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La Collegiate Saint-Liphard is a historic landmark located in Meung-sur-Loire, a charming town in the Loiret department of France. Its rich history spans centuries and is deeply intertwined with the cultural and religious heritage of the region. In this narrative, we will delve into the captivating history of La Collegiate Saint-Liphard, exploring its origins, architectural significance, and the historical events that have shaped its identity.
The origins of La Collegiate Saint-Liphard can be traced back to the 6th century when a monastery was established on the site. The monastery was dedicated to Saint Liphard, a 6th-century hermit who had gained local veneration. Over time, the influence and prominence of the monastery grew, leading to the construction of a larger and more elaborate place of worship.
During the 11th century, under the patronage of Count Foulques Nerra of Anjou, the monastery underwent significant expansion and was transformed into a collegiate church. This designation elevated its status, allowing it to have a chapter of canons and enabling it to provide education to the local community. The collegiate church became a center of religious and intellectual life in Meung-sur-Loire.
The architecture of La Collegiate Saint-Liphard reflects the various periods of its construction and renovations. The building showcases a harmonious blend of Romanesque and Gothic styles, highlighting the evolution of architectural techniques and artistic trends over the centuries. The impressive façade features intricate carvings and sculptures, depicting biblical scenes and saints. The interior boasts a nave with pointed arches, elegant stained glass windows, and ornate chapels.
In the 12th century, a significant event took place at La Collegiate Saint-Liphard that left an indelible mark on its history. In 1168, Thomas Becket, the Archbishop of Canterbury, sought refuge within its walls after fleeing England due to a conflict with King Henry II. He stayed at the collegiate church for a brief period before continuing his journey to Sens. This historic connection to Thomas Becket added to the prestige and allure of La Collegiate Saint-Liphard.
Throughout the medieval period, the collegiate church remained a prominent religious institution and continued to flourish under the patronage of various local nobles. It played an essential role in the spiritual and cultural life of Meung-sur-Loire, hosting religious ceremonies, educating students, and supporting charitable activities.
However, like many historical sites, La Collegiate Saint-Liphard faced its share of challenges. The Hundred Years' War, which raged between the 14th and 15th centuries, brought destruction and turmoil to the region. The church suffered damages during this period, but it was subsequently restored and rebuilt.
In the following centuries, La Collegiate Saint-Liphard underwent several renovations and modifications. The Renaissance era witnessed the addition of decorative elements, such as the retable in the choir and the transformation of some windows. The 17th and 18th centuries brought further alterations, including the construction of a bell tower and the installation of Baroque-style furnishings.
The French Revolution, which began in 1789, had a profound impact on religious institutions throughout France, and La Collegiate Saint-Liphard was not exempt from its consequences. The collegiate chapter was dissolved, and the church suffered significant damage during this period. Some of its valuable artifacts were lost or destroyed, and the building itself fell into a state of disrepair.
However, in the 19th century, efforts were made to restore and revive La Collegiate Saint-Liphard. Under the guidance of renowned architect Eugene Viollet-le-Duc, the church underwent a thorough restoration that aimed to preserve its architectural heritage. This restoration project ensured the survival of the building and allowed future generations to appreciate its historical and artistic significance.
Today, La Collegiate Saint-Liphard stands as a testament to the enduring spirit of Meung-sur-Loire and its rich cultural heritage. It serves as a place of worship, a popular tourist attraction, and a symbol of the town's history. Visitors can explore its impressive architecture, admire the intricacies of its sculptures, and experience a profound sense of connection to the past.
In conclusion, La Collegiate Saint-Liphard in Meung-sur-Loire, Loiret, France, is a remarkable historical landmark with a captivating history. From its humble beginnings as a monastery to its transformation into a collegiate church, it has witnessed the ebb and flow of time and the cultural shifts of the region. Despite challenges and periods of decline, the church has been lovingly restored and stands today as a testament to the enduring legacy of faith, art, and history.
Meung-sur-Loire is a commune in the Loiret department, north-central France.
It was the site of the Battle of Meung-sur-Loire in 1429.
Geography
Meung-sur-Loire lies 15 km to the west of Orléans on the north bank of the river Loire at the confluence with the river Mauves. The Mauves, actually three rivers, have their source in the water table of the productive agricultural region of the Beauce.
History
A Gallo-Roman fortified village recorded as Magdunum was built in the marais adjoining the river, which in 409 was fired by the invading Alans. The marais was drained, according to tradition by Saint Liphard around the year 520. The canalisation formed the watercourses known as the mauves. He went on to build the chapel which was to become the monastery and the abbey. His relics were deposited in the church in 1104, the year after Louis VI had founded as fortress.
During the 12th century the church was rebuilt in the gothic style, and fortified accommodation for the abbot built alongside. Jeanne d'Arc visited in 1429, and this was the site of the Battle of Meung-sur-Loire. The complex was restored in 1570, again during the 19th century and again in 1985.
The river defined the town, in 1857, 38 mills had the right to use the waters of the rivers to power themselves.
Fiction
In fiction, it has been described by Alexandre Dumas in The Three Musketeers as the village where d'Artagnan, en route to join the King's Musketeers in Paris, first encounters the villainous Comte de Rochefort. Also in fiction, Meung-sur-Loire is the country home of Chief Inspector Jules Maigret, Georges Simenon's classic crime fiction character. Maigret and his wife Louise eventually retire to their Meung-sur-Loire home, where he spends his time fishing (pike), and she tends, according to her sister, any number of animals.
Points of interest
The town is twinned with Lymm in Cheshire, England
Arboretum des Prés des Culands
Château de Meung-sur-Loire
Notable residents
Jean de Meun (c. 1240 – c. 1305), author of the Roman de la Rose
Maurice Larrouy (1882–1939), winner of the 1917 Prix Femina, died in Meung
Gaston Couté (1880-1911), french libertarian poet and song-writer lived here in his childhood and is buried in Meung. A museum in the local of the library is dedicated to his life and works.
Alain Corneau (1943-2010), film director and writer was born in Meung-sur-Loire.
The Diocese of Orléans (Latin: Dioecesis Aurelianensis; French: Diocèse d'Orléans) is a Latin Church diocese of the Catholic Church in France. The diocese currently corresponds to the Départment of Loiret. The current bishop is Jacques André Blaquart, who was appointed in 2010.
The diocese has experienced a number of transfers among different metropolitans. In 1622, the diocese was suffragan of the Archdiocese of Paris; previously the diocese had been a suffragan of the Archdiocese of Sens. From 1966 until 2001 it was under the jurisdiction of the Archdiocese of Bourges, but since the provisional reorganisation of French ecclesiastical provinces, it is now subject to the Archdiocese of Tours.
After the Revolution it was re-established by the Concordat of 1802. It then included the Departments of Loiret and Loir et Cher, but in 1822 Loir et Cher was moved to the new Diocese of Blois.
Jurisdiction
The present Diocese of Orléans differs considerably from that of the old regime; it has lost the arrondissement of Romorantin which has passed to the Diocese of Blois and the canton of Janville, now in the Diocese of Chartres. It includes the arrondissement of Montargis, formerly subject to the Archdiocese of Sens, the arrondissement of Gien, once in the Burgundian Diocese of Auxerre, and the canton of Châtillon sur Loire, once belonging to the Archdiocese of Bourges.
History
To Gerbert, Abbot of St. Pierre le Vif at Sens (1046–79), is due a detailed narrative according to which Saint Savinianus and Saint Potentianus were sent to Sens by St. Peter with St. Altinus; the latter, it was said, came to Orléans as its first bishop. Before the ninth century there is no historical trace in the Diocese of Sens of this Apostolic mission of St. Altinus, nor in the Diocese of Orléans before the end of the fifteenth. Diclopitus is the first authentic bishop; he figures among the bishops of Gaul who (about 344) ratified the absolution of St. Athanasius. Other bishops of the early period are: St. Euvertius (who features in the Calendar of the Book of Common Prayer), about 355 to 385, according to M. Cuissard; Anianus (385-453), who invoked the aid of the "patrician" Ætius against the invasion of Attila, and forced the Huns to raise the siege of Orléans [see Gregory of Tours, The History of the Franks II.6-7]; St. Prosper (453-63); St. Monitor (about 472); St. Flou (Flosculus), died in 490; St. Eucherius (717-43), native of Orléans and a monk of Jumièges, who protested against the depredations of Waifre, a companion of Charles Martel, and was first exiled by this prince to Cologne, then to Liège, and died at the monastery of St. Trond.
Orléans Cathedral, dedicated to the Holy Cross, built from 1278 to 1329; after being pillaged by Huguenots in the 1560s, the Bourbon kings restored it in the 17th century.
After his victory over the Alamanni, the Frankish king Clovis was bent on the sack of Verdun, but the archpriest there obtained mercy for his fellow-citizens. To St. Euspicius and his nephew St. Mesmin (Maximinus), Clovis also gave the domain of Micy, near Orléans at the confluence of the Loire and the Loiret, for a monastery (508). When Euspicius died, the said St. Maximinus became abbot, and during his rule the religious life flourished there notably. The monks of Micy contributed much to the civilization of the Orléans region; they cleared and drained the lands and taught the semi-barbarous inhabitants the worth and dignity of agricultural work. Early in the eighth century, Theodulfus restored the Abbey of Micy and at his request St. Benedict of Aniane sent fourteen monks and visited the abbey himself. The last abbot of Micy, Chapt de Rastignac, was one of the victims of the 1792 "September Massacres", at Paris, in the prison of L'Abbaye.
From Micy monastery, which counted many saints, monastic life spread within and around the diocese. St. Liphardus and St. Urbicius founded the Abbey of Meung-sur-Loire; St. Lyé (Lætus) died a recluse in the forest of Orléans; St. Viatre (Viator) in Sologne; St. Doulchard in the forest of Ambly near Bourges. St. Leonard introduced the monastic life into the territory of Limoges; St. Almir, St. Ulphacius, and St. Bomer in the vicinity of Montmirail; St. Avitus (died about 527) in the district of Chartres; St. Calais (died before 536) and St. Leonard of Vendœuvre (died about 570) in the valley of the Sarthe; St. Fraimbault and St. Constantine in the Javron forest, and the aforesaid St. Bomer (died about 560) in the Passais near Laval; St. Leonard of Dunois; St. Alva and St. Ernier in Perche; St. Laumer (died about 590) became Abbot of Corbion. St. Lubin (Leobinus), a monk of Micy, became Bishop of Chartres from 544–56. Finally saint Ay (Agilus), Viscount of Orléans (died after 587), was also a protector of Micy.
Saints
Among the notable saints of the diocese are:
St. Baudilus, a Nîmes martyr (third or fourth century)
the deacon St. Lucanus, martyr, patron of Loigny (fifth century)
the anchorite St. Donatus (fifth century)
St. May, abbot of Val Benoît (fifth century)
St. Mesme, virgin and (perhaps) martyr, sister of St. Mesmin (sixth century)
St. Felicule, patroness of Gien (sixth century)
St. Sigismund, King of Burgundy, who, by order of the Merovingian Clodomir, and despite the entreaties of St. Avitus, was thrown (524) into a well with his wife and children
St. Gontran, King of Orléans and Burgundy (561-93), a confessor
St. Loup (Lupus), Archbishop of Sens, born near Orléans, and his mother St. Agia (first half of the seventh century)
St. Gregory, former Bishop of Nicopolis, in Bulgaria, who died a recluse at Pithiviers (1004 or 1007)
St. Rose, Abbess of Ervauville (died 1130)
Blessed Odo of Orléans, Bishop of Cambrai (1105–13)
the leper St. Alpaix, died in 1211 at Cudot where she was visited by queen Adèle of Champagne, widow of Louis VII
St. Guillaume (died 1209), Abbot of Fontainejean and subsequently Archbishop of Bourges
the Dominican Blessed Reginald, dean of the collegiate church of St. Aignan, Orléans (died 1220)
the Englishman St. Richard, who studied theology at Orléans in 1236, Bishop of Chichester in 1244, a friend of St. Edmund of Canterbury
St. Maurus, called to France by St. Innocent, Bishop of Le Mans, and sent thither by St. Benedict, resided at Orléans with four companions in 542. St. Radegonde, on her way from Noyon to Poitiers in 544, and St. Columbanus, exiled from Luxeuil at the close of the sixth century, both visited Orléans. Charlemagne had the church of St. Aignan rebuilt and reconstructed the monastery of St. Pierre le Puellier. In the cathedral of Orléans on 31 December 987, Hugh Capet had his son Robert (born at Orléans) crowned king. Innocent II and St. Bernard visited Fleury and Orléans in 1130.
Pilgrimages
The principal pilgrimages of the diocese are: Our Lady of Bethlehem, at Ferrières; Our Lady of Miracles in Orléans city, dating back to the seventh century (Joan of Arc visited the sanctuary on 8 May 1429); Our Lady of Cléry, dating from the thirteenth century, visited by kings Philip the Fair, Philip VI, and especially by Louis XI, who wore in his hat a leaden image of Notre Dame de Cléry and who wished to have his tomb in this sanctuary where Jean de Dunois, one of the heroes of the Hundred Years' War, was also interred.
Later history
The people of Orléans were so impressed by the preaching of Blessed Robert of Arbrissel in 1113 that he was invited to found the monastery of La Madeleine, which he re-visited in 1117 with St. Bernard of Thiron. The charitable deeds of king St. Louis at Puiseaux, Châteauneuf-sur-Loire, and Orléans, where he was present at the translation of the relics of St. Aignan (26 October 1259), and where he frequently went to care for the poor of the Hôtel Dieu, are well known. Pierre de Beaufort, Archdeacon of Sully and canon of Orléans, was, as Gregory XI (1371-8), the last pope that France gave to the Church; he created Cardinal Jean de la Tour d'Auvergne, Abbot of St. Benoît-sur Loire. Blessed Jeanne de Valois was Duchess of Orléans and after her separation from Louis XII (1498) she established, early in the sixteenth century, the monastery of L'Annonciade at Châteauneuf-sur-Loire. Etienne Dolet (1509–46), a printer, philologian, and pamphleteer, executed at Paris and looked upon by some as a "martyr of the Renaissance", was a native of Orléans. Cardinal Odet de Coligny, who joined the Reformation about 1560, was Abbot of St. Euvertius, of Fontainejean, Ferrières, and St. Benoît. Admiral Coligny (1519–72) (see Saint Bartholomew's Day) was born at Châtillon-sur-Loing in the present diocese. At the beginning of the religious wars, Orléans was disputed between the followers of the Guise family and of the Protestant Condé. In the vicinity of Orléans, Duke Francis of Guise was assassinated on 3 February 1562.
The Calvinist Jacques Bongars, councillor of king Henry IV of France, who collected and edited the chronicles of the Crusades in his "Gesta Dei per Francos", was born at Orléans in 1554. The Jesuit Denis Petav (Petavius), a renowned scholar and theologian, was born at Orléans in 1583. St. Francis of Sales came to Orléans in 1618 and 1619. Venerable Mother Françoise de la Croix (1591–1657), a pupil of St. Vincent de Paul, who founded the congregation of Augustinian Sisters of Charity of Notre Dame, was born at Petay in the diocese. The Miramion family, to which Marie Bonneau is celebrated in the annals of charity under the name of Mme de Miramion (1629–96), belonged by marriage, were from Orléans. St. Jane de Chantal was superior of the Orléans convent of the Visitation in 1627. Mme Guyon, celebrated in the annals of Quietism, was born at Montargis in 1648.
France was saved from English domination through the deliverance of Orléans by Joan of Arc (8 May 1429). On 21 July 1455, her rehabilitation was publicly proclaimed at Orléans in a solemn procession, and before her death in November 1458, Isabel Romée, the mother of Joan of Arc, saw a monument erected in honour of her daughter, at Tournelles, near the Orléans bridge. The monument, destroyed by the Huguenots in 1567, was set up again in 1569 when the Catholics were once more masters of the city. Until 1792, and again from 1802 to 1830, finally from 1842 to the present day, a great religious feast, celebrated 8 May of every year at Orléans in honour of Joan of Arc, attracted multitudes.
The Church of Orléans was the last in France to take up again the Roman liturgy (1874). The Sainte Croix cathedral, perhaps built and consecrated by St. Euvertius in the fourth century, was destroyed by fire in 999 and rebuilt from 1278 to 1329; the Protestants pillaged and destroyed it from 1562 to 1567; the Bourbon kings restored it in the seventeenth century.
Modernity
Prior to the Associations Law of 1901, the Diocese of Orléans counted Franciscans, Benedictines, Missionary Priests of the Society of Mary, Lazarists, Missionaries of the Sacred Heart and several orders of teaching Brothers. Among the congregations of women which originated in this diocese must be mentioned: the Calvary Benedictines, a teaching and nursing order founded in 1617 by Princess Antoinette d'Orléans-Longueville, and the Capuchin Leclerc du Tremblay known as Père Joseph; the Sisters of St. Aignan, a teaching order founded in 1853 by Bishop Dupanloup, with mother-house in Orléans.
Twentieth-century bishops of Orleans included Guy Riobé, whose opposition to nuclear weapons led to an altercation with a member of Georges Pompidou's government, and his successor, Jean-Marie Lustiger, who was appointed in 1979 after a long interregnum and shortly afterwards translated to Paris.
Episcopal Ordinaries
Of the eighth-century bishops, Theodulfus was notable. It is not known when he began to govern, but it is certain that he was already bishop in 798, when Charlemagne sent him into Narbonne and Provence as missus dominicus. Under king Louis le Débonnaire he was accused of aiding the rebellious King of Italy, was deposed and imprisoned four years in a monastery at Angers, but was released when Louis came to Angers in 821, reportedly after hearing Theodulfus sing All Glory, Laud and Honour. The "Capitularies" which Theodulfus addressed to the clergy of Orléans are considered a most important monument of Catholic tradition on the duties of priests and the faithful. His Ritual, his Penitential, his treatise on baptism, confirmation and the Eucharist, his edition of the Bible, a work of fine penmanship preserved in the Puy cathedral, reveal him as one of the foremost men of his time. His fame rests chiefly on his devotion to the spread of learning. The Abbey of Ferrières was then becoming under Alcuin a centre of learning. Theodulfus opened the Abbey of Fleury to the young noblemen sent thither by Charlemagne, invited the clergy to establish free schools in the country districts, and quoted for them, "These that are learned shall shine as the brightness of the firmament: and they that instruct many to justice, as stars to all eternity" (Dan., xii 3). One monument of his time still survives in the diocese, the apse of the church of Germigny-des-Prés modelled after the imperial chapel, and yet retaining its unique mosaic decoration.
Medieval Bishops
Aignan of Orleans, or Agnan (Latin: Anianus) (b. 358 – d. 453), assisted Roman general Flavius Aetius in the defense of the city against Attila the Hun in 451.
Namatius, an ambassador of King Guntram to the Bretons
Eucherius of Orléans
Jonas (821 – 843), who wrote a treatise against the Iconoclasts, also a treatise on the Christian life and a book on the duties of kings
St. Thierry II (1016 – 21)
Jean, consecrated on 1 March 1098
Blessed Philip Berruyer (1234 – 1236)
Blessed Roger le Fort (1321 – 1328)
John Carmichael of Douglasdale (Jean de St Michel)
Regnault de Chartres † (9 Jan 1439 Appointed – 4 Apr 1444 Died)
Pierre Bureau † (20 Nov 1447 Appointed – 10 Dec 1451 Appointed, Bishop of Béziers)
François de Brillac † (3 Nov 1473 Appointed – 22 Dec 1504 Appointed, Archbishop of Aix)
Christophe de Brillac † (19 Jan 1504 Appointed – 4 Feb 1514 Appointed, Archbishop of Tours)
Jean d’Orléans-Longueville † (26 Jun 1521 Appointed – 24 Sep 1533 Died)
Antoine Sanguin de Meudon † (6 Nov 1533 Appointed – 20 Oct 1550 Resigned)
François de Faucon † (20 Oct 1550 Appointed – 12 Oct 1551 Appointed, Bishop of Mâcon)
Pierre du Chastel † (12 Oct 1551 Appointed – 3 Feb 1552 Died)
Jean de Morvillier † (27 Apr 1552 Appointed – 1564 Resigned)
Mathurin de la Saussaye † (6 Sep 1564 Appointed – 9 Feb 1584 Died)
Denis Hurault † (9 Feb 1584 Succeeded – 1586 Resigned)
Germain Vaillant de Guelin † (27 Oct 1586 Appointed – 15 Sep 1587 Died)
Jean de L’Aubespine † (16 Mar 1588 Appointed – 23 Feb 1596 Died)
Early Modern Bishops
Gabriel de L’Aubespine † (15 Mar 1604 Appointed – 15 Aug 1630 Died)
Nicolas de Netz † (27 Jan 1631 Appointed – 20 Jan 1646 Died)
Alphonse d’Elbène † (21 Jan 1647 Appointed – 20 May 1665 Died)
Pierre-Armand du Cambout de Coislin † (29 Mar 1666 Confirmed – 5 Feb 1706 Died)
Louis-Gaston Fleuriau d’Armenonville † (15 Nov 1706 Confirmed – 9 Jun 1733 Died)
Nicolas-Joseph de Paris † (9 Jun 1733 Succeeded – 10 Jan 1754 Resigned)
Louis-Joseph de Montmorency-Laval † (14 Jan 1754 Confirmed – 28 Feb 1758 Resigned)
Louis-Sextius de Jarente de La Bruyère † (13 Mar 1758 Confirmed – 28 May 1788 Died)
Louis-François-Alexandre de Jarente de Senas d’Orgeval † (28 May 1788 Succeeded – 22 Nov 1793 Resigned)
Modern Bishops
Etienne-Alexandre-Jean-Baptiste-Marie Bernier † (9 Apr 1802 Appointed – 1 Oct 1806 Died)
Claude-Louis Rousseau † (22 Mar 1807 Appointed – 7 Oct 1810 Died)
Pierre-Marin Rouph de Varicourt † (8 Aug 1817 Appointed – 9 Dec 1822 Died)
Jean Brumault de Beauregard † (13 Jan 1823 Appointed – Jan 1839 Retired)
François-Nicholas-Madeleine Morlot † (10 Mar 1839 Appointed – 28 Jun 1842 Appointed, Archbishop of Tours)
Jean-Jacques Fayet † (10 Oct 1842 Appointed – 4 Apr 1849 Died)
Félix-Antoine-Philibert Dupanloup † (16 Apr 1849 Appointed – 11 Oct 1878 Died)
Pierre-Hector Coullié (Couillié) † (12 Oct 1878 Succeeded – 14 Jun 1893 Appointed, Archbishop of Lyon)
Stanislas-Arthur-Xavier Touchet † (29 Jan 1894 Appointed – 23 Sep 1926 Died)
Jules-Marie-Victor Courcoux † (20 Dec 1926 Appointed – 28 Mar 1951 Died)
Robert Picard de La Vacquerie † (27 Aug 1951 Appointed – 23 May 1963 Resigned)
Guy-Marie-Joseph Riobé † (23 May 1963 Succeeded – 18 Jul 1978 Died)
Jean-Marie Lustiger † (10 Nov 1979 Appointed – 31 Jan 1981 Appointed, Archbishop of Paris)[3]
René Lucien Picandet † (13 Jun 1981 Appointed – 20 Oct 1997 Died)
Gérard Antoine Daucourt (2 Jul 1998 Appointed – 18 Jun 2002 Appointed, Bishop of Nanterre)
André Louis Fort (28 Nov 2002 Appointed – 27 Jul 2010 Retired)
Jacques André Blaquart (27 Jul 2010 Appointed – )
The Royal Château of Blois is located in the city center of Blois, Loir-et-Cher, in the Loire Valley, France. In addition to have been the residence of the Counts of Blois and some French Kings, Joan of Arc also went there by 1429 to be blessed by the Archbishop of Reims before departing with her army to drive against the English, who conquered Orléans the previous year.
The château effectively controlled the County of Blois up to 1397, then the Duchy of Orléans, and the Kingdom of France between 1498 and 1544. It comprises several buildings, whose construction began in the 13th century and ended in the 17th century. Four different architectural styles are represented within the rectangular edifice, including: some remainings of the 13th-century Medieval fortress, the Louis XII Gothic-style wing, the Francis I Renaissance-style wing, and the Gaston of Orléans Classical-style wing. In total, there are 564 rooms, including 100 bedrooms with a fireplace in each, and 75 staircases (although only 23 were used frequently).
In 854, the Blois castle, known as Blisum castrum, was attacked by Viking cheftain Hastein. In the 10th and 11th centuries, the Counts of Blois, who also owned Chartres and Champagne, joined together to rebuild the fortress. Count Theobald I raised so-called “big tower” and by the end of the 12th century, the Counts' contributions were finished by building the St-Sauveur Collegiate Church.
The “Estates General Room” (Salle des États Généraux in French), built in the beginning of the 13th century, is one of the oldest seignoral rooms preserved in France, and is also the largest remaining civilian Gothic room of the country. This room was used as a court of justice by the Counts of Blois and again in 1576 and 1588 during so-called Estates General.
The medieval castle was given in 1397 to Louis I, Duke of Orléans, brother of Charles VI. After Louis' assassination, his widow, Valentina Visconti, retired to the Blois Castle. It was later inherited by their son, Charles d'Orléans the poet, who was captured at Agincourt and imprisoned in England. After twenty-five years as a hostage in England, Charles d'Orleans returned to his beloved Blois and partly helped rebuild the chateau as a more commodious dwelling. It became the favourite royal residence and the Kingdom's political capital under Charles' son, when Count Louis II became King Louis XII of France in 1498.
At the beginning of the 16th century, King Louis XII initiated a reconstruction of the entrance of the main block and the creation of an Italian garden in terraced parterres where Victor Hugo Square stands today.
This wing, of red brick and grey stone, forms the main entrance to a proper château onwards, and features a statue of the mounted King above the entrance. Although the style is principally Gothic, as the profiles of mouldings, the lobed arches and the pinnacles attest, there are elements of Renaissance architecture present, such as a small chandelier.
When Francis I became King in 1515, his wife Queen Claude had him refurbish Blois with the intention of moving from the Château of Amboise to Blois. Francis initiated the construction of a new wing and created one of the period's most important libraries in the castle. After the death of his wife in 1524, he spent very little time at Blois and the massive library was moved to the royal Château of Fontainebleau. It is this library that formed the royal library and the backbone of the Bibliothèque nationale de France.
Since King Louis XII was very committed in the Italian campaigns, which imported the Renaissance movement into Blois, this wing architecture and ornamentation are marked by Italian influence. In the middle, there is the monumental spiral staircase, covered with fine bas-relief sculptures and looking out onto the château's central court. These monumental staircases served as a draft for those of the château of Chambord, built a few years later. Behind this wing is the “Lodges Façade” (Façade des Loges in French), characterised by a series of disconnected niches.
Driven from Paris during the French Wars of Religion, King Henry III got refugee in Blois, and summoned Estates General meetings there in 1576 and 1588. On the 23rd December 1588, King's arch-enemy since the Day of the Barricades, Henry I, Duke of Guise, was assassinated. The following day, Duke's brother, Louis II, Cardinal of Guise was also murdered within the château.
After this, the castle was occupied by King Henry IV, the first Bourbon monarch. On Henry's death in 1610, it became the place of exile for his widow, Marie de' Medici, when she was expelled from the court of her son, King Louis XIII.
In 1626, King Louis XIII gave the county and the Château of Blois to his brother and heir, Gaston of France, Duke of Orléans as a wedding gift. In 1634, Gaston embarked on building a completely new wing in the château. The task of developing this new castle was given to François Mansart. The rear of the courtyard is where Mansart began this ambitious building project with a main dwelling house. This house should have been the first building in a large-scale reconstruction project. The project was stopped in 1638 when Gaston's nephew was born, the future Louis XIV. With Louis XIV's birth, Gaston was no longer the heir and no longer eligible for financing.
This wing makes up the rear wall of the court, directly opposite the Louis XII wing. The central section is composed of three horizontal layers where the superposition of Doric, Ionic and Corinthian orders can be seen.
By the time of the French Revolution the immense castle had been neglected for more than a hundred and thirty years. The contents, many of its statues, royal emblems and coats of arms of the palace were removed. In a state of near-total disrepair, the Château of Blois was scheduled to be demolished but was given a reprieve as a military barracks.
In 1840, the initiative of Prosper Mérimée placed the château on the list of historical monuments. This allowed state funds to be used in the preservation. It was restored under the direction of the architect Félix Duban.
The château is maintained and owned by the town of Blois and has been opened to the public as a museum and tourist attraction. On view for visitors are the supposed poison cabinets of Catherine de' Medici. Most likely this room, the “Chamber of Secrets”, had a much more banal purpose: exhibiting precious objects for guests.
People born in the Château
The following individuals were born inside the Château:
Charles of Blois (in 1319);
Louis XII (in 1462), King of France between 1498 and 1515;
Marguerite Louise d'Orléans (in 1645), daughter of Gaston of Orléans.
People who died in the Château
The following individuals died within the Château:
Anne of Brittany (in 1514), last Queen of Brittany, married Louis XII in 1499;
Claude of France (in 1524), daughter of King Louis XII and Queen Anne of Brittany, married Francis I;
Henry I of Guise (in 1588), 3rd Duke of Guise, assassinated after his participation to the Day of the Barricades;
Louis II of Guise (in 1588), Duke of Guise's brother;
Catherine de' Medici (in 1589), wife of King Henry II, was exiled in Blois by her son, King Henry III;
Gaston of Orléans (in 1660), son of King Henry IV and last Count of Blois.
Blois is a commune and the capital city of Loir-et-Cher department, in Centre-Val de Loire, France, on the banks of the lower Loire river between Orléans and Tours.
With 45,898 inhabitants by 2019, Blois is the most populated city of the department, and the 4th of the region.
Historically, the city was the capital of the County of Blois, created on 832 until its integration into the Royal domain in 1498, when Count Louis II of Orléans became King Louis XII of France. During the Renaissance, Blois was the official residence of the King of France.
History
Pre-history
Since 2013, excavations have been conducted by French National Institute of Preventive Archaeological Research (INRAP in French) in Vienne where they found evidence of "one or several camps of late Prehistory hunter-gatherers, who were also fishermen since fishing traps were found there.. [...] They were ancestors of the famous Neolithic farmer-herders, who were present in current France around 6,000 BCE [i.e.: 8,000 years ago]."
Ancient times
A major urban development begun in 1959 uncovered the remains of a late Gallic settlement and an urban centre from the Gallo-Roman period. At that time, the town was located on the road linking Chartres to Bourges. In the network of cities of the Carnutes people, Blois was a secondary settlement. Excavations carried out on the right bank between 2001 and 2016 and on the left bank in 2013-2014 revealed the presence of a largely developed town on the right bank and an occupation on the left bank during the Gallic and Gallo-Roman periods. The Loire river has undoubtedly always been a major axis route, although no traces of a port have been uncovered. However, there are remains of former bridges linking the two banks.
Middle Ages
Though of ancient origin, Blois is first distinctly mentioned by Gregory of Tours in the 6th century, and the city gained some notability in the 9th century, when it became the seat of a powerful countship known as Blesum castrum by the counts of Blois.
The Robertians were at the head of the county of Blois before 900. When Hugh the Great became duke of the Franks, he left the title of count to his faithful vassal, Theobald I of Blois (circa 940). His descendants, known as "Thibaldians", remained as Counts up until the county was incorporated into the royal domain in 1397. The House of Blois also succeeded in raising some of its members or descendants to the highest levels of the European nobility, notably by acceding to the thrones of France, England, Navarre, Spain and Portugal.
In 1171, Blois was the site of a blood libel against its Jewish community that led to 31 Jews (by some accounts 40) being burned to death. Their martyrdom also contributed to a prominent and durable school of poetry inspired by Christian persecution. In 1196, Count Louis I of Blois granted privileges to the townsmen; a commune, which survived throughout the Middle Ages, probably dated from this time. The counts of the Châtillon dynastic line resided at Blois more often than their predecessors, and the oldest parts of the Château of Blois (from the 13th century) were built by them.
In the Middle Ages, Blois was the seat of the County of Champagne when the latter passed to the French crown in 1314, forming the province of Champagne within the Kingdom of France. By 1397, Count Guy II of Blois-Châtillon offered the county to his cousin, Duke Louis I of Orléans, son of King Charles VI. In 1429, Joan of Arc made Blois her base of operations for the relief of Orléans. She rode the 35 miles on 29 April from Blois to relieve Orléans. In 1440, after his captivity in England, Duke Charles of Orléans (son of Duke Louis I) took up residence in the Château of Blois, where in 1462 his son was born, Duke Louis II of Orléans who would afterwards be known as Louis XII.
Renaissance era
By 1498, King Charles VIII died with no heirs in the Château of Amboise. As a result, Duke Louis II ran 22 miles between the Château and Blois, and was crowned as King Louis XII of France. He then married Charles VIII's widow, Queen Anne of Brittany, in 1499. The birth of their daughter, Claude of France, started the union of Brittany with France. Louis XII, as the last hereditary Count of Blois, naturally established his royal Court in the city. The Treaty of Blois, which temporarily halted the Italian Wars, was signed there in 1504–1505. During his reign, the city experienced a massive redevelopment, with some architectural elements inspired from the Italian Renaissance, as seen in the medieval castle immediately turned into a château, and the construction of many hôtels particuliers for the nobility throughout the entire kingdom. One of which, Hôtel d'Alluye, was built as a copy of an Italian palace for Florimond Robertet, who was an important French minister under King Charles VIII, King Louis XII and King Francis I.
On 1 January 1515, Louis XII died. His throne would be passed to Francis I, the husband to his daughter, Claude of France. In 1519, King Francis I ordered the construction of the Château of Chambord (10 miles away from Blois), but its construction lasted for one year before he died in 1547. In the meantime, he gradually expressed his will to move to Fontainebleau, near Paris, and started to abandon Blois. Much of the royal furniture was moved from Blois to Fontainebleau by 1539.
The French Wars of Religion was a significantly destructive conflict among the French people. The city's inhabitants included many Calvinists, and in 1562 and 1567 it was the scene of struggles between them and the supporters of the Catholic Church. On 4 July 1562, Blois and Beaugency, conquered by Protestants just before, were looted by Catholics led by Maréchal de St. André. On 7 February 1568, Protestants under Captain Boucard's command, looted and invaded the town, eventually killing many Catholics. Grey friars were also killed and thrown in the well of their own convent. In addition, all the churches were ransacked. In 1576 and 1588, King Henry III convoked the Estates General to Blois where he attained refuge after an uprising called the Day of the Barricades. In response, Duke Henry I of Guise was assassinated on 23 December 1588 for his involvement in the uprising. The following day, his brother, Cardinal Louis II of Guise, who was also Archbishop of Reims, suffered the same fate. Their deaths were shortly followed by that of the Queen-Mother, Catherine de' Medici.
In the 16th century, the French Royal court often made Blois their leisure resort.
Early modern era
After the departure of the Royal Court towards Paris, Blois lost the status of Royal residence, along with the luxury and economic activity that came with it. King Henry IV displaced the Royal library to Fontainebleau, which would later be the National Library of France (Bibliothèque nationale de France).
In 1606, Philippe de Béthune gave his ownership of Vienne-lez-Blois village, on the left bank of the Loire river, to Blois, making it a part of the city afterwards known as Blois-Vienne. From 1617 to 1619 Marie de' Medici, wife of King Henri IV, exiled from the court by his son, King Louis XIII, lived in the château. By 1622, the Counter-Reformation got establishment in Blois, founded a Society of Jesus and financed the construction of the St. Louis Chapel, which is today St. Vincent Church.
Then in 1634, Louis XIII exiled his brother, Gaston, Duke of Orléans and Count of Blois, who became attached to the city. The Duke in 1657, found a hospital in Blois-Vienne, now named Résidence Gaston d'Orléans, and financed the reconstruction of the Hôtel-Dieu. He remained in Blois until his death, in 1660.
Under Louis XIV's reign, Blois became un independent bishopric. David Nicolas de Bertier, first bishop of Blois from 1697, chose as seated cathedral St. Solenne Church, that had been destroyed by a storm and was under reconstruction, before being completed 3 years later in 1700, thanks to the intervention of Colbert's wife, who herself came from Blois. The new edifice became Blois Cathedral and got dedicated to St. Louis.
A wide episcopal palace is built by King Louis XIV's official architect, Jacques Gabriel, right next to the newly built cathedral, on a site overlooking the Loire Valley. Landscaping of terraced gardens began in 1703 and lasted nearly 50 years. The so-called Bishopric Gardens were first open to the public in 1791 by Henri Grégoire (known as the Abbot Grégoire), the first constitutional bishop after the French Revolution.
During the night between 6 and 7 February 1716, the medieval bridge collapsed. Construction of a new one is ordered during the following year. Jacques-Gabriel Bridge was inaugurated in 1724. All the levies were consolidated, and the river channel of La Bouillie in the prolongation of La Creusille Harbor was closed and dried out.
When Duke Gaston of Orléans died, the château ended up stripped by King Louis XIV, completely abandoned, to the point that King Louis XVI once considered to demolish it by 1788. The edifice was saved when the Royal-Comtois Regiment established their base within it.
In 1790, Orléanais province was dismantled, and the First Republic created the Loir-et-Cher department, with Blois as the local capital.
By 1814, Marie Louise, Duchess of Parma and wife of Napoleon I, found refuge in Blois.
Contemporary era
Another wind blew in Blois in the 19th century. First, the railroad came in 1846 with the inauguration of the Paris–Tours railway, whose Blois Station is a stop. The competition against river transportation gradually forced La Creusille Harbor to reinvent its activity. In parallel, the city got more industrialised from 1848 thanks to a successful chocolate brand created by Bloisian, Victor-Auguste Poulain.
Like Paris, Blois urban organisation was redesigned during 1850 and 1870 by Mayor Eugène Riffault, who was friends with Baron Georges-Eugène Haussmann. Thus, he had bound through a boulevard holding his name the modern upper town (where the cathedral, Hôtel of Préfecture, and Halle aux Grains are located), and the medieval lower town. He also paved the way to the construction of the boulevard Daniel Depuis, in the West of Blois. Between 1862 and 1865, the Denis-Papin staircase are built under La Morandière's supervision, in the axis of Jacques-Gabriel Bridge and Blois-Vienne's Wilson Avenue.
In the meantime, the lower town faced three of the most significant flooding of the Loire river: in 1846, 1856 (the worst), and 1866. The downtown districts of St. Jean and Blois-Vienne were under water, as well as La Bouillie spillway.
On 13 December 1871, the Prussian army took control of Blois during the Franco-Prussian War. The city was taken back by Lieutenant Georges de Villebois-Mareuil, General Joseph Pourcet, and General Bertrand de Chabron. Since then, a memorial stands on Wilson Avenue in Vienne.
In 1939, Blois Basilica construction was completed. That same year, between 29 January and 8 February, more than 3,100 Spanish refugees came to the Loir-et-Cher department, fleeing the Spanish Civil War and Dictator Francisco Franco. In June 1940, the German bombings destroyed a large part of the downtown, and the French destroyed the 10th arch of Jacques-Gabriel Bridge to prevent further advance for their enemies. The German army bombed the former Town Hall on 16 June, thus killing Mayor Émile Laurens in the process, and took over the city 2 days later, on 18 June, the exact same day of Charles de Gaulle's Appeal for Internal Resistance.
Between June and August 1944, US-English-allied bombings destroyed other infrastructures, like the railroad bridge between Blois and Romorantin. In total during WWII, 230 people were killed, and 1,522 buildings were entirely or partially destroyed. On 16 August 1944, the German troops ran to Blois-Vienne to get refuge there and destroyed the three central arches of the bridge. On 1 September, they surrendered. The bridge was rebuilt and reopened in December 1948.
In 1959, Mayor Marcel Bühler received President Charles de Gaulle and launched the construction of the ZUP, at the North of the city, on the same scheme of so-called banlieues of Paris or any other French city.
The Royal Château of Blois is located in the city center of Blois, Loir-et-Cher, in the Loire Valley, France. In addition to have been the residence of the Counts of Blois and some French Kings, Joan of Arc also went there by 1429 to be blessed by the Archbishop of Reims before departing with her army to drive against the English, who conquered Orléans the previous year.
The château effectively controlled the County of Blois up to 1397, then the Duchy of Orléans, and the Kingdom of France between 1498 and 1544. It comprises several buildings, whose construction began in the 13th century and ended in the 17th century. Four different architectural styles are represented within the rectangular edifice, including: some remainings of the 13th-century Medieval fortress, the Louis XII Gothic-style wing, the Francis I Renaissance-style wing, and the Gaston of Orléans Classical-style wing. In total, there are 564 rooms, including 100 bedrooms with a fireplace in each, and 75 staircases (although only 23 were used frequently).
In 854, the Blois castle, known as Blisum castrum, was attacked by Viking cheftain Hastein. In the 10th and 11th centuries, the Counts of Blois, who also owned Chartres and Champagne, joined together to rebuild the fortress. Count Theobald I raised so-called “big tower” and by the end of the 12th century, the Counts' contributions were finished by building the St-Sauveur Collegiate Church.
The “Estates General Room” (Salle des États Généraux in French), built in the beginning of the 13th century, is one of the oldest seignoral rooms preserved in France, and is also the largest remaining civilian Gothic room of the country. This room was used as a court of justice by the Counts of Blois and again in 1576 and 1588 during so-called Estates General.
The medieval castle was given in 1397 to Louis I, Duke of Orléans, brother of Charles VI. After Louis' assassination, his widow, Valentina Visconti, retired to the Blois Castle. It was later inherited by their son, Charles d'Orléans the poet, who was captured at Agincourt and imprisoned in England. After twenty-five years as a hostage in England, Charles d'Orleans returned to his beloved Blois and partly helped rebuild the chateau as a more commodious dwelling. It became the favourite royal residence and the Kingdom's political capital under Charles' son, when Count Louis II became King Louis XII of France in 1498.
At the beginning of the 16th century, King Louis XII initiated a reconstruction of the entrance of the main block and the creation of an Italian garden in terraced parterres where Victor Hugo Square stands today.
This wing, of red brick and grey stone, forms the main entrance to a proper château onwards, and features a statue of the mounted King above the entrance. Although the style is principally Gothic, as the profiles of mouldings, the lobed arches and the pinnacles attest, there are elements of Renaissance architecture present, such as a small chandelier.
When Francis I became King in 1515, his wife Queen Claude had him refurbish Blois with the intention of moving from the Château of Amboise to Blois. Francis initiated the construction of a new wing and created one of the period's most important libraries in the castle. After the death of his wife in 1524, he spent very little time at Blois and the massive library was moved to the royal Château of Fontainebleau. It is this library that formed the royal library and the backbone of the Bibliothèque nationale de France.
Since King Louis XII was very committed in the Italian campaigns, which imported the Renaissance movement into Blois, this wing architecture and ornamentation are marked by Italian influence. In the middle, there is the monumental spiral staircase, covered with fine bas-relief sculptures and looking out onto the château's central court. These monumental staircases served as a draft for those of the château of Chambord, built a few years later. Behind this wing is the “Lodges Façade” (Façade des Loges in French), characterised by a series of disconnected niches.
Driven from Paris during the French Wars of Religion, King Henry III got refugee in Blois, and summoned Estates General meetings there in 1576 and 1588. On the 23rd December 1588, King's arch-enemy since the Day of the Barricades, Henry I, Duke of Guise, was assassinated. The following day, Duke's brother, Louis II, Cardinal of Guise was also murdered within the château.
After this, the castle was occupied by King Henry IV, the first Bourbon monarch. On Henry's death in 1610, it became the place of exile for his widow, Marie de' Medici, when she was expelled from the court of her son, King Louis XIII.
In 1626, King Louis XIII gave the county and the Château of Blois to his brother and heir, Gaston of France, Duke of Orléans as a wedding gift. In 1634, Gaston embarked on building a completely new wing in the château. The task of developing this new castle was given to François Mansart. The rear of the courtyard is where Mansart began this ambitious building project with a main dwelling house. This house should have been the first building in a large-scale reconstruction project. The project was stopped in 1638 when Gaston's nephew was born, the future Louis XIV. With Louis XIV's birth, Gaston was no longer the heir and no longer eligible for financing.
This wing makes up the rear wall of the court, directly opposite the Louis XII wing. The central section is composed of three horizontal layers where the superposition of Doric, Ionic and Corinthian orders can be seen.
By the time of the French Revolution the immense castle had been neglected for more than a hundred and thirty years. The contents, many of its statues, royal emblems and coats of arms of the palace were removed. In a state of near-total disrepair, the Château of Blois was scheduled to be demolished but was given a reprieve as a military barracks.
In 1840, the initiative of Prosper Mérimée placed the château on the list of historical monuments. This allowed state funds to be used in the preservation. It was restored under the direction of the architect Félix Duban.
The château is maintained and owned by the town of Blois and has been opened to the public as a museum and tourist attraction. On view for visitors are the supposed poison cabinets of Catherine de' Medici. Most likely this room, the “Chamber of Secrets”, had a much more banal purpose: exhibiting precious objects for guests.
People born in the Château
The following individuals were born inside the Château:
Charles of Blois (in 1319);
Louis XII (in 1462), King of France between 1498 and 1515;
Marguerite Louise d'Orléans (in 1645), daughter of Gaston of Orléans.
People who died in the Château
The following individuals died within the Château:
Anne of Brittany (in 1514), last Queen of Brittany, married Louis XII in 1499;
Claude of France (in 1524), daughter of King Louis XII and Queen Anne of Brittany, married Francis I;
Henry I of Guise (in 1588), 3rd Duke of Guise, assassinated after his participation to the Day of the Barricades;
Louis II of Guise (in 1588), Duke of Guise's brother;
Catherine de' Medici (in 1589), wife of King Henry II, was exiled in Blois by her son, King Henry III;
Gaston of Orléans (in 1660), son of King Henry IV and last Count of Blois.
Blois is a commune and the capital city of Loir-et-Cher department, in Centre-Val de Loire, France, on the banks of the lower Loire river between Orléans and Tours.
With 45,898 inhabitants by 2019, Blois is the most populated city of the department, and the 4th of the region.
Historically, the city was the capital of the County of Blois, created on 832 until its integration into the Royal domain in 1498, when Count Louis II of Orléans became King Louis XII of France. During the Renaissance, Blois was the official residence of the King of France.
History
Pre-history
Since 2013, excavations have been conducted by French National Institute of Preventive Archaeological Research (INRAP in French) in Vienne where they found evidence of "one or several camps of late Prehistory hunter-gatherers, who were also fishermen since fishing traps were found there.. [...] They were ancestors of the famous Neolithic farmer-herders, who were present in current France around 6,000 BCE [i.e.: 8,000 years ago]."
Ancient times
A major urban development begun in 1959 uncovered the remains of a late Gallic settlement and an urban centre from the Gallo-Roman period. At that time, the town was located on the road linking Chartres to Bourges. In the network of cities of the Carnutes people, Blois was a secondary settlement. Excavations carried out on the right bank between 2001 and 2016 and on the left bank in 2013-2014 revealed the presence of a largely developed town on the right bank and an occupation on the left bank during the Gallic and Gallo-Roman periods. The Loire river has undoubtedly always been a major axis route, although no traces of a port have been uncovered. However, there are remains of former bridges linking the two banks.
Middle Ages
Though of ancient origin, Blois is first distinctly mentioned by Gregory of Tours in the 6th century, and the city gained some notability in the 9th century, when it became the seat of a powerful countship known as Blesum castrum by the counts of Blois.
The Robertians were at the head of the county of Blois before 900. When Hugh the Great became duke of the Franks, he left the title of count to his faithful vassal, Theobald I of Blois (circa 940). His descendants, known as "Thibaldians", remained as Counts up until the county was incorporated into the royal domain in 1397. The House of Blois also succeeded in raising some of its members or descendants to the highest levels of the European nobility, notably by acceding to the thrones of France, England, Navarre, Spain and Portugal.
In 1171, Blois was the site of a blood libel against its Jewish community that led to 31 Jews (by some accounts 40) being burned to death. Their martyrdom also contributed to a prominent and durable school of poetry inspired by Christian persecution. In 1196, Count Louis I of Blois granted privileges to the townsmen; a commune, which survived throughout the Middle Ages, probably dated from this time. The counts of the Châtillon dynastic line resided at Blois more often than their predecessors, and the oldest parts of the Château of Blois (from the 13th century) were built by them.
In the Middle Ages, Blois was the seat of the County of Champagne when the latter passed to the French crown in 1314, forming the province of Champagne within the Kingdom of France. By 1397, Count Guy II of Blois-Châtillon offered the county to his cousin, Duke Louis I of Orléans, son of King Charles VI. In 1429, Joan of Arc made Blois her base of operations for the relief of Orléans. She rode the 35 miles on 29 April from Blois to relieve Orléans. In 1440, after his captivity in England, Duke Charles of Orléans (son of Duke Louis I) took up residence in the Château of Blois, where in 1462 his son was born, Duke Louis II of Orléans who would afterwards be known as Louis XII.
Renaissance era
By 1498, King Charles VIII died with no heirs in the Château of Amboise. As a result, Duke Louis II ran 22 miles between the Château and Blois, and was crowned as King Louis XII of France. He then married Charles VIII's widow, Queen Anne of Brittany, in 1499. The birth of their daughter, Claude of France, started the union of Brittany with France. Louis XII, as the last hereditary Count of Blois, naturally established his royal Court in the city. The Treaty of Blois, which temporarily halted the Italian Wars, was signed there in 1504–1505. During his reign, the city experienced a massive redevelopment, with some architectural elements inspired from the Italian Renaissance, as seen in the medieval castle immediately turned into a château, and the construction of many hôtels particuliers for the nobility throughout the entire kingdom. One of which, Hôtel d'Alluye, was built as a copy of an Italian palace for Florimond Robertet, who was an important French minister under King Charles VIII, King Louis XII and King Francis I.
On 1 January 1515, Louis XII died. His throne would be passed to Francis I, the husband to his daughter, Claude of France. In 1519, King Francis I ordered the construction of the Château of Chambord (10 miles away from Blois), but its construction lasted for one year before he died in 1547. In the meantime, he gradually expressed his will to move to Fontainebleau, near Paris, and started to abandon Blois. Much of the royal furniture was moved from Blois to Fontainebleau by 1539.
The French Wars of Religion was a significantly destructive conflict among the French people. The city's inhabitants included many Calvinists, and in 1562 and 1567 it was the scene of struggles between them and the supporters of the Catholic Church. On 4 July 1562, Blois and Beaugency, conquered by Protestants just before, were looted by Catholics led by Maréchal de St. André. On 7 February 1568, Protestants under Captain Boucard's command, looted and invaded the town, eventually killing many Catholics. Grey friars were also killed and thrown in the well of their own convent. In addition, all the churches were ransacked. In 1576 and 1588, King Henry III convoked the Estates General to Blois where he attained refuge after an uprising called the Day of the Barricades. In response, Duke Henry I of Guise was assassinated on 23 December 1588 for his involvement in the uprising. The following day, his brother, Cardinal Louis II of Guise, who was also Archbishop of Reims, suffered the same fate. Their deaths were shortly followed by that of the Queen-Mother, Catherine de' Medici.
In the 16th century, the French Royal court often made Blois their leisure resort.
Early modern era
After the departure of the Royal Court towards Paris, Blois lost the status of Royal residence, along with the luxury and economic activity that came with it. King Henry IV displaced the Royal library to Fontainebleau, which would later be the National Library of France (Bibliothèque nationale de France).
In 1606, Philippe de Béthune gave his ownership of Vienne-lez-Blois village, on the left bank of the Loire river, to Blois, making it a part of the city afterwards known as Blois-Vienne. From 1617 to 1619 Marie de' Medici, wife of King Henri IV, exiled from the court by his son, King Louis XIII, lived in the château. By 1622, the Counter-Reformation got establishment in Blois, founded a Society of Jesus and financed the construction of the St. Louis Chapel, which is today St. Vincent Church.
Then in 1634, Louis XIII exiled his brother, Gaston, Duke of Orléans and Count of Blois, who became attached to the city. The Duke in 1657, found a hospital in Blois-Vienne, now named Résidence Gaston d'Orléans, and financed the reconstruction of the Hôtel-Dieu. He remained in Blois until his death, in 1660.
Under Louis XIV's reign, Blois became un independent bishopric. David Nicolas de Bertier, first bishop of Blois from 1697, chose as seated cathedral St. Solenne Church, that had been destroyed by a storm and was under reconstruction, before being completed 3 years later in 1700, thanks to the intervention of Colbert's wife, who herself came from Blois. The new edifice became Blois Cathedral and got dedicated to St. Louis.
A wide episcopal palace is built by King Louis XIV's official architect, Jacques Gabriel, right next to the newly built cathedral, on a site overlooking the Loire Valley. Landscaping of terraced gardens began in 1703 and lasted nearly 50 years. The so-called Bishopric Gardens were first open to the public in 1791 by Henri Grégoire (known as the Abbot Grégoire), the first constitutional bishop after the French Revolution.
During the night between 6 and 7 February 1716, the medieval bridge collapsed. Construction of a new one is ordered during the following year. Jacques-Gabriel Bridge was inaugurated in 1724. All the levies were consolidated, and the river channel of La Bouillie in the prolongation of La Creusille Harbor was closed and dried out.
When Duke Gaston of Orléans died, the château ended up stripped by King Louis XIV, completely abandoned, to the point that King Louis XVI once considered to demolish it by 1788. The edifice was saved when the Royal-Comtois Regiment established their base within it.
In 1790, Orléanais province was dismantled, and the First Republic created the Loir-et-Cher department, with Blois as the local capital.
By 1814, Marie Louise, Duchess of Parma and wife of Napoleon I, found refuge in Blois.
Contemporary era
Another wind blew in Blois in the 19th century. First, the railroad came in 1846 with the inauguration of the Paris–Tours railway, whose Blois Station is a stop. The competition against river transportation gradually forced La Creusille Harbor to reinvent its activity. In parallel, the city got more industrialised from 1848 thanks to a successful chocolate brand created by Bloisian, Victor-Auguste Poulain.
Like Paris, Blois urban organisation was redesigned during 1850 and 1870 by Mayor Eugène Riffault, who was friends with Baron Georges-Eugène Haussmann. Thus, he had bound through a boulevard holding his name the modern upper town (where the cathedral, Hôtel of Préfecture, and Halle aux Grains are located), and the medieval lower town. He also paved the way to the construction of the boulevard Daniel Depuis, in the West of Blois. Between 1862 and 1865, the Denis-Papin staircase are built under La Morandière's supervision, in the axis of Jacques-Gabriel Bridge and Blois-Vienne's Wilson Avenue.
In the meantime, the lower town faced three of the most significant flooding of the Loire river: in 1846, 1856 (the worst), and 1866. The downtown districts of St. Jean and Blois-Vienne were under water, as well as La Bouillie spillway.
On 13 December 1871, the Prussian army took control of Blois during the Franco-Prussian War. The city was taken back by Lieutenant Georges de Villebois-Mareuil, General Joseph Pourcet, and General Bertrand de Chabron. Since then, a memorial stands on Wilson Avenue in Vienne.
In 1939, Blois Basilica construction was completed. That same year, between 29 January and 8 February, more than 3,100 Spanish refugees came to the Loir-et-Cher department, fleeing the Spanish Civil War and Dictator Francisco Franco. In June 1940, the German bombings destroyed a large part of the downtown, and the French destroyed the 10th arch of Jacques-Gabriel Bridge to prevent further advance for their enemies. The German army bombed the former Town Hall on 16 June, thus killing Mayor Émile Laurens in the process, and took over the city 2 days later, on 18 June, the exact same day of Charles de Gaulle's Appeal for Internal Resistance.
Between June and August 1944, US-English-allied bombings destroyed other infrastructures, like the railroad bridge between Blois and Romorantin. In total during WWII, 230 people were killed, and 1,522 buildings were entirely or partially destroyed. On 16 August 1944, the German troops ran to Blois-Vienne to get refuge there and destroyed the three central arches of the bridge. On 1 September, they surrendered. The bridge was rebuilt and reopened in December 1948.
In 1959, Mayor Marcel Bühler received President Charles de Gaulle and launched the construction of the ZUP, at the North of the city, on the same scheme of so-called banlieues of Paris or any other French city.
The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.
The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.
Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.
Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.
The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.
History
Main article: History of the Palace of Versailles
An engraving of Louis XIII's château as it appeared in 1652
Versailles around 1652, engraving by Jacques Gomboust [fr]
In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.
When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.
Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.
Construction
Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.
Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.
Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.
War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.
Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.
Role in politics and culture
The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.
By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[
Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.
During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.
In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.
The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.
As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.
By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.
19th century – history museum and government venue
When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.
In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.
The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.
Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.
During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.
The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.
20th century
The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.
The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.
More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.
In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.
Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.
One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.
21st century
In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.
The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.
The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.
Architecture and plan
The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.
The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[
The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.
Royal Apartments
The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.
The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.
The queen's apartments served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.
Ambassador's Staircase
The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.
The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.
The State Apartments of the King
The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.
The Salon of Hercules
This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.
The Salon of Abundance
The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.
The Salon of Venus
This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.
The Salon of Mercury
The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.
The Salon of Mars
The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.
The Salon of Apollo
The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.
The Salon of Diana
The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.
Private apartments of the King and Queen
The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.
The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.
The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.
The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.
Private apartments of The Queen
The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.
Hall of Mirrors
The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.
The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.
Royal Chapel
The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.
Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.
Royal Opera
The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.
In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.
Museum of the History of France
Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.
The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.
Estate of Versailles
The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts
The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.
The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.
Gardens
The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.
Subsidiary structures
The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.
In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.
La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.
Petit Trianon
The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.
In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.
The Grand Trianon
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.
The Queen's hamlet and Theater
Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.
Modern political and ceremonial functions
The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).
In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.
Amboise Troglodyte
With their elegant decoration and classic period furniture the rooms have the charm of French homes. Exceptionally located, in the heart of the Loire Valley, only a few minutes from Amboise and Chenonceau, you will enjoy a stress-free and relaxing stay in our converted caves.
Amboise is a commune in the Indre-et-Loire department in central France. Today a small market town, it was once home of the French royal court.
Amboise lies on the banks of the river Loire, 27 kilometres (17 mi) east of Tours. It is also about 18 kilometres (11 mi) away from the historic Château de Chenonceau, situated on the river Cher near the small village of Chenonceaux. Amboise station, on the north bank of the Loire, has rail connections to Orléans, Blois and Tours.
Clovis I (c. 466 – 511) and the Visigoths signed a peace treaty of alliance with the Arvernians in 503, which assisted him in his defeat of the Visigothic kingdom in the Battle of Vouillé in 507.
Joan of Arc passed through in 1429 on her way to Orleans to the Battle of Patay.
Château du Clos Lucé was the residence of Leonardo da Vinci between 1516 and his death in 1519. Da Vinci died in the arms of King Francis I, and he was buried in a crypt near the Château d'Amboise. The house has lost some of its original parts, but it still stands today containing a museum of da Vinci's work and inventions, and overlooks the river Loire.
The Amboise conspiracy was the conspiracy of Condé and the Huguenots in 1560 against Francis II, Catherine de' Medici and the Guises.
The Château at Amboise was home to Mary Stewart, Queen of Scots, for much of her early life, being raised there at the French court of Henry II. She arrived in France from Scotland in 1548, aged six, via the French king's favourite palace at Saint-Germain-en-Laye near Paris, and remained in France until 1561, when she returned to her homeland—sailing up the Firth of Forth to Edinburgh on 15 August that year.
The Edict of Amboise (1563) conceded the free exercise of worship to the Protestants.
Here was born in 1743 Louis Claude de Saint-Martin, French philosopher, known as Le Philosophe Inconnu (d. 1803).
Abd el Kader Ibn Mouhi Ad-Din (c. 1807 – 1883) was imprisoned at the Château d'Amboise.
In 2019, the 500th anniversary of da Vinci's death, Amboise held many events celebrating the master's life and his work completed in the town. The number of visitors to Château du Clos Lucé, for example, was estimated as 500,000 in 2019, a 30% increase over the typical annual number.
The city is known for the Clos Lucé manor house where Leonardo da Vinci lived (and ultimately died) at the invitation of King Francis I of France, whose Château d'Amboise, which dominates the town, is located just 500 m (1,640 feet) away. The narrow streets contain some good examples of timbered housing.
Just outside the city is the Pagode de Chanteloup, a 44-metre-tall (144 ft) Chinese pagoda built in 1775 by the Duke of Choiseul. The pagoda is seven levels high, with each level slightly smaller than the last one. An interior staircase to reach all levels is open to the public.
The Musée de la Poste (in the Hôtel Joyeuse) is a museum tracing the history of the postal delivery service.
A 20th-century fountain by Max Ernst stands in front of the market place.
History of the castle
On the edge of the Orléans forest, the Château de Chamerolles has stood for over 600 years.
Built at the dawn of the Renaissance in the commune of Chilleurs-aux-Bois by Lancelot I du Lac, this estate remained in the family of its builder for almost 235 years.
Its architecture evolved over time with successive owners; the castle was enlarged and embellished. The French Revolution and the two world wars were periods of destruction or ransacking for the castle.
Surrounded by a park , a lake and a Renaissance garden , the exteriors of the castle invite visitors to a bucolic stroll in a green setting. Discover our collection of 75 varieties of rose bushes , our vegetable gardens and our environment ideal for walking .
The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.
The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.
Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.
Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.
The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.
History
Main article: History of the Palace of Versailles
An engraving of Louis XIII's château as it appeared in 1652
Versailles around 1652, engraving by Jacques Gomboust [fr]
In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.
When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.
Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.
Construction
Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.
Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.
Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.
War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.
Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.
Role in politics and culture
The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.
By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[
Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.
During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.
In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.
The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.
As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.
By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.
19th century – history museum and government venue
When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.
In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.
The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.
Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.
During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.
The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.
20th century
The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.
The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.
More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.
In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.
Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.
One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.
21st century
In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.
The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.
The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.
Architecture and plan
The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.
The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[
The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.
Royal Apartments
The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.
The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.
The queen's apartments served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.
Ambassador's Staircase
The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.
The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.
The State Apartments of the King
The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.
The Salon of Hercules
This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.
The Salon of Abundance
The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.
The Salon of Venus
This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.
The Salon of Mercury
The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.
The Salon of Mars
The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.
The Salon of Apollo
The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.
The Salon of Diana
The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.
Private apartments of the King and Queen
The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.
The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.
The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.
The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.
Private apartments of The Queen
The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.
Hall of Mirrors
The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.
The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.
Royal Chapel
The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.
Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.
Royal Opera
The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.
In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.
Museum of the History of France
Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.
The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.
Estate of Versailles
The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts
The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.
The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.
Gardens
The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.
Subsidiary structures
The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.
In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.
La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.
Petit Trianon
The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.
In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.
The Grand Trianon
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.
The Queen's hamlet and Theater
Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.
Modern political and ceremonial functions
The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).
In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.
Joan of Arc is a patron saint of France, honored as a defender of the French nation for her role in the siege of Orléans and her insistence on the coronation of Charles VII of France during the Hundred Years' War. Claiming to be acting under divine guidance, she became a military leader who transcended gender roles and gained recognition as a savior of France.
Joan was born to a propertied peasant family at Domrémy in northeast France. In 1428, she requested to be taken to Charles, later testifying that she was guided by visions from the archangel Michael, Saint Margaret, and Saint Catherine to help him save France from English domination. Convinced of her devotion and purity, Charles sent Joan, who was about seventeen years old, to the siege of Orléans as part of a relief army. She arrived at the city in April 1429, wielding her banner and bringing hope to the demoralized French army. Nine days after her arrival, the English abandoned the siege. Joan encouraged the French to aggressively pursue the English during the Loire Campaign, which culminated in another decisive victory at Patay, opening the way for the French army to advance on Reims unopposed, where Charles was crowned as the King of France with Joan at his side. These victories boosted French morale, paving the way for their final triumph in the Hundred Years' War several decades later.
After Charles's coronation, Joan participated in the unsuccessful siege of Paris in September 1429 and the failed siege of La Charité in November. Her role in these defeats reduced the court's faith in her. In early 1430, Joan organized a company of volunteers to relieve Compiègne, which had been besieged by the Burgundians—French allies of the English. She was captured by Burgundian troops on 23 May. After trying unsuccessfully to escape, she was handed to the English in November. She was put on trial by Bishop Pierre Cauchon on accusations of heresy, which included blaspheming by wearing men's clothes, acting upon visions that were demonic, and refusing to submit her words and deeds to the judgment of the church. She was declared guilty and burned at the stake on 30 May 1431, aged about nineteen.
In 1456, an inquisitorial court reinvestigated Joan's trial and overturned the verdict, declaring that it was tainted by deceit and procedural errors. Joan has been revered as a martyr, and viewed as an obedient daughter of the Roman Catholic Church, an early feminist, and a symbol of freedom and independence. After the French Revolution, she became a national symbol of France. In 1920, Joan of Arc was canonized by the Roman Catholic Church and, two years later, was declared one of the patron saints of France. She is portrayed in numerous cultural works, including literature, music, paintings, sculptures, and theater.
History: 1899: August 15, opening of a subscription to erect a monument, at the initiative of the Souvenir français. 1889: autumn, the committee requests a location in the city, visible to all and without clutter in the surroundings. The socialists are reluctant because they fear demonstrations hostile to the Republic.
1900: the change of municipality contributes to the resolution of the location problem.
1901: while continuing its subscription, the committee requests a subsidy from the city.
1902: in the redevelopment of urban planning, the final choice falls on the Saint-Pierre park. For the realization of the bronze parts, the committee unsuccessfully requests the Ministry of War to provide the material. The Ministry of Public Instruction and Fine Arts, however, awards a subsidy.
1904: foundation work.
1904: July 3, Inauguration.
1961: April at the foot of the monument, the National Regroupment displays: NO, THE FRENCH WILL NOT ABANDON THE ALGERIANS WHO WANT TO REMAIN FRENCH TO THE THROAT-CUTTERS
2006: February, gathering of supporters of General Piquemal arrested during a banned demonstration against the government's migration policy (Le Figaro, February 19)
Description: "The top of the obelisk inaugurated in July 1904 to honor the children of Calais who died for France - soldiers who fell in 1870-1871, in Cochinchina, Tonkin and Madagascar - is occupied by a Renommée crowning Captain Dutertre who died in Sidi Brahim in 1845" (Lalouette, 2018, p. 84).
At the bottom, in front, an allegory of Valor. The reliefs on the sides represent Duty and Humanity.
Chartres Cathedral, also known as the Cathedral of Our Lady of Chartres (French: Cathédrale Notre-Dame de Chartres), is a Catholic church in Chartres, France, about 80 km (50 miles) southwest of Paris, and is the seat of the Bishop of Chartres. Mostly constructed between 1194 and 1220, it stands on the site of at least five cathedrals that have occupied the site since the Diocese of Chartres was formed as an episcopal see in the 4th century. It is one of the best-known and most influential examples of High Gothic and Classic Gothic architecture, It stands on Romanesque basements, while its north spire is more recent (1507–1513) and is built in the more ornate Flamboyant style.
Long renowned as "one of the most beautiful and historically significant cathedrals in all of Europe," it was designated a World Heritage Site by UNESCO in 1979, which called it "the high point of French Gothic art" and a "masterpiece".
The cathedral is well-preserved and well-restored: the majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
Since at least the 12th century the cathedral has been an important destination for travellers. It attracts large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and art. A venerated Black Madonna enshrined within was crowned by Pope Pius IX on 31 May 1855.
History
At least five cathedrals have stood on this site, each replacing an earlier building damaged by war or fire. The first church dated from no later than the 4th century and was located at the base of a Gallo-Roman wall; this was put to the torch in 743 on the orders of the Duke of Aquitaine. The second church on the site was set on fire by Danish pirates in 858. This was then reconstructed and enlarged by Bishop Gislebert, but was itself destroyed by fire in 1020. A vestige of this church, now known as Saint Lubin Chapel, remains, underneath the apse of the present cathedral. It took its name from Lubinus, the mid-6th-century Bishop of Chartres. It is lower than the rest of the crypt and may have been the shrine of a local saint, prior to the church's rededication to the Virgin Mary.
In 962 the church was damaged by another fire and was reconstructed yet again. A more serious fire broke out on 7 September 1020, after which Bishop Fulbert (bishop from 1006 to 1028) decided to build a new cathedral. He appealed to the royal houses of Europe, and received generous donations for the rebuilding, including a gift from Cnut the Great, King of Norway, Denmark and much of England. The new cathedral was constructed atop and around the remains of the 9th-century church. It consisted of an ambulatory around the earlier chapel, surrounded by three large chapels with Romanesque barrel vault and groin vault ceilings, which still exist. On top of this structure he built the upper church, 108 meters long and 34 meters wide. The rebuilding proceeded in phases over the next century, culminating in 1145 in a display of public enthusiasm dubbed the "Cult of the Carts" – one of several such incidents recorded during the period. It was claimed that during this religious outburst, a crowd of more than a thousand penitents dragged carts filled with building supplies and provisions including stones, wood, grain, etc. to the site.
In 1134, another fire in the town damaged the façade and the bell tower of the cathedral. Construction had already begun on the north tower in the mid-1120s, which was capped with a wooden spire around 1142. The site for the south tower was occupied by the Hotel Dieu that was damaged in the fire. Excavations for that tower were begun straight away. As it rose the sculpture for the Royal Portal (most of which had been carved beforehand) was integrated with the walls of the south tower. The square of the tower was changed to an octagon for the spire just after the Second Crusade. It was finished about 1165 and reached a height of 105 metres or 345 feet, one of the highest in Europe. There was a narthex between the towers and a chapel devoted to Saint Michael. Traces of the vaults and the shafts which supported them are still visible in the western two bays. The stained glass in the three lancet windows over the portals dates from some time before 1145. The Royal Portal on the west façade, between the towers, the primary entrance to the cathedral, was probably finished a year or so after 1140.
Fire and reconstruction (1194–1260)
On the night of 10 June 1194, another major fire devastated the cathedral. Only the crypt, the towers, and the new façade survived. The cathedral was already known throughout Europe as a pilgrimage destination, due to the reputed relics of the Virgin Mary that it contained. A legate of the Pope happened to be in Chartres at the time of the fire, and spread the word. Funds were collected from royal and noble patrons across Europe, as well as small donations from ordinary people. Reconstruction began almost immediately. Some portions of the building had survived, including the two towers and the Royal Portal on the west end, and these were incorporated into the new cathedral.
The nave, aisles, and lower levels of the transepts of the new cathedral were probably completed first, then the choir and chapels of the apse; then the upper parts of the transept. By 1220 the roof was in place. The major portions of the new cathedral, with its stained glass and sculpture, were largely finished within just twenty-five years, extraordinarily rapid for the time. The cathedral was formally re-consecrated in October 1260, in the presence of King Louis IX of France, whose coat of arms can be seen painted on a boss at the entrance to the apse, although this was added in the 14th century.
Later modifications (13th–18th centuries) and the coronation of Relatively few changes were made after this time. An additional seven spires were proposed in the original plans, but these were never built. In 1326, a new two-storey chapel, dedicated to Saint Piatus of Tournai, displaying his relics, was added to the apse. The upper floor of this chapel was accessed by a staircase opening onto the ambulatory. (The chapel is normally closed to visitors, although it occasionally houses temporary exhibitions.) Another chapel was opened in 1417 by Louis, Count of Vendôme, who had been captured by the English at the Battle of Agincourt and fought alongside Joan of Arc at the siege of Orléans. It is located in the fifth bay of the south aisle and is dedicated to the Virgin Mary. Its highly ornate Flamboyant Gothic style contrasts with the earlier chapels.
In 1506, lightning destroyed the north spire, which was rebuilt in the 'Flamboyant' style from 1507 to 1513 by architect Jean Texier. When he finished this, he began constructing a new jubé or Rood screen that separated the ceremonial choir space from the nave, where the worshippers sat.
On 27 February 1594, King Henry IV of France was crowned in Chartres Cathedral, rather than the traditional Reims Cathedral, since both Paris and Reims were occupied at the time by the Catholic League. The ceremony took place in the choir of the church, after which the King and the Bishop mounted the rood screen to be seen by the crowd in the nave. After the ceremony and a mass, they moved to the residence of the bishop next to the cathedral for a banquet.
In 1753, further modifications were made to the interior to adapt it to new theological practices. The stone pillars were covered with stucco, and the tapestries which hung behind the stalls were replaced by marble reliefs. The rood screen that separated the liturgical choir from the nave was torn down and the present stalls were built. At the same time, some of the stained glass in the clerestory was removed and replaced with grisaille windows, greatly increasing the light on the high altar in the center of the church.[citation needed]
French Revolution and 19th century
Early in the French Revolution a mob attacked and began to destroy the sculpture on the north porch, but was stopped by a larger crowd of townspeople. The local Revolutionary Committee decided to destroy the cathedral via explosives and asked a local architect to find the best place to set the explosions. He saved the building by pointing out that the vast amount of rubble from the demolished building would so clog the streets it would take years to clear away. The cathedral, like Notre Dame de Paris and other major cathedrals, became the property of the French State and worship was halted until the time of Napoleon, but it was not further damaged.
In 1836, due to the negligence of workmen, a fire began which destroyed the lead-covered wooden roof and the two belfries, but the building structure and the stained glass were untouched. The old roof was replaced by a copper-covered roof on an iron frame. At the time, the framework over the crossing had the largest span of any iron-framed construction in Europe.
World War II
The Second World War, in France, was a battle between the Allies and Axis powers of Germany and Italy. In July 1944, the British and Canadians found themselves restrained just south of Caen. The Americans and their five divisions planned an alternative route to the Germans. While some Americans headed west and south, others found themselves in a sweep east of Caen that led them behind the frontline of the German forces. Hitler ordered the German commissioner, Kluge, to head west to cut off the Americans. This ultimately led the Allies to Chartres in mid-August 1944.
On August 16, 1944, the cathedral was saved from destruction thanks to the American colonel Welborn Barton Griffith Jr. (1901–1944), who questioned the order he was given to target the cathedral. The Americans believed that the steeples and towers were being used as an observation post for German artillery.
Griffith, accompanied by a volunteer soldier, instead decided to go and verify whether or not the Germans were using the cathedral. Griffith could see that the cathedral was empty, so he had the cathedral bells ring as a signal for the Americans not to shoot. Upon hearing the bells, the American command rescinded the order to fire. Colonel Griffith died in combat action that same day, in the town of Lèves, near Chartres. He was posthumously decorated with the Croix de Guerre avec Palme (War Cross 1939–1945), the Légion d'Honneur (Legion of Honour) and the Ordre National du Mérite (National Order of Merit) of the French government and the Distinguished Service Cross of the American government
2009 restoration
In 2009, the Monuments Historiques division of the French Ministry of Culture began an $18.5-million program of works at the cathedral, cleaning the inside and outside, protecting the stained glass with a coating, and cleaning and painting the inside masonry creamy-white with trompe-l'œil marbling and gilded detailing, as it may have looked in the 13th century. This has been a subject of controversy (see below).
Liturgy
The cathedral is the seat of the Bishop of Chartres of the Diocese of Chartres. The diocese is part of the ecclesiastical province of Tours.
Every evening since the events of 11 September 2001, Vespers are sung by the Chemin Neuf Community.
Timeline
743 – First mention of a cathedral in Chartres in a text
c. 876 – Charles the Bald gives the cathedral an important sacred relic, the veil of the Virgin, making it an important pilgrimage destination.
1020 – Fire damages cathedral. Bishop Fulbert begins reconstruction.
1030 – New cathedral dedicated by Bishop Thierry, successor to Fulbert
1134 – Construction of the Royal Portal
1170 – Completion of south bell tower
1194 – Fire destroys much of city and a large part of the cathedral, but spares the crypt and the new façade. Fund-raising and rebuilding begins immediately.
1221 – New vaults are completed. The chapter takes possession of the new choir.
1210–1250 – Major installation of stained glass windows in choir and nave installed
1260 – Consecration of the new cathedral in presence of Louis IX (Saint Louis). Roof built over chevet, transept and nave
1270–1280 – Sacristy completed
1324–1353 – Construction of the chapel of Saint Piat
1417 – Chapel of the Annunciation completed
1507–1513 – North tower, damaged by a fire, is rebuilt in Flamboyant Gothic style
1513 – Work begins on the choir tower by Jehan de Beuce
1520- Pavillon de l'Horloge clock tower loge begun on the north side
1594 – Since Reims Cathedral is occupied by the Catholic League, coronation of King Henry IV of France held in Chartres
1789 – Following French Revolution, church property seized and Catholic worship forbidden
1792 – Cathedral treasury confiscated by revolutionary government
1802 – Church restored to the Catholic Church for its exclusive use
1805 – Restoration of church begins
1836 – Fire destroys the roof beams and roof. They are replaced with a metal structure and copper roof
1840 – Cathedral classified a national historical monument
1857 – Completion of Notre-Dame-du-Pilier
1908 – Cathedral granted status of basilica
1979 – Cathedral is declared a UNESCO World Heritage Site
1992 – New main altar by the Georgian-French sculptor Goudji installed in choir
1994 – Cathedral celebrates 800th anniversary of first reconstruction
2009 – New restoration campaign, including cleaning and repainting walls to recreate original light colors and atmosphere
Statistics
Length: 130 metres (430 ft)
Width: 32 metres (105 ft) / 46 metres (151 ft)
Nave: height 37 metres (121 ft); width 16.4 metres (54 ft)
Ground area: 10,875 square metres (117,060 sq ft)
Height of south-west tower: 105 metres (344 ft)
Height of north-west tower: 113 metres (371 ft)
176 stained-glass windows
Choir enclosure: 200 statues in 41 scenes
The plan, like other Gothic cathedrals, is in the form of a cross and was determined by the shape and size of the 11th-century Romanesque cathedral, whose crypt and vestiges are underneath it. A two-bay narthex at the western end opens into a seven bay nave leading to the crossing, from which wide transepts extend three bays each to north and south. East of the crossing are four rectangular bays terminating in a semicircular apse. The nave and transepts are flanked by single aisles, broadening to a double-aisled ambulatory around the choir and apse. From the ambulatory three deep semi-circular chapels radiate (overlying the deep chapels of Fulbert's 11th-century crypt).
While the floor plan was traditional, the elevation was bolder and more original, thanks to the use of the flying buttress to support the upper walls. This was the first known use in a Gothic cathedral. These heavy columns of stone were joined to the walls by double stone arches, and reinforced by columns, like the spokes of a wheel. Each of these columns is made from a single piece of stone. The arches press against the walls, counterbalancing the outward thrust from the rib vaults over the cathedral interior. These vaults were also innovative, having just four compartments, unlike the six-part vaults of earlier Gothic churches. They were lighter and could cross a greater distance. Since the flying buttresses were experimental, the architect prudently added additional buttresses concealed under roofs of the aisles.
The elevations of earlier Gothic cathedrals usually had four levels to give them solidity; an arcade of massive columns on the ground floor, supporting a wide arched tribune gallery or tribune, below a narrower arcade triforium; then, under the roof, the higher and thinner walls, or clerestory, where the windows were. Thanks to the buttresses, the architects of Chartres could eliminate the gallery entirely, make the triforium very narrow, and have much more room for windows above. Chartres was not the first cathedral to use this innovation, but it used it much more consistently and effectively throughout. This buttressing plan was adopted by the other major 13th-century cathedrals, notably Amiens Cathedral and Reims Cathedral.
Another architectural innovation at Chartres was the design of the massive piers or pillars on the ground floor which receive the weight of the roof through the thin stone ribs of vaults above. The weight of the roof is carried by the thin stone ribs of the vaults outwards to the walls, where it is counterbalanced by the flying buttresses, and downwards, first through columns made of ribs joined together, then by alternating round and octagonal solid cored piers, each of which bundles together four half-columns. This pier design, known as pilier cantonné, was strong, simple, and elegant, and permitted the large stained glass windows of the clerestory, or upper level.
Although the sculpture on the portals at Chartres is generally of a high standard, the various carved elements inside, such as the capitals and string courses, are relatively poorly finished (when compared for example with those at Reims or Soissons) – the reason is simply that the portals were carved from the finest Parisian limestone, or ' 'calcaire' ', while the internal capitals were carved from the local "Berchères stone", that is hard to work and can be brittle.
The two towers were built at different times, during the Gothic period, and have different heights and decoration. The north tower was begun in 1134, to replace a Romanesque tower that was damaged by fire. It was completed in 1150 and originally was just two stories high, with a lead-covered roof. The south tower was begun in about 1144 and was finished in 1150. It was more ambitious, and has an octagonal masonry spire on a square tower, and reaches a height of 105 meters. It was built without an interior wooden framework; the flat stone sides narrow progressively to the pinnacle, and heavy stone pyramids around the base give it additional support.
The two towers survived the devastating fire of 1194, which destroyed most of the cathedral except the west façade and crypt. As the cathedral was rebuilt, the famous west rose window was installed between the two towers (13th century), and in 1507, the architect Jean Texier (also sometimes known as Jehan de Beauce) designed a spire for the north tower, to give it a height and appearance closer to that of the south tower. This work was completed in 1513. The north tower is in a more decorative Flamboyant Gothic style, with pinnacles and buttresses. It reaches a height of 113 meters, just above the south tower. Plans were made for the addition of seven more spires around the cathedral, but these were abandoned.
At the base of the north tower is a small structure which contains a Renaissance-era twenty-four-hour clock with a polychrome face, constructed in 1520 by Jean Texier. The face of the clock is eighteen feet in diameter.
A fire in 1836 destroyed the roof and belfries of the cathedral, and melted the bells, but did not damage the structure below or the stained glass. The timber beams under the roof were replaced with an iron framework covered with copper plates.
The portals and their sculpture
The cathedral has three great portals or entrances, opening into the nave from the west and into the transepts from north and south. The portals are richly decorated with sculptures, which rendered biblical stories and theological ideas visible for both the educated clergy and layfolk who may not have had access to textual learning. Each of the three portals on the west façade (made 1145–55) focuses on a different aspect of Christ's role in the world; on the right, his earthly Incarnation, on the left, his Ascension or his existence before his Incarnation (the era "ante legem"), and, in the center, his Second Coming, initiating the End of Time. The statuary of the Chartres portals is considered among the finest existing Gothic sculpture.
One of the few parts of the cathedral to survive the 1194 fire, the Portail royal was integrated into the new cathedral. Opening on to the parvis (the large square in front of the cathedral where markets were held), the two lateral doors would have been the first entry point for most visitors to Chartres, as they remain today. The central door is only opened for the entry of processions on major festivals, of which the most important is the Adventus or installation of a new bishop. The harmonious appearance of the façade results in part from the relative proportions of the central and lateral portals, whose widths are in the ratio 10:7 – one of the common medieval approximations of the square root of 2.
As well as their basic functions of providing access to the interior, portals are the main locations for sculpted images on the Gothic cathedral and it is on the west façade at Chartres that this practice began to develop into a visual summa or encyclopedia of theological knowledge. Each of the three portals focuses on a different aspect of Christ's role in salvation history; his earthly incarnation on the right, his Ascension or existence before the Incarnation on the left, and his Second Coming (the Theophanic Vision) in the center.
Above the right portal, the lintel is carved in two registers with (lower) the Annunciation, Visitation, Nativity, Annunciation to the Shepherds and (upper) the Presentation in the Temple. Above this the tympanum shows the Virgin and Child enthroned in the Sedes sapientiae pose. Surrounding the tympanum, as a reminder of the glory days of the School of Chartres, the archivolts are carved with some very distinctive personifications of the Seven Liberal Arts as well as the classical authors and philosophers most closely associated with them.
The left portal is more enigmatic and art historians still argue over the correct identification. The tympanum shows Christ standing on a cloud, apparently supported by two angels. Some see this as a depiction of the Ascension of Christ (in which case the figures on the lower lintel would represent the disciples witnessing the event) while others see it as representing the Parousia, or Second Coming of Christ (in which case the lintel figures could be either the prophets who foresaw that event or else the 'Men of Galilee' mentioned in Acts 1:9-11). The presence of angels in the upper lintel, descending from a cloud and apparently shouting to those below, would seem to support the latter interpretation. The archivolts contain the signs of the zodiac and the labours of the months – standard references to the cyclical nature of time which appear in many Gothic portals.
The central portal is a more conventional representation of the End of Time as described in the Book of Revelation. In the center of the tympanum is Christ within a mandorla, surrounded by the four symbols of the evangelists (the Tetramorph). The lintel shows the Twelve Apostles while the archivolts show the 24 Elders of the Apocalypse.
Although the upper parts of the three portals are treated separately, two sculptural elements run horizontally across the façade, uniting its different parts. Most obvious are the jamb statues affixed to the columns flanking the doorways – tall, slender standing figures of kings and queens from whom the Portail royal derived its name. Although in the 18th and 19th century these figures were mistakenly identified as the Merovingian monarchs of France (thus attracting the opprobrium of Revolutionary iconoclasts) they almost certainly represent the kings and queens of the Old Testament – another standard iconographical feature of Gothic portals.
Less obvious than the jamb statues but far more intricately carved is the frieze that stretches all across the façade in the sculpted capitals on top of the jamb columns. Carved into these capitals is a very lengthy narrative depicting the life of the Virgin and the life and Passion of Christ.
The statuary of the north transept portals is devoted to the Old Testament, and the events leading up to the birth of Christ, with particular emphasis on the Virgin Mary. The glorification of Mary in the center, the incarnation of her son on the left and Old Testament prefigurations and prophecies on the right. One major exception to this scheme is the presence of large statues of St Modesta (a local martyr) and St Potentian on the north west corner of the porch, close to a small doorway where pilgrims visiting the crypt (where their relics were stored) would once have emerged.
As well as the main sculptural areas around the portals themselves, the deep porches are filled with other carvings depicting a range of subjects including local saints, Old Testament narratives, naturalistic foliage, fantastical beasts, Labours of the Months and personifications of the 'active and contemplative lives' (the vita activa and vita contemplativa). The personifications of the vita activa (directly overhead, just inside the inside of the left hand porch) are of particular interest for their meticulous depictions of the various stages in the preparation of flax – an important cash crop in the area during the Middle Ages.
The south portal, which was added later than the others, in the 13th century, is devoted to events after the Crucifixion of Christ, and particularly to the Christian martyrs. The decoration of the central bay concentrates on the Last Judgemnt and the Apostles; the left bay on the lives of martyrs; and the right bay is devoted to confessor saints. This arrangement is repeated in the stained glass windows of the apse. The arches and columns of the porch are lavishly decorated with sculpture representing the labours of the months, the signs of the zodiac, and statues representing the virtues and vices. On top of the porch, between the gables, are pinnacles in the arcades with statues of eighteen Kings, beginning with King David, representing the lineage of Christ, and linking the Old Testament and the New.
While most of the sculpture of the cathedral portrayed saints, apostles and other Biblical figures, such as the angel holding a sundial on the south façade, other sculpture at Chartres was designed to warn the faithful. These works include statues of assorted monsters and demons. Some of these figures, such as gargoyles, also had a practical function; these served as rain spouts to project water far away from the walls. Others, like the chimera and the strix, were designed to show the consequences of disregarding Biblical teachings.
The nave, or main space for the congregation, was designed especially to receive pilgrims, who would often sleep in the church. The floor is slightly tilted so that it could be washed out with water each morning. The rooms on either side of Royal Portal still have traces of construction of the earlier Romanesque building. The nave itself was built after the fire, beginning in 1194. The floor of the nave also has a labyrinth in the pavement (see labyrinth section below). The two rows of alternating octagonal and round pillars on either side of the nave receive part of the weight of the roof through the thin stone ribs descending from the vaults above. The rest of the weight is distributed by the vaults outwards to the walls, supported by flying buttresses.
The statue of Mary and the infant Christ, called Our Lady of the Pillar, replaces a 16th-century statue which was burned by the Revolutionaries in 1793.
Stained glass windows
See also: Stained glass windows of Chartres Cathedral
One of the most distinctive features of Chartres Cathedral is the stained glass, both for its quantity and quality. There are 167 windows, including rose windows, round oculi, and tall, pointed lancet windows. The architecture of the cathedral, with its innovative combination of rib vaults and flying buttresses, permitted the construction of much higher and thinner walls, particularly at the top clerestory level, allowing more and larger windows. Also, Chartres contains fewer plain or grisaille windows than later cathedrals, and more windows with densely stained glass panels, making the interior of Chartres darker but the colour of the light deeper and richer.
These are the oldest windows in the cathedral. The right window, the Jesse Window, depicts the genealogy of Christ. The middle window depicts the life of Christ, and the left window depicts the Passion of Christ, from the Transfiguration and Last Supper to the Resurrection. All three of these windows were originally made around 1145 but were restored in the early 13th century and again in the 19th.
The other 12th-century window, perhaps the most famous at Chartres, is the "Notre-Dame de la Belle-Verrière", or "The Blue Virgin". It is found in the first bay of the choir after the south transept. Most windows are made up of around 25 to 30 individual panels showing distinct episodes within the narrative; only Notre-Dame de la Belle-Verrière includes a larger image made up of multiple panels. This window is actually a composite; the upper part, showing the Virgin and Child surrounded by adoring angels, dates from around 1180 and was probably positioned at the center of the apse in the earlier building. The Virgin is depicted wearing a blue robe and sitting in a frontal pose on a throne, with the Christ Child seated on her lap raising his hand in blessing. This composition, known as the Sedes sapientiae ("Throne of Wisdom"), which also appears on the Portail royal, is based on the famous cult figure kept in the crypt. The lower part of the window, showing scenes from the infancy of Christ, dates from the main glazing campaign around 1225.
The cathedral has three large rose windows. The western rose (c. 1215, 12 m in diameter) shows the Last Judgment – a traditional theme for west façades. A central oculus showing Christ as the Judge is surrounded by an inner ring of twelve paired roundels containing angels and the Elders of the Apocalypse and an outer ring of 12 roundels showing the dead emerging from their tombs and the angels blowing trumpets to summon them to judgment.
The north transept rose (10.5 m diameter, c. 1235), like much of the sculpture in the north porch beneath it, is dedicated to the Virgin. The central oculus shows the Virgin and Child and is surrounded by twelve small petal-shaped windows, four with doves (the 'Four Gifts of the Spirit'), the rest with adoring angels carrying candlesticks. Beyond this is a ring of twelve diamond-shaped openings containing the Old Testament Kings of Judah, another ring of smaller lozenges containing the arms of France and Castille, and finally a ring of semicircles containing Old Testament Prophets holding scrolls. The presence of the arms of the French king (yellow fleurs-de-lis on a blue background) and of his mother, Blanche of Castile (yellow castles on a red background) are taken as a sign of royal patronage for this window. Beneath the rose itself are five tall lancet windows (7.5 m high) showing, in the center, the Virgin as an infant held by her mother, St Anne – the same subject as the trumeau in the portal beneath it. Flanking this lancet are four more containing Old Testament figures. Each of these standing figures is shown symbolically triumphing over an enemy depicted in the base of the lancet beneath them – David over Saul, Aaron over Pharaoh, St Anne over Synagoga, etc.
The south transept rose (10.5 m diameter, made c. 1225–30) is dedicated to Christ, who is shown in the central oculus, right hand raised in benediction, surrounded by adoring angels. Two outer rings of twelve circles each contain the 24 Elders of the Apocalypse, crowned and carrying phials and musical instruments. The central lancet beneath the rose shows the Virgin carrying the infant Christ. Either side of this are four lancets showing the four evangelists sitting on the shoulders of four prophets – a rare literal illustration of the theological principle that the New Testament builds upon the Old Testament. This window was a donation of the Mauclerc family, the Counts of Dreux-Bretagne, who are depicted with their arms in the bases of the lancets.
Each bay of the aisles and the choir ambulatory contains one large lancet window, most of them roughly 8.1m high by 2.2m wide. The subjects depicted in these windows, made between 1205 and 1235, include stories from the Old and New Testament and the Lives of the Saints as well as typological cycles and symbolic images such as the signs of the zodiac and labours of the months. One of the most famous examples is the Good Samaritan parable.
Several of the windows at Chartres include images of local tradesmen or labourers in the lowest two or three panels, often with details of their equipment and working methods. Traditionally it was claimed that these images represented the guilds of the donors who paid for the windows. In recent years however this view has largely been discounted, not least because each window would have cost around as much as a large mansion house to make – while most of the labourers depicted would have been subsistence workers with little or no disposable income. Furthermore, although they became powerful and wealthy organisations in the later medieval period, none of these trade guilds had actually been founded when the glass was being made in the early 13th century. Another possible explanation is that the cathedral clergy wanted to emphasise the universal reach of the Church, particularly at a time when their relationship with the local community was often a troubled one.
Clerestory windows
Because of their greater distance from the viewer, the windows in the clerestory generally adopt simpler, bolder designs. Most feature the standing figure of a saint or Apostle in the upper two-thirds, often with one or two simplified narrative scenes in the lower part, either to help identify the figure or else to remind the viewer of some key event in their life. Whereas the lower windows in the nave arcades and the ambulatory consist of one simple lancet per bay, the clerestory windows are each made up of a pair of lancets with a plate-traceried rose window above. The nave and transept clerestory windows mainly depict saints and Old Testament prophets. Those in the choir depict the kings of France and Castile and members of the local nobility in the straight bays, while the windows in the apse hemicycle show those Old Testament prophets who foresaw the virgin birth, flanking scenes of the Annunciation, Visitation and Nativity in the axial window.
Later windows
On the whole, Chartres' windows have been remarkably fortunate. The medieval glass largely escaped harm during the Huguenot iconoclasm and the religious wars of the 16th century although the west rose sustained damage from artillery fire in 1591. The relative darkness of the interior seems to have been a problem for some. A few windows were replaced with much lighter grisaille glass in the 14th century to improve illumination, particularly on the north side and several more were replaced with clear glass in 1753 as part of the reforms to liturgical practice that also led to the removal of the jubé (rood screen). The installation of the Vendôme Chapel between two buttresses of the nave in the early 15th century resulted in the loss of one more lancet window, though it did allow for the insertion of a fine late-Gothic window with donor portraits of Louis de Bourbon and his family witnessing the Coronation of the Virgin with assorted saints.
Although estimates vary (depending on how one counts compound or grouped windows) approximately 152 of the original 176 stained glass windows survive – far more than any other medieval cathedral anywhere in the world.
Like most medieval buildings, the windows at Chartres suffered badly from the corrosive effects of atmospheric acids during the Industrial Revolution and thereafter. The majority of windows were cleaned and restored by the famous local workshop Atelier Lorin at the end of the 19th century, but they continued to deteriorate. During World War II most of the stained glass was removed from the cathedral and stored in the surrounding countryside to protect it from damage. At the close of the war the windows were taken out of storage and reinstalled. Since then, an ongoing programme of conservation has been underway and isothermal secondary glazing was gradually installed on the exterior to protect the windows from further damage.
The small Saint Lubin Crypt, under the choir of the cathedral, was constructed in the 9th century and is the oldest part of the building. It is surrounded by a much larger crypt, the Saint Fulbert Crypt, which was completed in 1025, five years after the fire that destroyed most of the older cathedral. It is U-shaped and 230 meters long, next to the crypts of St. Peter's Basilica in Rome and Canterbury Cathedral. It is the largest crypt in Europe and serves as the foundation of the cathedral above.
The corridors and chapels of the crypt are covered with Romanesque barrel vaults, groin vaults where two barrel vaults meet at right angles, and a few more modern Gothic rib-vaults.
One notable feature of the crypt is the Well of the Saints-Forts. The well is thirty-three metres deep and is probably of Celtic origin. According to legend, Quirinus, the Roman magistrate of the Gallo-Roman town, had the early Christian martyrs thrown down the well. A statue of one of the martyrs, Modeste, is featured among the sculpture on the North Portico.
Another notable feature is the Our Lady of the Crypt Chapel. A reliquary here contains a fragment of the reputed veil of the Virgin Mary, which was donated to the cathedral in 876 by Charles the Bald, the grandson of Charlemagne. The silk veil was divided into pieces during the French Revolution. The largest piece is shown in one of the ambulatory chapels above. and the small Shrine of Our Lady of the Crypt. The altar of the chapel is carved from a single block of limestone from the Berchères quarry, the source of most of the stone of the cathedral. The fresco on the wall dates from about 1200 and depicts the Virgin Mary on her throne. The Three Kings are to her left, and the Apostles Savinien and Potentien to her right. The chapel also has a modern stained glass window, the Mary, Door to Heaven Window, made by Henri Guérin, made by cementing together thick slabs of stained glass.
The high ornamental stone screen that separates the choir from the ambulatory was put in place between the 16th and 18th century, to adapt the church to a change in liturgy. It was built in the late Flamboyant Gothic and then the Renaissance style. The screen has forty niches along the ambulatory filled with statues by prominent sculptors telling the life of Christ. The last statues were put in place in 1714.
The buffet, or wooden case of the grand organ of the cathedral is among the oldest in France. It was first built in the 14th century, rebuilt in 1475, and enlarged in 1542. Both the organ and the tribune have been classified as separate historic monuments since 1840.
The organ is placed in the nave at the crossing of the south transept, sixteen meters above the floor of the nave, in close proximity to the choir, to assure the best sound quality throughout the cathedral. The whole case is fifteen meters high, with the top of its central tower thirty meters above the floor of the nave. The case was rebuilt during the Renaissance, and largely took its present form. Closer study of the case by the Ministry of Culture showed that the early case was covered with polychrome painting; yellow ochre under a varnish of reddish brown in earlier layer, and later by a brighter yellow on white. This study also showed that the mechanism was in very poor condition, and urgently needed reconstruction.
A major rebuilding and enlargement of the organ instrument took place in 1969–71, both to restore the ageing mechanism, and to add new keys and functions. The case was also restored, with the cost paid entirely by the French State, as was part of the cost of restoring the organ itself. As a result of this, and after further work on the organ in 1996, the instrument has 70 stops, totaling of over 4000 pipes.
The labyrinth (early 1200s) is a famous feature of the cathedral, located on the floor in the center of the nave. Labyrinths were found in almost all Gothic cathedrals, though most were later removed since they distracted from the religious services in the nave. They symbolized the long winding path towards salvation. Unlike mazes, there was only a single path that could be followed. On certain days the chairs of the nave are removed so that visiting pilgrims can follow the labyrinth. Copies of the Chartres labyrinth are found at other churches and cathedrals, including Grace Cathedral, San Francisco. Artist Kent Bellows depicts a direct reference to the labyrinth, which he renders in the background of at least one of his artworks; Mandala, 1990, Pencil on paper, 18 x 19 1/2 in.
The Chapel of Saint Piatus of Tournai was a later addition to the cathedral, built in 1326, close to the apse at the east end of the cathedral. It contained a collection of reputed relics from the saint, who was bishop of Tournai in modern-day Belgium in the third century. Martyred by the Romans, who cut off the top of his skull, he is depicted in stained glass and sculpture holding the fragment of his skull in his hands. The chapel has a flat chevet and two circular towers. Inside are four bays, in a harmonious style, since it was built all at the same time. It also contains a notable collection of 14th-century stained glass. The lower floor was used as a chapter house, or meeting place for official functions, and the top floor was connected to the cathedral by an open stairway.
The sacristy, across from the north portal of the cathedral, was built in the second half of the 13th century. The bishop's palace, also to the north, is built of brick and stone, and dates to the 17th century. A gateway from the period of Louis XV leads to the palace and also gives access to the terraced gardens, which offer of good view of the cathedral, particularly the chevet of the cathedral at the east end, with its radiating chapels built over the earlier Romanesque vaults. The lower garden also has a labyrinth of hedges.
Construction
Work was begun on the Royal Portal with the south lintel around 1136 and with all its sculpture installed up to 1141. Opinions are uncertain as the sizes and styles of the figures vary and some elements, such as the lintel over the right-hand portal, have clearly been cut down to fit the available spaces. The sculpture was originally designed for these portals, but the layouts were changed by successive masters, see careful lithic analysis by John James. Either way, most of the carving follows the exceptionally high standard typical of this period and exercised a strong influence on the subsequent development of Gothic portal design.
Some of the masters have been identified by John James, and drafts of these studies have been published on the web site of the International Center of Medieval Art, New York.
On 10 June 1194, another fire caused extensive damage to Fulbert's cathedral. The true extent of the damage is unknown, though the fact that the lead cames holding the west windows together survived the conflagration intact suggests contemporary accounts of the terrible devastation may have been exaggerated. Either way, the opportunity was taken to begin a complete rebuilding of the choir and nave in the latest style. The undamaged western towers and façade were incorporated into the new works, as was the earlier crypt, effectively limiting the designers of the new building to the same general plan as its predecessor. In fact, the present building is only marginally longer than Fulbert's cathedral.
One of the features of Chartres cathedral is the speed with which it was built – a factor which helped contribute to the consistency of its design. Even though there were innumerable changes to the details, the plan remains consistent. The major change occurred six years after work began when the seven deep chapels around the choir opening off a single ambulatory were turned into shallow recesses opening off a double-aisled ambulatory.
Australian architectural historian John James, who made a detailed study of the cathedral, has estimated that there were about 300 men working on the site at any one time, although it has to be acknowledged that current knowledge of working practices at this time is somewhat limited. Normally medieval churches were built from east to west so that the choir could be completed first and put into use (with a temporary wall sealing off the west end) while the crossing and nave were completed. Canon Delaporte argued that building work started at the crossing and proceeded outwards from there, but the evidence in the stonework itself is unequivocal, especially within the level of the triforium: the nave was at all times more advanced than ambulatory bays of the choir, and this has been confirmed by dendrochronology.
The builders were not working on a clean site; they would have had to clear back the rubble and surviving parts of the old church as they built the new. Work nevertheless progressed rapidly: the south porch with most of its sculpture was installed by 1210, and by 1215 the north porch and the west rose window were completed. The nave high vaults were erected in the 1220s, the canons moved into their new stalls in 1221 under a temporary roof at the level of the clerestory, and the transept roses were erected over the next two decades. The high vaults over the choir were not built until the last years of the 1250s, as was rediscovered in the first decade of the 21st century.
Restoration
From 1997 until 2018, the exterior of the cathedral underwent an extensive cleaning, that also included many of the interior walls and the sculpture. The statement of purpose declared, "the restoration aims not only to clean and maintains the structure but also to offer an insight into what the cathedral would have looked like in the 13th century." The walls and sculpture, blackened by soot and age, again became white. The celebrated Black Madonna statue was cleaned, and her face was found to be white under the soot. The project went further; the walls in the nave were painted white and shades of yellow and beige, to recreate an idea of the earlier medieval decoration. However, the restoration also brought sharp criticism. The architectural critic of the New York Times, Martin Filler, called it "a scandalous desecration of a cultural holy place." He also noted that the bright white walls made it more difficult to appreciate the colours of the stained glass windows, and declared that the work violated international conservation protocols, in particular, the 1964 Charter of Venice of which France is a signatory. The president of the Friends of Chartres Cathedral Isabelle Paillot defended the restoration work as necessary to prevent the building from crumbling.
The School of Chartres
At the beginning of the 11th century, Bishop Fulbert besides rebuilding the cathedral, established Chartres as a cathedral school, an important center of religious scholarship and theology. He attracted important theologians, including Thierry of Chartres, William of Conches and the Englishman John of Salisbury. These men were at the forefront of the intense intellectual rethinking that culminated in what is now known as the twelfth-century renaissance, pioneering the Scholastic philosophy that came to dominate medieval thinking throughout Europe. By the mid-12th century, the role of Chartres had waned, as it was replaced by the University of Paris as the leading school of theology. The primary activity of Chartres became pilgrimages.
Social and economic context
As with any medieval bishopric, Chartres Cathedral was the most important building in the town – the center of its economy, its most famous landmark and the focal point of many activities that in modern towns are provided for by specialised civic buildings. In the Middle Ages, the cathedral functioned as a kind of marketplace, with different commercial activities centred on the different portals, particularly during the regular fairs. Textiles were sold around the north transept, while meat, vegetable and fuel sellers congregated around the south porch. Money-changers (an essential service at a time when each town or region had its own currency) had their benches, or banques, near the west portals and also in the nave itself.[citation needed] Wine sellers plied their trade in the nave to avoid taxes until, sometime in the 13th century, an ordinance forbade this. The ordinance assigned to the wine-sellers part of the crypt, where they could avoid the count's taxes without disturbing worshippers. Workers of various professions gathered in particular locations around the cathedral awaiting offers of work.
Although the town of Chartres was under the judicial and tax authority of the Counts of Blois, the area immediately surrounding the cathedral, known as the cloître, was in effect a free-trade zone governed by the church authorities, who were entitled to the taxes from all commercial activity taking place there. As well as greatly increasing the cathedral's income, throughout the 12th and 13th centuries this led to regular disputes, often violent, between the bishops, the chapter and the civic authorities – particularly when serfs belonging to the counts transferred their trade (and taxes) to the cathedral. In 1258, after a series of bloody riots instigated by the count's officials, the chapter finally gained permission from the King to seal off the area of the cloître and lock the gates each night.
Pilgrimages and the legend of the Sancta Camisa
Even before the Gothic cathedral was built, Chartres was a place of pilgrimage, albeit on a much smaller scale. During the Merovingian and early Carolingian eras, the main focus of devotion for pilgrims was a well (now located in the north side of Fulbert's crypt), known as the Puits des Saints-Forts, or the 'Well of the Strong Saints', into which it was believed the bodies of various local Early-Christian martyrs (including saints Piat, Chéron, Modesta and Potentianus) had been tossed.
Chartres became a site for the veneration of the Blessed Virgin Mary. In 876 the cathedral acquired the Sancta Camisa, believed to be the tunic worn by Mary at the time of Christ's birth. According to legend, the relic was given to the cathedral by Charlemagne who received it as a gift from Emperor Constantine VI during a crusade to Jerusalem. However, as Charlemagne's crusade is fiction, the legend lacks historical merit and was probably invented in the 11th century to authenticate relics at the Abbey of St Denis. In fact, the Sancta Camisa was a gift to the cathedral from Charles the Bald and there is no evidence for its being an important object of pilgrimage prior to the 12th century. In 1194, when the cathedral was struck by lightning, and the east spire was lost, the Sancta Camisa was thought lost, too. However, it was found three days later, protected by priests, who fled behind iron trapdoors when the fire broke out.
Some research suggests that depictions in the cathedral, e.g. Mary's infertile parents Joachim and Anne, harken back to the pre-Christian cult of a fertility goddess, and women would come to the well at this location in order to pray for their children and that some refer to that past. Chartres historian and expert Malcolm Miller rejected the claims of pre-cathedral, Celtic, ceremonies and buildings on the site in a documentary. However, the widespread belief[citation needed] that the cathedral was also the site of a pre-Christian druidical sect who worshipped a "Virgin who will give birth" is purely a late-medieval invention.
By the end of the 12th century, the church had become one of the most important popular pilgrimage destinations in Europe. There were four great fairs which coincided with the main feast days of the Virgin Mary: the Presentation, the Annunciation, the Assumption and the Nativity. The fairs were held in the area administered by the cathedral and were attended by many of the pilgrims in town to see the cloak of the Virgin. Specific pilgrimages were also held in response to outbreaks of disease. When ergotism (more popularly known in the Middle Ages as "St. Anthony's fire") afflicted many victims, the crypt of the original church became a hospital to care for the sick.
Today Chartres continues to attract large numbers of pilgrims, many of whom come to walk slowly around the labyrinth, their heads bowed in prayer – a devotional practice that the cathedral authorities accommodate by removing the chairs from the nave on Fridays from Lent to All Saints' Day (except for Good Friday).
Orson Welles famously used Chartres as a visual backdrop and inspiration for a montage sequence in his film F For Fake. Welles' semi-autobiographical narration spoke to the power of art in culture and how the work itself may be more important than the identity of its creators. Feeling that the beauty of Chartres and its unknown artisans and architects epitomized this sentiment, Welles, standing outside the cathedral and looking at it, eulogizes:
Now this has been standing here for centuries. The premier work of man perhaps in the whole western world and it's without a signature: Chartres.
A celebration to God's glory and to the dignity of man. All that's left most artists seem to feel these days, is man. Naked, poor, forked radish. There aren't any celebrations. Ours, the scientists keep telling us, is a universe, which is disposable. You know it might be just this one anonymous glory of all things, this rich stone forest, this epic chant, this gaiety, this grand choiring shout of affirmation, which we choose when all our cities are dust, to stand intact, to mark where we have been, to testify to what we had it in us, to accomplish.
Our works in stone, in paint, in print are spared, some of them for a few decades, or a millennium or two, but everything must finally fall in war or wear away into the ultimate and universal ash. The triumphs and the frauds, the treasures and the fakes. A fact of life. We're going to die. "Be of good heart," cry the dead artists out of the living past. Our songs will all be silenced – but what of it? Go on singing. Maybe a man's name doesn't matter all that much.
(Church bells peal...)
Joseph Campbell references his spiritual experience in The Power of Myth:
I'm back in the Middle Ages. I'm back in the world that I was brought up in as a child, the Roman Catholic spiritual-image world, and it is magnificent ... That cathedral talks to me about the spiritual information of the world. It's a place for meditation, just walking around, just sitting, just looking at those beautiful things.
Joris-Karl Huysmans includes detailed interpretation of the symbolism underlying the art of Chartres Cathedral in his 1898 semi-autobiographical novel La cathédrale.
Chartres was the primary basis for the fictional cathedral in David Macaulay's Cathedral: The Story of Its Construction and the animated special based on this book.
Chartres was an important setting in the religious thriller Gospel Truths by J. G. Sandom. The book used the cathedral's architecture and history as clues in the search for a lost Gospel.
The cathedral is featured in the television travel series The Naked Pilgrim; presenter Brian Sewell explores the cathedral and discusses its famous relic – the nativity cloak said to have been worn by the Virgin Mary.
Popular action-adventure video game Assassin's Creed features a climbable cathedral modelled heavily on the Chartres Cathedral.
Chartres Cathedral and, especially, its labyrinth are featured in the novels Labyrinth and The City of Tears by Kate Mosse, who was educated in and is a resident of Chartres' twin city Chichester.
Chartres Light Celebration
One of the attractions at the Chartres Cathedral is the Chartres Light Celebration, when not only is the cathedral lit, but so are many buildings throughout the town, as a celebration of electrification.
Chartres is the prefecture of the Eure-et-Loir department in the Centre-Val de Loire region in France. It is located about 90 km (56 mi) southwest of Paris. At the 2019 census, there were 170,763 inhabitants in the metropolitan area of Chartres (as defined by the INSEE), 38,534 of whom lived in the city (commune) of Chartres proper.
Chartres is famous worldwide for its cathedral. Mostly constructed between 1193 and 1250, this Gothic cathedral is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. Part of the old town, including most of the library associated with the School of Chartres, was destroyed by Allied bombs in 1944.
History
Chartres was one of the principal towns in Gaul of the Carnutes, a Celtic tribe. In the Gallo-Roman period, it was called Autricum, name derived from the river Autura (Eure), and afterwards civitas Carnutum, "city of the Carnutes", from which Chartres got its name. The city was raided and burned down by the Norsemen in 858, and once again besieged, this time unsuccessfully, by them in 911.
During the Middle Ages, it was the most important town of the Beauce. It gave its name to a county which was held by the counts of Blois, and the counts of Champagne, and afterwards by the House of Châtillon, a member of which sold it to the Crown in 1286.
In 1417, during the Hundred Years' War, Chartres fell into the hands of the English, from whom it was recovered in 1432. In 1528, it was raised to the rank of a duchy by Francis I.
In 1568, during the Wars of Religion, Chartres was unsuccessfully besieged by the Huguenot leader, the Prince of Condé. It was finally taken by the royal troops of Henry IV on 19 April 1591. On Sunday, 27 February 1594, the cathedral of Chartres was the site of the coronation of Henry IV after he converted to the Catholic faith, the only king of France whose coronation ceremony was not performed in Reims.
In 1674, Louis XIV raised Chartres from a duchy to a duchy peerage in favor of his nephew, Duke Philippe II of Orléans. The title of Duke of Chartres was hereditary in the House of Orléans, and given to the eldest son of the Duke of Orléans.
In the 1870–1871 Franco-Prussian War, Chartres was seized by the Germans on 2 October 1870, and continued during the rest of the war to be an important centre of operations.
In World War II, the city suffered heavy damage by bombing and during the battle of Chartres in August 1944, but its cathedral was spared by an American Army officer who challenged the order to destroy it. On 16 August 1944, Colonel Welborn Barton Griffith, Jr. questioned the necessity of destroying the cathedral and volunteered to go behind enemy lines to find out whether the Germans were using it as an observation post. With his driver, Griffith proceeded to the cathedral and, after searching it all the way up its bell tower, confirmed to Headquarters that it was empty of Germans. The order to destroy the cathedral was withdrawn.
Colonel Griffith was killed in action later on that day in the town of Lèves, 3.5 kilometres (2.2 miles) north of Chartres. For his heroic action both at Chartres and Lèves, Colonel Griffith received, posthumously, several decorations awarded by the President of the United States and the U.S. Military, and also from the French government.
Following deep reconnaissance missions in the region by the 3rd Cavalry Group and units of the 1139 Engineer Combat Group, and after heavy fighting in and around the city, Chartres was liberated, on 18 August 1944, by the U.S. 5th Infantry and 7th Armored Divisions belonging to the XX Corps of the U.S. Third Army commanded by General George S. Patton.
Geography
Chartres is built on a hill on the left bank of the river Eure. Its renowned medieval cathedral is at the top of the hill, and its two spires are visible from miles away across the flat surrounding lands. To the southeast stretches the fertile plain of Beauce, the "granary of France", of which the town is the commercial centre.
Main sights
Chartres is best known for its cathedral, the Cathédrale Notre-Dame de Chartres, which is considered one of the finest and best preserved Gothic cathedrals in France and in Europe. Its historical and cultural importance has been recognized by its inclusion on the UNESCO list of World Heritage Sites.
It was built on the site of the former Chartres cathedral of Romanesque architecture, which was destroyed by fire in 1194 (that former cathedral had been built on the ruins of an ancient Celtic temple, later replaced by a Roman temple). Begun in 1205, the construction of Notre-Dame de Chartres was completed 66 years later.
The stained glass windows of the cathedral were financed by guilds of merchants and craftsmen, and by wealthy noblemen, whose names appear at the bottom.
It is not known how the famous and unique blue, bleu de Chartres, of the glass was created, and it has been impossible to replicate it. The French author Michel Pastoureau says that it could also be called bleu de Saint-Denis.
The Église Saint-Pierre de Chartres was the church of the Benedictine Abbaye Saint-Père-en-Vallée, founded in the 7th century by queen Balthild. At time of its construction, the abbey was outside the walls of the city. It contains fine stained glass and, formerly, twelve representations of the apostles in enamel, created about 1547 by Léonard Limosin, which now can be seen in the fine arts museum.
Other noteworthy churches of Chartres are Saint-Aignan (13th, 16th and 17th centuries), and Saint-Martin-au-Val (12th century), inside the Saint-Brice hospital.
Museums
Musée des Beaux-Arts, Fine arts museum, housed in the former episcopal palace adjacent to the cathedral.
Le Centre international du vitrail, a workshop-museum and cultural center devoted to stained glass art, located 50 metres (160 feet) from the cathedral.
Conservatoire du machinisme et des pratiques agricoles, an agricultural museum.
Musée le grenier de l'histoire, history museum specializing in military uniforms and accoutrements, in Lèves, a suburb of Chartres.
Muséum des sciences naturelles et de la préhistoire, Natural science and Prehistory Museum (closed since 2015).
Other sights
The Eure river running through Chartres
The river Eure, which at this point divides into three branches, is crossed by several bridges, some of them ancient, and is fringed in places by remains of the old fortifications, of which the Porte Guillaume (14th century), a gateway flanked by towers, was the most complete specimen, until destroyed by the retreating German army in the night of 15 to 16 August 1944. The steep, narrow streets of the old town contrast with the wide, shady boulevards which encircle it and separate it from the suburbs. The "parc André-Gagnon" or "Clos St. Jean", a pleasant park, lies to the north-west, and squares and open spaces are numerous.
Part of the Hôtel de Ville (City Hall) is a building of the 17th century called Hôtel de Montescot. The Maison Canoniale dating back to the 13th century, and several medieval and Renaissance houses, are of interest.
There is a statue of General Marceau (1769–1796), a native of Chartres and a general during the French Revolution.
La Maison Picassiette, a house decorated inside and out with mosaics of shards of broken china and pottery, is also worth a visit.
Economy
Chartres is one of the most important market towns in the region of Beauce (known as "the granary of France").
Historically, game pies and other delicacies of Chartres were well known, and the industries also included flour-milling, brewing, distilling, iron-founding, leather manufacture, perfumes, dyeing, stained glass, billiard requisites and hosiery. More recently, businesses include the manufacture of electronic equipment and car accessories.[citation needed]
Since 1976 the fashion and perfumes company Puig has had a production plant in this commune.
Transport
The Gare de Chartres railway station offers frequent services to Paris, and a few daily connections to Le Mans, Nogent-le-Rotrou and Courtalain. The A11 motorway connects Chartres with Paris and Le Mans.
Sport
Chartres is home to two semi-professio
Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.
Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.
The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.
Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.
Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).
To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).
At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).
In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.
The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.
With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.
Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.
The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.
An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.
Every two years, the Festival de Loire recalls the role played by the river in the commune's history.
On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.
Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.
In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.
Early Middle Ages
In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.
High Middle Ages
The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.
On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.
1453 to 1699
Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).
The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.
From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.
The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.
1700–1900
When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.
The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.
1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.
1900 to present
During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.
The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.
Heraldry
According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."
The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".
Motto
"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.
Orléans is the birthplace of:
Sophie Adriansen (born 1982), French writer
Patrick Barul (born 1977), football player
Joelly Belleka (born 1995), basketball player
Raoul Blanchard (1877–1965), geographer
Maxence Boitez (Ridsa) (born 1990), singer
Patrick Bornhauser (born 1957), racing driver
Raymond Brugère (1885-1966), diplomat.
Jean-Baptiste Marc Bourgery (1797–1849), anatomist
Félix Cazot (1790–1857), classical pianist and composer
Philippe Chanlot (born 1967), football player
Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there
Gilles Delouche (1948–2020), linguist
Étienne Dolet (1509–1546), scholar and printer
Joël-François Durand (born 1954), composer
Jean-Louis Ferrary (1948–2020), historian
Georges Fleury (1878–1968), cyclist
Albert Gombault (1844–1904), neurologist
Guillaume Gomez (born 1969), racing driver
Jacques Guillemeau (1550–1613), physician
Albert Guyot (1881–1947), racing driver
Étienne Hubert (1567–1614), Arabist
Gaston d'Illiers (1876–1932), sculptor
Isaac Jogues (1607–1646), Jesuit missionary
Stanislas Julien (1797–1873), orientalist
Gustave Lanson (1857–1934), historian
Pierre Levesville (1570–1632), Renaissance architect
Anatole Loquin (1834–1903), writer and musicologist
Yven Moyo (born 1992), football player
Yves-Marie Pasquet (born 1947), composer
Charles Péguy (1873–1914), poet and essayist
Antoine Petit (1722–1794), physician
Lamine Sambe (born 1989), basketball player
Yacine Sene (born 1982), basketball player
Florian Thauvin (born 1993), football player
Christophe Tinseau (born 1969), racing driver
Jean Zay (1904–1944), jurist and politician
Historical landmarks
The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve
The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).
The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).
The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).
The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]
Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.
The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.
The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).
Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.
Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.
The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.
The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.
The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.
The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water
The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).
Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.
The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.
The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.
The Hôtel Toutin, 16th century
The Hôtel Pommeret d'Orléans, 16th century
The Hôtel Ducerceau, 16th century
The maison de la coquille, 16th century
The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.
The House of Jean Dalibert, 16th century
The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"
The mansions, rue d'Escure (17th and 18th centuries)
The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.
The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.
The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.
The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water
The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.
The courthouse (18th to 20th centuries)
The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.
Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.
Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.
Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).
Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).
The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.
Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.
Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).
Town Hall and Bishopric Gardens
Blois achieved independence from the Diocese of Chartres in 1697, and the cathedral was completed by 1700. As a result, the first bishops engineered wide gardens on several levels, next to the premises. Since the destruction of the former Blois town hall during World War II, local authorities requisitioned the bishop's apartments to establish there the new town hall. Now organised as an urban park, the gardens offer a panoramic view on the downtown, the Loire river, and Blois-Vienne. A statue of Joan of Arc, given to the city by American patron J. Sanford Saltus, stands in the middle of the park. Bishopric gardens are open to public all the year, and a remarkable rose garden can be visited from 15 May and 30 September, each year.
Blois is a commune and the capital city of Loir-et-Cher department, in Centre-Val de Loire, France, on the banks of the lower Loire river between Orléans and Tours.
With 45,898 inhabitants by 2019, Blois is the most populated city of the department, and the 4th of the region.
Historically, the city was the capital of the County of Blois, created on 832 until its integration into the Royal domain in 1498, when Count Louis II of Orléans became King Louis XII of France. During the Renaissance, Blois was the official residence of the King of France.
The flag of France , tricolor blue , white , red , also called "tricolor flag", or simply "French flag", is the emblem and national flag of France continuously since 1830. It was adopted by the different French empires, monarchies and republics since. It is mentioned in article 2 of the French Constitution of 1958 . This flag with proportions 2:3 ("two thirds", two for height, three for width) is made up of three vertical bands, blue, white and red of identical height and width.
In the form of a Navy flag , it dates from 27 Pluviôse year II ( February 15 , 1794) — drawn according to the legend by Jacques-Louis David (1748-1825) at the request of the Convention —, but its origins are older and go back to the three colors of freedom (July 14, 1789). The blue and red would have their origins in the colors of the city of Paris , those of the National Guard , colors which surrounded the white of royalty , therefore identical to the three colors used by the different French pavilions of the Ancien Régime .
The tricolor flag has been the official naval flag of France since 1794 and the official flag of the armies since 1812, with the exception of the Restoration periods : 1814-1815 and 1815-1830.
From the start of Valéry Giscard d'Estaing 's presidency in 1974, a lighter version was used for protocol services, with a blue similar to that of the European flag . This other version, which has since spread outside of this usage, was abandoned by President Emmanuel Macron in 2020.
Use of the three colors under royalty
The treatment of colors below follows the chronological order of their appearance.
The emblems used reflected the three traditional orders of society, with:
a religious banner which was first the oriflamme of the abbey of Saint-Denis , then the banner of Joan of Arc or Saint Michael ;
a royal or lordly standard, in this case the fleurs-de-lys on a blue background, then the white cornette (also adopted by the fleet);
a sign of recognition for the infantrymen which was first the red cross on a white background, then the white cross on a often blue background (as for the flag of the merchant navy ).
Red
Oriflamme .
The banner of Saint-Denis
The color red is the color of the banner of the Abbey of Saint-Denis drawn up in 1124 by Abbot Suger , “father of the country”. This red symbolizes the martyrdom of Saint Denis , first bishop of Paris 1 . The counts of Vexin carried it to war as attorneys of this royal abbey founded by Dagobert I. When, in 1077, Philip I united the French Vexin to the royal domain, the king inherited this office of standard bearer and military defender of the abbey. The red gonfalon , worn by the dapifer , will now appear alongside France's own banner . Usurped by the English claimants to the throne of France, the wearing of the banner of Saint-Denis was abandoned by Charles VII in favor of the standard of Saint Michael 2 .
The banner of Saint-Denis was called from around 1170 " oriflamme ", from the name of the standard that the Song of Roland attributes to Charlemagne . More than a legitimacy to succeed the Carolingians , the banner of Saint-Denis becomes the sign of the divine mission of the Capetian king . A funeral oration 3 written in 1350, taken up by a Universal Chronicle from the beginning of the 15th century , mentions the legend that Clovis received it from God
THEJanuary 13, 1188, during an interview in Gisors , the Latin Archbishop of Tire urged the King of France Philip II , the King of England Henry II and the Count of Flanders Philip I to help the Holy Land . A new crusade is organized. It is agreed that the French will display a red cross on a white background, the English a white cross on a red background, and the Flemings a green cross on a white background 5 .
A Genoa denarius issued from 1139. The obverse, as on the genovino , shows the insignia cruxata comunis Janue , which appears from 1218 in red on the white field of the city flag .
However, none of these banners then convey any national significance. The red cross is a badge of Christ and of a mission that tradition attaches to the memory of Pope Gelasius arming the cities against the Ostrogothic invader , the Arian Theodoric 6 . Wearing it is an honor to which each soldier can claim by making a wish. Identified with Saint George fighting the dragon, it had already been brandished inJune 1063to encourage the troops of Roger de Hauteville at the battle of Cerami against the Saracens of Sicily 7 . The banner of Saint George appears again inDecember 1096at the Battle of Alcoraz against the Moors of Al-Andalus , then two years later at the Siege of Antioch .
It was adopted by several of the communes which developed in the Cisalpine plain 8 as a sign of the legitimacy of their franchise in the face of the Holy Roman Emperor . Milan made it one of its banners, its vexillum publicum , displayed at the carroccio of 1160 9 . When, in Gisors , the Pope transmitted it to King Philippe , the intention of the first was therefore clearly to include the second in what would become the Guelph party . To be in favor of the crusade is also to be for the pope. The Genoese ships , which transported the crusaders, displayed the cross of Saint George. In 1218, the insignia cruxata comunis Janue (cross sign of the municipality of Genoa), was displayed in the conquered city of Ventimiglia and became the emblem of the maritime republic .
It is therefore to which power the honor of carrying the standard of Saint George will fall. After capturing theJune 22, 1283in the bogs of Mount Bera (in) the last prince of independent Wales , Dafydd ap Gruffudd , on the run since the defeat of the bridge over the Irvon , then having executed him hanged, drawn and quartered at Shrewsbury onOctober 3, the English King Edward organizes a triumph for himself and his family in London which takes place inMay 1285. During the ceremonies, among the other regalia of the late Welsh prince Llywelyn the Last that the abbot of Cymer Huw ab Izhel had presented two years earlier to the winner, the "crown of King Arthur " and the cross of Nuz , reputed to be wood from the True Cross . It was then that the red cross, symbol of the entire True Cross, was chosen by England in turn 10 . The Order of the Garter 11 , created on April 23, 1348 on Saint George's Day, disseminated it as the emblem of its extended power over Wales and Scotland , subjugated in 1296 following the Battle of Dunbar and the transfer to Westminster of the Stone of Destiny .
However, these two countries will become pieces in the political game of France in the fight against its “hereditary enemy”. In 1326, the King of France Charles the Fair , who had participated two years earlier in an expedition against Scotland , concluded with her the Treaty of Corbeil which renewed the Auld Alliance . In 1335, his successor Philippe de Valois sent to his ally an army commanded by Raoul de Brienne . Under the treaty of 1213 signed between Philip Augustus and Leoline the Great , the French king Charles the Wise supported from 1372 to 1378 the claims of Owain Lawgoch to the principality of Wales. From the start of the Hundred Years' War , the Gascon towns rallying around the Black Prince displayed the cross of Saint George . When eighty-two years later, theDecember 1 , 1420, the English seize Paris , Saint-Denis and its banner , the red of the cross of Saint George , which the French wore two and a half centuries earlier, is definitively fixed as the color of the enemy of the faithful at the Dauphin . Withdrawn to Bourges , they then chose to display a white cross and make themselves Saint Michel their patron .
The galleys
The red fleurdelysé d'or was chosen as the standard of the royal galleys while the royal vessels displayed white or sometimes white fleurdelysé d'or.
The Christian pallium
Since Antiquity , the rejection of the toga for the pallium (“a togā ad pallium”) signifies the vow to withdraw from the world. Tertullian 12 establishes this custom in the Christian tradition. From the 12th century onwards , new pigments appeared , pastel for clothing, real ultramarine for painting, the use of which was a sign of wealth as its manufacture was expensive. Only then is cosmic blue associated with the cloak of the saints, perhaps in contrast to the purple color of the imperial toga . Azure becomes a symbol of spiritual greatness.
It is the color of the cloak of the Virgin, who abandons her dark mourning clothes 1 previously painted black or dark gray. It is also the one which is now attributed to the cope of Saint Martin .
In the Carolingian era, the tradition was already established that this relic, of which no direct source prior to the 12th century specifies the shade N 1 , was used as palladium by Clovis N 2 . If it was worn by the Merovingian kings in war almost as a magical artifice N 3 , it will be worn by the Capetians at the time of the coronation . This is why they wear a coat with a blue background during this ceremony.
It was therefore at the beginning of the reign of the Capetians that Saint Martin's cope was colored blue. Blue is thus closely associated with the kings of France and appears very early in their fleur-de-lis coats of arms 13 , whose military use appears in the 12th century 14 . Donning the cope of Saint Martin is the symbol of the legitimacy conferred by the Church on the king, particularly at the time of the coronation , and conversely of the policy of Capetian France, "eldest daughter of the Church", relying on bishops and the pope .
The color of azure is in particular that of the arms of the younger branches of the royal family, for example those of Raoul I of Vermandois , “checked with gold and azure” 15 , between 1135 and 1145.
White
White cross of Saint Michael , opposite the red cross of the English, on a blue background, the color of the cope of Saint Martin and the Capetians . The Hundred Years' War established it as the military flag of France.
Cross of Saint Michael
Main article: Cross of Saint Michael .
The Crusades established the custom of distinguishing oneself in combat with crosses of different colors, crosses which for practical reasons were often reduced to double saltires . The figure of Saint Michael “captain of the heavenly armies” is associated with the warrior’s cross . Invoking for one's side the archangel fighting Satan is a way of insulting one's enemy if not symbolically sending him to the devil. From 1300, during the campaigns in Flanders , the royal armies became accustomed to displaying a white cross in the invocation of Saint Michael , first in a band or in a Latin cross 16 . At the battle of Mons-en-Pévèle in 1304, tactics prevailed over symbol, color over form, and the French knights girded themselves before setting off into battle with white meeting scarves to serve as a rallying sign just before load.
The Hundred Years' War was an opportunity to exalt the symbol of the white cross, opposed to the red cross of England . In 1355, John I of Armagnac required his soldiers to wear a white cross on the border of Guyenne 17 . During the summer of 1417, faced with the threat of the English troops of Henry V who fought with the emblem of the red cross, the inhabitants of Orléans able to take up arms received the order to wear a blue helmet marked on the chest of a white cross
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National flag of France
Flag
UseSymbol describing the use, explained below Symbol describing the use, explained below
Features
Proportions2:3
AdoptionFirst timeFebruary 15, 1794
Last adoption onMarch 5, 1848
ElementsTricolor of blue , white and red vertical bands of equal width
to modify View the model documentation
National flag of France
Flag
UseSymbol describing the use, explained below Symbol describing the use, explained below
Features
Proportions2:3
AdoptionFirst timeFebruary 15, 1794
Last adoption onMarch 5, 1848
ElementsTricolor of blue , white and red vertical bands of widths 30/33/37
to modify View the model documentation
Tricolor cockade .
The flag of France , tricolor blue , white , red , also called "tricolor flag", or simply "French flag", is the emblem and national flag of France continuously since 1830. It was adopted by the different French empires, monarchies and republics since. It is mentioned in article 2 of the French Constitution of 1958 . This flag with proportions 2:3 ("two thirds", two for height, three for width) is made up of three vertical bands, blue, white and red of identical height and width.
In the form of a Navy flag , it dates from 27 Pluviôse year II ( February 15 , 1794) — drawn according to the legend by Jacques-Louis David (1748-1825) at the request of the Convention —, but its origins are older and go back to the three colors of freedom (July 14, 1789). The blue and red would have their origins in the colors of the city of Paris , those of the National Guard , colors which surrounded the white of royalty , therefore identical to the three colors used by the different French pavilions of the Ancien Régime .
The tricolor flag has been the official naval flag of France since 1794 and the official flag of the armies since 1812, with the exception of the Restoration periods : 1814-1815 and 1815-1830.
From the start of Valéry Giscard d'Estaing 's presidency in 1974, a lighter version was used for protocol services, with a blue similar to that of the European flag . This other version, which has since spread outside of this usage, was abandoned by President Emmanuel Macron in 2020.
Use of the three colors under royalty
The treatment of colors below follows the chronological order of their appearance.
The emblems used reflected the three traditional orders of society, with:
a religious banner which was first the oriflamme of the abbey of Saint-Denis , then the banner of Joan of Arc or Saint Michael ;
a royal or lordly standard, in this case the fleurs-de-lys on a blue background, then the white cornette (also adopted by the fleet);
a sign of recognition for the infantrymen which was first the red cross on a white background, then the white cross on a often blue background (as for the flag of the merchant navy ).
Red
Oriflamme .
The banner of Saint-Denis
The color red is the color of the banner of the Abbey of Saint-Denis drawn up in 1124 by Abbot Suger , “father of the country”. This red symbolizes the martyrdom of Saint Denis , first bishop of Paris 1 . The counts of Vexin carried it to war as attorneys of this royal abbey founded by Dagobert I. When, in 1077, Philip I united the French Vexin to the royal domain, the king inherited this office of standard bearer and military defender of the abbey. The red gonfalon , worn by the dapifer , will now appear alongside France's own banner . Usurped by the English claimants to the throne of France, the wearing of the banner of Saint-Denis was abandoned by Charles VII in favor of the standard of Saint Michael 2 .
The banner of Saint-Denis was called from around 1170 " oriflamme ", from the name of the standard that the Song of Roland attributes to Charlemagne . More than a legitimacy to succeed the Carolingians , the banner of Saint-Denis becomes the sign of the divine mission of the Capetian king . A funeral oration 3 written in 1350, taken up by a Universal Chronicle from the beginning of the 15th century , mentions the legend that Clovis received it from God 4 .
The True Cross carried by Saint George
The French displayed a red cross on a white background during the Crusades . In 1283, the flag was confiscated from the Welsh who also wore it, then flown by the English .
THEJanuary 13, 1188, during an interview in Gisors , the Latin Archbishop of Tire urged the King of France Philip II , the King of England Henry II and the Count of Flanders Philip I to help the Holy Land . A new crusade is organized. It is agreed that the French will display a red cross on a white background, the English a white cross on a red background, and the Flemings a green cross on a white background 5 .
A Genoa denarius issued from 1139. The obverse, as on the genovino , shows the insignia cruxata comunis Janue , which appears from 1218 in red on the white field of the city flag .
However, none of these banners then convey any national significance. The red cross is a badge of Christ and of a mission that tradition attaches to the memory of Pope Gelasius arming the cities against the Ostrogothic invader , the Arian Theodoric 6 . Wearing it is an honor to which each soldier can claim by making a wish. Identified with Saint George fighting the dragon, it had already been brandished inJune 1063to encourage the troops of Roger de Hauteville at the battle of Cerami against the Saracens of Sicily 7 . The banner of Saint George appears again inDecember 1096at the Battle of Alcoraz against the Moors of Al-Andalus , then two years later at the Siege of Antioch .
It was adopted by several of the communes which developed in the Cisalpine plain 8 as a sign of the legitimacy of their franchise in the face of the Holy Roman Emperor . Milan made it one of its banners, its vexillum publicum , displayed at the carroccio of 1160 9 . When, in Gisors , the Pope transmitted it to King Philippe , the intention of the first was therefore clearly to include the second in what would become the Guelph party . To be in favor of the crusade is also to be for the pope. The Genoese ships , which transported the crusaders, displayed the cross of Saint George. In 1218, the insignia cruxata comunis Janue (cross sign of the municipality of Genoa), was displayed in the conquered city of Ventimiglia and became the emblem of the maritime republic .
It is therefore to which power the honor of carrying the standard of Saint George will fall. After capturing theJune 22, 1283in the bogs of Mount Bera (in) the last prince of independent Wales , Dafydd ap Gruffudd , on the run since the defeat of the bridge over the Irvon , then having executed him hanged, drawn and quartered at Shrewsbury onOctober 3, the English King Edward organizes a triumph for himself and his family in London which takes place inMay 1285. During the ceremonies, among the other regalia of the late Welsh prince Llywelyn the Last that the abbot of Cymer Huw ab Izhel had presented two years earlier to the winner, the "crown of King Arthur " and the cross of Nuz , reputed to be wood from the True Cross . It was then that the red cross, symbol of the entire True Cross, was chosen by England in turn 10 . The Order of the Garter 11 , created on April 23, 1348 on Saint George's Day, disseminated it as the emblem of its extended power over Wales and Scotland , subjugated in 1296 following the Battle of Dunbar and the transfer to Westminster of the Stone of Destiny .
However, these two countries will become pieces in the political game of France in the fight against its “hereditary enemy”. In 1326, the King of France Charles the Fair , who had participated two years earlier in an expedition against Scotland , concluded with her the Treaty of Corbeil which renewed the Auld Alliance . In 1335, his successor Philippe de Valois sent to his ally an army commanded by Raoul de Brienne . Under the treaty of 1213 signed between Philip Augustus and Leoline the Great , the French king Charles the Wise supported from 1372 to 1378 the claims of Owain Lawgoch to the principality of Wales. From the start of the Hundred Years' War , the Gascon towns rallying around the Black Prince displayed the cross of Saint George . When eighty-two years later, theDecember 1 , 1420, the English seize Paris , Saint-Denis and its banner , the red of the cross of Saint George , which the French wore two and a half centuries earlier, is definitively fixed as the color of the enemy of the faithful at the Dauphin . Withdrawn to Bourges , they then chose to display a white cross and make themselves Saint Michel their patron .
The galleys
The red fleurdelysé d'or was chosen as the standard of the royal galleys while the royal vessels displayed white or sometimes white fleurdelysé d'or.
Blue
Holy bereaved Virgin in her ashen mantle - Spoleto , end of the 12th century .
The same one covering the faithful with its now blue cloak. The tunic is traditionally red.
Memmi , Orvieto , mid 14th century .
The Christian pallium
Since Antiquity , the rejection of the toga for the pallium (“a togā ad pallium”) signifies the vow to withdraw from the world. Tertullian 12 establishes this custom in the Christian tradition. From the 12th century onwards , new pigments appeared , pastel for clothing, real ultramarine for painting, the use of which was a sign of wealth as its manufacture was expensive. Only then is cosmic blue associated with the cloak of the saints, perhaps in contrast to the purple color of the imperial toga . Azure becomes a symbol of spiritual greatness.
It is the color of the cloak of the Virgin, who abandons her dark mourning clothes 1 previously painted black or dark gray. It is also the one which is now attributed to the cope of Saint Martin .
In the Carolingian era, the tradition was already established that this relic, of which no direct source prior to the 12th century specifies the shade N 1 , was used as palladium by Clovis N 2 . If it was worn by the Merovingian kings in war almost as a magical artifice N 3 , it will be worn by the Capetians at the time of the coronation . This is why they wear a coat with a blue background during this ceremony.
Capetian armorial
Raoul I of Vermandois.
Raoul I of Vermandois .
Kings of France before 1376.
Kings of France before 1376.
Kings of France after 1376.
Kings of France after 1376.
The blue of France
It was therefore at the beginning of the reign of the Capetians that Saint Martin's cope was colored blue. Blue is thus closely associated with the kings of France and appears very early in their fleur-de-lis coats of arms 13 , whose military use appears in the 12th century 14 . Donning the cope of Saint Martin is the symbol of the legitimacy conferred by the Church on the king, particularly at the time of the coronation , and conversely of the policy of Capetian France, "eldest daughter of the Church", relying on bishops and the pope .
The color of azure is in particular that of the arms of the younger branches of the royal family, for example those of Raoul I of Vermandois , “checked with gold and azure” 15 , between 1135 and 1145.
White
White cross of Saint Michael , opposite the red cross of the English, on a blue background, the color of the cope of Saint Martin and the Capetians . The Hundred Years' War established it as the military flag of France.
Cross of Saint Michael
Main article: Cross of Saint Michael .
The Crusades established the custom of distinguishing oneself in combat with crosses of different colors, crosses which for practical reasons were often reduced to double saltires . The figure of Saint Michael “captain of the heavenly armies” is associated with the warrior’s cross . Invoking for one's side the archangel fighting Satan is a way of insulting one's enemy if not symbolically sending him to the devil. From 1300, during the campaigns in Flanders , the royal armies became accustomed to displaying a white cross in the invocation of Saint Michael , first in a band or in a Latin cross 16 . At the battle of Mons-en-Pévèle in 1304, tactics prevailed over symbol, color over form, and the French knights girded themselves before setting off into battle with white meeting scarves to serve as a rallying sign just before load.
The Hundred Years' War was an opportunity to exalt the symbol of the white cross, opposed to the red cross of England . In 1355, John I of Armagnac required his soldiers to wear a white cross on the border of Guyenne 17 . During the summer of 1417, faced with the threat of the English troops of Henry V who fought with the emblem of the red cross, the inhabitants of Orléans able to take up arms received the order to wear a blue helmet marked on the chest of a white cross 18 .
Battle of Poitiers (1356): French wearing the red cross.
Battle of Poitiers (1356) : French wearing the red cross.
Battle of Poitiers (1356) French carrying the white cross. (Chronicles of Froissart, manuscript by Gruuthuse).
Battle of Poitiers (1356) French carrying the white cross. ( Chronicles of Froissart , manuscript by Gruuthuse ).
Burgundians carrying the cross of Saint Andrew in Paris in 1418.
Burgundians carrying the cross of Saint Andrew in Paris in 1418.
Siege of Paris by Joan of Arc (1429): Frenchman carrying the white cross.
Siege of Paris by Joan of Arc (1429): Frenchman carrying the white cross.
Siege of Rouen (1449): French standards.
Siege of Rouen (1449): French standards.
In 1418, the last son of Charles VI , who had become the dauphin the previous year, adopted, on his standards, the image of Saint Michael armed slaying the dragon and made the archangel the protector of France 19 . The emblem of the French fighters is therefore called the white cross of Saint Michael (symbol of light opposed to blood red) and, conversely, the archangel was represented with this cross 20 . This opposition between the English red cross and the French white cross insinuates itself into the ancillary conflicts, such as that between Armagnacs and Burgundians : the latter, allies of the English, wear the red saltire on a white background , while the former, fiercely opposed to the English , take back the white cross and the matching scarf 19 . In 1449, Mauléon was taken from the supporters of the Plantagenets and its defenders had to exchange their red crosses with white crosses for their submission 21 . In 1451, the white cross of Saint Michael appeared in the sky of conquered Bayonne 22 , on August 20, 23 , the day after the battle, and convinced the vanquished to change their colors and join the Valois party .
Saran is a commune in the Loiret department in north-central France.
Saran has, considering its size, many sports facilities including two stadiums, indoor and outdoor tennis courts, one swimming pool and four gymnasiums.
Loiret is a department in the Centre-Val de Loire region of north-central France. It takes its name from the river Loiret, which is contained wholly within the department. In 2019, Loiret had a population of 680,434.
Its prefecture is Orléans, which is about 110 km (68 mi) southwest of Paris. As well as being the regional prefecture, it is a historic city on the banks of the Loire. It has a large central area with many historic buildings and mansions. Orléans Cathedral, dating back to the 13th century, was rebuilt after Protestant forces destroyed it in 1568. Loiret has two subprefectures, in Montargis and Pithiviers. It is famous for its several châteaux.
History
Loiret is one of the original 83 departments that was created during the French Revolution on March 4, 1790, by order of the National Constituent Assembly. The new departments were to be uniformly administered and approximately equal to one another in size and population. It was created from the former province of Orléanais which was too large to continue in its previous form.
The Loire Valley was occupied in Palaeolithic times as attested by numerous archaeological sites in the department. The Celts were here, bringing crafts and trades, and the Romans occupied the area after the Gallic Wars. They built roads and founded cities such as Cenabum, on the site of present-day Orléans, and Sceaux-du-Gâtinais. Around 451, the Huns invaded the region but were repelled before reaching Cenabum. The Franks reached the Loire and Clovis I reigned in the area. A time of peace and prosperity ensued during the reign of Charlemagne.
Geography
The department of Loiret was historically in the province of Orléans in north central France, and along with the departments of Loir-et-Cher and Eure-et-Loir now forms the region Centre-Val de Loire. To the north of Loiret lie the departments of Eure-et-Loir, Essonne and Seine-et-Marne, to the east lies Yonne, to the southeast Nièvre, to the south Cher, and to the west Loir-et-Cher.
The department consists of mostly flat low-lying land through which flows the river Loire. This river enters the department near Châtillon-sur-Loire in the southeast, flows northwestwards to Orleans where it turns to flow south west, leaving the department near Beaugency. The Canal d'Orléans connects the Loire at Orléans to a junction with the Canal du Loing and the Canal de Briare in the village of Buges near Montargis. The Loire and these canals formed important trading routes before the arrival of the railways. The river Loiret, after which the department is named, is 12 km (7 mi) long and joins the Loire southwest of Orléans. Its source is at Orléans-la-Source, and its mouth at Saint-Hilaire-Saint-Mesmin. Other rivers in the department, are the Loing, a right-bank tributary of the Loire, and the Ouanne which flows into the Loing.
The department has a total area of 6,757 km2 (2,609 sq mi) and is 119 km (74 mi) from west to east and 77 km (48 mi) from north to south. Large parts of the land are used for agriculture, and these are separated by low wooded hills and some forested areas. The northwestern part of the department is in the wheat-growing region known as Beauce, an undulating plateau with some of France's best agricultural land. This area was popular with the French aristocracy in the Middle Ages and the Renaissance period, and there are many historic châteaux in the department including Château d'Augerville, Château de Bellegarde, Château de Gien, Château du Hallier, Château de Meung-sur-Loire, Château de Sully-sur-Loire and Château de Trousse-Barrière.
The part of the department south of the Loire is known as the Sologne and is an area of heathland and marshland, interspersed by hills where vines are grown. The eastern part of the department is known as Gâtinais and was part of a province of that name. Until the beginning of the 21st century, it used to be renowned for the production of saffron, but the crop could not be mechanised, and production dwindled as the cost of production became too high.
Principal towns
The most populous commune is Orléans, the prefecture. As of 2019, there are 6 communes with more than 15,000 inhabitants, all of which part of the agglomeration of Orléans:
Of the 1,669,332 acres (675,555 ha) of land in the department, 975,000 acres (395,000 ha) are arable, 100,000 acres (40,000 ha) are vines, 60,000 acres (24,000 ha) are pasture, 280,000 acres (110,000 ha) are forested, 16,000 acres (6,500 ha) are plantations and orchards and 140,000 acres (57,000 ha) are unproductive moorland and heathland. The soil is in general fertile and productive; the Beauce is the main wheat-growing region, oats are widely cultivated and rye is also grown. Other crops include fruit, asparagus, saffron and herbs. Vines are cultivated and wine produced, and the area is noted for its fruit preservation. Bee-keeping also takes place and honey is produced. Loiret has little industrial development, and commerce is centred about the sale of corn, timber, cattle, chestnuts, cider, honey, flour, fruits, fish, salt, saffron and wool. The only minerals extracted are stone, limestone, marl and clay.
Politics
See also: Departmental Council of Loiret
The president of the Departmental Council is Marc Gaudet, elected in 2017.
Transport
The department benefits from its proximity to Paris to which it has good transport links. Orléans does not yet have a TGV but is connected to Paris via fast express trains. The A71 autoroute links Paris with Orléans and Clermont-Ferrand, the A10 autoroute links Paris with Orléans and Bordeaux, and the Route nationale 20 links Paris with Orléans, Limoges, Toulouse and Spain.
Tourism
Orléans is a popular tourist destination and is associated with Joan of Arc. The Cathedral of Sainte-Croix was built in the Gothic style between 1278 and 1329, destroyed by Protestant forces in 1568, and rebuilt between the 17th and 19th centuries.
The Château de Sully-sur-Loire (French pronunciation: [ʃɑto də syli syʁ lwaʁ]; English: Castle of Sully-sur-Loire) is a castle, converted to a palatial seigneurial residence, situated in the commune of Sully-sur-Loire, Centre-Val de Loire, France.
The château was the seat of the Duke de Sully, King Henry IV of France's minister Maximilien de Béthune (1560–1641), and the later dukes of Sully. It is a château-fort, a true castle, built to control one of the few sites where the Loire can be forded.
Montrichard is a town and former commune in the Loir-et-Cher department, Centre-Val de Loire, France. On 1 January 2016, it was merged into the new commune of Montrichard Val de Cher.
During the French Revolution, the commune was known as Montégalité.
The town lies on the north bank of the river Cher. 32 kilometres (20 mi) south of Blois, 73 kilometres (45 mi) west of Vierzon and 42 kilometres (26 mi) east of Tours. The countryside is mainly constituted of vineyard, woods, cattle and cereals.
Château de Montrichard, a mediaeval castle.
Nanteuil Church (12th, 13th, 15th centuries), whose statue of the Virgin Mary is the object of a very ancient pilgrimage on Whit Monday.
Church of the Holy Cross (Église Ste-Croix) has a fine Romanesque doorway and was the site of Joan of France's marriage to the future king.
Château de Pont-Cher, a 15th-century home built into the cliff, containing the René Galloux collection of prehistoric and Gallo-Roman artefacts from excavations in the Cher valley.
The right pronunciation should be « MON-TRICHARD » [mɔ̃tʀiʃɑʀ], with a t. One of the explanations that may justify the pronunciation of "t" is the following: Montrichard was supposed to come from the French words "mont" (mountain, hill), "tri" (for three) and "chard" (square) because the town is situated on a hill surrounded on three sides by square towers.
Joan of France, Duchess of Berry, married the future king of France Louis XII in Montrichard, though the marriage was later annulled.
André Alerme, a French actor who appeared in more than 70 films, died here in 1960.
Paulette Abagnale,[citation needed] mother of Frank Abagnale, confidence trickster
Gaétan Cathelineau, painter of portraits and of historical and genre subjects.
Eugénie Luce, French educator who lived and worked in Algiers, died in Montrichard in 1882.
The town is mentioned in the 2002 feature film Catch Me If You Can, as the town from which the mother of Frank Abagnale came. Later in the film, Abagnale has set up a high-end printing facility for printing corporate cheques in Montrichard when he is tracked down and arrested by the FBI. The exterior shots of the town, however, were filmed in the Place Royale in the lower town of Quebec City, which is easily identifiable by the Notre-Dame-des-Victoires Church.
The Notre-Dame basilica of Cléry-Saint-André is a French religious building located in Cléry-Saint-André in the Loiret department ( Centre-Val-de-Loire region ) . Today the parish church of the Catholic community of Cléry, it is both collegiate 2 , royal chapel 3 and Marian basilica because of the devotion to Notre-Dame which developed there.
The building was popularized by the nursery rhyme Le Carillon de Vendôme 4 . It is classified as a historic monument by the 1840 list 1 and located within the perimeter of the Loire Valley , listed as a UNESCO world heritage site.
Geography
Notre-Dame Basilica is located in the city center of the commune of Cléry-Saint-André , in the canton of Cléry-Saint-André , the arrondissement of Orléans , the Loiret department , the Center region and the region natural beauty of the Loire Valley , 3 km from the left bank of the Loire . It depends on the ecclesiastical province of Tours , in the diocese of Orléans and the pastoral area of the Loire Valley and Sologne.
The building is located at approximately 95 m altitude, 15 km southwest of Orléans , 5.5 km east of Meung-sur-Loire and 132 km south of Paris ; it is framed by departmental roads (rue Louis XI), 951 (rue du maréchal Foch), rue du cloître and the Dunois and Cachon passages.
The church is 6 km from the Meung-sur-Loire SNCF station , 8 km from exit 15 of the A10 motorway and located on line 8 of the Ulys departmental coach network .
History
Middle Ages
The origin of the church would come from the discovery of a statue of the Holy Virgin on the site, to which miraculous virtues are attributed at the origin of a pilgrimage. In order to welcome pilgrims, Philip IV the Fair decided to build a collegiate church there around 1300.
The church was destroyed in 1428 during the Hundred Years' War by English troops, only the square bell tower remains on the north side. During a battle against the English, at Dieppe , Louis XI, then dauphin of France, vowed to rebuild a church in Cléry if he triumphed; the project will be implemented in 1443 by Charles VII and Jean de Dunois who founded the new church.
The reconstruction of the new building by Louis XI , following his victory at Dieppe in 1443, took place from 1449 to 1485 and was carried out under the direction of Pierre Chauvin and Pierre Le Page. On this occasion, the king donated the Holy Thorn and a relic of Saint Andrew ; In 1483 , the Saint-Jean chapel was built by the architect Simon Duval 10 for Jean de Dunois and his family who were buried there. In the 16th century , two chapels were added: around 1515 , Gilles de Pontbriant, dean of the chapter of Cléry and his brother, François de Pontbriant, architect then working on the neighboring construction site of the Château de Chambord , had the Saint-Jacques chapel built on the pilgrimage route to Santiago de Compostela ; a hexagonal chapel signed Jean des Roches .
We can follow the future of Notre-Dame de Cléry through the letters patent issued by Louis XI during his reign (1461-1483): from Tours, in October 1461: “Letters patent which confirm the exemptions, the rights, the bonds etc. inhabitants of the town of Clairy » ; from Tours, in December 1461: “Freedom from several taxes in favor of the town of Cléry” ; December 21, 1467, from Le Mans, the collegiate church also became a royal chapel: “General freedom from taxes and various other concessions for the church of Notre-Dame de Cléry” ; from Mehun-sur-Loire, October 24, 1471 : “Donation made by the King to the Chapter of the collegiate church of Cléry of four thousand pounds of income to add to the solemnity of the divine service”; from Plessis-du-Parc-lèz-Tours, in February 1478 , “Letters relating to the assignment of four thousand pounds of income, made to the chapter of Notre-Dame de Cléry, on the Lands and Lordships designated there” ; in January 1479 , from Les Forges-lèz-Chinon, two letters were issued, “Creation of dignities in the chapter of Notre-Dame de Cléry” and “Exemption from seal fees for the dean, the chapter, the vicars and regulars of the Notre-Dame de Cléry church » ; one in February 1479, from Les Forges-lèz-Chinon: “Ratification, with declaration, for a donation of four thousand pounds of income made to the Notre-Dame de Cléry church” and one in March 1479 from Tours: “ Letters concerning donations made to the Notre-Dame de Cléry church ». In November 1479, from Plessis-du-Parc-lèz-Tours, “Donation of salt to the church of Cléry”.
Finally, the king granted the barony of Cléry to the collegiate church of Notre-Dame de Cléry, by his letters patent. The parliament of Paris registered them onJuly 7, 148021 .
Letter from Louis XI dated June 24, 1480 and sent to the parliament of Paris
THESeptember 7, 1483, Louis XI, and Charlotte of Savoy , his wife, around December 1483 , were buried in the basilica. A tomb (originally a bronze mausoleum and statue of the king in enameled gilded copper represented as a praying hunter ) was then made by the goldsmith Conrad of Cologne and the gunner Laurent Wrine, cast after a sculpture by Colin d'Amiens.
Modern era
April 2, 1562, during the Wars of Religion , the tomb of the king and the statue of the Virgin were destroyed by the Protestants following the capture of the city of Orléans by the armies of the Prince of Condé . The lead from the coffins is cut into strips to be melted.
During the reign of King Henry III , processions to Notre-Dame de Cléry through the Royal Chapel were frequently carried out, notably during the Annunciation.
In 1622 , Louis XIII had a new, more modest marble tomb built which was in turn destroyed during the French Revolution (only the modern statue of the king and the four angels were preserved by Alexandre Lenoir in Paris in his Museum of French Monuments ). as well as a new statue of the Virgin in white marble signed Michel Bourdin d'Orléans, painter and architect in Paris.
Contemporary era
In the 19th century , the architect François-Narcisse Pagot and the sculptor Romagnési reconstituted a new mausoleum after the prefect Maxime de Choiseul d'Aillecourt repatriated the sculptures from the Museum of French Monuments in 1818 . The monument was dismantled in 1868 then replaced in 1896 on a monument designed by Alexandre Lenoir and adapted by the sculptor Libersac, a monument which today appears in the nave of the church.
Only the base of a sawn skull and a jaw, attributed to Charlotte of Savoy , a sawn cranial vault, a jaw and a fragment of the nasal part attributed to Louis XI, remain in Cléry, in the vault of the crypt of the basilica whose location was found in 1889 by Abbot Saget, then parish priest of Cléry, the rest of the bones having disappeared in 1792 after the passage of the revolutionaries.
In the 19th century , the building was restored by, among others, the French architect Eugène Viollet-le-Duc..
The church is classified as a historic monument on the 1840 list.
In 1873 , Count Georges de Balby de Vernon , member of the Archaeological and Historical Society of Orléanais, taking advantage of the restorations to carry out excavations of the ground, discovered the heart of King Charles VIII.
In 1891 , the Saint-Jean chapel was restored thanks to the patronage of the Marquise de Poterat.
The royal chapel became a basilica under the pontificate of Pope Leo XIII , theFebruary 2, 18948 .
In 2002 , the electricity, gas and telecommunications networks located in the vicinity of the basilica were buried and the building benefited from new lighting on its facades 32 . The same year, archaeological work on the contents of the tombs of the basilica was carried out by Dr. Gorbenko , a Ukrainian scientist. Their publication sparked violent controversies.
From March to December 2009 , € 690,000 provided by the Ministry of Recovery as part of the implementation of the recovery plan made it possible to restore the sculpted decorations of the south facade of chapels.
In 2018 the rector of the Notre-Dame de Cléry Basilica, Olivier de Scitivaux , was dismissed from his position by Bishop Jacques Blaquart after accusations of pedophilia. In 2021, after having admitted the attacks before a canonical judge , Olivier de Scitivaux was excluded from the clerical state by decision of the Congregation for the Doctrine of the Faith.
Architecture
The nave.
The general plan of the building is of the Latin cross type .
The vault of the basilica is Gothic style , the long-sided roof is covered with slates .
Works
The church has oak stalls dating from the mid- 16th century, a preaching pulpit and a baptismal font .
We also find the following works:
19th century processional banners representing Saint Andrew, the Virgin, the charity of Damville, Saint Reine and the Immaculate Conception;
paintings representing the Annunciation (1859) by Pichon and the death of Saint Joseph ;
statues representing the Virgin and Child , Saint Francis , Saint Vincent , Saint Sebastian , Saint James the Greater , Saint Andrew.
Attachment
The Notre-Dame basilica of Cléry-Saint-André belongs to the ecclesiastical province of Tours , to the diocese of Orléans in the pastoral zone of Orléans and to the deanery of Cléry-Sologne . Mass is celebrated in the basilica every Sunday morning and the pilgrimage takes place every September 8 (feast of the Nativity of Mary ) and the following Sunday
Germigny-des-Prés is a commune in the Loiret department in north-central France.
The oratory at Germigny-des-Prés (Loiret, Orléanais) was built by Bishop Theodulf of Orléans in 806 as part of his palace complex within the Gallo-Roman villa in Germaniacus. Theodulf, who was also abbot of the neighboring monastery of Saint-Benoît-sur-Loire, was a Spaniard and one of the most celebrated men of letters in the Carolingian Empire court of Charlemagne. The Carolingian architecture of his palace complex at Germigny-des-Prés was in a general sense modelled on Charlemagne's Palace of Aachen. All except the oratory was destroyed by the Vikings within a century of construction.
As reconstructed by Theodulf in 806, the oratory took the form of a rough square with single apses in the middle of the north, south, and west sides, and three apses on the east side. Internally, the space took the form of a Greek cross: a high central tower filled the central bay, barrel vaults extended off in the north, south, east, and west bays, while in the corner bays there were low domes carried on squinches. This plan type was later to become standard in Byzantine architecture.
Horseshoe arches are used throughout the church, an unusual element in French architecture derived, in this case, from the Visigothic practices of Theodulf's native Spain. The central apse of the east contains a rich and complex mosaic showing two cherubim above the Ark of the Covenant. Below his mosaic, Theodulf placed an inscription that occupies two lines:
Odo of Metz, an Armenian architect, built the Germigny des Prés in 806-811. According to Josef Strzygowski and Alexander Sahinian, the church was possibly influenced by the Etchmiadzin Cathedral, the mother church of Armenia.
The church was consecrated on 3 January 806, dedicated to SS.Geneviève and Germain. Damaged by fire before 854, it became part of a priory in 1067, and a parish church in the 13th century. The original circular plan was augmented with a nave in the 15-16th century, which involved the demolition of the Western abside. The nave was extended to the west in the 19th century, and a bell-tower erected. The church was classified as a monument historique in 1840 and restoration commenced in 1867.
The most ancient part of the existing church is the square building which surrounds the altar. Although often referred to as a 'Greek Cross' church, this building does not really fall into this category, as it has no projecting 'arms' or transepts, only a single apse on three sides, and a triple apse to the 'east' (the church is not aligned to the compass points). The triple apse would not appear to have been mirrored to the 'west' where the entrance was and is to be found, subsequent alteration has made it impossible to determine whether there was originally a narthex.
The church is also architecturally quite distinct from the Palatine chapel in Aachen, and from S. Vitale in Ravenna – two buildings upon which it is often claimed that SS.Geneviève & Germain is modelled – in that it is square rather than round, has exterior apses and is constructed differently. This is rather a rare survival of a very early form of Western European church, pre-dating and perhaps contributing to the development of the Romanesque which forms the majority of ancient churches in France and, indeed, in Western Europe.
The great treasure of the church is the mosaic of the Ark of the Covenant, on the ceiling of the apse. This mosaic is the only surviving Byzantine mosaic in France, although traces of mosaics elsewhere on the roof indicate that it was part of a wider decorative scheme. The mosaic owes its preservation to being plastered over at the time of the French Revolution; it was rediscovered in the middle of the 19th century. The mosaic is one of the few remaining artworks from the period of the Iconoclasm which convulsed the Eastern Church during the 8th & 9th centuries, but which also impacted on Western Christendom. Traditionally, the place occupied by this mosaic was reserved for images of the Virgin Mary, enthroned as Queen Of Heaven, with the Christ child on her knee, and with an attendant angel on either side. These angels pointed out the divine status of the figures between them.
The artist working at Germigny (who was obviously au fait with Byzantine practice, if not actually Greek himself) has replaced the portrait of the Virgin, Mother of Christ, with an equivalent but symbolic representation. The Ark of the Covenant contains ‘manna’, the miraculous bread given from Heaven to the Israelites in the desert; this was interpreted as a prefiguration of the Virgin, who bears Christ, the Holy Bread. The mosaicist, and Théodulf d'Orléans, seem to have held a middle course, balanced between extreme iconoclasm and the partisans of images such as John of Damascus. This moderate position is exactly that which the theologians appointed by Charlemagne in the Council of Frankfurt (794) decided upon.
Germigny-des-Prés is a French commune located in the Loiret department in the Centre-Val de Loire region . Its inhabitants are called Germignons.
The town is located within the perimeter of the Loire Valley , listed as a UNESCO world heritage site
The commune of Germigny-des-Prés is located in the center of the Loiret department, in the agricultural region of Val de Loire 3 and the urban area of Orléans 4 . As the crow flies , it is located 27.6 km from Orléans 5 , prefecture of the department, and 4.0 km from Châteauneuf-sur-Loire , former capital of the canton on which the commune depended beforeMarch 2015. The town is part of the Châteauneuf-sur-Loire 4 living area .
The closest towns are: Saint-Martin-d'Abbat (1.3 km ), Sigloy (3.3 km ), Châteauneuf-sur-Loire (4 km ), Saint-Aignan-des-Gués (4 km ) , Guilly (4.7 km ), Saint-Benoît-sur-Loire (5 km ), Neuvy-en-Sullias (5.8 km ), Ouvrouer-les-Champs (6.6 km ), Tigy (7.5 km ) and Bray-en-Val (7.6 km )
Germigny-des-Prés is a commune in the Loiret department in north-central France.
The oratory at Germigny-des-Prés (Loiret, Orléanais) was built by Bishop Theodulf of Orléans in 806 as part of his palace complex within the Gallo-Roman villa in Germaniacus. Theodulf, who was also abbot of the neighboring monastery of Saint-Benoît-sur-Loire, was a Spaniard and one of the most celebrated men of letters in the Carolingian Empire court of Charlemagne. The Carolingian architecture of his palace complex at Germigny-des-Prés was in a general sense modelled on Charlemagne's Palace of Aachen. All except the oratory was destroyed by the Vikings within a century of construction.
As reconstructed by Theodulf in 806, the oratory took the form of a rough square with single apses in the middle of the north, south, and west sides, and three apses on the east side. Internally, the space took the form of a Greek cross: a high central tower filled the central bay, barrel vaults extended off in the north, south, east, and west bays, while in the corner bays there were low domes carried on squinches. This plan type was later to become standard in Byzantine architecture.
Horseshoe arches are used throughout the church, an unusual element in French architecture derived, in this case, from the Visigothic practices of Theodulf's native Spain. The central apse of the east contains a rich and complex mosaic showing two cherubim above the Ark of the Covenant. Below his mosaic, Theodulf placed an inscription that occupies two lines:
Odo of Metz, an Armenian architect, built the Germigny des Prés in 806-811. According to Josef Strzygowski and Alexander Sahinian, the church was possibly influenced by the Etchmiadzin Cathedral, the mother church of Armenia.
The church was consecrated on 3 January 806, dedicated to SS.Geneviève and Germain. Damaged by fire before 854, it became part of a priory in 1067, and a parish church in the 13th century. The original circular plan was augmented with a nave in the 15-16th century, which involved the demolition of the Western abside. The nave was extended to the west in the 19th century, and a bell-tower erected. The church was classified as a monument historique in 1840 and restoration commenced in 1867.
The most ancient part of the existing church is the square building which surrounds the altar. Although often referred to as a 'Greek Cross' church, this building does not really fall into this category, as it has no projecting 'arms' or transepts, only a single apse on three sides, and a triple apse to the 'east' (the church is not aligned to the compass points). The triple apse would not appear to have been mirrored to the 'west' where the entrance was and is to be found, subsequent alteration has made it impossible to determine whether there was originally a narthex.
The church is also architecturally quite distinct from the Palatine chapel in Aachen, and from S. Vitale in Ravenna – two buildings upon which it is often claimed that SS.Geneviève & Germain is modelled – in that it is square rather than round, has exterior apses and is constructed differently. This is rather a rare survival of a very early form of Western European church, pre-dating and perhaps contributing to the development of the Romanesque which forms the majority of ancient churches in France and, indeed, in Western Europe.
The great treasure of the church is the mosaic of the Ark of the Covenant, on the ceiling of the apse. This mosaic is the only surviving Byzantine mosaic in France, although traces of mosaics elsewhere on the roof indicate that it was part of a wider decorative scheme. The mosaic owes its preservation to being plastered over at the time of the French Revolution; it was rediscovered in the middle of the 19th century. The mosaic is one of the few remaining artworks from the period of the Iconoclasm which convulsed the Eastern Church during the 8th & 9th centuries, but which also impacted on Western Christendom. Traditionally, the place occupied by this mosaic was reserved for images of the Virgin Mary, enthroned as Queen Of Heaven, with the Christ child on her knee, and with an attendant angel on either side. These angels pointed out the divine status of the figures between them.
The artist working at Germigny (who was obviously au fait with Byzantine practice, if not actually Greek himself) has replaced the portrait of the Virgin, Mother of Christ, with an equivalent but symbolic representation. The Ark of the Covenant contains ‘manna’, the miraculous bread given from Heaven to the Israelites in the desert; this was interpreted as a prefiguration of the Virgin, who bears Christ, the Holy Bread. The mosaicist, and Théodulf d'Orléans, seem to have held a middle course, balanced between extreme iconoclasm and the partisans of images such as John of Damascus. This moderate position is exactly that which the theologians appointed by Charlemagne in the Council of Frankfurt (794) decided upon.
Germigny-des-Prés is a French commune located in the Loiret department in the Centre-Val de Loire region . Its inhabitants are called Germignons.
The town is located within the perimeter of the Loire Valley , listed as a UNESCO world heritage site
The commune of Germigny-des-Prés is located in the center of the Loiret department, in the agricultural region of Val de Loire 3 and the urban area of Orléans 4 . As the crow flies , it is located 27.6 km from Orléans 5 , prefecture of the department, and 4.0 km from Châteauneuf-sur-Loire , former capital of the canton on which the commune depended beforeMarch 2015. The town is part of the Châteauneuf-sur-Loire 4 living area .
The closest towns are: Saint-Martin-d'Abbat (1.3 km ), Sigloy (3.3 km ), Châteauneuf-sur-Loire (4 km ), Saint-Aignan-des-Gués (4 km ) , Guilly (4.7 km ), Saint-Benoît-sur-Loire (5 km ), Neuvy-en-Sullias (5.8 km ), Ouvrouer-les-Champs (6.6 km ), Tigy (7.5 km ) and Bray-en-Val (7.6 km )
Ferney-Voltaire is a commune in the Ain department in the Auvergne-Rhône-Alpes region of eastern France. It lies between the Jura Mountains and the Swiss border; it forms part of the metropolitan area of Geneva.
Ferney was first noted in 14th-century Burgundian registers as "Fernex" and changed several times until the 19th century to Fernay, Fernaj, Fernai or Fernex before adopting its current name as 'Ferney-Voltaire' in 1791, after the French Revolution which saw a number of city names unchristened and then given more republican names.
During Voltaire's residence in Ferney in the second part of the 18th century, the town saw rapid expansion. Today Ferney is a peaceful town with a Saturday market and a large international community, due to the proximity of CERN and the United Nations Office at Geneva. Ferney is growing very quickly. It is also home to the Lycée International. Voltaire still presides over Ferney with his statue in the centre of town.
From 1759 to 1778 Ferney was home to French writer and philosopher Voltaire, sometimes referred to as "the patriarch of Ferney." His influence on the town was profound. He built the local church and founded cottage industries that produced some of the finest potters and watchmakers of modern France. The town was eventually renamed "Ferney-Voltaire" in his honour.
In 1759, after having lived in Geneva for less than two years, Voltaire purchased the estate of Ferney in France, near the Swiss border. A prime reason for his leaving Geneva was that theatre was forbidden in that Calvinist city, so he had decided to become the enlightened "patriarch" of the little village of Ferney, setting up potteries, a watchmaking industry and, of course, theatres, attracting rich people from Geneva to watch his plays.
During Voltaire's residence, the population of Ferney increased to more than 1,000. Voltaire lived there for the last 20 years of his life before returning to Paris, where he died in 1778.
Ferney's main attraction is Voltaire's house (château), built 1758–66, now owned and administered by the Centre des monuments nationaux (an arm of the French Ministry of Culture). The chateau includes the main building, with a reconstruction of Voltaire's room (moved from its original location by later private owners), a garden with a fine view of the Alps, and a church dedicated, contrary to custom, directly to God. In the church's inscription, "Deo erexit VOLTAIRE" ("Erected to God by VOLTAIRE"), Voltaire's name is written in the largest characters.
A few dozen metres from the chateau is another impressive house, built in 1900 by Monsieur Lambert (the sculptor of the statue of Voltaire; his family owned the chateau before it was purchased by the French government). The house, now privately owned, had been used to store provisions and wine for the chateau, and to accommodate the household staff.
The village features 18th-century houses and artisans' workshops; a life-size statue of Voltaire; a smaller bust of him, surmounting a fountain; many restaurants, French and foreign; and proximity to the nearby cosmopolitan city of Geneva, Switzerland.
Every Saturday, a market is held in the main street of Ferney.
The old road at the centre of the village is a remnant of the time when Voltaire resided at the chateau in Ferney-Voltaire.
The pedestal of the Voltaire statue, erected in 1890, dedicates that memorial to the town's "benefactor", noting that he built over a hundred houses for the inhabitants, as well as a school and church, gave the town interest-free loans, and fed its inhabitants in time of need.
On 31 May 2018, Président Emmanuel Macron officially visited the Château for the re-opening after renovation.
The Château de Châteauneuf-sur-Loire is a French castle, built in the 17th and 18th centuries, located in Châteauneuf-sur-Loire in the department of Loiret in the Centre-Val de Loire region.
The Loire Navy Museum (French: Musée de la Marine de Loire) is located in the old stables of the castle.
Geography
Originally, the castle was built in the former province of Orléanais of the Kingdom of France.
The building is located in the natural region of the Loire Valley, at the corner of the Douves and Aristide-Briand squares, in the town center of the commune, near the north bank of the Loire.
History
The construction of the castle began in the 17th century. Certain parts and structures of the seigneurial residence are made using a yellow calcareous stone from the quarries of the town of Apremont-sur-Allier. The blocks of stone were then transported by waterway via the course of the Allier, then that of the Loire using flat-bottomed boats.
It was bought between 1792 and 1794 by the Orléans architect Benoît Lebrun who had a large part of the building destroyed. It retained only the rotunda, a gallery, the orangery, the outbuildings and the entrance pavilions. He died there on September 29, 1819.
The commune of Châteauneuf-sur-Loire bought the castle in 1926 and set up schools and the town hall there.
Park
The organization of the park, dating from the 17th century, first followed the influence of André Le Nôtre, gardener to the King of France in the 17th century. In 1821, the space was remodeled into an English-style park under the impetus of René Charles Huillard d'Hérou.
The park extends over twenty hectares and includes a river that connects the castle moat to the banks of the Loire.
In 1934, the General Council of Loiret became the owner of the park and managed its development.
Notable flora include the alley of arborescent rhododendrons and azaleas, giant magnolias and tulip trees. The park is home to around 30 remarkable trees, including a Japanese pagoda tree and a Virginia tulip tree registered since June 2009 in the directory of remarkable trees in France.
The reconstruction of the Temple of Love originally built in the park in the 18th century was carried out by students from the Lycée Gaudier-Brzeska in Saint-Jean-de-Braye and inaugurated on February 14, 2009.
In 2010-2011, the General Council of Loiret developed 7 hectares of the park in order to clean up the park's wetlands and connect the promenade to the Loire.
Châteauneuf-sur-Loire is a commune in the Loiret department in north-central France.
Population
Historical population
YearPop.±% p.a.
19684,850—
19755,528+1.89%
19825,998+1.17%
19906,558+1.12%
19997,032+0.78%
20077,801+1.31%
20127,926+0.32%
20178,126+0.50%
Twin towns
Portugal Amarante, Portugal
Germany Bad Laasphe, Germany
André Le Nôtre (French pronunciation; 12 March 1613 – 15 September 1700), originally rendered as André Le Nostre, was a French landscape architect and the principal gardener of King Louis XIV of France. He was the landscape architect who designed the gardens of the Palace of Versailles; his work represents the height of the French formal garden style, or jardin à la française.
Prior to working on Versailles, Le Nôtre collaborated with Louis Le Vau and Charles Le Brun on the park at Vaux-le-Vicomte. His other works include the design of gardens and parks at Bicton Park Botanical Gardens, Chantilly, Fontainebleau, Saint-Cloud and Saint-Germain. His contribution to planning was also significant: at the Tuileries he extended the westward vista, which later became the avenue of the Champs-Élysées and comprise the Axe historique.
Biography
Early life
André Le Nôtre was born in Paris, into a family of gardeners. Pierre Le Nôtre, who was in charge of the Tuileries Garden in 1572, may have been his grandfather. André's father Jean Le Nôtre was also responsible for sections of the Tuileries gardens, initially under Claude Mollet, and later as head gardener, during the reign of Louis XIII. André was born on 12 March 1613, and was baptised at the Église Saint-Roch. His godfather at the ceremony was an administrator of the royal gardens, and his godmother was the wife of Claude Mollet.
The family lived in a house within the Tuilieries, and André thus grew up surrounded by gardening, and quickly acquired both practical and theoretical knowledge. The location also allowed him to study in the nearby Palais du Louvre, part of which was then used as an academy of the arts. He learned mathematics, painting and architecture, and entered the atelier of Simon Vouet, painter to Louis XIII, where he met and befriended the painter Charles Le Brun. He learned classical art and perspective, and studied for several years under the architect François Mansart, a friend of Le Brun.
Career
In 1635, Le Nôtre was named the principal gardener of the king's brother Gaston, Duke of Orléans. On 26 June 1637, Le Nôtre was appointed head gardener at the Tuileries, taking over his father's position. He had primary responsibility for the areas of the garden closest to the palace, including the orangery built by Simon Bouchard. In 1643 he was appointed "draughtsman of plants and terraces" for Anne of Austria, the queen mother, and from 1645 to 1646 he worked on the modernisation of the gardens of the Palace of Fontainebleau.
He was later put in charge of all the royal gardens of France, and in 1657 he was further appointed Controller-General of the Royal Buildings. There are few direct references to Le Nôtre in the royal accounts, and Le Nôtre himself seldom wrote down his ideas or approach to gardening. He expressed himself purely through his gardens. He became a trusted advisor to Louis XIV, and in 1675 he was ennobled by the King. He and Le Brun even accompanied the court at the Siege of Cambrai (1677).
In 1640, he married Françoise Langlois. They had three children, although none survived to adulthood.
Vaux-le-Vicomte
André Le Nôtre's first major garden design was undertaken for Nicolas Fouquet, Louis XIV's Superintendent of Finances. Fouquet began work on the Château de Vaux-le-Vicomte in 1657, employing the architect Louis Le Vau, the painter Charles Le Brun, and Le Nôtre. The three designers worked in partnership, with Le Nôtre laying out a grand, symmetrical arrangement of parterres, pools and gravel walks. Le Vau and Le Nôtre exploited the changing levels across the site, so that the canal is invisible from the house, and employed forced perspective to make the grotto appear closer than it really is. The gardens were complete by 1661, when Fouquet held a grand entertainment for the king. But only three weeks later, on 10 September 1661, Fouquet was arrested for embezzling state funds, and his artists and craftsmen were taken into the king's service.
Versailles
From 1661, Le Nôtre worked for Louis XIV to build and enhance the garden and parks of the Palace of Versailles. Louis extended the existing hunting lodge, eventually making it his primary residence and seat of power. Le Nôtre also laid out the radiating city plan of Versailles, which included the largest avenue yet seen in Europe, the Avenue de Paris.
In the following century, the Versailles design influenced Pierre Charles L'Enfant's master plan for Washington, D.C. See, L'Enfant Plan.
Other gardens
France
In 1661, Le Nôtre was also working on the gardens at the Palace of Fontainebleau. In 1663 he was engaged at the Château de Saint-Germain-en-Laye, and the Château de Saint-Cloud, residence of Philippe I, Duke of Orléans, where he would oversee works for many years. Also from 1663, Le Nôtre was engaged at the Château de Chantilly, the property of the Prince de Condé, where he worked with his brother-in-law Pierre Desgots until the 1680s. From 1664 he was rebuilding the gardens of the Tuileries, at the behest of Colbert, Louis's chief minister, who still hoped the king would remain in Paris. In 1667 Le Nôtre extended the main axis of the gardens westward, creating the avenue which would become the Champs-Élysées. Colbert commissioned Le Nôtre in 1670, to alter the gardens of his own Château de Sceaux, which was ongoing until 1683.
Abroad
Le Nôtre's most impressive design other than Versailles is the gardens of Bicton Park Botanical Gardens in Devon, England which can still be visited today. In 1662, he provided designs for Greenwich Park in London, for Charles II of England. In 1670 Le Nôtre conceived a project for the Castle of Racconigi in Italy, and between 1674 and 1698 he remodelled the gardens of the Palace of Venaria, and the Royal Palace of Turin. In 1679, he visited Italy.
Final works
Between 1679 and 1682, he was involved in the planning of the gardens of Château de Meudon for François-Michel le Tellier, Marquis de Louvois, and in 1691 redid the garden of the Hôtel de Saint-Aignan in Paris.
His work has often been favorably compared and contrasted ("the antithesis") to the œuvre of Capability Brown, the English landscape architect.
List of principal gardens by Le Nôtre
17th-century engraving of the gardens of the Château de Chantilly
Plan of the Château de Braine and its gardens
Gardens of Versailles, city plan of Versailles
Gardens of Bicton Park Botanical Gardens
Gardens of Vaux-le-Vicomte
Gardens of the Château de Saint-Germain-en-Laye
Gardens of the Château de Saint-Cloud (the château no longer stands but the gardens still exist)
Gardens of the Palais des Tuileries
Gardens of the Château de Sceaux
Gardens of the Château de Fontainebleau
Gardens of the Château de Chantilly
Gardens of the Château de Bercy (demolished), Charenton-le-Pont
Gardens of the Château de Braine (demolished, Braine, Aisne)
Gardens of the Château de Chambonas
Gardens of the Château d'Issy (demolished)
Gardens of the Château de Chenailles
In popular culture
André Le Nôtre was played by Matthias Schoenaerts in the 2014 film A Little Chaos.
The Louvre Palace (French: Palais du Louvre, [palɛ dy luvʁ]), often referred to simply as the Louvre, is an iconic French palace located on the Right Bank of the Seine in Paris, occupying a vast expanse of land between the Tuileries Gardens and the church of Saint-Germain l'Auxerrois. Originally a defensive castle, it has served several government-related functions in the past, including intermittently as a royal residence between the 14th and 18th centuries. It is now mostly used by the Louvre Museum, which first opened there in 1793.
While this area along the Seine had been inhabited for thousands of years, the Louvre's history starts around 1190 with its first construction as the Louvre Castle defending the western front of the Wall of Philip II Augustus, the then new city-wall of Paris. The Louvre's oldest section still standing above ground, its palatial Lescot Wing, dates from the late 1540s, when Francis I started the replacement of the greatly expanded medieval castle with a new design inspired by classical antiquity and Italian Renaissance architecture. Most parts of the current building were constructed in the 17th and 19th centuries. In the late 20th century, the Grand Louvre project increased visitor access and gallery space, including by adding the Louvre Pyramid in the courtyard Cour Napoléon.
For more than three centuries, the history and design of the Louvre was closely intertwined with that of the Tuileries Palace, created to the west of the Louvre by Queen Catherine de' Medici in 1564, with its main block finally demolished in 1883. The Tuileries was the premier seat of French executive power during the last third of that period, from the return of Louis XVI and his court from Versailles in October 1789 until the palace was set on fire during the Paris Commune of 1871. The Louvre and Tuileries became physically connected as part of the project called the "Grand Design", with the completion of the Pavillon de Flore in the early 1600s. The Pavillon de Flore and Pavillon de Marsan, which used to respectively mark the southern and northern ends of the Tuileries Palace, are now considered part of the Louvre Palace. The Carrousel Garden, first created in the late 19th century (during Napoleon III's Louvre expansion) in what used to be the great courtyard of the Tuileries (or Cour du Carrousel), is now considered part of the Tuileries Garden.
A less high-profile but historically significant dependency of the Louvre was to its immediate east, the Hôtel du Petit-Bourbon, appropriated by the monarchy following the betrayal of the Constable of Bourbon in 1523 and mostly demolished in October 1660 to give way to the Louvre's expansion.[4]: 37 The last remains of the Petit-Bourbon were cleared in the 1760s.
The Château de Châteauneuf-sur-Loire is a French castle, built in the 17th and 18th centuries, located in Châteauneuf-sur-Loire in the department of Loiret in the Centre-Val de Loire region.
The Loire Navy Museum (French: Musée de la Marine de Loire) is located in the old stables of the castle.
Originally, the castle was built in the former province of Orléanais of the Kingdom of France.
The building is located in the natural region of the Loire Valley, at the corner of the Douves and Aristide-Briand squares, in the town center of the commune, near the north bank of the Loire.
The construction of the castle began in the 17th century. Certain parts and structures of the seigneurial residence are made using a yellow calcareous stone from the quarries of the town of Apremont-sur-Allier. The blocks of stone were then transported by waterway via the course of the Allier, then that of the Loire using flat-bottomed boats.
It was bought between 1792 and 1794 by the Orléans architect Benoît Lebrun who had a large part of the building destroyed. It retained only the rotunda, a gallery, the orangery, the outbuildings and the entrance pavilions. He died there on September 29, 1819.
The commune of Châteauneuf-sur-Loire bought the castle in 1926 and set up schools and the town hall there.
The organization of the park, dating from the 17th century, first followed the influence of André Le Nôtre, gardener to the King of France in the 17th century. In 1821, the space was remodeled into an English-style park under the impetus of René Charles Huillard d'Hérou.
The park extends over twenty hectares and includes a river that connects the castle moat to the banks of the Loire.
In 1934, the General Council of Loiret became the owner of the park and managed its development.
Notable flora include the alley of arborescent rhododendrons and azaleas, giant magnolias and tulip trees. The park is home to around 30 remarkable trees, including a Japanese pagoda tree and a Virginia tulip tree registered since June 2009 in the directory of remarkable trees in France.
The reconstruction of the Temple of Love originally built in the park in the 18th century was carried out by students from the Lycée Gaudier-Brzeska in Saint-Jean-de-Braye and inaugurated on February 14, 2009.
In 2010-2011, the General Council of Loiret developed 7 hectares of the park in order to clean up the park's wetlands and connect the promenade to the Loire.
Hydrorrhage is a work by French artist Jean-Robert Ipoustéguy . It is a bronze sculpture designed in 1975. It is installed in the Open Air Sculpture Museum in Paris , France .
The work is a sculpture. It represents a helmeted man, protected behind what appears to be a shield. Corrugated tubes emerge from this shield, towards the front.
The work rests on a rectangular base bearing a label indicating the names of the work and the author, as well as the date of creation and the material used.
The sculpture is installed in the Open Air Sculpture Museum , a venue for exhibiting works by sculptors from the second half of the 20th century , in the Tino-Rossi garden , on the Port Saint-Bernard and along the Seine , in the 5th arrondissement of Paris .
The work is located in the middle of a pond.
Ipoustéguy , pseudonym of Jean Robert , born onJanuary 6, 1920in Dun-sur-Meuse ( Meuse ) and died onFebruary 8, 2006in Doulcon (Meuse) is a French sculptor and painter .
He created 600 sculptures.
In 1938, Jean Robert attended evening classes at the City of Paris in Robert Lesbounit 's studio . On the advice of his teacher, he adopted his mother's surname, Ipoustéguy, as his artist name.
In 1941, having refused to comply with the compulsory work service (STO) imposed during the Occupation , he found work at the Saintes train station , where he escaped a bombing raid thanks to a German soldier who opened the door to a blockhouse for him. In 2001, he donated Lenin's House to the town of Saintes , which can be seen at the station.
In 1948, he participated in a collective work experiment inspired by medieval building sites, at the request of Robert Lesbounit. He himself created two frescoes at the Saint-Jacques-le-Majeur church in Montrouge .
He abandoned painting in 1953 in favor of sculpture. He never stopped drawing and writing.
He works in his workshop located in the Gondoles district of Choisy-le-Roi .
Henri-Georges Adam introduced it to the May Salon in Paris.
In 1962, he joined the Claude-Bernard gallery in Paris where he stayed for 22 years.
In 1971, he built a set of monumental statues at the Laue-Langevin Institute in Grenoble called Man forcing unity .
In 1975, he created Hydrorrhage, a sculpture commissioned by the City of Paris which is on permanent display at the Open Air Sculpture Museum in Paris and in the park of the town hall in Bar-le-Duc ( Meuse ).
In 1979, Berlin commissioned Ipoustéguy to build in front of the Palais des Congrès the largest sculptural ensemble executed since the war by a single man: Man Builds His City .
In 1982, he created a monumental set of four sculptures, including an evocation of Louise Labé for the Place Louis-Pradel in Lyon and an evocation of the people of Lyon with a sculpture called Les Guignols 1 .
In 1985, in front of the Arsenal library , Place du Père-Teilhard-de-Chardin in Paris, he installed a portrait of Arthur Rimbaud which he titled The Man with Soles in Front .
In 1987, he built the Béraudier Fountain in Lyon in front of the Lyon-Part-Dieu station .
In 1986, he participated in a group exhibition at the DM Sarver gallery in Paris.
In 1988, he exhibited “Watercolors and Fruits” at the DM Sarver gallery.
In 1989, the monumental work To the Health of the Revolution was installed in the Jean-Moulin–Les Guilands park in Bagnolet / Montreuil .
In 1990, he was represented by the DM Sarver gallery at the SAGA Salon.
In 1991, he executed the Nicolas Appert column statue in Châlons-en-Champagne , commissioned by the Nicolas Appert International Association.
In 1992, he erected an 8-metre-high bronze statue, Protection of Life , at the Osnabrück hospital ( Germany).
In 1999 he installed his Gate of Heaven in the Dominican monastery in Brunswick and a monumental statue Sky, Sun, Moon in Salzgitter .
In 1994, he installed his monumental sculpture Death of Bishop Neumann , created in 1976, in the church of Dun-sur-Meuse. It had been refused in the United States.
Some of his works are presented in Bar-le-Duc , and the Ipoustéguy cultural center in Doulcon , a town bordering Dun-sur-Meuse , preserves a collection, in particular marbles.
Ipoustéguy was buried onFebruary 14, 2006in Paris at the Montparnasse cemetery ( 16th division). His tomb is decorated with one of his sculptures, Erose in Sleep .
The Château de Talcy is a historical building in Talcy, Loir-et-Cher, France. It lies to the north of the river Loire, in the Loire Valley, known for its 16th-century châteaux. From a fortification in existence in the 13th century additional wings were added in the 1620s. Modernised in the 18th century the interiors have been preserved. A Historical Monument first registered in 1906 it has been owned by the state since 1933. It is open to visitors.
It was first referenced in an act in 1221, although no description of the building is given. The title of Seigneur de Talcy was used in reference to the St Lazare family. It was bought in 1466 by a Parisian lawyer: Pierre Simon. The central tower was built by the Simon family in 1480. Three generations of the Simon family lived there before the family line died out on the death of Jean Simon, Bishop of Paris in 1502. His sister, Marie was the final owner. The building was bought from Marie Simon in 1517 by Roberto Bernard Salviati, a Florentine banker and his wife Francoise (née Doucet). Bernard Salviati requested that the building be fortified, the request was granted in 1520 by Jean d'Orleans-Longueville, archbishop of Toulouse and Seigneur of Beaugency. However limitations were placed on Salviati as to Seigneural rights: he could not keep an armed guard. Salviati was in a difficult situation, needing to be close to king François 1, as his banker yet not a French citizen.
The estate is better known in literary, rather than architectural history. Salviati's daughter and granddaughter, Cassandre and Diane, were the muses of two leading French poets of the time, Pierre de Ronsard and Théodore-Agrippa d'Aubigné, respectively.
Ronsard fell in love with the 15-year-old Cassandre in 1545, whom he met at a ball in Blois. He dedicated to her some of the best known sonnets in the French language. They were not allowed to marry as Ronsard was not considered a suitable match. She was married to Jean III de Peigné in 1546. Diane was the daughter of Cassandra's brother Jean Salviati. D'Aubigné, dedicated to Diane in 1571 the collection of sonnets, ballads, and idylls entitled Le Printemps and at her death the finest of his poems, Les Tragiques. Due to his strong Hugonout religion and her Catholism the couple were unable to marry, her family objected most strongly.
In the château is the "Chambre de la Médicis" where Catherine de' Medici and her son Charles IX are said to have planned the Massacre of Saint Bartholomew's Day during the "Conference of Talcy" 28 and 29 June 1572.
Jean Salviati, Seigneur de Talcy passed the château to his son Foréze Salviati and it then passed to his daughter Isabella Salviati, who extended the east wing of the château in 1638, when the gable of the church was rebuilt. Isabella had bought the château from her mother (Isabeau née Sardini) although she was married to Louis de la Marck, with whom she had four children. There are engraved marks of YS on the doors of the tower, denoting Isabella Salviati. The Salvatie family sold the estate in 1682. Although this may have been earlier as Antoine de Preuilly was registered to have sold it to Blanchard de St. Martin in 1674. From there the house was passed down through the family and it is known that Jeremie's Burgeat had inherited it, recorded on his accent to the peerage in 1720. The Burgeat family owned the property between 1704 and 1780. They carried out extensive modernisation of the building and redeveloped the gardens. Andre Burgeat sold the château in 1780 to Elizabeth Gastebois.
The Gastebois family, from La Rochelle were a Huguenot family and Elizabeth (1758–1830) had married Francois Charles Vincens (1757–1796), the Vincens being also Huguenot. Their daughter Marie Madeleine Pierrette Vincens (1778–1854) married Philipp Albert Stapfer in 1798 and their family moved into the chateau.
The chateau remained intact throughout the revolution due to the families (Gastebois, Vincens and Stapfer) strong egalitarian beliefs. Philipp and Marie had two sons: Charles Louis (1799–1880) and (Frederic) Albert (1802–1892). Charles Louis was the father of Paul Stapfer.
Albert spent his youth as a liberal journalist for le Globe and continued to support egalitarian policies, manning the barricades in the 1830 revolution. Retiring to Talcy after his marriage to Clarey Louise Vincens in 1835, he gained an interest in daguerreotypes, taking a series of pictures of the chateau, still on view there.
During the 1870 Franco-Prussian War, Albert hosted General Antoine Chanzy there, but he was driven out by the Prussians in the Battle of Beaugency (1870) in December 1870.
Albert died there in 1892, leaving it to his three children: Leon (Protestant minister at Jones, Le Mans and Blois), Genevieve (married Raoul Debaste) and Valentine. Leon retired to Talcy in 1906 and died in 1930. In 1933 Valentine and Helene Genevieve sold it to the state, on condition that the 18th-century interiors would be preserved intact.
The château is visited by 20,000 tourists annually.
Germigny-des-Prés is a commune in the Loiret department in north-central France.
The oratory at Germigny-des-Prés (Loiret, Orléanais) was built by Bishop Theodulf of Orléans in 806 as part of his palace complex within the Gallo-Roman villa in Germaniacus. Theodulf, who was also abbot of the neighboring monastery of Saint-Benoît-sur-Loire, was a Spaniard and one of the most celebrated men of letters in the Carolingian Empire court of Charlemagne. The Carolingian architecture of his palace complex at Germigny-des-Prés was in a general sense modelled on Charlemagne's Palace of Aachen. All except the oratory was destroyed by the Vikings within a century of construction.
As reconstructed by Theodulf in 806, the oratory took the form of a rough square with single apses in the middle of the north, south, and west sides, and three apses on the east side. Internally, the space took the form of a Greek cross: a high central tower filled the central bay, barrel vaults extended off in the north, south, east, and west bays, while in the corner bays there were low domes carried on squinches. This plan type was later to become standard in Byzantine architecture.
Horseshoe arches are used throughout the church, an unusual element in French architecture derived, in this case, from the Visigothic practices of Theodulf's native Spain. The central apse of the east contains a rich and complex mosaic showing two cherubim above the Ark of the Covenant. Below his mosaic, Theodulf placed an inscription that occupies two lines:
Odo of Metz, an Armenian architect, built the Germigny des Prés in 806-811. According to Josef Strzygowski and Alexander Sahinian, the church was possibly influenced by the Etchmiadzin Cathedral, the mother church of Armenia.
The church was consecrated on 3 January 806, dedicated to SS.Geneviève and Germain. Damaged by fire before 854, it became part of a priory in 1067, and a parish church in the 13th century. The original circular plan was augmented with a nave in the 15-16th century, which involved the demolition of the Western abside. The nave was extended to the west in the 19th century, and a bell-tower erected. The church was classified as a monument historique in 1840 and restoration commenced in 1867.
The most ancient part of the existing church is the square building which surrounds the altar. Although often referred to as a 'Greek Cross' church, this building does not really fall into this category, as it has no projecting 'arms' or transepts, only a single apse on three sides, and a triple apse to the 'east' (the church is not aligned to the compass points). The triple apse would not appear to have been mirrored to the 'west' where the entrance was and is to be found, subsequent alteration has made it impossible to determine whether there was originally a narthex.
The church is also architecturally quite distinct from the Palatine chapel in Aachen, and from S. Vitale in Ravenna – two buildings upon which it is often claimed that SS.Geneviève & Germain is modelled – in that it is square rather than round, has exterior apses and is constructed differently. This is rather a rare survival of a very early form of Western European church, pre-dating and perhaps contributing to the development of the Romanesque which forms the majority of ancient churches in France and, indeed, in Western Europe.
The great treasure of the church is the mosaic of the Ark of the Covenant, on the ceiling of the apse. This mosaic is the only surviving Byzantine mosaic in France, although traces of mosaics elsewhere on the roof indicate that it was part of a wider decorative scheme. The mosaic owes its preservation to being plastered over at the time of the French Revolution; it was rediscovered in the middle of the 19th century. The mosaic is one of the few remaining artworks from the period of the Iconoclasm which convulsed the Eastern Church during the 8th & 9th centuries, but which also impacted on Western Christendom. Traditionally, the place occupied by this mosaic was reserved for images of the Virgin Mary, enthroned as Queen Of Heaven, with the Christ child on her knee, and with an attendant angel on either side. These angels pointed out the divine status of the figures between them.
The artist working at Germigny (who was obviously au fait with Byzantine practice, if not actually Greek himself) has replaced the portrait of the Virgin, Mother of Christ, with an equivalent but symbolic representation. The Ark of the Covenant contains ‘manna’, the miraculous bread given from Heaven to the Israelites in the desert; this was interpreted as a prefiguration of the Virgin, who bears Christ, the Holy Bread. The mosaicist, and Théodulf d'Orléans, seem to have held a middle course, balanced between extreme iconoclasm and the partisans of images such as John of Damascus. This moderate position is exactly that which the theologians appointed by Charlemagne in the Council of Frankfurt (794) decided upon.
Germigny-des-Prés is a French commune located in the Loiret department in the Centre-Val de Loire region . Its inhabitants are called Germignons.
The town is located within the perimeter of the Loire Valley , listed as a UNESCO world heritage site
The commune of Germigny-des-Prés is located in the center of the Loiret department, in the agricultural region of Val de Loire 3 and the urban area of Orléans 4 . As the crow flies , it is located 27.6 km from Orléans 5 , prefecture of the department, and 4.0 km from Châteauneuf-sur-Loire , former capital of the canton on which the commune depended beforeMarch 2015. The town is part of the Châteauneuf-sur-Loire 4 living area .
The closest towns are: Saint-Martin-d'Abbat (1.3 km ), Sigloy (3.3 km ), Châteauneuf-sur-Loire (4 km ), Saint-Aignan-des-Gués (4 km ) , Guilly (4.7 km ), Saint-Benoît-sur-Loire (5 km ), Neuvy-en-Sullias (5.8 km ), Ouvrouer-les-Champs (6.6 km ), Tigy (7.5 km ) and Bray-en-Val (7.6 km )
The Prisoner of War Statue in Chateaudun, Eure-et-Loire, France, stands as a solemn tribute to the countless individuals who endured the hardships of war, particularly those who were held captive as prisoners of war. This poignant monument serves as a powerful reminder of the sacrifices made by individuals who found themselves caught in the crossfire of global conflicts.
Situated in the heart of Chateaudun, the statue is a symbol of remembrance and gratitude. It represents a universal narrative of resilience, courage, and the indomitable human spirit. The choice of Chateaudun as the location for such a monument is not arbitrary; the town has a rich history marked by the echoes of war, making it a fitting backdrop for a tribute to prisoners of war.
The statue, with its intricate details and evocative design, captures the essence of the prisoner of war experience. A central figure, stoic and resilient, stands as a representation of the countless men and women who faced the harsh realities of captivity. The sculptor's skill is evident in the way the statue conveys both the physical and emotional toll of confinement. The weariness in the figure's posture and the subtle lines etched on the face speak volumes about the trials faced by prisoners of war.
Surrounding the central figure are smaller sculptures and reliefs that depict various aspects of the prisoner of war experience. Scenes of camaraderie, solidarity, and the longing for freedom are all intricately woven into the narrative of the monument. These details serve as a testament to the complexity of the human experience during times of conflict, highlighting not only the hardships but also the moments of strength and connection that emerged amidst adversity.
The choice of materials, likely to be durable and weather-resistant, adds to the monument's longevity and symbolic significance. As the statue weathers the passage of time, it stands as a resilient guardian of memory, ensuring that the stories of those who suffered as prisoners of war are not forgotten. The monument's location in a public space further emphasizes its role as a shared cultural heritage, inviting both locals and visitors to reflect on the collective history it represents.
The Prisoner of War Statue in Chateaudun is not merely a work of art but a living testament to the human cost of war. It prompts viewers to contemplate the profound impact of armed conflict on individuals, families, and communities. In an era when the world is constantly reminded of the need for peace and understanding, this monument serves as a poignant call to remember the lessons of the past and strive for a future free from the shackles of war.
The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.
The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.
Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.
Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.
The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.
History
Main article: History of the Palace of Versailles
An engraving of Louis XIII's château as it appeared in 1652
Versailles around 1652, engraving by Jacques Gomboust [fr]
In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.
When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.
Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.
Construction
Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.
Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.
Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.
War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.
Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.
Role in politics and culture
The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.
By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[
Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.
During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.
In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.
The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.
As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.
By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.
19th century – history museum and government venue
When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.
In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.
The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.
Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.
During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.
The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.
20th century
The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.
The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.
More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.
In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.
Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.
One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.
21st century
In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.
The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.
The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.
Architecture and plan
The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.
The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[
The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.
Royal Apartments
The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.
The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.
The queen's apartments served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.
Ambassador's Staircase
The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.
The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.
The State Apartments of the King
The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.
The Salon of Hercules
This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.
The Salon of Abundance
The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.
The Salon of Venus
This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.
The Salon of Mercury
The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.
The Salon of Mars
The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.
The Salon of Apollo
The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.
The Salon of Diana
The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.
Private apartments of the King and Queen
The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.
The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.
The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.
The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.
Private apartments of The Queen
The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.
Hall of Mirrors
The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.
The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.
Royal Chapel
The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.
Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.
Royal Opera
The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.
In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.
Museum of the History of France
Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.
The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.
Estate of Versailles
The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts
The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.
The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.
Gardens
The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.
Subsidiary structures
The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.
In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.
La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.
Petit Trianon
The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.
In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.
The Grand Trianon
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.
The Queen's hamlet and Theater
Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.
Modern political and ceremonial functions
The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).
In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.
Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.
Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.
The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.
Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.
Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).
To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).
At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).
In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.
The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.
With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.
Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.
The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.
An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.
Every two years, the Festival de Loire recalls the role played by the river in the commune's history.
On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.
Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.
In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.
Early Middle Ages
In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.
High Middle Ages
The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.
On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.
1453 to 1699
Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).
The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.
From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.
The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.
1700–1900
When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.
The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.
1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.
1900 to present
During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.
The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.
Heraldry
According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."
The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".
Motto
"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.
Orléans is the birthplace of:
Sophie Adriansen (born 1982), French writer
Patrick Barul (born 1977), football player
Joelly Belleka (born 1995), basketball player
Raoul Blanchard (1877–1965), geographer
Maxence Boitez (Ridsa) (born 1990), singer
Patrick Bornhauser (born 1957), racing driver
Raymond Brugère (1885-1966), diplomat.
Jean-Baptiste Marc Bourgery (1797–1849), anatomist
Félix Cazot (1790–1857), classical pianist and composer
Philippe Chanlot (born 1967), football player
Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there
Gilles Delouche (1948–2020), linguist
Étienne Dolet (1509–1546), scholar and printer
Joël-François Durand (born 1954), composer
Jean-Louis Ferrary (1948–2020), historian
Georges Fleury (1878–1968), cyclist
Albert Gombault (1844–1904), neurologist
Guillaume Gomez (born 1969), racing driver
Jacques Guillemeau (1550–1613), physician
Albert Guyot (1881–1947), racing driver
Étienne Hubert (1567–1614), Arabist
Gaston d'Illiers (1876–1932), sculptor
Isaac Jogues (1607–1646), Jesuit missionary
Stanislas Julien (1797–1873), orientalist
Gustave Lanson (1857–1934), historian
Pierre Levesville (1570–1632), Renaissance architect
Anatole Loquin (1834–1903), writer and musicologist
Yven Moyo (born 1992), football player
Yves-Marie Pasquet (born 1947), composer
Charles Péguy (1873–1914), poet and essayist
Antoine Petit (1722–1794), physician
Lamine Sambe (born 1989), basketball player
Yacine Sene (born 1982), basketball player
Florian Thauvin (born 1993), football player
Christophe Tinseau (born 1969), racing driver
Jean Zay (1904–1944), jurist and politician
Historical landmarks
The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve
The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).
The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).
The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).
The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]
Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.
The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.
The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).
Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.
Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.
The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.
The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.
The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.
The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water
The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).
Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.
The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.
The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.
The Hôtel Toutin, 16th century
The Hôtel Pommeret d'Orléans, 16th century
The Hôtel Ducerceau, 16th century
The maison de la coquille, 16th century
The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.
The House of Jean Dalibert, 16th century
The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"
The mansions, rue d'Escure (17th and 18th centuries)
The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.
The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.
The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.
The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water
The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.
The courthouse (18th to 20th centuries)
The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.
Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.
Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.
Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).
Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).
The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.
Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.
Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).
Town Hall and Bishopric Gardens.
Blois achieved independence from the Diocese of Chartres in 1697, and the cathedral was completed by 1700. As a result, the first bishops engineered wide gardens on several levels, next to the premises. Since the destruction of the former Blois town hall during World War II, local authorities requisitioned the bishop's apartments to establish there the new town hall. Now organised as an urban park, the gardens offer a panoramic view on the downtown, the Loire river, and Blois-Vienne. A statue of Joan of Arc, given to the city by American patron J. Sanford Saltus, stands in the middle of the park. Bishopric gardens are open to public all the year, and a remarkable rose garden can be visited from 15 May and 30 September, each year.
Blois is a commune and the capital city of Loir-et-Cher department, in Centre-Val de Loire, France, on the banks of the lower Loire river between Orléans and Tours.
With 45,898 inhabitants by 2019, Blois is the most populated city of the department, and the 4th of the region.
Historically, the city was the capital of the County of Blois, created on 832 until its integration into the Royal domain in 1498, when Count Louis II of Orléans became King Louis XII of France. During the Renaissance, Blois was the official residence of the King of France.
History
Pre-history
Since 2013, excavations have been conducted by French National Institute of Preventive Archaeological Research (INRAP in French) in Vienne where they found evidence of "one or several camps of late Prehistory hunter-gatherers, who were also fishermen since fishing traps were found there.. [...] They were ancestors of the famous Neolithic farmer-herders, who were present in current France around 6,000 BCE [i.e.: 8,000 years ago]."
Ancient times
A major urban development begun in 1959 uncovered the remains of a late Gallic settlement and an urban centre from the Gallo-Roman period. At that time, the town was located on the road linking Chartres to Bourges. In the network of cities of the Carnutes people, Blois was a secondary settlement. Excavations carried out on the right bank between 2001 and 2016 and on the left bank in 2013-2014 revealed the presence of a largely developed town on the right bank and an occupation on the left bank during the Gallic and Gallo-Roman periods. The Loire river has undoubtedly always been a major axis route, although no traces of a port have been uncovered. However, there are remains of former bridges linking the two banks.
Middle Ages
Though of ancient origin, Blois is first distinctly mentioned by Gregory of Tours in the 6th century, and the city gained some notability in the 9th century, when it became the seat of a powerful countship known as Blesum castrum by the counts of Blois.
The Robertians were at the head of the county of Blois before 900. When Hugh the Great became duke of the Franks, he left the title of count to his faithful vassal, Theobald I of Blois (circa 940). His descendants, known as "Thibaldians", remained as Counts up until the county was incorporated into the royal domain in 1397. The House of Blois also succeeded in raising some of its members or descendants to the highest levels of the European nobility, notably by acceding to the thrones of France, England, Navarre, Spain and Portugal.
In 1171, Blois was the site of a blood libel against its Jewish community that led to 31 Jews (by some accounts 40) being burned to death. Their martyrdom also contributed to a prominent and durable school of poetry inspired by Christian persecution. In 1196, Count Louis I of Blois granted privileges to the townsmen; a commune, which survived throughout the Middle Ages, probably dated from this time. The counts of the Châtillon dynastic line resided at Blois more often than their predecessors, and the oldest parts of the Château of Blois (from the 13th century) were built by them.
In the Middle Ages, Blois was the seat of the County of Champagne when the latter passed to the French crown in 1314, forming the province of Champagne within the Kingdom of France. By 1397, Count Guy II of Blois-Châtillon offered the county to his cousin, Duke Louis I of Orléans, son of King Charles VI. In 1429, Joan of Arc made Blois her base of operations for the relief of Orléans. She rode the 35 miles on 29 April from Blois to relieve Orléans. In 1440, after his captivity in England, Duke Charles of Orléans (son of Duke Louis I) took up residence in the Château of Blois, where in 1462 his son was born, Duke Louis II of Orléans who would afterwards be known as Louis XII.
Renaissance era
By 1498, King Charles VIII died with no heirs in the Château of Amboise. As a result, Duke Louis II ran 22 miles between the Château and Blois, and was crowned as King Louis XII of France. He then married Charles VIII's widow, Queen Anne of Brittany, in 1499. The birth of their daughter, Claude of France, started the union of Brittany with France. Louis XII, as the last hereditary Count of Blois, naturally established his royal Court in the city. The Treaty of Blois, which temporarily halted the Italian Wars, was signed there in 1504–1505. During his reign, the city experienced a massive redevelopment, with some architectural elements inspired from the Italian Renaissance, as seen in the medieval castle immediately turned into a château, and the construction of many hôtels particuliers for the nobility throughout the entire kingdom. One of which, Hôtel d'Alluye, was built as a copy of an Italian palace for Florimond Robertet, who was an important French minister under King Charles VIII, King Louis XII and King Francis I.
On 1 January 1515, Louis XII died. His throne would be passed to Francis I, the husband to his daughter, Claude of France. In 1519, King Francis I ordered the construction of the Château of Chambord (10 miles away from Blois), but its construction lasted for one year before he died in 1547. In the meantime, he gradually expressed his will to move to Fontainebleau, near Paris, and started to abandon Blois. Much of the royal furniture was moved from Blois to Fontainebleau by 1539.
The French Wars of Religion was a significantly destructive conflict among the French people. The city's inhabitants included many Calvinists, and in 1562 and 1567 it was the scene of struggles between them and the supporters of the Catholic Church. On 4 July 1562, Blois and Beaugency, conquered by Protestants just before, were looted by Catholics led by Maréchal de St. André. On 7 February 1568, Protestants under Captain Boucard's command, looted and invaded the town, eventually killing many Catholics. Grey friars were also killed and thrown in the well of their own convent. In addition, all the churches were ransacked. In 1576 and 1588, King Henry III convoked the Estates General to Blois where he attained refuge after an uprising called the Day of the Barricades. In response, Duke Henry I of Guise was assassinated on 23 December 1588 for his involvement in the uprising. The following day, his brother, Cardinal Louis II of Guise, who was also Archbishop of Reims, suffered the same fate. Their deaths were shortly followed by that of the Queen-Mother, Catherine de' Medici.
In the 16th century, the French Royal court often made Blois their leisure resort.
Early modern era
After the departure of the Royal Court towards Paris, Blois lost the status of Royal residence, along with the luxury and economic activity that came with it. King Henry IV displaced the Royal library to Fontainebleau, which would later be the National Library of France (Bibliothèque nationale de France).
In 1606, Philippe de Béthune gave his ownership of Vienne-lez-Blois village, on the left bank of the Loire river, to Blois, making it a part of the city afterwards known as Blois-Vienne. From 1617 to 1619 Marie de' Medici, wife of King Henri IV, exiled from the court by his son, King Louis XIII, lived in the château. By 1622, the Counter-Reformation got establishment in Blois, founded a Society of Jesus and financed the construction of the St. Louis Chapel, which is today St. Vincent Church.
Then in 1634, Louis XIII exiled his brother, Gaston, Duke of Orléans and Count of Blois, who became attached to the city. The Duke in 1657, found a hospital in Blois-Vienne, now named Résidence Gaston d'Orléans, and financed the reconstruction of the Hôtel-Dieu. He remained in Blois until his death, in 1660.
Under Louis XIV's reign, Blois became un independent bishopric. David Nicolas de Bertier, first bishop of Blois from 1697, chose as seated cathedral St. Solenne Church, that had been destroyed by a storm and was under reconstruction, before being completed 3 years later in 1700, thanks to the intervention of Colbert's wife, who herself came from Blois. The new edifice became Blois Cathedral and got dedicated to St. Louis.
A wide episcopal palace is built by King Louis XIV's official architect, Jacques Gabriel, right next to the newly built cathedral, on a site overlooking the Loire Valley. Landscaping of terraced gardens began in 1703 and lasted nearly 50 years. The so-called Bishopric Gardens were first open to the public in 1791 by Henri Grégoire (known as the Abbot Grégoire), the first constitutional bishop after the French Revolution.
During the night between 6 and 7 February 1716, the medieval bridge collapsed. Construction of a new one is ordered during the following year. Jacques-Gabriel Bridge was inaugurated in 1724. All the levies were consolidated, and the river channel of La Bouillie in the prolongation of La Creusille Harbor was closed and dried out.
When Duke Gaston of Orléans died, the château ended up stripped by King Louis XIV, completely abandoned, to the point that King Louis XVI once considered to demolish it by 1788. The edifice was saved when the Royal-Comtois Regiment established their base within it.
In 1790, Orléanais province was dismantled, and the First Republic created the Loir-et-Cher department, with Blois as the local capital.
By 1814, Marie Louise, Duchess of Parma and wife of Napoleon I, found refuge in Blois.
Contemporary era
Another wind blew in Blois in the 19th century. First, the railroad came in 1846 with the inauguration of the Paris–Tours railway, whose Blois Station is a stop. The competition against river transportation gradually forced La Creusille Harbor to reinvent its activity. In parallel, the city got more industrialised from 1848 thanks to a successful chocolate brand created by Bloisian, Victor-Auguste Poulain.
Like Paris, Blois urban organisation was redesigned during 1850 and 1870 by Mayor Eugène Riffault, who was friends with Baron Georges-Eugène Haussmann. Thus, he had bound through a boulevard holding his name the modern upper town (where the cathedral, Hôtel of Préfecture, and Halle aux Grains are located), and the medieval lower town. He also paved the way to the construction of the boulevard Daniel Depuis, in the West of Blois. Between 1862 and 1865, the Denis-Papin staircase are built under La Morandière's supervision, in the axis of Jacques-Gabriel Bridge and Blois-Vienne's Wilson Avenue.
In the meantime, the lower town faced three of the most significant flooding of the Loire river: in 1846, 1856 (the worst), and 1866. The downtown districts of St. Jean and Blois-Vienne were under water, as well as La Bouillie spillway.
On 13 December 1871, the Prussian army took control of Blois during the Franco-Prussian War. The city was taken back by Lieutenant Georges de Villebois-Mareuil, General Joseph Pourcet, and General Bertrand de Chabron. Since then, a memorial stands on Wilson Avenue in Vienne.
In 1939, Blois Basilica construction was completed. That same year, between 29 January and 8 February, more than 3,100 Spanish refugees came to the Loir-et-Cher department, fleeing the Spanish Civil War and Dictator Francisco Franco. In June 1940, the German bombings destroyed a large part of the downtown, and the French destroyed the 10th arch of Jacques-Gabriel Bridge to prevent further advance for their enemies. The German army bombed the former Town Hall on 16 June, thus killing Mayor Émile Laurens in the process, and took over the city 2 days later, on 18 June, the exact same day of Charles de Gaulle's Appeal for Internal Resistance.
Between June and August 1944, US-English-allied bombings destroyed other infrastructures, like the railroad bridge between Blois and Romorantin. In total during WWII, 230 people were killed, and 1,522 buildings were entirely or partially destroyed. On 16 August 1944, the German troops ran to Blois-Vienne to get refuge there and destroyed the three central arches of the bridge. On 1 September, they surrendered. The bridge was rebuilt and reopened in December 1948.
In 1959, Mayor Marcel Bühler received President Charles de Gaulle and launched the construction of the ZUP, at the North of the city, on the same scheme of so-called banlieues of Paris or any other French city.
The Hôtel de Ville (City Hall) is the city hall of Paris, France, standing on the Place de l'Hôtel-de-Ville – Esplanade de la Libération in the 4th arrondissement. The south wing was originally constructed by Francis I beginning in 1535 until 1551. The north wing was built by Henry IV and Louis XIII between 1605 and 1628. It was burned by the Paris Commune, along with all the city archives that it contained, during the Semaine Sanglante, the Commune's final days, in May 1871. The outside was rebuilt following the original design, but larger, between 1874 and 1882, while the inside was considerably modified. It has been the headquarters of the municipality of Paris since 1357. It serves multiple functions, housing the local government council, since 1977 the Mayors of Paris and their cabinets, and also serves as a venue for large receptions.
Reconstruction of City Hall lasted from 1873 through 1892 (19 years) and was directed by architects Théodore Ballu and Édouard Deperthes, who had won the public competition for the building's reconstruction. The plan entailed the removal of the ruins, and the construction of a completely new building, with a central facade replicating the original 16th-century French Renaissance building. The side wings replicated those of the 1830-40s, but wider. Behind the facades, the interior was based on an entirely new design, with ceremonial rooms lavishly decorated in the 1880s style. Ballu also designed the Church of La Trinité in the 9th arrondissement and the belfry of the town hall of the 1st arrondissement, opposite the Louvre's east façade. He also restored the Saint-Jacques Tower, a Gothic church tower in a square 150 metres to the west of the Hôtel de Ville.
The central ceremonial doors under the clock are flanked by allegorical figures of Art, by Laurent Marqueste, and Science, by Jules Blanchard. Some 230 other sculptors were commissioned to produce 338 individual figures of famous Parisians on each façade, along with lions and other sculptural features. The sculptors included prominent academicians like Ernest-Eugène Hiolle and Henri Chapu, but easily the most famous was Auguste Rodin. Rodin produced the figure of the 18th-century mathematician Jean le Rond d'Alembert, finished in 1882.
The statue on the garden wall on the south side is of Étienne Marcel, the most famous holder of the post of prévôt des marchands (provost of the merchants) which predated the office of mayor. Marcel was lynched in 1358 by an angry mob after trying to assert the city's powers too energetically.
The decor featured murals by the leading painters of the day, including Puvis de Chavannes and others.
Fulbert of Chartres (French: Fulbert de Chartres; 952–970–10 April 1028) was the Bishop of Chartres from 1006 to 1028 and a teacher at the Cathedral school there. Fulbert was a pupil of Gerbert of Aurillac, who would later become Pope Sylvester II. He was responsible for the advancement of the Nativity of the Virgin's feast day on September 8 and for one of the many reconstructions of the Chartres Cathedral. Most of the available information about him is found in the letters he wrote from 1004–1028 to both secular and religious figures of the day.
Life
There is no conclusive evidence as to the exact date or location of Fulbert's birth, the sources vary in listing dates from 952 to 970. As to his place of birth, most sources place it in northern France, possibly Picardy, although some say northern Italy. The sources do agree, however, that he was of humble birth. Information from several sources places him at the cathedral school in Rheims in the 980s, where one of his fellow students was the future King Robert II (the Pious) of France. In the early to mid-990s Fulbert arrived at and began his involvement with the cathedral school there. His position is variously described as schoolmaster or assistant. He also assumed some minor ecclesiastical roles in the cathedral, but he was not a monk. In 1004 he became a deacon, and in 1006 he was appointed Bishop of Chartres, a position he maintained until his death on 10 April 1028 or 1029, again the sources vary, but the majority seem to settle on 1028. There is some dispute over Fulbert's sainthood, which arises from his contemporaries describing him as having a "saintly nature", a description which continued to be used by others after his death. Fulbert was never officially canonized by the Church, but permission was given by Rome for the dioceses of Chartres and Poitiers to celebrate his life on 10 April.
His feast is included in Martyrologium Romanum (2004) on 10 April
Writings
Of the writings that can be verifiably attributed to Fulbert, the bulk consists of his letters. His most famous letter was to Duke William V of Aquitaine on the duties of feudal lord and vassal. He also wrote to fellow churchmen on a variety of liturgical issues including the appointment of bishops, excommunication, and obedience. His letters also include correspondence about mundane issues of everyday life such as thanking people for medicine and setting up meetings. These letters provide insight into a variety of issues in the late tenth and early eleventh century France.
Poems
Fulbert wrote approximately 24 poems which have sometimes been described as humorous, such as his poem about the monk in the desert, or lovely, as when describing his “Ode to the Nightingale”.
Hymns
Most of Fulbert's hymns were written to glorify the Virgin. He also wrote “Chorus Novae Jerusalem” (Ye Choirs of New Jerusalem), to be sung at Easter services.
Sermons
Fulbert's most famous sermon is “ Approbate Consuetudinis”, in which he provides information regarding the importance of the celebration of the “Feast of Mary’s Nativity”.
Theological contributions
Like the recent millennium change, the one during Fulbert's lifetime also created a fear of the end of the world. The veneration of the Virgin Mary was already established in the Church, and Fulbert used this to teach her importance. The results were twofold, it helped to ease people's fears and greatly expanded the Marian Cult and Chartres's position in it. Chartres was already involved due to its being the holder of a sacred relic of Mary's, the “Sancta Camisia”, (Holy Tunic), which has been variously described as being worn by Mary during the Annunciation or during the birth of Christ. This tunic was already the subject of a miracle because of its use by an earlier bishop of Chartres, Gauscelinus, in 911 to ward off the invading Normans. Fulbert expanded on the theme of miracles involving Mary, especially those cases where she had interceded between sinners and God. In this way people could pray for Mary's intercession with God on their behalf in the perceived coming apocalypse. Fulbert himself was involved in one of these miracles; when he was gravely ill Mary had healed him with a drop of milk because of his devotion to her. This also served to give Mary the image of not only the mother of Christ, but for all who believed in her, their mother too. All of this led to Fulbert's ultimate goal of promoting a special feast day to celebrate Mary's Nativity.
To gain popular support for this feast, Fulbert wrote his famous sermon “Approbate Consuetudinis” in which he relates Mary's miracles. He also brings in the evidence of Mary's family lineage, which the Bible traces back to King David. In his sermon Fulbert used the symbolism of the “Stirps Jesse” (Tree of Jesse) to help explain Mary's familial relationship to the great men of the past and how it was determined, as described in Scripture, that she would be the one to whom Christ would be born. This again served to enhance her importance to the world and convince people of the need to celebrate her birth. This sermon led to a number of liturgical changes throughout the next few centuries in Europe. The sermon itself, or variations of it, and the chants associated with it, became part of the service for the feast day of Mary's Nativity on Sept. 8. By promoting the Feast day of Mary's Nativity, Fulbert was able to advance the importance of Mary and therefore the cult of her veneration grew. This in turn enhanced the importance of the Cathedral of Chartres as a centre for Marian devotion, and also gave people a spiritual symbol to turn to in times of need at the turn of the millennium.
Ecclesiastical reform
During his time in Chartres Fulbert played an important role in the development and spread of the ideas that led to the Gregorian church reforms of the eleventh century under Pope Gregory VII. These reforms concerned the division between the powers of church and state, especially in the appointment of new abbots and bishops. In the eleventh century the secular rulers had a habit of appointing whomever they wanted to fill vacant church positions. Fulbert and some of his students, such as Abbot Albert of Marmoutier, routinely wrote that it was up to the clergy and the citizens of the diocese involved to elect a replacement, the authority being found in the rulings of the First Council of Nicaea (325) and the Council of Antioch (264-272). These reforms also stated that the Church, not the state, was responsible for disciplining the clergy. The issues of simony (the buying of church offices) and immoral clerics were also addressed by Fulbert. Although the reforms were issued by Gregory VII, some of its ideas came from Fulbert, whose writings were disseminated through his students.
Architectural contributions
After Chartres Cathedral burned in 1020, Fulbert devoted his energies to raising funds for its rebuilding, which was completed in 1037, nine years after his death. In 1194 the cathedral was again almost completely destroyed by fire; only the crypt, some of the west facade and two towers remained. The crypt has been incorporated into all subsequent reconstructions. The construction of the Gothic-style cathedral that stands to-day began afterward. It is in this cathedral that we see Fulbert's influences that resulted from his promotion of the Feast day of Mary's Nativity and the cult of the Virgin Mary. The sculptures around the three portals depict the life of Mary, who is the central figure in the Royal Portal. One of the cathedral's stained glass windows depicts the Tree of Jesse, which traces Mary's family and the Holy Family, again a reference to Fulbert's teachings in regards to the Feast of Mary's Nativity.
Chartres is the prefecture of the Eure-et-Loir department in the Centre-Val de Loire region in France. It is located about 90 km (56 mi) southwest of Paris. At the 2019 census, there were 170,763 inhabitants in the metropolitan area of Chartres (as defined by the INSEE), 38,534 of whom lived in the city (commune) of Chartres proper.
Chartres is famous worldwide for its cathedral. Mostly constructed between 1193 and 1250, this Gothic cathedral is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. Part of the old town, including most of the library associated with the School of Chartres, was destroyed by Allied bombs in 1944.
History
Chartres was one of the principal towns in Gaul of the Carnutes, a Celtic tribe. In the Gallo-Roman period, it was called Autricum, name derived from the river Autura (Eure), and afterwards civitas Carnutum, "city of the Carnutes", from which Chartres got its name. The city was raided and burned down by the Norsemen in 858, and once again besieged, this time unsuccessfully, by them in 911.
During the Middle Ages, it was the most important town of the Beauce. It gave its name to a county which was held by the counts of Blois, and the counts of Champagne, and afterwards by the House of Châtillon, a member of which sold it to the Crown in 1286.
In 1417, during the Hundred Years' War, Chartres fell into the hands of the English, from whom it was recovered in 1432. In 1528, it was raised to the rank of a duchy by Francis I.
In 1568, during the Wars of Religion, Chartres was unsuccessfully besieged by the Huguenot leader, the Prince of Condé. It was finally taken by the royal troops of Henry IV on 19 April 1591. On Sunday, 27 February 1594, the cathedral of Chartres was the site of the coronation of Henry IV after he converted to the Catholic faith, the only king of France whose coronation ceremony was not performed in Reims.
In 1674, Louis XIV raised Chartres from a duchy to a duchy peerage in favor of his nephew, Duke Philippe II of Orléans. The title of Duke of Chartres was hereditary in the House of Orléans, and given to the eldest son of the Duke of Orléans.
In the 1870–1871 Franco-Prussian War, Chartres was seized by the Germans on 2 October 1870, and continued during the rest of the war to be an important centre of operations.
In World War II, the city suffered heavy damage by bombing and during the battle of Chartres in August 1944, but its cathedral was spared by an American Army officer who challenged the order to destroy it. On 16 August 1944, Colonel Welborn Barton Griffith, Jr. questioned the necessity of destroying the cathedral and volunteered to go behind enemy lines to find out whether the Germans were using it as an observation post. With his driver, Griffith proceeded to the cathedral and, after searching it all the way up its bell tower, confirmed to Headquarters that it was empty of Germans. The order to destroy the cathedral was withdrawn.
Colonel Griffith was killed in action later on that day in the town of Lèves, 3.5 kilometres (2.2 miles) north of Chartres. For his heroic action both at Chartres and Lèves, Colonel Griffith received, posthumously, several decorations awarded by the President of the United States and the U.S. Military, and also from the French government.
Following deep reconnaissance missions in the region by the 3rd Cavalry Group and units of the 1139 Engineer Combat Group, and after heavy fighting in and around the city, Chartres was liberated, on 18 August 1944, by the U.S. 5th Infantry and 7th Armored Divisions belonging to the XX Corps of the U.S. Third Army commanded by General George S. Patton.
Geography
Chartres is built on a hill on the left bank of the river Eure. Its renowned medieval cathedral is at the top of the hill, and its two spires are visible from miles away across the flat surrounding lands. To the southeast stretches the fertile plain of Beauce, the "granary of France", of which the town is the commercial centre.
Main sights
Chartres is best known for its cathedral, the Cathédrale Notre-Dame de Chartres, which is considered one of the finest and best preserved Gothic cathedrals in France and in Europe. Its historical and cultural importance has been recognized by its inclusion on the UNESCO list of World Heritage Sites.
It was built on the site of the former Chartres cathedral of Romanesque architecture, which was destroyed by fire in 1194 (that former cathedral had been built on the ruins of an ancient Celtic temple, later replaced by a Roman temple). Begun in 1205, the construction of Notre-Dame de Chartres was completed 66 years later.
The stained glass windows of the cathedral were financed by guilds of merchants and craftsmen, and by wealthy noblemen, whose names appear at the bottom.
It is not known how the famous and unique blue, bleu de Chartres, of the glass was created, and it has been impossible to replicate it. The French author Michel Pastoureau says that it could also be called bleu de Saint-Denis.
The Église Saint-Pierre de Chartres was the church of the Benedictine Abbaye Saint-Père-en-Vallée, founded in the 7th century by queen Balthild. At time of its construction, the abbey was outside the walls of the city. It contains fine stained glass and, formerly, twelve representations of the apostles in enamel, created about 1547 by Léonard Limosin, which now can be seen in the fine arts museum.
Other noteworthy churches of Chartres are Saint-Aignan (13th, 16th and 17th centuries), and Saint-Martin-au-Val (12th century), inside the Saint-Brice hospital.
Museums
Musée des Beaux-Arts, Fine arts museum, housed in the former episcopal palace adjacent to the cathedral.
Le Centre international du vitrail, a workshop-museum and cultural center devoted to stained glass art, located 50 metres (160 feet) from the cathedral.
Conservatoire du machinisme et des pratiques agricoles, an agricultural museum.
Musée le grenier de l'histoire, history museum specializing in military uniforms and accoutrements, in Lèves, a suburb of Chartres.
Muséum des sciences naturelles et de la préhistoire, Natural science and Prehistory Museum (closed since 2015).
Other sights
The Eure river running through Chartres
The river Eure, which at this point divides into three branches, is crossed by several bridges, some of them ancient, and is fringed in places by remains of the old fortifications, of which the Porte Guillaume (14th century), a gateway flanked by towers, was the most complete specimen, until destroyed by the retreating German army in the night of 15 to 16 August 1944. The steep, narrow streets of the old town contrast with the wide, shady boulevards which encircle it and separate it from the suburbs. The "parc André-Gagnon" or "Clos St. Jean", a pleasant park, lies to the north-west, and squares and open spaces are numerous.
Part of the Hôtel de Ville (City Hall) is a building of the 17th century called Hôtel de Montescot. The Maison Canoniale dating back to the 13th century, and several medieval and Renaissance houses, are of interest.
There is a statue of General Marceau (1769–1796), a native of Chartres and a general during the French Revolution.
La Maison Picassiette, a house decorated inside and out with mosaics of shards of broken china and pottery, is also worth a visit.
Economy
Chartres is one of the most important market towns in the region of Beauce (known as "the granary of France").
Historically, game pies and other delicacies of Chartres were well known, and the industries also included flour-milling, brewing, distilling, iron-founding, leather manufacture, perfumes, dyeing, stained glass, billiard requisites and hosiery. More recently, businesses include the manufacture of electronic equipment and car accessories.[citation needed]
Since 1976 the fashion and perfumes company Puig has had a production plant in this commune.
Transport
The Gare de Chartres railway station offers frequent services to Paris, and a few daily connections to Le Mans, Nogent-le-Rotrou and Courtalain. The A11 motorway connects Chartres with Paris and Le Mans.
Sport
Chartres is home to two semi-professional association football clubs; FC Chartres, who play in the French sixth division, and HB Chartres, who play in the seventh tier.
Chartres has a table tennis club which is playing in the Pro A (French First division) and in the European Champions League. The club won the ETTU Cup on the season 2010 – 2011 and it finished at the second position in the French First division.
Chartres has the second most important squash club in France.
There is also a handball club and it is playing in the French second division.
In November 2012, Chartres organized the European Short Course Swimming Championships.
Diocese
Main article: Diocese of Chartres
The town is the seat of a diocese (bishopric), a prefecture, and a cour d'assises. It has a Tribunal de grande instance, a Tribunal d'instance, a Chamber of commerce and a branch of the Banque de France.
Public and religious schooling from kindergarten through high school and vocational schools is given in mixed (boys and girls) establishments. The two main high schools are the Lycée Jehan de Beauce and the Lycée Marceau, named after two important personages of the history of Chartres: Jehan de Beauce was a 16th-century architect who rebuilt the northern steeple of the cathedral after it had been destroyed by lightning in July 1506, and Marceau, a native of city, who was a general during the French Revolution of 1789.
Pilgrimages
Chartres has been a site of Catholic pilgrimages since the Middle Ages. The poet Charles Péguy (1873–1914) revived the pilgrimage route between Paris and Chartres before World War I. After the war, some students carried on the pilgrimage in his memory. Since 1982, the association Notre-Dame de Chrétienté, with offices in Versailles, organizes the annual 100 km (62 mi) pilgrimage on foot from Notre-Dame de Paris to Notre-Dame de Chartres. About 15,000 pilgrims, from France and countries outside France, participate every year.
Bishops
Notable bishops of Chartres:
Fulbert of Chartres (1007–1029)
St. Ivo of Chartres (1090–1115)
John of Salisbury (1176–1180)
Érard de La Marck (1472–1538)
Notable people
Chartres was the birthplace of:
Hélène Boucher (1908–1934), pilot
Jacques Pierre Brissot (1754–1793), a leading member of the Girondist movement (French Revolution)
Julien Cétout (born 1987 or 1988), football player
Arlette Chabot (born 1951), journalist
Fulcher of Chartres (born around 1059 in or near Chartres), chronicler of the First Crusade
Alexis de Castillon (1838–1873), composer
Philippe de Dangeau (1638–1720), officer and member of the Académie française
Philippe Desportes (1546–1606), poet
Antoine François Desrues (1744–1777), poisoner
Loïc Duval (born 1982), racing driver
Julien Escudé (born 1979), football player
Nicolas Escudé (born 1976), tennis player
André Félibien (1619–1695), architect and historiographer
Achille Guenée (1809–1880), lawyer and entomologist
Pierre-Jules Hetzel (1814–1886), editor and publisher
Éric Lada (born 1965), football player
Luc Lamirault (born 1962), politician
François Séverin Marceau-Desgraviers (1769–1796), general
Pierre Nicole (1625–1695), Jansenist theologian
Jérôme Pétion de Villeneuve (1756–1794), writer and politician
Allison Pineau (born 1989), handball player
André Plassart (1889–1978), hellenist, epigrapher and archaeologist
Philippe Quintais (born 1967), pétanque player
Mathurin Régnier (1573–1613), satirist
Jacqueline de Romilly (1913–2010), philologist, classical scholar and fiction writer
Benjamin Nivet (born 1977), football player
Wandrille Lefèvre (born 1989), Canadian football player
Audrey Marnay (born 1980), actress and model
International relations
Chartres is twinned with:
Italy Ravenna, Italy (since 1957)
Germany Speyer, Germany (since 1959)
United Kingdom Chichester, United Kingdom (since 1959)
State of Palestine Bethlehem, Palestine (since 1995)
Portugal Évora, Portugal (since 2003)
Spain León, Spain (since 2009)
Japan Sakurai, Japan (since 1989)
The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers (12 mi) west of Paris, France.
The palace is owned by the French Republic and since 1995 has been managed, under the direction of the French Ministry of Culture, by the Public Establishment of the Palace, Museum and National Estate of Versailles. About 15,000,000 people visit the palace, park, or gardens of Versailles every year, making it one of the most popular tourist attractions in the world.
Louis XIII built a simple hunting lodge on the site of the Palace of Versailles in 1623. With his death came Louis XIV who expanded the château into the beginnings of a palace that went through several changes and phases from 1661 to 1715. It was a favorite residence for both kings, and in 1682, Louis XIV moved the seat of his court and government to Versailles, making the palace the de facto capital of France. This state of affairs was continued by Kings Louis XV and Louis XVI, who primarily made interior alterations to the palace, but in 1789 the royal family and capital of France returned to Paris. For the rest of the French Revolution, the Palace of Versailles was largely abandoned and emptied of its contents, and the population of the surrounding city plummeted.
Napoleon, following his coronation as Emperor, used Versailles as a summer residence from 1810 to 1814, but did not restore it. Following the Bourbon Restoration, when the king was returned to the throne, he resided in Paris and it was not until the 1830s that meaningful repairs were made to the palace. A museum of French history was installed within it, replacing the apartments of the southern wing.
The palace and park were designated a World Heritage Site by UNESCO in 1979 for its importance as the center of power, art, and science in France during the 17th and 18th centuries. The French Ministry of Culture has placed the palace, its gardens, and some of its subsidiary structures on its list of culturally significant monuments.
History
Main article: History of the Palace of Versailles
An engraving of Louis XIII's château as it appeared in 1652
Versailles around 1652, engraving by Jacques Gomboust [fr]
In 1623, Louis XIII, King of France, built a hunting lodge on a hill in a favorite hunting ground, 19 kilometers (12 mi) west of Paris and 16 kilometers (10 mi) from his primary residence, the Château de Saint-Germain-en-Laye The site, near a village named Versailles, was a wooded wetland that Louis XIII's court scorned as being generally unworthy of a king; one of his courtiers, François de Bassompierre, wrote that the lodge "would not inspire vanity in even the simplest gentleman". From 1631 to 1634, architect Philibert Le Roy replaced the lodge with a château for Louis XIII, who forbade his queen, Anne of Austria, from staying there overnight, even when an outbreak of smallpox at Saint-Germain-en-Laye in 1641 forced Louis XIII to relocate to Versailles with his three-year-old heir, the future Louis XIV.
When Louis XIII died in 1643, Anne became Louis XIV's regent, and Louis XIII's château was abandoned for the next decade. She moved the court back to Paris, where Anne and her chief minister, Cardinal Mazarin, continued Louis XIII's unpopular monetary practices. This led to the Fronde, a series of revolts against royal authority from 1648 to 1653 that masked a struggle between Mazarin and the princes of the blood, Louis XIV's extended family, for influence over him. In the aftermath of the Fronde, Louis XIV became determined to rule alone. Following Mazarin's death in 1661, Louis XIV reformed his government to exclude his mother and the princes of the blood, moved the court back to Saint-Germain-en-Laye, and ordered the expansion of his father's château at Versailles into a palace.
Louis XIV had hunted at Versailles in the 1650s, but did not take any special interest in Versailles until 1661. On 17 August 1661, Louis XIV was a guest at a sumptuous festival hosted by Nicolas Fouquet, the Superintendent of Finances, at his palatial residence, the Château de Vaux-le-Vicomte. Louis XIV was impressed by the château and its gardens, which were the work of Louis Le Vau, the court architect since 1654, André Le Nôtre, the royal gardener since 1657, and Charles Le Brun, a painter in royal service since 1647. Vaux-le-Vicomte's scale and opulence inspired Louis XIV's aesthetic sense, but also led him to imprison Fouquet that September, as he had also built an island fortress and a private army. Louis XIV was also inspired by Vaux-le-Vicomte, and he recruited its authors for his own projects. Louis XIV replaced Fouquet with Jean-Baptiste Colbert, a protégé of Mazarin and enemy of Fouquet, and charged him with managing the corps of artisans in royal employment. Colbert acted as the intermediary between them and Louis XIV, who personally directed and inspected the planning and construction of Versailles.
Construction
Work at Versailles was at first concentrated on gardens, and through the 1660s, Le Vau only added two detached service wings and a forecourt to the château. But in 1668–69, as a response to the growth of the gardens, and victory over Spain in the War of Devolution, Louis XIV decided to turn Versailles into a full-scale royal residence. He vacillated between replacing or incorporating his father's château, but settled on the latter by the end of the decade, and from 1668 to 1671, Louis XIII's château was encased on three sides in a feature dubbed the enveloppe. This gave the château a new, Italianate façade overlooking the gardens, but preserved the courtyard façade, resulting in a mix of styles and materials that dismayed Louis XIV and that Colbert described as a "patchwork". Attempts to homogenize the two façades failed, and in 1670 Le Vau died, leaving the post of First Architect to the King vacant for the next seven years.
Le Vau was succeeded at Versailles by his assistant, architect François d'Orbay. Work at the palace during the 1670s focused on its interiors, as the palace was then nearing completion, though d'Orbay expanded Le Vau's service wings and connected them to the château, and built a pair of pavilions for government employees in the forecourt. In 1670, d'Orbay was tasked by Louis XIV with designing a city, also called Versailles, to house and service Louis XIV's growing government and court. The granting of land to courtiers for the construction of townhouses that resembled the palace began in 1671. The next year, the Franco-Dutch War began and funding for Versailles was cut until 1674, when Louis XIV had work begun on the Ambassadors' Staircase , a grand staircase for the reception of guests, and demolished the last of the village of Versailles.
Following the end of the Franco-Dutch War with French victory in 1678, Louis XIV appointed as First Architect Jules Hardouin-Mansart, an experienced architect in Louis XIV's confidence, who would benefit from a restored budget and large workforce of former soldiers. Mansart began his tenure with the addition from 1678 to 1681 of the Hall of Mirrors, a renovation of the courtyard façade of Louis XIII's château, and the expansion of d'Orbay's pavilions to create the Ministers' Wings in 1678–79. Adjacent to the palace, Mansart built a pair of stables called the Grande and Petite Écuries from 1679 to 1682 and the Grand Commun, which housed the palace's servants and general kitchens, from 1682 to 1684. Mansart also added two entirely new wings in Le Vau's Italianate style to house the court, first at the south end of the palace from 1679 to 1681 and then at its north end from 1685 to 1689.
War and the resulting diminished funding slowed construction at Versailles for the rest of the 17th century. The Nine Years' War, which began in 1688, stopped work altogether until 1698. Three years later, however, the even more expensive War of the Spanish Succession began and, combined with poor harvests in 1693–94 and 1709–10, plunged France into crisis. Louis XIV thus slashed funding and canceled some of the work Mansart had planned in the 1680s, such as the remodeling of the courtyard façade in the Italianate style. Louis XIV and Mansart focused on a permanent palace chapel, the construction of which lasted from 1699 to 1710.
Louis XIV's successors, Louis XV and Louis XVI, largely left Versailles as they inherited it and focused on the palace's interiors. Louis XV's modifications began in the 1730s, with the completion of the Salon d'Hercule, a ballroom in the north wing, and the expansion of the king's private apartment, which required the demolition of the Ambassadors' Staircase In 1748, Louis XV began construction of a palace theater, the Royal Opera of Versailles at the northernmost end of the palace, but completion was delayed until 1770; construction was interrupted in the 1740s by the War of the Austrian Succession and then again in 1756 with the start of the Seven Years' War. These wars emptied the royal treasury and thereafter construction was mostly funded by Madame du Barry, Louis XV's favorite mistress. In 1771, Louis XV had the northern Ministers' Wing rebuilt in Neoclassical style by Ange-Jacques Gabriel, his court architect, as it was in the process of falling down. That work was also stopped by financial constraints, and it remained incomplete when Louis XV died in 1774. In 1784, Louis XVI briefly moved the royal family to the Château de Saint-Cloud ahead of more renovations to the Palace of Versailles, but construction could not begin because of financial difficulty and political crisis. In 1789, the French Revolution swept the royal family and government out of Versailles forever.
Role in politics and culture
The Palace of Versailles was key to Louis XIV's politics, as an expression and concentration of French art and culture, and for the centralization of royal power. Louis XIV first used Versailles to promote himself with a series of nighttime festivals in its gardens in 1664, 1668, and 1674, the events of which were disseminated throughout Europe by print and engravings. As early as 1669, but especially from 1678, Louis XIV sought to make Versailles his seat of government, and he expanded the palace so as to fit the court within it. The moving of the court to Versailles did not come until 1682, however, and not officially, as opinion on Versailles was mixed among the nobility of France.
By 1687, however, it was evident to all that Versailles was the de facto capital of France, and Louis XIV succeeded in attracting the nobility to Versailles to pursue prestige and royal patronage within a strict court etiquette, thus eroding their traditional provincial power bases. It was at the Palace of Versailles that Louis XIV received the Doge of Genoa, Francesco Maria Imperiale Lercari in 1685, an embassy from the Ayutthaya Kingdom in 1686, and an embassy from Safavid Iran in 1715.[
Louis XIV died at Versailles on 1 September 1715 and was succeeded by his five-year-old great-grandson, Louis XV, then the duke of Anjou, who was moved to Vincennes and then to Paris by Louis XV's regent, Philippe II, Duke of Orléans. Versailles was neglected until 1722, when Philippe II removed the court to Versailles to escape the unpopularity of his regency, and when Louis XV began his majority. The 1722 move, however, broke the cultural power of Versailles, and during the reign of Louis XVI, courtiers spent their leisure in Paris, not Versailles.
During Christmas 1763, Mozart and his family visited Versailles and dined with the kings. The 7-year-old Mozart played several works during his stay and later dedicated his first two harpsichord sonatas, published in 1764 in Paris, to Madame Victoria, daughter of Louis XV.
In 1783, the palace was the site of the signing of the last two of the three treaties of the Peace of Paris (1783), which ended the American Revolutionary War. On September 3, British and American delegates, led by Benjamin Franklin, signed the Treaty of Paris at the Hôtel d'York (now 56 Rue Jacob) in Paris, granting the United States independence. On September 4, Spain and France signed separate treaties with England at the Palace of Versailles, formally ending the war.
The King and Queen learned of the Storming of the Bastille in Paris on 14 July 1789, while they were at the palace, and remained isolated there as the Revolution in Paris spread. The growing anger in Paris led to the Women's March on Versailles on 5 October 1789. A crowd of several thousand men and women, protesting the high price and scarcity of bread, marched from the markets of Paris to Versailles. They took weapons from the city armory, besieged the palace, and compelled the King and royal family and the members of the National Assembly to return with them to Paris the following day.
As soon as the royal family departed, the palace was closed. In 1792, the National Convention, the new revolutionary government, ordered the transfer of all the paintings and sculptures from the palace to the Louvre. In 1793, the Convention declared the abolition of the monarchy and ordered all of the royal property in the palace to be sold at auction. The auction took place between 25 August 1793 and 11 August 1794. The furnishings and art of the palace, including the furniture, mirrors, baths, and kitchen equipment, were sold in seventeen thousand lots. All fleurs-de-lys and royal emblems on the buildings were chambered or chiseled off. The empty buildings were turned into a storehouse for furnishings, art and libraries confiscated from the nobility. The empty grand apartments were opened for tours beginning in 1793, and a small museum of French paintings and art school was opened in some of the empty rooms.
By virtue of an order issued by the Versailles district directorate in August 1794, the Royal Gate was destroyed, the Cour Royale was cleared and the Cour de Marbre lost its precious floor.
19th century – history museum and government venue
When Napoleon became Emperor of the French in 1804, he considered making Versailles his residence but abandoned the idea because of the cost of the renovation. Prior to his marriage with Marie-Louise in 1810, he had the Grand Trianon restored and refurnished as a springtime residence for himself and his family, in the style of furnishing that it is seen today.
In 1815, with the final downfall of Napoleon, Louis XVIII, the younger brother of Louis XVI, became King, and considered returning the royal residence to Versailles, where he had been born. He ordered the restoration of the royal apartments, but the task and cost was too great. Louis XVIII had the far end of the south wing of the Cour Royale demolished and rebuilt (1814–1824) to match the Gabriel wing of 1780 opposite, which gave greater uniformity of appearance to the front entrance. Neither he nor his successor Charles X lived at Versailles.
The French Revolution of 1830 brought a new monarch, Louis-Philippe to power, and a new ambition for Versailles. He did not reside at Versailles but began the creation of the Museum of the History of France, dedicated to "all the glories of France", which had been used to house some members of the royal family. The museum was begun in 1833 and inaugurated on 30 June 1837. Its most famous room is the Galerie des Batailles (Hall of Battles), which lies on most of the length of the second floor of the south wing. The museum project largely came to a halt when Louis Philippe was overthrown in 1848, though the paintings of French heroes and great battles still remain in the south wing.
Emperor Napoleon III used the palace on occasion as a stage for grand ceremonies. One of the most lavish was the banquet that he hosted for Queen Victoria in the Royal Opera of Versailles on 25 August 1855.
During the Franco-Prussian War of 1870–1871, the palace was occupied by the general staff of the victorious German Army. Parts of the château, including the Gallery of Mirrors, were turned into a military hospital. The creation of the German Empire, combining Prussia and the surrounding German states under William I, was formally proclaimed in the Hall of Mirrors on 18 January 1871. The Germans remained in the palace until the signing of the armistice in March 1871. In that month, the government of the new Third French Republic, which had departed Paris during the War for Tours and then Bordeaux, moved into the palace. The National Assembly held its meetings in the Opera House.
The uprising of the Paris Commune in March 1871, prevented the French government, under Adolphe Thiers, from returning immediately to Paris. The military operation which suppressed the Commune at the end of May was directed from Versailles, and the prisoners of the Commune were marched there and put on trial in military courts. In 1875 a second parliamentary body, the French Senate, was created and held its meetings for the election of a President of the Republic in a new hall created in 1876 in the south wing of the palace. The French Senate continues to meet in the palace on special occasions, such as the amendment of the French Constitution.
20th century
The end of the 19th and the early 20th century saw the beginning of restoration efforts at the palace, first led by Pierre de Nolhac, poet and scholar and the first conservator, who began his work in 1892. The conservation and restoration were interrupted by two world wars but have continued until the present day.
The palace returned to the world stage in June 1919, when, after six months of negotiations, the Treaty of Versailles, formally ending the First World War, was signed in the Hall of Mirrors. Between 1925 and 1928, the American philanthropist and multi-millionaire John D. Rockefeller, Jr. gave $2,166,000, the equivalent of about thirty million dollars today, to restore and refurbish the palace.
More work took place after World War II, with the restoration of the Royal Opera of Versailles. The theater was reopened in 1957, in the presence of Queen Elizabeth II of the United Kingdom.
In 1978, parts of the palace were heavily damaged in a bombing committed by Breton terrorists.
Starting in the 1950s, when the museum of Versailles was under the directorship of Gérald van der Kemp, the objective was to restore the palace to its state – or as close to it as possible – in 1789 when the royal family left the palace. Among the early projects was the repair of the roof over the Hall of Mirrors; the publicity campaign brought international attention to the plight of post-war Versailles and garnered much foreign money including a grant from the Rockefeller Foundation.
One of the more costly endeavors for the museum and France's Fifth Republic has been to repurchase as much of the original furnishings as possible. Consequently, because furniture with a royal provenance – and especially furniture that was made for Versailles – is a highly sought-after commodity on the international market, the museum has spent considerable funds on retrieving much of the palace's original furnishings.
21st century
In 2003, a new restoration initiative – the "Grand Versailles" project – was started, which began with the replanting of the gardens, which had lost over 10,000 trees during Cyclone Lothar on 26 December 1999. One part of the initiative, the restoration of the Hall of Mirrors, was completed in 2006. Another major project was the further restoration of the backstage areas of the Royal Opera of Versailles in 2007 to 2009.
The Palace of Versailles is currently owned by the French state. Its formal title is the Public Establishment of the Palace, Museum and National Estate of Versailles. Since 1995, it has been run as a Public Establishment, with an independent administration and management supervised by the French Ministry of Culture.
The grounds of the palace will host the equestrian competition during the 2024 Summer Olympics.
Architecture and plan
The Palace of Versailles is a visual history of French architecture from the 1630s to the 1780s. Its earliest portion, the corps de logis, was built for Louis XIII in the style of his reign with brick, marble, and slate, which Le Vau surrounded in the 1660s with Enveloppe, an edifice that was inspired by Renaissance-era Italian villas. When Mansart made further expansions to the palace in the 1680s, he used the Enveloppe as the model for his work. Neoclassical additions were made to the palace with the remodeling of the Ministers' Wings in the 1770s, by Ange-Jacques Gabriel, and after the Bourbon Restoration.
The palace was largely completed by the death of Louis XIV in 1715. The eastern facing palace has a U-shaped layout, with the corps de logis and symmetrical advancing secondary wings terminating with the Dufour Pavilion on the south and the Gabriel Pavilion to the north, creating an expansive cour d'honneur known as the Royal Court (Cour Royale). Flanking the Royal Court are two enormous asymmetrical wings that result in a façade of 402 metres (1,319 ft) in length. Covered by around a million square feet (10 hectares) of roof, the palace has 2,143 windows, 1,252 chimneys, and 67 staircases.[
The palace and its grounds have had a great influence on architecture and horticulture from the mid-17th century to the end of the 18th century. Examples of works influenced by Versailles include Christopher Wren's work at Hampton Court Palace, Berlin Palace, the Palace of La Granja, Stockholm Palace, Ludwigsburg Palace, Karlsruhe Palace, Rastatt Palace, Nymphenburg Palace, Schleissheim Palace, and Esterházy Palace.
Royal Apartments
The construction in 1668–1671 of Le Vau's enveloppe around the outside of Louis XIII's red brick and white stone château added state apartments for the king and the queen. The addition was known at the time as the château neuf (new château). The grands appartements (Grand Apartments, also referred to as the State Apartments[141][142]) include the grand appartement du roi and the grand appartement de la reine. They occupied the main or principal floor of the château neuf, with three rooms in each apartment facing the garden to the west and four facing the garden parterres to the north and south, respectively. The private apartments of the king (the appartement du roi and the petit appartement du roi) and those of the queen (the petit appartement de la reine) remained in the château vieux (old château). Le Vau's design for the state apartments closely followed Italian models of the day, including the placement of the apartments on the main floor (the piano nobile, the next floor up from the ground level), a convention the architect borrowed from Italian palace design.
The king's State Apartment consisted of an enfilade of seven rooms, each dedicated to one of the known planets and their associated titular Roman deity. The queen's apartment formed a parallel enfilade with that of the grand appartement du roi. After the addition of the Hall of Mirrors (1678–1684) the king's apartment was reduced to five rooms (until the reign of Louis XV, when two more rooms were added) and the queen's to four.
The queen's apartments served as the residence of three queens of France – Marie-Thérèse d'Autriche, wife of Louis XIV, Marie Leczinska, wife of Louis XV, and Marie-Antoinette, wife of Louis XVI. Additionally, Louis XIV's granddaughter-in-law, Princess Marie-Adélaïde of Savoy, duchesse de Bourgogne, wife of the Petit Dauphin, occupied these rooms from 1697 (the year of her marriage) to her death in 1712.
Ambassador's Staircase
The Ambassadors' Staircase (Escalier des Ambassadeurs) was an imperial staircase built from 1674 to 1680 by d'Orbay. Until Louis XV had it demolished in 1752 to create a courtyard for his private apartments, the staircase was the primary entrance into the Palace of Versailles and the royal apartments especially. It was entered from the courtyard via a vestibule that, cramped and dark, contrasted greatly with the tall, open space of the staircase – famously lit naturally with a skylight – so as to overawe visitors.
The staircase and walls of the room that contained it were clad in polychrome marble and gilded bronze, with decor in the Ionic order. Le Brun and painted the walls and ceiling of the room according to a festive theme to celebrate Louis XIV's victory in the Franco-Dutch War. On the wall immediately above the staircase were trompe-l'œil paintings of people from the Four Parts of the World looking into the staircase over a balustrade, a motif repeated on the ceiling fresco. There they were joined by allegorical figures for the twelve months of the year and various Classical Greek figures such as the Muses. A marble bust of Louis XIV, sculpted by Jean Warin in 1665–66, was placed in a niche above the first landing of the staircase.
The State Apartments of the King
The construction of the Hall of Mirrors between 1678 and 1686 coincided with a major alteration to the State Apartments. They were originally intended as his residence, but the King transformed them into galleries for his finest paintings, and venues for his many receptions for courtiers. During the season from All-Saints Day in November until Easter, these were usually held three times a week, from six to ten in the evening, with various entertainments.
The Salon of Hercules
This was originally a chapel. It was rebuilt beginning in 1712 under the supervision of the First Architect of the King, Robert de Cotte, to showcase two paintings by Paolo Veronese, Eleazar and Rebecca and Meal at the House of Simon the Pharisee, which was a gift to Louis XIV from the Republic of Venice in 1664. The painting on the ceiling, The Apotheosis of Hercules, by François Lemoyne, was completed in 1736, and gave the room its name.
The Salon of Abundance
The Salon of Abundance was the antechamber to the Cabinet of Curios (now the Games Room), which displayed Louis XIV's collection of precious jewels and rare objects. Some of the objects in the collection are depicted in René-Antoine Houasse's painting Abundance and Liberality (1683), located on the ceiling over the door opposite the windows.
The Salon of Venus
This salon was used for serving light meals during evening receptions. The principal feature in this room is Jean Warin's life-size statue of Louis XIV in the costume of a Roman emperor. On the ceiling in a gilded oval frame is another painting by Houasse, Venus subjugating the Gods and Powers (1672–1681). Trompe-l'œil paintings and sculpture around the ceiling illustrate mythological themes.
The Salon of Mercury
The Salon of Mercury was the original State Bedchamber when Louis XIV officially moved the court and government to the palace in 1682. The bed is a replica of the original commissioned by King Louis-Philippe in the 19th century when he turned the palace into a museum. The ceiling paintings by the Flemish artist Jean Baptiste de Champaigne depict the god Mercury in his chariot, drawn by a rooster, and Alexander the Great and Ptolemy surrounded by scholars and philosophers. The Automaton Clock was made for the King by the royal clockmaker Antoine Morand in 1706. When it chimes the hour, figures of Louis XIV and Fame descend from a cloud.
The Salon of Mars
The Salon of Mars was used by the royal guards until 1782, and was decorated on a military theme with helmets and trophies. It was turned into a concert room between 1684 and 1750, with galleries for musicians on either side. Portraits of Louis XV and his Queen, Marie Leszczinska, by the Flemish artist Carle Van Loo decorate the room today.
The Salon of Apollo
The Salon of Apollo was the royal throne room under Louis XIV, and was the setting for formal audiences. The eight-foot-high silver throne was melted down in 1689 to help pay the costs of an expensive war, and was replaced by a more modest throne of gilded wood. The central painting on the ceiling, by Charles de la Fosse, depicts the Sun Chariot of Apollo, the King's favorite emblem, pulled by four horses and surrounded by the four seasons.
The Salon of Diana
The Salon of Diana was used by Louis XIV as a billiards room, and had galleries from which courtiers could watch him play. The decoration of the walls and ceiling depicts scenes from the life of the goddess Diana. The celebrated bust of Louis XIV by Bernini made during the famous sculptor's visit to France in 1665 is on display here.
Private apartments of the King and Queen
The apartments of the King were the heart of the château; they were in the same location as the rooms of Louis XIII, the creator of the château, on the first floor (second floor US style). They were set aside for the personal use of Louis XIV in 1683. He and his successors Louis XV and Louis XVI used these rooms for official functions, such as the ceremonial lever ("waking up") and the coucher ("going to bed") of the monarch, which was attended by a crowd of courtiers.
The King's apartment was accessed from the Hall of Mirrors from the Oeil de Boeuf antechamber or from the Guardroom and the Grand Couvert, the ceremonial room where Louis XIV often took his evening meals, seated alone at a table in front of the fireplace. His spoon, fork, and knife were brought to him in a golden box. The courtiers could watch as he dined.
The King's bedchamber had originally been a Drawing Room before Louis XIV transformed it into his own bedroom in 1701. He died there on 1 September 1715. Both Louis XV and Louis XVI continued to use the bedroom for their official awakening and going to bed. On 6 October 1789, from the balcony of this room Louis XVI and Marie-Antoinette, joined by the Marquis de Lafayette, looked down on the hostile crowd in the courtyard, shortly before the King was forced to return to Paris.
The bed of the King is placed beneath a carved relief by Nicolas Coustou entitled France watching over the sleeping King. The decoration includes several paintings set into the paneling, including a self-portrait of Antony van Dyck.
Private apartments of The Queen
The petit appartement de la reine is a suite of rooms that were reserved for the personal use of the queen. Originally arranged for the use of the Marie-Thérèse, consort of Louis XIV, the rooms were later modified for use by Marie Leszczyńska and finally for Marie-Antoinette. The Queen's apartments and the King's Apartments were laid out on the same design, each suite having seven rooms. Both suites had ceilings painted with scenes from mythology; the King's ceilings featured male figures, the Queen's featured females.
Hall of Mirrors
The Hall of Mirrors is a long gallery at the westernmost part of the palace that looks out onto the gardens. The hall was built from 1678 to 1681 on the site of a terrace Le Vau built between the king and queen's suites. The hall is clad in marble and decorated in a modified version of the Corinthian order, with 578 mirrors facing 17 windows and reflecting the light provided by them. The ceiling fresco, painted by Le Brun over the next four years, embellishes the first 18 years of Louis XIV's reign in 30 scenes, 17 of which are military victories over the Dutch. The fresco depicts Louis XIV himself alongside Classical figures in the scenes celebrating moments in his reign such as the beginning of personal rule in 1661, breaking from earlier frescoes at Versailles that used allegories derived from Classical and mythological scenes.
The Salon of War and the Salon of Peace bookend the Hall of Mirrors on its northern and southern ends respectively. The Salon of War, constructed and decorated from 1678 to 1686, celebrates French victories in the Franco-Dutch War with marble panels, gilded bronze trophies of arms, and a stucco bas-relief of Louis XIV on horsebask riding over his enemies. The Salon of Peace is decorated in the same fashion but according to its eponymous theme.
Royal Chapel
The Royal Chapel of Versailles is located at the southern end of the north wing. The building stands 40-meter (130 ft) high, and measures 42 meters (138 ft) long and 24 meters (79 ft) wide. The chapel is rectangular with a semicircular apse, combining traditional, Gothic royal French church architecture with the French Baroque style of Versailles. The ceiling of the chapel is constituted by an unbroken vault, divided into three frescos by Antoine Coypel, Charles de La Fosse, and Jean Jouvenet. The palette of motifs beneath the frescoes glorify the deeds of Louis IX, and include images of David, Constantine, Charlemagne, and Louis IX, fleur de lis, and Louis XIV's monogram. The organ of the chapel was built by Robert Clicquot and Julien Tribuot in 1709–1710.
Louis XIV commissioned the chapel, its sixth, from Mansart and Le Brun in 1683–84. It was the last building constructed at Versailles during Louis XIV's reign. Construction was delayed until 1699, however, and it was not completed until 1710. The only major modification to the chapel since its completion was the removal of a lantern from its roof in 1765. A full restoration of the chapel began in late 2017 and lasted into early 2021.
Royal Opera
The Royal Opera of Versailles was originally commissioned by Louis XIV in 1682 and was to be built at the end of the North Wing with a design by Mansart and Vigarani. However, due to the expense of the King's continental wars, the project was put aside. The idea was revived by Louis XV with a new design by Ange-Jacques Gabriel in 1748, but this was also temporarily put aside. The project was revived and rushed ahead for the planned celebration of the marriage of the Dauphin, the future Louis XVI, and Marie-Antoinette. For economy and speed, the new opera was built almost entirely of wood, which also gave it very high quality acoustics. The wood was painted to resemble marble, and the ceiling was decorated with a painting of the Apollo, the god of the arts, preparing crowns for illustrious artists, by Louis Jean-Jacques Durameau. The sculptor Augustin Pajou added statuary and reliefs to complete the decoration. The new Opera was inaugurated on 16 May 1770, as part of the celebration of the royal wedding.
In October 1789, early in the French Revolution, the last banquet for the royal guardsmen was hosted by the King in the opera, before he departed for Paris. Following the Franco-German War in 1871 and then the Paris Commune until 1875, the French National Assembly met in the opera, until the proclamation of the Third French Republic and the return of the government to Paris.
Museum of the History of France
Shortly after becoming King in 1830, Louis Philippe I decided to transform the palace into a museum devoted to "All the Glories of France," with paintings and sculpture depicting famous French victories and heroes. Most of the apartments of the palace were entirely demolished (in the main building, practically all of the apartments were annihilated, with only the apartments of the king and queen remaining almost intact), and turned into a series of several large rooms and galleries: the Coronation Room (whose original volume was left untouched by Louis-Philippe), which displays the celebrated painting of the coronation of Napoleon I by Jacques-Louis David; the Hall of Battles; commemorating French victories with large-scale paintings; and the 1830 room, which celebrated Louis-Philippe's own coming to power in the French Revolution of 1830. Some paintings were brought from the Louvre, including works depicting events in French history by Philippe de Champaigne, Pierre Mignard, Laurent de La Hyre, Charles Le Brun, Adam Frans van der Meulen, Nicolas de Largillière, Hyacinthe Rigaud, Jean-Antoine Houdon, Jean-Marc Nattier, Élisabeth Vigée Le Brun, Hubert Robert, Thomas Lawrence, Jacques-Louis David, and Antoine-Jean Gros. Others were commissioned especially for the museum by prominent artists of the early 19th century, including Eugène Delacroix, who painted Saint Louis at the French victory over the British in the Battle of Taillebourg in 1242. Other painters featured include Horace Vernet and François Gérard. A monumental painting by Vernet features Louis Philippe himself, with his sons, posing in front of the gates of the palace.
The overthrow of Louis Philippe in 1848 put an end to his grand plans for the museum, but the Gallery of Battles is still as it was, and is passed through by many visitors to the royal apartments and grand salons. Another set of rooms on the first floor has been made into galleries on Louis XIV and his court, displaying furniture, paintings, and sculptures. In recent years, eleven rooms on the ground floor between the Chapel and the Opera have been turned into a history of the palace, with audiovisual displays and models.
Estate of Versailles
The estate of Versailles consists of the palace, the subsidiary buildings around it, and its park and gardens. As of June 2021, the estate altogether covers an area of 800 hectares (8.0 km2; 2,000 acres), with the park and gardens laid out to the south, west, and north of the palace. The palace is approached from the east by the Avenue de Paris, measuring 17 miles (27 km) from Paris to a gate between the Grande and Petite Écuries. Beyond these stables is the Place d'Armes, where the Avenue de Paris meets the Avenue de Sceaux and Avenue de Saint-Cloud (see map), the three roads that formed the main arteries of the city of Versailles. Exactly where the three roads meet is a gate leading into the cour d'honneur. hemmed in by the Ministers' Wings. Beyond is the Royal Gate and the main palace, which wraps around the Royal and finally Marble Courts
The estate was established by Louis XIII as a hunting retreat, with a park just to the west of his château. From 1661, Louis XIV expanded the estate until, at its greatest extent, the estate was made up by the Grand Parc , a hunting ground of 15,000 hectares (150 km2; 37,000 acres), and the gardens, called the Petit Parc, which covered 1,700 hectares (17 km2; 4,200 acres). A 25-mile (40 km) long, 10-foot (3.0 m) high wall with 24 gateways enclosed the estate.
The landscape of the estate had to be created from the bog that surrounded Louis XIII's château using landscape architecture usually employed in fortress building. The approach to the palace and the gardens were carefully laid out via the moving of earth and construction of terraces. The water from the marsh was marshalled into a series of lakes and ponds around Versailles, but these reservoirs were not sufficient for the palace, city, or gardens. Great lengths were taken to supply Versailles with water, such as the damming of the river Bièvre to create an inflow in the 1660s, the construction of an enormous pumping station at the river Seine near Marly-le-Roi in 1681, and an attempt to divert water from the river Eure with a canal in the later 1680s.
Gardens
The gardens of Versailles, as they have existed since the reign of Louis XIV, are the work of André Le Nôtre. Le Nôtre's gardens were preceded by a simple garden laid out in the 1630s by landscape architects Jacques Boyceau and Jacques de Nemours, which he rearranged along an east–west axis that, because of Louis XIV's land purchases and the clearing of woodland, were expanded literally as far as could be seen. The resulting gardens were a collaboration between Le Nôtre, Le Brun, Colbert, and Louis XIV, marked by rigid order, discipline, and open space, with axial paths, flowerbeds, hedges, and ponds and lakes as motifs. They became the epitome of the French formal garden style, and have been very influential and widely imitated or reproduced.
Subsidiary structures
The first of the subsidiary structures of the Palace of Versailles was the Versailles Menagerie [fr],[199][200] built by Le Vau between the years 1662 and 1664, at the southern end of the Grand Canal. The apartments, overlooking the pens, were renovated by Mansart from 1698 to 1700, but the Menagerie fell into disuse in 1712. After a long period of decay, it was demolished in 1801. The Versailles Orangery, just to the south of the palace, was first built by Le Vau in 1663, originally as part of the general moving of earth to create the Estate.[191] It was also modified by Mansart, who, from 1681 to 1685, totally rebuilt it and doubled its size.
In late 1679, Louis XIV commissioned Mansart to build the Château de Marly, a retreat at the edge of Versailles's estate, about 5 miles (8.0 km) from the palace. The château consisted of a primary residential building and twelve pavilions, in Palladian style placed in two rows on either side of the main building. Construction was completed in 1686, when Louis XIV spent his first night there. The château was nationalized and sold in 1799, and subsequently demolished and replaced with industrial buildings. These were themselves demolished in 1805, and then in 1811 the estate was purchased by Napoleon. On 1 June 2009, the grounds of the Château de Marly were ceded to the Public Establishment of the Palace, Museum and National Estate of Versailles.
La Lanterne, is a hunting lodge named after the lantern that topped the nearby Menagerie that was built in 1787 by Philippe Louis de Noailles, then the palace governor. It has since 1960 been a state residence.
Petit Trianon
The Petit Trianon, whose construction from 1762 to 1768 led to the advent of the names "Grand" and "Petit Trianon", was constructed for Louis XV and the Madame du Barry in the Neoclassical style by Gabriel. The building has a piano nobile, basement, and attic, with five windows on each floor. On becoming king, Louis XVI gave the Petit Trianon to Marie Antoinette, who remodeled it, relaid its gardens in the then-current English and Oriental styles, and formed her own court there.
In 1668, Louis XIV purchased and demolished the hamlet of Trianon, near the northern tip of the Grand Canal, and in its place, he commissioned Le Vau to construct a retreat from court, remembered as the Porcelain Trianon. Designed and built by Le Vau in 1670, it was the first example of Chinoiserie (faux Chinese) architecture in Europe, though it was largely designed in French style. The roof was clad not with porcelain but with delftware, and was thus prone to leaks, so in 1687 Louis XIV ordered it demolished. Nevertheless, the Porcelain Trianon was itself influential and copycats were built across Europe.
The Grand Trianon
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
The Grand Trianon with courtyard and gardens. The wing at left is a residence of the President of France.
To replace the Porcelain Trianon, Louis XIV tasked Mansart with the construction in 1687 of the Grand Trianon, built from marble in three months. The Grand Trianon has a single story, except for its attached service wing, which was modified by Mansart in 1705–06. The east façade has a courtyard while the west faces the gardens of the Grand Trianon, and between them a peristyle. The interiors are mostly original,[214] and housed Louis XIV, the Madame de Maintenon, Marie Leszczynska, and Napoleon, who ordered restorations to the building. Under de Gaulle, the north wing of the Grand Trianon became a residence of the President of France.
The Queen's hamlet and Theater
Near the Trianons are the French pavilion, built by Gabriel in 1750 between the two residences, and the Queen's Theater and Queen's Hamlet, built by architect Richard Mique in 1780 and from 1783 to 1785 respectively. These were both built at the behest of Marie Antoinette; the theater, hidden in the gardens, indulged her appreciation of opera and is absolutely original, and the hamlet to extend her gardens with rustic amenities. The building scheme of the Queen's Hamlet includes a farmhouse (the farm was to produce milk and eggs for the queen), a dairy, a dovecote, a boudoir, a barn that burned down during the French Revolution, a mill and a tower in the form of a lighthouse.
Modern political and ceremonial functions
The palace still serves political functions. Heads of state are regaled in the Hall of Mirrors; the bicameral French Parliament—consisting of the Senate (Sénat) and the National Assembly (Assemblée nationale)—meet in joint session (a congress of the French Parliament) in Versailles to revise or otherwise amend the French Constitution, a tradition that came into effect with the promulgation of the 1875 Constitution. For example, the Parliament met in joint session at Versailles to pass constitutional amendments in June 1999 (for domestic applicability of International Criminal Court decisions and for gender equality in candidate lists), in January 2000 (ratifying the Treaty of Amsterdam), and in March 2003 (specifying the "decentralized organization" of the French Republic).
In 2009, President Nicolas Sarkozy addressed the global financial crisis before a congress in Versailles, the first time that this had been done since 1848, when Charles-Louis Napoleon Bonaparte gave an address before the French Second Republic. Following the November 2015 Paris attacks, President François Hollande gave a speech before a rare joint session of parliament at the Palace of Versailles. This was the third time since 1848 that a French president addressed a joint session of the French Parliament at Versailles. The president of the National Assembly has an official apartment at the Palace of Versailles. In 2023 a state visit by Charles III to France included a state banquet at the Palace.
Château de Beaugency , sometimes called Château Dunois, is located in Beaugency, in the Loiret department , in the Centre -Val de Loire region . It is one of the castles grouped under the tourist name of Loire castles .
Built during the medieval period , it is a seigneurial residence first owned by the lords of Beaugency then by the kings of France and the dukes of Orléans until the French revolution of 1789 . The castle also benefits from a hanging garden , a main courtyard and a chapel.
Essentially known as the residence of Jean de Dunois (1402-1468), known as the bastard of Orléans, companion in arms of Joan of Arc , the castle has witnessed notable episodes in the History of France : figures historical figures such as François I , Louis XI and Joan of Arc have marked the life of the castle and the town of Beaugency. Following the decree of Napoleon I of 1808, the General Council of Loiret transformed the castle into a begging depot in 1838 [ Contradictory passage ] . It will then house the Orléanais museum of popular art and tradition until 2002.
The residence of the princes of Dunois is today a private residence. The castle was reopened to the public in October 2014 after work to bring it up to standard. Since 2021, it has been a digital art center 2 .
Geography
The castle is located in the Loiret department , in the Centre-Val de Loire region , in the city center of the French commune of Beaugency , at the corner of Passage Pellieux and Place Dunois, 88 m above sea level. Located approximately 200 m from the right bank of the Loire , the castle is approximately 25 km south of Orléans as the crow flies.
The Château de Beaugency is accessible via all the routes and means of transport which serve the city: Beaugency railway station , departmental coach network (lines 9 and 19) and departmental road 925.
The building is located approximately 9 km from exit 15 of the A10 motorway .
History
Middle Ages
The history of Beaugency Castle dates back to the central Middle Ages . The construction of the medieval fortress began in the 11th century 3 .
The fortified town developed around the castle also houses an abbey which has witnessed several events in the History of France . Indeed, in the Notre-Dame abbey church, the councils were held which annulled the respective marriages of two kings of France: Philip I and Louis VII the Younger 4 , note 1 .
In 1292, Beaugency Castle became the property of the King of France, when the last lord of the Beaugency line, Raoul II, sold it to Philippe IV le Bel .
The Hundred Years' War
In 1422 , Charles I of Orléans ceded the castellany of Beaugency to his half-brother, Jean de Dunois , then nicknamed the Bastard of Orléans. Dunois, comrade-in-arms of Joan of Arc , actively participated in the release of Charles d'Orléans, imprisoned in England for 25 years following the French defeat at Agincourt . [ref. necessary]
Between the confrontation at Agincourt in 1415 and the siege of Orléans in 1429, the Kingdom of France experienced its most critical period in the Hundred Years' War . Beaugency , with Meung-sur-Loire , Orléans , and Jargeau , then formed one of the last ramparts to block the progress of the English in the Loire. It was at this time that the Vendôme carillon song , quoting Beaugency, was invented note 2 .
The offensive launched by the British in 1428 on the Loire valley allowed them to take possession of Beaugency which became the property of the Earl of Salisbury . The city remained under British occupation until the Loire Valley campaign led by Joan of Arc in 1429, after the successful siege of Orléans. Beaugency is thus freed from English occupation onJune 17, 1429, the day before the Battle of Patay , the last battle of the campaign ending in a victory for the French troops. [ref. necessary]
Renaissance
The climate having calmed in the Loire valley after 1429, Dunois undertook important work at Beaugency with his wife, Marie d'Harcourt . The use of the place having been granted to him by Charles I of Orléans, he built a stately residence on the ruins of the medieval castle. [ref. necessary]
Marie's uncle, Jean d'Harcourt , archbishop of Narbonne , bought Beaugency from Charles d'Orléans onJuly 15th. Although they were not owners of the lordship of Beaugency, Dunois and Marie became lords in consideration of their presence at the castle and their authority. When the archbishop died in 1452, Dunois, then owner, began more important developments. Until 1460, the seigniorial home was enlarged. Then Dunois settled in Châteaudun where he began the reconstruction of the castle and built a Sainte Chapelle. Dunois died in 1468 . [ref. necessary]
The grandson of Jean de Dunois, Cardinal Jean d'Orléans-Longueville , archbishop of Toulouse , also did some work in the seigneurial residence of Beaugency 5 . It was between 1518 and 1524 that the Longueville house was built. The archbishop had vaults built in the castle's spiral staircase and thus built a vaulted cabinet on the ground floor and another upstairs for his personal use. A garden was added to the ditch at the foot of the house and then transformed into a terrace in 1525 6 .
The King of France, François I, came to visit Beaugency in 1519, while the Dunois house was being renovated and the new house was still under construction. He therefore stayed in a room with an unusual location, next to the pantry, on the ground floor, the safest place to accommodate the king and his family. It is said that he liked to play the game of Paume in the courtyard of the castle. He was again received at Beaugency from October 5 to 16, 1526 and returned in November 1536, three years after the death of Longueville. [ref. necessary]
Modern era
The Wars of Religion 1562-1598
During the Wars of Religion , opposing Catholics and Protestants at the end of the 16th century , Beaugency was at the center of violent battles. It was pillaged several times by Protestants. In 1568, on Good Friday, Protestants pillaged Catholic homes in the town of Beaugency. They burned most of the churches, chapels and other religious buildings. The fire from the Notre Dame collegiate church also reached the keep, of which only an empty wall remained, the framed structure having burned. Between 1569 and 1571, the chapel was restored. THEAugust 24, 1572, the Saint-Barthélemy Day massacres raged in Beaugency. It was not until 1577 that the Notre Dame collegiate church was rebuilt. In 1586, Catherine de Medici claimed the castle for herself and her son. [ref. necessary]
18th century _
The life of the Beaugency fortress in the 18th century was marked by the destruction of the fortified part of the medieval bridge, present in the will of Lord Simon II of Beaugency in 1149. The Romanesque fortified bridgehead rested on the first four arches. It included a drawbridge, towers housing the chapels of Saint-Jacques and Saint-Antoine, and a city gate tower overlooking the street which led directly to the main gate of the castle. In 1767, these Romanesque fortifications and the first four arches of the bridge were destroyed to widen the passage between the road to Spain, Sologne and the city 7 . In 1793 , a large part of the Saint-Firmin parish church was also demolished.
Contemporary era
The begging depot 1839 – 1923
The department of Loiret acquired the Château de Beaugency in 1837 and installed a begging depot with 150 places there in 1838. A decree from Emperor Napoleon I in 1808 ordered each department to open such establishments to reintegrate beggars, vagabonds and prostitutes into society by re-educating them for work. Residents were released after several months when they were judged capable of earning a living for themselves and if they had maintained exemplary conduct 8 .
At the Beaugency depot, able-bodied men are assigned to work requiring strength such as the fields or collecting the city's garbage. As for the infirm and the elderly, they carry out less physical tasks such as working with straw or wool. To supply the depot with bread, a bakery, whose oven is still visible, was set up.
20th century and 21st century _
Beaugency Castle has been classified as a Historic Monument since 1926 9 . The town has been listed as a UNESCO World Heritage Site since 2000 in the Loire Valley Natural Region 10 classification zone .
In 2012, the Loiret Departmental Council decided to part with this property and sold it to a private party 11 . The castle then underwent numerous works to reopen to the public in October 2014 12 , after 11 years of closure. Today, around fifteen pieces have been reconstructed based on analyzes of historical archive documents. Among them are the Guards' room in which the armor of Jean de Dunois has been reproduced identically, the knights' cloakroom with its armor repair workshop, the kitchen, the bedroom, the bookstore, the oratory or the chapel. The hanging garden and most of these rooms can be visited today. The dungeon (César Tower), for its part, is only open on Heritage Days.
In spring 2021, after new restoration work, the Château de Beaugency is transformed into a place dedicated to heritage and digital arts, with an artistic residency space, a transmission and mediation site, and a working base for creative teams.
The Château de Beaugency is a stopover on the Châteaux de la Loire and Loire by bike routes .
Architecture and garden
The medieval fortified castle
Today, only the keep remains as the only witness to the military power of the lords of Beaugency from the 11th century . This quadrangular tower of Romanesque architecture , also known as the Caesar Tower, measures 36 meters high 3 . It is often compared to the keep of Loches Castle which is similar and dates from the same period.
In medieval times, the castle site was surrounded by a moat and a wall. A castle collegiate church was built in 1030 not far from the keep, within the walls of the fortified castle. Religious buildings were built in the military square in the 12th century . The wall of the fortified city has evolved over the decades. The period 1120-1130 corresponds to the supposed construction of the bridge over the Loire . It has a fortified Romanesque head which rested on the first four arches. This head included a drawbridge, two towers which housed the chapels of Saint-Jacques and Saint-Antoine, and a city gate tower opening onto the street which led to the main entrance to the castle. The fortifications of the bridgehead were destroyed in 1767 7 .
The seigneurial dwelling
During the 15th century , Jean de Dunois began numerous works to create the lordly home on the medieval buildings. Between 1450 and 1460, the house was enlarged and added a tower armed with cannon archers. The main building, in Gothic style , has mullioned windows and is topped with a medieval frame. It features galleries on two levels. A chapel, dedicated to Saint George, is placed above one of the entrances to the castle, a common practice in the Middle Ages . Guarding the entrance to Beaugency is thus entrusted to Saint George , patron of knights and cavalry. The design of the chapel's stained glass window , dating from 1325, is similar to that of the Navarre chapel at the Notre-Dame collegiate church in Mantes-la-Jolie .
Cardinal Jean d'Orléans-Longueville , grandson of Jean de Dunois, in turn undertook significant modifications to the seigniorial home at the beginning of the 16th century . Between 1518 and 1524 5 , he had the west wing (Renaissance) built opposite the Dunois home, also called the “Longueville wing”. We also owe him the oratory decorated with frescoes. In 1519, he rehabilitated the spiral staircase and installed vaults, thus creating a paneled and vaulted cabinet on the ground floor and upstairs. In the years that followed, he had numerous maintenance works carried out: the joinery, floors, ceilings, roofs, fireplaces and bays of the east wing were redone. The last modifications made to the house date from the 19th century , when it was transformed into a begging depot.
Today the house is made up of four buildings: to the east is the Dunois house and the chapel; opposite, to the west, stands the Longueville wing and its pavilion, modified subsequently; to the north, a 19th century building was built opposite the entrance, in place of an old kitchen; to the south, there remain the galleries built on two levels, supposedly by Dunois. The body of galleries is crossed on the ground floor by a passage which leads to the outside.
The garden
It was during the time of Jean de Longueville that a garden was added to the moat at the foot of the house. Another part of the ditches having already been sold at the end of the 15th century for the construction of houses. Until 1519, the ditches were filled in and decorated with a low garden. Longueville built trellises and arbors and enhanced the garden on the ground floor of the house. A platform allows you to descend into the garden by degrees. In 1525, this garden was transformed into a terrace 5 .
The garden today is reproduced identically to what it was at that time.
Economy
In October 2014, the seigneurial residence was open to the public and offered activities and educational workshops. In 2016, the castle set up a digital tour system on tablets, with fun content aimed at young audiences. This tour application, called “Touch Tabulette” 13 , 14 , notably offers augmented reality reconstructions and interactive historical content validated by a scientific committee.
On the occasion of European Heritage Days , it is possible to visit the Beaugency keep, called Tour César, in addition to the seigniorial home.
Since 2021, the Château de Beaugency has become a digital art center, with access to the courtyard and free tour activities 15 .
The castle is also used as a reception venue for private and professional events.
Filming location
In 2015, a team from the show Secrets d'Histoire filmed several sequences at the castle as part of an issue dedicated to Joan of Arc , entitled Joan of Arc, in the name of God broadcast onSeptember 22, 2015on France 2 1
Beaugency is a commune in the Loiret department, Centre-Val de Loire, north-central France. It is located on the Loire river, upriver (northeast) from Blois and downriver from Orléans.
History
11 March 1152 the council of Beaugency annulled the marriage between Eleanor of Aquitaine and Louis VII.
Aaron ben Joseph of Beaugency and Eliezer of Beaugency were Bible commentators and rabbinical scholars, who flourished in the twelfth century in the city.
The lords of Beaugency attained considerable importance in the 11th, 12th and 13th centuries; at the end of the 13th century they sold the fiefdom to the Crown. They were responsible for building Château de Beaugency, which as originally a wooden structure and later replaced with a stone one. The massive original keep is today a ruined shell, surrounded by a mansion built later on in the 14th century.
Afterward it passed to the house of Orléans, then to those of Dunois and Longueville, and ultimately again to that of Orléans.
The city of Beaugency has been the site of numerous military conflicts. It was occupied on four separate occasions by the English. On 16–17 June 1429, it was the site of the famous Battle of Beaugency, when it was freed by Joan of Arc. Beaugency also played an important strategic role in the Hundred Years' War. It was burned by the Protestants in 1567 and suffered extensive damage to the walls, the castle, and the church.
On 8, 9 and 10 December 1870 the Prussian army, commanded by the grand-duke of Mecklenburg, defeated the French army of the Loire, under General Chanzy, in the second battle of Beaugency (or Villorceau-Josnes). It was fought on the right bank of the Loire to the northwest of Beaugency.
In 1940 and again in 1944, the city was bombed by Nazi Germany. On 16 September 1944, German Major General Botho Henning Elster and his 18 850 men and 754 officers surrendered at the Loire bridge of Beaugency to the U.S. Army after being harassed and surrounded by the French Résistance.
Economy
Until 1846 Beaugency was an important commercial center due to trade along the Loire. After trade moved from the river to rail traffic, the city's role changed. Beaugency became a market center for the surrounding agricultural district. Today Beaugency's economy depends largely on tourism.
Sights
Medieval keep (11th century) 47°46′39″N 1°37′59″E
Lock of Dunois (14-15th century)
Church Saint Etienne (11th century)
Abbey church (12th century)
City hall (16th century)
Bridge (14th century)
Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.
Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.
The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.
Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.
Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).
To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).
At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).
In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.
The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.
With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.
Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.
The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.
An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.
Every two years, the Festival de Loire recalls the role played by the river in the commune's history.
On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.
Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.
In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.
Early Middle Ages
In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.
High Middle Ages
The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.
On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.
1453 to 1699
Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).
The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.
From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.
The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.
1700–1900
When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.
The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.
1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.
1900 to present
During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.
The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.
Heraldry
According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."
The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".
Motto
"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.
Orléans is the birthplace of:
Sophie Adriansen (born 1982), French writer
Patrick Barul (born 1977), football player
Joelly Belleka (born 1995), basketball player
Raoul Blanchard (1877–1965), geographer
Maxence Boitez (Ridsa) (born 1990), singer
Patrick Bornhauser (born 1957), racing driver
Raymond Brugère (1885-1966), diplomat.
Jean-Baptiste Marc Bourgery (1797–1849), anatomist
Félix Cazot (1790–1857), classical pianist and composer
Philippe Chanlot (born 1967), football player
Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there
Gilles Delouche (1948–2020), linguist
Étienne Dolet (1509–1546), scholar and printer
Joël-François Durand (born 1954), composer
Jean-Louis Ferrary (1948–2020), historian
Georges Fleury (1878–1968), cyclist
Albert Gombault (1844–1904), neurologist
Guillaume Gomez (born 1969), racing driver
Jacques Guillemeau (1550–1613), physician
Albert Guyot (1881–1947), racing driver
Étienne Hubert (1567–1614), Arabist
Gaston d'Illiers (1876–1932), sculptor
Isaac Jogues (1607–1646), Jesuit missionary
Stanislas Julien (1797–1873), orientalist
Gustave Lanson (1857–1934), historian
Pierre Levesville (1570–1632), Renaissance architect
Anatole Loquin (1834–1903), writer and musicologist
Yven Moyo (born 1992), football player
Yves-Marie Pasquet (born 1947), composer
Charles Péguy (1873–1914), poet and essayist
Antoine Petit (1722–1794), physician
Lamine Sambe (born 1989), basketball player
Yacine Sene (born 1982), basketball player
Florian Thauvin (born 1993), football player
Christophe Tinseau (born 1969), racing driver
Jean Zay (1904–1944), jurist and politician
Historical landmarks
The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve
The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).
The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).
The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).
The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]
Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.
The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.
The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).
Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.
Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.
The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.
The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.
The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.
The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water
The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).
Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.
The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.
The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.
The Hôtel Toutin, 16th century
The Hôtel Pommeret d'Orléans, 16th century
The Hôtel Ducerceau, 16th century
The maison de la coquille, 16th century
The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.
The House of Jean Dalibert, 16th century
The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"
The mansions, rue d'Escure (17th and 18th centuries)
The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.
The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.
The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.
The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water
The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.
The courthouse (18th to 20th centuries)
The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.
Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.
Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.
Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).
Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).
The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.
Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.
Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).
The Arènes de Lutèce ([a.ʁɛn də ly.tɛs], "Arenas of Lutetia") are among the most important ancient Roman remains in Paris (known in antiquity as Lutetia), together with the Thermes de Cluny. Constructed in the 1st century AD, this theatre could once seat 15,000 people and was used also as an amphitheatre to show gladiatorial combats.[citation needed]
The terraced seating surrounded more than half of the arena's circumference, more typical of an ancient Greek theatre rather than a Roman one which was semi-circular.
The orchestra was surrounded by the wall of a podium 2.5 m (8.2 feet) high, surmounted by a parapet. The stage was 41m long. A series of nine niches were most likely used for statues. Five small rooms were situated beneath the lower terraces, some of which appear to have been animal cages that opened directly into the arena.
One can still observe significant remnants of the stage and its nine niches, as well as the grilled cages in the wall. The stepped terraces are not original, but historians believe that 41 arched openings punctuated the façade.[citation needed]
Slaves, the poor, and women were relegated to the higher tiers while the lower seating areas were reserved for Roman male citizens.[citation needed] For comfort, a linen awning sheltered spectators from the hot sun.
When Lutèce was sacked during the barbarian raids of AD 275, some of the structure's stone work was used to reinforce the city's defences around the Île de la Cité. However, Chilperic I had it repaired in 577 and gave performances there.[1] Subsequently, the theatre became a cemetery, and was filled in completely following the construction of wall of Philippe Auguste (ca. 1210).
Centuries later, even though the surrounding neighbourhood (quartier) had retained the name les Arènes, the exact location was lost. It was discovered by Théodore Vaquer during the building of the Rue Monge between 1860 and 1869, when the Compagnie Générale des Omnibus sought to build a tramway depot on the site.
Spearheaded by the author Victor Hugo (1802–1885) and a few other intellectuals, a preservation committee called la Société des Amis des Arènes undertook to save the archaeological treasure. In 1878 the face of a Roman baby was found preserved within the cement of a Roman sarcophagus buried within the walls of the Couvent des Filles de Jésus-Christ.[2] Following the demolition of the convent in 1883, one-third of the arena was uncovered. The Municipal Council dedicated funds to restoring the arena and establishing it as a public square, which was opened in 1896.
After the tramway lines and depot were dismantled in 1916 and line 10 of the Paris Métro was constructed, the doctor and anthropologist Jean-Louis Capitan (1854–1929) continued with additional excavation and restoration of the arena toward the end of World War I. The neighbouring Square Capitan, built on the site of the old Saint-Victor reservoir, is dedicated to his memory. However, a portion of the original arena opposite the stage was lost to buildings which line rue Monge.
Paris is the capital and most populous city of France. With an official estimated population of 2,102,650 residents as of 1 January 2023[2] in an area of more than 105 km2 (41 sq mi) Paris is the fourth-most populated city in the European Union and the 30th most densely populated city in the world in 2022. Since the 17th century, Paris has been one of the world's major centres of finance, diplomacy, commerce, culture, fashion, and gastronomy. For its leading role in the arts and sciences, as well as its early and extensive system of street lighting, in the 19th century, it became known as the City of Light.
The City of Paris is the centre of the Île-de-France region, or Paris Region, with an official estimated population of 12,271,794 inhabitants on 1 January 2023, or about 19% of the population of France, The Paris Region had a GDP of €765 billion (US$1.064 trillion, PPP) in 2021, the highest in the European Union. According to the Economist Intelligence Unit Worldwide Cost of Living Survey, in 2022, Paris was the city with the ninth-highest cost of living in the world.
Paris is a major railway, highway, and air-transport hub served by two international airports: Charles de Gaulle Airport (the third-busiest airport in Europe) and Orly Airport. Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily; it is the second-busiest metro system in Europe after the Moscow Metro. Gare du Nord is the 24th-busiest railway station in the world and the busiest outside Japan, with 262 million passengers in 2015. Paris has one of the most sustainable transportation systems and is one of the only two cities in the world that received the Sustainable Transport Award twice.
Paris is especially known for its museums and architectural landmarks: the Louvre received 8.9. million visitors in 2023, on track for keeping its position as the most-visited art museum in the world. The Musée d'Orsay, Musée Marmottan Monet and Musée de l'Orangerie are noted for their collections of French Impressionist art. The Pompidou Centre Musée National d'Art Moderne, Musée Rodin and Musée Picasso are noted for their collections of modern and contemporary art. The historical district along the Seine in the city centre has been classified as a UNESCO World Heritage Site since 1991.
Paris hosts several United Nations organizations including UNESCO, and other international organizations such as the OECD, the OECD Development Centre, the International Bureau of Weights and Measures, the International Energy Agency, the International Federation for Human Rights, along with European bodies such as the European Space Agency, the European Banking Authority and the European Securities and Markets Authority. The 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. The city hosted the Olympic Games in 1900 and 1924, and will host the 2024 Summer Olympics. The 1938 and 1998 FIFA World Cups, the 2019 FIFA Women's World Cup, the 2007 Rugby World Cup, as well as the 1960, 1984 and 2016 UEFA European Championships were also held in the city. Every July, the Tour de France bicycle race finishes on the Avenue des Champs-Élysées in Paris.
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 area's major north–south trade routes crossed the Seine on the île de la Cité, which gradually became an important trading centre. The Parisii traded with many river towns (some as far away as the Iberian Peninsula) and minted their own coins.
The Romans conquered the Paris Basin in 52 BC and began their settlement on Paris's Left Bank. The Roman town was originally called Lutetia (more fully, Lutetia Parisiorum, "Lutetia of the Parisii", modern French Lutèce). It became a prosperous city with a forum, baths, temples, theatres, and an amphitheatre.
By the end of the Western Roman Empire, the town was known as Parisius, a Latin name that would later become Paris in French. Christianity was introduced in the middle of the 3rd century AD by Saint Denis, the first Bishop of Paris: according to legend, when he refused to renounce his faith before the Roman occupiers, he was beheaded on the hill which became known as Mons Martyrum (Latin "Hill of Martyrs"), later "Montmartre", from where he walked headless to the north of the city; the place where he fell and was buried became an important religious shrine, the Basilica of Saint-Denis, and many French kings are buried there.
Clovis the Frank, the first king of the Merovingian dynasty, made the city his capital from 508. As the Frankish domination of Gaul began, there was a gradual immigration by the Franks to Paris and the Parisian Francien dialects were born. Fortification of the Île de la Cité failed to avert sacking by Vikings in 845, but Paris's strategic importance—with its bridges preventing ships from passing—was established by successful defence in the Siege of Paris (885–886), for which the then Count of Paris (comte de Paris), Odo of France, was elected king of West Francia. From the Capetian dynasty that began with the 987 election of Hugh Capet, Count of Paris and Duke of the Franks (duc des Francs), as king of a unified West Francia, Paris gradually became the largest and most prosperous city in France.
By the end of the 12th century, Paris had become the political, economic, religious, and cultural capital of France.[36] The Palais de la Cité, the royal residence, was located at the western end of the Île de la Cité. In 1163, during the reign of Louis VII, Maurice de Sully, bishop of Paris, undertook the construction of the Notre Dame Cathedral at its eastern extremity.
After the marshland between the river Seine and its slower 'dead arm' to its north was filled in from around the 10th century, Paris's cultural centre began to move to the Right Bank. In 1137, a new city marketplace (today's Les Halles) replaced the two smaller ones on the Île de la Cité and Place de Grève (Place de l'Hôtel de Ville). The latter location housed the headquarters of Paris's river trade corporation, an organisation that later became, unofficially (although formally in later years), Paris's first municipal government.
In the late 12th century, Philip Augustus extended the Louvre fortress to defend the city against river invasions from the west, gave the city its first walls between 1190 and 1215, rebuilt its bridges to either side of its central island, and paved its main thoroughfares. In 1190, he transformed Paris's former cathedral school into a student-teacher corporation that would become the University of Paris and would draw students from all of Europe.
With 200,000 inhabitants in 1328, Paris, then already the capital of France, was the most populous city of Europe. By comparison, London in 1300 had 80,000 inhabitants. By the early fourteenth century, so much filth had collected inside urban Europe that French and Italian cities were naming streets after human waste. In medieval Paris, several street names were inspired by merde, the French word for "shit".
During the Hundred Years' War, Paris was occupied by England-friendly Burgundian forces from 1418, before being occupied outright by the English when Henry V of England entered the French capital in 1420; in spite of a 1429 effort by Joan of Arc to liberate the city, it would remain under English occupation until 1436.
In the late 16th-century French Wars of Religion, Paris was a stronghold of the Catholic League, the organisers of 24 August 1572 St. Bartholomew's Day massacre in which thousands of French Protestants were killed. The conflicts ended when pretender to the throne Henry IV, after converting to Catholicism to gain entry to the capital, entered the city in 1594 to claim the crown of France. This king made several improvements to the capital during his reign: he completed the construction of Paris's first uncovered, sidewalk-lined bridge, the Pont Neuf, built a Louvre extension connecting it to the Tuileries Palace, and created the first Paris residential square, the Place Royale, now Place des Vosges. In spite of Henry IV's efforts to improve city circulation, the narrowness of Paris's streets was a contributing factor in his assassination near Les Halles marketplace in 1610.
During the 17th century, Cardinal Richelieu, chief minister of Louis XIII, was determined to make Paris the most beautiful city in Europe. He built five new bridges, a new chapel for the College of Sorbonne, and a palace for himself, the Palais-Cardinal. After Richelieu's death in 1642, it was renamed the Palais-Royal.
Due to the Parisian uprisings during the Fronde civil war, Louis XIV moved his court to a new palace, Versailles, in 1682. Although no longer the capital of France, arts and sciences in the city flourished with the Comédie-Française, the Academy of Painting, and the French Academy of Sciences. To demonstrate that the city was safe from attack, the king had the city walls demolished and replaced with tree-lined boulevards that would become the Grands Boulevards. Other marks of his reign were the Collège des Quatre-Nations, the Place Vendôme, the Place des Victoires, and Les Invalides.
18th and 19th centuries
Empire, and Haussmann's renovation of Paris
Paris grew in population from about 400,000 in 1640, to 650,000 in 1780. A new boulevard named the Champs-Élysées extended the city west to Étoile, while the working-class neighbourhood of the Faubourg Saint-Antoine on the eastern side of the city grew increasingly crowded with poor migrant workers from other regions of France.
Paris was the centre of an explosion of philosophic and scientific activity, known as the Age of Enlightenment. Diderot and d'Alembert published their Encyclopédie in 1751, and the Montgolfier Brothers launched the first manned flight in a hot air balloon on 21 November 1783. Paris was the financial capital of continental Europe, and the primary European centre of book publishing, fashion and the manufacture of fine furniture and luxury goods.
In the summer of 1789, Paris became the centre stage of the French Revolution. On 14 July, a mob seized the arsenal at the Invalides, acquiring thousands of guns, and stormed the Bastille, which was a principal symbol of royal authority. The first independent Paris Commune, or city council, met in the Hôtel de Ville and elected a Mayor, the astronomer Jean Sylvain Bailly, on 15 July.
Louis XVI and the royal family were brought to Paris and incarcerated in the Tuileries Palace. In 1793, as the revolution turned increasingly radical, the king, queen and mayor were beheaded by guillotine in the Reign of Terror, along with more than 16,000 others throughout France. The property of the aristocracy and the church was nationalised, and the city's churches were closed, sold or demolished. A succession of revolutionary factions ruled Paris until 9 November 1799 (coup d'état du 18 brumaire), when Napoleon Bonaparte seized power as First Consul.
The population of Paris had dropped by 100,000 during the Revolution, but after 1799 it surged with 160,000 new residents, reaching 660,000 by 1815. Napoleon replaced the elected government of Paris with a prefect that reported directly to him. He began erecting monuments to military glory, including the Arc de Triomphe, and improved the neglected infrastructure of the city with new fountains, the Canal de l'Ourcq, Père Lachaise Cemetery and the city's first metal bridge, the Pont des Arts.
The Eiffel Tower, under construction in November 1888, startled Parisians—and the world—with its modernity.
During the Restoration, the bridges and squares of Paris were returned to their pre-Revolution names; the July Revolution in 1830 (commemorated by the July Column on the Place de la Bastille) brought to power a constitutional monarch, Louis Philippe I. The first railway line to Paris opened in 1837, beginning a new period of massive migration from the provinces to the city. In 1848, Louis-Philippe was overthrown by a popular uprising in the streets of Paris. His successor, Napoleon III, alongside the newly appointed prefect of the Seine, Georges-Eugène Haussmann, launched a huge public works project to build wide new boulevards, a new opera house, a central market, new aqueducts, sewers and parks, including the Bois de Boulogne and Bois de Vincennes. In 1860, Napoleon III annexed the surrounding towns and created eight new arrondissements, expanding Paris to its current limits.
During the Franco-Prussian War (1870–1871), Paris was besieged by the Prussian Army. Following several months of blockade, hunger, and then bombardment by the Prussians, the city was forced to surrender on 28 January 1871. After seizing power in Paris on 28 March, a revolutionary government known as the Paris Commune held power for two months, before being harshly suppressed by the French army during the "Bloody Week" at the end of May 1871.
In the late 19th century, Paris hosted two major international expositions: the 1889 Universal Exposition, which featured the new Eiffel Tower, was held to mark the centennial of the French Revolution; and the 1900 Universal Exposition gave Paris the Pont Alexandre III, the Grand Palais, the Petit Palais and the first Paris Métro line. Paris became the laboratory of Naturalism (Émile Zola) and Symbolism (Charles Baudelaire and Paul Verlaine), and of Impressionism in art (Courbet, Manet, Monet, Renoir).
20th and 21st centuries
World War, Paris between the Wars (1919–1939), Paris in World War II, and History of Paris (1946–2000)
By 1901, the population of Paris had grown to about 2,715,000. At the beginning of the century, artists from around the world including Pablo Picasso, Modigliani, and Henri Matisse made Paris their home. It was the birthplace of Fauvism, Cubism and abstract art, and authors such as Marcel Proust were exploring new approaches to literature.
During the First World War, Paris sometimes found itself on the front line; 600 to 1,000 Paris taxis played a small but highly important symbolic role in transporting 6,000 soldiers to the front line at the First Battle of the Marne. The city was also bombed by Zeppelins and shelled by German long-range guns. In the years after the war, known as Les Années Folles, Paris continued to be a mecca for writers, musicians and artists from around the world, including Ernest Hemingway, Igor Stravinsky, James Joyce, Josephine Baker, Eva Kotchever, Henry Miller, Anaïs Nin, Sidney Bechet and Salvador Dalí.
In the years after the peace conference, the city was also home to growing numbers of students and activists from French colonies and other Asian and African countries, who later became leaders of their countries, such as Ho Chi Minh, Zhou Enlai and Léopold Sédar Senghor.
General Charles de Gaulle on the Champs-Élysées celebrating the liberation of Paris, 26 August 1944
On 14 June 1940, the German army marched into Paris, which had been declared an "open city". On 16–17 July 1942, following German orders, the French police and gendarmes arrested 12,884 Jews, including 4,115 children, and confined them during five days at the Vel d'Hiv (Vélodrome d'Hiver), from which they were transported by train to the extermination camp at Auschwitz. None of the children came back. On 25 August 1944, the city was liberated by the French 2nd Armoured Division and the 4th Infantry Division of the United States Army. General Charles de Gaulle led a huge and emotional crowd down the Champs Élysées towards Notre Dame de Paris, and made a rousing speech from the Hôtel de Ville.
In the 1950s and the 1960s, Paris became one front of the Algerian War for independence; in August 1961, the pro-independence FLN targeted and killed 11 Paris policemen, leading to the imposition of a curfew on Muslims of Algeria (who, at that time, were French citizens). On 17 October 1961, an unauthorised but peaceful protest demonstration of Algerians against the curfew led to violent confrontations between the police and demonstrators, in which at least 40 people were killed. The anti-independence Organisation armée secrète (OAS) carried out a series of bombings in Paris throughout 1961 and 1962.
In May 1968, protesting students occupied the Sorbonne and put up barricades in the Latin Quarter. Thousands of Parisian blue-collar workers joined the students, and the movement grew into a two-week general strike. Supporters of the government won the June elections by a large majority. The May 1968 events in France resulted in the break-up of the University of Paris into 13 independent campuses. In 1975, the National Assembly changed the status of Paris to that of other French cities and, on 25 March 1977, Jacques Chirac became the first elected mayor of Paris since 1793. The Tour Maine-Montparnasse, the tallest building in the city at 57 storeys and 210 m (689 ft) high, was built between 1969 and 1973. It was highly controversial, and it remains the only building in the centre of the city over 32 storeys high. The population of Paris dropped from 2,850,000 in 1954 to 2,152,000 in 1990, as middle-class families moved to the suburbs. A suburban railway network, the RER (Réseau Express Régional), was built to complement the Métro; the Périphérique expressway encircling the city, was completed in 1973.
Most of the postwar presidents of the Fifth Republic wanted to leave their own monuments in Paris; President Georges Pompidou started the Centre Georges Pompidou (1977), Valéry Giscard d'Estaing began the Musée d'Orsay (1986); President François Mitterrand had the Opéra Bastille built (1985–1989), the new site of the Bibliothèque nationale de France (1996), the Arche de la Défense (1985–1989) in La Défense, as well as the Louvre Pyramid with its underground courtyard (1983–1989); Jacques Chirac (2006), the Musée du quai Branly.
In the early 21st century, the population of Paris began to increase slowly again, as more young people moved into the city. It reached 2.25 million in 2011. In March 2001, Bertrand Delanoë became the first socialist mayor. He was re-elected in March 2008. In 2007, in an effort to reduce car traffic, he introduced the Vélib', a system which rents bicycles. Bertrand Delanoë also transformed a section of the highway along the Left Bank of the Seine into an urban promenade and park, the Promenade des Berges de la Seine, which he inaugurated in June 2013.
In 2007, President Nicolas Sarkozy launched the Grand Paris project, to integrate Paris more closely with the towns in the region around it. After many modifications, the new area, named the Metropolis of Grand Paris, with a population of 6.7 million, was created on 1 January 2016. In 2011, the City of Paris and the national government approved the plans for the Grand Paris Express, totalling 205 km (127 mi) of automated metro lines to connect Paris, the innermost three departments around Paris, airports and high-speed rail (TGV) stations, at an estimated cost of €35 billion.The system is scheduled to be completed by 2030.
In January 2015, Al-Qaeda in the Arabian Peninsula claimed attacks across the Paris region. 1.5 million people marched in Paris in a show of solidarity against terrorism and in support of freedom of speech. In November of the same year, terrorist attacks, claimed by ISIL, killed 130 people and injured more than 350.
On 22 April 2016, the Paris Agreement was signed by 196 nations of the United Nations Framework Convention on Climate Change in an aim to limit the effects of climate change below 2 °C.
The collegiate church of Saint-Liphard (or Saint-lifard ) is a Catholic church located in Meung-sur-Loire , in the Loiret department in the Centre-Val de Loire region.
Built on the tomb of Saint Liphard of Orléans , the collegiate church has been listed as a historic monument since 1840.
The building was listed as a historical monument in 1840. Saint-Liphard is a Benedictine abbey, founded in the 6th century by Lifard of Orléans, in Meung-sur-Loire. Saint Lifard was a cousin of Clovis and governor of Orléans . Around 798, Emperor Charlemagne entrusted the collegiate church to Théodulphe when he invested him as Bishop of Orléans. In 990 it had possessions in various remote regions: in Ponthieu , Pays de Caux , Touraine , Berry , Pincerais , etc. Its largest extension dates from the 9th century . Towards the end of the 11th century it became the collegiate church of Meung.