#Louis Le Vau

[fotograrte]

(vía Cúpula de la Capilla de la Virgen, Iglesia de St Sulpice – FOTOGRARTE)

[travelella]

Louvre Museum, Librairie-Boutique du Musée du Louvre, Paris, France

Bastien Nvs

[thegoldensanctuary]

The King's Bedchamber Part I The Genesis

The King bedchamber in Versailles, also known as Louis XIV bedchamber or the King's Grand Bedchamber, is a place visited by millions every year, as one of the must-see locations of the palace. Situated in the center (from the North-South axis) of its central wing, right behind the Hall of Mirror, the Grand Bedchamber is remarkable by its opulent decor filled with symbolism, from its attic statue down to its very location, and its association with the sun King himself key figure in the palace's history.

But far from remaining an untouched sanctuary of the sun King, the room saw countless changes of varying magnitudes over the years.

The central position of the Bedchamber might not appear obvious to the visitor passing from room to room surrounded by a dense crowd. But a simple look at map of Versailles does reveal that the southern and northern wall of the room are indeed equidistant from the southern and northern edges of the central wing respectively, this reality is further reinforced by its location right behind the central Avant-corps of the Cour de Marbre(Fig 1).

 (Fig 1) The King bedchamber behind the central avant-corps of the Cour de Marbre.

From Versailles, from Louis XIII to the French Revolution

That position however is entirely artificial, as the room only became the sun's king bedchamber during the last 14 years of his reign, in which he changed 12 times the position from the day he first slept in Versailles, before finally settling for that central spot. In fact, even the avant corp of palace was inexistant until the late 1670s.

1.Mansart in Charge

 The story of how the King’s bedchamber came to find its current place, starts in the 1670s at that time the garden façade was dominated by a large terrace on its first floor made by Le Vau(fig 2), while the façade of the courtyard was still that of Louis XIII with only a few minor changes (fig 3), and no distinct Avant-corps. In 1678 Louis XIV decided to turn the palace from a secondary residence into a primary one, and as such significant changes had to be made. One of them was the replacement of the garden terrace in favour of a large indoor Gallery. Such changes implied significant structural alteration to the building, as the western wall of the rooms, with a view on the front yard, were used to support the façade of the terrace (fig 4), therefore pushing it westward to create an enclose space would mean a redesign of those rooms and a restructure of the roof.

Fig 2 : Versailles view from the Patrerre d’ Eau, with Le Vau’s Terrace in the background, Anonymous

Chateau de Versailles,

Fig 3 : Château de Versailles INV.GRAV 61

Fig 4 : Versailles, Blueprint of the first floor with the terrace in yellow and the western wall in pink, 1676-78, Stockholm, Nationalmuseum NMH CC 74

Considerable funds were assigned for the completion of those projects with a budget going from 30.000 livres in 1677[1] to 350.000 livres in 1678 and 200.000 extra livres added for “extraordinary spendings”[2] in 1678. Jules-Hardouin Mansart who had previously designed the marble cabinets of the Bosquet de la Renomee in the gardens, was put in charge of the project.

  Out of the 550.000 livres of budget, the 350.000  would be used to build the necessary wings to house the court and administration[3] while the 200.000 livres remaining would be allocated for the creation of the Gallery replacing the Terrace, with all its sutural implications, namely  : the creation of two high salons at the edges of the Gallery, each giving access to both royal apartments , with the salon de la Paix linking it to the Queen’s apartment, the salon de la Guerre linking the King’s apartment, and a central salon with a view on courtyard common to both royal apartment.

While the final layout is known (fig 5) several preliminary drawings give us a better insight into the evolution of the projects and its structural implication.

Fig 5 : Blueprint of Versailles first floor 1684, BnF Est. VA. 361

The first preliminary drawing(fig 6) shows the initial design of Grand Gallery and the central salon, with ionic columns and pilasters in the Gallery, and ionic pilasters in the Salon. The attic of the salon was supposed to be lit by lightwell linked to windows on the courtyard facade. The roof above the Salon is misaligned, maybe as a desire to keep parts of the original roof structure.

Fig 6 : Cross section of Versailles, with the projet for the Gallery on the left and the central salon on the right, 1678 Archives Nationales (from now on referred as AN) V.A. LXIII-24

A later drawing(fig7) shows several changes to the initial design, the vault shape of the gallery ceiling is now more pronounced, with a greater elevation and lightwells added on each side of the structure, while the lightwells of the salon on the other hand became narrower.  On the courtyard side the roof of the two lateral facades has been embellished and is now joining the central façade, the more pronounced vaulted shape of Salon ceiling forced Mansart to consider slightly re-centring the roof above.

Fig 7 : Cross section of Versailles, with the projet for the Gallery on the left and the central salon on the right, 1678 AN O1 1768A/1-1

The project was approved the 26th September 1678 by Colbert, as shown in this drawing(fig 8) with his signature at the bottom. The overall design is remarkably similar from the previous one, the ceiling of the salon slightly lowered, and the lightwells of its attic leveled with the windows of the façade. The pilasters of the Gallery have changed order and are now Corinthian, and the archway lowered to give more room for a larger overdoor with a cartouche in its center.

Fig 8 : Cross section of Versailles, with the projet for the Gallery on the left and the central salon on the right, 1678 Collection Louvre, Inv. 30 282

Despite Colbert’s approval, the drawing in question still appears distinct from the Hall of Mirror as we know it today. A later drawing (fig 9) exists however, featuring the definitive version of the Gallery, with the columns standing on a higher pedestal while keeping their upper level, and with the two niches removed. The rest of the drawing is more foreign: with an added floor to the front yard façade and an elevated roof on the garden side. While this Appearance of the Gallery became the definitive one, Mansart had to downgrade his ambitions and return to his previous ideas shown in earlier drawings for the rest of the project.

Fig 9 : AN, V.A. LXIII-25

As highlighted in those various drawings Mansart’s view of the Gallery was intrinsically linked with that of the three salons, they had to be greater in elevation when compared with the room of the apartments but also more spacious and a with a better flow of light. While the two salons at the edges of the Grand Gallery did benefit from their angular position, allowing the flow of light to come from two different directions, the central salon on the other hand had to rely on the presence of a higher open attic allowing light to penetrate by several lightwells, and to give it the necessary portions to be worthy of its  role as common room for the two royal apartments in Mansart’s greater scheme.

The solution found to house the attic without affecting the harmony of main façade of the courtyard (the Cour de Marbre as it will be known) was to create an an elevated Avant-Corps and place the central salon and its attic behind.  In conformity to the will of the King, the Cour de Marbre façade remained faithful in spirit to the original castle of Louis XIII. The central façade was entirely disassembled and reassembled a foot further[4], and, after the addition of the avant-corp it became the Cour de Marbre(fig 10) as we can still see almost 350 years later

Fig 10 : AN O1 1768A/1-2

The 9th of May 1684, Mansart sent the following letter to Louvois[5](who oversaw the King’s Buildings) about the completion of the facades shown above:

“The exterior of the small castle will be entirely complete by the 8th of next month, with all the gilding of the recently added plumping on the attic as well as the two dormers, I can assure you that they will look fine.

I think it will be better to scrub the balustrades, figures, and vases of the little castle instead of tarnishing the new which will never succeed regardless” 

The 7th of June Louvrois decided to inform the King:

“The yard of the castle is entirely clear, and the entire apartment, salon included, is ready for your majesty” [6]

[1] Compte des Bâtiments I,936-938

[2] Compte des Bâtiments I,1013-1016

[3] Ibid

[4] Gazette des Beaux Arts, 1976 Jean Claude Le Guillou Remarque sur Le corp central du château de Versailles

[5] AN O1/1795

[6] SHAT A1, 714, Fol. 113 as seen in Jestaz 2008, volume 2 p. 180

[angelkarafilli]

Versailles Orangerie

The Versailles Orangerie (French: L'orangerie du château de Versailles) was built by Jules Hardouin-Mansart between 1684 and 1686, before work on the Château de Versailles had even begun. The Orangerie, which replaced Louis Le Vau's earlier design from 1663, is an example of many such prestigious extensions of grand gardens in Europe designed both to shelter tender plants and impress visitors. With the addition of the Orangerie, the gardens, no longer reserved solely for use by Louis XIV, had the added use of a theatrical setting that could be used to entertain guests at court

[luminouslumity]

Louis Le Vau (1612-1670) was a French Baroque architect, whose works include the Hôtel Lambert, the Château de Versailles, the Château de Vincennes, Vaux-le-Vicomte, the Louvre Palace, the Collège des Quatre-Nations.

[francepittoresque]

15 décembre 1686 : mort de Daniel Gittard, architecte de Louis XIV ➽ http://bit.ly/Daniel-Gittard Architecte du roi à 30 ans, quatrième des huit architectes qui composent l’Académie d’architecture lors de sa fondation par Colbert, le 31 décembre 1671, Daniel Gittard s’illustre notamment dans la construction de l’hôtel de la Meilleraye, de la maison de Lully et du choeur de l’église Saint-Sulpice à Paris, mais également des fortifications du château de Belle-Ile acheté par Fouquet, succédant dans cette oeuvre-ci au célèbre Le Vau

[aloneinstitute]

Lambert hotel located in Paris

Architect Louis Le Vau built this beautiful palace for the wealthy financier Jean-Baptiste Lambert de Thorigny, advisor and secretary to the king. The work spanned from 1641 to 1644, Jean-Baptiste died before it was completed and the continuation was taken care of by his brother Nicolas Lambert, president of the Court of Accounts. The interior decorating works, left in the care of Charles Le Brun, François Perrier and Eustache Le Sueur, lasted for 12 years with several interruptions. The magnificent result is considered a masterpiece of interior architecture and decorative painting of the 17th century. Le Sueur performed the paintings of the Chamber of Muses and the Cabinet of Love while Le Brun performed the works of Galerie d'Hercule. The paintings that decorated the Chambre de Muses and Cabinet de l'Amour were acquired by the Count d'Angiviller in 1776, entered royal collections and today are found in the Musée du Louvre.

The architect Louis Le Vau built a residence for his family right next to the Lambert Hotel and lived there from 1642 to 1650. After the architect's death, in 1670, the two buildings were united and the facades integrated. In the mid eighteenth century Hôtel Lambert became the property of Marquise du Châtelet, a beautiful, cultured and intelligent aristocrat who was Voltaire's lover. The marquise was famous in Paris for the saloon she kept in the palace. In 1843 the Polish tycoon Prince Adam Jerzy Czartorysky bought the Lambert Hotel. The prince was the leader of the aristocratic-liberal opposition to the Polish government and undertook great political and cultural activity in the palace halls which received great 19th century artists such as Frédéric Chopin, Honoré de Balzac, Hector Berlioz, Eug and Delacroix and Franz Liszt In the 20th century, in 1975, the palace was sold to banker Baron Guy de Rothschild, who adopted it as a Parisian residence. Shortly before his death, Rothschild sold the Hôtel Lambert to Qatar's millionaire prince Abdullah bin Khalifa al-Thani.

In 2007, the Hôtel underwent a full and friendly restoration led by Al Thani, returning this historic building to its former glory, staying true to the styles of the 17th and 18th centuries. It took an extensive process of acquisition of furniture and objects whose origins, craftsmanship and academic significance matched that of the prestigious scenery – resulting in one of the best private collections of decorative arts ever assembled.

The al-Thani collection was put on sale and auctioned last October.

[famousinuniverse]

Château de Versailles

The Palace of Versailles is a former royal residence commissioned by King Louis XIV located in Versailles, about 19 kilometers west of Paris, France

Address: Place d'Armes, 78000 Versailles

From royal residences to the palace of versailles

Until the official inauguration of the Palace of Versailles on 6 May 1682, the royal court often changed locations. Louis XIV and his courtiers were based in the Louvre Palace, then the Tuileries, alternating with stints at the Châteaux of Saint-Germain-en-Laye, Vincennes, Fontainebleau and the rapidly-growing Versailles. The task of building and decorating the ultimate royal residence was entrusted to artists such as André Le Nôtre, Louis Le Vau, Charles Le Brun and Jules Hardouin-Mansart. In 1678 work began on the Hall of Mirrors, the most potent symbol of the King’s absolute power. With enough room to house the whole court, the Palace and its surrounding buildings rapidly became symbols of an age when the nobility were prepared to go to any lengths to be close to the King, who respected the royal tradition whereby the monarch had to be accessible to his courtiers. Under the sovereign’s watchful eye, the nobility could no longer plot against the throne; the great lords were kept in their place in the army or at court, eager to serve and please the King. Intimidating, majestic, kept informed by an army of spies, the king controlled everything. 

A royal art-lover

Reception of Le Grand Conde at Versailles by Jean-Leon Gerome, 1878.

Louis XIV as Apollo in the Ballet Royal de la Nuit (1653)

The King cultivated a broad variety of interests and excelled in numerous fields, such as music (he played the guitar), dance (performing in ballets), and horse-riding (Louis XIV was an excellent rider). He also loved hunting, promenades, fencing, shows and parlour games, and was a great fan of billiards. He surrounded himself with the leading artists and writers of his day, including Molière, Lully and Racine. At the Palace of Versailles he staged the finest comedies, operas and tragedies and organised spectacular parties.

king by divine right

At the start of his reign, before turning to more political allegories, Louis XIV chose the sun as his personal emblem. The sun is the symbol of Apollo, god of peace and the arts; it is also the star which gives life to all things, rising and setting with unfailing regularity. Like the god, Louis XIV was a warrior fighting to restore peace; he was also a patron of the arts and the source of all privileges. Though the unstinting regularity of his life and with the public getting-up and going-to-bed ceremonies, he hammered home the symbolic parallels. The Palace of Versailles is replete with representations and allegorical allusions to the sun god (laurel wreathes, lyres, tripods) combined with royal portraits and emblems.

An absolute monarchy

As sovereign by divine right, the King was God’s representative on earth. It is in this respect that his power was ��absolute”, which in Latin means literally ‘free of all restraints’: the king was answerable to no one but God. During his coronation, Louis XIV swore to defend the Catholic faith. To honour this pledge and preserve the religious unity of his kingdom, he cracked down on the Jansenists of Port-Royal and ordered the persecution of Protestants. The previous policy of religious tolerance was abandoned with the revocation of the Edict of Nantes in 1685. Protestants were forced to convert, and over two hundred thousand fled the country. From his base in Versailles, Louis XIV ruled over a centralised, absolutist state which revolved entirely around him. The King lived in the main wing of the palace, on the first floor, in a suite of three apartments reserved for his use. He applied a strict etiquette at court, a set of rules and protocols by which his noble courtiers were obliged to abide. With the help of Colbert, he oversaw the administrative and financial reorganisation of his realm, and also set up manufactures and worked to boost trade. With Louvois he reformed the army and enjoyed a string of military victories. 

louis xiv and his women

Louis XIV’s love of women is well-known. Throughout his life, he had a number of mistresses including the Marquise de Montespan and the Duchess of La Vallière, both of whom bore him several legitimated children.

Louis XIV had a real eye for the ladies.

Marie Mancini, the first heartbreak of Louis XIV - Mancini by Jacob Ferdinand Voet, Rijksmuseum

His first love, Marie Mancini, was Mazarin’s niece but both the cardinal and Anne of Austria were vehemently opposed to this union, and the brief encounter between the King and the princess on 22 June 1659 was their last before she was banished from the court into exile.

Maria Theresa of Austria

The King agreed to marry the Spanish Infanta, Maria Theresa of Austria, on 9 June 1660, in accordance with the Treaty of the Pyrenees, which ended the Franco-Spanish war.

First official mistress of louis xiv 1644 - 1710

Jean Nocret, Louise-Françoise de la Baume le Blanc, duchesse of La Vallière and Vaujours

Louis XIV’s first official mistress, Louise de La Vallière, lived at Court from 1661 to 1674. She bore the king four children, two of whom survived and were legitimised: Marie-Anne de Bourbon, known as Mademoiselle de Blois, and Louis, Count of Vermandois.

Françoise-Athénaïs de Rochechouart, marquise of Montespan and her children, anonymous

© Château de Versailles, Dist. RMN / © Christophe Fouin

The Marquise de Montespan was next to succumb to the royal charm, during the Flanders campaign in 1667, and the following year the Great Royal Entertainment at Versailles was unofficially held in her honour. It was not long before she moved into a prestigious apartment that was directly connected to her lover’s. Exquisitely decorated by d’Orbay, it was even more spacious than the Queen’s apartment. The King also gave her Clagny palace, which became the home of the numerous children she had with the king – six legitimate children in all. She was ousted by Mademoiselle de Fontanges, a young beauty barely 20 years old, whose relationship with the King turned out to be only brief.

The governess to Madame de Montespan’s children, Françoise d’Aubigné, who later became Madame de Maintenon in 1675, was next to win the King’s heart with her sweetness and charm. Following the death of Maria Theresa, she married the King of France in secret during the night of 9 to 10 October 1683, in the presence of Louvois and de Bontemps. According to Princess Palatine: “In any case, what is certain is that the King has never been so passionate about any mistress as he is about her [Madame de Maintenon]; it is a rather curious thing to see them together.”

Françoise d'Aubigné, marquise of Maintenon (1635-1719), and her niece, Louis Elle le Jeune

Official mistresses (maîtresse-en-titre)

1661–1667: Louise de La Vallière (1644–1710), duchess of Vaujours

1667–1681: Françoise-Athénaïs de Rochechouart de Mortemart (1640–1707), marquise of Montespan

1678–1681: Marie Angélique de Scoraille de Roussille (1661–1681), duchess of Fontanges

1683–1715: Françoise d'Aubigné (1635–1719), marquise of Maintenon. Not really a mistress but a secret morganatic wife

Unofficial mistresses (petite maîtresse)

Catherine Bellier (1614–1689) baroness of Beauvais, between 1652–1654

Olympe Mancini (1638–1708) in 1654–1657 and 1660-1661

Anne-Madeleine de Conty d'Argencourt in 1658

Marie Mancini (1639–1715) in 1658–1659; not a mistress but a platonic love

Name unknown: a gardener's daughter who gave birth to a daughter in 1660

Henrietta Anne of England (1644–1670) his sister-in-law, probably platonic, in 1660–1661

Bonne de Pons d'Heudicourt (1641–1709) in 1665

Catherine-Charlotte de Gramont (1639–1678) princess of Monaco in 1665

Gabrielle de Rochechouart de Mortemart (1633–1693), marquise of Thianges; sister of madame de Montespan

Anne de Rohan-Chabot (1648–1709), princess of Soubise, on-and-off in 1669–1675

Claude de Vin des Œillets (c. 1637 – 1687) in 1670–1676

Diane-Gabrielle de Damas de Thianges (1656-1715) in 1670–1673; daughter of madame de Thianges and niece of madame de Montespan

Lydie de Rochefort-Théobon (1638-1708) in 1673–1677

Isabelle de Ludres (1647–1722) in 1675–1678

Marie-Charlotte de Castelnau, comtesse de Louvigny et duchesse de Gramont (c. 1648 – 1694) in 1676–1677

Marie-Madeleine Agnès de Gontaut Biron, marquise de Nogaret (1653–1724) in 1680–1683

Louise-Elisabeth Rouxel dite Mme de Grancey (1653–1711) in 1681

Jeanne de Rouvroy, marquise de Chevrières (1650–1689) in 1681

Françoise Thérèse de Voyer de Dorée, Mlle d’Oré, in 1681

Marie-Antoinette de Rouvroy, comtesse d’Oisy (1660–1721) in 1681

Marie-Rosalie de Piennes, future marquise de Châtillon (1665–1735) in 1681

Mme de Saint-Martin in 1682

Marie-Louise de Montmorency-Laval, duchesse de Roquelaure (1657–1735) in 1683

Julie de Guenami, dite Mlle de Châteaubriant (1668–1710) in 1683 (possibly only a rumour)

Death of Louis XIV

Thomas Jones Henry Barker, “The Death of Louis XIV at the Palace of Versailles” (ca. 1835–40) (Saint-Quentin, musée Antoine Lécuyer © DR)

Death of Louis XIV (September 1, 1715, Palace of Versailles, Versailles)

After 72 years on the throne, Louis XIV died on 1 September 1715. He was buried in the Saint-Denis Basilica, and the throne passed to his great-grandson Louis XV, aged five.

Louis XIV continues to embody the Grand Siècle, synonymous with the splendour of Versailles and the glory of France.

Jardins du Château de Versailles, Versailles, France | Eric Pouhier

[detournementsmineurs]

L'"Hôtel Lambert" construit par l'architecte par Louis Le Vau pour Jean-Baptiste, Sieur de Thorigny Lambert (1640-42) sur l'Île-Saint-Louis et sa vue imprenable sur la Seine et le Pont de Sully à Paris, novembre 2024.

[photocoeur]

Le château de Vaux-le-Vicomte a inspiré Versailles.

Nicolas Fouquet s’est entouré des meilleurs pour façonner ce domaine : Louis le Vau, Charles Le Brun et André Le Nôtre. Mais, attiser la jalousie de Louis XIV lui vaudra le bannissement. Les immenses jardins à la française allient perspectives, fontaines et jeux d’eau alors que le château nous transporte au XVII ième siècle. L’automne nous rattrape et un déluge de pluie nous fait quitter les…

[vivelafranceblog]

Louvre Museum (Musée du Louvre)

Museum in Paris

The Louvre, or the Louvre Museum, is a national art museum in Paris, France. It is located on the Right Bank of the Seine in the city's 1st arrondissement and home to some of the most canonical works of Western art, including the Mona Lisa and the Venus de Milo.

Departments: Librairie-Boutique du Musée du Louvre

Address: 75001 Paris

Founded: August 10, 1793

Architects: Louis Le Vau, Pierre Lescot, Claude Perrault

Director: Laurence des Cars

Date completed: 1793

Visitors: 8.9 million (2023): Ranked 1st nationally; Ranked 1st globally in 2022

Phone: 01 40 20 53 17

Curator: Marie-Laure de Rochebrune

Louvre - Wikipedia

Le Louvre, Paris by sir20

[plaques-memoire]

Billet spécial n°1 - Les hôtels particuliers de l'île Saint-Louis

Pour célébrer la rédaction du 100ème billet du blog "Plaques Mémoire", j'ai souhaité présenter un format un peu plus libre que les autres publications, en présentant une série de petites plaques commémoratives situées à proximité les unes des autres, sur l'île Saint-Louis, à Paris (75004), et qui évoquent les noms de nombreuses personnalités de l'époque.

L'île Saint-Louis (anciennement île Notre-Dame) est une île située sur la Seine, dans le quatrième arrondissement de Paris. Structurée autour de la rue Saint-Louis en l'île qui la traverse de part en part, elle a fait l'objet d'une vaste opération d'urbanisme au XVIIème siècle et rassemble alors un très grand nombre d'hôtels particuliers qui lui valent le surnom d'"île des palais". Ces bâtiments, riches résidences passant aux mains de différentes familles aisées, connaîtront au fil des années des habitants prestigieux. Les photos montrées ici ne constituent pas une liste exhaustive des hôtels particuliers de l'île Saint-Louis, dont beaucoup ont été préservés et sont de remarquables monuments historiques cachés en plein cœur, comme l'hôtel de Lauzun (situé au 17 quai d'Anjou). Plusieurs de ces hôtels ont été conçus par l'architecte Louis Le Vau (1612-1670), d'ailleurs mentionné sur certaines des plaques commémoratives présentées ici.

11 quai de Bourbon. Texte de la plaque : 1643. Demeure de Philippe de Champaigne, peintre et valet de chambre de la Reine mère.

13 quai de Bourbon. Texte de la plaque : En 1695, propriété de Louis Joseph de Playbault, seigneur de Villars, capitaine au régiment de la reine.

15 quai de Bourbon : Hôtel Le Charron (ou hôtel de Vitry). Texte de la plaque : Hôtel Le Charron. Contrôleur de l'extraordinaire des guerres en Picardie. Son petit neveu J.J. Charron, marquis de Menars, est beau-frère de Colbert. Le peintre Émile Bernard y a résidé.

31 quai de Bourbon. Texte de la plaque : Emplacement de la propriété du fils de Théophraste Renaudot, médecin de Louis XIII, commissaire général des pauvres, fondateur du journalisme. L'écrivain Charles-Louis Philippe y a résidé.

18-20 quai d'Orléans : Hôtel Rolland. Texte de la plaque : Hôtel Rolland. En 1775 propriété de Étienne Françis Turgot, marquis de Soumont, gouverneur de Cayenne et de la Guyanne

16 quai de Béthune. Texte de la plaque : Construit en 1647. En 1728 très haute et très puissante dame Marguerite Thérèse Rouillé, princesse de Poix, veuve de très haut et très puissant seigneur Monseigneur Armand Jean Duplessis, duc de Richelieu et de Fronsac, pair de France, chevalier des ordres du Roy, lègue cet hôtel à son beau-fils LF Armand de Vignerod, futur maréchal de Richelieu

28 quai de Béthune : Hôtel Aubert-Perrot. Texte de la plaque : 1640. Maison de M. Aubert, contrôleur des rentes de l'Hôtel de ville. Façade du XVIIIème siècle

5 quai d'Anjou. Texte de la plaque : Petit hôtel de Marigny, élevé en 1640. Habité par Rennequin, créateur de la Machine de Marly

7 quai d'Anjou. Texte de la plaque : 1642 Hôtel construit pour Jacques Brebart Marchand de Fer. Siège de la Corporation des Maîtres Boulangers depuis 1843. Le bâtiment abrite encore aujourd'hui les locaux du Syndicat des Boulangers du Grand Paris.

11 quai d'Anjou. Texte de la plaque : Construit vers 1645 pour Nicolas Lambert de Thorigny. Louis Le Vau architecte. Acquis en 1945 par Henri Digard.

15 quai d'Anjou. Texte de la plaque : Vers 1645 hôtel construit pour Nicolas Lambert de Thorigny, président a la Chambre des Comptes. Louis Le Vau, architecte présumé.

23 quai d'Anjou. Textes des plaques : Hôtel ci-devant du Président Perrot et En 1642 ici demeura le Sieur Gabriel Sionite, Maronite du Liban, professeur d'arabe au Collège de France

27 quai d'Anjou. Texte de la plaque : 1644. Sur l'emplacement acheté en 1621 par Salomon de Caux, architecte du roi Louis XIII, Simon le Bossu, Maitre des Comptes, construit cet hôtel où vécut en 1691 Nicolas II Sainctôt, Introducteur des Ambassadeurs

33 quai d'Anjou. Texte de la plaque : 1640. Maison de Marin Le Roy, Sieur de Gomberville, titulaire du 21e fauteuil à la Fondation de l'Académie française

38 rue Saint-Louis-en-l'Île. Texte de la plaque : En 1775, Gilles Gomin maître tapissier acquiert de très haute et très puissante dame Madame Isabelle Louise Juvénal de Harville des Ursins de Tresnel, marquise de la Chastre

19 rue des Deux Ponts. Texte de la plaque : Maison de l'Image Saint-Louis. Abrite en 1642 le tavernier Framery, en 1742 le notaire Deshayes

9 rue Poulletier: Hôtel de Gillier. Texte de la plaque : Hôtel de Gillier. Construit de 1637 à 1640 par Louis Le Vau, père et fils, pour Melchior de Gillier, seigneur de Lagny, conseiller du roy Louis XIII

6 rue de Bretonvilliers : Hôtel de Bretonvilliers. Textes des plaques : Petit hôtel Bretonvilliers, 1639 et Pavillon de l'ancien hôtel de Bretonvilliers attribué à jean 1° Androuet du Cerceau, 1642

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2024 Paris, Hotel de Comans d'Astry, 18 quai De Béthune, 1643-1647 Louis Le Vau architecte

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15 décembre 1686 : mort de Daniel Gittard, architecte de Louis XIV ➽ https://bit.ly/3kvDXkY Architecte du roi à 30 ans, quatrième des huit architectes qui composent l’Académie d’architecture lors de sa fondation par Colbert, le 31 décembre 1671, Daniel Gittard s’illustre notamment dans la construction de l’hôtel de la Meilleraye, de la maison de Lully et du choeur de l’église Saint-Sulpice à Paris, mais également des fortifications du château de Belle-Ile acheté par Fouquet, succédant dans cette oeuvre-ci au célèbre Le Vau

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Louvre Museum

Museum in Paris The Louvre, or the Louvre Museum, is a national art museum in Paris, France. It is located on the Right Bank of the Seine in the city's 1st arrondissement and home to some of the most canonical works of Western art, including the Mona Lisa and the Venus de Milo. 

Book store : Librairie-Boutique du Musée du Louvre

Address: 75001 Paris

Founded: August 10, 1793

Architects: Louis Le Vau, Pierre Lescot, Claude Perrault

Director: Laurence des Cars

Date completed: 1793

Visitors: 8.9 million (2023): Ranked 1st nationally; Ranked 1st globally in 2022

Phone: 01 40 20 53 17

Curator: Marie-Laure de Rochebrune

Department: Paris

Region: Île-de-France

Louvre - Wikipedia

(by Kosala Bandara)

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Lambert hotel located in Paris

Architect Louis Le Vau built this beautiful palace for the wealthy financier Jean-Baptiste Lambert de Thorigny, advisor and secretary to the king. The work spanned from 1641 to 1644, Jean-Baptiste died before it was completed and the continuation was taken care of by his brother Nicolas Lambert, president of the Court of Accounts. The interior decorating works, left in the care of Charles Le Brun, François Perrier and Eustache Le Sueur, lasted for 12 years with several interruptions. The magnificent result is considered a masterpiece of interior architecture and decorative painting of the 17th century. Le Sueur performed the paintings of the Chamber of Muses and the Cabinet of Love while Le Brun performed the works of Galerie d'Hercule. The paintings that decorated the Chambre de Muses and Cabinet de l'Amour were acquired by the Count d'Angiviller in 1776, entered royal collections and today are found in the Musée du Louvre.

The architect Louis Le Vau built a residence for his family right next to the Lambert Hotel and lived there from 1642 to 1650. After the architect's death, in 1670, the two buildings were united and the facades integrated. In the mid eighteenth century Hôtel Lambert became the property of Marquise du Châtelet, a beautiful, cultured and intelligent aristocrat who was Voltaire's lover. The marquise was famous in Paris for the saloon she kept in the palace. In 1843 the Polish tycoon Prince Adam Jerzy Czartorysky bought the Lambert Hotel. The prince was the leader of the aristocratic-liberal opposition to the Polish government and undertook great political and cultural activity in the palace halls which received great 19th century artists such as Frédéric Chopin, Honoré de Balzac, Hector Berlioz, Eug and Delacroix and Franz Liszt In the 20th century, in 1975, the palace was sold to banker Baron Guy de Rothschild, who adopted it as a Parisian residence. Shortly before his death, Rothschild sold the Hôtel Lambert to Qatar's millionaire prince Abdullah bin Khalifa al-Thani.

In 2007, the Hôtel underwent a full and friendly restoration led by Al Thani, returning this historic building to its former glory, staying true to the styles of the 17th and 18th centuries. It took an extensive process of acquisition of furniture and objects whose origins, craftsmanship and academic significance matched that of the prestigious scenery – resulting in one of the best private collections of decorative arts ever assembled.

The al-Thani collection was put on sale and auctioned last October.