del Sarto, Michelangelo, and Raphael. Michelangelo from an early age had developed a style of his own, one of the qualities most admired by his contemporaries was his terribilità, a sense of awe-inspiring grandeur, and subsequent artists attempted to imitate it
Mannerist
–
In
Parmigianino 's
Madonna with the Long Neck (1534-40), Mannerism makes itself known by elongated proportions, highly stylized poses, and lack of clear perspective.
Mannerist
–
Mannerism role-model:
Laocoön and His Sons, an ancient sculpture, rediscovered in 1506; now in the
Vatican. The artists of Mannerism greatly admired this piece of sculpture.
Mannerist
–
Ignudi from Michelangelo's Sistine Chapel ceiling.
Mannerist
–
The Libyan Sibyl from Michelangelo's Sistine Chapel ceiling.
17.
Tuscan order
–
The Tuscan order is in effect a simplified Doric order, with un-fluted columns and a simpler entablature with no triglyphs or guttae. It was not one of the three orders of classical architecture described by the Roman architect Vitruvius, these were the Doric, Ionic, instead the Tuscan order, presented as a standardized formal order, is an invention of Italian Renaissance writers largely motivated by nationalism. However, relatively simple columns with round capitals had been part of the architecture of Italy. Sebastiano Serlio described five orders including a Tuscan order, the solidest and least ornate, though Fra Giocondo had attempted a first illustration of a Tuscan capital in his printed edition of Vitruvius, he showed the capital with an egg and dart enrichment that belonged to the Ionic. The most rustic Tuscan order of Serlio was later carefully delineated by Andrea Palladio, in its simplicity, The Tuscan order is seen as similar to the Doric order, and yet in its overall proportions, intercolumniation and simpler entablature, it follows the ratios of the Ionic. This strong order was considered most appropriate in military architecture and in docks, not all modern writers accept the Tuscan order, and it is sometimes called Doric even by those aware of the distinction. Giorgio Vasari made an argument for this claim by reference to il Cronacas graduated rustication on the facade of Palazzo Strozzi. Later Roman practice ignored the Tuscan order, and so did Leon Battista Alberti in De re aedificatoria, Serlio alone gives a stockier proportion of 1,6. A plain astragal or taenia ringed the column beneath its plain cap, a relatively rare church in the Tuscan order is St Pauls, Covent Garden by Inigo Jones. Christ Church, Spitalfields in London by Nicholas Hawksmoor, uses it outside, in a typical usage, at the very grand Palladian house of Wentworth Woodhouse in Yorkshire, which is mainly Corinthian, the stable court of 1768 uses Tuscan. Another English house, West Wycombe Park, has a facade in two storeys with Tuscan on the ground floor and Ionic above. This recalls Palladios Palazzo Chiericati, which uses Ionic over Doric, the Neue Wache is a Greek Revival guardhouse in Berlin, by Karl Friedrich Schinkel. Nonetheless, despite these Tuscan aspects, the impression is strongly Greek. Tuscan is often used for doorways and other entrances where only a pair of columns are required, in gardening, carpenters Doric which is Tuscan, provides simple elegance to gate posts and fences in many traditional garden contexts. Composite order Buffalo as an Architectural Museum, Tuscan
Tuscan order
–
The Tuscan order in
Andrea Palladio, Quattro Libri di Architettura, 1570
18.
Ionic order
–
The Ionic order forms one of the three classical orders of classical architecture, the other two canonic orders being the Doric and the Corinthian. There are two orders, the Tuscan, and the rich variant of Corinthian called the composite order. The Ionic columns are the thinnest and smallest columns out of the three canonic orders, the Ionic capital is characterized by the use of volutes. The Ionic columns normally stand on a base which separates the shaft of the column from the stylobate or platform, since Vitruvius a female character has been ascribed to the Ionic, in contrast to the masculine Doric. The major features of the Ionic order are the volutes of its capital, the only tools required to design these features were a straight-edge, a right angle, string and a compass. Originally the volutes lay in a plane, then it was seen that they could be angled out on the corners. Ionic columns are most often fluted, after a little early experimentation, the number of hollow flutes in the shaft settled at 24. This standardization kept the fluting in a proportion to the diameter of the column at any scale. Roman fluting leaves a little of the surface between each hollow, Greek fluting runs out to a knife edge that was easily scarred. In some instances, the fluting has been omitted, mohr included 8 unfluted Ionic frontal columns on his 1928 design for the railroads St. Louis suburban stop Delmar Station. Pictorial often narrative bas-relief frieze carving provides a feature of the Ionic order. Roman and Renaissance practice condensed the height of the entablature by reducing the proportions of the architrave, the Ionic order originated in the mid-6th century BC in Ionia, the southwestern coastland and islands of Asia Minor settled by Ionian Greeks, where an Ionian dialect was spoken. The Ionic order column was being practiced in mainland Greece in the 5th century BC and it was most popular in the Archaic Period in Ionia. The first of the great Ionic temples was the Temple of Hera on Samos and it stood for only a decade before it was leveled by an earthquake. A longer-lasting 6th century Ionic temple was the Temple of Artemis at Ephesus, the Parthenon, although it conforms mainly to the Doric order, also has some Ionic elements. A more purely Ionic mode to be seen on the Athenian Acropolis is exemplified in the Erechtheum, following the conquests of Alexander the Great in the east, a few examples of the Ionic order can be found as far as Pakistan with the Jandial temple near Taxila. Several examples of capitals displaying Ionic influences can seen as far away as Patna, especially with the Pataliputra capital. Renaissance architectural theorists took his hints, to interpret the Ionic order as matronly in comparison to the Doric order, the Ionic is a natural order for post-Renaissance libraries and courts of justice, learned and civilized
Ionic order
–
Architects' first real look at the Greek Ionic order: Julien David LeRoy, Les ruines plus beaux des monuments de la Grèce Paris, 1758 (Plate XX)
Ionic order
–
Drawing by Piranesi of the
Temple of Portunus
Ionic order
–
Ionic capital at Priene
Ionic order
–
Scamozzian Ionic capitals on
Castle Coole portico
19.
Vestibule (architecture)
–
The term applies to structures in both modern and historical architecture since ancient times. In modern architecture, vestibule typically refers to a room next to the outer door. In ancient Roman architecture, vestibule referred to an enclosed area between the interior of the house and the street. In contemporary usage, a vestibule constitutes an area surrounding the exterior door and it acts as an antechamber between the exterior and the interior structure. Often it connects the doorway to a lobby or hallway and it is the space one occupies once passing the door, but not yet in the main interior of the building. The residence of the White House in the United States is such an example, the difference in sizes between a vestibule and the following space is better illustrated by the - so called - entrance to the main gallery in the Solomon R. Guggenheim Museum by Frank Lloyd Wright. Many government buildings mimic the architecture from which the vestibule originates. A purely utilitarian use of vestibules in modern buildings is to create an air lock entry. Such vestibules consist of merely a set of doors and a set of outer doors. An ATM vestibule is an area with automated teller machines that is accessible from the outside of a building. There may be an entrance to the vestibule which requires a card to open. Entrance to and exit from the car is through the side doors, in British usage the term refers to the part of the carriage where the passenger doors are located, this can be at the ends of the carriage or at the 1/4 and 3/4 of length positions. Vestibules were common in ancient Greek temples, due to the construction techniques available at the time, it was not possible to build large spans. Consequently, many ways had two rows of columns that supported the roof and created a distinct space around the entrance. In ancient Roman architecture, where the term originates, a vestibule was a space between the interior of a building and the street, the structure was a mixture between a modern hall and porch. Upon entering a Roman house or domus, one would have to pass through the vestibule before entering the atrium, from the 5th century on vestibules were used in churches in both the east and west. Genkan Propylaeum Antarala, vestibule in certain Hindu temples
Vestibule (architecture)
–
North portico of the White House. The vestibule is just inside the exterior doors.
Vestibule (architecture)
–
A floor plan with a modern vestibule shown in red.
20.
Pilasters
–
The pilaster is an architectural element in classical architecture used to give the appearance of a supporting column and to articulate an extent of wall, with only an ornamental function. It consists of a flat surface raised from the wall surface, usually treated as though it were a column, with a capital at the top, plinth at the bottom. In contrast to a pilaster, a column or buttress can support the structure of a wall. It may be defined as a column which has lost its three-dimensional. A pilaster appears with a capital and entablature, also in low-relief or flattened against the wall and these vertical elements can also be used to support a recessed archivolt around a doorway. The pilaster can be replaced by ornamental brackets supporting the entablature or a balcony over a doorway, when a pilaster appears at the corner intersection of two walls it is known as a canton. As with a column, a pilaster can have a plain or fluted surface to its profile, during the Renaissance and Baroque architects used a range of pilaster forms. In the giant order pilasters appear as tall, linking floors in a single unit
Pilasters
–
Detail of pilaster and
entablature (with column on right) in
Sydney sandstone in the entry of the
Mitchell Library in Sydney, Australia
Pilasters
–
Paired
Corinthian pilasters with high bases on the county courthouse in
Springfield, Ohio.
Pilasters
–
Pilaster and
capital,
Frankfurt (Oder),
Germany
Pilasters
–
Puerta de la colegiata,
Lerma,
Spain
21.
Composite order
–
The composite order is a mixed order, combining the volutes of the Ionic order capital with the acanthus leaves of the Corinthian order. In many versions the composite order volutes are larger, however, the column of the composite order is typically ten diameters high, though as with all the orders these details may be adjusted by the architect for particular buildings. The Composite order is essentially treated as Corinthian except for the capital, the composite order is not found in ancient Greek architecture and until the Renaissance was not ranked as a separate order. Instead it was considered as an imperial Roman form of the Corinthian order, leon Battista Alberti in his De re aedificatoria mentions the composite order, calling it Italic. Despite this origin, very many Composite capitals in fact treat the two volutes as different elements, each springing from one side of their leafy base. In this, and in having an ornament between them, they resemble the Archaic Greek Aeolic order, though this seems not to have been the route of their development in early Imperial Rome. This has the advantage of removing the necessity to have a different appearance between the front and side views, and the Ionic eventally developed bending forms that allowed this. The treatment of details has often been very variable, with the inclusion of figures, heraldic symbols, the composite order, due to its delicate appearance, was deemed by the Renaissance to be suitable for the building of churches dedicated to The Virgin Mary or other female saints. In general it has been since used to suggest richness. Bramante used the order in the second order of the cloister of Santa Maria della Pace. For the first order, the Ionic order was used, francesco Borromini developed the composite order in San Carlo alle Quattro Fontane, Rome. The interior of the church has 16 composite columns, the load-bearing columns placed underneath the arches have inverted volutes. This choice was highly criticised at the time, thinking it was a lack of knowledge of the Vittruvian orders that led him to his decision, the inverted volutes can also be seen in Borrominis Oratorio dei Filippini in the lower order. There the controversy was even higher, considering that Borromini also removed the acanthus leaves, reggio calabria, Dipartimento Patrimonio Architettonico e Urbanistico
Composite order
–
Composite capital, Palace of Justice (today
Ethnographic Museum),
Budapest
Composite order
–
The classical orders. A typical example of the composite order is depicted in the bottom row to the right.
22.
Coffer
–
A coffer in architecture is a series of sunken panels in the shape of a square, rectangle, or octagon in a ceiling, soffit or vault. For centuries, it was thought that wooden coffers were first made by crossing the wooden beams of a ceiling in the Loire Valley châteaux of the early Renaissance. In 2012, however, archaeologists working under Andrew Wallace-Hadrill at the House of the Telephus in Herculaneum discovered that wooden coffered ceilings were constructed in Roman times. Experimentation with the shapes in coffering, which solve problems of mathematical tiling. The more complicated problems of diminishing the scale of the coffers were presented by the requirements of curved surfaces of vaults. A prominent example of Roman coffering, employed to lighten the weight of the dome, can be found in the ceiling of the dome in the Pantheon. In ancient Chinese wooden architecture, coffering is known as zaojing, dome Dropped ceiling Cove ceiling Beam ceiling U. S. National Capitol
Coffer
–
Coffering on the ceiling of the
Pantheon,
Rome
Coffer
–
Giuliano da Sangallo 's flat caisson ceiling,
Basilica di Santa Maria Maggiore, Rome.
Coffer
–
Coffered ceilings of
Mir Castle,
Belarus.
23.
Staircase
–
A stairway, staircase, stairwell, flight of stairs, or simply stairs is a construction designed to bridge a large vertical distance by dividing it into smaller vertical distances, called steps. Stairs may be straight, round, or may consist of two or more straight pieces connected at angles, special types of stairs include escalators and ladders. Some alternatives to stairs are elevators, stairlifts and inclined moving walkways as well as stationary inclined sidewalks, a stair, or a stairstep is one step in a flight of stairs. In buildings, stairs is a term applied to a flight of steps between two floors. A stair flight is a run of stairs or steps between landings, a staircase or stairway is one or more flights of stairs leading from one floor to another, and includes landings, newel posts, handrails, balustrades and additional parts. A stairwell is a compartment extending vertically through a building in which stairs are placed. A stair hall is the stairs, landings, hallways, or other portions of the hall through which it is necessary to pass when going from the entrance floor to the other floors of a building. Box stairs are stairs built between walls, usually with no support except the wall strings, Stairs may be in a straight run, leading from one floor to another without a turn or change in direction. Stairs may change direction, commonly by two flights connected at a 90 degree angle landing. Stairs may also return onto themselves with 180 degree angle landings at each end of straight flights forming a vertical stairway commonly used in multistory, many variations of geometrical stairs may be formed of circular, elliptical and irregular constructions. Stairs may be a component of egress from structures and buildings. Stairs are also provided for convenience to access floors, roofs, levels, Stairs may also be a fanciful physical construct such as the stairs that go nowhere located at the Winchester Mystery House. Stairs are also a used in art to represent real or imaginary places built around impossible objects using geometric distortion. Stairway is also a metaphor for achievement or loss of a position in the society. Each step is composed of tread and riser, tread The part of the stairway that is stepped on. It is constructed to the specifications as any other flooring. The tread depth is measured from the edge of the step to the vertical riser between steps. The width is measured from one side to the other, riser The vertical portion between each tread on the stair
Staircase
–
Stairway of the
Opéra Garnier (
Paris,
France)
Staircase
–
Stairways in
Persepolis, Iran, built ca. 550 B.C.
Staircase
–
A straight stairway with tiled treads, a double railing and two landings in the "Porta Garibaldi" station,
Milan
Staircase
–
The simplest form of staircase, down to
Man o'War Cove,
Dorset,
England
24.
Piano nobile
–
The piano nobile is the principal floor of a large house, usually built in one of the styles of Classical Renaissance architecture. This floor contains the reception and bedrooms of the house. The piano nobile is often the first or sometimes the second storey, located above a ground floor containing minor rooms, the reasons for this were so the rooms would have finer views, and more practically to avoid the dampness and odors of the street level. This is especially true in Venice where the piano nobile of the many palazzi is especially obvious from the exterior by virtue of its windows and balconies. Examples of this are Ca Foscari, Ca dOro, Ca Vendramin Calergi, larger windows than those on other floors are usually the most obvious feature of the piano nobile. Often in England and Italy the piano nobile is reached by an outer staircase. Kedleston Hall is an example of this in England, as is Villa Capra in Italy, most houses contained a secondary floor above the piano nobile which contained more intimate withdrawing and bedrooms for private use by the family of the house when no honoured guests were present. Above this floor would often be an attic floor containing staff bedrooms, in these instances, occasionally in museums etc. the principal piano nobile is described as the primo piano nobile to differentiate it. Though often found, this usage is potentially misleading, rooms in the piano nobile are always the grandest, the term is not used in Britain. This arrangement of floors continued throughout Europe for as long as large houses continued to be built in the classical styles and this arrangement was designed at Buckingham Palace as recently as the mid-19th century. Holkham Hall, Osterley Park and Chiswick House are among the innumerable 18th-century English houses which employed this design, Life in the English Country House. Harris, John, de Bellaigue, Geoffrey, & Miller, Oliver, English Country Houses, Early Georgian 1715–1760 London, Country Life. Pavilion Books Ltd. Kaminski Marion, Art and Architecture of Venice,1999, Könemann, ISBN 3-8290-2657-9 Masson, Georgina
Piano nobile
–
An early-15th-century piano nobile at the
Palazzo dei Diamanti,
Ferrara. Its larger windows indicate its superior status compared to the rooms on the floor below
Piano nobile
–
At the
Palazzo Barbarigo,
Venice, the floor above the piano nobile is of almost equal status so is referred to as the secondo piano nobile.
Piano nobile
–
Palais Gise in Munich: A rich decor of the facade underlines the meaning of the piano nobile on the 2nd floor.
Piano nobile
–
At 18th-century
Kedleston Hall the piano nobile is placed above a
rusticated ground floor, and reached by an external staircase. The uppermost windows indicate that the upper floor is of far lower status.
25.
Balustrades
–
Multiplied in this way, they form a balustrade. Individually, a baluster shaft may describe the form taken by a brass or silver candlestick. According to OED, baluster is derived through the French, balustre, from Italian, balaustro, from balaustra, pomegranate flower, from Latin balaustium, from Greek βαλαύστιον. The earliest examples are shown in the bas-reliefs representing the Assyrian palaces. The application to architecture was a feature of the early Renaissance, late fifteenth-century examples are found in the balconies of palaces at Venice and these quattrocento balustrades are likely to be following yet-unidentified Gothic precedents. They form balustrades of colonnettes as an alternative to miniature arcading, sangallo passed the motif to Bramante and Michelangelo, through whom balustrades gained wide currency in the 16th century. Because of its low center of gravity, this vase-baluster may be given the modern term dropped baluster. The baluster, being a structure, tends to follow design precedents that were set in woodworking and ceramic practices, where the turners lathe. The profile a baluster takes is often diagnostic of a style of architecture or furniture. Some complicated Mannerist baluster forms can be read as a vase set upon another vase, modern baluster design is also in use for example in designs influenced by the Arts and Crafts movement in a 1905 row of houses in Etchingham Park Road Finchley London England. The modern term baluster shaft is applied to the shaft dividing a window in Saxon architecture, in the south transept of the Abbey in St Albans, England, are some of these shafts, supposed to have been taken from the old Saxon church. Norman bases and capitals have been added, together with plain cylindrical Norman shafts, balusters are normally separated by at least the same measurement as the size of the square bottom section. Placing balusters too far apart diminishes their aesthetic appeal, balustrades normally terminate in columns, building walls or more properly in heavy newel posts because otherwise they will not be structurally strong enough. Balusters may be formed in several ways, wood and stone can be shaped on the lathe, wood can be cut from square or rectangular section boards, while concrete, plaster, iron, and plastics are usually formed by molding and casting. Turned patterns or old examples are used for the molds, Cast iron Cast stone Hardwoods and softwoods Plaster Polymer stone Polyurethane/polystyrene Wrought iron The word banister refers to the balusters of a stairway. According to many dictionaries - a, a handrail, especially on a staircase. Such a handrail together with its supporting structures, the Renaissance baluster and Palladio in Palladio and English Palladianism
Balustrades
–
Swelling form of the half-open flower of
Punica granatum, in Italian balaustra (See "etymology")
Balustrades
–
Baluster
Balustrades
–
Stone balusters in the
Basilica of San Zeno, Verona
Balustrades
–
A vasiform balustrade crowns
Michelangelo 's
Palazzo degli Conservatori on the Campidoglio, Rome.
26.
Wrought iron
–
Wrought iron is an iron alloy with a very low carbon content in contrast to cast iron. It is a mass of iron with fibrous slag inclusions which gives it a grain resembling wood. Wrought iron is tough, malleable, ductile, corrosion-resistant and easily welded, before the development of effective methods of steelmaking and the availability of large quantities of steel, wrought iron was the most common form of malleable iron. A wrought product is one that has been worked by forging, extruding, rolling, hammering, etcetera, to change its form. Wrought iron is a worked iron product that is seldom produced today as other cheaper. Historically, a modest amount of iron was refined into steel. The demand for wrought iron reached its peak in the 1860s with the adaptation of ironclad warships, however, as properties such as brittleness of mild steel improved, it became less costly and more widely available than wrought iron, whose usage then declined. Wrought iron is no longer produced on a commercial scale, many products described as wrought iron, such as guard rails, garden furniture and gates, are actually made of mild steel. They retain that description because they are made to resemble objects which in the past were wrought by hand by a blacksmith, the word wrought is an archaic past participle of the verb to work, and so wrought iron literally means worked iron. Wrought iron is a term for the commodity, but is also used more specifically for finished iron goods. It was used in that sense in British Customs records. Cast iron, unlike wrought iron, is brittle and cannot be worked either hot or cold, Cast iron can break if struck with a hammer. In the 17th, 18th, and 19th centuries, wrought iron went by a variety of terms according to its form, origin. While the bloomery process produced wrought iron directly from ore, cast iron or pig iron were the materials used in the finery forge. Pig iron and cast iron have higher content than wrought iron. Cast and especially pig iron have excess slag which must be at least partially removed to produce quality wrought iron, at foundries it was common to blend scrap wrought iron with cast iron to improve the physical properties of castings. Fusion eventually became accepted as relatively more important than composition below a given low carbon concentration. Another difference is that steel can be hardened by heat treating, historically, wrought iron was known as commercially pure iron, however, it no longer qualifies because current standards for commercially pure iron require a carbon content of less than 0.008 wt%
Wrought iron
–
The
Eiffel tower is constructed from
puddled iron, a form of wrought iron
Wrought iron
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Steels and other iron–carbon alloy phases
Wrought iron
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Iron pillar at Delhi, India, containing 98% wrought iron
Wrought iron
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Schematic drawing of a puddling furnace
27.
Cornices
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A simple cornice may be formed just with a crown molding. The function of the cornice of a building is to throw rainwater free of the building’s walls. In residential building practice, this function is handled by projecting gable ends, roof eaves, however, house eaves may also be called cornices if they are finished with decorative molding. The projecting cornice of a building may appear to be heavy and hence in danger of falling, particularly on commercial buildings, a rake is an architectural term for an eave or cornice which runs along the gable end of the roof of a modern residential structure. It may also be called a sloping cornice, a raking cornice, the trim and rafters at this edge are called rake-, verge-, or barge-board or verge- or barge-rafter. It is a sloped timber on the facing edge of a roof running between the ridge and the eave. On a typical house, any gable will have two rakes, one on each sloped side, the rakes are supported by a series of lookouts and may be enclosed with a rake fascia board on the outside facing edge and a rake soffit along the bottom. The cornices of a residential building will usually be one of three types, a box cornice, a close or closed cornice, or an open cornice. Box cornices enclose the cornice of the building with what is essentially a narrow box. A box cornice may further be divided into either the box cornice or the wide box cornice type. A narrow box cornice is one in which the projection of the rafter serves as a surface for the soffit board as well as the fascia trim. This is possible if the slope of the roof is fairly steep, box cornices often have ventilation screens laid over openings cut in the soffits in order to allow air to circulate within the cornice. A close, closed, or snub cornice is one in there is no projection of the rafters beyond the walls of the building. This type of cornice is easy to construct, but provides little aid in dispersing water away from the building, in an open cornice, the shape of the cornice is similar to that of a wide box cornice except that both the lookouts and the soffit are absent. It is a lower-cost treatment that requires fewer materials, and may not have a fascia board. Ancient Egyptian architectural tradition made special use of large cavetto mouldings as a cornice, with only a short fillet above, inspired by this precedent, it was then revived by Ardashir I, the founder of the Sasanian dynasty. The cavetto took the place of the cymatium in many Etruscan temples, often painted with vertical tongue patterns, additional more-obscure varieties of cornice include the architrave cornice, bracketed cornice, and modillion cornice. A cornice return is a detail that occurs where the horizontal cornice of a roof connects to the rake of a gable
Cornices
–
An example of a cornice, above large
corbels, along the top of the Wheeling-Pittsburgh Steel Building in downtown
Wheeling, West Virginia,
United States.
Cornices
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A wide box cornice with lookouts
Cornices
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A close cornice
Cornices
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An open cornice
28.
Frieze
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In architecture the frieze /ˈfriːz/ is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefs. Even when neither columns nor pilasters are expressed, on a wall it lies upon the architrave and is capped by the moldings of the cornice. A frieze can be found on many Greek and Roman buildings, the Parthenon Frieze being the most famous and this style is typical for the Persians. In interiors, the frieze of a room is the section of wall above the picture rail, by extension, a frieze is a long stretch of painted, sculpted or even calligraphic decoration in such a position, normally above eye-level. Frieze decorations may depict scenes in a sequence of discrete panels, the material of which the frieze is made of may be plasterwork, carved wood or other decorative medium. In an example of a frieze on the façade of a building. A pulvinated frieze is convex in section, such friezes were features of 17th-century Northern Mannerism, especially in subsidiary friezes, and much employed in interior architecture and in furniture. The concept of a frieze has been generalized in the construction of frieze patterns. Media related to Friezes at Wikimedia Commons Frieze
Frieze
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The Circus (Bath), UK. Architectural detail of the frieze showing the alternating
triglyphs and
metope. (
John Wood, the Elder, architect)
Frieze
–
Frieze of animals, mythological episodes at the base of
Hoysaleswara temple,
India
29.
Arcade (architecture)
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An arcade is a succession of arches, each counter-thrusting the next, supported by columns, piers, or a covered walkway enclosed by a line of such arches on one or both sides. In warmer or wet climates, exterior arcades provide shelter for pedestrians, the walkway may be lined with stores. A blind arcade superimposes arcading against a solid wall, blind arcades are a feature of Romanesque architecture that was taken into Gothic architecture. European shopping malls generally resemble the bazaars and souks of Asia, the word arcade comes from French arcade from Provençal arcada or Italian arcata, based on Latin arcus, ‘bow’. One of the earliest examples of a European shopping arcade, the Covered Market, Oxford, the Covered Market was started in response to a general wish to clear untidy, messy and unsavoury stalls from the main streets of central Oxford. John Gwynn, the architect of Magdalen Bridge, drew up the plans, twenty more soon followed, and after 1773 meat was allowed to be sold only inside the market. From this nucleus the market grew, with stalls for garden produce, pig meat, dairy products, Gostiny Dvor in St Petersburg, Russia is another early shopping arcade. Throughout the following century, Gostiny Dvor was augmented, resulting in ten indoor streets, during the post-World War II reconstructions, its inner walls were demolished and a huge shopping mall came into being. This massive 18th-century structure got a recently and entered the 21st century as one of the most fashionable shopping centres in Eastern Europe. An early French arcade is the Passage du Caire created in 1798 as a tribute to the French campaign in Egypt and it was appreciated by the public for its protection from the weather, noise and filth of the streets. A year later American architect William Thayer created the Passage des Panoramas with a row of shops passing between two panorama paintings, shopping arcades increasingly were built in the second Bourbon Restoration. Upper levels of arcades often contained apartments and sometimes brothels. S. W, australia Great Gostiny Dvor St. Petersburg, Russia The Passage St
Arcade (architecture)
–
Arcades inside the
Mosque of Uqba also known as the Great Mosque of Kairouan, located in
Kairouan,
Tunisia.
Arcade (architecture)
–
Arcades inside the
Bonne-Espérance Abbey.
Arcade (architecture)
–
Gallery with arcades on
High Medieval square in
Metz,
France.
Arcade (architecture)
–
Mozaffarieh:
Tabriz Bazaar,
Iran, devoted to carpet selling.
30.
Spandrels
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A spandrel, less often spandril or splaundrel, is the space between two arches or between an arch and a rectangular enclosure. Also included is the space under a flight of stairs, if it is not occupied by another flight of stairs and this is a common location to find storage space in residential structures. In a building more than one floor, the term spandrel is also used to indicate the space between the top of the window in one story and the sill of the window in the story above. In concrete or steel construction, a beam extending from column to column usually carrying an exterior wall load is known as a spandrel beam. The spandrels over doorways in Perpendicular work are generally richly decorated, at Magdalen College, Oxford is one which is perforated. The spandrel of doors is sometimes ornamented in the Decorated period, spandrels can also occur in the construction of domes and are typical in grand architecture from the medieval period onwards. Cathedral architecture Spandrel This article incorporates text from a now in the public domain, Chisholm, Hugh
Spandrels
–
Illustration of spandrel
Spandrels
–
Spandrel figures,
Arc de Triomphe du Carrousel,
Paris
Spandrels
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Spandrel panels
Spandrels
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Old Bridge, Pontypridd, with perforated spandrels
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