#Maria Hardouin

[radiotusciaevents]

Maria Hardouin, la sconosciuta moglie di Gabriele d'Annunzio

Maria Hardouin dei duchi di Gallese: una vita tra aristocrazia, amore e letteratura. Maria Hardouin dei duchi di Gallese è una figura storica di grande interesse, non solo per il suo lignaggio nobiliare ma anche per il suo legame con uno degli intellettuali più celebri e controversi dell’Italia a cavallo tra Ottocento e Novecento: Gabriele d’Annunzio. La sua vita rappresenta una complessa…

[wordsmusicandstories]

Le donne del mio Vate - ☾X☽🖋️

3 – Alessandra (2) Come sapete, la storia d’amore tra Alessandra Starabba di Rudinì e il mio Gabriele (che è sempre rimasto sposato a Maria Hardouin di Gallese) fu formalizzata addirittura con un atto notarile per rendere ufficiale e duraturo il legame e che l’avrebbe trattenuta per sempre.Non sarebbe più stato necessario che lui le scrivesse:“Perché siete fuggita? Nike, non volete essere il mio…

[dedanaan]

Maria Hardouin D’Annunzio

Antonio De La Gandara (1861-1917)

[gogmstuff]

Maria Hardouin D'Annunzio, duchess of Gallese:

ca. 1886 (estimate based on age of child) Mario, her first child, and Maria Hardouin di Gallese. From noixlucoli.blogspot.com/2013_03_01_archive.html; removed monocolor tint, increased contrast & enlarged by half 1068X624 @72 236kj.

Maria Hardouin di Gallese and Mario (b. January 1884) From 4thestate.co.uk/2014/10/i-imagine-dear-poet-you-are-hoping-that-when-you-arrive-in-heaven-you-will-be-met-by-an-octopus-like-creature-with-no-head-but-the-legs-of-a-hundred-different-women/; fixed bottom edge and removed spots with photoshop. 1189X1716 @300 1Mj.

Maria Hardouin D'Annunzio (1864-1954), duchess of Gallese, wife of Italian writer and politician Gabriele D'Annunzio, prince of Montenevoso by Antonio De La Gandara (auctioned by Cambi). From lapaletteetlereve.eklablog.com/antonio-de-la-gandara-c18439362.

[countess--olenska]

Maria Hardouin D'Annunzio

by Antonio de la Gándara

[jeannepompadour]

Maria Hardouin D'Annunzio, Duchess of Gallese and Princess of Montenevoso  by Antonio De La Gandara, c. 1899 or turn of the century (1890s-1900s)

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Antonio de la Gandara - Maria Hardouin D’annunzio, 1864 (detail), oil on canvas

[rhylabella]

Portrait of Maria Hardouin D'Annuzio (detail) by Antonio de la Gandara, 1861-1917

[cristianesimocattolico]

Il Natale non ha origini pagane, il 25 dicembre celebrato prima del Sol Invictus

L’origine pagana del Natale, una leggenda. Lo storico W.J. Tighe spiega che il culto pagano del Sol Invictus venne istituito da Aureliano nel 274 d.C., dopo che i cristiani indicarono nel 25 dicembre la nascita di Gesù. Furono i pagani a copiare dai cristiani.

di William J. Tighe* *docente di Storia presso il Muhlenberg College (Pennsylvania) da Touchstonemag, 25/12/13

Anche molti cristiani credono che il cristianesimo celebri la nascita di Cristo il 25 dicembre perché i Padri della Chiesa si sarebbero appropriati della data di una festa pagana, quella del Sol Invictus. Pochi danno reale importanza a questo fatto, tuttavia è interessante sapere che la scelta del 25 dicembre è il risultato dei tentativi dei primi cristiani di indicare la data della nascita di Gesù basandosi su calcoli del calendario che non avevano nulla a che fare con le feste pagane.

Avvenne piuttosto il contrario. La festa pagana del Sol Invictus fu istituita dall’imperatore romano Aureliano il 25 dicembre 274, quasi certamente un tentativo di creare un’alternativa pagana ad una data che già godeva di una certa importanza per i cristiani romani. Per questo “le origini pagane del Natale” sono un mito senza fondamenta storiche.

Origini pagane del Natale, da chi arriva questa tesi?

L’idea che la data sia stata “rubata” ai pagani risale a due studiosi tra la fine del 17° e l’inizio del 18° secolo. Il primo è Paul Ernst Jablonski, un protestante tedesco, il quale intendeva dimostrare che la celebrazione della nascita di Cristo del 25 dicembre era una delle tante “paganizzazioni” del cristianesimo che la Chiesa del IV secolo aveva adottato, come una delle tante “degenerazioni” che avrebbero trasformato il puro cristianesimo apostolico in cattolicesimo. L’altro è Dom Jean Hardouin, un monaco benedettino, il quale invece cercò di dimostrare che la Chiesa cattolica aveva adottato feste pagane per scopi cristiani, senza paganizzare il Vangelo. Nel calendario giuliano, creato nel 45 a.C. sotto Giulio Cesare, il solstizio d’inverno cadeva il 25 dicembre e, pertanto, Jablonski e Hardouin trovarono chiaro che questa data doveva necessariamente contenere un significato pagano prima che venisse cristianizzata.

Eppure tale data non aveva mai avuto alcun significato religioso nel calendario festivo pagano in tempi precedenti ad Aureliano, ed il culto al sole non giocò mai un ruolo importante a Roma prima del suo arrivo. C’erano due Templi del sole a Roma. Uno di essi (gestito dalla famiglia in cui Aureliano nacque o venne adottato) celebrava la sua festa di consacrazione il 9 agosto, mentre nell’altro si festeggiava il 28 agosto. Tuttavia, entrambi questi culti caddero in disuso nel II° secolo, quando i culti solari orientali -come il mitraismo-, iniziarono a guadagnare adepti a Roma. In ogni caso, nessuno di questi culti, vecchi o nuovi che fossero, aveva festività legate a solstizi o equinozi.

Festa del Sol Invictus nacque dopo il Natale cristiano.

Quello che realmente accadde fu che Aureliano, che governò dall’anno 270 fino al giorno del suo omicidio nel 275 d.C., promosse (com’è ben documentato) l’istituzione della festa del Sol Invictus come tentativo di unificare i vari culti pagani dell’Impero Romano attorno ad una commemorazione della “rinascita” annuale del sole. Ostile al cristianesimo, Aureliano guidò un impero che stava avanzando verso il collasso, a causa di sconvolgimenti interni, ribellioni nelle province, declino economico e ripetuti attacchi delle tribù germaniche nel nord e dell’Impero persiano nell’est. La sua scelta cadde sul 25 dicembre, quando la luce del giorno comincia ad allungarsi e l’oscurità ad accorciarsi, un simbolo profetico della “rinascita” o dell’eterno ringiovanimento dell’Impero Romano, favorito dalla perseveranza nel culto degli dei la cui tutela (come credevano i romani) aveva portato Roma alla gloria. Se la nuova festa poteva anche sovrapporsi alla celebrazione cristiana, ancora meglio.

È vero che la prima notizia di una celebrazione cristiana della Natività a Roma, nel giorno del 25 dicembre, risale a pochi anni dopo Aureliano, nel 336 d.C.. Ma ci sono prove provenienti dall’Oriente greco e dall’Occidente latino che mostrano come i cristiani hanno cercato di individuare la data della nascita di Cristo molto prima che iniziassero a celebrarla in modo liturgico. Un chiaro esempio è quello di Sesto Giulio Africano, uno scrittore cristiano che nel 221 d.C., nella sua Chronographiae, scrive che Gesù si è incarnato (fu concepito) il 25 marzo(così, evidentemente, nacque nove mesi dopo, il 25 dicembre). Sesto Giulio Africano scrive mezzo secolo primadella creazione della festa del Sol Invictus da parte dell’imperatore Aureliano,

Occorre anche ricordare una credenza che sembra essersi diffusa nel giudaismo al tempo di Cristo, ma che non coinvolse tutti i cristiani. Riguarda “l’età integrale” dei grandi profeti ebrei, ovvero l’idea che i profeti di Israelesiano morti nella stessa data della loro nascita o concepimento. I primi cristiani applicarono questa idea a Gesù, partendo dal fatto che il 25 marzo (o il 6 aprile) non era solo la data della morte di Gesù, ma anche quella del suo concepimento. Vi sono infatti alcune prove che almeno alcuni cristiani nel I° e nel II° secolo consideravano il 25 marzo o il 6 aprile la data della nascita di Cristo, ma -come già detto- la prima data prevalse rapidamente come il giorno del concepimento di Cristo. Ed è in questo giorno, il 25 marzo, che i cristiani ancora oggi commemorano quasi universalmente la festa dell’Annunciazione, cioè quando l’Arcangelo Gabriele portò alla Vergine Maria l’annuncio. Quanto dura una gravidanza? Nove mesi. Se contiamo nove mesi a partire dal 25 marzo, si arriva al 25 dicembre. Se invece si parte dal 6 aprile, si arriva al 6 gennaio, giorno dell’Epifania. Gli Armeni sono gli unici tra le antiche chiese cristiane che ancora oggi celebrano la nascita di Cristo, l’Adorazione dei Magi ed il battesimo il 6 gennaio.

Comunque sia, il 25 dicembre come data della nascita di Cristo non è affatto in debito con influenze pagane. Andrebbe meglio studiato se sia stata la data esatta della nascita di Gesù di Nazareth, ma è certamente nata dagli sforzi dei primi cristiani latini di individuare la data storica della morte del Salvatore. D’altra parte, la festa pagana del Sol Invictus istituita dall’imperatore Aureliano in quella data, nell’anno 274 d.C., avvenne successivamente e non fu solo uno sforzo per usare il solstizio d’inverno con l’obiettivo di una dichiarazione politica, ma, quasi certamente, fu anche un tentativo di dare un senso pagano ad una data importante per i cristiani romani. A loro volta, i cristiani si riferiranno in seguito, in memoria della nascita di Gesù, all’ascensione del “Sole della salvezza” o del “Sole della giustizia”.

Per approfondire ulteriormente consigliamo: – il nostro dossier sulla data storica del 25 dicembre. – il testo Le origini dell’anno liturgico – Thomas J. Talley (Queriniana 1991)

[radiotusciaevents]

Maria Hardouin, la sconosciuta moglie di Gabriele d'Annunzio

Maria Hardouin dei duchi di Gallese: una vita tra aristocrazia, amore e letteratura. Maria Hardouin dei duchi di Gallese è una figura storica di grande interesse, non solo per il suo lignaggio nobiliare ma anche per il suo legame con uno degli intellettuali più celebri e controversi dell’Italia a cavallo tra Ottocento e Novecento: Gabriele d’Annunzio. La sua vita rappresenta una complessa…

[axisakaasia]

Gabriele D’Annunzio: (il Vate)

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Gabriele D’Annunzio nacque il 12 marzo 1863 a Pescara, quest’uomo è rimasto nella storia per aver influenzato il popolo italiano con la sua arte talmente tanto da incidere su usi e costumi della società italiana di fine 1800.

Egli ancora oggi è la figura esempio della corrente artistica del Decadentismo, ed addirittura per merito della sua fama, segnerà un periodo che più tardi verrà denominato il Dannunzianesimo.

A 16 anni il poeta scrive la sua prima raccolta di versi: Primo Vere, ed in quegli anni Gabriele annunció la sua morte per far stampare di nuovo la sua opera, che acquisterà molto successo.

Nel 1881 Gabriele si trasferì a Roma, trovando lavoro come cronista.

Nel 1883 il poeta si sposerà con Maria Hardouin, principessa di Montenevoso, e da lei ebbe ben tre figli, e nonostante tutto Gabriele perse interesse pochi anni dopo il matrimonio, iniziando ad avere una relazione proibita con Barbara Leoni.

Di pari passo con questo triangolo amoroso, D’Annunzio pubblicò il suo primo grande successo: il Piacere, e poco dopo anche il Trionfo Della Morte.

Intorno al 1990, Gabriele fuggì a Napoli dalla sua amante Maria Anguisola, e da lei ebbe la sua figlia prediletta, Renata. Questa storia tuttavia durò ben poco (4 anni) perché il poeta trovò il vero amore: Eleonora Duse, e scriverà anche vari libri su di lei, come ad esempio il Fuoco. Gabriele la ricorderà per sempre come la sua musa, anche dopo la fine della loro relazione.

Nel 1897 Gabriele divenne deputato di estrema destra, ma tuttavia pochi anni dopo passò all’altra sponda, la sinistra, ripudiando le leggi Pelloux.

Nel 1910 Gabriele si esiliò volontariamente in Francia, dove si dedicò a tradurre le sue opere, ed a scrivere l’opera Le Mature De Saint Sebastien, che venne anche messa in scena con le musiche del celebre Claude Debussy.

Durante la Grande Guerra D’Annunzio fu un attivista, e per protesta occupò Fiume.

Nel 1920, Gabriele si trasferì, in un paese vicino al lago di Garda. Il 1 marzo 1938 D’Annunzio muore, ed in seguito viene sepolto a Riviera.

«Roma, d'innanzi, si profondava in un silenzio quasi di morte, immobile, vacua, simile a una città addormentata da un potere fatale.» (Gabriele D’Annunzio il Piacere)

[flatpyramid-blog]

3d building 500 3D Model

Building 500 3D model

High detailed 3d building. Previews were rendered with vray mat and light. The file has all lightning setup and texturing; multi layer photoshop PSD file included This architectural form developed with the Greco-Roman civilization (see the Pantheon of Rome). Very used in early Christian architecture, the dome lasted in the Middle Ages, we find it for example in Carolingian architecture and Romanesque architecture, although they are often less extensive, especially in Byzantine architecture (see Hagia Sophia) It spread to the East where other forms appeared, including the spherical Persian vaults. The first large modern dome in the West was designed by Filippo Brunelleschi in 1436 (construction of the dome of Santa Maria del Fiore in Florence). The dome became again during the Italian Renaissance synonymous with a church-centered plan. In France, the dome was used timidly during the Renaissance (see the chapel of Anet's castle by Philibert Delorme), the first dome churches date from Louis XIII (the Sorbonne of Jacques Lemercier, the Val-de-Grâce of Francis Mansard). Louis XIV will mark the royal presence by its institutions visible from afar by their dome (the College of the Four Nations Louis Le Vau, the hotel of Invalides by Jules Hardouin-Mansart). Under Louis XV, the Pantheon of Paris is built by Jacques-Germain Soufflot. Under Napoleon III, the dome will become an element of urban composition in its own right (the dome of the commercial court of Antoine-Nicolas Bailly is out of alignment with the building to be in the axis of the boulevard de Sébastopol). The Notre-Dame de la Paix Basilica in Yamoussoukro is surmounted by a steel structure dome built by Vinci, 90 m in diameter and 60 m high, with a total height of 158 m. It thus exceeds the Saint-Pierre Basilica whose dome rises to 136 meters for a diameter of 41 meters. Download Building 500 3D model on Flatpyramid now. - #3D_Model #Buildings

[enchanted-garden]

Maria Hardouin D'Annunzio, by Antonio de la Gandara (1861-1917)

[frakyeahfrenchmusic2]

Toutes les sorties FR d’avril, de la chanson à l’electro. J’actualiserai la liste toutes les semaines, so come back soon!

01-avril   Gu’s Musics - Happening [LP] 02-avril   Missine+Tripstoic - 2 ghosts from the orchestra [LP] 03-avril   Camille Bénâtre - Ilot de consolation [LP] 06-avril   Christine - Nemesis soundtrack [LP] 07-avril   Achab - Un monde formidable [LP] 07-avril   Archimède - Mehari [LP] 07-avril   Black Lilys - Blood ties [EP] 07-avril   Brodinski - Brain disorder [EP] 07-avril   Carmen Maria Vega - Santa Maria [LP] 07-avril   Clarcèn - Passerine [EP] 07-avril   Ezechiel Pailhès - Tout va bien [LP] 07-avril   Her - Tape #2 [EP] 07-avril   Isaac Delusion - Rust & Gold [LP] 07-avril   Juliette Armanet - Petite amie [LP] 07-avril   Kast - More and more [LP] 07-avril   Last Train - Weathering [LP] 07-avril   M - Lamomali [LP] 07-avril   Malik Djoudi - Un [LP] 07-avril   Navarre - Eurotrash summer [LP] 07-avril   Talma Suns - Wide-eyed [LP] 07-avril   The Blaze - Territory [EP] 10-avril   Spectateur - Their dreams [LP] 14-avril   Calypso Valois - Vis-à-vie [EP] 14-avril   Das Kino - The call of a vision [LP] 14-avril   Gaël Faye - Rythmes et botanique [EP] 14-avril   Lady Sir - Accidentally yours [LP] 14-avril   Marie-Flore - Passade digitale [EP] 14-avril   Oiseaux-Tempête - AL-’AN [LP] 14-avril   Récif - L’impatience [EP] 14-avril   Roseland - Behind the walls [EP] 14-avril   Rotters Damn - But my friend you know that I think I love you [LP] 17-avril   Skittle Alley - End of a story [LP] 21-avril   3 Minutes sur Mer - L’endroit d’où l’on vient [LP] 21-avril   Douchka - Infantile [EP] 21-avril   Julien Perez - Un album de collection [LP] 21-avril   Les Discrets - Prédateurs [LP] 21-avril   Satellite Jockey - Modern life [LP] 21-avril   Télépopmusik - Breathe remixes [EP] 27-avril   Orval Carlos Sibelius - Ordre et progrès [LP] 28-avril   Bengale - Republica [LP] 28-avril   Camille Hardouin - Mille bouches [LP] 28-avril   Clara Luciani - Monstre d’amour [EP] 28-avril   Cléa Vincent - Tropi-Cléa [EP] 28-avril   Gérald Genty -  Hippopopopopopopopopopopotame [LP] 28-avril   Gunwood - Traveling soul [LP] 28-avril   La Louise - Je fume [EP] 28-avril   My Own Ghosts [EP] 28-avril   Nicolas Jules - Crève-silence [LP] 28-avril   Saint Michel - You & I - Extended Play n°2 [EP] 28-avril   The Buns - Out of bounds [LP] 28-avril   The Unlikely Boy - Expectations [EP] 28-avril   Wellbird - Menu [EP]

[toradata]

La difusión del arte barroco

Se empezó a extender a principios del S17 aunque según el área se pueden observar claras diferencias

En países bajos encontramos construcciones unidas al modo de vida burgués mientras que en España se adapta a la contrareforma, predominando los edificios religiosos. En Alemania y Austria se impone la tendencia clasicista combinada con la exuberancia decorativa. mientras en Francia se desarrolla de forma opuesta a Italia.

Arquitectura cortesana francesa: Los monarcas se convierten en los principales clientes de la arquitectura, es un arte palaciego antes que religioso. El palacio real se convierte en el símbolo de poder absoluto. A diferencia del italiano o el español. el palacio francés no es cerrado y se edifica en forma de U. En 1671 se funda la Real academia de Arquitectura de Francia para elaborar una doctrina que explicara el desarrollo durante el reinado de luis 14. Sus normas eran la imposición de respeto en cuanto a la proporción, la simetría y los ordenes clásicos. Una gran aportación fue la arquitectura de jardines, que alcanza su máximo esplendor. Los monarcas franceses apoyaron el desarrollo de planes urbanísticos. Ej: En París se crearon las primeras plazas reales, como la plaza de los Vosgos.

Jules Hardouin-Mansart: Fue el arquitecto mas destacado en Francia. Entre sus obras encontramos el conjunto de construcciones que forman los Inválidos, un hospital destinado a soldados veteranos, incapacitados y sin recursos. Destaca la cupula dorada, destinada a albergar el sepulcro de luis 14. Tiene planta centralizada.

Pero sin duda la obra mas destacada fue el palacio de versalles, realizado en varias fases.

Durante la primera fase comienza la ampliación de un pabellón de caza de luis 13. SU hijo respeta la planta pero enriquece la construcción con decoración exterior y edificios anexos. Durante la segunda fase, continua el proyecto de Le Vau su ayudante, Francisco de Orbay, contruyendo la fachada. Emplea sillares almohadillados y se dota de la planta baja de piso de doble altura y ático. Es en la tercera fase, conencidiendo con un nuevo tratado, cuando Mansart realizo la capilla real a dos alturas y unió el conjunto principal con las alas laterales. Así adquiere el aspecto que tiene hoy día.

EL edificio principal tiene casi 700 metros de largo y consta de tres pisos. Destacamos una galería de 73metros con amplios ventanales, el salón de los espejos con miles de lamparas y 357 espejos que aumentan la luz recibida.

Destaca Andre Le NÔtre como el diseñador paisajista disponiendo fuentes, canales, cascadas… La corte antes de su traslado a versalles había residido en el palacio de Louvre que había sufrido importantes remodelaciones como la llevada a cabo por Claude Perrault, diseñador de una columnata rematada con un frontón clásico.

pintura flamenca: En la pintura de los países bajos influyeron factores económicos, políticos y religiosos como la separación entre zona católica y protestante. En flandes destaca el circulo artístico de bruselas. la demanda de una burguesía enriquecida hacia que se abrieran talleres estables y pronto la fama de los pintores flamencos se extendió por las cortes europeas. Entre sus características encontramos:

Temas religiosos, mitológicos y un retrato solemne

La técnica huye del naturalismo buscando fuentes de inspiración clasicistas pero con planteamientos estéticos barrocos. Pinceladas sueltas

Peter paul Rubens: Figura mas destacada de la pintura flamenca. Su cuadros recogen la influencia de Miguel Angel y la monumentalizad de sus personajes y por otro lado los colores cálidos de los artistas venecianos. Sus composiciones dispuestas en grandes escenografías sobre un esquema diagonal, curvas, contracurvas y escorzo. los cuerpos masculinos son musculosos y los femeninos aparecen con formas gruesas y sensuales. Se caracteriza por un pincelada suelta, gran vitalidad, dinamismo y una luz que difumina las formas. En sus cuadros religiosos representa los ideales de la contrarreforma como por ejemplo la serie de los milagros de San Ignacio. También destaca sus versiones del Triunfo de la Eucaristia (sobre la idolatría, titulado) La elevación de la cruz o el descendimiento de la cruz .

El triptico del descendimiento de la catedral de amberes es una composición diagonal rica en colorido. De pinceladas largas y sueltas con mucho pigmento. Destaca la teatralidad y la expresión en los rostros y manos de los personajes.

Por otro lado destacan sus obras mitológicas, dentro de la corriente clasicistas e inspiradas en la metamorfosis de Ovidio. Rubens propone una imagen de vitalidad y optimismo con muchos personajes en movimiento, desnudos femeninos y gran maestría en el tratamiento de la luz, el color o el paisaje. Ej: Rapto de las hijas de Leucipo donde los retorcimientos y fuertes escorzo crea una composición en espiral. Destacan también las tres Gracias, donde las mujeres enlazadas crean una composición cerrada y sus brazos un movimiento diagonal o el Jardín del amor donde aparece el mismo con su segunda mujer, o el juicio de parís donde el príncipe tiene que elegir a quien dará la manzana de oro.

En sus retratos exalta la condición social y el poder del retratado, entre sus mejores obras encontramos, maria de medicis, el retrato encueste del dique de lerma o enrique IV de Francia recibiendo el retrato de maria de medici.

Anton van Dyck: Pasa su juventud en amberes y viajo a italia para terminar afincándose en Inglaterra trabajando al servicio de Carlos I. Reflejaba el refinamiento y elegancia de los retratados, captando texturas. Ej: Tripe retrato de Carlos I, Carlos I de caza, Carlos I a caballo o el autorretrato sir endymion porter y anton van dyck.

Jacob Jordaens: Obra fuertemente influida por Rubens con composiciones dinámicas y coloridas aunque tiene interés por representar los motivos populares como por ejemplo el rey bebe

Pintura barroca Holanda: Se desarrollo ligado a la construcción de la república protestante por lo que la burguesía es casi el único cliente. Entre sus características encontramos:

No se centra en temas religiosos, se centra en escenas costumbristas de interiori, representación de animales, paisajes y bodegones.

Apenas hay temas mitológicos pero cuando los encontramos tienen un carácter moralizaste

Los retratos buscan la intimidad y el realismo rehuyendo del carácter cortesano

Rembrandt: Abarca todos los campos de la pintura y muentra gran interés en el tratado de la luz. Parte del tenebrismo (sin llegar a Caravaggio) envolviendo las composiciones en una luz dorada y una pincelada muy suelta. EN su trayectoria se pueden observar varias etapas.

EN su primera etapa había sido un pintor de éxito, casado con saskia a quien retrata sola y acompañada de el . Cuando muere comienza un punto de inflexión. Encontramos obras como EL rapto de Ganimedes o la lección de anatomía del doctor Tulp, una autopsia publica donde concibe una composición diagonal compensada por la forma piramidal dando equilibrio al conjunto. La luz parece enamanar del cadáver. Después de morir su mujer destacamos ronda de noche, su obra mas representativa, es una tropa de hombres armados con diferentes actitudes. Destaca la representación de los personajes, en grupos y con diferentes actividades. Luz cercana al tenebrismo y claroscuros con fuertes contrastes. EL titulo no corresponde puesto que la acción de la obra trascurre al mediodía. En sus últimos años comienza una fase mas personal donde pinta retratos y una de sus obras maestras conocida como los síndicos de los pañeros, encargada por los representantes del gremio que aparecen en el mismo cuadro con aspecto sorprendido. En sus ultimas obras, como la novia judia, acentúa la libertad de la pincelada. En el retorno del hijio prodigo representa un epidicio bíblico abandonando el puto de vista intimo y lejos de los ideales de la contrarreforma.

Franz Hals: Autor de retratos como las regentes del asilo e ancianos de Haarlem o la zingara, con pincelada casi abocetada. Sus obras se caracterizan por la naturalidad de gestos y por la perfecta integración de figuras.Su cuadro, la gitanilla es muy destacado.

Johannes Vermeer de Delft: Pintor de escenas interiores con pincelada fina y detallista. Recrea escenas de la vida burguesa con atmósfera serena e intimista. Los personajes aparecen sorprendidos mientras realizaban la acción cotidiana. Obras como dama bebiendo con un caballero, la lechera, el geografo o el retrato de la joven de la perla.

[jo-shaneparis]

Versailles and the Arc de Triomphe

26/03/2016: The weather for today. Something like yesterday. Overcast but no showers and cold with a stiff breeze. Still 14 degrees today.

Today we headed off to Versailles, the old brick and stone hunting lodge of Louis XIII which was extended and transformed into a beautiful palace by his son, Louis XIV. Three French kings lived in the palace, each adding to the decadence until the French Revolution abruptly ended the royal tenancy.

Shane headed out early to get some photos before the crowds and headed straight for yesterday’s spots on Pont Neuf just after dawn. The route took him to the fence surrounding the statue of Henry on his horse and Place Dauphine as well as, and most importantly to Square du Vert-Galant to get some pics of the barge.

Locks galore

Place Dauphine (again)

The light changed considerably while he was out there due to the clouds moving overhead. It still worked out OK though.

Cathare from Square du Vert-Galant.

After a few shots, the long way was taken back to the barge, via Rue de Seine to look at some of the art for sale in the shop windows. For this street seems to be the go for high end art of more recent times modern masters rather than old masters.

Don’t know what this exhibition’s about

If you feel the need to buy some overpriced artworks, whether original or in print, this is the place. Or you could drop in to the stalls on the river front for a postcard.

Some of it was OK

Some not so much

After some interesting window shopping it was back to Cathare to prepare for the day.

What? No food?

We headed back out with no breakfast. We’d get something on the way. The first chore of the morning was to buy some Christmas baubles from a shop that Shane had come across on his walk the previous morning and then head to the Metro to get a train to Versailles. After the purchase Shane took them back to the barge for safe keeping while Jo and the kids waited on nearby Pont Neuf, near the Statue of Henry.

The morning standup meeting. Our next door neighbours getting ready for duty

We had all day to spare so we didn’t think that we needed to hurry. Once reunited we wandered across the bridge and by the time we had gotten half a kilometre the kids were hungry so we stopped at a little place next to Le Soleil D’or Brasserie on Boulevarde du Palais for some croissants and other pastries.

After pissing around to the point of annoyance, Shane led the way to the station and proceeded down the stairs of the Cite Metro. Then something dawned on him. Were at the wrong station. We need to be at a Saint Michel-Notre Dame RER station. So, our casual approach became more purposeful as we headed back across the bridge and entered the underground Platform A, 4C route to Versailles - Château - Rive-Gauche on the 10:42 train.

More food on the run at the station

Yippee!! We’re going to Versailles

We reached Versailles - Château - Rive-Gauche terminus after about 35 minutes and wandered up Avenue du Général de Gaulle with our Rick Steves guide book in hand. After briefly checking out the Mairie de Versailles and the Monument aux morts on the corner, we turned a sharp left and headed up Avenue de Paris and into the Tourism Centre to buy some tickets into the palace as advised by Rick in his book as a way to avoid queues at the Palace ticket booth. There was a small queue here, much less than at the palace itself. Great bit of advice. The assistant sold us tickets to the palace and the royal gardens and after marking access points on the map, advised us to utilise our time best, do the gardens first. So, it was up the street toward Louis XIV, passing Petits Ecuries Royales (Small Stables) on the left and Grandes Ecuries Royales (Grand Stables) on the right.

1920’s Site Map

Louis XIV, Roi de France et de Navarre. King of France and the medieval Kingdom of Navarre (Basque country, now part of Spain).

Louis XIV, the self-proclaimed Sun King (he gave warmth and life to all he touched), had the longest reign of any monarch in European history (1643-1715). Louis’ “Grand Century” of rule, or seventy-two years to be exact, glorified the monarchy by ushering in a golden age of arts and literature. The king quickly established academies for such pursuits including Académie de peinture et de sculpture, Académie royale des Inscriptions et Médailles, Académie des sciences, Académie de musique and Académie royale d'architectures as well as Prix de Rome, a scholarship for French artists in Rome. Académie Française, formed under his father was taken under royal control later on. All of these institutes form what is now known as Institut de France.

Louis XIV was born Louis-Dieudonné , or Louis the God-given, in 1638 and within five years was installed king after the death of Louis XIII. He was mentored and educated by his godfather Cardinal Mazarin and his mother, Queen Anne (she was Regent). After the Cardinal’s death in 1661, Louis took over personal control of the nation adhering of the concept of the divine right of kings, advocating the divine origin of monarchical rule.

In 1660 he married his first cousin, Maria Theresa, daughter of the King of Spain to whom he had six children. Only one survived. He did however have plenty of mistresses including Louise de la Vallière, Françoise-Athénaïs, Marquise of Montespan, Françoise Scarron and Madame de Maintenon, whom he secretly married after the death of his missus. Thereafter, Louis lived a life of pious domesticity.

The most interesting part of the whole thing is the decision by Louis to leave Paris and move the centre of rule to his father’s hunting lodge at Versailles. He moved in in 1682 and started renovations of such proportions and grandeur that it represented the showpiece of French Monarchy and set the standard for palaces across Europe. After all, that is why we’re here.

Representations of the Sun King in the fence pillars

After a quick look at the statue of Louis we moved further up the Place d’Armes and into the throng. Good advice to veer left and into the Royal Gardens.

The long queue to the entry point

Security seemed tight, not sure if it was normal or due to the recent Brussels bombing. We queued up again for a bag check, slow as usual but we just gotta go with the flow. First the gardens, second Marie Antoinette’s residence and lastly the palace when the crowds should have diminished. Firstly, the gardens. Walking through the checkpoint led us straight into the South Parterre, which according to our brochure was previously known as the Flower Parterre or Cupid Parterre, full of flowers and ornamental trimmed hedges forming complicated patterns. It was probably time of year but there were bugger all flowers and the hedges were well trimmed. So much so that they were less than a foot high. We had a quick mosey around and moved on to the Orangerie.

The Orangerie devoid of oranges. Lake of the Swiss Guards beyond

Standing within the South Parterre gave us a great view of the Orangerie with the Lake of the Swiss Guards beyond. The lake was so named as the Swiss Guards, primarily there to protect the King, dug it and extended the Grand canal. Louis used the Swiss Guards as he didn’t think that he needed that much protection and couldn’t stand them standing around.

Eighteenth century painting of the Orangerie from the Hills of Satory. Sailing boats on the Lake of the Swiss Guards

The Orangerie was overlooked by the Queen’s Apartments of the Château. Designed by King Louis’ favourite architect, Jules Hardouin-Mansart, it replaced a smaller one built a few years earlier. Consisting of a central vaulted gallery, it extended on either side by two galleries located under the stairways of the Cent-Marches and lit by large arched windows in the garden itself.

A common feature of seventeenth to nineteenth century royal and aristocratic residences, orangeries were a type of greenhouse that allowed citrus trees to avoid the cold by being grown in tubs, dragged out into the sunshine during summer and dragged back inside during winter. It faded in popularity once the Italians developed processes to produce larger sheets of glass.

Versailles Orangerie had orange trees from Portugal, Spain and Italy, and lemon and pomegranate trees over 200 years old as well as palm trees, oleanders, and eugenias.

The Royal Greenhouse (displaying the King’s power over nature) leading out onto the Orangerie

Moving back across the South Parterre we ended up directly in front of two large rectangular pools designed by André Le Nôtre and constructed to their current form in 1685.

Seventeenth Century painting of the palace. Before Parterre d’Eau in its current form (and before the Hall of Mirrors)

Parterre d’Eau, or Water Parterre, were constructed adjacent to and perpendicular to the façade of the palace and complimented with four reclining statues symbolising the four great rivers of France and their tributaries. The Garonne and the Dordogne, the Rhône and the Saône, the Seine and the Marneas well as the Loire and the Loiret to which are added four nymphs and four groups of children.

Statue of the Loire

From there it was all downhill, literally. From the Water Parterre we oversaw beautiful fountains, statues and lawned areas all the way down to the Grand Canal. Immediately below us was a circular area recessed into the slope and containing three fountains, Bassin de Latone and two lizard pools, the main attraction being Latona's Fountain. Inspired by Ovid’s Metamorphoses, the fountain represents Latona, the daughter of a Titan, who was loved by Jupiter and bore two children, Apollo and Diana in the shade of an olive tree. One day Latona was resting in the land of Lycia as a group of peasants approached. After asking for some water she was derided and as a consequence asked Jupiter to avenge the insult and to turn them into frogs and lizards.

Looking toward the Grand Canal over Latona's Fountain. After an €8m reno

Rather than proceeding further downhill towards the canal we noticed a café on the map to the left so concentrated our efforts in that direction. We looked around the immediate area at the bottom of the parterre before moving straight along Allée de l'Automne, which along with Allée de l’Ete, formed an impressive pathway lined with statues, thicket and gardens to either side, and manicured topiary separating the two. The statues were frequent and splendid.

The statues along Allée de l’Ete

Arria and her consort, the Roman consul Paetus, had to experience the death of the beloved son, and finally the defeat of Paetus in his rebellion against Emperor Claudius. Paetus, who was sentenced to death, wanted to commit suicide, but hesitated for fear of pain. Then his wife Arria took a dagger and thrust it into her breast. Then the dying woman handed her husband the dagger with the words "Paetus, it does not hurt."

Heckle and Jeckle (living statues). Modern Australian art

We found the entrance to the Brasserie de la Girandole where Allée de l'Automne met the entry to Bosquet de la Salle de Bal (Grove of the Ballroom), semi hidden behind the scrub that backed the statues and promptly headed in and sat for a while with a snack and some hot drinks. It was good to rest our backs and feet as well.

Waiting to be served at the Brasserie de la Girandole

Backs and feet somewhat on the mend and after a less than impressive meal we left the café and headed slightly uphill and into Bosquet de la Salle de Bal, the open-air ballroom also known as the Cascade Ballroom or the Rocaille Grove due to the millstone sand seashells brought back from African coasts and Madagascar. The shells form the obstacles from which the water cascades over. The musicians were perched above the cascade while Louis XIV danced around the marble dance floor below. Onlookers found room around the peripheral of the amphitheatre which was full of grassy tiered seating.

Bosquet de la Salle de Bal

Moving on, we passed Bacchus Fountain and further on to the Bassin du Miroir (Mirror Pool) where water was spouting to classical music. This was quite impressive, so much so that the kids were even impressed and sat down to enjoy the entertainment. Not for long though as they must have been sitting in the wrong spot. Security pounced and off we went to the next section, which randomly ended up being in le Jardin du Roi (King's Garden).  

Area off limits. Bassin du Miroir

Jardin du Roi was quite peaceful with only a few people in sight. Lush grassy areas were punctuated with large trees but still surrounded by the scrub that seemed to partition off the separate areas and made them only accessible by the designated pathways. Following several minutes on the grass of the King’s Garden, we headed along one of these designated walkways and in the general direction of the Grand Canal. The route we took led us directly to Bosquet de la Colonnade, this fantastic circular structure of pink and blue-grey marble.

Jardin du Roi

Bosquet de la Colonnade was created in 1684 and intended to promote French marble. A peristyle accompanying 32 arcades with triangular tympani between. The columns are slate blue, violet breccia and pink Pyrenean marble.

Proserpine Ravished by Pluto

From Bosquet de la Collonade it was only a short distance to the Great Lawn, along a narrow pathway which ended at Vase à décor de feuilles d’acanthe, recently refurbished (by a sponsor) and located on the edge of the path down to the Grand Canal. Only one hundred metres down the path we encountered Apollo’s Fountain, constructed and gilded in lead in 1670, it represented the legend of Apollo, the Sun gold and emblem of the king. Beyond Apollo was a large grassed area, the foreshore to the Grand Canal and an opportunity to get wet.

Vase à décor de feuilles d’acanthe, (Vase decorated with acanthus leaves)

Soph & Apollo’s Fountain

Grand Canal from Apollo’s Fountain

The path from the foreshore directed us to a gate manned by security who was happy to let us out but reminded us to keep our tickets if we wanted to get back in. So, we moved out of the gardens and onto the Grand Canal where we hired a row boat and rowed halfway down the canal and back.

Showing them how to row (sort of)

We spent some time on the water and a lot of fun it was. Luckily there was not much wind so to row in both directions was not a chore, dodging the other boats was. The canal crossroads (bras et la Ménagerie to the left and bras et la Trianon to the right) was the limit of our rowing prowess, half a kilometre away so we put about and commenced rowing the return leg. Again, trying to avoid other craft.

Rowing back to toward the Palace from the Grand Canal

The return of the row boat to the marina was straight forward, particularly with the help of the shore man there to pull us into the wharf with an extended hook. Disembarking meant payment was required on a time basis so after handing over a few Euro’s we were headed off along Allée de la Reine for the six hundred metre stroll to what we thought was Marie Antoinete’s Estate but was in fact the Grand Trianon. Our mistake.

Le Grand Trianon formerly Trianon de marbre

Le Grand Trianon, previously known as Trianon de marbre was built in 1687 at the behest of Louis XIV on the site of the smaller Trianon de porcelain that he had built almost twenty years earlier. You guessed it, a building of porcelain was replaced with a building of marble. Trianon de porcelain was built as a retreat for Louis XIV and his maîtresse en titre of the time, Françoise Athénaïs de Rochechouart de Mortemart, Marquise de Montespan (he razed the township of Trianon to make room) but by the time Trianon de marbre was finished, the king’s newest bit of crumpet, Françoise d'Aubigné, Marquise de Maintenon was on the scene.

Trianon de porcelain

As we neared the end of the dirt track known as Allée de la Reine, we hit the forecourt of the Grand Trianon veered into the left pavilion and showed our tickets. Not too many people around so it was straight in.

The birth of the fifth French Republic gave rise to a new chapter in the château’s history.  Not only was the Grand Trianon transformed by General Charles De Gaulle into a presidential residency to welcoming foreign dignitaries, it has also been prominent in France's international relations. Over the years the château has hosted John and Jackie Kennedy, Queen Elizabeth II, the Russian president Boris Yeltsin.

The first room of significance that we encountered was the Salon des Miroirs, formerly Cabinet des Glaces. The room was quite dark with doors only partially opened for some reason. Maybe to keep the sun out, it may have been to protect the contents from the sun. Although mainly original, much of its contents was sold off during the Revolution and subsequently replaced by Napoleon Bonaparte.

The adjacent room, originally Louis XIV’s bedchamber, featured the original décor of Corinthian columns and mosaic panelling. The room was divided into smaller sections by Empress Marie-Louise, Napoleons wife to incorporate a sitting room.

Salon des Miroirs. Apparently with the doors open, the room affords lovely views of the Grand Canal. The former Great Study was the final apartment of Louis XIV between 1691 to 1703 and served as the room where he met his privy council. The original cornice and mirrors embedded in carved panelling are still intact

Known as the Empress’ Bedchamber. The bed belonged to Napoleon and Louis XVI’s brother, Louis XVIII, who died in it in 1824

Through a couple of more rooms and we were in the Peristyle, wrongly named from the days of Louis XIV, the colonnaded portico linked not only the two pavilions, but the courtyard to the rear gardens. The walkway opened up the whole area providing access and an overall perspective from left to right, front to back.

The so-called Peristyle, looking towards the right pavilion

A couple of rooms into the right pavilion found us moving through the Salon de la Colonnes (Round Room), the vestibule which led to Louis XIV’s first apartment from 1688 until 1691, Salon de la Musique (Music Room) which Napoleon converted into an officers’ room and subsequently into a billiards room by King Louis-Phillip I (great, great grandson of Louis XIV). We then entered into the Louis-Philippe Family Room, which the King had modified from two smaller rooms to make more spacious for his family’s evening comfort. After a good look at the furniture and décor in this room we proceeded forward through the Malachite Room (named after the malachite gifts Czar Alexander I gave Napoleon after visiting the room), the Cool Room (which faced North) and into the Cotelle Gallery and beyond to the Garden Room.

Louis-Philippe Family Room was furnished with games and embroidery tables and padded chairs and sofas, all upholstered in intricate designs of blue-patterned yellow purl.

Originally built to shelter the gardens from the cold northerly winds, the Gallery was where the final peace treaty of World War I was signed between the Allies and Hungarians.

The stair case leading from the gardens to the Garden Room

The rear of the Peristyle from near the Garden Room stairs

The next few minutes were spent around the gardens but we were time poor so headed back through the gardens to the Palace above.

The tiers of the Bassin de Latone. Concentric circles of turtles and alligators at the base, surrounding the frogs at the centre.

After we had left the gardens we moved back out to la Cour d'Honneur where hundreds of people were queueing earlier in the day. By the time that we arrived there were still hundreds of people but not as many hundreds. The queue snaked to and fro to fit the people in the courtyard and keep control. Closely watched by several security people and several more soldiers we shuffled our way closer to the entrance and after about one hour of queueing we managed to get in at 4pm.

Shuffling our way forward

And keenly watched

We showed our tickets, done the obligatory strip for the scanner and after clearing security walked through a side door and headed across the Cour Royale.

The main gate to Cour Royale

The palace and chapel to the north

We took a bit of time to get to the other side of the courtyard due to continual deviations to check out the splendour of the architecture but once inside the northern entrance, climbed the stairs and entered Salon d'Hercule, a large drawing room which connected the Grand Chapel to the Grand Appartement du Roi. Originally called nouveau salon près de la chapelle, construction was commenced in 1710 but suspended in 1715 following Louis’ demise. Building works once again started in 1724 and was completed, ceilings and all twelve years later. We thought this was our starting point and proceeded into some adjoin rooms but doors were being closed in front of us. They were starting to shut and wanted to herd the people towards the exits so it was time to be part of the herd, whether we liked it or not.

Salon d'Hercule

As we stood around in the Salon d'Hercule, what was a crowded room became claustrophobic as the people in adjoining rooms were pushed towards us by staff. They had it worked out well as there was only one way to go, out but via the Grand Appartement du Roi. Like sardines were shuffled our way into the next room, Salon d'Abondance which was the sixth and last room of the apartment. Yes, we were going arse about.

Salon d'Abondance

Salon d'Abondance was so named due to the central artwork on the ceiling. The artwork depicts three deities. Magnanimity, Magnificence and the Genius of Art. It represents the benevolent power of the monarch and evokes the King’s wealth. Originally built as the antechamber of Louis XIV’s Medals Room showing the Cabinet of Curiosities or the Rarities and subsequently changed to the Games Salon of Louis XVI, the salon was also a place of refreshments, where a buffet served coffee, wine and liqueurs. Today it joins Salon d'Hercule to Grand Appartement du Roi.

There was no choice but to push around the crowds if we needed to get close. So, we did. We pushed and were pushed into the next room, Salon de Venus, then Salon de Diane, then the next, Salon de Mars, and the next, Salon de Mercure. If you hadn’t noticed the configuration was an enfilade of seven rooms, each dedicated to one of the then-known planets and their associated titular Roman deity.

Salon de Mercure was used as a parade chamber however during winter the bed was removed so that gaming tables could be installed. Louis XIV laid in state in this room after his death.

On we went, passing through the other rooms until we entered Salon de la Guerre, the War Salon. Decorated to the glory of military victories leading to Peace of Nijmegen, the Franco-Dutch war which drew to a conclusion during mid to late seventeenth century. Marble panels adorn the walls accompanied by trophies and gilded carvings.

Salon de la Guerre looking into La Grande Galerie

Oval plasterwork bas-relief of Louis XIV on horseback trampling over his enemies

Onto La Grande Galerie or The Hall of Mirrors. So called due to the three hundred and fifty seven mirrors that adorn the seventeen arches opposite the windows. Quality and luxurious mirrors that demonstrated the economic prosperity which accompanied the diplomatic and military victories Louis had during the first eighteen years of his reign. From 1661 until the Peace of Nijmegen.

La Grande Galerie (Hall of Mirrors). The hall served as a passageway and a waiting and meeting area, frequented by courtiers and the visiting public

Still moving with the crowd, we next entered Salon de la Paix, the Peace Salon, interestingly enough almost exactly mirroring the salon at the other end of La Grande Galerie, Salon de la Guerre. Looking around as we progressed, we exited Salon de la Paix and entered Grand Appartement de la Reine, The Queen’s Apartment. Continuing on, we moved through, stopping briefly at la Chambre de la Reine, le Salon des Nobles, l’Antichambre de la Grand Couvert, Salle de gardes and finally la Salle du Sacre or Coronation Hall where the copy of the Coronation of Napoleon is displayed.

Coronation of Napoleon

Following victorious military campaigns in Egypt and Italy, Napoleon gained power as First Consul after the Coup of 18 Brumaire.  He was proclaimed Emperor in May 1804 and coronated seven months later at Notre-Dame in Paris so as to secure his legitimacy and secure his authority in French monarchic and catholic tradition. He did however take the crown from the pope and crowned himself facing the congregation, with his back to the pope to signify his independence from the church.

The artist was at the coronation and original sketches depict it as it was, Napoleon crowning himself but the finished product tells a different story, Napoleon crowning the Empress. This gesture presented a nobler portrayal and was described by Napoleon himself as that of a “French Knight.”

The original painting hangs in the Louvre, was commissioned by Napoleon in 1804 and completed in 1808. This one was commissioned in 1808, immediately after the completion of the original and painted from purely from memory. The only difference is that one of Napoleon’s sisters, behind the altar boy is wearing a pink dress rather than white.

Several other military themed paintings accompanied the Coronation of Napoleon. We were being pressured by staff at this point to move on so off towards the l’Escalier de la Reine to vacate the place.

l’Escalier de la Reine

Hallway on the ground floor

We only saw half of the joint but impressive it was. The decadence, extravagance was obscene, particularly considering the multitudes that starved. They taxed the people, didn't tax the churches and built indulgent palaces. No wonder by the time Louis XVI had turned up the revolutionaries had had enough. We definitely advise booking an early tour through skip the line to enjoy the visit.

Anyway, after we were out and back on the street, we headed down to the train station stopping at McDonalds on the way so that the kids could have a 6pm lunch. Maccas was packed but we found somewhere to sit so that they could eat. We then moved across to Versailles-Château-Rive-Gauche for the train home. We could hardly get through the station’s front doors. It was packed, mostly people buying their tickets. If only Shane had bought a return rail ticket when we left this morning.

A bursting at the seams Versailles-Château-Rive-Gauche

Let’s take a cab. We stood at the rank for what seemed an eternity but to no avail. After a half an hour we started walking towards the town to see if we could hail one. Also to no avail. We walked around for what must have been another half an hour before we ended up back at the rank. Guess what, there was one waiting so we grabbed it, jumped in and ended up requesting a trip to the Arc de Triomphe. A further half an hour and fifty Euro later we were dropped off on the huge roundabout that surrounds the monument.

First impressions, straight out of the cab

At the conclusion of the Battle of Austerlitz, Napoleon I declared to his soldiers that they would march home through the arches of victory, and so it was that in 1806 the arch was commissioned. Completed in 1833 it was inaugurated by French king, Louis-Philippe in 1836. Not many of the soldiers that were preached to would have seen the final product. It stands as a symbol of French triumph.

Inspired by the Roman Arch of Titus and standing at about fifty metres high with a vault of nearly thirty metres, the four pillars displayed four huge relief sculptures at their bases commemorating The Triumph of 1810, Resistance, Peace and The Departure of the Volunteers, more commonly known as La Marseillaise.

The Triumph of 1810, featured Napoleon being crowned by the goddess of Victory to celebrate the Treaty of Schönbrunn after his victory over Austria

We had to cross the roundabout to get to the monument but how? There was no way across the road as it would be suicide. Cars were stopping on the roundabout to give way here. It seemed the opposite to home. There must have been a better way. After a bit of searching we ended up going through a subway, underneath the roundabout to resurface beneath the arch.

The subway reminded us of a railway subway, tiles, people and all. It was however access only to the Arc de Triomphe. The people were queuing to climb the monument. Upon resurfacing we found ourselves beneath the arch and within one of the lateral vaults. The structure was rather impressive. Huge and well inscribed with the top of the arch listing major victories that occurred during the Revolutionary and Napoleonic periods, the minor victories were inscripted on the interior. The vault walls to be exact. The owner of Cathare, Claude mentioned that one of his recent ancestors fought in the Napoleonic Wars and was listed on the monument.

War inscriptions

The arch became the focus point for the parading of French servicemen following success on the battle field. It also serves as a rallying point for France’s annual Bastille Day military parade.

Other famous victory marches included the Germans after the unification of Germany, the French in 1919 after the First World War, the Germans again in 1940 and the French with their Allies at the conclusion of the Second World War. Three weeks after the parade, Charles Godefroy took off in a biplane early one morning from an airfield at Villacoublay and flew the aircraft through the arch to protest the direction that the French airmen must march on foot like the infantry.

https://www.youtube.com/watch?v=HIZzkq5Y8q0

The place was very crowded, particularly within the vaults. We moved away from them towards the large chain fencing that separated us from the even more crowded roundabout. This allowed us to get a better look at the Tomb of the Unknown Soldier who was laid to rest on Armistice Day 1920 (actually buried there a couple of months later). An eternal flame was lit and represents the unidentified souls of the war just ended and the Second World War that was yet to come.

ICI REPOSE UN SOLDAT FRANÇAIS MORT POUR LA PATRIE 1914–1918 ("Here lies a French soldier who died for the fatherland 1914–1918")

Darkness was upon us as we left the arch and moved down Champs-Élysées toward Place de la Concorde and Cathare. The streets were filled with tourists and young locals. Food was at the uppermost in our minds and after several glimpses of footpath menus and the resistance to driving Lamborghinis and Ferraris around the block for €90 a pop, we settled on Leon de Bruxelles for a well-deserved dinner.

Traffic at the roundabout on dusk

Looking towards Place de la Concorde

Back to Arc de Triomphe

Leon de Bruxelles was packed. We initially thought that we wouldn’t get in but the place was large and there was room down the back. A bit of a wait though due to the staff being so busy. Everyone was keen but the day was at an end. Moules and chips and crepes were ordered and along with a few beers and wines we headed off back to Cathare. With fatigue setting in, after dinner we sought a taxi and headed back to the barge.  

Caught cab from restaurant back to Cathare and straight to bed.

Once dropped off at Pont de Arts it was a short stroll across the river to bed.

Tomorrow Disney Paris.