View allAll Photos Tagged champaigne
We were on the shore of Lake Champaigne and could hear Oprey but couldn't find them. Walking back to the car we came around a row of tall trees and there they were. The bird on the left appeard to be a juvenile and the one making all of the noise probably wanting to be fed. The bird on the right was having no part of it. He/she just stood there . Eventually he/she flew off and started circling over the nest. The other bird got the hint and stood up and took flight as well. Last we saw of them they were headed over the lake for what I presume was a lesson in fishing.
The Pierre Menard House, located in Ellis Grove, Illinois, was the home of Pierre Menard (1766-1844), a Canadian-born trader who became the first lieutenant governor of Illinois from 1818 to 1822. Prior to Illinois statehood, Menard served as the presiding officer of the Illinois Territorial Legislature.
The Pierre Menard House was designed by architect Joseph Champaigne. It is an illustration of French Creole architecture and has various features which highlight this, including its beautiful porch. The house is built into gently sloping land at the bottom of a bluff overlooking the Mississippi River, which during Menard's time would have been the Kaskaskia River. It is sometimes referred to as "The Mount Vernon of the West" for being the finest example of French Colonial architecture in the Mid-Mississippi River Valley.
The Pierre Menard House was added to the National Register of Historic Places and designated a National Historical Landmark in 1970. Additionally, the house was named one of the contributing properties to the French Colonial Historic District in 1974. The district encompasses a major region of 18th-century French colonization in southwestern Illinois.
The Pierre Menard House, located in Ellis Grove, Illinois, was the home of Pierre Menard (1766-1844), a Canadian-born trader who became the first lieutenant governor of Illinois from 1818 to 1822. Prior to Illinois statehood, Menard served as the presiding officer of the Illinois Territorial Legislature.
The Pierre Menard House was designed by architect Joseph Champaigne. It is an illustration of French Creole architecture and has various features which highlight this, including its beautiful porch. The house is built into gently sloping land at the bottom of a bluff overlooking the Mississippi River, which during Menard's time would have been the Kaskaskia River. It is sometimes referred to as "The Mount Vernon of the West" for being the finest example of French Colonial architecture in the Mid-Mississippi River Valley.
The Pierre Menard House was added to the National Register of Historic Places and designated a National Historical Landmark in 1970. Additionally, the house was named one of the contributing properties to the French Colonial Historic District in 1974. The district encompasses a major region of 18th-century French colonization in southwestern Illinois.
www.youtube.com/watch?v=oHowqKYSXNI&list=PLr1WI-d8KJR...
Muddy Waters - Champagne & Reefer
---
Taken at Junkyard Blues Club
Musée des beaux-arts de Marseille. Philippe de Champaigne, The Apotheosis of Mary Magdalene. (7/2021)
Cette ancienne chambre à coucher du roi, de Henri III à Louis XVI, a été transformée en salon de l'empereur par Napoléon Ier en 1804, puis en salle du trône en 180880. Le décor mural de la salle fut harmonisé au XVIIIe siècle à partir d'éléments anciens : lors des agrandissements réalisés entre 1752 et 1754, certains éléments furent remaniés par Jacques-Ange Gabriel (deux portes à côté de la cheminée) et d'autres créés de toutes pièces dans le style rocaille (panneaux de boiseries chantournés, en face du trône). La partie centrale du plafond (aux armes de France et de Navarre), une partie du lambris bas, les portes à fronton et les bas-reliefs à motifs guerriers datent pour leur part du milieu du XVIIe siècle. Les boiseries murales sont ornées de l'emblème de Louis XIII : la massue d'Hercule accompagnée de l'inscription Erit haec quoque cognita monstris (Les monstres eux-mêmes la connaîtront). La cheminée date également de 1752. Au-dessus de la cheminée figure un portrait en pied de Louis XIII, issu de l'atelier de Philippe de Champaigne.
Le trône a été réalisé en 1804 par Jacob-Desmalter d'après les dessins de Percier et Fontaine. Il est placé sur une estrade, sous un dais rouge et bleu brodé de 350 abeilles en fil d'or par Picot en 1808, et encadré par deux enseignes.
This former bedroom of the king from Henry III to Louis XVI was transformed into the Emperor's salon by Napoleon I in 1804, and then into the throne room in 180880. The wall decoration of the room was harmonised in the 18th century using old elements: during the extensions carried out between 1752 and 1754, some elements were redesigned by Jacques-Ange Gabriel (two doors next to the fireplace) and others were created from scratch in the rocaille style (scalloped wood panels opposite the throne). The central part of the ceiling (with the arms of France and Navarre), part of the low panelling, the pedimented doors and the bas-reliefs with warrior motifs date from the mid 17th century. The wall panelling is decorated with the emblem of Louis XIII: the club of Hercules accompanied by the inscription Erit haec quoque cognita monstris (The monsters themselves will know it). The fireplace also dates from 1752. Above the mantel is a full-length portrait of Louis XIII from the workshop of Philippe de Champaigne.
The throne was made in 1804 by Jacob-Desmalter after drawings by Percier and Fontaine. It is placed on a platform, under a red and blue canopy embroidered with 350 bees in gold thread by Picot in 1808, and framed by two signs.
La chapelle axiale de la cathédrale est dédiée à la Vierge Marie. Elle est constituée de trois travées droites et d'une abside à cinq pans. Elle est achevée entre 1305 et 1311. À son chevet se trouve un autel et un retable en bois sculpté et doré de Jean Racine (1643-1645), offert par la confrérie de la Sainte Vierge pour orner la chapelle axiale. Ils sont agrémentés d'une huile sur toile de Philippe de Champaigne (1629), l'Adoration des Bergers. Ce tableau a coûté à la confrérie 650 livres pour le peintre et 40 sous à un artiste rouennais pour l'achever.
De nombreux tombeaux ornent la chapelle.
The axial chapel of the cathedral is dedicated to the Virgin Mary. It consists of three straight bays and a five-sided apse. It was completed between 1305 and 1311. At its chevet is an altar and a carved and gilded wooden altarpiece by Jean Racine (1643-1645), offered by the brotherhood of the Holy Virgin to adorn the axial chapel. They are decorated with an oil on canvas by Philippe de Champaigne (1629), the Adoration of the Shepherds. This painting cost the brotherhood 650 livres for the painter and 40 sous for a Rouen artist to complete it.
Many tombs adorn the chapel
Le Mans (Sarthe) - Musée de Tessé - "Le sommeil d'Elie" (Philippe de Champaigne, 1602-1674)
Huile sur toile
I was photographing the girl and the boy kissing. Having a digital camera when I push the exposure button I can count up to 4 - 5 seconds before it exposes. In the last second a third person put his head into the picture thus creating a hilarious shot. It was completely accidental!!!
- to good CX;) A very minor complaint resulted in management apologies, expressed with a bottle of bubbly and a large bowl of assorted premium fruit.
(Makes you want to keep finding faults and complaining daily ;) ))
A section of the painting known as "Christ on the Cross", attributed to Philippe de Champaigne (1602 - 1674), now hanging in the Pierre-de-Luxembourg Museum, Villenueve-les-Avignon, France
How many special people change?
How many lives are living strange?
Where were you while we were getting high? - Oasis
It's my 2nd night with francis, Mike, Derick, and Andy covering a champaigne brand event, for four nights till 3am we all had only a 3hours of sleep coz we need to go back at our real and stress full job @ 7am, for the next few days you will see me posting late of my 365 photos
SB900 Off/Did not fire only available light and from Mike's new Comer continues light for video.
You don't need Tylenol. Just a little bit of hair of bat, some toe nail trimmings from a dead cattle rustler and the cork from a champaigne bottle from Mar-a-lago. Shaken, not stirred.
Foyer of Philharmonie, a Glass of New Year's Eve Champaigne , during the intermission in Musical "Revenge of the Bat" (Die Fledermau) by Johann Strauss
Saint Michael's Church (Dutch: Sint-Michielskerk) is a Roman Catholic church in Ghent, Belgium built in a late Gothic style. It is known for its rich interior decoration.
History
Documents from 1105 testify to the existence on the site of a chapel dedicated to St. Michael which was subordinate to another parish. The building was twice destroyed by fire early in the twelfth century and rebuilt. From 1147 it was recognized as an independent parochial church.
Construction of the current late Gothic church was probably commenced in 1440, and took place in two phases, separated by a long interval. During the first phase, in the fifteenth and sixteenth centuries, the western part of the building was built, including the tower, the three-aisled nave and transept. This was completed in 1528. The construction of the western tower continued and by 1566 two levels of the tower were completed. Then, due to religious conflicts, not only did construction stop, but looting and destruction took place. Part of the church was destroyed in 1578 by Calvinists and in 1579 the old choir was demolished.
Reconstruction of the church only started in 1623. The early Gothic choir was replaced by a choir in Brabantine Gothic. Local architect Lieven Cruyl made a design for the unfinished western tower in 1662. The design provided for a spire of 134-metre-high in Brabantine Gothic style but was never realised. As a result of these delays and cost concerns, the tower was in the end never completed. Only in 1828 was a flat roof built over the unfinished tower.
The sacristy in the north-east was constructed in Baroque style in 1650-1651.
Description
The exterior of the sober late Gothic church is entirely constructed with sandstone from Brussels and Ledian sandstone. The church has a rich Neo-Gothic interior, including an altar and a pulpit in that style. There are various 18th century statues, including a Saint Livinus by Laurent Delvaux, a wooden St. Sebastian by J. Franciscus Allaert, eight marble statues of saints and a copy of Michelangelo's Madonna of Bruges by Rombaut Pauwels.
The church contains many Baroque paintings, including Christ Dying on the Cross by Anthony van Dyck, the Resurrection of Lazarus by Otto Venius and paintings by Gaspar de Crayer, Philippe de Champaigne, Karel van Mander, Jan Boeckhorst, Antoon van den Heuvel, Theodoor van Thulden and others.
There are confessionals from various style periods including a Baroque confessional from the early 17th century by François Cruyt with statues sculpted by Michiel van der Voort the Elder.
Organ
The organ dates back to an instrument that was built in 1817 by the organ builder De Volder. The style of the front is fully made in gothic revival. In 1951 the instrument was remodeled and expanded by the organ builder Anneessens. The organ has 47 stops on three manuals and a pedal.
Church Treasure
There are numerous silver and gold artifacts in the silver collection. An important item is the relic of St Dorothea, in silver. Very famous is the relic of the sacred "Doorn" brought to the church by Mary, Queen of Scots, and a relic of the true Cross a gift of the Archduke Albrecht and Isabella in 1619.
(Wikipedia)
Die Kirche Sankt Michael in Gent (niederländisch Sint-Michielskerk, französisch Église Saint-Michel) ist ein katholischer Kirchenbau aus dem 15. und 16. Jahrhundert.
Geschichte
Die ursprünglich bescheidene Kapelle brannte zu Beginn des 12. Jahrhunderts nieder. Ein größerer Neubau wurde ab etwa 1440 durch die heutige Kirche ersetzt. Der heutige Bau entstand in zwei Phasen mit einer langen Unterbrechung. Während der ersten Phase im 15. und 16. Jahrhundert wurde der westliche Teil gebaut, also das dreischiffige Langhaus und das Querschiff, das 1530 fertiggestellt wurde, sowie der Glockenturm, der 1566, dem Jahr des reformatorischen Bildersturms in den burgundischen Niederlanden bis zur zweiten Etage gediehen war. Während der anschließenden Zweiten und Dritten Hugenottenkriegs wurden die Arbeiten dann unterbrochen. 1579, zur Zeit der calvinistischen Herrschaft wurde die Kirche geplündert und beschädigt, der Chor zerstört.
Von 1623 bis 1659, unter der Herrschaft von Isabella Clara Eugenia von Spanien, Albrecht VII. von Habsburg und ihren Nachfolgern wurden Chor und Kapellenkranz wiederhergestellt, die Fertigstellung des Glockenturms aus finanziellen Gründen aufgegeben. Die Pläne des Architekten Lieven Cruyl aus dem Jahr 1662, der einen Turm im Stil der Brabantischen Gotik wie bei der Kathedrale von Antwerpen vorsah, wurde nicht weiterverfolgt, so dass der Turm heute noch wie abgeschnitten aussieht.
Ausstattung
Im Inneren befinden sich Altar und Kanzel im neugotischen Stil, Beichtstühle im Stil des Barock, des Rokoko und des Neoklassizismus, mehrere Statuen aus dem 18. Jahrhundert und zahlreiche Gemälde aus dem Barock, darunter ein Sterbender Christus von Anthonis van Dyck sowie Werke von Gaspar de Crayer, Philippe de Champaigne und Johann Bockhorst.
Orgel
Die Orgel geht zurück auf ein Instrument, das 1817 von dem Orgelbauer De Volder erbaut wurde. 1951 wurde das Instrument durch den Orgelbauer Anneessens umgebaut und erweitert. Die Orgel hat 47 Register auf drei Manualen und Pedal.
(Wikipedia)
Excerpt from en.wikipedia.org/wiki/Saint_Michael%27s_Church,_Ghent:
Saint Michael's Church (Dutch: Sint-Michielskerk) is a Roman Catholic church in Ghent, Belgium built in a late Gothic style. It is known for its rich interior decoration.
Documents from 1105 testify to the existence on the site of a chapel dedicated to St. Michael which was subordinate to another parish. The building was twice destroyed by fire early in the twelfth century and rebuilt. From 1147 it was recognized as an independent parochial church.
Construction of the current late Gothic church was probably commenced in 1440, and took place in two phases, separated by a long interval. During the first phase, in the fifteenth and sixteenth centuries, the western part of the building was built, including the tower, the three-aisled nave and transept. This was completed in 1528. The construction of the western tower continued and by 1566 two levels of the tower were completed. Then, due to religious conflicts, not only did construction stop, but looting and destruction took place. Part of the church was destroyed in 1578 by Calvinists and in 1579 the old choir was demolished.
Reconstruction of the church only started in 1623. The early Gothic choir was replaced by a choir in Brabantine Gothic. Local architect Lieven Cruyl made a design for the unfinished western tower in 1662. The design provided for a spire of 134-metre-high in Brabantine Gothic style but was never realised. As a result of these delays and cost concerns, the tower was in the end never completed. Only in 1828 was a flat roof built over the unfinished tower.
The sacristy in the north-east was constructed in Baroque style in 1650–1651.
The exterior of the sober late Gothic church is entirely constructed with sandstone from Brussels and Ledian sandstone. The church has a rich Neo-Gothic interior, including an altar and a pulpit in that style. There are various 18th century statues, including a Saint Livinus by Laurent Delvaux, a wooden St. Sebastian by J. Franciscus Allaert, eight marble statues of saints and a copy of Michelangelo's Madonna of Bruges by Rombaut Pauwels.
The church contains many Baroque paintings, including Christ Dying on the Cross by Anthony van Dyck, the Resurrection of Lazarus by Otto Venius and paintings by Gaspar de Crayer, Philippe de Champaigne, Karel van Mander, Jan Boeckhorst, Antoon van den Heuvel, Theodoor van Thulden and others.
There are confessionals from various style periods including a Baroque confessional from the early 17th century by François Cruyt with statues sculpted by Michiel van der Voort the Elder.
Sponsored By:
{The Boobies Planet} Event 18+
LMs to Stores & Events found on Blog Page
Don't see your item here? Hit the link below and see a close-up of everything
Blog Post: He Smiles and He Watches Me
Deviant Art: He Smiles and He Watches Me
Always me, I'm never alone...
The Body Parts:
Head: LeLutka - Evo X - Kaya 3.1 - BoM
Body: MeshBody - Legacy - Classic - BoM
Hair: No_Match - No Games - Pack of Reds
Eyes: Mana. - Utopia Unnatural Eyes
The Beautician:
Skin: .:Soul:. - [G3] Omega F [H5] Toned - BoM
Face: .:Soul:. - [G3] Lianna [H5] No Brows - BoM
At the Boutique:
Dress & Panties: .::Supernatural::. - Miesha Outfit - Blue
Time to Accessorise:
Face Jewels: PK Creations - Romana Face Jewels
Leg Jewels: MICHAN - Sheila Chains - Champaigne
Setting the Scene:
Backdrop: The Bearded Guy - Madness Backdrop
Pose: Sassy Sweet Poses - Save Me
went to the famous tower tonight.
windy!
day went well. I was limping but made it to st germain des pres, cite, and the outskirts of montmartre.
my contact in the NL wants me to come play in July so the day was useful and productive.
sorry I have not been able to visit your streams...I want to but no time...yet....
Cette ancienne chambre à coucher du roi, de Henri III à Louis XVI, a été transformée en salon de l'empereur par Napoléon Ier en 1804, puis en salle du trône en 180880. Le décor mural de la salle fut harmonisé au XVIIIe siècle à partir d'éléments anciens : lors des agrandissements réalisés entre 1752 et 1754, certains éléments furent remaniés par Jacques-Ange Gabriel (deux portes à côté de la cheminée) et d'autres créés de toutes pièces dans le style rocaille (panneaux de boiseries chantournés, en face du trône). La partie centrale du plafond (aux armes de France et de Navarre), une partie du lambris bas, les portes à fronton et les bas-reliefs à motifs guerriers datent pour leur part du milieu du XVIIe siècle. Les boiseries murales sont ornées de l'emblème de Louis XIII : la massue d'Hercule accompagnée de l'inscription Erit haec quoque cognita monstris (Les monstres eux-mêmes la connaîtront). La cheminée date également de 1752. Au-dessus de la cheminée figure un portrait en pied de Louis XIII, issu de l'atelier de Philippe de Champaigne.
Le trône a été réalisé en 1804 par Jacob-Desmalter d'après les dessins de Percier et Fontaine. Il est placé sur une estrade, sous un dais rouge et bleu brodé de 350 abeilles en fil d'or par Picot en 1808, et encadré par deux enseignes.
This former bedroom of the king from Henry III to Louis XVI was transformed into the Emperor's salon by Napoleon I in 1804, and then into the throne room in 180880. The wall decoration of the room was harmonised in the 18th century using old elements: during the extensions carried out between 1752 and 1754, some elements were redesigned by Jacques-Ange Gabriel (two doors next to the fireplace) and others were created from scratch in the rocaille style (scalloped wood panels opposite the throne). The central part of the ceiling (with the arms of France and Navarre), part of the low panelling, the pedimented doors and the bas-reliefs with warrior motifs date from the mid 17th century. The wall panelling is decorated with the emblem of Louis XIII: the club of Hercules accompanied by the inscription Erit haec quoque cognita monstris (The monsters themselves will know it). The fireplace also dates from 1752. Above the mantel is a full-length portrait of Louis XIII from the workshop of Philippe de Champaigne.
The throne was made in 1804 by Jacob-Desmalter after drawings by Percier and Fontaine. It is placed on a platform, under a red and blue canopy embroidered with 350 bees in gold thread by Picot in 1808, and framed by two signs.
Strasbourg (Bas-Rhin) - Palais Rohan - Musée des Beaux-Arts - "Portrait du cardinal de Richelieu" (Philippe de Champaigne,1602-1674)
Huile sur toile, 1642
fr.wikipedia.org/wiki/Mus%C3%A9e_des_Beaux-Arts_de_Strasb...
fr.wikipedia.org/wiki/Philippe_de_Champaigne
Autres oeuvres de Philippe de Champaigne :
Go to www.ThePixelBeast.com for full blogs and links to extended content.
MODA - Jewel Platforms
36 Colors via Hud •Materials Enabled.
Sizes: Slink, Maitreya & Belliza
Available on Market Place and inworld
Mp:
marketplace.secondlife.com/p/MODA-JEWEL-PLATFORMS-HUD/158...
Inworld :
maps.secondlife.com/secondlife/MODA/122/138/26
Also Shown:
Mon Cheri- Miranda Dress (Vanilla) @ Uber
Insomnia - Rhinstone-Fur-Stole @ Cosmopolitan
DOUX- Air HAir
ChicChica- Lavish Chammy Dispenser @ Cosmopolitan
Foxcity- Cloud 9 Photo Boot & Bento Ground Sits VOL2
* Shown on Slink Hourglass Body and Catwa Catya Head
Apocalyptic Metamorphosis II - The Corruption Of Faith by Daniel Arrhakis (2015)
The Second work of my series Apocalyptic Metamorphosis; a Series of Seven Works, seven personal visions about our World today ..
Some of my works can be seen in :
fineartamerica.com/profiles/daniel-arhakis/shop/all/all/all
With the Music : Hundred Days Music - Ring Out
A Series Of Seven Works, seven personal visions about our World today ..
Work based in the Triple Portrait of Cardinal de Richelieu by
Philippe de Champaigne (1602–1674). Base photo (Wikipedia) in Public domain :
upload.wikimedia.org/wikipedia/commons/9/9a/Triple_Portra...
Textured layered techniques, art collage, several digital paintings processing and Deep Dream techniques.
Philippe de Champaigne, St. Jerome.
Philippe de Champaigne (26 May 1602 - 12 August 1674) was a Baroque era painter of the French school.
Born in Brussels of a poor family, Champaigne was a pupil of the landscape painter Jacques Fouquières. In 1621 he moved to Paris, where he worked with Nicolas Poussin on the decoration of the Palais du Luxembourg under the direction of Nicolas Duchesne, whose daughter he married. After the death of his protector Duchesne, Champaigne worked for the Queen Mother, Marie de Medicis, and for Richelieu, for whom he decorated the cardinal's palace, the Dome of the Sorbonne church and other buildings. He was a founding member of the Acadèmie Royale de Peinture in 1648.
Later in his life (1640), he came under the influence of Jansenism. After his paralysed daughter was allegedly miraculously cured at the nunnery of Port-Royal, he painted the celebrated but untypical picture Ex-Voto de 1662, now in the Louvre, which represents the artist's daughter with Mother-Superior Cathèrine-Agnès Arnauld. Champaigne produced a very large number of paintings, mainly religious works and portraits. Influenced by Rubens at the beginning of his career, his style later became more austere. He died in Paris. (From Wikipedia)
Portrait by Philippe DeChampaigne seen between two pieces designed by Alexander McQueen at the New York Historical Society 3 day popup exhibit
48/366
Foyer of Philharmonie, a Glass of New Year's Eve Champaigne , during the intermission in Musical "Revenge of the Bat" (Die Fledermau) by Johann Strauss, Kielce, Poland
To all Flick friends and visitors
A todos los amigos de Flick y a los que me visitan
A tots els amics de Flick i els que em visiteu
Thunder thighs, an unflattering intended flatterring portrait. His feet seem a tad small too.
King Louis XIII of France, likely painted by Philippe de Champaigne or his workshop during the 17th century
Tours (Indre(-et-Loire)
Musée des Beaux Arts.
Portrait de Victor le Bouthillier (1650), Philippe de Champaigne.
Huile sur toile.
Ce tableau a été peint pendant la régence d'Anne d'Autriche. Champaigne ayant perdu ses deux grands commanditaires, Louis XIII et Richelieu, travaille alors pour une clientèle privée.
Philippe de Champaigne, fut apprécié et protégé de la famille le Bouthillier, une des plus grandes familles parisiennes du règne de Louis XIII.
Premier aumônier de Gaston d'Orléans en 1636, Victor Le Bouthillier devient archevêque de Tours en 1641. Fonction qu'il conservera jusqu'à sa mort en 1670.
Victor le Bouthillier consacre une partie de ses activités à l'embellissement de son palais, devenu musée des Beaux-Arts.
We got married during the winter break of our senior year in college. That was January 17, 1981. We celebrated yesterday.
Paris / Odéon - Palais du Luxembourg
The Luxembourg Palace (French: Palais du Luxembourg, pronounced [palɛ dy lyksɑ̃buʁ]) is at 15 Rue de Vaugirard in the 6th arrondissement of Paris, France. It was originally built (1615–1645) to the designs of the French architect Salomon de Brosse to be the royal residence of the regent Marie de' Medici, mother of King Louis XIII. After the Revolution it was refashioned (1799–1805) by Jean-François Chalgrin into a legislative building and subsequently greatly enlarged and remodeled (1835–1856) by Alphonse de Gisors. The palace has been the seat of the upper houses of the various French national legislatures (excepting only the unicameral National Assembly of the Second Republic) since the establishment of the Sénat conservateur during the Consulate; as such, it has been home to the Senate of the Fifth Republic since its establishment in 1958.
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 (62-acre) green parterre of gravel and lawn populated with statues and large basins of water where children sail model boats.
History
Palace as royal residence
After the death of Henry IV in 1610, his widow, Marie de' Medici, became regent to her son, Louis XIII. Having acceded to a much more powerful position, she decided to erect a new palace for herself, adjacent to an old hôtel particulier owned by François de Luxembourg, Duc de Piney, which is now called the Petit Luxembourg and is the residence of the president of the French Senate.
Marie de' Medici desired to make a building similar to her native Florence's Palazzo Pitti; to this effect she had the architect Métezeau (either Louis Métezeau or his brother, Clément Métezeau) sent to Florence to make detailed drawings of the building.
She bought the Hôtel de Luxembourg and its fairly extensive domain in 1612 and commissioned the new building, which she referred to as her Palais Médicis, in 1615. Its construction and furnishing formed her major artistic project, though nothing remains today of the interiors as they were created for her, save some architectural fragments reassembled in the Salle du Livre d'Or. 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 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 (floor plan). The 24 Marie de' Medici cycle canvases, a series commissioned from Peter Paul Rubens, were installed in the Galerie de Rubens on the main floor of the western wing. These paintings were executed between 1622 and 1625 and depicts Marie's struggles and triumphs in life. They are now visible in the Galerie Medicis of the Louvre, one of the treasures of the museum's Flemish paintings department. A series of paintings executed for her Cabinet doré ("gilded study") was identified by Anthony Blunt in 1967.
The gallery in the east wing had been intended for the display of paintings celebrating Henry IV and buildings housing stables and services were planned to either side of the pavilions flanking the entrance on the street, but these projects remained unfinished in 1631, when the Queen Mother was forced from court, following the "Day of the Dupes" in November. Louis XIII commissioned further decorations for the Palace from Nicolas Poussin and Philippe de Champaigne.
In 1642, Marie de' Medici bequeathed the Luxembourg to her second and favourite son, Gaston, Duke of Orléans, who called it the Orléans Palace (Palais d'Orléans) but by popular will it was still known by its original name. Upon Gaston's death, the palace passed to his widow, Marguerite of Lorraine, then to his elder daughter by his first marriage, Anne, Duchess of Montpensier La Grande Mademoiselle. In 1660, Anne de Montpensier sold the Luxembourg to her younger half-sister, Élisabeth Marguerite of Orléans, duchess of Guise who, in turn, gave it to her cousin, King Louis XIV, in 1694.
In 1715, the Luxembourg Palace became the residence of Marie Louise Élisabeth d'Orléans, Duchess of Berry. The widowed Duchess was notoriously promiscuous, having the reputation of a French Messalina, relentlessly driven by her unquenchable thirst for all pleasures of the flesh.[tone] The palace and its gardens thus became stages where the princess acted out her ambitions, enthroned like a queen surrounded by her court. In some of her more exclusive parties, Madame de Berry also played the leading part in elaborate "tableaux-vivants" that represented mythological scenes and in which she displayed her person impersonating Venus or Diana. According to various satirical songs which scurrilously evoked her amours "the Lady of the Luxembourg" hid several pregnancies, shutting herself up from society when about to give birth. Her taste for strong liquors and her sheer gluttony also scandalized the court. On 21 May 1717, Madame de Berry received Peter the Great at the Luxembourg. She welcomed the visiting Tsar splendidly dressed in a magnificent sack-back gown which showcased her voluptuous bosom as well as her mischievous face but also helped conceal her swelling for she was then in an "interesting condition".
On 28 February 1718, the Duchess of Berry threw a magnificent party for her visiting aunt, Élisabeth Charlotte d'Orléans, duchess of Lorraine. The entire palace and its gardens were elaborately illuminated. The lavish banquet was followed by a masked ball. Madame de Berry made a dazzling appearance before her guests. She was then in the full splendour of her youthful beauty and pride and acted as if she were the very incarnation of the goddess of love, mirth, beauty and sensual pleasures. On 2 April 1719, after a gruelling four-day labour, shut up in a small room of her palace, the young widow was delivered of a still-born baby girl, supposedly fathered by her lieutenant of the guards, the Count of Riom. Berry's delivery was extremely troublesome and almost killed her. The Church refused her the Sacraments thus adding moral infamy to the physical tortures of the labouring woman. Saint-Simon wrote a very sarcastic description of this childbirth. Hoping to regain her health and undeceive the public that she had been confined, Madame de Berry left Paris and the Luxembourg Palace. She died in her Château de la Muette on 21 July 1719 and, according to Saint-Simon, was found to be again pregnant.
In 1750, the palace became a museum, the forerunner of the Louvre, and was open two days a week until 1779. In 1778, the Luxembourg Palace was given to the Count of Provence by his brother Louis XVI. During the French Revolution, it was briefly a prison, then the seat of the French Directory, and in 1799, the home of the Sénat conservateur and the first residence of Napoleon Bonaparte, as First Consul of the French Republic.
Palace as legislature seat
From 1799 to 1805, the architect Jean-François Chalgrin transformed the palace into a legislative building. He demolished the grand central staircase (escalier d'honneur), replacing it with a senate chamber on the first floor, which incorporated and destroyed Marie de' Medici's chapel on the garden side of the corps de logis. Chalgrin also enclosed the flanking terraces, making space for a library. At the same time he created a neo-classical escalier d'honneur in the west wing, a single monumental flight enclosed by an Ionic colonnade and covered with a coffered barrel vault, the construction of which resulted in the destruction of the long gallery that had formerly housed the cycle of paintings by Rubens.
Beginning in 1835, the architect Alphonse de Gisors added a new garden wing parallel to the old corps de logis, replicating the look of the original 17th-century façade so precisely that it is difficult to distinguish at first glance the old from the new. The new senate chamber was located in what would have been the courtyard area in between.
The new wing included a library (bibliothèque) with a cycle of paintings (1845–1847) by Eugène Delacroix. In the 1850s, at the request of Emperor Napoleon III, Gisors created the highly-decorated Salle des Conférences (inspired by the Galerie d'Apollon of the Louvre), which influenced the nature of subsequent official interiors of the Second Empire, including those of the Palais Garnier.
During the German occupation of France (1940–44), Hermann Göring took over the palace as the headquarters of the Luftwaffe in France and took for himself a sumptuous suite of rooms to accommodate his visits to the French capital. His subordinate, Luftwaffe Field Marshal Hugo Sperrle, was also given an apartment in the Luxembourg Palace. He spent most of the war by enjoying the luxurious surroundings. "The Field Marshal's craving for luxury and public display ran a close second to that of his superior, Goering; he was also his match in corpulence", wrote Armaments Minister Albert Speer after a visit to Sperrle in Paris.
The palace was a designated "strong point" for German forces defending the city in August 1944, but thanks to the decision of Commanding General Dietrich von Choltitz to surrender the city rather than fight, the palace was only minimally damaged although furniture was stolen. On 7 November 1944, after the Liberation of France, the Provisional Consultative Assembly held its first meeting at the Luxembourg Palace.
(Wikipedia)
Das Palais du Luxembourg ist ein Schloss im 6. Arrondissement von Paris, umgeben von einer ursprünglich barocken Parklandschaft aus dem frühen 17. Jahrhundert, genannt Jardin du Luxembourg. Es diente zunächst Mitgliedern der königlichen Familie als Wohnsitz, wurde während der Revolution in Staatsbesitz überführt und ist seit 1800 Sitz des Senats, der zweiten parlamentarischen Kammer Frankreichs.
Das Palais wurde 1615 bis 1620 im Auftrag der französischen Königin Maria de’ Medici, Tochter des Großherzogs der Toskana und Mutter Ludwigs XIII., erbaut. Im Laufe der Jahrhunderte waren zahlreiche Architekten mit dem Schloss befasst, unter anderem Salomon de Brosse, Germain Boffrand und Jean-François Chalgrin. Das erste Vorbild des Gebäudes war von Beginn an der Palazzo Pitti in Florenz.
Geschichtlicher Überblick
Nach der Ermordung ihres Gatten, König Heinrichs IV. im Mai 1610, wollte sich Maria, die sich im Louvre, der Residenz der französischen Könige, nicht wohlfühlte, einen Witwensitz im florentinischen Stil nach dem Vorbild des Schlosses der Medici erbauen lassen, des Palazzo Pitti in Florenz. Zu diesem Zweck hatte sie bereits am 6. Oktober 1611 Maria Magdalena von Österreich, Gattin Cosimos II. de’ Medici, des Cousins Maria de’ Medicis, darum gebeten, ihr Ansichten des Palazzo Pitti zu schicken. Hiernach beauftragte sie den Architekten Clément Métezeau, nach Florenz zu reisen und dort Pläne und Zeichnungen des Palastes anzufertigen.
Auf dem Gelände, das Maria ausgesucht hatte, stand zu jener Zeit noch ein 1546 erbautes Landhaus, das nach seinem Besitzer, dem Herzog François de Luxembourg, duc de Piney († 1613), Petit Luxembourg hieß. 1612 erwarb sie den Besitz und ließ dort drei Jahre später ihren Hofarchitekten Salomon de Brosse mit den Bauarbeiten beginnen. Das fertige Schloss, Grand Luxembourg genannt, stimmte aber nur in wenigen Details mit dem Florentiner Vorbild überein. Allerdings konnte sich Maria der Schlossanlage nicht lange erfreuen. 1617 wurde sie von ihrem 16-jährigen Sohn Ludwig XIII. nach Blois verbannt. Sie kehrte 1619 zurück, musste Paris jedoch 1630 endgültig verlassen (siehe Journée des dupes).
Das Schloss wurde nun eine Weile von der kleinen Anne Marie Louise d’Orléans, Tochter Gastons d’Orléans, dem häufig aufsässigen und verbannten jüngeren Bruder Ludwigs XIII. bewohnt. Nach Gastons Tod 1660 diente es seiner zweiten Frau, Margarete von Lothringen († 1672), als Witwensitz. Danach ließ dort König Ludwig XIV. seine außerehelichen Kinder erziehen, die er von seiner Mätresse Madame de Montespan hatte. Von 1715 bis zu ihrem Tod 1719 bewohnte es die skandalöse Herzogin von Berry, Tochter des Regenten Philipp II. von Orléans und seiner Gemahlin Françoise Marie de Bourbon, einer der Töchter Ludwigs XIV. mit der Montespan.
Am 14. Oktober 1750 wurden in den Räumen des Palais erstmals Teile der königlichen Gemäldesammlung aus Versailles der Öffentlichkeit zugänglich gemacht. Zu festen Öffnungszeiten hatte jedermann Zutritt. 1779 wurde die Ausstellung geschlossen, weil Ludwig XVI. das Schloss seinem Bruder zugesprochen hatte.
Während der Französischen Revolution wurde das Luxembourg als „nationales Eigentum“ beschlagnahmt. Es diente zeitweilig als Waffenmanufaktur, dann als Gefängnis, in dem unter anderem Camille Desmoulins, Georges Danton und Jacques-Louis David gefangen gehalten wurden.
Zur Zeit Napoleons wurde das Gebäude um 1800 durch Jean-Francois-Thérèse Chalgrin zum Sitz des Senats umgebaut. Er ersetzte die einstigen Gemächer der Königin durch den Saal der Diener des Senats und die ehemalige Rubensgalerie durch die heutige Empfangstreppe. 1814 wurde das Luxembourg Sitz der zweiten parlamentarischen Kammer, der Chambre des Pairs, und zu diesem Zweck ab 1834 (nach anderen Quellen ab 1836) erheblich vergrößert.
Seit 1852 ist das Palais du Luxembourg Sitz des Senats (französisch: Sénat de la République Francaise), dessen Präsident traditionell im Petit Luxembourg wohnt. Während des Zweiten Weltkriegs beherbergte das Gebäude das Hauptquartier der deutschen Luftwaffe; Generalfeldmarschall Hugo Sperrle kommandierte von hier die Luftflotte 3.
Französische Medien schreiben oft Palais du Luxembourg, wenn sie eigentlich die dort tagende Parlamentskammer meinen (Metonymie).
Baugestaltung
Architektur
Obwohl Maria von Medici einen Bau nach Florentiner Vorbild wünschte, schuf Salomon de Brosse keinen Palazzo des italienischen Manierismus. Vielmehr nahm er mit der symmetrischen Fassade, dem spiegelgleichen Grundriss und den pavillonartigen Seitenflügeln den Typ des französischen barocken Landschlosses vorweg, wie er später vielfach (zum Beispiel in Cheverny, Maisons-Laffitte, Vaux-le-Vicomte und auch im Ursprungsbau von Versailles) realisiert und nachgeahmt wurde. Trotzdem ist der architektonische Einfluss des Palazzo Pitti erkennbar. So ist beispielsweise die Verwendung von Bossenmauerwerk an allen Pilastern und Säulen durch den florentinischen Einfluss geprägt.
Die ehemals dreiflügelige Anlage, deren Eingangsseite in ihrer Mitte durch eine niedrige Galerie mit Kuppelportal unterbrochen wird, gruppiert sich um einen rechteckigen Innenhof und folgt so früheren Entwürfen de Brosses, die bereits bei seinen Schlösser in Coulommiers und Montceaux zur Ausführung kamen. Auch die für jene Zeit ungewöhnliche Verdoppelung der Eckpavillons des Corps de Logis oder die der Hoffassade vorgelagerte Terrasse hatte de Brosse bereits zuvor am Schloss von Blérancourt umgesetzt.
Im 19. Jahrhundert gestaltete Alphonse de Gisors die Gartenfassade des Gebäudes vollkommen neu, ehe 1852 bis 1854 eine neue Raumfolge mit Thronsaal im Stil des Zweiten Kaiserreichs geschaffen wurde.
Innenausstattung
Von der ursprünglichen Ausstattung des Palais du Luxembourg ist besonders der von 1622 bis 1625 nach Entwürfen von Peter Paul Rubens geschaffene, heute im Louvre aufbewahrte Medici-Zyklus zu erwähnen. Diese 24 Bilder zeigen Stationen aus dem Leben Maria de’ Medicis.
1709 bis 1711 wurde das Innere des Palais von Germain Boffrand umgestaltet. Besonders zu erwähnen sind hierbei die von ihm geschaffenen Salons. Die 1845 bis 1847 von Eugène Delacroix ausgeführten Malereien im Lesesaal der Bibliothek befinden sich indes noch vor Ort.
(Wikipedia)
Foyer of Philharmonie, a Glass of New Year's Eve Champaigne , during the intermission in Musical "Revenge of the Bat" (Die Fledermau) by Johann Strauss
11/52 - 52 Weeks of 2018
"Color Wheel"
Oranges were picked fresh from the tree in the backyard. Shot on a white poster board (set up to approximate an infinity curve) then added the color in post, which was more of a pain than I expected. I realized after the fact that my lighting setup could have been tweaked better.
And in full disclosure, the juice actually wasn't freshly squeezed - just a little bit left over from the juice I buy at the store for my breakfast smoothies.