Le Palais-Royal et les galeries Ce dernier jour a petit groupe m'a suivi pour la dernière qui nous mènerait promenade au Palais-Royal d'abord et puis aux galeries and walkways of the time of the Restoration. I had
be deleted, des Panoramas, princes, for he was almost 17h and we go to the hotel at 19h to dine together. Leaving the metro station Palais Royal Musée du Louvre, we had before us the French Comedy located since 1799 in the heart of the Palais Royal.
Founded in 1680 by Louis XIV, the French Comedy was born of the merger of troops from the hotel Guénégaud, former troupe of Molière, and that of the Hotel de Bourgogne.
is the only state theater en France disposant d’une troupe permanente, la troupe des Comédiens français. Molière, qui cependant était mort depuis sept ans quand elle fut créée, est considéré comme le patron des comédiens français. Le fauteuil dans lequel il agonisa lors d’une représentation du Malade imaginaire est d’ailleurs exposé dans le Foyer. Il ne paraît sur scène qu’au jour de l’anniversaire de Molière, le 15 janvier.
Nous sommes entrés dans la cour d’honneur du Palais-Royal où se trouvent depuis 1985 les fameuses colonnes de Buren , une commande du ministre de la culture de l’époque, Jack Lang, à the artist Daniel Buren. He created columns of black and white marble, lit at night a green light. The controversy sparked by this facility was not yet extinct.
The Palais Royal was the scene of large parts of the history of Paris and France, both large and small
. He saw kings and revolutions that overthrew the kings, he saw scroll tribunes and whores, artists and scoundrels, the paradi9s and hell, work and vice. Originally it was called the Palais Cardinal. Richelieu, who held the power, would in 1629 have a palace, this one, which was completed in 1636.
It took its current name in 1643, when Anne of Austria, regent of the kingdom, widow of Louis XIII
, left the Louvre with his two son to settle to avoid the troubles of the Fronde. In 1661, King Louis XIV, the undisputed power, returned to live in the Louvre and the Palais Royal ceded to his brother.
In 1715, the regent Philippe d'Orleans moved to the Palais Royal. He then began an era of luxury, splendor and pleasure.
On the eve of the Revolution, the palace belonged to Philip IV of Orleans (the future Philippe Egalite), which cost money, installed there shops, theaters and cafes. The Palais-Royal became a place of excitement, entertainment and even bawdy, having become a center of prostitution in Paris.
The restaurant "The Véfour " there was created in 1784, when the galleries were completed.
At the time of the Revolution, the Palais Royal was the center of all the popular unrest. The speakers are harangued the crowd and that's where the idea was born to the Bastille.
In 1793, the palace became state property. In 1814 he was returned to the Orleans family who kept it until 1848.
In 1852, the neighborhood of the Palais Royal was the one with the most brothels and girls in Paris. At the beginning of the twentieth century, if one believes Celine, there were more than one girl at each pillar galleries!
After 1871, the Palais-Royal had to be restored to house the State Council who is still sitting as the Constitutional Council and the Ministry of Culture.
added that the writers Colette and Jean Cocteau lived there.
The Palais Royal was much wiser. Its gardens n'accueillent more than pensioners, children and their nurses and office workers came for lunch and a breath of calm.
We left the Palais-Royal by the entrance of the Rue de Beaujolais. We continued up the rue des Petits-Champs. In 6 of this street, we discovered our first passage, Passage Colbert , built in 1826 to rival the nearby Galerie Vivienne. The restaurant Le Grand Colbert in 1854.
Appearing in the early nineteenth century, walkways reached their apogee 
at the time of the Restoration. Their construction focuses on two periods between 1823 and 1828 and then between 1839 and 1847. The Galerie Vivienne was built by architect Francois Delannoy in 1823. Its decor is Pompeian floor mosaics and are Italian. The large gallery, 42m, followed by a rotunda with a glass dome. The gallery ends rue des Petits-Champs with a vast rectangular hall topped by a glass roof from which rises a suspended staircase leading to the apartment formerly occupied by ex-convict Vidoq.
It was inaugurated in 1826 and boutiques tailor, shoemaker, wine merchant, confectioner, shop prints attracted many visitors. A shop Jean-Paul Gautier, a tea room and a library of ancient books have replaced them.
We went out through the inlet Street Bank we took to the street right
Feuillade, again the rue des Petits-Champs to the Place des Victoires . Built in 1686 in honor of the victories of Louis XIV, this place has a nice classical harmony. She became one of the high 
fashion center with shops and Kenzo Mugler. The walk came to an end. We took the Rue Croix-des-Petits-Champs to the gallery Vero-Dodat founded in 1826 by two butchers who bore those names. Despite some decline, the gallery maintains beautiful woodwork, signs that black sometimes missing a letter and some nice shops, including that of the repairman dolls.
Here, we should then go on the run to the hotel for dinner together in the Saint-Severin. And the next day, Friday 14 everybody move to London and I would wait to Bayeux where my cousin Jacqueline.
El Palais-Royal y las Galerías Ese último día a pequeño grupo para el último me siguió paseo our llevaría al Palais-Royal y luego a las Galerías del tiempo y pasajes cubiertos the Restauración. Debí delet several, Panoramas, des Princes, they were almost 17h and we should return to the hotel at 19h to go to dinner together.
Leaving the metro station Palais-Royal-Musée du Louvre, we had before us at the Comedie Francaise, which is since 1799 in the heart of the Palais Royal.
Created in 1680 by Louis XIV, the French Comedy born from the merger of the casts of Guénégaud hotel, a former cast of Molière, and the Hotel de Bourgogne.
is the only state theater of France, which has a stable cast, the cast of French comedians. Molière, who had died but seven years when it was created, is regarded as the patron of French actors. The chair in which agonized over imaginary representation of the Sick is otherwise stated in the Foyer. Only appears on the scene the day of birth of Molière, the 15th of January.
We entered the courtyard of the Palais-Royal where they are since 1985 the famous columns Buren, commissioned by the Minister of Culture of the time, Jack Lang, the artist Daniel Buren. This created columns of black and white marble, lit at night by a green light. The controversy sparked by this facility has not been turned off. The Palais-Royal
witnessed great moments in the history of Paris and France the large and small. He saw kings and revolutions that overthrew those kings, was paraded tribunes and whores, artists and crooks, heaven and hell, work and vice. Originally called Palace
-Cardinal. Richelieu wanted dominating power in 1629, have a palace, this one, which was completed in 1636.
took its current name in 1643, when Anne of Austria, regent of the kingdom, the widow of Louis XIII, left the Louvre with her two children to move there to escape the turmoil of the Fronde.
In 1661, King Louis XIV, unquestioning love of power, he returned to live in the Louvre and the Palais-Royal gave her brother.
In 1715, the Regent Philippe d'Orleans was installed in the Palais-Royal. Then there began an era
luxury, splendor and pleasures. On the eve of the Revolution, the palace belonged to Philip IV of Orleans (later Philip Equality) who, short of money, set up business there, theaters and cafes. The Palais-Royal became a place of excitement, fun and even self-indulgence, having become a center of prostitution in Paris.
The restaurant "Le Véfour" was created in 1784, when the galleries were completed. .
At the time of the Revolution, the Palais-Royal was the center of all the popular unrest. The speakers harangued there the crowd and there was born the idea of taking the Bastille.
In 1793, the palace became a national asset. In 1814, he was returned to the Orleans family who kept it until 1848.
In 1852, the district of Palais-Royal was the one who had more brothels and prostitutes in Paris. In the early twentieth century, if we believe Celine, was more than one woman in each pillar of the galleries.
After 1871, the Palais-Royal had to be restored to house the State Council still has his headquarters and the Constitutional Council and the Ministry of Culture. Add that the writers
Colette and Jean Cocteau lived there. Le Palais-Royal
has subsided. The gardens are home only pensioners, children with their nannies and office workers who come to lunch and get a little quiet.
We left the Palais-Royal by the street entrance of Beaujolais. Follow up the Rue des Petits-Champs. In section 6 of this street, we discovered our first passage, the passage Colbert, built in 1826 to 
Galerie Vivienne rival nearby. The Grand Colbert restaurant in 1854. Appeared in the early nineteenth century, reached its peak covered walkways at the time of the Restoration. Its construction is concentrated in two periods between 1823 and 1828 and then between 1839 and 1847. The Galerie Vivienne
was built by the architect François Delannoy in 1823. Its decor is Pompeian floor mosaics and Italian. The main gallery of 42m, is continued by a roundabout with a glass dome. The gallery is completed in the Rue des Petits-Champs with a large rectangular room topped by a glass from which rises a suspended staircase leading to the apartment once occupied by the inmate Vidoq.
was inaugurated in 1826 and its business as a tailor, shoemaker, wine seller, confectioner, who sells prints attracted many visitors. A business Jean-Paul Gautier, a tea room and a library the old books have been replaced.
We left the entrance to the rue de la Banque we take a right onto the street Feuillade,
again the Rue des Petits-Champs to the Place des Victoires . Built in 1686 in honor of the victories of Louis XIV, this place has a beautiful classical harmony. It has become a Mecca of the fashion business with Kenzo and Mugler. The ride came to an end. We take the street Croix-des-Petits-Champs to the gallery Véro-Dodat founded in 1826 by two lunch boxes running those names. Despite some decline, the gallery maintains beautiful wood paneling, black poster is lacking some lyrics and some nice business, especially a doll repairman.
was all we had to race back to the hotel to go to dinner together at the Saint-Severin. And the next day, Friday 14, around the world and I leave for London to Bayeux where I expect my cousin Jacqueline.
0 comments:
Post a Comment