Paris – Outside Notre Dame - 4me

Plate XXXV – Skateboarding outside Notre Dame…

I have said it before, Paris is a living city.

On a Sunday morning I had quietly stood at the back of the nave of the church while a morning mass was in progress. 

A boy soprano had filled the church with the sound of his voice, and I stood in awe.

Outside, children of the same generation had mounted an impromptu exhibition of skateboarding. 

Each, in his own way, was using a God given talent.

Paris – The Deportation Martyrs Memorial - 4me

Plate XXXV - The Deportation Martyrs Memorial - Entrance… 

DEDICATED TO THE LIVING MEMORY OF THE 200,000 FRENCH DEPORTEES SLEEPING IN THE NIGHT AND THE FOG, EXTERMINATED IN THE NAZI CONCENTRATION CAMPS.

Stark.

That one word describes this memorial created on the site of an old mortuary on the Île de la Cité. It commemorates the lost lives of the 200,000 men, women and children deported through Vichy to the Nazi concentration camps during the Second World War. Designed by Georges-Henri Pingusson, the memorial was opened in 1962. 

Deliberately created, a feeling of claustrophobia envelopes the visitor entering the subterranean cavern, lined with 200,000 illuminated crystals. An eternal flame of hope burns before the Tomb of the Unknown Deportee.

Forgive, but never forget.

Paris – Notre Dame Apse - 4me

Plate XXXIII - Notre Dame – a view of the apse…

Possibly because it was so relatively unobscured at the time, this remains in many ways my preferred view of the cathedral. The west elevation of Notre Dame with its towers and the elaborately Gothic carved main portal doors shows a solidity and has an almost fortress like bearing (the planned spires, still shown on some drawings, on each tower were never completed). The eastern view, from behind the apse has a far lighter feeling, with considerably more detail in the Gothic elements. Extensive use of flying buttresses was deemed necessary when stress fractures appeared in the thinner walls of the transepts, apse and the nave.

Although not part of the initial design, Notre Dame was amongst the first buildings to use the flying buttress, and they add greatly to the architectural uniqueness of the church. The Rayonnant Gothic styled, and gracefully elegant buttress examples of Notre Dame can be clearly seen here supporting the walls of the apse, with their large clerestory windows.

Paris – John XXIII - 4me

Plate XXXII – John XXIII Square…

Following the demolition of a number of crumbling mediaeval houses, along with the vandalized Palace of the Archbishop of Paris, a public garden was established behind the apse at the eastern end of Notre Dame in 1844.

This garden square is named after Pope John XXIII who reigned from 1958 until his death in 1963. Considered by many to be the first progressive Pope of modern times, and along with John Paul II one of the most popular of pontiffs, even I - though non-Catholic and far removed from Vatican life - recall the outpouring of public grief at his passing. He was beatified in 2000. 

Planted with a wide variety of trees and shrubs, and centred by the Gothic Fountain of the Virgin by the sculptor Vigoureux, the spot is a favourite among city birdwatchers, and is an observation point for watching the kestrels which nest here annually. It is a tranquil spot to escape the bustle and the noise of the city.

Although Notre Dame remains state property, its exclusive use is granted to the Roman Catholic Church, so freed from the burdens of the building’s maintenance.

Paris – Notre Dame Rose Windows - 4me

Plate XXXI - Notre Dame, Rose Window...

One has to time a visit perfectly to get the best illumination effect through the glass of any of the three rose windows in the church. Unusually for me, I think I timed it perfectly for the south transept window.

During later visits to France, and even using considerably more sophisticated electronic camera equipment I have found it challenging both in Notre Dame, and in Chartres to capture the colours of the glass work this spectacularly.

Fearing their destruction by German bombers during the Second World War the windows of Notre Dame were removed and placed in protective storage, to be returned to the cathedral after the liberation of Paris, and the war’s end. Consequently, all three rose windows still display, mostly, their original 13th century glazing. When I contemplate the deliberate destruction of our global heritage caused by wars and conflicts over the centuries (and it continues to this day) I am saddened by man’s disrespect for the past and the future of humanity, for surely this heritage belongs, not only to a single country, but to each of us.

Paris – Notre Dame Rose Windows - 4me

Plate XXX - Notre Dame, the Rose Windows...

Arguably the three most remarkable features of Notre Dame are the organ, the bells and the stained glass rose windows. Look out for the stylized souvenir glass jewellery pendants of the windows sold in shops in the vicinity of the Cathedral. Many are pure tourist tat but others, available at the better jewellery shops, are exquisite in their detail.

This outside view of the south transept windows was taken from the Rive Gauche. An exterior view, although giving a good indication of the size of the lower window, gives little indication of the magnificence of the colour and light when seen from inside the church.

Since childhood I have been a lover of the art of the stained glass artisan; I finally incorporated some lead-light windows in the design of the first house I had built. Although my personal preference is for work in the style of LC Tiffany and the Art Nouveau and Arts and Crafts exponents of the work, I have untold admiration for the secular works of the European practitioners, many dating back as far as the Middle Ages. Not only are the designs remarkable, but the hand-painted detail of the faces and the figures of subjects is exceptional. Notre Dame and the nearby Sainte Chapelle offer the aficionado a master class in design and technique.

Paris – Notre Dame - 4me

Plate XXIX – Notre Dame…

Our Lady of Paris was ‘taking a bath’ when I was there.

On this first visit I did not get to see the famous west elevation of the cathedral, for as you will see she was hiding behind a modesty panel of net screening. Rather like a seductress with one bare shoulder, the top of her south tower (on which cleaning had been completed) was revealed to show the promise of what was soon to come, enticing the visitor to return one day. This tower houses the Bourdon Bell (Emmanuel) used to toll the hours of the day.

It is a sad fact of our modern environment that we are in danger of irreparably harming the legacy we have been left from the centuries before us. The sulphurous industrial acidity of the rain that eats away, and the carbon residue that blackens the stones of ages past could sadly mean that many historical monuments will be diminished or completely lost to future generations. And so, rather than bemoaning the attractions I have found hidden from me on many occasions in my travels around the world I welcome the sight of work-in-progress when I see such preservation efforts and cleaning being undertaken.  (I did see the results of this work on a later visit to the city. Notre Dame is magnificent).  

Built in the French Gothic style, construction was started in 1163 with the western portals and these towers started in around 1200. Numerous architects were involved in the design, which is evidenced from the differing styles at different levels of construction. Completion of the cathedral was in around 1345, and so this unsurpassed example of Gothic architecture spanned the two centuries when the style was popular. 

As with most historic buildings, damage has also been inflicted on Notre Dame through many of the conflicts in its history, most notably during the Revolution when biblical statues (believed by the Revolutionaries to represent the Kings of France) were, along with their modern Royal counterparts, beheaded. Twenty-five years of restoration work, for neither the first nor last time, wa s begun in 1845. The stone heads, recovered during excavations are now displayed in the Cluny Museum.

In June 1971 the French daredevil Philippe Petit focused the world’s attention on the towers of Notre Dame when he walked a tightrope he had secretly strung between them.

Paris - Pompidou Centre - 3me

Plate XXVIII - Pompidou Centre - Up Close…

I have heard the Pompidou Centre described as having been built inside out. That possibly does best describe the high tech modernist style of the architecture, but it does the Pompidou Centre little justice. It is true that there is extensive exposed pipe and formwork cladding much of the exterior of the construction. Colourfully coded in primary hues to indicate purpose (green pipes for plumbing, circulation ducting in blue and safety devices in red, with yellow denoting electrical reticulation) the formwork is an integral element of its design. Exterior staircases for going from level to level are encased in smoke grey polycarbonate tubes, and further the concept of using the vast 100,000 square metres plus of interior space primarily for the exhibition purpose it was meant to serve.  

Pompidou Centre, or Beaubourg as it is colloquially known also houses the Public Information Library, and the Centre for Acoustic and Music Research (IRCAM) but remains most well known amongst its millions of visitors as the National Museum of Modern Art. Paris almost seems to have conveniently filed by genre its art treasures in a number of museums – the Louvre for the old masters, the Orsay for the impressionists and modern masters, and the Tokyo Palace and the Pompidou Centre for the more modern, avant-garde and ultra-contemporary works. Of course that is an oversimplification but for any visitor with limited time in the city it would certainly help one cover a good representative spread of what is on offer. 

The centre’s design was democratically chosen from a number of competition entrants in 1971, and although named after Georges Pompidou who was French president at the time of its planning, it was opened by President Valery Giscard d’Estaing in 1977. Design was by a team of architects comprising of Italian partners Renzo Piano and Gianfranco Franchini, British couple Richard and Su Rogers, and structural engineers Edmund Happold and Peter Rice (and its detractors claim that its design ‘by committee’ shows). It certainly has assured their places in every lexicon of architecture published since, and today is considered one of the ‘A’ list attractions of the city. 

I found it the most accessible of the art museums of Paris, where the extensive collections of works speak for themselves - the naked simplicity of the interior spaces being no diversion for the eye’s attention.

Paris - Musée Carnavalet - 3me

Plate XXVII - Musee Carnavalet…

The Union flag? In Paris? I wasn’t sure my eyes were seeing right, for after centuries of being at war (when not sharing Kings or marrying themselves off to one another’s royals) I still didn’t think the French liked the British very much. (Many of the multilingual guide books in Paris display an American, in preference to a British, flag to denote the English language edition). And yet here at the Carnavalet Museum was a visiting exhibition dedicated to the British influence in France. The stand of flags at the entrance made a colourful if transient composition.

The Carnavalet Museum is dedicated to the history of Paris. For anyone interested in the city, its origins and development, the Carnavalet is a must-see. Housed in the Hôtel Carnavalet since 1880, the collection outgrew its original home, causing authorities to annexe also the adjoining Hôtel Le Peletier de Saint Frageau in 1989. Hôtel Carnavalet dates back to 1560 with extensive renovations by Francois Mansart in the 1650’s. The Hôtel Le Peletier also dates from the middle 16th century.

Exhibits in the museum trace Paris’ history from the days of its settlement by the Parisii tribes (when it was known as Lutèce) up to the thriving metropolis of the greater Paris of today. Museum artefacts comprise of extensive documents including paintings and drawings, sculptures, photographs, furniture, models, coins and medals and archaeological relics. If it happened in Paris, it is almost certainly recorded in Carnavalet. One of the more famous residents of the hotel (1667 to 1696) was Madame de Sevigne, considered the most beautiful woman in Paris at the time and a letter writer of repute. The museum is to be found in the Rue de Sevigne, and unusually, although the temporary exhibits elicit an entrance fee, the main collection may be visited for free. It’s well worth that visit.

Paris - Musée Picasso - 3me

Plate XXVI – Musee Picasso…

Pablo Picasso was Spanish … and yet, oh so French.

My favourite Picasso work – his Seated Harlequin of 1923 is sadly not found in Paris (it is in the Kunstmuseum Basel, in Switzerland). I was introduced to the painting, on a miniature scale, in an art calendar many years ago; fortuitously some time later I acquired a full sized print, on canvas. It was however, this specific work that started my fascination with and interest in the artist whose sometimes unintelligible (to me) abstract works I had previously dismissed.

Musée Nationale Picasso is located in the Hotel Sale in the Marais district of the city. Despite the highly visible banners proclaiming its presence I had some trouble finding it. Pablo Ruiz y Picasso was born in Malaga in Spain in 1881, and became the most influential artist of the 20th Century. His lifelong love of Paris started in 1900 and he moved there permanently in 1904. It was in Paris that he discovered colour although he never became fully at ease with it and his works remained a combination of typically duller Spanish tones with some of the vivacity of his colour loving French contemporaries. His work evolved to include many styles of art, as well as various media including sculpture and ceramics. He and Georges Braques are acknowledged as the fathers of Cubism. Although continuously moving from one artistic style to another, and there is a defiance of art conventions in all his work, it is perhaps for his prodigious output and great commercial (and financial) success that Picasso will be best remembered.

Picasso once described himself as the greatest collector of Picasso’s in the world. This was fortunate for Paris, for when he died, his heirs took advantage of a French law allowing his estate duties to be paid with art assets (deemed of value to the nation) in place of cash – a dation.  The foundation of the collection of this museum were two ’dations Picasso’, the first on the death of the artist, the second on the death of his widow (and final muse) Jacqueline Roque.

The collection also includes works owned by Picasso by (amongst others) Cezanne, Degas, Matisse and Seurat. His many periods or styles as well works in his different chosen media, along with virtually all his life’s preliminary studies, are all represented in the exhibition at Musée Picasso.

Picasso died in Mougins in 1973.

Paris - Ste. Chapelle - 1er

Plate XXV - Ste. Chapelle

Hard to photograph, and do any justice, using this camera I may have to resort to the proverbial thousand words on Sainte Chapelle, the holy chapel found within the walls of the Palace of Justice. Built by Louis IX between 1243 and 1248 as a reliquary to house Christ’s crown of thorns it remains one of Frances greatest monuments. The architect is unrecorded though often assumed to be Pierre de Montreuil. Sainte Chapelle represents the pinnacle of the Gothic Rayonant style of architecture where not only does the tracery of the glass work contribute to design complexity, but the interplay between glass and stone is a notable feature. The work in Sainte Chapelle was to inspire many later church architects - some influence can be noted on the transept windows of Notre Dame. Severe damage was inflicted on the chapel during the French Revolution, and much of what is seen today is the result of superb and meticulous restoration carried out in 1855, adhering strictly to surviving original documentation.

The 15 windows of the upper chapel of Sainte Chapelle rank amongst the most impressive in the world. This chamber, once reserved for Royal use, is built of slender trellised columns filled by almost continuous curtains, some 15 metres in height, of the most exquisite stained glass, comparable only to the work I later saw in Chartres Cathedral. Dating from the early 13th century the windows too were extensively damaged during a number of conflicts in the city, most notably during the Revolution, but even so it is estimated that some two thirds of the glass seen today is original, while the remainder has been sympathetically restored.

I was fortunate on a later visit to France to watch restoration work being done on the windows of Chartres Cathedral. The painstaking attention to detail exercised by the glass artists commissioned to do this work is beyond belief. It is encouraging to know that this level of artisan craftsmanship still exists today. I fear it will not for much longer – I think the youngest of the restoration team was over fifty.

Additional precious relics of Christ’s Passion had been added to the reliquary over the centuries, the remnants of these are now housed in the Treasury of Notre Dame de Paris. There are two places I have found in my life that inspire me to use the adjective ‘celestial’ when describing them - Mont St. Michel is the one … and Sainte Chapelle is the other.

* Included here in the 1st arrondissement due to its proximity to the Conciergerie - some guides show the location as 4^th arrondissement.

Paris - Conciergerie - 1er

Plate XXIV - The Conciergerie

Viewed here across the Seine, the fortress like stonework of the Conciergerie looks grey and forbidding. It should, for it is here that many of the 2500 victims of Madame la Guillotine (including Marie Antoinette and her King) spent the last hours of their prison days before meeting their unhappy public fates at various locations around Paris.  On a sunnier day the turreted towers can have an almost Disney like appearance belying its function as a part of the greater complex of the Palais de Justice.

It is known that the Île de la Cité has been occupied since Roman times when Paris was known as Lutèce. It was here on the west part of the isle that the Palais de la Cité was built in the Middle Ages and became a seat of the royal court of France. The Grande Salle (Great Hall) as it survives today as part of the lower Conciergerie was used as a dining hall for 2000 palace staff, as well as a meeting place for the high court of justice. Much of the original room and its furnishings were devastated by fires in 1618 and 1871, but at a length of some sixty-five and a width of twenty-seven metres it remains as impressive a chamber as you will find in all of Europe.

The palace was first converted to prison use at the end of the 14th century. There is a small chapel in the Conciergerie, reconstructed to resemble the one used by Marie Antoinette during her final moments in captivity. I found my visit there surprisingly poignant.

Paris - Forum Les Halles - 1er

Plate XXIII - Forum Les Halles…

Many Parisians lamented the disappearance of the old market from the centre of the city as the passing of an era. The dismantling of the Victor Baltard designed iron and glass arches of the old market in 1971 following its move to Rungis, and the RER station construction on the site left a literal hole in the ground of the old Les Halles, rather ironical for a market place Parisians once called ‘le trou’ (the hole). This was eventually filled by the partially underground shopping centre of the Forum des Halles, opened in 1979. Most surrounding streets have been closed and pedestrianised and relaxing gardens laid around the environs. It is here also that you will find the Musée Grévin – to use another London parallel - Paris’ answer` to Madame Tussauds. The waxworks, I find are equally diabolical.

Parisians still seem to hate the Forum, so who am I to question why?

Paris - St Eustache - 1er

Plate XXII - St Eustache Church ...

Even outside the cathedral you can hear heaven ring. Or buzz .... or pound … all thanks to the decision of the organ re-builders to include (as their donation to Paris) an additional third independent reed stop on the church’s pipe organ. Many classical music recordings having been made inside St. Eustache. I heard why this is so.

The unique church pipe organ, the largest in France, with some 8,000 pipes is today considered one of Paris’, if not the world’s, best (it certainly remains unique). Disastrous repair work done in 1978 resulted in its complete reconstruction by the Dutch brothers van den Heuvel between 1986 and 1989 earning them the Médaille de Vermeïl from the Societé Académique d'Arts et Lettres.  Public recitals and concerts are held frequently and for the classical music lover these are not to be missed (so I did not). Mozart chose the church for the funeral of his mother, and here in 1855 Hector Berlioz conducted the première of his ‘Te Deum’. 

In spite of the demolition of the market of Les Halles,

Saint-Eustache, with its renaissance styled interior is still known by Parisians as ‘the market cathedral’. Works alluding to its origins are found inside, including one stained glass panel depicting a pig. In one of the side chapels there is a 20^th century sculpture (not without some humour) depicting the 1969 departure of the market. Looted and desecrated during the Revolution, the now restored (though surprisingly still incomplete) Cathedral still holds other important works by notable artists including Peter Paul Rubens. The Gothic architectured building (the knave of which is also visible in the previous image - to give you its bearings) was built between 1532 and 1637. It is (after Notre Dame) considered by many to be the second most beautiful church in Paris. The site, established as a place of worship in the early thirteenth century, was originally that of a chapel named for Saint Agnes. Given church status in 1303 it was re-dedicated to the Roman general and Christian martyr Saint Eustace, the crypt remaining dedicated to Agnes.

Paris - Les Halles - 1er

Plate XXI - The old Les Halles ...

Les Halles has unintentionally come to be an important centre of my visits to Paris; somehow whenever I am lost (it fortunately still happens) I seem to land up here – and then again I know where I am. The main Metro and RER station serving the area is Chatelet–Les-Halles. It was here that I needed to make my first train changeover on my arrival from Orly, and where I stupidly took a line bound for Boissy instead of Poissy hoping to get myself to Nanterre. It was here too that my life was (figuratively) saved during a subsequent visit to Paris for the biannual Paris Motor Show (the Salon Mondiale at Porte de Versailles). My camera battery (I was by then using reasonably decent digital kit) had gone dead overnight and the only agent I could find in the city carrying spares was in the centre at the Forum des Halles. It is not the Parisians’ favourite landmark apparently, but I love the constant buzz around the Forum.

This area is named for the original site of the large wholesale market established here. I always think of it (possibly wrongly) as Paris’ answer to London’s Covent Garden, but with a richer life. The old market was sadly demolished in 1971, but this iron and glass arch reminds the visitor of what was here before. Originally established in the time of King Philippe Auguste II in 1183 Les Halles was known as ‘le trou (the hole) des Halles’ and also as ‘the stomach of Paris’. The design of the new forum was controversial (stop me if you’ve heard that before) and there are perpetual discussions about remodeling the area. Considering it’s proximity to the Centre Pompidou I personally find its design rather pleasing as well as complementary to that centre.

Behind the arch to the image left is the knave of the church of Saint-Eustache.

Paris - Comédie-Française - 1er

Plate XX– Palais Royal Gardens, Comedie Francaise…

My love of Paris (and most things French) is all Miss Cook’s fault. Miss Cook was my first French language teacher and to learn the French language she contended, one needed an appreciation also of French arts and culture. One of the characters who fired my imagination as a young student was Sarah Bernhardt - the Divine Sarah. Who could fail to be captivated by a woman who played Hamlet, was legendary for her performances as Marguérite Gautier in La Dame Aux Camélias, who continued to perform after the amputation of a leg and reputedly counted both Victor Hugo and England’s Edward VII (then Prince of Wales) among her many famous lovers. Sarah Bernhardt started her career at the Comédie-Française in 1862, although she was soon fired for slapping the face of a senior member of the company - then, due to her sheer talent, was later recalled. My kind of girl!

Of course, I couldn’t see Sarah (unless you count my visit to Père Lachaise cemetery), but I could get to the theatrical home (properly called the Salle Richelieu) of the Comédie, which is adjacent to the Palais Royal buildings. At the time of my visit the theatre (like the Opéra Garnier, the Grand Palais and even Notre Dame Cathedral) was undergoing restoration work, something the visitor to Europe soon learns to live with and appreciate*. A kindly workman did however allow me access into the lavishly decorated auditorium (who says the Parisians are unfriendly?!). Often associated with Molière, who died before the advent of the Comédie the theatre is one of three homes used by the acting troupe today constituting the Comédie-Française. It is also home to the brain of Voltaire (François-Marie Arouet).

* … I have given some thought to a book of my many photographs of European buildings under maintenance, reconstruction, renovation, cleaning or repair, to be called ‘It’ll be Nice When It’s Finshed’. The only problem is … I don’t think it ever will be!!

Paris - Palais Royal - 1er

Plate XIX - The Palais Royal ...

Another of my favourite retreats in Paris is the Palais-Royal, especially for the many delightful specialist boutiques within its arcades. There is one selling the most exquisite hand painted lead figurines, ranging from authentically uniformed historical military characters to miniature TinTins. It is reputed that it was in one of these shops, selling knives, that Charlotte Corday acquired the weapon she used in the murder of Jean Marat (Marquis de Sade). Of course commercial pursuit was not the original intent of these buildings, for it was originally known as the Palais Cardinal and was home of the powerful Cardinal Richelieu. Completed in 1629 it was designed by Jacques Lemercier. Bequeathed to the crown by Richelieu on his death it has been home to various members of the French royal families, and was a refuge for the royals during the Fronde. It later became home to numerous second floor casinos, and was frequented by ‘ladies of the night’ (no longer part of the deal).

Today the French Conseil d’ État, Constitutional Council and Ministry of Culture are housed here. Controversy arose with the 1986 installation of Daniel Buren’s conceptual contemporary artwork Les Deux Plateaux. Primarily a work in black and white I wanted to capture this scene primarily shaded in natural greys or monochrome. This is not as difficult as it may sound, in a cloudy Paris. I was almost ready to snap (one did not shoot with this camera), when a young cyclist in a red shirt rode into view - making for one of my all time favourite images. I like to think of this as an instant that photographer Henri Cartier-Bresson described in his book Images à la sauvette as a Decisive Moment. Once again, in Paris I was in the perfect place, at the perfect time … only, without the perfect camera!! 

Paris - Place des Pyramides - 1er

Plate XVIII - Human Statue - Place des Pyramides

I’m not sure that calling what I more usually refer to as human statues ‘Mimes’ is the correct use of the word. It somehow does an injustice to an art form that has existed over centuries, dating back to ancient Greek theatre when a single masked dancer was referred to as a pantomimus - and who incidentally was not always silent.

It was however a Parisian, Jean-Gaspard ‘Baptiste’ Deburau, who in the early nineteenth century popularised the silent white-faced figure that the world has come to know as ‘the Mime’. It is undoubtedly a performance art that the French have made their own, with legendary Mimes following Deburau including Jacques Copeau, Etienne Decroux, Jacques Lecoq, Jacques Tati, Jean-Louis Barrault and of course the doyen of them all, Marcel Marceau.

If we allow some latitude by accepting that the Mime portrays thoughts, emotions and feelings by gesture and facial expression, perhaps I am being harsh in not allowing that these human statues follow that rule by allowing movement only on receiving a public funds donation. So mimes we’ll let them be, (but we’ll keep the m in lower case lettering!!)

I am still fascinated by the mimes of Europe. I cannot help thinking there must be an easier way to make a living than the hours of doing something by doing nothing that these dedicated souls endure. This particular example was not the best I have seen, but I had to admire her courage in setting up shop in the Place des Pyramides. It takes confidence (or foolishness) to set yourself up to do battle for attention with a gilded Joan of Arc!!!

Paris - Joan of Arc - 1er

Plate XVII - Joan of Arc - Place des Pyramides ...

Few legends of French history are as inspiring as Joan of Arc, the Maid of Orleans. For six centuries Joan has been the subject of plays and of operas (even, thanks to OMD, of popular music) of films and of works of art. The Emmanuel Frémiet gilded equestrian statue of the maid commands attention in the centre of the Place des Pyramides off the Rue de Rivoli. This location is close to the Saint-Honoré Gate where Joan was wounded during her attack on the English in September 1429.

I remember as a young boy seeing the, then already old, 1940’s monochrome film of Joan of Arc starring Ingrid Bergman. Since then Bergman had always been Joan to me. Sadly, as intensely as I examined Frémiet’s rendition of the maid for traces of Miss Bergman, I could see none. It was quite disappointing.

This work is the second ‘revision’ by the sculptor Frémiet and having been commissioned by Napoleon III it dates from 1899. The earlier, and original casting from 1874 was sent by Frémiet himself to Philadelphia in the USA where it may now been seen in Fairmount Park. A replica of this, the later Paris statue, was cast in 1907 and sent to Victoria in Australia, with yet another being cast in 1927 again destined for the USA, this time in Portland Oregon. More 'recently' a third casting was given by the people of France to the US city of New Orleans in 1972, making this perhaps the most recognisable image of Joan in the world today.

No more Ingrid Bergman then?

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Plate XVI  - Metropolitain - Rue de Rivoli ...

My favourite period of design has to be the early twentieth century for the simple, linear strength of Arts and Crafts and the nature inspired shapes of Art-Nouveau. Notable features of many entrances to Paris Metro stations are the graceful Art-Nouveau iron and glass forms decorating the stairs and pavements surrounding the subway openings. Designed by Hector Guimard at the turn of the (20^th) century the design must have been a refreshing change to the prevailing over-ornamented classical style of the time. Reminiscent of dragonfly wings and eyes, the green verdigris finish was considered more German than French, making these the latest controversial additions to the Parisian landscape. And yet we would not imagine the city without them today. I cannot see these entrances without sensing the presence of Toulouse Lautrec or Aristide Bruant, and hearing somewhere the sounds of an accordionist.

This particular entrance in the Rue de Rivoli is in one of my best loved parts of the city. The Louvre Museum is, of course, one of the most well known landmarks in the area, but do not miss the Museum of Decorative Arts, seen in the background of this image. For those visitors interested in acquiring a few antiques of their own (jewellery being a speciality of many dealers), the nearby Louvre des Antiquaires is well worth a visit of at least a few hours, but be warned to leave your wallet and credit-cards behind unless you intend buying, for the temptation will otherwise prove irresistible. Trust me.

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Plate XV - Inverted Pyramide...

Beneath the forecourt of the Louvre’s Place du Carrousel, also accessed from the Rue de Rivoli, is an exclusive small shopping arcade known as the Carrousel du Louvre. It is here that one can see the Inverse or Upside Down Pyramid, part of Pei’s architectural themed use of the form. The centre houses many fine shops, some dealing in a vast and multilingual selection of Louvre related books and souvenirs. I bought a magnificent 5,000 piece jigsaw puzzle of David’s painting of Napoleon Crowning Josephine - Le Sacre de Napoléon (the Louvre version – if, as mentioned in an earlier post, I couldn’t get to see the traveling original at least I could piece it together when I got home.) I also believe Apple, in 2009, opened its flagship Paris store in the arcade. 

Beneath the inverted transparent chalice lies a second stone pyramid form, the two almost, but not quite, meeting apex to apex. Readers of Dan Brown’s novel ‘The Da Vinci Code’ will recognise this as a significant climactic location of the plot of the story, for this stone form is the artifact he describes in his novel as “...the tiny structure”. Reading this book some years after my initial visit to the city I was amazed at how many of the locations used in Brown’s story of the Rose Line I had visited. 

If I’d only had Brown’s imagination ……

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Plate XIV - The Pyramide from Cour Caree ...

The Cour Carée is not the most attractive part of the Louvre precinct. In fact I can think of only one reason to visit here and that is to orientate oneself before entering the buildings and so gain an understanding of the history of the Louvre’s plan, and then to exit. Although the complex of the Grand Louvre appears at first to have been architecturally co-ordinated in the French Renaissance manner, the many differently styled buildings were actually constructed over a period of 480 years – from the early sixteenth century reign of Francis I up to the presidency of Francois Mitterand who commissioned Ieoh Ming Pei to develop the Grand Louvre designs. The Mediaeval origins of the Louvre are no longer visible above ground, but still remain in open excavated exhibitions. I daresay it is not finished yet. Rumours abound that there is a plan, growing in popularity amongst the French, to reconstruct the Tuileries Palace within the Grand Louvre surrounds, and if progressed it will certainly take the exercise at least well into this 21st century. 

The major wings of the museum show a definite rivalry between Baroque and Classicism. Neither wins, and in my mind they live harmoniously side-by-side.

For his work on the entrance to the Louvre, Pei was awarded France’s Legion d’Honeur in 1993. It is interesting to learn of the many obstacles he was to overcome in his designs, and the unexpected discovery of those large subterranean relics of the mediaeval Louvre, now also presented to visitors to the museum.

This view of his Grand Pyramid is a bonus for visiting the Cour Carée. Perhaps that makes it two reasons to go there.

Paris - Venus de Milo - 1er

Plate XIII - Louvre - Venus de Milo

Although there are parts of the Louvre where photography is permitted, generally it is at least discouraged. With the number of visitors passing through its doors daily the continuous popping of camera flashes can be very distracting when looking at the art. At times you’d imagine you are in a discotheque – and I pity any epileptic who ventures in. Although even I acknowledge feeling that human desire to sneak a shot, if you simply have to have a picture there is a plentiful supply of commercially available prints, slides and today, electronic media.

I also believe that protection of images of artworks is to be encouraged, and so despite the temptation to join the hordes of tourists who choose to ignore these ‘requests’ to not use flash photography I generally do comply. I have mentioned that the flash on this particular camera was of little use in any case, but I had decided (after all that sanctimony) that even I would allow myself one single indulgence in the Louvre, and even to treat the no flash rule a little like the average Frenchman treats no smoking laws. There were three prime candidates on my list. The Mona Lisa would be the obvious one; the Victory of Samothrace another; and the Venus de Milo the final possibility.

Something rather unusual made my decision for me. On the day I included the Venus de Milo in my Louvre itinerary, a team of photographers was in the museum (apparently filming for a commercial). Close public access to the statue was temporarily restricted by a series of rope barriers, and Venus was lit from almost every angle. As I authoratively made my way to the front of the curious crowd of onlookers a guard saw me, unfastened a rope cordon and waved me in. I guess I resembled one of the crew. My desire to blend-in in Paris was at its best!!! Not one to miss a chance, I approached the statue, crouched slightly, removed the camera from my pocket and had my own picture of Venus. I returned the camera to my jacket, turned and went back into the crowd, avoiding the gaze of the guard who had given me my lucky access pass.

Mine is a fairly typical view of Venus, but taken with no flash, no rules broken (I don’t think), and no (additional) inconvenience to anyone.

I felt good about that.

Paris - Louvre Denon - 1er

Plate XII - Louvre - Denon Wing and Grande Pyramide ...

Visiting the Louvre is a little like eating the proverbial elephant – it is best taken in small pieces at one time. Of course those with limited time in Paris will try to (sadly even need to) fit it all into a single visit. I pity them for the art indigestion they will suffer. Even with my having taken several trips to the Louvre in the course of my first stay, I found myself at times numbly walking through an area thinking, “Wow! - more great paintings.” I consider myself to be an art lover, and when I realised one such occasion was after an almost cursory glance into the salon containing the (Peter Paul) Rubens’ Médicis Cycle – one of the major achievements of his career – I knew it was time to quit for yet another day.

On this, my first trip to Paris, I had one major disappointment with the Louvre – the grand French master-works of the 19th century were out of the museum on a touring exhibition. I mention this, not so much in anger, but more as a cautionary – it can happen. Recently, in 2009 even the Mona Lisa had the day off, as she was repositioned in the gallery. Amongst the must see works I had hoped to view were Jacques-Louis David’s Madame Récamier (a personal favourite), Napoléon on Horseback, and Napoléon Crowning Josephine (an identical work by David on view in Versailles, and which I did see, has an enigmatic but notable difference in that one of the ladies-in-waiting wears a pink gown in Versailles, but wears white in the Louvre version). Then, there were the works of Géricault, Ingres and above all Delacroix’ iconic Liberty Leading The People. All out. I rationalised that it is good to know that the Louvre shares its treasures by doing such loan exhibitions, and of course if any reason were needed to revisit this city, this would be it. There was still so much else to see here and my first day in the Louvre was spent trying to complete the works within the Denon wing - the French sculpture in the Cours Marly and Puget, the Oriental Antiquities, the Chambers of Napoleon III and the German, Flemish and Dutch paintings. Not to mention the Decorative Arts displays. Still quite a sizable jumbo.

I could not take it all in!!