Paris - Clignancourt - 18e

Plate XCV - Clignancourt - Flea Market …

Somehow ‘flea market’ does not do justice as a translation for ‘le Marché aux Puces de la Porte de St-Ouen’. It also does not convey any sense of the incredible sense of impending discovery of treasure that I felt immediately on arrival in the environs of the Porte de Clignancourt. Leaving my hotel on the Metro in the fairly early morning, I had shared a compartment with a number of women who looked remarkably like extras from the set of Irma la Douce. Not something unexpected as these nocturnal working inhabitants of the area returned from what I guessed had been another night ‘sous les ponts de Paris’. The Marché aux Puces (which some claim gave all ‘flea markets’ their name) is actually a number of adjoining markets, and typical of such trading places you will find everything from absolute rubbish to some of the most beautiful antiques imaginable. Of course the high end stuff is better displayed (and better guaranteed) in the Rue de Rivoli at the Louvre des Antiquaires, but there you know you’re going to pay top dollar, and the chances of unearthing an undervalued bargain are less than zero. In Clignancourt I browsed amongst vintage (and not so vintage) car parts and hardware, through clothing, music stalls and ultimately moved on to the antique dealers, where Lalique and Daume vases competed to catch the eye with elaborate crystal chandeliers, and that uniquely continental-European fourteen carat gold jewellery. It was here that a London based friend of mine began a lifelong infatuation with antique Toiles de Jouy, trade in which eventually became his business. Intimidated as I was by the sheer numbers of traders’ stalls and their volumes of merchandise I browsed for hours, determined not to buy anything until I had a good idea of all that was available. I landed up leaving empty handed but determined to return.

I know my weaknesses - I never did.

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?

Paris - Metropolitain - 1er

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.

Paris - Inverted Pyramid - 1er

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 ……