home » Calculations » Architectural ensembles of Paris. Empire style

Architectural ensembles of Paris. Empire style

"Styles of architecture" - Cathedral of Notre Dame de Pari France. Rococo. Louvre. Architecture. Classicism. Baroque. Basilica of st.Peter. Vchitel Novospaskoi ZOSH Podlєsna I.S. Romance style. Cathedral of st. See the architecture. Style in architecture. Містобудування. The area of Spain. Paul in London. Gothic style. Paris. Landscape architecture.

"Sculpture of the Romanesque style" - Robert. Sculpture of the Romanesque period. Monastic complexes were entire villages and fortress cities. Abbey of Cluny, France, XII century. Why? The main theme of Romanesque sculpture was the glorification of God. Tympanum of the Cathedral of Notre Dame in Chartres. TYMPAN is a recessed part of the arch above the entrance. Romanesque sculpture opened up new sides of reality - images of the monstrous and ugly.

"Architecture of Islam" - 10.07.2011. 1. 2. 3. Science-sacred geometry. Geometry in architecture. Islam.

"Romanesque style" - Architecture of the Western European Middle Ages (Romanesque style). Bell tower (campanile). Sully Castle, X-XI centuries, France. Romanesque style in Italy. Kyriaka in Gernrod, X century. A characteristic element is the arched shape of door and window openings. Roman style. tower of the old keep in Loch (X century). The feudal lord's castle is an integral part of the medieval way of life.

"Romanesque Style in Architecture" - Abbey Maria Laach, Germany. A massive tower rises in the middle of the cross. A vault is a type of floor that is formed by a convex curved surface. Cathedral in Mainz. 4. The most important feature of Romanesque architecture is the presence of a stone vault. Specific traits Romanesque: The immense height of the interiors.

Styles in Art and Architecture - Triumphal Gates (Moscow). Arch. brothers Vesnin. The project of finishing in Adam's style for the green dining room of the Catherine Palace. Fragment of a stained glass window. The main hall of the Lord's Chamber. Arch of Carrousel, Paris. Empire style. Antonio Gaudi). Brandenburg Gate in Kaliningrad. Roman style. Church of Souls in Purgatory in the city of Ragusa.

Description of the presentation for individual slides:

1 slide

Slide Description:

The Image of the “Ideal City” in the Classical Ensembles of Paris and St. Petersburg Jacques-Ange Gabrielle. Place Louis XV in Paris Giacomo Quarenghi. Academy of Sciences in St. Petersburg Andreyan Dmitrievich Zakharov. Admiralty in St. Petersburg

2 slide

Slide Description:

The emergence of new social ideas, new morality, new aesthetics The Enlightenment movement, started by Voltaire, picked up by Denis Diderot, J.J. Rousseau, led to the emergence of new social ideas, new morality, new aesthetics. Architecture became the embodiment of educational utopias and new values - naturalness, simplicity, clarity. In classical architecture, capricious curls of ornament and flowing silhouettes of Rococo were replaced by straight lines, clear geometric shapes, undivided volumes of neoclassicism. Voltaire (1694-1778) D. Diderot (1713-1784) J.J. Rousseau (1712-1778)

3 slide

Slide Description:

Jacques-Ange Gabriel Place Louis XV in Paris Utopian dreams of an "ideal city" where houses stand among trees, wide streets form regular sections, and spacious squares open up perspectives of city quarters, were brilliantly realized in the ensemble of Place Louis XV in Paris. The creator was one of the first architects of neoclassicism Jacques-Ange Gabriel (1698-1782) Place Louis XV (Place de la Concorde) - 1757-1779 Jacques-Ange Gabriel (1698-1782) the space of the square is wildlife - the water surface of the river and the vegetation of parks.

4 slide

Slide Description:

Concorde Square. Paris The small square looks huge thanks to the wide panorama. The Champs Elysees with an endless green ribbon lead the gaze to the Arc de Triomphe on the Place de la Star (Place Charles le Gaulle). On the opposite side, behind the park, rises the Arc de Triomphe on the Carousel square, and then the Louvre mass.

5 slide

Slide Description:

Giacomo Quarenghi Academy of Sciences. 1783 - 1789. St. Petersburg The building of the Academy of Sciences, built by Quarenghi near the Peter's Kunstkamera in 1783 - 1785, is distinguished by its simplicity and severity. Russian art developed similarly to French. The pathos of simplicity and linearity is palpable in the buildings of the architect of "Catherine's classicism" Giacomo Quarenghi (1744-1817). The ideas of the enlighteners were consonant with the aesthetics of classicism and were perceived in Russia by Empress Catherine II. The admirer of Roman antiquity, Giacomo Quarenghi, built buildings characterized by symmetry, perfect proportions and laconic decor. D. Quarenghi (1748-1817) Catherine II (1729-1796)

6 slide

Slide Description:

The desire to subordinate a separate building to the artistic-figurative unity of the ensemble and the city as a whole acquired in the first decades of the nineteenth century. decisive value. The building in which the whole city recognizes itself is the building of the Admiralty, built by A.D. Zakharov (1761-1811). The Admiralty is the first building on the left bank of the Neva in St. Petersburg / Initially, the Admiralty was conceived by Peter I only as a shipyard, according to his project it was founded on November 5, 1704. In 1806-1823, by order of Alexander I, the building was rebuilt by A.D. Zakharov. Zakharov built the third building of the Admiralty, which became a symbol of the sea power of Russia. Andreyan Dmitrievich Zakharov Admiralty. 1806-1823. St. Petersburg A.D. Zakharov (1761-1811) Alexander I (1777-1825)

MHK, grade 11

Lesson number 7

Classicism

D.Z .: Chapter 7, ?? (p. 72-73), tv. assignments (pp. 73-75)

LESSON OBJECTIVES

To acquaint students with the characteristic features of the architecture of classicism and form an idea of the ceremonial-official architecture of Versailles;
Develop skill independently study the material and prepare it for the presentation; continue to develop the ability to analyze a work of art;
Bring up culture of perception of works of art.

CONCEPTS, IDEAS

architect;
architecture of classicism;
Louis Leveaux;
Jules Hardouin-Mansart;
André Le Nôtre;
The Grand Palace of Versailles;
Charles Lebrun;
Mirror gallery;
tapestry;
landscape parks;
empire style;
neoclassicism;
church of Saint Genevieve

Testing students' knowledge

one . What is the aesthetic program of the art of classicism? How were the connections and differences between the art of classicism and baroque expressed?

2. What examples of Antiquity and Renaissance did the art of classicism follow? What ideals of the past and why did he have to give up?

3. Why is Rococo considered a style of aristocracy? What features of it met the tastes and moods of their time? Why was there no room in it for the expression of civic ideals? Why do you think the Rococo style reached its peak in arts and crafts?

4. Compare the basic principles of Baroque and Rococo. Is it possible

5*. What ideas of enlightenment was sentimentalism based on? What are its main accents? Is it legitimate to view sentimentalism within the grand style of classicism?

Universal learning activities

generalize and systematize knowledge   describe and analyze        prepare an extramural excursion  conduct comparative analysis 
generalize and systematize knowledge about the ways of development and artistic principles of classicism architecture;
 comparative analysis architectural structures of classicism and baroque;
 describe and analyze architectural monuments of classicism in the unity of form and content;
 develop an individual creative project an architectural structure in the tradition of classicism;
 evaluate the value of creativity individual architect in the history of Western European art;
 list characteristics individual author's style;
 talk about prominent Western European figures architecture of the era of classicism;
 make your own reasoned judgments O artistic merit specific works of architecture of the era of classicism;
 identify historical background the emergence of the Empire style in Western European art;
 prepare an extramural excursion Versailles (architectural ensembles of Paris);
 comparative analysis interior decoration of Fontainebleau and the Mirror Gallery of Versailles;
 establish associative links between the works of architecture of classicism and their pictorial interpretation in the works of A.N. Benois

STUDYING NEW MATERIAL

"Fabulous Dream" of Versailles.

Assignment for the lesson. What is the significance of classicism in the architecture of Western Europe for World civilization and culture?

sub-questions

"Fabulous Dream" of Versailles. Typical features of classicism architecture. Creation of a new type of palace ensemble. Versailles as a visible embodiment of the ceremonial-official architecture of classicism.
Architectural ensembles of Paris. Empire style. Commencement of work on the redevelopment of Paris. Neoclassicism - new stage development of classicism and its spread in European countries. Characteristic features of the Empire style (on the example of famous architectural monuments)

On the question of classicism

in the architecture of Western Europe

... ... ... Let's leave the Italians

Empty tinsel with its false gloss.

The meaning is most important, but in order to come to it,

We'll have to overcome obstacles and paths,

Strictly adhere to the planned path:

Sometimes the mind has only one road ...

You need to think about the meaning and only then write!

N. Boileau. Poetic Art (Translated by E.L. Linetskaya)

This is how one of the main ideologues taught his contemporaries

classicism poet Nicolas Boileau (1636-1711). Strict rules

classicism were embodied in the tragedies of Corneille and Racine, the comedies of Moliere and the satire of La Fontaine, the music of Lully and the painting of Poussin, the architecture and decoration of the palaces and ensembles of Paris ...

On the question of classicism

in the architecture of Western Europe

Classicism was most clearly manifested in works of architecture focused on the main achievements of ancient culture - the order system, strict symmetry, clear proportionality of the parts of the composition and their subordination to the general plan .

"Strict style" of classicism architecture, it seemed, was called upon to visually embody his ideal formula of "noble simplicity and calm greatness."

In the architectural structures of classicism dominated and simple and clear forms, calm harmony of proportions ... Preference was given to straight lines, unobtrusive decor, repeating the outlines of the subject ... Affected in everything simplicity and nobility of decoration, practicality and expediency .

On the question of classicism

in the architecture of Western Europe

"Fairy dream"

Versailles.

Mark Twain, who visited Versailles in the middle of the 19th century, wrote:

“I scolded Louis XIV, who spent 200 million dollars on Versailles, when people did not have enough bread, but now I have forgiven him. It is incredibly beautiful! You look, stare your eyes and try to understand that you are on earth and not in the gardens of Eden. And you are almost ready to believe that this is a lie, just a fabulous dream. "

Indeed, Versailles' "fairytale dream" amazes even today

the scale of the regular planning, the magnificent splendor of the facades and the splendor of the decoration of the interiors.

Palace and park of Versailles. General

view. 1666-1680

One hundred hectares of land in an extremely short time (1666-1680) were turned into a piece of paradise intended for the French aristocracy.

"Fairy dream"

Versailles.

Louis Leveaux

Jules Hardouin-Mansart

In creating the architectural appearance of Versailles

architects participated Louis Leveaux (1612-1670),

Jules Hardouin-Mansart (1646-1708) and André Le Nôtre

(1613-1700). For a number of years they have been

rebuilt and changed in its architecture, so

that at present it is a complex fusion of several architectural styles that preserve

characteristic features of classicism.

André Le Nôtre

"Fairy dream"

Versailles.

city of Versailles

Grand Palace

First decorated in rustic style after the model of the Italian palazzo of the era

Renaissance. On the second , front door, are high

arched windows, between which there are Ionic columns and pilasters. Tier crowning the building gives the appearance of the palace monumentality: it is shortened and ends with sculptural

groups. The rhythm of windows, pilasters and columns on the facade emphasizes

its classic severity and splendor.

It occupies a dominant position over the area. Facade (almost 500 m) is divided into a central part and two side wings - risalit a, giving it a special solemnity. 3 floors.

"Fairy dream"

Versailles.

Interiors of the Grand Palace of Versailles

Interiors Of the Grand Palace are decorated in a Baroque style: they are replete with sculptural decorations, rich decor om in the form of gilded stucco and carvings, many mirrors and exquisite furniture. Walls and ceilings are covered with colored

marble slabs with clear geometric patterns: squares, rectangles and circles. Scenic

panels and tapestries on mythological themes glorify the king

Louis XIV.

Massive gilded bronze chandeliers complete

an impression of wealth and luxury.

"Fairy dream"

Versailles.

Palace of Versailles

The halls of the palace (their about 700 ) form infinite suites and are intended for ceremonial processions, lavish celebrations and masquerade balls. In the largest ceremonial hall of the palace - Mirror gallery (length 73 m) - the search for new spatial and lighting effects is clearly demonstrated. The windows on one side of the room were matched by mirrors on the other. Under sunlight or artificial light, four hundred mirrors created an exceptional spatial effect, conveying a magical play of reflections.

Mirror gallery

"Fairy dream"

Versailles.

Versailles park

In vases (there were

near 150 thous. ) there were fresh flowers that were changed like this

so that Versailles is in constant color at all times

of the year.

Decorative compositions amazed with their ceremonial splendor Charles Lebrun (1619-1690) at Versailles and Louvre. Proclaimed by him "Method of depicting passions", suggesting pompous praise of dignitaries, brought the artist a dizzying success. In 1662 he became the king's first painter and then director of the royal manufactory tapestry s (hand-woven carpet paintings, or trellis ) and the head of all decorative work at the Palace of Versailles.

"Fairy dream"

Versailles.

Basin n Latona.

Fountains of Versailles

palace. 1689 g.

No dancing, no sweet raspberries,

Le Nôtre and Jean Lully

In gardens and dances of disorder

We could not stand it.

The yews are frozen, as if in a trance,

The bushes equalized the formation,

And squatted in curtsy

Memorized flowers.

V. Hugo

(Translated by E.L. Lipetskaya)

N.M. Karamzin (1766-1826), who visited Versailles in 1790, spoke about his impressions in "Letters of a Russian Traveler":“Hugeness, perfect harmony of parts, action of the whole: this is what a painter cannot depict with a brush! Let's go to the gardens, the creation of Le Nôtre, whom the brave genius everywhere seated on the throne proud Art, and the humble Nature, like a poor slave, threw at his feet ... So, do not look for Nature in the gardens of Versailles; but here at every step Art captivates the eyes ... "

Architectural

ensembles

Paris. Empire style.

Concorde Square.

After the end of the main construction works at Versailles, at the turn of the 17th-18th centuries, Le nôtre launched an active work on the redevelopment of Paris. He carried out a breakdown the park a Tuileries, clearly fixing the central axis on the extension of the longitudinal axis of the Louvre ensemble. After Le Nôtre, the Louvre was finally rebuilt, Concord square .

The major axis of Paris gave a completely different interpretation of the city that met the requirements of grandeur, grandeur and splendor. The composition of open urban spaces, the system of architecturally designed streets and squares became a determining factor in the planning of Paris.

Architectural

ensembles

Paris. Empire style.

Second half of the 18th century and the first third of the 19th century. in France mark a new stage in the development of classicism - neoclassicism - and its distribution in European countries.

After the French Revolution and the Patriotic War of 1812, new priorities appeared in urban planning, consonant with the spirit of their time.

They found the most vivid expression in empire e. It was characterized by the following features: ceremonial pathos of imperial grandeur, monumentality, appeal to art

Imperial Rome and Ancient Egypt, the use of attributes of Roman military history as the main decorative motifs .

Place de la Bastille.

Architectural

ensembles

Paris. Empire style.

Style empire became the personification of the political power and military glory of Napoleon, served as a kind of manifestation of his cult. The new ideology fully corresponded to the political interests and artistic tastes of the new era. Large architectural ensembles of open

squares, wide streets and avenues, bridges, monuments and public buildings were erected, demonstrating the imperial grandeur and power of power.

Versailles, Grand Palace

Architectural

ensembles

Paris. Empire style.

Church of Saint Genevieve , erected J.J. Soufflot , became Pantheon om - the resting place of the great people of France.

One of the most spectacular monuments of that time - the column

The great army on Place Vendome ... Similar to the ancient Roman column of Trajan, it should, according to the architects J. Honduin and J. B. Leper , express the spirit of the New Empire and the thirst for greatness of Napoleon.

J. J. Soufflot. Church of Saint Genevieve (Pantheon). 1758-1790 Paris

Architectural

ensembles

Paris. Empire style.

Vendome

square.

Paris

The decor of the palaces was often overloaded with military paraphernalia. The dominant motifs were contrasting color combinations, elements of Roman and Egyptian ornaments:

eagles, griffins, urns, wreaths, torches, grotesques. The Empire style was most clearly manifested in the interiors of the imperial residences of the Louvre and Malmaison.

In the bright interior decoration of palaces and public buildings, solemnity and stately pomp were especially highly valued

Architectural

ensembles

Paris. Empire style.

Interiors

Louvre

The era of Napoleon Bonaparte ended by 1815, and very soon he began to actively eradicate its ideology and tastes. The Empire, which disappeared like a dream, left works of art in the Empire style, clearly testifying to its former greatness.

"I love power, but as an artist ... I love it in order to extract sounds, chords, harmony from it."

Peculiarities

classicism

in architecture

Late classicism - empire - style in architecture, decorative and applied and fine arts of the first third of the 19th century in European countries, which completed the development of classicism

Peculiarities

classicism

in architecture

Risalit (ledge) - part of a building that extends beyond the main line of the façade

Bosquet (forest, grove) - a row of closely-planted, evenly trimmed trees or shrubs forming a wall

herms (tetrahedral pillars topped with a head or bust)

Peculiarities

classicism

in architecture

Desudeport (top)- a picturesque sculptural or carved composition of a decorative nature located above the door and being an organic part of the interior

Pergola (canopy, extension) - a gazebo or structure consisting of arches or paired pillars placed one after another, connected on top of each other with a wooden crate, cased

climbing plants along the paths of parks and gardens.

Peculiarities

classicism

in architecture

Gazebo - round superstructure in the form of a pavilion or gazebo

Enfilade (string on a thread) - a series of sequentially placed one after another premises, the doorways of which are located on the same axis

Control questions

1. Why Versailles can be attributed to the outstanding works? Explain your answer.

2. As urban planning ideas of classicism of the XVIII century. found their practical embodiment in the architectural ensembles of Paris, for example, Place de la Concorde? What distinguishes it from the Italian baroque squares of Rome in the 17th century, for example, Piazza del Popolo (see p. 74)?

3. How is the connection between the architecture of the Baroque and Classicism found expression? What ideas did classicism inherit from the baroque?

4. What are the historical prerequisites for the emergence of the Empire style? What new ideas of his time did he seek to express in works of art? What artistic principles does he rely on?

Creative workshop

one . Take your classmates on a distance tour of Versailles. To prepare it, you can use video materials from the Internet. The parks of Versailles and Peterhof are often compared. What do you think are the grounds for such comparisons?

2. Try to compare the image of the "Ideal City" of the Renaissance with the classicist ensembles of Paris (St. Petersburg or its suburbs).

3. Compare the design of the interior decoration (interiors) of the gallery of Francis 1 in Fontainebleau and the Gallery of Mirrors of Versailles.

4. Get acquainted with the paintings of the Russian artist A. N. Benois (1870-1960) from the cycle “Versailles. The King's Walk ”(see p. 74). How do they convey the general atmosphere of the court life of the French king Louis XIV? Why can they be considered as a kind of picture-symbols?

Themes of presentations, projects

"Formation of classicism in French architecture of the 17th-18th centuries";
"Versailles as a model of harmony and beauty of the world";
"A walk around Versailles: the connection between the composition of the palace and the layout of the park";
"Masterpieces of Western European Classicism Architecture";
"Napoleonic Empire style in French architecture";
Versailles and Peterhof: Comparative Experience;
"Artistic discoveries in the architectural ensembles of Paris";
"Places of Paris and the development of the principles of regular city planning";
"Clarity of composition and balance of volumes of the cathedral of the House of Invalids in Paris";
"Concorde Square - a new stage in the development of urban planning ideas of classicism";
“The severe expressiveness of the volumes and the parsimony of the decor of the Church of Saint Genevieve (Pantheon) J.J. Soufflot ";
“Features of classicism in the architecture of Western European countries;
"Outstanding architects of Western European classicism."

Today I found out ...
It was interesting…
It was difficult…
I learned…
I was able to ...
I was surprised ...
I wanted…

Literature:

Programs for educational institutions. Danilova G. I. Mirovaya art culture... - M .: Bustard, 2011
Danilova, G.I. Art / MHC. 11 cl. Basic level: textbook / G.I. Danilov. M .: Bustard, 2014.
Moroz Irina Vasilievna, http://infourok.ru/prezentaciya_po_mhk_klassicizm_v_arhitekture_zapadnoy_evropy_11_klass-163619.htm

Slide 1

Architecture of Paris XVII century Classicism

Slide 2

Paris of the 17th century

Slide 3

Cathedral of the Invalides
An architectural monument, the construction of which was started by order of Louis XIV on February 24, 1670 as a nursing home for the war invalids of the royal army. Today it still accepts disabled people, and also several museums and a military necropolis have found their place in it.
Architect Jules Hardouin-Mansart

Slide 4

On May 5, 1821, Napoleon Bonaparte died. He was buried near Longwood in an area called the Geranium Valley. There is a version that Napoleon was poisoned. King Louis-Philippe, yielding to the pressure of the Bonapartists, in 1840 sent a delegation to Saint Helena to fulfill Napoleon's last will - to be buried in France. Since 1840, his body has been in the Cathedral of Invalides in Paris.

Slide 5

Place des Vosges
Created in 1605-1612 by the architect C. Chantillon.

Slide 6

This is the oldest square in Paris. It is located in the Mare quarter and is a regular square with a length of 140 meters. Until 1799 it was called Royal. The current name was given in honor of the residents of the Vosges department, who voluntarily began to pay contributions for the maintenance of the revolutionary army.

Slide 7

Built up by decree of Henry IV from 1605 to 1612; since then, its appearance has remained almost unchanged. The buildings on the sides of the square are strictly maintained in the same style - of red brick with stripes of gray stone. Two buildings with higher mansard roofs are called the pavilions of the king and queen (here the commoners celebrated the wedding of Louis XIII and Anne of Austria). Many lived in houses on the square famous people- Sully, Cardinal Richelieu, Marion Delorme, Bossuet, Victor Hugo, Théophile Gaultier, Alphonse Daudet, etc.

Slide 8

Place Vendome

Slide 9

Built in 1699 by the architect Jules Hardouin-Mansart in honor of Louis XIV, and got its name from the palace of Cesar de Vendome. The uniform classicist buildings surrounding the square were completed by 1720. In the center of Place Vendôme, there is a 44-meter Vendome column with a statue of Napoleon at the top, modeled on Trajan's Roman column.

Slide 10

Victory Square

Slide 11

In the center of the square is the equestrian statue of the "Sun King"
Small rounded area. Six streets converge here at once, and the elegance of this square enchants with typical French architecture. In the years 1684-1687. Hardouin-Mansart created the square in such a way as to mark the center of the square with an equestrian monument.

Slide 12

Luxembourg Palace

Slide 13

Luxembourg Palace
The palace, erected in 1615-1621 architect Salomon de Bross, was the first experience of urban space. The very approach to construction was dictated by the classical spirit of the French school - the main entrance in the center of the building, the courtyard protected from all sides, the main building. The interior design was done by the great Rubens, whose works were well known to the Parisian aristocracy.

Slide 14

Luxembourg garden
The garden is a classic example of French garden architecture, combining strict geometry with a riot of vegetation. More than a hundred sculptures, monuments and fountains have been installed on the territory of the Garden. Around the central green zone, there are about 20 statues of French queens and women saints (including Jeanne III of Navarre, Blanca of Castile, Anne of Austria, Louise of Savoy and Anne of France.

Slide 15

Fountain in front of the Luxembourg Palace

Slide 16

Architects are concerned with the problem of the relationship between the ensemble of the palace and the park. Louis Leveaux and André Le Nôtre are trying to solve this problem in a prospective way for the first time in the palace and park of Vaux-le-Vicomte near Melin.

Slide 17

The Palace of Vaud is rightly considered the prototype of the main creation of the second half of the 17th century. Versailles palace and park. It was built by Levo, and in the last stages of its construction, Arduin-Mansart took part.

Slide 18

The best private palace in France at that time, the creation of three of the greatest professionals of their time - the architect Louis Leveaux, landscape architect André Le Nôtre and interior artist Charles Lebrun. The collaboration of the three masters produced a monument that became the first example of the Louis XIV style, which was based on the unity of architecture, interior decoration and park landscapes. The main house is surrounded on four sides by a moat with water. Thanks to natural irrigation (two rivers have flowed on the site since ancient times), Le Nôtre was able to arrange a regular park with parterres, fountains and canals.

Slide 19

The exterior of the building is classically austere, the alternation of windows, pilasters, columns creates a clear, calm rhythm. All this does not exclude a lush decorative finish, especially in the interior. The interiors of the palace consist of a suite of luxuriously decorated rooms.

Slide 20

The Maison Laffitte palace, built by François Mansart in 1642-1651, for all the complexity of the volumes, is a single whole, clear design gravitating to classicist norms.

Slide 21

Maison Laffite Palace
Unlike traditional compositions of earlier country castles, there is no closed courtyard formed by the main building and service wings. Everything office space are housed in basement floor building. Arranged in the form of the letter "P" around the courdoner, open to the park, the building is well observed from all sides.

Slide 22

Hotel Lambert
The mansion was commissioned from the architect Louis Le Vaux in 1639 by the secretary of Louis XIII, Jean-Baptiste Lambert. The architect developed a complex building plan, as it was necessary to adapt it to the characteristics of the land plot. Three years later he dies and bequeaths the house to his brother Nicolas, who has done extensive decorative work there. The interiors of the mansion's three offices and a large gallery have made the mansion famous since its inception.