Episode 40 - The Beginning and the End of Marie Antoinette

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Episode 40 - The Beginning and the End of Marie Antoinette

On October 16, 1793, the blade fell and ended the life of Marie Antoinette. Today, 233 years later, she remains one of the world's most popular figures. Today, two exhibits dedicated to her stand outside Paris, and stacks of books about her sell in nearly every bookstore worldwide. 

Of course, the myth of the former queen often expands far past who she really was. And in this day and age, when people rarely have an attention span past 20 seconds, the memory of who Marie Antoinette was is constantly changing. 

Marie Antoinette Josephe Jeanne was born in Vienna on November 2, 1755, and was the 15th of 16 children of Empress Marie Theresa and Francis I, Emperor of the Holy Roman Empire. 

François I died on August 18, 1765, placing his son Joseph II on the throne, but Empress Marie Theresa made the moves and pulled the strings.  Marie Therese hoped to finally unite France and Austria and end years of conflict, something her husband was against. Before his death, little Marie Antoinette spent her days at Schönbrunn Palace running and playing with her brothers and sisters. 

Two years later, at age 11, Marie Therese worked to unite her daughter with the next king of France, the Dauphin Louis-Auguste. After the Seven Years’ War, Austria and France finally united to fight Great Britain and Prussia. 

Louis XV had a few stipulations: she must speak French, and he was concerned about her style, teeth, and hair. After dispatching Father Vermond to Vienna to work with the future queen, the court announced in February that she would marry the heir to the French throne. Marie Antoinette’s mother was strong-willed and tried to instill the virtues her daughter needed to be a queen. The young lady, still essentially a child, was reluctant to participate and had a short attention span for anything she didn’t like, a problem that would haunt her until her last days. 

Marie Antoinette, post glow up at 13

On April 17, 1770, Marie Antoinette renounced any ties to the Austrian throne, just two days before her marriage by proxy. In the early morning of April 21, now 14 years old, Marie Antoinette left her family, home, and life behind and headed towards France. 

On May 7, after two weeks of traveling, Marie Antoinette and her procession arrived in the city of Kehl, Germany. Sitting opposite Strasbourg, separated by the Rhine, was the perfect place to mark the exchange. Dating back to the Ancien Régime of the 15th c., the surrender of the wife ceremony had to be a frightening moment for the teenager.

On the Île aux Épis, in the center of the Rhine, they built a temporary wooden pavilion for the ceremony. It was far grander than the tent that was depicted in the fantastic Marie Antoinette movie. Plans for this lavish yet temporary pavilion began on January 5, 1770, and also included updating the roads to and from the island, as well as the Pavillon Rohan in Strasbourg, where she would spend the night.  

The Duc de Choisiel and the Comte de Noailles oversaw the young lady's transfer and arrival, and the creation of the pavilion. This wasn’t just a little plywood shack in the woods. It was grand, had windows, and the inside was decorated like a mini Versailles.  

The crown's furniture, hand-picked by the duc de Choisiel, came from the Garde Meuble in Paris, and the Gobelins selected tapestries and carpets to cover the temporary walls and floors. A few days before the grand affair, a few young German men snuck inside the pavilion in the middle of the night.  

What they found shocked them. The large tapestries chosen to cover the walls in the center of the pavilion depicted Greek mythological scenes. The tapestries, made from the cartoons of Raphael, depict the story of Jason, Medea, and Creuse. Jason was the leader of the Argonauts who met the beautiful princess Medea and became captivated by her. The two married, had children, then Creuse came into the picture. Jason leaves Medea and intends to marry Creuse. Medea accepts the wedding, or so they think, and sends her two sons to their father’s wedding with gifts for the new bride. 

The gift of a gown and a crown seemed to be a lovely offer but was covered in poison. When Creuse put them on, she burst into flames and died. Once Medea’s sons returned to her, she killed them, a scene also captured by Delacroix. 

Basically, not the scenes you want hanging on the walls as a new young bride is being presented to the future king. Hey, at least she didn’t burst into flames when she was dressed in her new French gowns. The young German boys who made this discovery were shocked; Johann Wolfgang von Goethe noted these pieces in his own account of the event.

The pavilion included five larger rooms used for the ceremony itself as well as eight smaller rooms used for guards, staff, and to hold her clothes. When Marie arrived, she entered through the Austrian antechamber on the island's German side. Marie and her ladies continued into the Austrian grand cabinet where Marie removed all her clothes, jewels, and anything else she brought with her. 

She then stepped into the large central pavilion, filled with dozens of French dignitaries, representatives of the king and court, and the Dauphine's new ladies.  A throne awaited her before she moved into the French grand cabinet where they finished dressing her in the rest of her French clothing and jewels, including a few new pieces from her mother. These were the only things she was allowed to bring into her new life. With more than 80 people in attendance, they walked out of the French antechamber, and she stepped into a French carriage, beginning her new role as the Dauphine of France. 

Marie Antoinette spent the night in the Palais Rohan, now the Musée de la ville de Strasbourg and a beautiful place to visit. On May 8, she headed towards Chateau de la Muette, where she would finally meet the Dauphin on May 15. 

In the very early morning of May 16, 1770, she left the chateau and headed to Versailles. Arriving at 10 am she entered the golden gates and was taken to the queen’s apartment to get ready. A beautiful silver dress was waiting for her. Silver was the customary color for the dauphine's wedding dress; however, hers was a bit more lavish. Her mother, Empress Marie-Therese d’Autriche, had sent a trunk of diamonds and jewels to be attached to the dress. There was only one small problem. The designer had guessed the future queen's measurements, and when she put the dress on, they couldn’t lace up the back. It was more than two sizes too small, and her wedding was less than an hour away. She would step into royal life with her corset visible through the back of her dress. 

Louis XV and his grandson Louis XVI waited in the king’s apartment. Louis XVI wore gold and a diamond-covered habit of the Order of the Holy Spirit. Just before noon, he met his bride and took her hand. They walked through the Hall of Mirrors to the Royal Chapel. Her gown and all its jewels shone brighter than the mirrors themselves. 

In the Royal Chapel, they knelt before the Archbishop of Reims, Monseigneur de la Roche-Aymon. The Archbishop blessed the rings and 13  gold coins before Louis placed the ring on her tiny finger. The wedding was followed by a lavish feast in the Royal Opera attended by the court. 

On the night of May 16, after a long day of ceremony and parties, the young couple went to bed. The bed was blessed by the Archbishop while members of the court watched, closing the curtain; the two were left somewhat alone. However, nothing would happen, nothing would happen for seven years. 

The issues in the bedroom were the talk of France and even past its borders. How can the new king rule from the throne if he couldn’t even give the country an heir? Marie Antoinette’s mother was also concerned and made sure she understood her important role. During this time, to avoid the constant rejection of her husband, she turned to friends, parties, and all-night gambling. Rumors began to circulate about her and how she spent her time. 

Finally, after seven long years, they consummated the marriage, and the next year their first child was born. Marie-Therese Charlotte, born in 1851. Not the male heir apparent, but a beautiful baby girl. She spent her days with her mother at the Petit Trianon and the Hamlet, living a quiet life away from watchful eyes.

After Louis XV died on May 10, 1774, the young couple was crowned king and queen of France. Inheriting the crown also meant taking on the country's rapidly mounting debt and the monarchy's resentment. 

The quiet Louis XVI was more focused on religious freedom and foreign policy than the plight of the citizens, and wanted to be admired and loved by the people. 

From the start, Marie Antoinette was looked at as a “foreigner,” as she was often called. The French still hadn’t moved past their distrust and hatred of the Austrians and pinned it all on her. Throughout their marriage, she was blamed for anything and everything that the people thought the crown was doing wrong. Horrible and even pornographic pamphlets were created depicting her in all sorts of acts. Given the nicknames Madame Deficit and Madame Veto, just to name a few. While Louis XVI was quiet and spent most of his time in his books and locks, she carried the brunt of the people's anger. Blamed for lavish spending on clothes, shoes, and wigs, but in reality, Monsieur Philippe, the fabulous brother of Louis XIV, spent four times more a year than Marie Antoinette ever did. 

Because of how the press and the public judged Marie Antoinette, a massive scam was waged against her, driving one of the final nails into her coffin. 

In 1785, tensions were high in France, and the Austrian queen faced pointed criticism and hatred. Her appearance of lavish spending would be used by a woman named Jeanne de la Motte to her advantage to exact her revenge on the crown. 

Jeanne de Valois Saint Rémy Comtesse de la Motte started out in life being told she was descended from royalty. Her father, Jacques de Valois, was the illegitimate grandson of King Henri II and his mistress, Nicole de Savigny. Henri was involved with her when he and Diane de Poitiers took a break. Never recognized, they constantly lived far beneath where they believed they should be, and by the time Jeanne came around, she wanted to do something about it. 

In 1772, King Louis XV wanted to have a necklace made for his mistress, Madame du Barry, and asked jewelers Boehmer & Bassange to create a lavish gift. It took years to gather the more than 600 diamonds needed; Louis XV died before it was finished. Left with an expensive necklace on their hands and unpaid, they reached out to Louis XVI, thinking he would want to buy it for his queen. Because of its high price tag, the queen refused, telling her husband, “We have more than 24 ships.” However, she may also have never liked Du Barry and didn’t want anything intended for her. 

Jeanne was the mistress of Cardinal Rohan, who had fallen out with the Queen and her mother and was desperate to win back her good graces. Jeanne told him she was friends with the Queen and that if he wrote her a letter, she would get it to her. Jeanne had another agenda. She answered the letters herself, posing as the Queen, and when he begged for a private meeting with the Queen, she hired a prostitute at the Palais Royal to impersonate her and meet him in the Grove of Venus at Versailles. 

Once word spread throughout Paris, the jewelers reached out to Jeanne, hoping to appeal to Marie Antoinette and buy the necklace. Jeanne told Rohan that the Queen wanted the necklace but needed someone to get it for her. Jeanne forged a letter and a purchase order for the necklace, and he took it to Boehmer. After Rohan handed over the necklace, he took it to meet Jeanne and what he thought was one of the Queen’s valets. Jeanne’s husband promptly took the necklace, broke it apart, and sent the jewels around Europe to be sold. 

Months passed, and when Boehmer still hadn’t been paid, he went to court with the Queen's signed order. She had never seen it before. Rohan was arrested in the Hall of Mirrors, would go on trial, and be found innocent. 

For the Queen, who was innocent in the plot, it was too late. It only fed into the rumors of her excess. People even thought she orchestrated the entire thing to get back at Rohan. The Affair of the Diamond Necklace led to her final fall, which came just a few years later. 

Jeanne de la Motte would also be arrested, and at trial she was convicted, and her sentence included life in jail, and her shoulders were branded with the letter V for voleuse, French for thief. A year later, she broke out of prison, dressed as a boy, and fled to London. On August 23, 1791, in an attempt to evade creditors, she fell out of a window and died. The report stated that she was “terribly mangled, her left eye cut out and her arm and both legs were broken. 

Today, that necklace would be worth over $15 million and hold 2,800 carats and 685 diamonds. When I saw a replica at the Conciergerie exhibit, I gasped, but then again, I love a statement piece.

Sadly, my first thought about this necklace and incident was the first thing I thought about after the theft of the jewels from the Louvre a year ago next week. 

The last straw came at the start of October 1789. 


On October 1 and 3, 1789, King Louis XVI threw a large dinner party for the king's guards and the Flanders Regiments. While Parisians starved and couldn't get bread, a lavish dinner at Versailles was the final straw. 

Before dawn on October 5, a large group, mostly composed of women, met in front of the Hotel de Ville. Breaking in and stealing more than 600 weapons, the group marched from Paris.

In the pouring rain for over 5 hours, they walked in the mud, arriving at Versailles. Demanding to be let into the National Assembly, their spokesperson, Stanislas Maillard, read their demands for wheat, flour, and an end to the blockade of the route into Paris. With everyone in agreement, they took the order to the king to sign and enact it, but it was too late. We could be done with this story, but we know it ends differently. 

Overnight, the crowd gathering outside grew restless after endless hours without any news, prompting the guards to push back. The angry mob rushed the palace, killing the queen’s guards and calling out her name through the gilded halls of the palace. The royal family finally agreed to go with the crowd back to Paris, leaving Versailles on October 6 and the life they knew behind.

Their prison was the Palais des Tuileries, where they could be watched closely, but still lived a life of comfort for over two years.

On June 21, 1791, the king and queen of France made a last-ditch attempt to escape the watchful eyes of the Tuileries. The king had been cooking up the idea for over a year and discovered that the French town of Montmédy, near the edge of Luxembourg, still supported the monarchy. 

Axel von Fersen, Marie Antoinette’s close friend and lover, handled the route, plans, passports, and carriage for the family. Axel first met Marie Antoinette in Paris on January 30, 1774, at a masked ball.  Behind the mask, he had no idea he was talking to the future queen of France. They met again after his return from America, and they remained very close until the end. Historians have often wondered if it was more than that, but recent deciphering of their private letters gave more evidence to the fact that the two were also lovers

Fersen borrowed 300,000 pieces of gold from a wealthy woman to help evacuate the family and had a lavish carriage made for the royal couple, complete with a toilet. 

Louis XVI, Marie Antoinette, their two children, and Madame Elisabeth, the king's sister. Armed with fake papers, they now served as staff for Baroness de Korff, a Russian widow, on their way to Frankfurt. On the night of the escape, the family left behind their formal attire and dressed as servants. 

At 10:50 pm on June 21, 1791, Fersen took the royal children out of the Tuileries and safely tucked them into the awaiting coach. At 11:30 pm, Louis XVI & Marie Antoinette said their goodnights and went to bed. Louis had spent most of the day hidden away writing a 16-page “political will,” a declaration that would later seal his fate. 

At 12:10 am on June 22, Louis and Marie left the Tuileries through separate doors, alone. Louis found his way to the nearby Rue de l’Échelle where his children, Fersen and the governess, were waiting. They quickly found the coach, but Marie Antoinette got lost on the way and arrived 90 minutes late. The distance from the Tuileries today to where the coach was is less than 7 minutes.  When the family finally reunited, they headed to the Quai du Louvre, where the carriage was to meet them, along with a team of loyal soldiers. Although they were already nearly two hours late, they still had to wait another hour for the carriage to arrive. This delay would also cost them immensely. 

The governess wasn't in the original plans, but she refused to leave the children. Her job was to care for the royal children until her death, and she wouldn't back down. She took the place of one of the few people in the group who knew the roads of France. The men chosen for the voyage were each selected for their loyalty to the family, not necessarily for their abilities. Another foolish mistake. 

Fersen stayed with them until Bondy, where he was replaced with a new driver, not to add too much suspicion back at the palace. Along the route, royalist supporters were strategically placed to change the horses and protect them, but with no way to reach them and nearly three hours behind, many left fearing the worst. 

Once on the road, now 3 hours late, they arrived at Pont-de-Somme-Vesle SE of Reims. At the next town, Montmirail, at 11 am, the king was recognized.  Meanwhile, back in Paris, at 7 am, it was discovered the family was gone, and all that was left behind was the king's “political will,” which enraged Lafayette, who was to watch over them. He immediately let it be known they were gone and issued an arrest warrant. 

Just before 8 pm in Sainte-Menehould,  Jean-Baptiste Drouet thought the peasant woman looked a lot like Marie Antoinette. When he saw the king's profile in the carriage window, he knew it was Louis XVI. It matched the 50-franc note in his pocket. When they arrived at Varennes at 10:50 pm, the riders weren't there to meet them. 20 minutes later, in front of the Église Saint-Gengoult, the citizens demanded they exit the carriage. At 11:10 pm, not even 24 hours after their escape, they were arrested.

On the morning of June 22, the National Guard was on its way back to Paris. The route would take four days; they drew it out so people could see it and be taken to Paris again. From Châlons-en-Champagne on the 22nd, to Épernay on the 23rd, and to Meux for the night of the 24th. I doubt they enjoyed the Champagne and Brie de Meux on the way.  

On June 25 at 7 am, they left Meux for their last trip to Paris. Hundreds lined the streets of Paris to welcome them home. They were told if they cheered for the king, they would be beaten, and if they yelled insults, they would be hanged. People behaved until they saw the Queen, who was always the brunt of their anger. They yelled and chased their carriage down the Champs Élysées until they entered the Tuileries. 

Now, they were more closely watched, and their movements were limited to their bedrooms and dining room, while the people outside the palace grew angrier and angrier. Had they not escaped, the family would have spent the rest of their life in prison.

At 5 am on August 10, 1792, it boiled over. The Tuileries were stormed, the Swiss guards were killed, and the royal family ran for their lives through the garden. More than 1000 people were killed on this day; the palace was looted, and the interior was destroyed.

They arrived at the Assembly on the edge of the garden, in the former stables used by Louis XV, where the king would be tried in a few short months. They gave the king wine and treated him like a king. Marie and her children were locked in a small room. That night, as they ran, the monarchy slipped through their fingers. 

On August 13, they were sent to the Temple prison, a cold, dark tower. The king and his valet, Jean-Baptiste Cléry, were separated from his wife, children, and sister, but could still visit each other.  A month later, on September 21, the monarchy was abolished. 

At 9 am on Monday, January 21, 1793, Louis Capet left the Temple prison and his family behind. The slow drive through the city, held inside a verte wagon carriage, took over an hour. The people lined the route, yelling and proclaiming victory for the Revolutionists. 

On January 21, 1793, the echo of cannons and the cheers of the crowd carried through the prison walls. Marie Antoinette, her sister-in-law Élisabeth, and her two children knew instantly that the king was dead. Seven months later, in the dark of night on August 2, the queen was taken from her children and moved to the Conciergerie, also known as the “antechamber of death.”

Her trial began on October 14 before a courtroom filled with people who had already decided her fate. The prosecutor, Antoine Quentin Fouquier-Tinville, accused her of sending money to Austria, depleting France’s treasury, treason, and even incest with her son. For two long days, she endured every accusation without the chance to defend herself. Her composure never wavered. Her fate was already sealed.

At 4:30 a.m. on October 16, she was sentenced to death. In her cold, dim cell, she wrote a final letter to her beloved sister-in-law, Madame Élisabeth, asking her to care for her children. The letter was never delivered.  Madame Élisabeth’s life also ended at the guillotine seven months later. 

 At eight o’clock, the executioner, Charles-Henri Sanson, entered her cell. She dressed in a simple white gown made by Rose Bertin, her trusted dressmaker, and slipped on her best black satin shoes. Her hair was cut short, her hands tied behind her back, and she was led to the Cour du Mai to face the waiting cart. Unlike her husband, who had been taken in a carriage, Marie Antoinette rode in an open cart beside a priest, exposed to the eyes of Paris.

The streets were lined ten deep as the cart made its slow journey through the city. In the window of the Café de la Régence on Rue Saint-Honoré, the artist Jacques-Louis David sketched her final image, pale, calm, and proud. More than 30,000 people stood in silence as the cart rolled toward the Place de la Révolution, now known as Place de la Concorde. The short journey that should have lasted twenty minutes took nearly an hour, as the people strained for one last glimpse of their former queen.

At the scaffold, she accidentally stepped on the executioner’s foot. Turning to him, she softly said, “Pardon me, sir, I did not mean to.” A moment later, at 12:15 p.m., the blade fell.

Her body was buried in an unmarked grave at the Madeleine Cemetery. In 1802, the land was purchased by Pierre-Louis Desclozeaux, who had lived next to the cemetery since the Revolution and had quietly marked the resting places of the king and queen with a weeping willow. When her daughter, Marie-Thérèse, Duchesse d’Angoulême, returned to France in 1814, she visited the spot daily, accompanied by her uncle, Louis XVIII. Together, they arranged for their parents’ remains to be transferred to the Basilique Saint-Denis, the resting place of the kings and queens of France.

In 1816, the Chapelle Expiatoire was built on the site of their first burial. It was dedicated to Louis XVI and Marie Antoinette, and its creation was partly funded by Marie-Thérèse herself. Inside the quiet neoclassical chapel, Jean-Pierre Cortot depicts the queen in marble, supported by the figure of Religion, her long hair flowing like Mary Magdalene's as she looks upward in prayer. Her final letter to Madame Élisabeth is carved on the pedestal beneath her. Across from her stands Louis XVI, sculpted by François-Joseph Bosio, in his coronation robes, as an angel points toward heaven.

Below in the crypt, a black-and-white marble altar marks the exact spot where they had once lain in an unmarked grave. A soft, colored light streams through a single stained-glass window, filling the chamber with quiet reverence. Each time I visit, I imagine their daughter standing there, her heart breaking, clinging to the last memory she had of the parents she lost too soon.

On January 18 & 19, 1815, Marie Thérèse watched as the bodies of her parents were recovered from deep in the earth.  On January 21, the 22nd anniversary of Louis XVI's death, the couple was taken on their final route to the Basilique Saint Denis. 

The procession of 3,000 people, made up of military, ministers, and distant family, traveled north past Paris's edges. They placed the boxes containing the king and queen's bones on a large carriage inside a grand sarcophagus. What a difference 22 years made, as people now lined the route for even a glimpse. 

Upon arrival at the basilica, a large mass was held in front of the family and dignitaries before their bones were interred in the crypt below, alongside what is left of the past rulers that were recovered after the Revolution

On April 24, the king ordered the construction of a new chapel for the basilica, dedicated to the couple. Edme Gaulle was commissioned to sculpt the statue of Louis XVI and Marie Antoinette, and Pierre Petitot was commissioned to sculpt it. The chapel as imagined never came to be, but the statues can be seen today, and I will never forget the first time I saw them.












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Episode 39 - The Creation of the House of Christian Dior

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Episode 39 - The Creation of the House of Christian Dior

On April 18, 1946, Christian Dior was walking down Rue Saint Honoré and stumbled upon a cast-iron star on the edge of the sidewalk. It was the sign he needed to take the biggest leap of his life. 

Christian Dior was born on January 21, 1905, in the Normandy town of Granville. He was the second of five children of Madeleine and Maurice Dior. Before the Dior name was made famous on the Paris runway, it was known for fertilizer, one of the finest in France. Created by his great-great-grandfather, Louis Jean Dior, in 1832, the L. Dior Company also offered bleach and laundry detergent.

Baby Christian

In 1906, the family moved to Les Rhumbs, a small villa in Granville. Decorated by Madeleine in pinks and soft colors, with a surrounding garden of flowers. The house and garden would have a lasting impact on Christian Dior, and one still seen in the fashion house, 80 years later. As a toddler and into his teenage years, young Christian spent endless hours in the garden his mother created with its beds of roses, lilacs, and his favorite lilies of the valley. 

In 1910, the family moved to Paris and lived in an apartment at 9 Rue Louis David, a few blocks from the Trocadero.  As he grew up, his mother's influence drew him to a life in the arts, but in 1923 his father redirected him to Sciences Po to find a “real career.” His parents wanted him to become a diplomat, but you can’t keep a man from his calling. 

In 1928, after his obligatory military service, he returned to Paris and dipped into art, opening a gallery with financial help from his father. Although the gift came with a caveat: he couldn’t use the name Dior. With friends and gallerists Jacques Paul Bonjean and later Pierre Colle. The perfect location fell into their lap at 34 Rue La Boétie, a block from Paul Rosenberg's famed gallery and Picasso's atelier. 

Their gallery represented many of the era's leading contemporary artists, including Braque, Raoul Dufy, Joan Miró, Matisse, and Picasso.  In 1932, they opened another location at 29 rue Cambacérès, just two blocks away.  In Dior’s autobiography Dior by Dior, published in 1956, he wished he still had many of these paintings that “his family thought were worthless”. The gallery led to many fights with his father that worried he would tarnish the family name. 

The Dior family fortune was lost in the wake of the US depression once the effects reached the shores of France. His father's gambling didn’t help either.  His family returned to Granville when Paris became too expensive, but Christian was determined to stay. It was 1931, and by the end of the decade things were going to get far worse. Couch-surfing at night, Christian sold the gallery's inventory to the few buyers he could find, far below its value. He and his art-loving friends spent their evenings in the Boeuf-sur-le-Toit, where the kind owner Moyses extended a few deals their way while they sat alongside the richer Parisians.  

Dior and his friends were young, broke, and having a great time in Paris before he became quite ill. Leaving Paris, he headed to the mountains to “take the waters,” as they liked to say in the 19th century. When money ran out, he headed south to the Balearic Islands off the Spanish coast in the Mediterranean. It was on this retreat that he recalls finding his artistic calling and considering venturing into tapestries. However, his lack of funds or the fact that nobody was looking for tapestries to decorate their homes led him to move past that dream. 

With encouragement from friends and designers Jean Ozenne and Max Kenna, Dior began sketching and drawing and, to his surprise, sold his work to magazines. In 1935, while in the south of France, he finally discovered his artistic voice. For endless days he worked to master and center his designs and thoughts into gowns, cocktail dresses, and hats. 

Claude Saint-Cyr was the first to notice his hat designs. Simone Naudet adopted the name Claude Saint-Cyr and found great fame in Paris hatmaking in the years just before the war. After the war, she made hats for Queen Elizabeth and her sister, Princess Margaret. Designing hats for Simone put Dior’s designs in front of many people. 

Slowly, people noticed his designs, and his name spread among Paris's couturiers.  Balenciaga, Schiaparelli, Charles Frederick Worth, Nina Ricci, and many more purchased designs for their clients. It gave Dior time to understand what people wanted and to fine-tune his designs.

Christian finally got his foot in the door and his first job in fashion as a pattern maker for couturier Robert Piguet in 1938, where he learned how to bring his designs to life from paper to model. It was the perfect place to understand how a couture fashion house works. A year into the position, at the start of WWII, he was called up for military duty in 1939, but by 1940, he left for Callian in the south to help his father and sister with their property. Dior picked up extra money illustrating the latest fashions for Le Figaro and Vogue, which kept him tied to the fashion world. 

Dior in the House of Piguet 1939

In the winter of 1941, Dior returned to Paris, but his former job at Piguet was no longer waiting for him.  Dior heard through dear friend Madame Raymonde Zehnacker that Lucien Lelong might have a position for him, and Lelong had one of the few fashion houses that was thriving through the war. Hired as a pattern maker, Dior fine-tuned his designs and let his creativity flourish, although hidden behind the name of Lelong.  

Lucien Lelong grew up in the fashion business; both his parents and uncle held positions ranging from fabric dealer to designer. He set up his own house and was to debut his first collection, but the start of WWI changed everything.  

By 1924, he had established his couture house on the Avenue Matignon, a street Dior would come to know well. Lelong built quite an empire, including perfume and shops in France and the United States, as stage and screen stars wore his designs. Business was booming and led to hiring young designers to sketch creations that would be under the Lelong label. 

After the First World War, American purchasing power was higher, and Neiman Marcus and Bergdorf Goodman had clients who wanted custom couture creations and had the money to pay for them. Lelong and many other fashion designers capitalized on this. The industry peaked in 1929 before it all came crashing down. 

Christian Dior for Lucien Lelong 1945

At the start of WWII, Lelong served as president of the Chamber of Haute Couture and did everything he could to save the industry during the occupation. Hitler had wanted to move the fashion industry to Berlin or Vienna, and Lelong did all he could to keep it in Paris, including dressing the wives and mistresses of the Nazi elite.  Fashion houses were allowed to continue to operate but were forbidden to sell to any international clients, only locals, which left them with very few options. 

Lelong, of course, worked around this by sending sketches and samples to private clients in the US. As the head of French Couture, he made a few brilliant plays to keep Paris the capital of fashion even through the endless dark years. Lelong was able to employ many of the  seamstresses by working for the army and creating uniforms. 

Dior arrived at the door of the Maison Lucien Lelong in 1942, in the midst of the war, and worked as a stylist alongside Pierre Balmain and Hubert de Givenchy. Glad to have a job, they worked through endless shortages and wondered whether their atelier would last another day. By 1942, the business was brisk, and they were turning people away. Everyone wanted to wear a one-of-a-kind creation by Lelong, at least those who could afford to, including the women tied to the Nazis. This didn’t sit well with Christian, especially since his dear sister Catherine, who fought in the Resistance, was arrested on July 6, 1944, and taken to a camp. Thankfully, she survived and returned to her brother on April 30, 1945.

The legacy of Dior is often criticized for designing for Nazi women, but it wasn’t his decision, and the Lelong house is far from the despicable legacy that Coco created. 

Immediately after the Liberation of Paris, restrictions on fashion houses became stricter, making it harder to get much-needed supplies and staff. As the houses reopened, staff left for better jobs and started their own businesses. 

It was at this time that Dior and Balmain talked of opening their own house together, but Dior was too nervous to step out on his own after the unstable years before and during the war. Balmain opened his own house in 1945 at 44 rue François Ier, just up the street from the location Dior would also open. Back at Lelong, Dior’s name began to shine beyond that of the house's owner. 

Emerging from the fog of war, the fashion business was unsure where to go. While people were celebrating the end of nazi occupation, Paris was still under a very dark cloud. As head of the Chambre Syndicale de la Couture Parisienne, Lelong had an idea: create a fashion show without models, using dolls instead. In his position, he could round up most of the Parisian couture houses, including Schiaparelli, Balenciaga, and Lanvin. As well as jewelry from Cartier and Van Cleef + Arpels and bags and gloves from Hermés. Lelong was, of course, part of it, with Dior designing two of the most popular looks of the entire show.  More than 175 wire-and-plaster dolls, twice as tall as a Barbie, were dressed to the nines. The haute couture beauties were set up in front of theater sets created by Christian Bérard depicting scenes of the streets of Paris, the Opera House, parks and cafes.  

The show opened in the Pavillon Marsan of the Musée des Arts Décoratifs on March 28, 1944, and was a rousing success. The exhibit traveled around Europe and eventually to the United States. The new exhibit, Look! 40 years of Fashion in the MAD has two of the dolls on display, along with one of the backdrops and a few of the wire limbs. I was so excited when I saw them. More on this another day, but if you are in the Pacific Northwest, you can see more of the dolls at the Maryhill Museum. 

At the start of the first spring in Paris following the war, Dior ran into a childhood friend from Granville, Georges Vigouroux, while walking on the Rue Saint Honoré. Dior was living at 10 Rue Royale, on the wide street between the Madeleine and the Place de la Concorde. Vigouroux worked in the Gaston fashion house on the Champs Elysees.

Originally named the Philippe & Gaston house, started by Philippe Hecht and Gaston Kauffmann, who opened their atelier in 1922. It flourished with its Art Deco style and new, relaxed silhouettes until 1937, when the business suffered. Renamed the Gaston House, it barely survived the war. In 1946, the wealthy Marcel Boussac swooped in and took over the business and wanted to breathe new life into the old house with his money and textile business behind it.

Dior’s old chum, Georges Vigouroux, told him it was the most unbelievable coincidence: the Gaston house was looking for a new designer. Dior pushed it off.  Over the next few weeks, they had two more chance encounters in the exact same spot, and Dior finally agreed to meet the owner, Marcel Boussac. Dior had talked to his former colleague Pierre Balmain, whose own house had really taken off and got him thinking.

On April 18, 1946, a lovely Thursday morning in Paris, Christian Dior walked along the Rue Saint-Honoré between the Rue Saint Florentin and the Rue Royal and came upon a star; he knew it was a sign. It was also the same spot where he had run into his old friend Vigouroux three times in the past month. Christian was on his way to meet Monsieur Marcel Broussac. 

Marcel Broussac’s father was a tailor and plunged his money into creating textile factories around France. At 18, Marcel joined the family business and grew it into a thriving industry and became one of the richest men in France. He also dabbled in the sport of kings, horse racing, and a prize-winning stable. 

Dior was ready to turn down the offer the day he walked in the office of Marcel Broussac.  Maybe it was the lucky star he found or a sudden boost of confidence, but the incredibly shy Dior asked the unthinkable. Dior didn’t want to work for another house; he wanted his own label under his name. 

Dior describes the meeting in his own words in his autobiography, Dior by Dior.  “I suddenly heard myself telling him that what I really wanted to do was not to resurrect Gaston, but to create a new couture house under my own name, in a district of my own choosing. I wanted a house where everything would be new: from the ambiance and the staff to the furniture and even the address. All around us, life was beginning anew: it was time for a new trend in fashion. Greatly daring, I described the house of my dreams. It would be small and secluded, with very few workrooms; within them the work would be done according to the highest traditions of haute couture; the clothes, which would give an impression of simplicity, would in fact involve elaborate workmanship and would be aimed at a clientèle of really elegant women. After the long war years of stagnation, I believed that there was a genuine unsatisfied desire abroad for something new in fashion. In order to meet this demand, French couture would have to return to the traditions of great luxury: which was why I envisaged my house as a craftsman's workshop, rather than a clothes factory.”

“Out of breath, and amazed at my own temerity, I stopped short. Marcel Boussac had heard me out with great patience and, before escorting me to the door, he told me that although I had outlined quite a different plan to him from the one he had envisaged, and mine was perhaps rather over-ambitious, nevertheless my ideas interested him and he would like to have time to think them over. Secretly I felt that he must have been amazed at my own high opinion of myself! As for me, I was still suffering from the shock of discovering that, having gone to see him in order to say'no', I ended up outlining a plan which sounded very much like 'yes '.

Dior left the meeting and waited day after day for any response from Boussac. Severely doubting his out-of-the-blue gumption, he was a nervous wreck. To make matters worse, he and Lucien Lelong were both friends with Boussac. Still without a word, he decided to send a telegram rescinding his request. 

Dior was a superstitious man.  In 1919, a fortune teller told him, “Women are lucky for you, and through them you will achieve success.”   He continued to see fortune teller and one of his closest advisors,Madame Delahaye. He hoped she could help calm his nerves. She quickly told him he must accept the offer coming and that “nothing anyone will offer you later will compare with the chance which is open to you now”. 

Immediately, Dior reached out to Boussac’s office and explained his haste and that he did not want to exit any future negotiations.  From there, things moved briskly. And on October 8, 1946,  80 years ago this week, the House of Dior was founded. 

The news spread quickly across the pond. Dior had already made a name of himself, and partnering with the incredibly wealthy Boussac brought a lot of attention and expectation. 

Now it was time to find this diamond in the rough, with his lengthy list of wishes that would shape Dior's atelier.  Dior said, “Many years before my decisive interview with him (Boussac), I had in fact stopped short in front of two small houses side by side on Avenue Montaigne, numbers 28 & 30.” Dior was walking with friend Pierre Colle, who had the gallery in the 1920s. “I pointed out their neat, compact proportions, and air of sober elegance without the least hint of ostentation”.  Christian Dior said at that moment, “Pierre, if your idea of having my own atelier comes off, I am determined to set myself up here and nowhere else!”

Boussac and his team of real estate agents showed Dior one building after another, none of which fit the bill. A few on the Champs-Élysées, Place François Ier, and also on Avenue Montaigne, but all were too large.  Discouraged and knowing he needed to decide quickly, he had a casual encounter that led him to learn that the hat shop at 30 ave Mantignon was in the process of moving out. 

And the man, guided by a cast-iron star, found his perfect building, the one that still serves as its headquarters today. 

Dior fell in love with the five-story neoclassical hôtel particulier, originally built in 1865 for Alexandre Walewski, Napoleon Bonaparte's first child. He died in 1868, months before it was finished, but his widow, Maria Anne Ricci Walewski, moved in and lived there until her death in 1912. It passed through a few more hands until 1939, when it held the Coralie Couture maison de Chapeau, which luckily departed in the autumn of 1946

He quickly took possession and worked to restore and decorate the interior in a Louis XVI meets 1910 style in his favorite gray, pale pink, houndstooth, and creamy white.  A rebirth of the Trianon, with all its elegance, in the heart of Paris's haute couture houses. 

Now Christian had to build a staff, and he would take one of his most trusted confidants and “guardian angel” with him from Lelong, Madame Raymonde Zehnacker. Dior said, “She plays reason to his fantasy and order to my imagination, discipline to my freedom and foresight to my recklessness.” Madame Raymonde started as a fashion apprentice at 14, then worked her way up to become the true leader behind the Lelong label. 

The relationship with Dior was so close that not only did she rule over his atelier with her satin glove, but she also helped oversee his entire life. Anyone wanting to get close to Christian first had to get through Madame Raymonde. She stayed at the atelier after his death in 1957, helping to guide the young Yves Saint Laurent, who carried the torch and vision of Dior.

The second of the trilogy of powerhouse women Dior brought on was Madame Marguerite Carré, who had worked at the house of Patou and Charles Worth. Dior called her Dame Couture, and she was the Dior whisperer. When it was time to create a new collection, Dior would retreat to his country home near Fontainebleau, or lock himself away in his apartment. Once he emerged, he would have hundreds of sketches that he would give to Madame Marguerite, who then handed them to the appropriate ateliers that would bring the designs to life. 

The last piece was Madame Mizza Bricard, the wild card. While Dior was more conservative in style and wanted to return fashion to a sense of civility, it was Bricard who brought the edge. Hired as the hat maker, she quickly became much more. As models dressed, she whisked into the dressing room, adding the icing on the cake with jewelry and hats. Dior trusted her voice so much that if she didn’t like something, he heard about it and fully trusted her opinion. 

I mean really?! Mizza is an icon

Mizza was said to have had many husbands or lovers and was a bit of a 20th-century courtesan, living in expensive hotels and arriving daily in a veiled hat and always wearing leopard print; it is a neutral, after all. She’s my kinda gal. 

Little is known about these three women outside of the doors of Dior, but I will get to the bottom of it.  For a man who was so devoted to his own mother and sister Catherine, it’s no doubt that he surrounded himself with strong women and counted them as his closest confidants. 

From there, Madame Raymonde and Marguerite helped fill the ateliers with seamstresses and brought on their first tailor, Pierre Cardin. By the first collection in 1947, the staff numbered more than 60 people; in less than nine years it would be a few thousand.

Next came the models. In a mid-20th-century Haute Couture atelier, you won’t find racks of dresses and designs; models wore the pieces. The day would be filled with appointments by loyal clients, and the models would parade out in looks. If a client chose something, they would try on the piece, or you would take their measurements, and they would return later for a fitting. 

After the war, many young ladies needed a job, but the top models were already snatched up by the other houses, and Christian didn’t want to take girls from his fellow designers. Dior had an idea to place an ad in the paper. It was November 6, 1946, and the same day it was announced that all of the brothels of Paris must be closed. When Christian arrived at the door that morning, the “unmistakable cohorts of ladies of the streets” were waiting, as Dior said in his autobiography. He went on to say that Madame Raymonde was appalled but he wanted to see each and every one of them. 

In the end, he found one lovely young lady, Marie Thérèse, who “became one of our best models”.  Although at a special showing of his debut pieces to close friends, the sweet Marie Therese was the first model to step out into the room of eager visitors and fall to the floor. She recovered and went on to model daily in the atelier. 

Marie Thérèse for DIor

Dior remained working for Lelong until December 1, just two weeks before his own house opened. The two had a very close friendship, and Lelong would be there to support him at his very first show in the start of 1947. 

The doors opened at 10:30 am on December 15, 1946, with Dior showing a few of his in-process creations for his close friends. The word quickly spread across Paris that what they witnessed was a fresh and needed vision of fashion in the postwar years. 

As the house expanded quickly, Dior purchased the neighboring building at 32 Avenue Montaigne, and eventually 13 rue François Ier around the corner, plus the stables on the corner, which were later transformed into a 7-story store and offices. 

A few short months later, the New Look would take the fashion world by storm, revolutionize fashion, and build an empire. 

Christian Dior would keep that cast-iron star in his pocket, along with other lucky charms, including two hearts, a gold medallion, and, always, a sprig of lily of the valley. 

To this day, both the star and the lily remain essential elements in Dior's collections. 

La Galerie Dior

At the Galerie Dior museum in Paris, you can find a replica of the star at the start of the exhibition dedicated to his life. 

In 2017, the Musée des Arts Décoratifs held an unforgettable exhibition dedicated to the first 70 years of the house of Dior. The same exhibit traveled around the world for years. I will never forget walking into the nave of the Musée des Arts Décoratifs and seeing all the incredible pieces.  I thought few things could top that, but the Galerie Dior does. 

Even if you are not a fashion fan, it is still worth seeing. It follows the history of Christian Dior the designer himself, and what the label has become. It's a multimedia wonder filled with stunning fashion. Open Wednesday- Monday, 11 am - 6 pm. They close for a few weeks every 3 or 4 months to completely recreate each room.

Tickets are highly recommended in advance and sell out a month in advance. You can arrive early and wait in line if you don’t have tickets. 

You can also head out to Normandy and visit the former childhood home of Dior,


Les Rhumbas. Purchased by the city after his father lost most of his money in gambling to open the gardens to the public. Since 1997, it has served as a museum dedicated to Dior and focusing on Dior perfume 

Listen to the full episide by clicking on the image







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Episode 38 The Meridian & Gnomon of the Église Saint Sulpice

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Episode 38 The Meridian & Gnomon of the Église Saint Sulpice

Four times a year, at exactly true noon, you can witness a scientific and, quite frankly, a little slice of magic right here in Paris. 

On the first day of each season, the sun enters the south side of the Église Saint Sulpice through a small hole in the stained glass high above the transept, and at the exact moment of solar or true noon, the sun marks a designated spot within the church.  

For years and one spring, summer, autumn and winter after another, I have tried to see this magic moment. There have been cloudy, rainy days and funerals in front of the altar, but this past spring and again last week on this first day of autumn, the sky was clear, as was the altar, and with fellow nerdy folks I stood on the steps looking down at the brass marker, and at 1:41 pm the sun began to crawl across the marble to its bullseye. 

Some may know of the meridian line from The Da Vinci Code, one of my favorites as it includes the Louvre and Saint Sulpice. However, Dan Brown’s reference to the “Rose Line”  or Paris Meridian is that of a writer's imagination when it comes to the church. 

Ever since The Da Vinci Code in 2003, and the movie that came shortly after in 2006, a growing interest in the church wasn’t exactly welcomed by the Catholic diocese of Paris. Although they have come around, there is now a banner referring to Dan Brown and the book that made the church so popular with the tourists. 

But why is this in Saint Sulpice, you ask? It goes back almost three hundred years, to 1727, when the parish priest Jean Baptiste Languet de Gergy wanted to ensure the exactitude of the ecclesiastical calendar, particularly Easter and the exact moment the bells should ring, as well as synchronizing the bells across Paris.

Easter is the Sunday after the full moon, following the spring equinox. 

Jean Baptiste Languet de Cergy was the priest of Saint Sulpice in the first half of the 18th century. Anne of Austria may have commissioned the church, but it was Laurent de Gergy who is the father of the church we see today. During his tenure between 1714 and 1748, he began many projects, including work on the Chapel of the Assumption and, of course, the gnomon. 

In 1721, Gergy, with the approval of the Regent, Philippe d’Orléans, created a fundraising effort for Saint Sulpice to help parish members and restore the church itself. 

Today, we take for granted how easy it is to check the time of day. Either on a watch or phone, in 2026 we rarely even need to change the time manually each spring and fall. 

It wasn’t that long ago that the time in your car, the microwave, the TV, and the alarm clock by your bed all varied by a minute or two. Now think back to the 18th century and the thousands of years before that. In the 18th century, they marked solar time, but it could differ city by city, even by minutes. 

Saint Sulpice is the second-largest church in Paris after Notre Dame. Saint Sulpice's transept is thirty feet wider than Notre Dame's, making it an ideal location for the meridian and gnomon; it also lacked rose windows in its transept, which was a plus. 

Churches normally face west, with the sun rising at the apse and setting on the facade. This can differ greatly depending on how close other buildings are to the church and whether they block direct sunlight. Saint Germain des Prés, a short walk from Saint Sulpice, has amazing afternoon light through its south windows that casts a colorful glow on the stones from the stained glass. 

Saint Sulpice was chosen not only for its grand size, but also for its location. The left bank has long been the center of education, creativity, and scientific life in Paris. Not far from the lower edge of the Jardin du Luxembourg stands the Paris Observatory, dating back to Louis XIV in 1667. It’s also from where the Paris Meridian begins and is today traced through the Arago markers. 

Saint Sulpice actually holds two meridians, and neither is the one referred to in the Da Vinci Code. One is named for its creator, Henri de Sully, and the other leads to the gnomon.  

Englishman Henry Sully was a master watchmaker who created a timepiece for ships, using a gimbeled base to absorb wave motion. Garnering the attention of Philippe d’Orléans, Regent to Louis XV, he moved to Versailles and set up his own atelier in 1718. 

In 1727, Sully began installing his meridian, which you may not notice or even walk over. Under the inner south portal, Sully engraved markings in the stone that also correspond to those in the Paris Observatory. “Division de la ligne en millèmes parties de la hauteur verticale” = Division of the line into thousandths of the vertical height, inscribed at the top. Below the line, “degré et minutes de la distance du zénith au tropique du Cancer” = degrees and minutes of the distance from the zenith to the Tropic of Cancer, also inscribed with the numbers of the distance.  

Sully died on October 14, 1728, and was not able to complete his meridian. He was only 48 years old, but he left detailed plans for completing the project. After his death, he was buried in the church on the south side of the upper entrance to the choir, opposite the sacristy, steps from his meridian.

The project was put on hold after Sully's death until 1742. Pierre Charles le Monnier picked up the mantle and brought the idea to fruition. Le Monnier added a few of his own scientific ideas about the Earth's axis to the initial plan. 

Le Monnier had astronomy in his blood. His father, Pierre, was also an astronomer and teacher who immersed young Pierre Charles in the stars. With the backing of Regent Philippe d’Orléans and Languet de Gergy, Le Monnier continued the project, bringing it to life and shaping what we still see today. 

Between 1743 and 1745, Le Monnier began installing the elements while calculating the measurements for each solstice and equinox. I know how many years it took me to finally see this; I wonder what poor Le Monnier did if the equinox or solstice he had waited three months for occurred on a cloudy day?

If you look up at the south transept window on the right-hand edge, you will notice three rectangular plates. Each has a small hole with a glass aperture and an 80-foot focus lens through which, at the exact moment when the skies are clear, the sun flows and hits a designated spot within the church. On the winter solstice, the bullseye is on the marble gnomon on the wall of the north transept, and on the summer solstice on the brass plate below the window. For the summer solstice, it should reach the stone-and-brass square plaque below the window. This past summer the frescoes of the transept were being restored, and scaffolding blocked the beam of light. 

Le Monnier originally installed three plaques with lenses on the right edge of the window that are still there today, as you can see, but the lower two have been covered. The top, still-active lens is at 24.53 meters, or 90.48 feet, from the ground. While Le Monnier was checking the measurements, he installed the middle lens at 23.92 meters, or 78.48 feet, to measure the summer solstice. The lowest at 21.25 meters, or 69.72 feet; a little trial and error as he went. 

The width of the transept of Saint Sulpice was ideal for the project, but even then it was a bit too narrow. The brass meridian line runs at an angle, bearing right from the south to the north, and runs up the obelisk of the gnomon, extending the line that would have been cut off by the width of the church. The word gnomon means knowledge, and the original creation was a pole, much like a sundial, that used a shadow to track the sun's movement, creating a shadow along lines that marked the times of day.

Le Monnier also asked engineer Claude Langlois to join the project to create the brass pieces that form the actual line, as well as markers for the equinox and summer solstice. Langlois was born at the start of the 18th century and became one of the most sought-after creators of scientific instruments. Establishing his workshop on the Île de la Cité until 1735, when he moved into the Louvre and set up his atelier. There, in the Grande Galerie, Langlois created the brass line measuring 40.25 meters (132 feet) and the oval disk that marks the Le Monnier meridian line. 

In the center of the south portal, the faint reminders of Henry Sully’s meridian remain. A few steps further is the brass square that starts the Le Monnier meridian and the location the June 21 summer solstice should hit.  Carved in stone in Latin and Roman numerals and partially worn away is: Summer solstice, year 1745 for nutation, the Earth's axis, the obliquity of the ecliptic. A brass plaque marked the spot the sun would target on the solstice, but it suffered wear and tear from visitors and was removed in 1959. 

It’s interesting that the obelisk was created as such a major focal point of the meridian when, in fact, the entire objective was to find the moment of Easter, which is in fact one of the two equinoxes. On each of the spring and autumn equinoxes, the sun marks its bullseye just inside the entrance to the altar and choir. 

A brass oval plate 10.5 inches long x 9.5 inches wide sits just inside the left gate inside the balustrade. Now that I have been lucky enough to witness both equinoxes this year, it was interesting to see that the sun perfectly covered every inch of the disk. Last week it was offset about an inch. 

The white marble obelisk stands 10.72 meters, or 35.17 feet, high and was created under Langlois's direction. Placed at a bit of an angle against the wall to capture the light when the sun is at its lowest for the Winter Solstice. The face of the obelisk is straight instead of at a sloping angle. The top is crowned with a brass orb and cross, destroyed during the Revolution and replaced in the mid-19th century. 

On the obelisk, around 3 feet from the top, is the faint symbol of Capricorn, the sign of December 21 and where the sun should shine at true noon on the winter solstice. Difficult to spot from the ground, but check out my photos on my website. 

Further down and easier to see are the symbols of Sagittarius and Aquarius. On the left, the arrow for Sagittarius where the sun should hit on November 23, and just to the right, two wavy lines of water for Aquarius. I now have a new mission to visit on each of these dates to see if we can spot the sun. 

Other brass elements include the lovely flourishes on the corners, and just below where the obelisk meets the base are two brass lizards. The lizards represent the passing of the seasons and regeneration.

The base itself was inscribed in Latin and French at the time of its installation. 

On the left 

Astronomical gnomon

For a reliable study of the Easter equinox

With a border of inscribed scientific tools, a few designed by Langlois himself and held in the collection of the Louvre.

Below that in Latin: 

This is the task that the holy martyr and bishop Hippolytus undertook; that the Council of Nicaea entrusted to the Patriarch of Alexandria; and that occupied the attention of the Fathers at the Councils of Constance and the Lateran. It is also the task that the Roman Pontiffs Gregory XIII and Clement XI strove to accomplish with incredible labor and the diligent assistance of expert astronomers. This system achieves that goal by means of the calculated meridian line and the equinoctial point, using precise indicators derived from solar cycles.

The symbol for Virgo was carved in at the time of creation, then destroyed in the Revolution. 

Below in French,  

What have I in heaven? And what have I desired on earth? God of my heart and my portion, God forever.

What should I seek in heaven, and what could I desire on earth, if not You?

Lord, You are the God of my heart and the heritage I hope for

for eternity. Psalm 73.

The right side is topped with the Pascal lamb with cross and banner. The section just below was destroyed during the Revolution, as it referred to the king. Until last year, the church had a framed description with the original markings that has since been removed. All of the chapels have new fancy plaques added in 2024, but since I take pictures of everything, I have a few. 

A work dedicated to God, the Best and Greatest, executed in a manner worthy of the Crown under the auspices of Louis XV—a generous benefactor to this basilica—and with the support and patronage of J. Fred. Philippeaux, Count de Maurepas, Minister of State and principal patron of the church's endowment, as well as of Philip Orri, Minister of State and Superintendent-General of Royal Buildings. It was carried out in the name and under the counsel of the Royal Academy of Sciences by P. C. Cl. Le Monnier—a fellow of that Academy and of the Royal Society of London—commencing at the autumnal equinox and concluding at the winter solstice. Year of Salvation 1743. 

Another symbol, possibly for Gemini but unknown. 

Behold, you have made my days and my substance measurable. as nothing before thee. Psalm 38

Thus, O Lord, You have set limits to our days, and our entire life is as nothing in Your eyes.


While the base of the obelisk was damaged in the Revolution, the rest of the meridian line and balustrade were saved by two quick-thinking pharmacists. Duchatel and Charras stood watch in front of the blue turquin marble balustrade and convinced the angry Revolutionists that the meridian line was based on science, not religion, and should be saved; thankfully, it was.  The high altar itself couldn’t be saved 

Want to see it for yourself? Make sure you are in Paris for the equinoxes and solstices, but be sure to check the actual dates for Paris, as they do differ from the US at times. True noon, or solar noon, is the moment the sun is at its highest point. The exact time can change depending on location, day, and even the year.



The Winter solstice is next on December 21 at 12:48 pm 

The Spring equinox is on March 20 at 12:58 pm 

The Summer solstice is on June 21 at 1:52 pm 

And the Autumn equinox is on September 23 at 1:43 pm 

The parish priest behind this idea, Languet de Gergy, served until November 19, 1748, finally seeing the completion of the meridian and gnomon. In the final two years of his life, he served as an abbot at the Notre Dame de Bernay in Normandy, where he died on October 11, 1750. 

In the chapel of Saint Jean le Baptiste, on the west side of the south transept, the parish created a grand monument for the priest after his death. Languet de Gergy rededicated the chapel to Jean le Baptiste in 1724 and made him his patron saint.  The church and parish commissioned the large cenotaph as a gift for the man who gave so much to the church. 

French sculptor Michel Ange Slodtz submitted his ideas a month after the priest's death for a fitting memorial. The priest is depicted in white marble on his knees, with his arms outstretched toward the altar and the gnomon. Above, the angel of Immortality lifts the veil in the same blue turquin marble of the balustrade of death, announcing his resurrection.  Before the Revolutions, she also held the plans of the church drawn in gold on a bronze plaque.  

On the right,  death lies under his large veil of marble. Sculpted in bronze, the skeletal figure holds his scythe as he turns to leave. The bronze feathers of his wings are incredible. The scene is carried out on the top of a large black marble tomb sitting on a red Languedoc base with a carved inscription dedicated to the beloved priest. 

When created, Slodtz included two marble genies attached to the red marble base. Representing Religion holding the arms of Gergy and Charity, who once held a cornucopia overflowing with fruit. The entire scene plays out in front of a pink marble obelisk lying flat against the wall.

During the Revolution, Alexandre le Notre saved the monument and moved it to the Petits Saint Augustins. It did not see its return to the chapel until September 1821. The bronze plans of the church, laurel branch, and genii of charity were lost and never returned. 

The red marble base was built in 1810. 

Here Rests In The Lord Jean-Baptiste-Joseph Languet De Gergy, Born In Burgundy Of A Noble Family, Doctor Of The Faculty Of Paris (Sorbonne), Parish Priest Of Saint-Sulpice For Thirty-Five Years; Toward The End Of His Life, Abbot Of Sainte-Marie De Bernay;

Throughout His Life, He Devoted Himself To Displaying His Fervor And Magnificence In The Worship Of The Mother Of God.

He Erected This Temple With All The Grandeur And Majesty One Admires Today:

He Conceived The Project With No Funds Other Than Holy Trust; He Carried It Out Thanks To The Sovereign's Generous Piety. Yet The Preservation Of The Living Temples Of Jesus ​​Christ Was His Foremost And Dearest Concern;  Ever Ingenious In Discovering Misery And Lavish In Relieving It, He Succored The Destitute While Being Destitute Himself;

He Gave Them Clothing While Denying It To Himself; He Fed Them While Depriving Himself Of Food; Providing The Poor With The Treasures Of Almsgiving, And The Rich With The Prayers Of The Poor—A Blessed Mediator Of This Wholly Divine Exchange That Yields Immortal Interest.

Amidst Floods, Fires, And Famines, He Was A Haven, A Refuge, And A Source Of Aid. Active, Vigilant, And Prompt To Act, There Was No Form Of Good Work He Did Not Support With Generous Bounty,

Nor Any He Did Not Himself Undertake With Blessed Foresight.

He Opened An Honorable Sanctuary To Young Women Of Noble Birth, Consecrating Them To The Child Jesus; He Provided For Their Sustenance And Their Education. The Great Mourned In Him A Man Of Excellent Counsel;His Flock, A Guide, A Shepherd, And A Father; Paris, A Beneficent Citizen; The Church, A Teacher And A Model. His Virtues Shall Cause Him To Live Eternally With The Angels In Heaven; His Good Deeds, With Us On Earth. He Died On The 11th Of October In The Year 1750, At The Age Of Seventy-Six. Jean Dulau D'allemans, Successor To This Great Man, And The Churchwardens Of This Church,

Have Erected This Monument Of Their Love And Gratitude, Shedding Tears As They Did So.

It might remind you of a cenotaph you will find in Notre Dame dedicated to Claude Henri, le Comte d’Harcourt, created in 1776 by Jean Baptiste Pigalle. 

Claude Henry Comte d'Harcourt served as a lieutenant general in the army of Louis XV and died on December 5, 1769. On July 1, 1771, the widow Harcourt commissioned Pigalle to create a theatrical piece titled the “Conjugal Reunion”. She had very specific instructions for how it would look, which came to her in a dream.  At the end of the sarcophagus will be the guardian angel of the lord. In one hand, he holds the torch of their marriage, while the other opens the tomb. Seeing this, the Count pulls himself from his tomb and reaches for his wife, who is on her knees below in prayer. Standing behind is Death, holding an hourglass showing that her time has come. The Count also closely resembles the statue of Voltaire that Pigalle created in the Louvre. 

Paris is filled with hundreds of sundials and past reminders of how they once calculated the time of day. 

The Cour de la Meridian of the Monnaie sundial also includes an obelisk and holds the symbols of the zodiac. 

Within the Palais Royal, a small cannon once fired every day at noon, set off by the sun hitting a magnifying glass that burned a horsehair firing the cannon. Installed in 1786 by Sieur Rousseau to also publicize his watchmaking business. It originally sat on the meridian line itself; you can find many of the Arago markers within the entrance to the Palais Royal from the Place Colette. It was moved to its current location in 1990. The original was stolen in 1998 and never recovered, and replaced in 2002 with an exact replica. 
It still fires on occasion during Heritage weekend and the anniversary of the Liberation of Paris. According to the website, it will also fire on Monday, October 19, and Friday, December 4, at Noon

Another notable example is the Dali Sundial 

Head down Rue Soufflot and take a right onto Rue Saint-Jacques. The Rue Saint-Jacques was once the cardo of Roman Lutetia, long before Paris became Paris. The north-south road led to the Chemin de St-Jacques and Santiago de Compostela. At 27 Rue Saint-Jacques, look up at the corner; one of the 120 sundials that can be found around Paris resides on the corner. This isn’t your normal sundial; it is by artist Salvador Dali. Dali created it on 15 November 1966 for a friend who owned the shop beneath it. The sundial is a woman’s face on a scallop shell, a nod to the Saint-Jacques de Compostelle. Her blue eyes shine beneath her eyebrows, set aflame like the sun. Her hair cascades down, forming the recognizable mustache of her creator. Dali’s signature appears in the lower right-hand corner, but don’t set your watch to it; the surrealist artist never designed it to work.

































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Episode 37 - Anne d'Autriche and Her Summer Apartment of the Louvre

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Episode 37 - Anne d'Autriche and Her Summer Apartment of the Louvre

Before the Louvre housed one of the most significant art collections in the world, it was home to the kings and queens of France. In 1528, Francois I began the palace we see today, removing the former fortress and palace. His son Henri II continued his vision, and Henri IV marked the start of the Grande Louvre project, which would still be respected by Napoleon III in 1857. Then there was the modernization of François Mitterrand, announced on September 24, 1981, that would bring the Pyramid to fruition.

When you think about the palaces of the kings of France, the golden opulence comes to mind. We can trace that back to the 16th century and the Sun King,  Louis XIV. For most, the Chateau de Versailles comes to mind when thinking about the endless gilded halls, but one came first and even inspired Versailles: the Palais du Louvre. 

Anne of Austria, the Infanta of Spain and eldest daughter of King Philip II of Spain and Marguerite d'Autriche, a branch of the House of Habsburg, was raised in a very religious chateau. At eleven years old, she was betrothed to Louis XIII, and the two married when she was fourteen. Their wedding night included his mother, Marie de Medicis, standing over the bed waiting for them to consummate the wedding, but it wouldn’t happen for quite some time. Miscarriages and stillbirths followed and drew Anne to the church. 

In 1634, she commissioned the building of the Val-de-Grace abbey and a church dedicated to the Virgin. Then, she came with a prayer that she would finally give birth to an heir. On September 5, 1638, Louis XIV, after a rather stormy night in Paris in December 1637. However, some historians argue that the true father is Cardinal Mazarin.  (link the Vow of Louis XIII)

Since 1547, the king and queen’s apartments shifted a few times within the Louvre, and Louis XIV and his mother Anne d’Autriche preferred the more modern Palais Cardinal across the street, today’s Palais Royal. On October 13, 1653, Louis XIV ordered the construction of the apartments for the holding of the Council in the Louvre in the new Lemarcier wing by the Pavillon de l’Horloge and the need to create new rooms for his mother, Anne d’Autriche. Ever the devoted son and original French mama’s boy, Louis was happy to do anything for her. 

The Louvre had been abandoned for 9 years and desperately needed restoration. The king’s architect, Louis Le Vau, was tasked with the project, with Louis XIV having complete design control. The Queen Mother’s winter apartments were on the ground level of the Sully wing, where you will find the Venus de Milo today, but lacked any cool air in the hot summer months. So, as one does, a new suite of rooms specifically for the summer months was created just a few steps away, below the Petite Galerie.

With a window and balcony looking out to the Seine, a room that opens onto the garden on one side, and a courtyard on the other, it was perfect for the long, hot summer days. Over the next four years, Le Vau worked closely with artist Francesco Romanelli and sculptor Michel Anguier for every aspect of the ceilings of Anne d’Autriche. 

Romanelli, a student of Pierre de Cortone in Italy, arrived in Paris after Pope Urban VIII recommended him to Cardinal Mazarin to paint the ceiling of his palace. Impressed by his work, still on view in the nearby Bibliothèque Nationale, Mazarin recommended Romanelli to the king. 

Sculptor Michel Anguier and his brother Francois studied in Rome and created funerary monuments for the titled and elite. Michel’s success at Nicolas Fouquet’s Vaux le Vicomte led him to Anne of Austria’s Val de Grace, which would give him the advantage of being selected for the rooms of the Louvre. 

The two artists seamlessly blended each room’s stories and expressed the queen mother’s vision and qualities. 

The suite of rooms today begins at the Rotunde, which once served as the entrance to the Musée Central des Arts, the first name of the Louvre in 1793. The ceiling's decor was added seventy years after Anne’s death, but the theme still follows that of her apartments. 

The center of the ceiling is crowned by the painting of Man Formed by Prometheus and Animated by Minerva, first completed by Jean-Simon Barthelemy in 1801. The Goddess of wisdom, Minerva, holds an olive branch, spear, and shield above Prometheus, draped in red fabric, keeping the fire he had taken from Jupiter. Below him, the first human reaches up toward the sky. 

To the right is Time, always depicted as an older gentleman pulling away from Man, the snake that bites its tail, the symbol of eternity, knowing that Man would be the end of them in time. Above Time are allegories of the three arts: painting, sculpture, and architecture, each holding its respective tool. 

On the left side of the painting are the three fates or Parques. The three sisters and daughters of Zeus and Hera can measure the span of life. Depicted with a gold thread, Clotho, the oldest sister, unrolls the thread. Lachésis pulls the thread, and Atropos holds the scissors to cut it while she looks at the human. 

In 1825, water damage from the upper floor severely damaged the ceiling. The original artist, Barthelemy, passed away in 1811, and Jean-Baptiste Mauzaisse was asked to replicate the entire piece.  By 1826, Mauzaisse had completed the full recreation in the style and details of the original. 

The stucco reliefs created by Jean-François Lorta surround the central painting on four corners. They nod slightly at the Salle des Antiquitès entrance, which Napoleon placed in these rooms in 1800. 

Each corner features a notable work by an artist representing one of four countries. On the upper left of the painting, we begin with France and Pierre Puget’s Milon de Crotone, which can also be found in the Cour Puget. Below France, in the lower left corner, is Italy, represented by Michel-Ange and his statue of Moses, created for the tomb of Pope Julius II. 

In the upper right, Egypt is represented by the Colossi of Memnon, quartzite sandstone dating to 1350 BC. Finally, just below is Greece with the Apollo Belvedere, which briefly lived in these rooms after Napoleon Bonaparte took the statue from the Vatican in 1796 and lived at the Louvre until 1815. 

On the north, over the former entrance, is the Genius of the Arts, and the Union of the Three Arts on the south.

Let’s step into the first room, the salon, which served as the entrance to the apartments. The decor dates back to the start of the 19th century. At the center of the ceiling, by Charles Meynier, is The Land Receiving from Emperors Hadrian & Justinian, the code of Roman Laws Dictated by Nature, Justice & Wisdom.  In the lower left, the Roman emperors Hadrian (76-138) and Justinian (482-565) hand a tablet to the allegory of the Earth surrounded by a lion and a cornucopia with the Earth’s bounty. 

The allegory of Rome dominates the center with a spear and globe topped with a winged victory next to a shield of Rome and two putti. On the left side is a genius with a torch lighting up Nature, with a few extra breasts. At the top, we find Minerva again with a sword and Thémis, the goddess of Justice, with scales, the two principles of Roman law. 

Painted onto the ceiling in 1802 and 1803, it, along with the rest of the ceilings in these rooms, was fully restored in 2023, although a rather large crack is spotted across the top of the painting. 

Below the painting are trompe l’oeil cameos by Victor Francois Biennourry. He was commissioned in 1865 and asked to create a few others in the suite of rooms and the Grande Salon of the Apartments Napoleon III. Two more minor cameos representing Science and Study are on either side of the painting. 

Each painted to appear as a fine agate cameo, the top trompe l’oeil in the cornice represents France, Rome, and Greece, each holding a few fantastic little treasures. On the east side, the allegory of Greece is in the center, with a statue of Zeus at Olympia by Phidias in front of the Acropolis and on the right of the allegory, the Parthenon.

On the south side, above the entrance to the apartments, the allegory of Rome has her back turned with sculpting tools in hand. The Titus arch, the Pyramid of Cestius, and the Roman Forum can be seen in the lower right. 

Of course, saving the best for last on the west side is the allegory of France, which holds the monument to Henri II, created by Germain Pilon and can also be found in the Louvre.  At the top are two initials. F for Francois I was surrounded by the Order of Saint Michel and the N of Napoleon III with the Order of the Legion of Honor. Below, geniuses inscribe the top French sculptors, Goujon, Pilon, Cousin, and Puget, on a tablet. On either edge of the cameo are the roofs of the Louvre and the Palais des Tuileries 

These rooms are closed off as they begin the construction of the new area dedicated to the Byzantine art that should be finished sometime in 2028. The Rotonde is open, and you can see the ceiling of the first room over the temporary wall. For the rest of the ceilings, be sure to check my website as well as Youtube where I have complete videos of the space. 

The second room, the Salle des Saisons, could be one of the most important ceilings in all of France. It served as the grand antechamber where people would wait to see the queen’s mother. Romanelli incorporated this idea into the ceiling theme. 

In the center of the ceiling, Romaneli painted Diane, goddess of the moon, Apollo, god of the sun, and the children of Zeus. Stories of the gods can also be found in the center above each wall. On the west wall, Diane has arrived and comes across a handsome sleeping Endymion. Diane touches him and wakes him from what he thought was a dream. Endymion, a mortal, was an astronomer and the first human to see the moon. It was love at first sight for Diane, who asked Zeus to give Endymion eternal life. Zeus, in turn, gave him eternal sleep, but Diane would visit him every month, and on that night, the moon disappeared from the sky. 

Above the south cornice, Diane is surprised by Actaeon in her bath. The mortal hunter Actaeon finds the huntress bathing in a spring. In a rage, she splashes him with water and causes him to turn into a stag. Romanelli paints the scene with the antlers just beginning to grow from his head. 

The east and north cornices are dedicated to the life of Apollo; on the east, Apollo challenges Marsyas. Marsyas, an expert at the Aulous, a double-reed instrument, is challenged to a contest by the god of music, Apollo. Marysa plays first, and the crowd erupts in dance. Apollo then plays his lyre, and the crowd is moved to tears. The contest continues, and Marysas loses and chooses death by being skinned alive. Mythology is filled with a few horrible scenes.  

On the north cornice, Apollo is crowning one of Zeus’s muses, although the first one in the lower center of the painting is seen holding a canvas and paintbrushes. Of the nine muses and daughters of Zeus dedicated to poetry, tragedy, dance, and even astronomy, there isn’t a muse of the arts. Romanelli decided to add his little touch, and I love it, although Kyra, from Xanadu, is by far the greatest of all muses. 

The paintings for each season are in each corner, beginning in the southwest corner with spring and ending in the northwest corner with winter. Dancing fauns surround the paintings on the east and west walls and caryatids on the north and south. 

On either side of the center painting of Apollo and Diane are two reliefs in stucco painted to look like bronze and reflect the theme of time. To the north, two genies of time, one holding an hourglass and one a clock representing the times of the day, and on the south, a genie holding a ribbon of the zodiac signs representing the year. 

The importance of this room in the history of the decor of the palaces of Louis XIV and beyond is not one to take lightly. This ceiling, inspired by Charles Le Brun in 1661 when it was time to rebuild the Petite Galerie just above the apartments. We now know that room as the Galerie d’Apollon. When Louis XIV abruptly left Paris and focused on the small hunting lodge in the forest of Versailles and visions of grandeur for his future home, he whispered to Charles Le Brun and said, remember what you did in the Louvre in the Galerie d’Apollon?  Well, let’s go there; today you can see how that first small antechamber inspired the Galerie des Glaces at the Château de Versailles. 

Golden medallions 

SW Earth Cybele, seated on her lion 

SE Fire, Vulcan forging lightening

NE Air Juno peacock 

NW water Neptune and Sea Horse 

The next room in the series of the summer apartments is dedicated to the Paix des Pyrenees. The Vestibule de Paix marks the ending of the Franco-Spanish war that began in 1635 with the signing of the treaty on November 7, 1659, which included the marriage of her son, Louis XIV.  Of the 124 articles, no 105 - 124 were dedicated to the joining of France and Spain through the marriage of Louis XIV with the infanta of Spain, Marie-Therese of Austria, daughter of Philip IV and niece of Anne of Austria, making her a double first cousin to the king. C’est normal, as they say. 

The idea made its way onto the ceiling of the vestibule, which opened onto the queen’s garden, which would later be named after another young princess. 

The center of the ceiling features Romanelli’s Allegory of the Pyrenees, also known as the Peace, Fruit of the War. In the center, three Roman gods represent the ideals of peace. Mars, on the left with a spear behind him and wearing a helmet topped with a dragon as the god of war and warriors, holds one side of the banner that reads the Fruits of Victory. In the center, Minerva, the goddess of wisdom, has an olive branch, although that was not her original offering. Romanelli originally painted her holding a lily, symbolizing the Bourbon family. During the Revolution, it was decreed to remove all reminders of the monarchy, including the fleur de lys and the elements of the Louvre were not exempt, and every lily they could find was repainted or chiseled away.  

On the right, holding the other end of the banner, is Mercury, the messenger god. He has his caduceus in his other hand while wearing his signature winged sandals and helmet. Above the trio of guards are three genies holding a Bourbon crown, which survived the Revolution. 

The theme of peace continues in the paintings in the north and south cornices. On the north side, the Goddess of Abundance rests on her cornucopia and distributes the earth’s bounty. She looks toward the sea and Neptune, representing maritime trade, holding his trident in his chariot pulled by seahorses.  

On the south cornice, Peace sets fire to a pile of armor and weapons and holds an olive branch in her other hand. Behind her is the allegory of history inscribing “of the war of peace” while soldiers are held captive next to her. 

On either side of the paintings are four stucco allegories by Michel Anguier, representing the great rivers of France. Looking towards the north, on the left, the Loire, with its long beard and oar with grape vines over its head, represents the region’s excellent wine. On the right, the Garonne of the SW of France, with pears and grapes beside it, is shown. 

On the south side, looking to the right, is the Rhône, which sits on a lion representing the city of Lyon and a cornucopia of fruits above. On the left, the easiest of the four to spot is the Seine, holding a boat representing Paris and an apple tree for Normandy. On the east and west sides are Anguier’s angels holding a seal with fleur-de-lis recreated after the Revolution. 

Under Napoleon in 1799, the Anne of Austria rooms were added to the Musée Napoléon to hold many items he “picked up” on his travels. A few of the apartments’ walls and doors were removed, making a lovely vista to the back end of the suite of rooms, and the Laocoön statue was taken from the Vatican. 

The opening of the rooms allowed the addition of eight very special columns. At the same time, Napoleon had lofty ideas about aligning himself with the great Holy Roman Emperor Charlemagne, who died in 814.  In 1798, on a visit to Aachen Cathedral in Germany, where the first emperor of France was buried, Napoleon took a few of the marble columns from the upper gallery. The forty columns Charlemagne had initially taken from the Église Saint Géréon in Cologne would then make their way to Paris and into the Louvre. In 1815, after the fall of Napoleon, most of them were returned, except the eight that can be seen in the Vestibule of Peace. 

The fourth room was the queen’s grand cabinet, and the first of two rooms was her private oasis. Romanelli and Anguier continued their vision on the ceilings, which featured the ancient stories of Rome. 

In the center, Poetry and History Celebrating the Exploits of Rome, you may now recognize a few figures from the earlier ceilings. In the center 

History sits on the left and holds a book on her lap while looking towards Time in the lower part of the painting. In the center of the grouping, an allegory of Rome has the orb of the world, while Poetry looks up at her. Fame, with her trumpet, is ready to announce Rome’s greatness. Finally, Rome is being crowned by the Genius of Glory. The beautiful blue sky surrounding the ceiling gives it a lightness that ties in all the stories below. 

Four paintings within the cornice give us a deeper look into Roman history. Starting on the west side, the Abduction of the Sabines tells the story of a scene from the 8th century BC Rome. Romulus was worried that the population of Rome was stalled and decided they needed more women.  Visiting the nearby towns, the Roman soldiers pleaded with the leaders for the women to be allowed to marry them, but every city turned down the offer. So what did the Romans do? They threw a party dedicated to Neptune and invited all the local townspeople. Romulus would give a signal, and at that moment, his soldiers knew to grab all the Sabine women.  A popular theme told through many paintings and sculptures, and often titled the Rape of the Sabines, which means kidnapping, not assault.  Jacques-Louis David depicts the scene and held upstairs alongside the Coronation of Napoleon.

On the east wall, the Continence of Scipio occurred in the 3rd century BC during Scipio's campaign in Spain during the Second Punic War. Scipio Africanus, a powerful Roman general, also had a way with the ladies and often had them delivered to him. Scipio refused to accept a ransom for a young female prisoner when he learned that she was already engaged to another man. He immediately summoned her fiancé and her parents and happily returned her to them. Romanelli shows the young woman in blue behind Scipio with her father and fiancé kneeling in appreciation for her release. 

The north and south paintings are more miniature but just as impactful. In the north, we see former politician Lucius Cincinnatus leaning on his shovel. Serving from 460 BC, he decided to retire and live out his life on his farm. Two senators visited him one day, brought his robe, and asked him to return to lead the state. He agreed, returned, and quickly defeated the enemy in sixteen days. He then stepped down and returned to his farm. 

Above the south wall, Mucius Scaevola places his hand on the fire before the Etruscan king. In a tale from the 6th century BC, the young Mucius snuck into a camp to kill Porsena, King of the Etruscans. He came across two men dressed the same, and he chose the wrong one and destroyed the scribe. Captured, he declared he was a Roman man, unafraid of anything, and placed his left hand in the fire. Amazed by his bravery, he was released. 

Anguier stucco sculptures of warriors and young women hold up medallions in each corner, representing more episodes of Roman history, including the Innocence of the Vestal Tuccia, the Devotion of Curtius throwing himself into the Chasa for the Salvation of the Romans, Romulus, and Remus. 

The final room of Anne of Austria’s summer apartment suite originally consisted of two rooms. The private Grande Chambre, reserved for the queen mother, included a small room called the Petit Cabinet sur l’Eau on the southern side of the room. In this small room, the queen’s mother stored her jewelry and had a small sitting area leading to her private view over the Seine.  

The ceiling, designed by Romanelli and Anguier, was the most personal to the queen and dedicated to her virtues. Anne was very religious and devout, and each painting reflects that. 


Starting in the center, Religion and Theological Virtues. The three theological virtues sit at the bottom, looking up at Religion. Faith is holding a cross from left to right, and the elements of the Eucharist, bread, and wine are in her right hand. In the center, Charity is seen breastfeeding a child, and on the right, Esperance or Hope with an anchor of the soul. The theological virtues were also Anne’s virtues, which she held close to her and remembered each morning when she opened her eyes. 

Like the first rooms, Biennourry’s agate cameos are seen again in the Profane History on the north side and Sacred History on the south. 

Romanelli has ten other paintings on the ceiling, dating from 1625 to 1650. Over the north door, Judith and Holopherne from the Book of Judith depict the story of the young widow Judith, who goes to the Assyrian king, Holopherne, to gain his trust. Although she was angry, they did little to protect the people from foreign armies. One night, she enters the tent of the drunken king and chops his head off. Romanelli depicts the moment just before she chops his head off; it is best not to wake up every morning to a scene of beheading. 

Above the south wall, Romanelli’s Esther et Assuérus is the story of a beautiful young Jewish woman sent to marry the Persian King Assuerus. Hiding her faith until she learned that the minister Haman was ordering the death of the Jews. Begging her to stop the order, her husband has the minister killed, and because of Esther’s bravery, she convinces the king to allow the Jews the right to defend themselves and fight back. 

Romanelli painted the northern and central semicircles and small round paintings on the east and west walls. 

Each painting represents more of the queen’s virtues, and a few are also the Cardinal virtues. Temperance holds back a lion on the eastern wall, while Peace, as war, rests on an olive tree. In the center, Justice has a stack of books, including a codex, and Abundance has her overflowing cornucopia just below.

On the western wall, Prudence and Prévoyance. Prudence holds a snake representing caution, and Prévoyance, or foresight, holds a mirror. In the center, Continence is frightened by the young Cupid, while Virtue, holding a lily and a stick, chases him off. Considering it took Anne 23 years to get pregnant, I feel this one rings true for her. 

Above each are smaller round paintings of Génies, which are small children with wings. Often mistaken for Cupids, the génies are used in art to represent a divine nature and characteristic. The six paintings represent more of the queen’s virtues. 

On the eastern side of the ceiling, there are the Génies of Glory with two laurel wreaths in the NE, Justice with his scales in the center, and closest to the Seine, the Génius of Immortality.

On the Western side are the Génies of Water, pouring water from an ewer; the Génies of Temps with a compass and hourglass in the center; and the Génies of Engineering to the south. 

Jean-Armand Raymond, architect of the Louvre, removed the wall of the Petit cabinet sur de l’eau without harming any frescos. Permitted to move the Romanelli of Esther & Assuérus at 10 am on October 28, 1798. The stuccos of Michel Augier & ornaments of Pietro Sasso were removed where the wall once stood.

Anne d’Autriche died on January 20, 1666, leaving her beloved son a bit lost. Louis XIV celebrated his 40th birthday on September 5, 1678, by kissing the Louvre goodbye and heading to the small Château de Versailles, and we know what came next. 

While the Louvre was now suddenly empty, the Sun King allowed the Academies of letters, arts, science, and more to move into the beautifully decorated rooms where the king and court once slept, but at first, it was hands off his mama’s rooms. With the academies also came the artists. 

This is yet another subject I am obsessed with, and not the easiest subject to research, but I push on. 

Louis XIV finally eased his grip on his mother's rooms in 1712 when he allowed the Academy of Painting to move in. The academy that was under the control of Louis XIV, Charles Le Brun, and his other artists was a coveted group to be a part of. If artists were accepted, they could get coveted commissions for the royal palaces, chateaux, and churches, including the many paintings hanging in Notre Dame. 

On July 30, 1712, artist Antoine Watteau walked into the office under the ceiling that was once the bedroom of Anne d’Autriche. Invited to create a piece that would then be judged by a committee, which would decide whether he would be given the royal title of the Royal Académie. Artists were given a brief period of time to complete their painting or sculpture, and they also had to create it within the walls of the academy. 

Two years went by, then another year, and in 1715 he was given a new and much shorter deadline of six months. That one also passed by, and in 1717 he finally created his submission, under the ceiling of Romanelli. The Embarquement Pour Cythère, his stunning depiction of the Vert Galant gathering on the island where Venus was born.  

In March 1721, six years after the death of Louis XIV, the Regent planned a double marriage that would seal the deal of peace with Spain (third time the charm)

Louise Elisabeth Orleans, daughter of the Regent and the Infanta Marie-Anne-Victoire, married 11-year-old Louis XV. The infanta was 4 years old. The exchange took place in 1722, and she moved into the rooms of Anne of Austria. Her arrival was slated for March, and a massive update began quickly; the Salle des Emperors was changed into a chapel. Woodwork and plaster sculpture by Claude Audran and gilding by Paul Chéron,

Crimson damask furniture, silver and engraved crystal with the Bourbon fleur de lys and the arms of France and Spain. 

The two met in Bourg-la-Reine, 9 km south of Paris, and then went to the Louvre on March 2, 1722. The streets were lined with thousands of people.  

Her first week involved visits from the other members of the royal family, foreign ministers, and parliament. The second week included a ball in the Hotel de Ville, the Opera, and a Te Deum at Notre Dame de Paris, 

On June 15, 1722, Louis XV and the court moved to Versailles because the cost of guards and staff in the Louvre for the princess was too high.

March 11, 1725, it was decided to return her to Spain and call off the marriage. She left Versailles April 5, 1725

Little remains regarding the young princess, but the garden, which is just outside the Anne of Austria rooms, is named in homage to her, le jardin l’enfant. Today, it is a staging area for the massive construction and has been far from a garden for many, many years. 

The apartments would never be lived in again and would be returned to the academies.  The Salle des Seasons was used by Citizen Jean-Joseph & Eugene Sue, Father and son, who were also surgeons and taught anatomy to the artists living in the Louvre and members of the Royal Academy before it was dissolved on August 8, 1793. 

Even the Bourse, the stock exchange, moved in for a few months. 

During the Revolution

The lavish decor was now out of favor. The walls of the apartments were stripped of their decoration, and only the ceilings remained. Royal monickers and paintings of the kings and queens were removed, and the rooms were given over to the Les Musée des Antiques, which had been moved from the Salle des Caryatids under Louis XV. 

On September 16, 1792, the Assemblée Législative founded the Musée Central des Arts and inaugurated it on August 10, 1793, in a fraction of the Grande Galerie. 

At first, the salon of the former apartments was used to hold paintings, including Rubens Medici cycle and Giorgione’s Concert Champêtre.  On November 23, 1793, it was decided that the rooms would hold bronze and metal statues 

When Napoleon began to send back his looted bounty, the statuary was delivered to the garden, where structures were added to protect and display pieces that the public was allowed to walk among

Since then, the rooms have been dedicated to the statuary of Roman antiquity, but they have not been on display since 2019. It will be a few more years before they return to view. 

Until then, check out my YouTube channel for the video walk-through of the rooms and all the descriptions of the decor.

When you come to Paris, book a walking tour and make sure you follow my YouTube channel, as I am going to bring back the deep history walking videos of the streets of Paris.  

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Episode 36 - Henri Landru, the Blue Beard of Gambais

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Episode 36 - Henri Landru, the Blue Beard of Gambais

Henri Désiré Landru was born on April 12, 1869, in Paris, near the lovely Buttes Charmant. As a child, he seemed destined for a life in the church, but his path took a sharp turn along the way. 

Shortly after his birth, his family, which included an older sister,  moved to the Île de la Cité to the Rue du Cloitre Notre Dame, the street that runs along the north side of the cathedral. Henri attended school on the Île Saint Louis, was a devout member of the Église Saint Louis en L’Ile, and even served as sub-decan in 1888. His parents wanted him to follow the seminary path, but he had other ideas. 

In 1889, Henri’s began a relationship with his cousin Marie Catherine Rémy, who lived on the mean streets of Île Saint Louis. The young lady was a laundress, like his mother, and a common job for ladies at the time. Their first child, Marie Henriette, was born in 1891, around the same time Henri finished his three-year military service. 

Upon his return, the two were married on October 7, 1893, in the Église Saint-Louis-en-l’Île. Three more children followed: Maurice Alexandre in 1894, Suzanne in 1896, and Charles in 1900. During this time, Henri had over fifteen different jobs, everything from contractor to cartographer, but none gave him the money he needed to take care of his growing family.  

His first scam was obtaining a patent for the “Landru with a Renouard engine” oil bicycle. He rented multiple offices and a factory and ran ads offering a special intro price, asking for a third of the money up front.  As the orders came in, he took all the money and disappeared. 

One fake name after another, and more scams, led to his arrest and three prison sentences between 1904 and 1906. A psychiatrist confirmed he was in a “sick mental state” and could sidestep being sent to Guyana, in South America, where many prisoners died. Evading the law again, he bought a garage and quickly resold it but never paid the original owner. As the First World War started, he was sentenced to 4 more years in prison in absentia. 

He rarely served any of his terms and evaded capture, outsmarting authorities and changing his name. It was his last sentence that inspired him to take his criminal activity up a notch, and it would be his undoing.

It was the start of the Great War, and the men were dying on the battlefield, leaving women behind in Paris in need of new companions. 

Henri used this to his advantage. In 1914, he posted his first ad. “Serious man, with nice income, wishes to marry widow or misunderstood women, between 35 and 45 years old, well in all respects, related situation”

Henri used close to one hundred aliases, placing ads in dozens of papers. With such an enticing ad, the ladies were clamoring to meet this wealthy stranger. 

283 women answered his ad, and we know of 10 victims, but many believe, now examining the police documents, that there were far more.  Henri worked fast; he stacked his days with meetings with the madams, hoping to meet the man of their dreams. Carefully noting every single detail in journals that would come back to haunt him. 

From his diary for May 19, 1915 

9:30 cigarette kiosk, Gare de Lyon Mademoiselle Lydie

10:30 Café Place St Georges Mme Ho…

11:30 metro Laundry Mme Le C…

14:30 Concorde north Mme Le…

15:30 Tour St Jacques Mme du 

17:30 Mme Va…

20:15 Saint Lazare Mme Le… 

The women needed to be lonely and without a circle of friends or family that may miss them, as well as having money.  With each meeting,  he would size them up quickly and decide if they fit the criteria. 

 The short man with a pointy, scraggly beard had a way with the ladies and could be very charming when he needed to be. A proposal of marriage quickly came, and then a trip to the bank to add Henri to their bank accounts and also a power of attorney.  

Relationships worked quickly back then. From first date in the park to engagement in a matter of days. Once Henri got access to their bank account and home, he would offer to take them away for the weekend before they returned to be married. 

His first victim, or victims, as it was a package deal, was Jeanne Cuchet and her son. Jeanne was a 39-year-old widow and worked as a laundress in Paris. The two met by chance in the Jardin du Luxembourg in February 1914

He first rented a house in La Chaussée-pres-Gouvieux near Chantilly, north of Paris, but quickly moved to a more remote location in Vernouillet, NW of Paris and near the Seine. Renting under an alias and keeping to himself, the neighbors at first thought he was a German spy. 

In 1917 he moved to Gambais, west of Versailles and even more remote. The Villa Tric sat alone in the country, which the neighbors were thankful for. Soon after he moved in, the neighbors noticed a very large stove being delivered. The town thought he was rather odd and never saw the same woman with him twice. For weeks there was nothing, and then Landru appeared with a woman on his arm, and for a few days they would be seen in the garden, then nothing except for a horrid odor coming from the chimney. 

In the small town of Gambais, years before, Father Thibaud lived alone and liked to have endless glasses of wine sitting in front of his large fireplace.  One night he had a bit too much, and he passed out and fell into the lit fire. Father Thibaud burned to death, and the horrific smell spread through the village.  The people of Gambais sadly knew the smell had returned once more. 

Worried his victims could identify Landru, he cut their bodies up and burned their heads, hands, and feet in the oven and tossed the rest of their bodies in a nearby lake. 

World War I allowed him to slip through the law, as the focus was on the war and police were less than three-quarters as many as normal. Gambais had only 1 man on their police force. 

In 1918,  Mrs. Pellat sent a letter to the mayor of Gambais asking about her friend Mademoiselle  Anne Collomb, who had become engaged to a Monsieur Dupont and moved with him to Gambais. They had no record of Dupont and replied that they didn’t know either of them. 

Months later, another letter arrived, this time from Mademoiselle Lacoste, looking for her sister Celestine Buisson, who had moved there with Monsieur  Frémyet. 

Now the mayor thought this was odd; he didn’t know any of these people, so he put the families in touch with each other. They learned that their loved ones had answered an ad in Le Journal on March 16 and May 1, 1915. Too many things began to add up, and they filed an official complaint with the prosecutor’s office of the Seine. 

The prosecutor’s office appointed the “Tiger Brigade” to the case. Created under Le Tigre, Georges Clemenceau, the squad comprised police who had spent their careers working the streets of the Île-de-France.

Inspector Jules Belin visited the home “l’Ermitage” that was owned by Mr. Tric and rented to M. Frémyet. Frémyet hadn’t been seen in weeks,  even though neighbors rarely saw him. The first break came when Belin learned that Frémyet’s mail had been forwarded to a Paris address, Boulevard Ney in the 18e. The address belonged to Célestine Buissons, another victim. 

On April 8, 1919, Mademoiselle Lacoste was walking down the Rue de Rivoli and noticed Landru and a woman coming out of Le Lion de Faïence tableware store.  Jules Belin called the police right away, but when they arrived, the store had already closed. After finding the clerk's name, they went to the suburbs, woke him up, and asked whether he kept any records. Sure enough, Lucien Guillet had purchased two sets of dishes to be delivered to his address at 76 rue de Rocherchouart in the 9e. 

It was late at night, so Belin waited on the street for two days with no sight of Henri. In the early hours of April 12, 1919, Belin decided to wait on the landing outside his apartment. Just after 8 a.m., he knocked on the door.  Landru yelled through the door and told him to come back as he wasn’t dressed, but Belin wasn’t going to take no for an answer. After he persisted, Landru finally let him in. Standing in his pajamas, Belin and his men interrogated him and the young woman who was with him. Fernande Segret was distraught at the questions and fainted in the kitchen. The man she knew was lovely, although she would learn later that he did try to poison her, twice. 

It was his 50th birthday. 

During a search of his apartment and storage units, piles of women’s clothes, wigs, and even dentures were found. However, the most damaging piece was a locked trunk with business logs and details of his crimes. 

At the central police station on the Île de la Cité, when he was questioned for 24 hours, he offered no information, including his real name. Day turned into night, and still nothing. Back at his apartment, detectives found photos labeled with Henri’s name and brought the info to the investigator. When confronted, Landru finally admitted that was his real name. A search found eight convictions and an endless list of crimes he was wanted for. 

On April 14, 1919, Belin charged him with murder.

As the investigation began, detectives discovered the link to Gambais, where they uncovered a pile of remains in the ashes of the fireplace and stove. Combined, it was more than 9,000 pounds of charred debris, of which 3,300 was thought to be human remains, including 47 teeth. 

In a shed, at the far edge of his home, detectives discovered three dogs with a rope around their necks under a pile of papers. They belonged to his last victim, Marie-Therese Marchandier. Landru told the authorities that he was asked to kill them 

It was all very calculated. After he killed them, he would return to Paris to their home and clean it out with the help of his son Maurice. Filling two storage units with their furniture, clothes, and anything the unfortunate victims had owned. Landru took exacting notes of everything. He noted each and every piece he sold, the date, and how much he was paid. Also noting when he bought saws and coal. All of this would be a slam dunk today, but this was over 100 years ago, and forensic science wasn’t quite as advanced. 

At his arrest, he had two small black notebooks on hand. One, hidden in the lining of his coat, documented the names of all the women he met. 

He kept every piece of paper and receipt, and the train tickets exposed his entire crime.  

Courtship with Landru always had the same timeline. They would meet and have a few simple dates, and once he realized they had means, he would propose, visit the bank, then go away for the weekend together to his country house, and never return.  Landru would buy two tickets in one direction but only a return for himself. As investigators went through box after box they found the single train ticket over and over. He clearly intended to return to Paris alone, and his excuse was rather flimsy. 

It was now the spring of 1919. World War I was behind them now, and the press had a new tool at their disposal: photography. As soon as the story hit the papers with photos of Landru, more families wondered if he could be the reason for the disappearance of their loved ones. 

Mademoiselle Freedman contacted the police on April 16, 1919, saying she recognized him and that he dated her sister, whom she hadn’t heard from in four years. And this was just the start. 

Newsstands couldn’t stack the issues fast enough, and Le Matin named him the Le Barbe-Bleue de Gambais (the Blue Beard of Gambais) based on the 17th century story by Charles Perrault  

TRIAL 

On August 18, 1920, a year and a half after his arrest, Judge Bonin filed charges. The supporting documents were over 7,000 pages, and the evidence was close to 5,000 pieces. 

On November 7, 1921, his trial began in the Assize Court in Versailles. After 2 and a half years of daily coverage in the newspaper, it was the place to be. All of society wanted a seat, including Maurice Chevalier and Colette, who was dispatched from Le Matin. Colette covered many high-profile murder cases, and another was coming up soon. Bien Sur, Colette couldn’t tell the story like anyone else and always gave a little extra empathy to her subjects and their life. 

Regarding Landru, she wrote: “Did he kill? Then it is while whistling a little tune, and wearing an apron for fear of stains. . . . We remain stunned in front of the tranquil and gentle murderer, who keeps a diary of his victims and rested, perhaps, while at work, with his elbow on the window and feeding the birds some bread.”

His popularity and obsession resulted in over 800 marriage proposals and close to 5000 fan and love letters. 

For twenty days the train from Paris to Versailles was filled, and as the trial came to a close, the public hung on every detail. On November 21, the courthouse was filled for the testimony of Fernand Segret, his one-time lover who was a lucky survivor of Landru. She couldn’t get through her first day on the stand and returned on the 22nd. She told how they met on the tram one day, and he followed her until she acknowledged him. 

On November 30, 1921, at 6:40 pm, the jury was sent to deliberate. At 9:10 pm, the jury returned with a guilty conviction, although there had never been a body to prove he had killed a single one of these ladies. 

On February 25, 1922, Landru was led to his death in front of the courthouse of Versailles. Sentenced to death by guillotine, his lawyer asked him once more if he wanted to confess anything. Landru told him it was a suitcase he was taking with him. Also asked if he wanted a shot of rum and a cigarette, but replied they were bad for his health. 

 At 6:10 am on February 25, Anatole Deibler dropped the blade, and the life of Landru ended like his victims, without a head. Deibler was a third-generation executioner 

After his family declined burial, he was added to the death row cemetery near the courthouse. Years later, his family moved him to a hidden location.  In Hollywood, the Museum of Death displays Landru's head, or so they say. Much like the penis of Napoleon, can we really know for sure it is his? 

Where was his family?   

His wife/cousin Marie Catherine Rémy Landru tried at first to plead ignorance, but during the investigation, another side emerged. At first, Landru fooled his family into thinking he was a traveling antique salesman, and that was partially true. He did travel and sold all the items he stole from the women he scammed, then killed.  Checking back in every few months until their assistance was needed.

His son Maurice was arrested when he was found with jewelry that belonged to a few of the victims that his father gave him. After serving two years in prison, he was released and went back to helping his father clear out the apartments and selling the belongings of his victims. 

His wife, Marie Catherine, would dress in the missing woman's clothes and accompany her husband to the bank, pretending to be the missing woman and emptying her accounts. 

His daughters at first pleaded their innocence, but records found that they would rent buildings and homes under other names for their father. 

Fernande Segret never really recovered after the trial. She moved to Lebanon to be a teacher but returned to Paris and sued the director Claude Chabrol for her depiction in his movie about the killer. On January 21, 1968, the anniversary of the day she met Landru, she killed herself by jumping into the moat of the Cathedral de Flers. 

The Bluebeard of Gambais continues to inspire. Charlie Chaplin made Monsieur Verdoux in 1947, and countless movies and documentaries have come out every other year. 

As for the oven that was the scene of so much horror and brought to trial in November 1921, it was auctioned off not long after. On January 23, 1932, the director of the Musée Grévin, the Paris wax museum, was the winning bidder with 4200 francs.  (They also had the bathtub that Marat was killed in)  Later, Laurent Ruquier bought it and wrote a play inspired by the story in 2005. 

And on a more touching note, the French doctor who was called to inspect the pile of ashes later buried a box of bones and remains silently under a weeping willow in the Jardin des Plantes. I will be sure to find that tree and give a little prayer to those victims of the Bleue Bearde of Gambais. 

The house of horrors in Gambais is still there. The Villa Tric was sold and became a restaurant for a few decades, and now it is a private residence. Not sure I would want any food from that kitchen or to live there, but maybe they got a good deal. Neighbors say people are always stopping to look and walk around the property where so many horrific acts occurred. 

Recently, in 2018, RF1 and a team of investigators believe that, from looking through all the documents, he may have had more victims. Of the 283 names in his journals, 72 of the women were never looked into. A few more victims could have died at his hands, but we may never know. 

Victims 

February 1915: Jeanne Cuchet 39, missing in Vernouillet

February 1915: André Cuchet, son of Jeanne Cuchet, 17 disappeared in Vernouillet

June 26, 1915: Thérèse Laborde-Line, born on August 12, 1868, in Chascomús, Argentina, missing in Vernouillet;

August 3, 1915: Marie-Angélique Guillin, born April 15, 1863, in Bellavilliers, Orne 52, missing in Vernouillet 

December 8, 1915: Berthe-Anna Héon, 55, born in Le Havre, missing in Gambais

December 27, 1916: Anna Collomb, 44, widow, missing in Gambais

April 12, 1917: Andrée-Anne Babelay 19, disappeared in Gambais

September 1, 1917: Célestine Buisson, missing in Gambais

November 26, 1917: Louise-Joséphine Jaume, 38, disappeared in Gambais

April 5, 1918: Anne-Marie Pascal, born on November 5, 1880, missing in Gambais

January 13, 1919: Marie-Thérèse Marchadier, born on October 27, 1881, in Bordeaux, former prostitute, owner of a passing house on rue Saint-Jacques in Paris, known as the beautiful Mytèse, 37, who disappeared in Gambais 



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Episode 35 - The 1792 Theft of the Crown Jewels

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Episode 35 - The 1792 Theft of the Crown Jewels

In September 1792, over five nights, thieves broke into the Garde-Meuble and stole hundreds of France's Crown Jewels.  There is, of course, what is deemed the “Heist of the Century” that hit the Musée du Louvre on October 19, 2025, but that one pales in comparison to the theft of 1792. 

The royal family of Louis XVI and Marie Antoinette were hunted down within the walls of Versailles on October 5, 1789, and brought to Paris. Taken from one lap of luxury to another, the first two years equated to house arrest within the Palais des Tuileries, with one big difference: they weren’t allowed to adorn themselves in jewels. 

Many stories from the last hundred years depict a panicked Marie Antoinette packing away her diamonds and being sent around Europe to family members or taken by trusty aides to London. Most of those stories were recreated to sell items that come up at auction to drive up the price. Just read the fine print, where it will usually say, “these items MIGHT have been owned by the Queen”.  There are a few accounts of jewels passed to her daughter, Madame Royale, through family in Austria, but she is,  like the Mona Lisa: Marie Antoinette ranks up there in the ultimate clickbait. 

The Crown Jewels were owned by the State, and the king or queen could redesign the settings and wear them, but they never belonged to them. While we called the jewels stolen last October the “Crown Jewels”, only one of the 8 pieces can actually be considered a crown jewel, the Reliquary Brooch of Empress Eugenie, because it included two of the Mazarin diamonds. 

The jewels were also kept locked away until they were used; sadly, the fantasy of the queen rolling around in piles of diamonds and dripping in jewels wouldn’t have happened. After the 1789 demise of the royal couple, the massive collection was moved to the Garde Meuble in the center of Paris and locked away. 

The Garde Meuble, on the edge of the Place de la Concorde, held state furniture used in many palaces and official buildings and was overseen by Marc Anthony Thierry de Vielle d’Avray. The once valet to the king and the mayor of the town of Versailles was named in 1783 as the intendant of the king’s household, overseeing the garde meuble of the crown. A job that not only managed the collection of furniture but also gave him the power to commission and order furniture that would fill the royal structures. A position that came with great wealth. 

The imposing structure built under Louis XV on the northern edge of the Place de la Concorde was created by Ange-Jacques Gabriel in 1753. Two matching buildings on either side of the Rue Royale. On the west, the Hôtel Crillon and the Automobile Club of France, and the building to the east, built for the function of holding the collection of the crown. 

It was far from a warehouse when it was finished in 1777. It featured lavish rooms where the intendant also lived. Once a month, the doors opened to the public, a fact they may later regret. On the first Tuesday of each month from 9 am to 1 pm visitors could wander through and see the great tapestries, furniture, and even the crown jewels. 

After the crowds attacked the Château de Versailles on October 5, 1789, the keepers of the crown goods were on high alert. Even the mere representation of items that belonged to the monarchy became an even bigger lightning rod for controversy.  The first attack came the day before the Storming of the Bastille. Rioters looking for weapons were diverted away from the rooms that held the most valuable treasures, the swords and even a cannon that belonged to Louis XIV. 

After the royal family's attempted escape, known as the Flight to Varennes on June 21, many thought Marie Antoinette had taken jewels, precious items, and gold to help pay for their escape and to keep for her own use. (She was blamed for everything). The convention set a decree that the garde-meuble and the entire royal collection needed to be inventoried. Thinking they would catch her red-handed.

At 9 am on June 25, deputy Jean-Marie Bion, along with goldsmiths and jewelers, began the massive task of inventorying the entire collection. A project that took until August 3. Most of the jewels were loose and kept in large satin-lined, glass-topped boxes. The number of gems was at least 10,000 and included diamonds, emeralds, rubies, sapphires, pearls, topaz, garnets, and amethysts. There were, of course,  collections that included the Golden Fleece of Louis XV and a diamond-covered Order of the Holy Spirit, as well as swords that belonged to Louis XV and XVI. 

Along with the jewels, the precious vases known as the hard stone vessels and crystal were also counted. Until the theft of the jewels in October 2025, many of these gorgeous pieces were held in the Galerie d’Apollon. More than 500 objects made from lapis lazuli, jasper, amber, jade, garnet, and many others were mounted with pearls, diamonds, rubies, and emeralds. Created in the 16th and 17th centuries, most of them were owned by Cardinal Mazarin and left to Louis XIV after his death. 

The collection of jewels and precious vases was astronomically valuable and the greatest in all of Europe at the time. These items were put on display once a week for the people to wander in and even case the joint. 

In the months before the theft, Thierry de Ville-d’Avray was the man holding down the job, and following the demise of the royal couple, he remained in his role. His position included an apartment within the Garde Meuble, his office has been recreated in the Hotel de la Marine. On June 20, 1792, two months before the theft, he had taken all the jewels and hid them at the end of a forgotten corridor where they remained for a month. (They should have kept them there)

Thierry wouldn’t live to see the theft of the jewels. He was killed in the September Massacre in the Abbey Prison on September 2. 

It was in another prison, La Force, where the plan to steal the jewels was formed and the brainchild of career criminal Paul Miette. It was at the time of the massacre on the other side of the Seine that he found his freedom. 

Security at the time was pretty lax; well, not much better these days either, but back to 1792.  The jewels were kept in a room near the loggia entrance, just above the street. The windows and doors had been sealed shut, and you guessed it, no bars on the windows. 

Artist Jean Bernard Restout replaced Thierry after his death and immediately focused on security. The building had two entrances: one on the Place de la Concorde and the other on Rue Saint Florentin, which the staff used. Restout complained to the Minister of the Interior, Jean-Marie Roland, about a lack of guards and the entrance frequently left unguarded. Roland told him to submit a report anytime he found the door without a guard; Restout responded that would fill his entire day if he had to do that. Many of the rooms had been sealed shut for protection and had no need to be covered by security guards. 

On the evening of September 11, 1792, just after 11 pm, Paul Miette and his merry gang of thieves descended into the center of the city. In the dark of night, two groups totaling 26 people split between those standing guard below and those who entered the building. 

The thieves dressed as guards, and at the start, six of the men, including Paul Miette, climbed the facade below the loggia door. The lampposts were much closer to the building at the time, and they used a rope to help them enter quickly.  Once they were on the loggia, they cut into the glass with a glazier's diamond blade. With a small saw, they then cut a square hole into the wood blind, allowing them to reach the handle and easily open the window. The windows were without iron bars, and security hadn’t been concerned since they believed the rooms were sealed shut. 

It was very easy since Miette had been visiting for a few months, noting every detail of the room, cases, and more importantly, the windows. Once inside, the dozen or so thieves grabbed some of the biggest items. The sword of Louis XVI, covered in diamonds, a bag of loose diamonds, and full parures of diamonds as well as colored stones. 

One of the most notable items stolen that night was an insignia known as the Golden Fleece. The Order of the Golden Fleece was a distinguished title that first started in 1430 with the Duc de Bourgogne. Louis XIV took it up a notch when he had a larger emblem created in diamonds and colored stones, including one of the original Crown Jewels that dates back to Francois I, the Cote de Bretagne a raspberry red spinel stone cut into a dragon and a blue diamond, known as the Tavernier Blue.  Some say that blue diamond is cursed. However, the thieves knew what they were doing, as the value of that piece alone was incredible. 

That night, they also grabbed strings of pearls of all sizes, diamond shoe buckles, and a dozen gold watches. 

A few of the thieves had traveled from Rouen to Paris the day before, Including Cadet Guillot, known as Lordonner, a rather crafty crook, and brought three of his friends with him. It was Guillot who took the Golden Fleece and the most important pieces and left the next morning to return to Rouen, with the jewels in hand. 

The next day, the thieves met back in Paris, divided the jewels, and remarked on how easy the theft had been. Not a single guard was spotted inside or outside of the building.  

They decided to return the next evening. Just before midnight on September 13, with a few more thieves in tow, they followed the same route, up the facade, into the window, and then broke a large chest that held many of the largest stones, including one of the most important of all, the Regent diamond. 

The 140.64-carat, slightly blue green water Regent diamond dates back to Philippe d’Orléans, the Regent of Louis XV, and was first worn by the king in 1721, when he was just 11 years old. Other diamonds stolen that day include the Sancy,  De Guise, and the large table-cut Mirror of Portugal diamond.  The peach blossom pink diamond, and the five-sided pink diamond later called the Hortensia, and the historic Mazarin diamonds, along with a dozen other large stones. 

It was becoming easier and easier, and word was spreading through the thieving underworld, and they returned once again on the evening of the 15th. During the day, a few members would visit the area but never saw any police or evidence that their crime had been uncovered. 

In the early hours of September 16, many of the thieves met on the banks of the Seine below the Palais Bourbon after they left the scene of the crime. In the dark, they split up the jewels but were startled by two walkers and fled quickly, leaving a box behind. The gentlemen, known as Le Blond and Le Leu, noticed the box and grabbed it. Inside, they found two yellow diamonds, one clear, and seven large pearls, as well as a few others scattered in the dirt. Unsure if they were real or worth anything, they took the box the next day to the Vitard goldsmith on the Pont Saint Michel. 

Vitard found the discovery strange and alarming, and told them to go to the nearby police station and speak with Commissioner Pierre Nicolas Letellier . The whole gang headed back to the place of discovery and, in the light of day, found a few rubies cast aside. Between the location and what they found, Letellier took the gems to the Garde Meuble and spoke with the head guard. Quickly dismissing the idea that the gems could have come from there, he told him that the doors had been sealed. Letellier convinced him to double-check, and they found the doors had, in fact, been sealed. 

Everyone but the commissioner believed they had come from the Tuileries and been stolen on August 10, 1792. Letellier alerted the other goldsmiths and jewelers in Paris to watch for any unknown or suspicious jewels, especially larger ones.  

If only they actually opened that sealed door. 

The ragtag group, bolstered by their arrogance of pulling off this crime three separate times, would meet at the Café Retours on the Rue des Fossés Saint Germain l’Auxerrois to recount the crime, separate the goodies, none of which they did quietly.  

The last night of the crime, late on the 16th, now came with more than 50 people, including a few women. Drunk on the thrill of the moment as well as the wine they brought along with sausage, cheese, and baguettes. That night, they took it all; anything that remained was grabbed and put into their thieving pockets, but it wouldn’t end as smoothly as the other nights had.

Maybe it was the wine, but the crowd that remained below were whooping it up like it was the return of Les Blues after the 2018 World Cup win. This time, it got the attention of a National Guardsman a block away on the Rue Saint Honoré. Quickly stepping his way over, the crowd below ran. Inside, the thieves began to descend to the ground, right into the National Guardsmen. 

Two thieves, Chambon and Douligny, were arrested on the spot and, when searched, were found with jewels and many hard stone vessels of jasper and jade. As well as a solid gold cross with emeralds and topazes. A few of the larger items, including the ship of Louis XIV, were left on the loggia, interrupted by the arrival of the National Guardsmen. 

Their arrest began to unravel the entire crime. 

While the rest of the thieves now worried about their own arrests, they attempted to sell off their jewels. Remember our police commissioner Pierre Nicolas Letellier, who, just three days before, believed they had a massive crime on their hands and alerted all the jewelers and goldsmiths to be on the lookout? 

Most of the thieves, especially the ones who broke in the first three nights, were no strangers to the authorities. Claude Melchoir Cottet, a thief who had acquired many of the jewels and also talked about it with anyone he came across, began to worry he was about to be caught and wanted to get rid of the booty as soon as possible. Another crook, Lamy Évette, wasn’t involved in the theft itself but feared returning to prison; he offered to help fence the diamonds if he was dealt in on the profits. His worry got the best of him, and he told his mistress about the plan. Madame Corbin was also the mistress of the mayor of Paris, Jérome Pétion de Villeneuve, and passed on a deal from Lamy Evette: a complete pardon for his former crimes if he helped hand over the thieves. 

The goldsmith Gerbu was also in on the plan and ready to take down the thieves. Cottet, with Lamy Evette, entered the shop and presented a bag of more than 60 diamonds of all sizes. Offering him a substantial amount of money, gave him a portion of the cash and told him to return the next day for the balance and, if he had more gems, bring those as well. 

Cottet must have thought he hit the jackpot, and it was a fairly easy transaction. Meanwhile, Gerbu took the diamonds to Jean Marie Roland, minister of the Interior, who reimbursed him the money as well as giving him more to keep the charade going. He also gave the goldsmith the power to arrest the thieves on the spot. 

On September 19, the thief, soon-to-be-pardoned fencer, and the goldsmith dined together. Our ever trusty Letellier arrived just after the cheese course to arrest the thief and take back the jewels. 

In a turn of events, Cottet also decided to offer his help in finding more of the jewels if he was also granted a pardon.  Now Letellier had two new buddies to help him track down the stolen jewels. The group visited the homes and cafes where they would gather, and one by one the thieves were discovered and rounded up. 

Word spread quickly, not just about the hunt for the thieves but also about the deal that Cottet and Lamy Evette received. However, this was 1792; things spread a lot more slowly than they do now. 

Cottet and Lamy Evette became vigilante detectives and took it upon themselves to find all their fellow thieves, even surpassing Letellier. They compiled a full list of names of every thief they knew. On September 26, they complained that not enough had been done to arrest and capture the culprits, but Commissioner Alizard disagreed and, in turn, arrested the two men who had been pardoned.  Once they searched Cottet’s apartment, they found the diamond shoe buckles of Louis XVI, not quite the selfless avenger he portrayed himself to be. 

After the arrest, the thieves kept turning on each other. This wasn’t the mastermind crew led by Danny Ocean, just a bunch of crooks in the right place and what ended up being the wrong time. 

The first two arrested, Douigny and Chambon, were pulled before a judge on September 21 and charged with a conspiracy to overthrow the government and theft. With the threat of a death sentence hanging over their heads, they started to cough up a bit more information.  More arrests followed, including two more leaders, Depeyron and Badarel, who also told the authorities where some of the loot was hidden. 

In the small l’allée des Veuves, off of the Champs Élysées a box was buried by fellow thief Gallois that included pearls, emeralds, rubies, onyx, a solid gold figurine, as well as 104  diamonds. 

By mid-October, most of the trials and sentences were coming to an end. Many were going to return to the Place de la Revolution, today's Concorde, this time for a date with the guillotine. As Francois Depeyron mounted the stairs, he pleaded to speak with the judge once more and said he had information on where some of the larger diamonds could be found. 

Depeyron took the police to his small apartment on the cul de sac Sainte Opportune near Saint Germain l’Auxerrois. Reaching through the skylight over his bathroom, he pulled down two packages, including the Peach Flower diamond, the Grand Mazarin, and a pink five-panel 15 carat diamond, (the Hortensia). The most important find yet.

Cottet, who thought he got away with everything and garnered a pardon, was before the judge on November 7, 1792.  In the end, he was tried for the crimes he thought he was cleared of, mostly because he greed took over and he had kept the stolen diamond buckles of Louis XVI. He met his fate on November 8, 1792.

As for the ringleader of the entire caper, Paul Miette, he was arrested at the start of October after Douligny's confession. At his trial on November 20, he was sentenced to death but was able to find a loophole. That same month, the courts of cassation were established, and Miette, along with many other criminals, could appeal their convictions. Seven of the men agreed to their role in the theft but stated in no way were they trying to overthrow the government. All of them were acquitted and escaped their death sentence but would spend several years in prison. 

Months passed without any new discoveries of the crown jewels. But in April 1793, one of the most important jewels,  still to this day, was found. The Regency diamond was discovered hiding in the home of Madame Morée and Lelièvre, a mistress of one of the men who broke into the garde meuble the first night and returned to Rouen. Bernard Salles had already greeted the guillotine, and his lovers had been locked up as well. 

The legend of the Regent or Pitt diamond, as it was originally called, was that a worker at the Indian mine dug into a wound in his thigh, making it large enough to conceal the massive diamond and use it for what he would hope to be his freedom. 

The Regent was found in 1793, hidden in a hole dug into a timber beam in the attic. Adding even more to the legend of the Regent. 

In March 1794, more of the large stones were recovered, including the Sancy, Mirror of Portugal, the Mazarins, and the De Guise diamond.  Other items found included the diamond encrusted Order of the Saint Esprit. 

A good portion of the stones were found, but not everything.  In the days after the theft, many jewelers used it to their advantage, buying as many jewels as possible at well below market price and then sending them to Germany and London. Quite a few stones found their way to Louis XVIII, then in exile. How is still greatly unknown, but he did return them to the Crown collection in what he thought was a grand moment of sacrifice. 

There is one of the jewels that was stolen on the very first night that you just might have noticed has a much deeper history. 

Claude Guillot and his merry gang of Rouen men nabbed the Golden Fleece that I mentioned, which included the red spinel Côte de Bretagne, a 32-carat Bazu diamond, as well as a 69-carat blue diamond worth three million livres, which converts to a TON of money. Guillot headed to Le Havre and jumped on a ship heading to London with the Golden Fleece hidden inside his jacket. He removed each stone, visited a few stores looking for buyers, and was quite successful. 

That blue diamond was recut to 45 carats, and you know it today as the Hope Diamond, in the Smithsonian Institution in DC. 

As for what was stolen and what we still have today, it is very little. The bulk of what was returned was sold in the sale of the crown jewels in 1887. (Check out episode 19 for more) 

All but one of the surviving pieces of the Crown Jewels of 1792 that were once held in the Galerie d’Apollon escaped the theft of October 25, 2025.  Placed in the farthest case that the thieves didn’t even touch, thankfully. 

The Regent diamond, one of the most historic of all remaining jewels, as well as the Sully diamond, once known as the Mazarin I survived the 1792 theft but was later given to Madrid by the Directory under Napoleon, then found its way to William Waldorf Astor and was eventually purchased by the Louvre in 1976. 

The five-sided pink Hortensia diamond, as well as the diamond-covered plaque of the Order of the Saint Esprit, are quite impressive, but a few others might not be as sparkly and are still very impressive. 

The Polish Eagle that dates to 1640 includes a large garnet in the center as the breast of the eagle, as well as 149 small rubies, an emerald, a pearl drop, and enameled details in white, blue, and black. It once hung on a chain around a teapot because even your porcelain deserves jewelry when you are the king of France. Stolen in 1792, it was recovered and then stolen again from the Louvre on July 29, 1830, during the Three Glorious Days, but luckily returned in 1832. 

And last but not least, the red spinel Côte de Bretagne, one often overlooked but the most important, even more so than the Regent. When Francois I established the designation of the Crown Jewels on June 15, 1530, one of the eight items included this piece. The spinel once belonged to the family of his wife, Claude de France, who was the daughter of Anne of Brittany, who received it from her mother, Marguerite de Foix.

The spinel stone is sometimes called the “mother of the ruby”. The red hues vary, but the dragon spinel of the Louvre is a darkened raspberry color that is also a bit softer than a ruby. A majority of what we thought were rubies of the 16th century could, in fact, be spinels  

Louis XV had jeweler Jacques Guay turn it into a dragon to be placed in the Golden Fleece, which Claude Guillot stole in 1791. The shape made it hard to sell, so he asked fellow crook Lancry de la Loyelle to try to find a buyer. Lancry turned the tables on him and had him arrested. Even while in jail, he kept trying to find someone through the prison network to buy the spinel.   Word eventually reached Louis XVIII through General Danican and a devout Royalist, who was looking for a little extra favor from what he hoped would be a returning king. The spinel was handed over to Louis XVIII, who kept it in his personal collection until his death, and the government returned it to the Crown Jewel collection. 

Today these jewels are locked away in the bank until a new, more secure place can be created within the Louvre which may take many, many years. 

As for the garde meuble, it eventually became the Hôtel de la Marine and the French Navy's head office in 1799. Much of the collection of furniture, carpets, and tapestries that filled the garde meuble was dispersed into the Musée du Louvre, the Musée des Arts Décoratifs, and into today's Mobilier National. 

On June 10, 2021, the Hôtel de la Marine was opened to the public after ten years of discussion and restoration. You can visit it today, and it’s a must if you are in Paris. Open 7 days a week, the GPS headphone guided tour is fantastic and walks you through the many chapters that the historic structure has lived through. From the theft of the crown jewels, to its front-row seat to the guillotine and the death of the king and queen, to the Liberation of Paris that fought below the windows. 

And they even left the window shade just as it was after the theft. It's the last window on the left. 

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Episode 34 - Saving the Louvre

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Episode 34 - Saving the Louvre

On August 25, 1939, Hitler came knocking on the door of France, and the keepers of the great art of Paris sprang into action. Jacques Jaujard, director of France’s National Museum, and René Huyghé saved the art of the Louvre and planned it for over a year. This is the evacuation that many have heard about, but it wasn’t the first.

In July 1830, the famous Revolution captured by Eugène Delacroix put the Louvre in trouble for the first time. The Louvre opened in 1793 in the midst of the Revolution and survived unscathed since it was given to the people.  On those three Glorious Days in July 1830, Vicomte de Cailleux, a 93-year-old security guard, began removing the paintings from the walls of the Grande Galerie, which hung floor to ceiling. Working through the night, it took dozens of people on tall ladders to move them away from the wall of the Seine. 

Cailleux created a quick sign “Respect the National Property”. As the rioters entered and fired their way through door locks, they didn’t touch a thing. Five months later, on December 21, they pushed their way in again but left the Louvre as it was. In February 1848, as the next king woke the Revolutionists again, another sign was placed at the entrance, and the Louvre was bypassed. 

In 1870, the Louvre came the closest to disaster. On July 18, Napoleon III declared war on Prussia. As troops moved closer to Paris, the first evacuation of the Louvre began, setting the stage for what followed. On August 30, 1870, they worked quickly for 4 days to pack the most precious pieces and send them to a military fortification in Brest. On September 1, the Mona Lisa and Wedding Feast at Cana left the Louvre. Over the next two weeks, 123 crates of paintings, sculptures, and objets d’art would join them. 

On January 6, 1871, the Venus de Milo was moved to a nearby Prefecture on the Ile de la Cité, hidden behind a brick wall, and covered with sandbags. The Prefecture was destroyed, but Venus survived with just a bit of damage to the cement and glue placed between her torso and her hips. A month later, after a treaty was signed, the end was in sight, or so they thought. In the coming months, it was the Revolution within the country again, and one that would destroy many of the historic buildings of Paris. 

In May, for two straight days in 1871, the Palais des Tuileries burned. Flames ravaged through each historic wall, painting, and piece of furniture.  Connected to what we now know as the Musée du Louvre, flames threatened to travel through the Grand Gallery and the national art collection. However, there was a group of men who would do all they could to save what we now hold so dear. Henri Babet de Jouy was a curator of the national museum and would later become curator of the Louvre. Buckets of oil were thrown from the Pavillon de Flore to the Pavillon de Marsan, and across the entire Palais des Tuileries in between. Jouy, with help from Antoine Heron de Villefosse, curator of antiquities, and administrator Leon Morand, did all they could to save the collections on the nights of 23 and 24 May 1871.

The Louvre curators were aided by the other real hero of the moment. Martian de Bernardy de Sigoyer, commander of the 26th Battaillon de Chasseurs à Pied, was called to the Tuileries on the night of 24 May.  As the flames grew closer, he ordered his men to do everything they could to save the Louvre and the art it held. Using whatever weapons they had, they began breaking down doors and windows, and even the roof, to cut holes for the flames to escape. With his men, he would save the Louvre but his own life would be lost that night. 

 Today, a plaque hangs on the wall above the stairs leading to the Daru Gallery, commemorating these great men.  Jouy is buried in Père Lachaise, and with Sigoyer they will forever be known as the saviors of the Louvre.  Most people walk right past and never even notice or know their story. 

The next challenge would come in 1914. On August 1, a few weeks after World War I began, items in the Louvre were moved again. In the afternoon of August 24, the Germans began to advance, and by noon the next day, August 25, which would be a significant day 25 years later, the curators were told to quickly bring down the art. In those days, the art was attached to hooks in order for a quick exit. Three days later, they were told to pick up the pace. They removed large paintings like David’s Sacre de Napoleon from their frames and rolled them onto large cylinders. Along with Venus, many of the treasures were put on a train in the dark of night and sent to Toulouse. The largest painting in the Louvre, Vernonese’s Wedding Feast at Cana, remained, and a faux wall was created to cover it. 

Wooden crates became scarce, and worried curators packed the paintings directly onto the back of trucks and covered them with a tarp. They removed 720 paintings, along with a handful of objets d’art and sculptures. Over the next four years, more and more art was evacuated, but the Louvre remained open to the public, although only a few rooms in the Denon wing. At the end of November 1918, five weeks after the war, the art slowly returned to Paris, and by mid-February 1919 the Louvre was back to normal, although only for the next twenty years. 

The end of the War to End All Wars also left curators and museum officials on edge, and they began to plan for what to do if it ever happened again. Members of the National Museum, including Deputy Director Jacques Jaujard, considered the worst-case scenario: a full evacuation of the museums of Paris. 

Jacques Jaujard

Jacques Jaujard was born on December 3, 1895, and served in WWI for one year before he had to leave the war due to tuberculosis. After the war, he became a journalist, then a secretary to Paul Painlevé, and eventually worked at the Ministry of War, which brought him to the attention of the National Museum in 1925. 

In 1938, the Spanish Civil War raged in Madrid, and the Prado Museum and a committee of high-ranking officials asked Jaujard to help save its art. Seventy-one trucks packed with crates of the Prado collection traveled to Switzerland for safekeeping. It was the perfect trial run that Jaujard didn’t know he would need. 

In August 1938, the Musée National leased two very large vaults at the Banque de France headquarters and began looking at other places in France they could use to store art. The State owned a few châteaux, but they needed many more. Each needed to be secluded but also close to the water in case of fire, and they would shortly learn they also needed to be outside the Occupied zone. 

Hitler had taken power, and his plans were beginning to emerge. The frustrated artist who wasn’t allowed into art school coveted the best pieces in Europe. He brought in the best art experts, who compiled large books filled with pages of art by country to decide what he should take. A few of these books remain, and his path through Europe can be traced through each page. 

On September 22, Hitler took Sudetenland, and the plan was moved to the top of the pile. On Monday, September 26, the Louvre received its official order. The next morning at 6 am, several trucks left the Louvre for Chambord, carrying the most important paintings, the crown jewels, and the Rubens Medici cycle. For the next four days, more pieces left until September 30, when the Munich Agreement was signed, and everyone took a breath. The war was over, or at least they thought it was. Quickly, the trucks returned to Paris. The Mona Lisa found her home again on the wall, and things were calm for almost 11 months. 

On August 23, 1939, Germany and Russia signed a non-aggression pact. On August 24, the museums of London closed, and on August 25 the Louvre began its biggest evacuation yet.

On August 25, the Louvre was closed for “cleaning” for three days. However, what really happened during those three days would alter the dictator's plans and his greedy looting. On those three days, the staff of the Louvre, volunteers, and students worked around the clock removing paintings from their frames, rolled and placed in crates. 

René Huyghe

Jacques Jaujard worked closely with René Huyghe, the curator of paintings. Huyghe was a French writer, art historian, and curator of the Musée du Louvre. Born on May 3, 1906, he studied philosophy at the Sorbonne before attending the École du Louvre. He may not be a household name, but he was part of one of the greatest moments in the history of the Musée du Louvre.  Named the curator of paintings in the 1930s and a professor at the École du Louvre, Huyghe’s life was all about art. 

On August 26 at 1 am the 50 most important paintings were in crates once again. Jaujard and Hughé needed more help, and students from the École du Louvre and theater employees were called in. Gabriel Cognacq, nephew of Marie-Louis Jay-Cognacq and owner of the Samaritaine, also served on the national museum council and brought in all his trucks, crates, and employees to assist. 

Early Sunday morning on August 27, the Cour Carrée closed after an endless stream of trucks arrived in the dark hours. 

When the art was packed, a system of codes and stickers was utilized. For the national collection, MN, Huyghé’s painting department LP, and antiquities LR. Red stickers were added to the top-priority pieces. Two red dots for the most important, green for the most significant, and yellow for the lowest significance. For the most famous painting, Madame Lisa was given three stickers, and her crate was labeled MN. She was then strapped to a gurney and rolled into a truck labeled 2162RM2 that Jacques would then write ahead to the depot to know what to look for.  

On August 28, 1939, at 6 a.m., when all of Paris was asleep, out of the Cour Carrée and onto the Quai were the first 8 trucks, including the Mona Lisa, Seated Scribe, the Crown Jewels again, and 225 other crates. The entire Quai along the Louvre was lined with trucks and drivers waiting for their loads. That same day at 2 p.m., six more crates were left. 

On August 29, the next  23 trucks left. As soon as they reached their destination, they quickly returned to Paris for more precious cargo. Twice a day until September 2, two convoys a day of 9 trucks left the Louvre. Each driver put his life in danger with each mile. 

At first, many pieces were considered too fragile to move. Pastel paintings by Boucher and Degas found their way to the vaults of the Banque de France. Winged Victory, Venus, Diane de Versailles, and Michel-Ange’s Slaves stayed in the Louvre under arches and piled with sandbags. 

At the start of September, the Germans moved into Poland, and the workers were told to move faster. This time, they needed to remove The Wedding Feast at Cana. Taken out of its frame and off its backing, the immense canvas was rolled onto a large oak log, longer than the 20-foot-tall painting. David’s Sacre was rolled once more, but the huge paintings wouldn’t fit in any of the trucks they had on hand. The Comédie Française came to the rescue with large scenery-moving trucks. 

The next issue was Gericault’s Raft of the Medusa. Theodore Gericault used Bitumen, the tarry substance added to paint to deepen dark colors, but since it never fully dries, Huyghé was worried the painting would be ruined if rolled.  The painting was left on its stretcher, carried out of the Louvre and placed on a truck along with a few other large works. Slowly making its way through the streets a large pole was used to lift wires so the paintings could easily move through

Once the caravan reached Versailles, they forgot the trolley lines that are fixed in place. As the painting slid through, a loud crack was heard, and sparks flew. The truck was moved sideways, and the electricity to the entire city was cut, causing many to panic that the Germans had arrived. Magdeleine Hours, a curator at the Louvre rushed to the Château and banged on the door until a pajama-clad curator found the door in the dark.  The Raft and the other pieces were left at Versailles for a few days before they checked the rest of the route. 

On September 1, 1939, World War II began, and the rest of the art deemed too fragile in the Louvre needed better protection. 

The most precious and beautiful, Winged Victory of Samothrace, stands at the top of the Daru staircase. Her 9-foot figure, which weighed 3 and a half tons, was the biggest challenge. On September 2, she was tied up inside an open crate with a system of pulleys, chains, and ropes and was slowly lowered down the 53 steps covered with a few boards as everyone stood by holding their breath. That same day, 95 trucks of 120 crates left, but Victory, Venus, and the Slaves remained. 

On September 3, 1939, England delivered an order to Hitler to stop and leave Poland within two hours. At 5 pm France declared war on Germany. By September 3, 90% of the Louvre was empty, and things quickly stopped. Officials worried the Germans would be on the cobblestones of Paris in days, but by the 6th, when nothing had happened, the project resumed, and convoys continued to move. At the end of the month, Jaujard decided the remaining art wasn’t safe and needed to be removed.
It took until the end of October, on the 29th, when Victory, Venus, and the Slaves left in a convoy of 29 trucks to the Château de Valencay in the Loire. Delacroix’s ceiling in the Galerie d’Apollon was rolled and just behind Victory on its way to safety. 

In just over 5 weeks, 2000 crates in more than 200 truckloads left the Louvre filled with 3,691 paintings and thousands of objects, furniture, and sculptures from not only the Louvre but the Cluny and Carnavalet as well as some high-value personal collections given to the Louvre for safekeeping. 599 crates from Versailles, 1400 from the Musée des Arts Décoratifs, and 6000 crates of private collections.

The Château de Chambord dates back to 1519 when Francois I wanted a hunting lodge on the edge of the forest. He intended to live there, but in the end, he only spent 42 days in 35 years. Its immense size, the largest in the Loire, played a key role in the evacuation of the Louvre. As the art left the Louvre, all convoys stopped at Chambord to be inventoried and then transferred to their final destination. 

Chambord had drawbacks because of its size. It was highly visible from above, and its double staircase, designed by Leonardo da Vinci, made it difficult to move crates of art. The doorways were also quite low, and many were damaged in the process. Delacroix's Apollo ceiling remained, along with the department of drawing collection and the prints given by Edmond de Rothschild. Archivist Lucie Mazauric brought along thousands of books and files from the archive collection, many of which I still benefit from today. 

The Musée de l’Armée houses models of French cities, many created under Louis XIV, also found protection in Chambord. 

Other châteaux include Fougères-sur-Bievre, Chevrnay, Valencay, Louvigny, Courtalain, Chereperrine, Le Pelice, and Ailleres. They thought everything through. Curators and guards traveled with the caravan. When the first convoy rolled through the small towns, the tarped-covered trucks got lots of looks. Many thought the circus was coming to town; little did they know it was the Winged Victory flying through. 

The painting department consisted of 3,691 pieces and had to be split out into multiple locations. They needed to be near each other so curators and restorers could travel quickly as they worked. At the Abbaye de La Pelice and the Château de Louvigny, most paintings were hidden away. Louvigny also had the other large framed paintings. The Château de Chèreperrine held the large rolled paintings, including the Sacre de Napoleon, Wedding Feast at Cana, and Gros’ Napoleon in Jaffa. 

The Raft of the Medusa had to stay in Versailles a bit longer until they were sure they could make the trip safely to Chambord. On the back of an open scenery truck, it garnered attention wherever it went. While the other trucks in the convoy traveled to Chambord, they did so in the dark without lights. Upon arriving at the chateau, they realized a truck was missing, filled with Watteau paintings. They found it the next morning as the sun came up on the banks of the river Loire. The driver mistook the lights on a bicycle for another truck. 

When they packed the Mona Lisa, they wrapped her in special paper to absorb humidity and placed her in a red, silk-lined box. When she left Paris, she left in a hermetically sealed truck. When she arrived in Chambord, National Museum officer  Pierre Schommer passed out due to a lack of air but was thankfully revived. She moved on to the Château de Louvigny along with curator Andre Chamsen. Chamsen was the assistant curator at Versailles just before the war began. Born on June 6, 1900, in Nîmes, he began his job at the Louvre just weeks before the war was a whisper. 

Chamsen met Lucie Mazauric, and the two married on July 26, 1924. When the art moved, so did they, along with their daughter Frederique.  As an archivist, her collection and job were just as important as the art that hung on the walls and what they held in their armoire, the most important piece in the Louvre collection. 

In the Petit Salon of the Château de Louvigny, La Joconde was hidden away and brought out every week to check for any moisture. Daughter Frederique said in the amazing documentary, and what started me on my own journey, The Rape of Europa, that she remembered her father opening it and pulling back the red silk. 

As the war raged on, the locations of the art hung in the balance, and decisions along the way had to be made. In the spring of 1940, the Germans closed in, getting closer and closer. On May 16, 1940, a large plume of smoke could be seen from the Ministry of Foreign Affairs on the Quai d’Orsay as they tossed archives out the window into a burning pile to destroy before the Germans arrived. Jaujard knew the art wasn’t safe and needed to be moved. The isolated Abbaye de Loc-Dieu was chosen as it was 80 miles NE of Toulouse and farther into the country. The threat of being seen moving was far greater than the first time. There also were fewer staff, trucks, fuel, and time to make the move. 

Four paintings were excluded from the move. The Wedding Feast at Cana, Sacre de Napoleon, Napoleon visiting Jaffa, and the Battle of Eylau. It was thought that three paintings depicting Napoleon and the Wedding Feast, being the one he stole, may have a high value to Hitler and the Germans. The one place Hitler had to visit on his one day in Paris was the tomb of Napoleon. 

On May 29, 1940, Jaujaurd and Germain Bazin, assistant curators, built a timeline for moving all the art. A few curators refused to take part, as it was a dangerous undertaking. Once the move began, it took three days because of the busy, horrible roads, but everything arrived on time. 

Over the next 5 years, much of the art moved three times before it finally returned to Paris. The Mona Lisa moved six times, with her caretaker and family moving right along with her. At each location, she had her own room and guards 

On December 26, 1944, the last German bomb was dropped on France, but the art stayed put. On April 30, 1945, Hitler killed himself, and a week later, on May 7, the Germans surrendered to the Allies. 

Now curators faced a new obstacle. The cold and lack of coal in Paris made it almost impossible to heat the large galleries. The cold and rising visitor temperatures caused humidity, one of the worst enemies of art.  

On June 15, 1945, at 5 am the first convoy of art left the Château de Montal. Two hours later, all 3 and a half tons of Winged Victory left for Paris on a truck provided by the British army. It took 9 hours to go the 150 miles back to Paris. 

The next day, Delacroix’s Liberty Leading the People, as well as Boucher and Watteau paintings. At the time of the war, there was no Musée d’Orsay. The collection you see in the Orsay today was once in the Louvre. Along with the French and Italian masters, the Louvre evacuation also included van Gogh, Manet, Monet, Renoir, Cézanne, and all the Impressionists. 

On June 21, Winged Victory was back at the base of the Daru Staircase. The entire staff of the Louvre stood by to watch her make the slow push up the steps that would take over two hours. Of course, they stopped for lunch for 90 minutes before completing her move, and she was once again sitting atop her ship. 

On June 30, Venus and Michel Ange’s Slaves returned. It had been 6 years since they had last seen the inside of the Louvre.  In the following weeks, the rest of the art, antiquities, crown jewels, furniture, and more returned to Paris. Since the Louvre wasn’t ready yet, they held a special exhibition in the smaller rooms off of Winged Victory beginning on July 10, 1945, where 83 paintings, including the Mona Lisa, could finally be seen again. 

While the art was gone, curators worked to restore and conserve many of the most important pieces, although the Mona Lisa was never touched. 

The larger paintings didn’t return until February 1946, and the Belle Allemande joined the Louvre collection after Gorring “traded” for her. Today she is down on the ground level in a side room just off the Cour Leuffel without a mention of her travels

One of the last pieces to return was the one that made the greatest exit. Gericault’s Raft of the Medus, which had such a sparkling start, finally returned on July 9, 1946, from the Château de Sourches with 8 other large paintings. 

On October 17, 1947, after  8 years, the Louvre was finally fully open to the public. 

While it was closed, they also developed a new strategy for hanging the art. Before the war, the paintings were much closer together and stacked on top of each other. Now, after the remaining workers inventoried the frames and the chalk marks on the wall, they planned the new, more spacious layout we see today.

For more, watch the fantastic documentary The Rape of Europa

And read one of my favorite books, Saving the Mona Lisa by Gerri Chanel

I have listed many great books on my website on the subject as well as on the history of Paris, check them out here

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Episode 33 - The Liberation of Paris

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Episode 33 - The Liberation of Paris

There are many events that truly altered and changed the entire trajectory of hundreds of thousands of people's lives. Every five years, we mark the rounded anniversaries of the Armistice, VE Day, D-Day, and the Liberation of Paris. While the clean numbers on the 5s and 10s look good, we should be reminded of many things every single year.

At the end of August 1944, the Parisians had had enough, and after four years of occupation, they were going to take matters into their own hands. 

It all began in the most French way possible: strikes. On August 10, 1944, the SNCF metro and train workers went on strike. The trains had been an integral part of the Nazi looting of art, furniture, and the deportation of French citizens. The resistance frequently blew up train tracks and disrupted the lines as often as possible over the four years of occupation. 

Prefecture of Paris with reminders of the Liberation

After the SNCF began to strike, the Parisian police and national Gendarmes followed on August 15. The next day, La Poste and the telegraph followed. Paris came to a grinding halt.

 Since June 6 and Operation Overlord on the beaches of Normandy, there was a quiet rumble of hope that the end of the war was coming. On July 14, 1944, more than 100,000 people marched through Paris and the surrounding area. For the first time in four years, the people marked the Fête Nationale together and in public, singing La Marseillaise. 

The Germans were not giving up their hold and control. On August 16, after leading Resistance fighters into a false meet up in the Bois de Boulogne, they executed all 35 members, sending a message. Although the writing was on the wall, they still managed to get the last train of deportees out of Drancy, including over 2000 people. 

Everything changed on August 18. Colonel Henri Rol-Tanguy, head of the French Forces of the Interior, known as the FFI.  With the backing of General Leclerc and General de Gaulle, Rol-Tanguy released a plea to the French people ot mobilize and revolt. In the dark of night, posters were hung on walls and published in newspapers, although the collaborationist papers declined to print them. 

The order called for “all able-bodied French men aged 18 to 50, to arm themselves by all means, in particular by recovering equipment from enemy soldiers”; To “attack the enemy wherever they are in the street or in their premises, their vehicles and fuel depots.” They also needed to protect all public services from attack, such as water, gas, and electricity. 

The lack of artillery was a major concern within Paris; Rol-Tanguy counted around 600 rifles up against more than 20,000 armed Germans. That wasn’t going to stop the people. Barricades were built using anything they could find, cobblestones, the heavy iron tree grates, furniture, and even cars.  

On August 19, at the Paris Prefecture in the shadows of Notre Dame de Paris, 3000 of the striking police, dressed in plain clothes, stormed the prefecture and launched the battle to liberate the capital.  The FFI encircled the Prefecture with barricades built on the left and right banks. From the Square Viviani to the Fontaine Saint Michel on the left bank, to the Hotel de Ville and Place du Chatelet on the right. 

The same day, Swedish Consul General Raoul Nordling paid a visit to General Dietrich von Choltitz  at the Hotel Maurice on the Rue de Rivoli.  Choltitz had been appointed the General of Paris by Hitler on August 7, 1944. Nordling was born in Paris in 1882 to a Swedish father and French mother. In 1905, he was named the vice consul of Sweden and later the consul general in 1926. With a gift of diplomacy, he spoke for Sweden with the French. In the later years of WWII, Nordling was a trusted spokesperson, mediating between France and Germany. Trying to urge Goering and Vichy leader Marshal Pétain to convince Hitler to retreat after D-Day wasn’t getting anywhere 

On August 17, the two would meet for the first time.  Nordling was able to negotiate on behalf of the French Red Cross with Choltitz for the release of all of the prisoners in the surrounding prisons. Just 10 days after his arrival, he knew the German position was losing ground quickly.  Choltitz wanted to know what he would get in return. Nordling promised they would release all German prisoners, although Choltitz had no idea it was just a handful of people. Nordling sent trusted aides to the prisons of Drancy, Compiègne and Romainville to order the release. He was too late at Compiègne; the train had already left, but would be intercepted in a few days. Nordling's efforts gave 4,231 people their freedom from the Germans. 

On August 19, in the hours after the FFI took control of the prefecture, the inevitable couldn’t be avoided much longer. Georges Bidault and Alexandre Parodi, leaders of the National Council of the Resistance, wanted to negotiate a ceasefire with Choltitz. The FFI were unwilling to deal and wanted to keep the fight going. They had brought the Germans to their knees on their own before either army arrived. 

Nordling, within a few short days, had proven to be the Choltitz whisperer and asked again to pull off the ultimate win. Representatives from all sides gathered at the Hotel de Ville in central Paris, recently restored to the French. Nordling negotiated between all the parties and by noon had an agreement. 

The ceasefire was to start on August 20 at 3:30 pm and was announced over loudspeakers across Paris. Although many on both sides chose to ignore it and kept fighting. Rol-Tangy, leader of the FFI, said as long as the Germans are in Paris, we will keep on fighting. 

As the uprising poured into the streets, German soldiers with white flags on their cars drove up to the barricades at the corner of the Square Viviani, opposite Notre Dame, and began to shoot and kill anyone they came across. With the reports of arrests of Nazi soldiers on the horizon, they weren’t going down without a fight. 

At the same time, German soldiers had been spending the last few weeks attaching explosives to the many monuments and all the bridges in central Paris. Three tons were brought to Notre Dame, two tons to Les Invalides, and another two at the Arc de Triomphe, all from the direct order of Hitler.  Hitler gave the order to destroy Paris: “Paris must not pass into the Allies' hands except as a field of ruins”.

General Charles de Gaulle returned to France on August 20, landing in Cherbourg at 8 am and heading straight to meet with General Eisenhower. Ike wanted to avoid Paris as he didn’t see it as a priority, and taking the Germans in the city would be a logistical nightmare. At Ike’s headquarters in Tournières,  just outside of Bayeux, De Gaulle met with Ike to try to convince him. General Leclerc arrived earlier and started the ball rolling, and Ike would not budge. 

On August 21, De Gaulle wrote up another plan and sent in an admired general to hand deliver the proposal. General Koenig successfully led the campaign in Bir Hakeim. Over the next 24 hours, the news from Paris and the FFI capture and control of many of the streets and former Nazi strongholds, as well as the likely surrender of Choltitz, convinced Ike they just might head to Paris after all. 

On August 22 at 2 pm, it was agreed between Ike and De Gaulle that General Leclerc’s 2nd Armored Division of the French army, along with the American 4th Infantry, would make their way to Paris. 

Just after 6 am, before the sun rose on August 23, the 2nd Armored Division, which included more than 16,000 soldiers, set off from Rambouillet, 48 kilometers SW of Paris. With 200 tanks and 370 cannons towed to Paris, the drive took nearly a full day. The American forces of 14,000 soldiers included 30 tanks and 350 cannons and one American writer, more on that in a minute. 

On August 24 at 8 pm, before the French and Americans arrived at the capital, a group of Spanish fighters known as “La Nueve” reached the cobblestones first. A part of Leclerc’s 2nd Armored Division made up of 208  Spanish Republican and French soldiers. By 9:22 pm, the group arrived at Hotel de Ville to great applause. Led by Lieutenant Armando Granell, who would also be a part of the downfall of Choltitz the next day.

It was on the 24th that for the first time since the war and occupation, the bells of the churches of Paris began to ring. At 10:10 pm, Emmanuel, the largest and oldest bell of Notre Dame, rang out for the first time, followed by the bells of Saint Sulpice, Saint Germain des Prés and on and on and on. People in the street sang La Marseillaise and screamed Vive la France, although the Germans and armed militia still stood their ground in Paris. 

As the French and American soldiers traveled to Paris, every town and road they passed through was lined with thousands of thankful French citizens. Open jeeps were filled with bottles of wine, champagne, and beer, so much so that once they entered Paris, they were handing it out to anyone who approached. At 7:45 am on the morning of August 25, in southern Paris, the 2DB arrived.  Coming through the Porte d’Orléans and Port de Gentilly. In Paris, the FFI now numbered 20,000, as did the police and security forces.  Later that evening, the British Army and American 4th Infantry arrived.  The 17,000 German soldiers that remained were highly outnumbered. 

By August 25, the tide had turned. The arrival of the French, British, and American armies was more of a parade than a way to bring the Germans to their knees. The FFI had already done that. 

Around 1 pm, FFI soldiers and Henri Karcher of De Gaulle’s army entered the Maurice on the Rue de Rivoli and demanded to see Choltitz. Threatened that he would be tried as a war criminal, he was taken into custody. At the prefecture on the Ile de la Cité where the FFI first rose up just six days before, Choltitz signed his surrender at 2:45 pm. 

 At 5 pm at Gare Montparnasse, with General Leclerc and General de Gaulle, Choltitz ended the occupation by surrendering the German army. Choltitz would be sent to London with other high-ranking German officers while many others were rounded up, arrested, and held outside in the Salon Carrée of the Louvre. 

At 7:30 pm in front of the Hotel de Ville, Charles de Gaulle would make a speech that would follow him the rest of his life and be immortalized in stone and bronze. 

 "Paris! Paris outraged! Paris broken! Paris martyred! But Paris liberated! "

That night, Paris was filled with an energy few had felt in over four years. But the war wasn’t over, and there were still the last German holdouts, and the militia was growing. During the war, the militia, known as Milice and created in 1943, was made up of soldiers and devotees of the fascist Vichy regime. Given carte blanche to detain and deport Jews and others they felt were unworthy of remaining in France with the Nazi ideals. They were given incentives to join and appealed to angry men who also needed money.  

Led by former French WWI war hero Joseph Darnand, who became an SS officer and pledged his allegiance to Hitler, he was told "to create special courts martial to try on the spot" persons caught in violent acts against the state. The law was "without precedent in modern French legal history." 

By the end of the war, others joined in the Militia, including Japanese, Americans, Germans, and many other angry men and women who hid behind masks. 

Durnand was arrested in Italy by the British in July 1945  and later tried and executed for his collaboration. 

(History, you can’t make this up) 

In the final days of the Liberation, the Militia joined the remaining Germans in a fight to the death. There was one man who took on the Militia in Paris. 

Ernest Hemingway was staying in the city of Rambouillet, with his makeshift troop of men composed of Americans and FFI soldiers. As the days to the Liberation of Paris got closer, he wanted to head back to the center of the action and celebration. A convoy of soldiers, including Hem, headed towards the City of Light. 

Just after Noon, Hemingway and his band of men crossed into Paris over the Seine at the Pont de Sèvres. It was August 25. 1944, and the drive into the city was filled with people standing along the road, cheering the soldiers as they passed by. His first stop was to see a dear friend, Sylvia Beach. Living at 18 Rue de l’Odeon, Hemingway came barreling down the street, yelling out her name. Sylvia ran down the street, brought her dear friend upstairs to the 4th floor, and wondered what he could do for her.  Sylvia and Adrienne asked him if he could remove the Germans & militia still firing from the roofs of the Odeon.  Hemingway returned to his liberated Mercedes, grabbed some men and guns, and returned to the roof of her building. Gunfire was heard for a few minutes, then total silence; Odeon was liberated, and the nightmare was over. 

The story of where he went next is a story many “think” they know. 

As the story goes, Hem wanted to be the first American to liberate the Ritz. He pushed his way to get an audience with General Leclerc to ask for men and weapons. Leclerc told him to “buzz off,” but he wasn’t to be deterred. With his driver, Sergeant Red Pelky, and a handful of soldiers and journalists, they swung into the door of the Ritz. With machine guns in hand, he saw manager Claude Auzello and asked where the Germans were. “Monsieur, they left long ago”. He invited them in but had to leave the machine guns in the Mercedes.  

Hem and his men marched into the Ritz Bar and instructed the barman to make them the Montgomery Martini: 17 parts Gin, 1 part Vermouth, which is how British Marshal Montgomery liked to face his Germans: 17 men to 1 German. Everyone, including the Ritz, says Hem himself drank 51 of these alone. In fact, his entire party drank them together. The Bar Hemingway was named in 1994 in the former ladies’ bar space.  The bar where he drank these martinis is now the Ritz patisserie. 

A few years ago, I found a website dedicated to capturing the stories of those who lived through the WWII occupation in Paris and the small towns of France. As the Greatest Generation disappears, it's more important to inscribe these recollections before they are lost forever. 

3 Rue Palatine

One I uncovered I have never forgotten. André Auvinet was a 56-year-old lawyer for SNCF and lived at no 3 rue Palatine across the street from the south side of the Église Saint Sulpice. Auvinet kept a detailed account noting the days leading up to August 26, specifically in his Saint Germain des Prés neighborhood. 

Each morning, he walked with his colleague Tricot down the Rue de Seine to the Pont des Arts. On August 19, he noted that the air in Paris had changed. What had once been calm and quiet, with people hiding in their homes, now carried a bit of agitation. A young girl they passed in the street told them she just saw German soldiers machine-gun a crowd of people on the Rue de Bac. 

On August 20, Auvinet saw posters calling for French aged 18 to 50 to grab arms and join the fight to take back Paris. At the same time, another mass shooting occurred on the corner of Rue Vaugirard with the Germans on the roof of the Senate.  The truce was in place, but they didn’t care. The shots continued in front of the Eglise Saint Germain des Prés up Rue Bonaparte to the Place Saint Sulpice. 

On August 21, the FFI began to outnumber the Germans, but the gunfire increased. People sheltered in the dark corners of their homes as the Germans and militia could be seen on the roofs running from building to building. On August 22, French tanks increased their presence on the Boulevard Saint Germain and Boulevard Saint Michel where the barricades were built. 

On August 23, Auvenet noted “Roof shooters out our window for the 4th night. They were Germans dressed in civilian clothes with women and Asisans of the Darnand Militia”.  The French papers began to publish again on this day, adding a return to normalcy. 

August 24, Auvinet and his wife have dinner, then begin to hear cries and screaming in the street. This time it wasn’t out of fear, a sound they hadn’t heard in a very long time. People in droves were heading to the Hotel de Ville to see General Leclerc. At 10:10 pm they heard the bells of Notre Dame followed by the bells of Saint Sulpice just out their window. 

August 25, “tanks of Leclerc roll through the Rue de Four and Rue du Buci. A walk through the neighborhood that evening, André found the markings of the gunfire along the buildings on Rue Bonaparte, Rue de Fleurs, and one of the worst on the Rue Auguste Comte along the walls of the Lyceé Montaigne. These reminders all remain to this day all over Paris, but especially in the 5th, 6th and the Ile de la Cité. 

On the very early morning of August 26, André and his family left at 3 am to walk to the Avenue de Champs-Élysées to join in the parade led by Charles de Gaulle. 

There isn’t a day I walk through the same streets Auvinet mentioned and don't think about his words. 

On August 26, Paris celebrated the final defeat of the Germans and the end of the Occupation of their city. WWII in Europe would end on May 8, 1945, but on this August day 86 years ago, they celebrated. 

At  3 pm, De Gaulle arrived at the top of the Champs-Élysées. Laying a wreath at the tomb of the unknown soldier and took a brief moment. Shortly after, alongside General Leclerc and other members of the Free French and resistance, he took his tall 6.5-foot stature and strolled down the Champs-Élysées towards Notre Dame. 

Over two million people lined the avenue and the Place de la Concorde. The city may have been liberated, but the German snipers still fired down into the crowd, killing 582 people in the days of the liberation. 

Arriving at Notre Dame, De Gaulle carried on unfazed by the German gunfire. Inside the cathedral, the crowd sang Te Deum as they hid under their hymnals as Germans shot at them inside the church.  

Today at the edge of the Champ Élysées, a tall statue of De Gaulle in a perfect depiction of his wide gate looks ahead. Created by J. Cardot, it was inaugurated on November 9, 2000, the 30th anniversary of his death. Before his death, he expressed his wish that no monuments be dedicated to him. His son later agreed that they should have at least one marking the great man at a very heroic and monumental moment.  On the side emblazoned in bronze are his words of Augst 24,

"Paris, Paris outragé, Paris brisé, Paris martyrisé,  mais Paris libéré."

Around, Paris, over 2,000 plaques are scattered throughout Paris today, and everyone has a story. Below each plaque is a small ring on which the city places a bouquet each year on the anniversary of the Liberation

Paris did not waste any time installing the plaques, and they began to appear as soon as October 1944. Placed on buildings and in parks, family members left flowers and inscribed the walls with memories of those they lost. 

Georges Bailly, a student at the age of 24; Michel Mouchet, a member of the Sapeurs-Pompiers; Jean-Claude Touche, age 18; and Madeleine Brinet, a nurse, and so many more all died for France on August 25, 1944. When you come across these plaques in Paris, stop and take a minute to look at them. The pleasure of strolling the streets of Paris is partly due to their sacrifice.

On the Rue de Seine, on the wall of the Institut de France, is a small niche with a plaque for Commander Louis Helie, killed on this spot on August 19. The 55-year-old resistance fighter survived being captured by the Germans in WWI and fought against them. The niche also holds one of my favorite drawings of a guardian angel by John Charles de Castelbajac.

During WWII many women stood up to fight for France in any way they could and for many years they were left off from the pages of history. 

Marie Madeleine Fourcade, born November 8, 1909, followed the path of most young girls. She attended the Couvent des Oiseaux, where all good girls went to become the perfect wife. At 18, she married Colonel Méric, and five children quickly followed. Being a wife and mother was not all she hoped and dreamed it would be, so she became a journalist at first for the Vichy papers. When she realized what was truly behind the far-right movement, she moved into the Resistance. 

In 1939 she met George Loustaunau-Lacau, a high-ranking official and friend of Charles De Gaulle, and became his chief of staff of the Alliance Resistance.  By 1940, they had to go underground. Marie would become the head of the Alliance and recruited over 1500 people to serve in the network as pilots, couriers, and radio operators. Known as Hedgehog, she was fearless and faced death every day. When the Germans figured out who she was and found her in a chateau and arrived to arrest her, she convinced them she needed to take a bath first. When the officers went outside to smoke, she slipped out the door and made her way to Lyon. 

Arrested in November 1942, she was able to escape on the way to the Castres prison thanks to a few compliant officers. With each attack on the Alliance, she would constantly rebuild the network time after time. Highly decorated after the war, she would live a long life until 1989. 

Cécile-Rol-Tanguy was born on April 10, 1919, in Royan to activist parents. At the start of WWII, she was a “godmother of war,” essentially a pen pal, to a young soldier named Henri Tanguy. The two finally met face-to-face and were married on April 19, 1939. In 1940, they moved to Paris and began working underground for the Resistance. She strolled through checkpoints with her baby stroller, which could be filled with guns, money, and grenades. After changing her name and papers, she stayed one step ahead of the Germans. 

When the war ended, and de Gaulle arrived in Paris and marched down the Champs Élysées, he held a reception in the Hotel de Ville. Cécile was the only woman in attendance, and this was only because of her husband. After WWII, she became a Friend of the Fighting Spanish, and when François Hollande wanted to award her for her bravery, she initially declined. Eventually, she decided she would accept it but only on behalf of the women who had fought in the resistance.

After the war, she and Henri continued their commitment to fighting fascism. With her daughter, she led Les Amis des combattants de l'Espagne république and lived to the age of 101. 

Simone Segouin could be the most recognized of the ladies of the Resistance. Her father worked in the Resistance and in the local government. She was just 16 years old and dared to blow up bridges, lay traps, and damage German held villages. In Chartres, she stole a bicycle, repainted it, and spent a year riding all over the Loire delivering messages.  On August 23, 1944, she took part in the Liberation of Chartres and two days later arrived in Paris for the big fight, the Liberation of Paris. Her most famous image was shot on the streets of Paris. A young girl standing against a wall holding a large German machine gun taken from a soldier. 

Photographer Jack Belden captured this moment on film, and it was featured in Life Magazine, making it the most famous image of the Resistance. After the war, she became a nurse, had six children, and never married. When she was offered the Legion of Honor award, she initially refused it, but accepted it in 2021. Simone lived to be 97 years old on February 21, 2023

Musée de la Liberation


In Paris visit 

The Liberation museum in the 15th http://www.museeliberation-leclerc-moulin.paris.fr/

Musée de l'Ordre de la Libération ( at the Musée de l’Armée)

https://www.ordredelaliberation.fr/fr

Musee de l’Armée  (open 7 days a week) 

​​https://www.musee-armee.fr/accueil.html

1966 Is Paris Burning 

A French Village MHZ choice on apple tv or amazon

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Episode 32 - The Theft of the Mona Lisa

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Episode 32 - The Theft of the Mona Lisa

Six days a week, for 115 years since her theft, more than 30,000 people a day push and shove to snap a photo or selfie with the Mona Lisa, and most have no idea why they even do it. 

On a hot Sunday, August 20, 1911, at around 4 pm. Vincenzo Peruggia entered the Musée du Louvre just like any other visitor. In the final moments, as the museum closed and guards ushered people out, Peruggia slipped into a storage closet between the Galerie d’Apollon and the Salon Carré. With a chunk of cheese, a small bottle of wine, and a baguette, he waited until the dark of night to emerge to begin the heist of the 20th century. 

The portrait of a Florentine woman, painted by a Renaissance master, hung on the north wall of the Salon Carré. She had been placed within a new double frame with glass just weeks before by the man who was about to steal her. 

This was long before the days of cameras and alarm systems, and one could easily hide in the Louvre overnight and wander around; how dreamy.   

The sun rose on Monday, August 21, as our thief prepared for his escape. At 7:30 am, Peruggia emerged from his hiding place in his white Louvre coat, walked past the wall where his stolen loot once hung, took a few steps through the Grande Galerie, and made a quick turn into the Salle des Sept Mètres.  On the right, a door still there today and heavily alarmed hid a small staircase only used on Mondays.  Through the door, spinning down to the Cour de Sphinx, only to be met with a locked door.  Using the screwdriver he brought to unleash our lovely lady from the tomb he created for her, he removed the doorknob, but it only made matters worse. 

It was August, and Paris was quiet as Parisians had fled to the coast and to the south. The remaining employees of the Louvre had just begun to move around for the day. Around 8 a.m., plumber Jules Sauve heard knocking from a door as he walked by. With a wrench, Sauve opened the door and let the man who would become the most wanted thief in the world out, along with the priceless painting. A quick bonjour et merci, and Perrugia walked out of the Cour Visconti with Mona under his arm; he tossed the doorknob into the Jardin de l’Infante and jumped onto a bus. 

The rest of that Monday within the Louvre was business as usual. Floors were cleaned, and paintings and statues were dusted, and nobody noticed anything out of the ordinary. One of the greatest crimes of the 20th century had happened, and nobody noticed.  

On Tuesday, August 21, around 9:30 am, the museum guards began arriving and heading to their posts. At the time, only former military and police officers served as guides in the Louvre, not so much now.  Brigadier Maximilien Alphonse Pauparin (Poh-pour-anne), a guard in the Salon Carré, had served in the French military but had no idea what he was about to face on the morning of August 21, 1911. 

At 10 am, the Musée du Louvre opened its doors. There were no long lines of tourists waiting to get in, just a few loyal visitors and artists coming to wander the Grande Galerie. 

Artist Louis Béroud arrived just after the Louvre opened and carried his easel up the Escalier Daru, giving a little wink to Winged Victory and to the Salon Carré. Béroud, a copyist, was commissioned to paint a portrait of a woman looking at what would become the most famous painting in the world. As he walked to the wall, he noticed a large hole. Between Titian’s Allegorie Conjugale and Correggio’s Mystic Marriage, and below Veronese’s Wedding Feast at Cana. 

In 1911, the paintings in the Salon Carré hung within inches of each other on the wall, much closer than they are now, so a large hole should have been pretty easy to spot.  

Béroud walked over to Pauparin and asked where the portrait was. The brigadier scoffed and said it had to be in the photo studio, as they removed paintings all the time without alerting anyone, and in the middle of the day. 

Without any sense of urgency, Pauparin said he would head down and check. On the way, he stopped for a long cigarette break before popping in. 

In the photography workshop tucked away deep in the basement, Pauparin walked in and asked, “Où est La Joconde?” She’s not here," they responded, “but maybe she was moved to another room.” Pauparin asked a few more people,  then panic set in. It was noon on August 22, and the Portrait of Mona Lisa by Leonard da Vinci had been gone for over 29 hours; they just didn’t know it yet. 

The doors of the galleries of the Louvre slammed shut, and the few visitors in attendance were ushered out the door. The staff was told a water pipe had broken and there was no need to panic. Pauparin, on the other hand, was experiencing a panic attack. 

At the time, Director of the Louvre, Jean Théophile Homolle, was on the Yucatan peninsula on an archeological expedition, leaving Georges Bénédite (ben-ah-deet), curator of the Egyptian department, in charge. At 12:30  pm, two and a half hours after the museum had opened, Bénédite was beside himself and wondered why this had to happen on his watch. Phone calls ran through a switchboard, and to keep the incident on the QT, Bénédite ran from the Louvre to the Palais de Justice on the Ile de la Cité. 

Out of breath, Bénédite alerted the police to the unimaginable. Immediately,  Louis Lepine, head of police, arrived at the now-closed Louvre to investigate. The theft was kept very quiet, but the rumors began to spread. 

At the same time, the police were told a Louvre official sent a letter to the Beaux Arts museum in Quimper requesting their copy of the Mona Lisa be sent to Paris immediately. Painted in Leonardo's atelier by an unknown student, it is thought to be the best copy and the closest to the original portrait we have today. The Louvre thought they could keep the theft quiet and also force the thief to make a mistake, and make it easier to nab. The museum didn’t send the painting and still has the letter in its archives. 

Lepine arrived at the door of the Louvre with dozens of police officers in tow. Passersby knew it was much more than a water leak. Investigators fanned out to every corner of the Louvre, which was much smaller than it is today. When they found the two frames that once held her in the stairwell, they knew the unimaginable had happened.  

The national gendarmerie, the ministers of culture and the interior, and the president of France, Armand Fallières, were alerted. The train stations were closed, and the borders of France were alerted; however, none of that would help find the Mona Lisa. 

One of the first to be questioned by police was a very upset Brigadier Maximilien Pauparin.  About to have a nervous breakdown under the pressure, he was asked about the woman he saw every day. He said, “Mon Dieu, she was there Sunday night when the museum closed.”  

In his years at his post, he saw many things. Lovelorn men brought her flowers and letters pledging their undying love to her, and one man was even said to have killed himself in front of her. I haven’t found any info to back that up, but it does make for an interesting little addition. 

One young German man was so devoted to her that his story spread around the world. There is even rumors that she has her own mailbox at the Louvre, still to this day. 

The police searched high and low for more evidence. They found a partial print of the left hand on the frame casing, but at the time, they had only been taking prints from the right hand. With little to go on, the Louvre thought she might be gone forever. 

In searching the Louvre, and finding the newly created security frame discarded in the stairs that was only used for staff on Mondays, Lepine believed the thief had to have had knowledge of the Louvre and had worked there. Lepine interrogated the staff, and a plumber named Jules Sauve gave the only clue they had. 

Lepine brought in Alphonse Bertillon, who served as the chief of judicial identity and had been working on a new way to identify people through fingerprints and profiling. The entire staff was called in, and fingerprints on the right hand were taken, but one man didn’t show up. 

Meanwhile, the last to know of the theft was the Louvre director  Jean Théophile Homolle, who was deep in the Yucatan forest. Once asked if the Mona Lisa could be stolen, he laughed and said it would be like someone stealing the towers of Notre Dame, impossible. He was on the first ship back to France. 

It was impossible to keep the news out of the press. On the evening of August 22, the story appeared in Le Temps newspaper, and from there it went around the world.  

To understand why this theft and specifically this painting captured the attention of the world, you have to understand what was happening in that moment in time.  Today, this story would have spread online in a matter of seconds, and it did back then, in a way. This was the period known as the Belle Epoque, the beautiful era. Since the end of the Siege of Paris and the Commune of 1871, Paris had fully entered a new age. Each day, Paris had more than 35 different journals, selling an astonishing two million copies, and that was just in France. 

Newspaper and printing presses could now add photos and drawings, and with the expanded train travel as well as wire services, the news and, even more importantly, images could spread quickly and across the ocean.  

In 1858, Luigi Calamatta created the first copper engraving of the Mona Lisa, which was heralded as the best representation of the painting. It was the image that spread around the world, and it's why everyone suddenly knew the face of this mysterious woman from Florence.  

The Louvre closed its doors for a week while the investigation hit one dead end after another. The government called for its own investigation into how this could have happened. In an all-too-familiar scene, played out exactly 10 months ago, all parties involved began pointing fingers at each other. 

Security at the Musée du Louvre had been pretty laughable for quite some time. Reporters hid in a sarcophagus overnight to test the security and even stole small pieces to see if they could get away with it, and they did. 

One week later, on Monday, August 28, the search of the Louvre was finished, and the museum would reopen the next day. It would also be the day director Homelle returned to the Louvre. 

On Tuesday, August 29, 1911, at 10 am, the Musée du Louvre opened its doors to thousands waiting in a two-hour line to enter for a glimpse of the wall where the Lady of the Louvre once hung. Four policemen and six museum guards surrounded the now-empty wall, along with many undercover agents in the crowd, hoping the thief might return.  Of the thousands of people who came, many brought notes and flowers to leave on the distinctive parquet floor. Outside the doors, trinket sellers peddled anything they could with her image on it, and even some entrepreneurial prostitutes hid in the shadows waiting for clients. 

Visitors were also greeted by two very angry dogs, Jack and Milord, and a slew of security guards roaming the galleries. 

On August 31, the ministers of interior and culture called an emergency meeting, and Homelle was removed from his position; Pierre Eugéne Pujalet, who had a background in security and police work, was appointed interim director. 

While the news of the theft spread around the world, poet and art critic Guillaume Apollinaire & Pablo Picasso read the headlines in the paper just like everyone else. 

On September 5, Apollinaire visited the Paris Journal to say he might know who stole the Mona Lisa and turned in the stolen objects. He confessed that a friend, using the fictional name Baron Ignace d’Ormesan, would steal small sculptures from the Louvre. Guillaume and Picasso benefited from his stolen loot and thought they would do the right thing and tell the authorities. 

The two friends panicked and tried to rid themselves of the objects from the Louvre.  At midnight on September 5, the two men packed the pieces into a suitcase, worried they would be captured riding the metro or a bus, and walked from his studio in Montmartre to the Seine River. Once there, they feared being seen and decided to walk back up to Montmartre with the heavy suitcase in tow. 

On September 6, the front page of the Paris Journal ran “L’Affaire des Statuettes,” which also alerted the police, who visited Apollinaire and brought him in for questioning. The thief’s real name was Honoré Joseph Géry Pieret-Belgien, who also worked as a secretary for the writer.  That same morning, police visited the Boulevard de Clichy and Picasso's apartment. 

When questioned, he said he never heard of Apollinaire and was released later that day. Apollinaire wasn’t as lucky and was held for a week. It would be the only lead and arrest the French police had in the theft of the Mona Lisa, and it was a dead end.  The incident would ruin the friendship of the artist and writer and would be one of Picasso’s few regrets in his life. 

In February 1912, the spot that had been left empty was a makeshift shrine until officials decided to move Raphael’s Baldassare de Castiglione into her place.  Close in size and, more importantly, in pose, the subject was arranged much like Lisa. Raphael had briefly seen the painting while Leonardo worked on it. 

In January 1913, the Louvre released its updated catalog, and Leonardo’s Mona Lisa wasn’t part of it. The trail had run cold, and the case had been closed. They believed she would never return home again. 


But what did happen to the Mona Lisa, you ask? 

Let’s go back to the morning of August 21, 1911. 


Born October 8, 1881, in Dumenza in northern Italy, Vincenzo Perugia was the oldest of five children and began working at twelve as a house painter in Milan.  In 1908, Vincenzo moved to Paris, where he became very sick and was hospitalized for lead poisoning, a nugget that will come into play later. He moved away from the painting business and got a job with Maison Gobier, which had worked on the glass and windows of the Musée du Louvre since 1832.  

In 1911, two paintings were slashed, and the Louvre knew its most important pieces needed protection behind glass in new security frames. The Maison Gobier company was replacing windows in the Louvre and was tasked with protecting the paintings. It consisted of French workers and one Italian, Vincenzo Peruggia.  His French coworkers made fun of him and called him Macaroni. 

Each day for a year, Peruggia was up close and personal with each of the Italian paintings that had once belonged to the kings of France. After the Raphael paintings were completed, Vincenzo tackled the Leonardo da Vincis and, of course, the Mona Lisa. This gave him an in-depth knowledge of the future star of the Louvre, although he hadn’t decided to steal her quite yet. 

For days on end, he worked in the Salon Carré and Grande Galerie, removing paintings from the wall as visitors filed past him. As his coworkers' teasing increased, so did his anger. Vincenzo believed Napoleon had stolen everything in the Louvre had been stolen by Napoleon from Italy. It had been close to 100 years since that was rectified (listen to episode 28 for more)  

Peruggia had an idea, and he was going to take a painting back to where it belonged: his native Italy. On these long days, he overheard a lot of people talking about. A painting that nobody lines up and pushes to get a selfie with, but does hang on the wall opposite the other Da Vincis. 

Andrea Mantegna’s Mars & Venus was painted in 1496 for Isabelle d'Este. It entered the Louvre’s collection through Cardinal Richelieu, not Napoleon. The painting is 6 x 5 feet and some change, and had it been stolen, he most likely would not have gotten very far. 

Peruggia realized that the Mona Lisa was a safer bet. It was smaller, he knew how to remove it from the frame, and she was a Da Vinci after all. 

On the morning of August 21, with the Mona Lisa, measuring 2.6 feet by 3.3 feet in tow, he jumped on a bus and headed home.  Vincenzo stayed in his small top-floor apartment at 5 Rue de l’Hopital Saint Louis overnight and into the next day. On the morning of August 21, when it was discovered she was gone, Vincenzo stayed home with the grand lady in his closet. 

When the entire staff of the Louvre was called in to be interviewed and fingerprinted, Vincenzo did not show up. The police and Lepine arrived at his small apartment to question the thief, who let them in and slowly answered their questions. Meanwhile, the Mona Lisa was turned around and propped up in his closet. Lepine never looked around and left without a bit of suspicion. 

Worried he would return, Peruggia left his apartment with Lisa in a case and checked into the Hotel Rive Gauche on Rue Saint Peres in Saint Germain and requested a top-floor room in case he needed to make a quick escape to the rooftops. Hiding in room 603 for three days, he waited for news of the theft to spread through Paris.  

Today it is the Hotel Da Vinci, and you can stay in the room where Vincenzo and his Florentine lady once stayed, with your own copy of Lisa hanging on the wall. 

On Wednesday, August 23, the headline was International news, but not even a whisper of a suspect.  Peruggia felt he was in the clear and returned to his tiny apartment on rue de l’Hopital Saint Louis, where the Mona Lisa had stayed and would remain for the next 28 months. 

For two years, the Mona Lisa returned to her early days, stuffed into a closet without the adoration of thousands, though this time it was a tiny apartment near the Canal Saint Martin. 

In the winter of 1912, Peruggia left Lisa in his apartment, but this time in a box he slid under his stove. A quick trip to London to see art dealer Joseph Duveen, who is hailed as the individual to broker more European art to wealthy Americans than anyone else.  When the short, 5-foot-3-inch Vincenzo walked in, Duveen immediately laughed him out of his gallery. Peruggia returned to Paris and Lisa to her tomb under the stove and waited another year before his final act. 

For all of 1912 and into 1913, Vincenzo went on with his life, although he did not return to his job and stayed quiet and close to home while the world wondered where the Mona Lisa was. 

On November 29, 1913, Vincenzo once again appeared.  This time, in a letter sent to Alfredo Geri, an antique dealer in Florence. It stated that the “Stolen work of Leonardo is in my possession. It seems to belong to Italy as the painter was an Italian. My dream is to give back this masterpiece to the land from which it came.”  Signed Leonard 

Geri was skeptical at best, but contacted Giovanni Poggi, curator, and Corrado Ricci, director of fine arts of the Uffizi. 

Deciding they had nothing to lose, Geri responded and set up a meeting for December 22 in Milan. “Leonard” decided he didn’t want to wait any longer and arrived in Florence on Wednesday, December 12, 1913. Walking into Geri’s shop on the Via Borgo Ognissanti, “Leonard Vincenzo” introduced himself and asked the owner if he was interested in seeing the painting.  

Two hours later, Geri and Poggi were in Peruggia’s tiny hotel room on the 3rd floor of the Albergo Tripoli-Italia. When they turned the painting over and saw the Louvre inventory code MR 316, they knew they were looking at what was now the most famous painting in the world. The thief brought her back to Italy in a large custom-made crate with a false bottom topped with clothes, tools, and a mandolin. The director was shocked to see what was lying on top of her. 

Vincenzo said he wanted 500,000 lira for her (today that is worth 2.2 million dollars). The two agreed and told the thief they wanted it checked at the Uffizi before they paid. As the three men walked out of the hotel, a front desk staff member stopped them. The clerk thought they were stealing a painting from the hotel room, much tighter security than at the Louvre. Once the painting was verified, Geri and Poggi told Peruggia to go back to the hotel, and they would bring the money over.  Vincenzo must have walked back to the hotel lighter than air, thinking all his dreams were about to come true. Instead, the police were called and arrived as Vincenzo lay down to nap and was quickly arrested. 












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Episode 31 - The Birth of the Musée du Louvre

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Episode 31 - The Birth of the Musée du Louvre

Most people walking into the stunningly beautiful and reopened Galerie d’Apollon are looking at the golden ceiling and may miss one of the most important markings on the entire Palais du Louvre. Just above the Iron gates that were once a part of the Château de Maisons is an inscription noting the decree of September 16, 1792, and the opening of the museum on August 10, 1793.

On a warm summer day in the midst of the French Revolution, the Grande Galerie was opened to visitors. A chance to view what once hung on the walls of the great châteaux of the kings. The Musée Central des Arts de la République was opened to the public; you know it as the Musée du Louvre. It was August 10, 1793, the one-year anniversary of a very symbolic day marking the end of the French monarchy. 

At its opening, the museum held 538 paintings, 48 sculptures from the Salle des Antiquities, 39 antique and modern busts, and 29  hard stone tables with 36 hard stone vases, 37 porcelain as well as many bronze clocks, objets d’art, and two large Sèvres vases filling the Grande Galerie, and no Mona Lisa in sight. 

Although it was opened as a gift to the citizens of France, they were only allowed to visit a few days a week. These were the Revolutionary years, and the ten-day calendar was in place. The first five days of the week were for artists and copyists, followed by two days of cleaning; the last three days of the week were for the public. Opening hours depended on the daylight. During the winter, the museum would have much shorter hours as they hadn’t installed lighting yet. 

On that first day, the large doors of the Rotunde de Mars opened. While the people were fighting against the monarchy and blood was being shed in the streets, visitors inside could view paintings by Da Vinci, Raphaêl, Veronese, and Titian. Where did all this art come from? A few weeks ago, I shared the story of the looting of art done under Napoleon and the Directory (episode 28). But the opening collection dates to a much earlier period. 

It all began with Francois I, who changed everything about the monarchy. Rising to the throne on January 1, 1515, at 21 years old, following the death of his cousin Louis XII. He was raised by his mother, Louise de Savoie, with an appreciation of art, architecture, music, poetry, and all things of the Renaissance. During his rule, he began the transformation of the Palais du Louvre into what we know it as today. 

It was on August 2, 1546, 480 years ago, that architect Pierre Lescot was given the task of building a palace fit to reflect the French Renaissance and outshine anything the Holy Roman Emperor Charles V had. Francois I died the next year, but his son Henri II would continue his vision, as did each king that followed. Francois didn’t just want a palace; he also wanted a place to showcase his art. 

With a fondness for Italian art, Francois began to amass many of the paintings of the Italian masters and even a few of the masters themselves. The most famous being Leonardo da Vinci, whom he was able to convince to pack up his paintings and move to France. (For more, listen to the past episode 23). Other artists, including Rosso Florentino & Francesco Primaticcio, also moved to France and worked on the Château de Fontainebleau. 

François I is credited not only with the creation of the royal collection of art but also with the Crown Jewels of France. However, there were a few pieces already attached to the throne when he arrived in 1515. 

Louis XII obtained Fra Bartolomeo’s Noli me tangere, or Le Christ jardinier et la Madeleine, in 1506 from Père Perini, a Dominican monk, and passed it to his cousin Francois I, who would succeed him. Another well-known painting, often called  La Belle Ferronière  by the one and only Da Vinci, also most likely arrived in the hands of Louis XII, a few years before the master himself moved to France. The title of the painting was given by Ingres a few hundred of years after it was painted, when he thought the painting was that of one of the mistresses of Francois. These names stick even if they aren’t correct.

François I by Jean Clouet

Francois gathered many more paintings that sadly didn’t survive. Châteaux were drafty and damp and not the best climate for paintings predominantly painted on wood. Francois hung many of his paintings in one of his favorite rooms, including the Mona Lisa, the appartement des Bains. If you know a little French, then you know that is a bathroom. 

This wasn’t the bathroom we think of today; it was a very large room, with basins but also without running water, fans, or drains. Pretty much the last place you want to hang a portrait painted on poplar wood. Many of the exquisite paintings he once had, sadly, never survived. We don’t even have a complete inventory, but from what did survive the years of steam and humidity, it would have been pretty great. 

His surviving collection includes a few more Da Vincis. The Virgin and Sainte Anne, Madonna of the Rocks & Bacchus are now associated with his atelier more so than Da Vinci. Andre del Sarto’s Charity. La Visititation by Sebastiano del Piomo and Fra Bartolomeo’s Incarnation of Christ. He once had a painting of Saint Sebastian by Bartolomeo that was one of the many lost. Then we have Raphaël. 

The great Italian artist most likely met Francois I in Bologna. The king was also gifted a few paintings by Raphaël from Pope Leo X. Within the Grande Galerie, displayed near each other, the Raphaëls of the king include a favorite Saint Michel Slaying the Demon, La Grande Sainte Famille de François I, La Belle Jardinière, Portrait of Jeanne d’Aragon, Portrait of two artists including Raphaël and unknown friend and Sainte Margarite in honor of the king's sister. 

After the death of François I, his son Henri II acquired a few pieces but didn’t have the fervent passion for art that his father had.  His three young sons who followed barely ruled or lived long enough to collect and were more focused on war than anything else.  

Henri IV didn’t add as much to the collection of paintings, but we can attribute the Galerie du bord de l'eau, built to link the Palais du Louvre to Catherine de Medici’s Palais des Tuileries. Begun in 1595, the 1500-foot-long corridor was used by the young Louis XIII for fox hunts; maybe they should bring back a fox or two in the high season.

After the death of Henri IV in 1610, Marie de Medici made up for lost time. She commissioned large projects, including the Rubens cycle intended for her Palais du Luxembourg. Her son Louis XIII added a few pieces, but it was really a pair of cardinals that ramped up the collecting into overdrive. Cardinals Richelieu and Mazarin each became great advisors to Louis XIII and later Louis XIV. 

Medici Cycle

They commissioned and purchased so much art that they each had to build palaces just to hold it.  Richelieu with the Palais Royal, across the street from the Louvre and Mazarin with what is now the Bibliothèque Nationale de France on the Rue de Richelieu. After each of their deaths, their collections became property of the king of France. 

Their collections were so vast that entire rooms of the Louvre today are filled with sculptures Richelieu once owned, and the Galerie d’Apollon once held the massive collection of glass and hard stone vessels Mazarin acquired. Mazarin had close to 600 paintings that fed into the Royal Collection. 

One of my favorite paintings that once belonged to Cardinal Mazarin. Raphaël’s Baldassare de Castiglione.  In 1528, Castiglione published his “Le Livre de Courtisan,” filled with the stories of court life in Italy, a 16th-century Downton Abbey. 

Today he hangs in the Tribune of the Grande Galerie, once home to the Mona Lisa, a painting he also has a tie to; I’ll share more about that next week. Recently, Baldassare spent a few months in New York at the Met exhibit dedicated to Raphaël, but I was very happy to see him at home in the Louvre this last week. 

Baldassare de Castiglione by Raphaël

While Louis XIV loved music, dance, and architecture, when it came to art he let others tell him what he should collect. German-born collector Everhard Jabach held a large number of paintings and drawings of Italian and Northern artists and sold hundreds of pieces to Louis XIV in 1661 & 1671. He also advised him on art that was for sale in England and other cities he should acquire. In the 72 years of his reign under Louis XIV, only a fraction of less than 5 years were focused on art, but one might never know it when entire books are filled with listings of paintings, sculptures, objets d’art, and drawings he acquired. Jabach’s name is all over the plaques of the Louvre and I wondered for years just who he was. 

Many of the most famous pieces Louis XIV gathered came through Jabach, including Saint Jean Baptiste by Da Vinci, Caravaggio’s Death of the Virgin, and The Country Concert by Giorgione that inspired Manet to paint Dejeuner sur l’herbe. Veronese’s Holy Family with Marie Madeleine in Renaissance clothing. Bernardino Luini’s Salomé receiving the head of Jean the Baptist, one that always catches people's eye. The Man with a Glove by Titian and plenty of paintings from the Northern school, including Hans Holbein le Jeune's recently restored portrait of Anne de Clèves. 

Louis XV added a few pieces to the Royal gallery, including Raphaël’s Virgin with a Veil or Virgin in the blue tiara, as it's more commonly known. However, his focus was more on parties and ladies than art. It was his favorite mistress, Madame du Pompadour, who was a great friend and champion of the artists and began the subtle whispers to create a museum to hold a portion of the Crown's collection. 

Louis XV’s grandson Louis XVI did have an interest in art. A very inquisitive young man who loved to read and create maps, he had an appreciation for art. Seeing a large void within the collection of French art, he instructed his many advisors, including the Comte d’Angivillier, to acquire more French artists. 

There were two paintings in the Royal Collection that became the favorites of Louis XIII,  XIV, XV, and XVI and even traveled to Paris after the royal family was forcibly taken from Versailles. Veronese Pilgrims of Emmaus, painted in 1559. It depicts a scene after the Resurrection of Christ, sharing a meal with a few of his disciples and the wealthy family that commissioned the painting.  Today it hangs on the eastern wall in the view of the Mona Lisa.  

The other painting, Charles Le Brun's, Tent of Darius, was painted in 1661 at the Château de Fontainebleau. The painting depicts Darius' mother throwing herself at the feet of the King of Macedonia. Louis XIV loved paintings and sculptures of great leaders and warriors. 

Both paintings were first hung in the king's bedroom at Versailles, and Louis XVI personally had them included in a handful of paintings he wanted at the Palais des Tuileries in 1791. They would also be two of the first added to the collection on the day the Louvre opened. The Le Brun painting is sadly not on display and was hung in the Élysée Palace until the start of WWII.  

The first museum available to the public opened on October 14, 1750, within the Palais du Luxembourg. Located in the east and west wings, it included Rubens' cycle of 24 large paintings of the life of Marie Medici. It was made up of the leftovers of the Royal collection that weren’t hanging at Versailles and included fewer than 100 paintings and a handful of drawings. Twice a week on Wednesdays and Saturdays, the public could visit for three whole hours. 


At the time of the opening of the Luxembourg, the Royal Collection expanded into over 1800 pieces, a bulk added under Louis XIV. Many were so tightly linked to Versailles it was out of the question to move them. Imagine being the king and sleeping alongside Raphael, Veronese, and Charles le Brun. 

Meanwhile back at the Louvre, when Louis XIV decided to flee to Versailles in 1678, he gave up the Palais du Louvre to the artists and academics. Sculptors, painters, tapestry weavers, engraving workshops, and even a doctor and his son were on hand to give the artists lessons in anatomy. Filling the ground floor and grand galerie of the Denon wing as well as the Galerie d’Apollon and all the way to the Colonnade on the eastern edge, even when it was without a roof. They helped pave the way for the idea of the once grand palais becoming a museum. 

The Musée du Luxembourg closed its doors in 1779 as the future Louis XVIII was moving in. A greater interest in creating a public museum had been gaining traction. None more so than Charles Claude Comte d’Angiviller, minister of the king's buildings under Louis XVI. Beginning in 1775, he started to dream up a plan to fill the long Galerie Bord de l’eau with the greatest art, including portraits of the king and high-ranking ministers and officials. 

Angiviller's idea of a museum lost ground when he was forced into exile on July 28, 1789. He returned a year later to only end up in exile again just before the king and queen would be forced from Versailles. While France was turning away from the Absolute Monarchy and to the rights of the people, a group of Royal Academy artists suggested that art should be added to the three pillars of the new French society. Liberté, Égalité, Fraternité. 

On August 9, 1792 the new government of Paris, the Paris Commune, moved into the offices of the Hotel de Ville. During the night, they met to come up with a plan to “save the state”. Meeting until 3 a.m., one side wanted to attack the king and the other fought against it. Louis XVI wasn’t playing along with the changes in the government, and it was all about to end. 

At 8 am on August 10, 1792, thousands of men, women, and even children armed with weapons charged the Palais des Tuileries. Louis XVI had the 950 Swiss Guards moved inside the palace to guard the family and left 930 gendarmes and 2000 national guards outside to keep the angry mob at bay. One little issue: they had very little ammunition. The royal family was able to escape and ran through the garden to the Assembly for safety.

It was the end of the monarchy as the Legislative Assembly ended all rights of the king. On the same day, they voted to destroy all items and properties tied to the monarchy. The next day, on August 11, a commission was created to halt the process and search for and care for these items of national heritage. 

On September 16, 1792, three years into the French Revolution, the National Assembly of France declared a museum would be created “bringing together monuments of all science and arts”. For the next year, things would move slowly, although art from the churches and emigrant families that left France had already begun to be amassed.

In 1793, the Royal Academy of Paintings and Sculpture created the General Commune of Arts led by Jacques Louis David and Jean Bernard Restout. The Royal Academy would be disbanded, as it was tied to the monarchy, but the artists still united now to form a museum.  Many believed the new museum also needed to be a place for the artists themselves. One where they could copy the masters, learning the very techniques that would hopefully one day see their art in the national museum. 

Artist Jean François Garneray even suggested a library be added to the museum for the artists to study art history as a fundamental portion of their education. 

All were in agreement that the museum should not have a political agenda of any kind, just a focus on art and the artists themselves. I think we all know how that works out. 

Jean Marie Roland de La Platière served as the Minister of the Interior from the very day that the Monarchy fell until just after the death of Louis XVI. He proposed a new idea for a museum that would be smaller in scale and should be known as the Musée Girondin for the political party he founded. Paintings of historical matters would be admitted on approved subjects.  Roland appointed a group of artists, many of whom were a part of the General Commune of Arts as well as many former members of d’Angiviller’s circle. 

To say the museum opened in turbulent times is an understatement. On January 21, King Louis XVI was guillotined; the Girondins and the Montagnards were fighting for power. Ending with the arrest of the Girondins on June 2. War in the Vendée, the Death of Marat on July 13, and the imminent trial of Marie Antoinette. 

Roland was replaced with Dominique Joseph Garat as Minister of the Interior and announced that the museum would open on August 10, 1793, the same day as the 1793 Salon, and marks the one-year anniversary of the fall of the monarchy.

The original museum was much smaller and different from the stunning temple of art seen today. Much of the art was added and in place by the start of February 1793.  While there were over 700 pieces in the Grande Galerie, only half of the space was used. The gallery itself was in bad shape, and all plans to restore it before opening were abandoned.  Lighting was an issue, and at the time the ceiling was solid and without windows. Only the side windows were used and didn’t adequately light the space, and also the southern windows let in damaging direct sunlight. 

Between each window or bay, only twenty-eight sections were used. On the North side from the door of the Salon Carré, seventeen bays were used, and on the south side just nine. Partition walls were added to shrink the space. The three hundred-year-old floors creaked and at times even gave way just enough for objects displayed on tables to fall off and break. 

The majority of the 538 paintings were split between the Northern School and Italian masters. 190 of the Northern School, including Van Dyck’s Venus Having Arms Forged and plenty of Rubens. The Italian masters included Da Vinci, Raphaël, Titian and  Veronese of course. France was represented by Nicolas Poussin, Champaigne, Eustache le Sueur and Charles le Brun and many more. The day after the decree was signed, the commission removed all of the paintings held at the Château de Versailles and brought them to Paris. 

The paintings were hung with the largest at the top of the wall, with the smaller at eye level. They filled each bay, almost from frame to frame 

While the museum opened on August 10, 1793, it didn’t last long; in fact, it only opened for one day. On August 11, the doors closed and didn’t reopen again until November 18, 1793. Outside, the Terror was raging through Paris and the government was in total disarray. 

The Palais du Louvre survived the anger of the Revolution and Terror unscathed. The supreme figure of the royal family of Paris was left without a mark because it was given back to the people of France in the middle of one of its darkest times. 

The museum had to close on April 26, 1796, when the building was falling into disrepair. It was one thing to have a public palace turning into a shrine to art; it was another to dip into the purse of the government to keep it going. Over the next five years, it would open and close many times until July 14, 1801, when it was once again fully open for everyone to visit. 

As time went on, more and more art was added to the museum. The Château de Versailles held all of the art and paintings of the French school while the Louvre focused those first few years on the International school, mostly made up of Italian and Northern European artists.  

In November 1800, the Musée des Antiques moved into the summer apartments of Anne of Austria below the Galerie d’Apollon and was inaugurated by Napoleon. He would, of course, rename it the Musée Napoléon during his rule and even bring the Mona Lisa to his bedroom in the Palais des Tuileries. 

Today, when you visit the Louvre, the Grande Galerie is still filled with the paintings that were picked and adored by the kings of France. However, on this date, August 10, 1793, 233 years ago today, the birth of my beloved Musée du Louvre came to be, and she continues to evolve and grow.

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Episode 30 - The Vow of Louis XIII and Notre Dame de Paris

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Episode 30 - The Vow of Louis XIII and Notre Dame de Paris

Almost 2 years ago, the Cathedral Notre Dame de Paris reopened once more to the faithful.  The devastating fire of April 15, 2019, damaged much more than just the roof and spire; it also broke the hearts of people around the world. 

Under thé 12th and 13th-century roof once known as the forest, inside the stone walls, hold countless historic pieces of art, stained glass, and statuary. Within the choir, a set of three statues marks a historic moment in French history dating back to the 17th century that is still remembered every year to this day. 

Louis XIII, son of Henri IV and Marie de Medici, was hoisted to the throne on May 14, 1610, after the death of his father. His mother would step in as regent until he came of age, plus three more years. After the death of Hot Legs Henri IV, in an effort to repair the fractured relationship between France and Spain, Marie de Medici orchestrated the “exchange of the princesses”. In March 1612, her daughter, Elisabeth de France, was betrothed to Prince Phillip IV of Spain and his sister Anne d’Autriche to the Dauphin, Louis XIII.  

The big exchange would occur three years later on November 9, 1615, on the Ile des Faisans  between France and Spain and captured in Rubens ’ Medici Cycle of the Louvre.  Married by proxy on October 18, they would finally meet face to face at their wedding celebration on November 21, 1615, in Bordeaux. 

Anne and Louis were both born in September 1601, five days apart, and barely 14-year-olds the evening of their nuptials. Marie de Medici and other officials stood in the royal bedroom waiting for the young couple to consummate the marriage. Unsure of what to do, the night was a disaster, and depending on the account you read, its unsure if it was a success. Either way, it left the future king and queen of France traumatized and took at least four years before they shared a bed again. 

The new princess had little interest in anything French and surrounded herself with Spanish ladies in waiting, asking for Spanish foods and dressing in Spanish clothes. Mommy dearest Marie de Medici eventually put a stop to that and expelled anything and anyone Spanish from the Palais du Louvre. An heir to the throne was needed, and now it involved the many advisors to the king. 

Without an heir to the throne, other family members could have their own dreams of royalty, and the clock was ticking. Anne did become pregnant a few times, and all ended in miscarriages. For her part, Anne, who was very pious, had many abbeys, monasteries, and churches built, including Saint Sulpice and Val de Grace in hopes that God would bestow a child onto her, and he may have done just that. 

Window of Notre Dame des Victoires

On October 27, 1637, Friar Fiacre de Saint Marguerite at the Basilique Notre Dame des Victoires in Paris had a vision of the Virgin for four days. Mary told the friar that God was going to give France a son and that he needed to tell Queen Anne, who had now been married for 23 years, and she would need to visit three specific churches to pray. At each, the Notre Dame de Paris, Notre Dame des Victories in Paris, and Notre Dame des Graces in Cotignac , she must pray and ask for navenas of the rosary. 

From November 8 to December 5, 1637, Louis XIII and Anne traveled to the three churches, doing just as she was told. A month later, Anne discovered she was pregnant; today they believe that December 5 was the day of conception.  However, there are two alternative versions of this miraculous moment, both of which might not even be true, but both are pretty great. 

True love between kings and queens was a rarity. Marriages were about property, money or power and never love. The relationship between Louis XIII and Anne was no different. If the two slept together, it was out of obligation, but they always had separate bedrooms. On December 5, 1637, the King had left his small hunting lodge at Versailles to head to the Château de Saint Maur, on the eastern side of Paris. 

As Louis passed through Paris, a storm rolled in, flooding the streets. His carriages headed to the Louvre to stay the night and ride out the storm. Then in the sultry candlelight of the stone walls of the Louvre….. Well, you know what happens next. 

Scenario no. 2 brings in Cardinal Mazarin, the close advisor to Louis XIII, who had become a confidant and friend to the queen as well. Some thought, very close. Many rumored that the Sun King was the result of that close relationship, but Mazarin was in Italy at the time, which would throw a whole Da Vince Code kink into the Royal Lineage of Louis XIV. 

Anne d’Autriche by Jean de Saint-Igny

Louis XIII first wrote of a Vow as early as 1630 and in Latin at that. Seven years later, he returned to the Vow under the influence of Cardinal Richelieu and Joseph du Tremblay. The long-running French Wars of Religion ended after more than 36 years in 1598, but the effects lasted far longer. Richelieu and Tremblay, known as shadow leaders under Louis XIII, believed a formal decree would help move the church forward. 

On November 11, 1636, the Spanish & Bavarian troops surrendered to the French at Corbie in the midst of the Thirty-Year War. A year later, in December 1637, the repeated wars with the House of Habsburgs and Ferdinand II led the king and his shadow advisors to bring the Vow back to the forefront. 

Add in the desperate need for an heir to the throne, it was also around the same time that Anne of Austria was finally with child. 

On February 10, 1638, in the Château de Saint Germain en Laye, King Louis XIII signed the decree putting “his state, his crown and his subjects”  under the protection of the Holy Virgin with a celebration each year on August 15, the Assumption of the Virgin. 

The decree also stated that every Catholic church in France had to devote the largest chapel sitting behind the choir to the Virgin Mary. The highest honor would go to the Cathedral Notre Dame de Paris, where the choir itself would be transformed, and a sculpture to represent the Vow would be created. 

The first ceremony was celebrated on August 15, 1638, in the Minimes Convent chapel of the Virgin in Abbeville in the north of France. Followed by a long procession through the streets with Louis XIII and Cardinal Richelieu leading the way.  The same day, Monseigneur de Gondi performed the same consecration in Notre Dame de Paris. 

On September 5, the same year Louis Dieudonné was born at the Château de Saint Germain en Laye. From his birth, Louis Dieudonné, meaning God given, could only be destined to become one thing: the Sun King of France. 

Louis XIII jumped right into the dedication and immortalizing the Vow in art. He commissioned paintings he hoped to place in notable cathedrals. 

One of the best representations of the Vow is the painting and the first commission of the event from Louis XIII to the painter Philippe de Champaigne in 1638. Commissioned to be hung on the southwest transept of Notre Dame, Champaigne, the personal painter of the king and Cardinal Richelieu, beautifully links the king to the life of Christ. On the right, Christ lies against the legs of the Virgin while a small angel holds his arm and wipes away a tear. Above, a choir of angels looks down with a glowing light behind them. On the left, Louis XIII in full coronation robe kneels before Christ and presents his crown and scepter. Removed during the Revolution, it would be sent to the Musée des Beaux Arts in Caen in 1803 after the Concordat. 

Another version commissioned by the King, painted in 1638 by Simon Vouet,  and originally placed in the Église Neuilly Saint Front. Christ is on the cross, and on the lower right, Louis XIII kneeling in devotion. Jean and Mary Magdalene are on the left. 

The 1638 Vow wasn’t the first one Louis XIII dedicated. Ten years before, during the Siege of La Rochelle, with Cardinal Richelieu at his side, Louis XIII pledged that if they were successful, he would have a church built and dedicated to the Holy Virgin and be named the Notre Dame des Victoires.  The same church that the royal couple would visit in 1637 under the orders of the Virgin herself. 

In the back choir, a painting by Carl Van Loo commemorates the earlier 1628 Vow. Painted under Louis XV in 1746. Louis XIII, on his knees, holds his hands open as the Virgin above hands a palm frond to the king. On his left, Cardinal Richelieu looks back at the military and religious leaders, and on the right of the king, Jean Guiton, the Alderman of La Rochelle, presents the keys to the city to the Virgin.  Removed during the Revolution, the painting found its way to Versailles, which refused to return it to the church. Napoleon made a call, and the painting returned to the church where it belongs the next day. 

In the transept high above the chapel of Saint Augustin, a stained glass marks the importance of the church, now a basilica, on Louis and Anne and the promise of the next king. 

Louis XIII on the left kneels and presents his crown and scepter while Louis IX presents the ultimate crown, the Crown of Thorns.  The Virgin and Child in the center above an altar with the crest of the king of France surrounded by the Order of the Saint Esprit insignia.  Anne d’Autriche kneels on the right with Sainte Anne, the mother of the Virgin at her side. 

On the lower left, the scene of Brother Fiacre in prayer as the Virgin and Child came to him in a vision foretelling the birth of a child to the royal couple. On the right, Anne sits on her throne as the Cardinal de La Rochefoucauld comes to hear the news. Created in 1854, it was commissioned and donated by Sosthènes II La Rochefoucauld, descendant of the Cardinal and his wife, Yolande de Polignac, daughter of Jules de Paulignac, who was involved in the Three Glorious Days Revolution in last week's episode.

The church was elevated in 1927 to the title of Basilica and is home to more than 37,000 ex votos. Located a few blocks from the Palais Royal, it’s a must see in Paris, and I will share more soon. 

Other depictions include a lithograph by Abraham Bosse in 1638 with Louis XIII with crown and scepter on the left and Anne d’Autriche on the right presenting the newborn Louis XIV. 

Louis XIII had health issues most of his life; chronic stomach issues as well as bouts with tuberculosis ended with his death on May 14, 1643. The same date as his beloved father, Hot Legs Henri IV, in 1610. His wish of having the great choir of Notre Dame would not be fulfilled before his death. 

Louis XIV hadn’t even hit his fifth birthday at the time of his father's death. On March 25, 1650, at the age of 12, Louis XIV announced that he would renew his father's wish. 

Philippe de Champaigne painted a second tableau in 1650 marking Louis XIV's renewal and promise of the Vow his father had made in 1638. Louis kneels and presents his crown and scepter, just like his father had to the Virgin and Child. Behind him, his younger brother Philippe d’Anjou and his mother Anne were dressed in a morning gown.

On February 21, 1660, Louis XIV and his mother returned to Notre Dame de Graces in Colignac, praying and thanking the Virgin for his life. 

On June 7, 1660, in the village of Cotignac in the Var, shepherd Gaspard Ricard came across an old man who told him that under a large stone was a water spring. It had been known that the entire area was dry, and no source could be found for miles. 

A large spring began to rise from the earth. Just 3 km from the vision, Notre Dame de Graces, a chapel dating to 1519, became a pilgrimage site for followers, including the king. 

While Louis XV renewed the vow again on March 25, 1650, it would take 60 years to begin to bring the wish to life.  Wth the insistence and money of Cardinal de Noailles the project finally began in 1699, 61 years after the Vow. 

On December 7, 1699, following Mass, Cardinal de Noailles laid the first stone of the new altar, marking the beginning of the work on the choir of Notre Dame de Paris. A plaque was added: “Louis Le Grand, wanting to fulfill the vow of the King, his father, and add a mark of his piety, had an altar made in the Cathedral Church of Paris, with its ornament of a magnificence above the first project.” Gold medallions of the two kings were added at each end of the altar. 

The work on the choir began under the king's architect Jules Hardouin Mansart with a lavish Baroque altar and canopy much like the one you can find in Val de Grace today. Mansart passed away on May 11, 1708, before the work was complete. His son-in-law, Robert de Cotte, completed the vision of the entire choir, adding Campan red and green Languedoc marble and an Egyptian marble altar.

The choir is crowned by three sculptures representing the Vow, created by the Coustou family. Louis XIII had specifically requested that a statue of the Virgin and Christ be added as the central part of the holiest part of the cathedral. 

The original altar was destroyed in the Revolution and a new one added by Viollet-le-Duc in the mid-19th century. To the right of the altar, Louis XIII, carved by Guillaume Coustou, kneels and presents his crown and scepter to the Virgin and Christ. Using the earlier paintings for reference, although for Notre Dame, Christ appears after his death and not as a young child, also projecting the importance of the Vow throughout the years. 

On the left, Louis XIV wouldn’t be Louis Dieudonné if he didn’t also include himself in the scene. On the left, Louis XIV, with his trademark curls and his Bourbon crown at his side, holds his right hand to his chest and extends his left toward the Pietà. Created by Antoine Coysevox, uncle to the Coustou brothers. 

Both kings were completed in 1715 and placed within the choir. 

The Pietà, a fixture in Catholic churches and often varied. Nicolas Coustou, who won the prestigious Prix de Rome in 1682, spent countless hours studying and sketching Michelangelo’s Pietà in the Vatican. In his own interpretation, the Virgin Mary gazes towards the heavens with arms outstretched reminiscent of the cross, while her son rests against her legs. Two angels flank them, their eyes turned toward the mother and son.  Before the Revolution, the Virgin’s upward gaze met a sculpted angel and a marble cross rising behind her.

The Pietà took longer to complete, with Nicolas Coustou finishing it in place within Notre Dame in 1723. The choir design was finally completed at the same time, eighty years after the death of Louis XIII and eight years after the death of Louis XIV. 

During the Revolution, the two kings were removed and taken to the Petit Augustin by Alexandre Lenoir, who single-handedly saved many of the important monuments of France.  From there they were taken to Versailles in 1815 and eventually placed in the Louvre in 1849. Under Viollet-le-Duc, they returned to the choir of Notre Dame on July 4, 1861. 

The statues and cross that once hung over the pietà, were destroyed with the altar in 1790 during the French Revolution. For over two centuries, Notre-Dame was without a cross behind the Pietà. That changed in 1994, when Cardinal Jean-Marie Lustiger commissioned a new one. 

Created by artist Marc Couturier, the six-meter-tall Cross of Glory, gilded in gold leaf, was inaugurated on October 16, 1994.  Above it floats a delicate, white-gold gilded fish, symbolizing the soul.

The day after the fire, when we got our first glimpse inside the cathedral in photos, there she was. The Pietà in front of the large gold cross, with each king on either side, rising above the embers.

Surrounding this sacred scene are six bronze angels holding the Instruments of the Passion: the Lance, the Rods of the Flagellation, the INRI inscription, the Sponge soaked in vinegar, the Nails, and the Crown of Thorns. These were designed by Antoine Vassé and sculpted by several artists: Claude Cayot, Corneille Van Clève, Poirier Simon Hurtrelle, Philippe Magnier, and Anselme Flamen.

During the Revolution, on August 14, 1792, the Vow was abolished. In August 1814, Louis XVIII reestablished the Vow once again within a crumbling Notre Dame de Paris. Louis Philippe decided to abolish the Vow in August 1831.  In 1922, Pope Pius XI announced that France would once again recognize the Holy Virgin as its Patron Saint and the Vow of Louis XIII. 

For more than one hundred years, she has remained the Patron Saint of France. Former Archbishop Jean Marie Lustiger called for the procession to return to the Assumption of the Virgin celebration beginning August 15, 1988. 

Today, this ensemble remains not only a profound artistic and devotional centerpiece but also one of the few poignant reminders of the 2019 fire. A keen observer might notice, nestled in the right hand of Christ, a small bit of melted lead—fallen from the burning roof. It is a subtle yet powerful nod to the tragedy of that night, and to the resilience and beauty that rose from its ashes, perhaps renewing the Vow of Louis XIII once again.

The vow is still celebrated at Notre Dame each year for the  August 15 celebration of the Assumption of the Virgin. 

The reading of the Vow will be on Saturday, August 14th at the end of the Mass for the Assumption in Notre Dame de Paris at 8:15 pm (the Cathedral is only open for prayer that afternoon and the 15th). 

Today you can see the sculptures through the beautiful iron gate recreated under Viollet-le-Duc. You can enter the choir, but just for prayer, and no phones are allowed. 

September 22, 2018, before the fire.

 On a visit to Paris in 2018, I stayed near Notre Dame so I could visit every morning after it opened at 7:45. I wanted to research every single inch of the historic cathedral. Before the fire, the mornings were very quiet. Normally, just a few people were cleaning and getting ready for the morning Mass. Each day I would poke my head into the back gate of the choir, dying to get a closer look at the statues and decoration. Knowing it was reserved for prayer, I never wanted to disrespect the space. One morning, after two weeks of visits, I saw a sweet man cleaning the floors, and we were so familiar that we always had a quick bonjour and smile and went our separate ways. 

This one morning, my sweet friend saw me pass by the choir gate, rested his broom against the column, walked over, and asked if he could take me inside.  For a few minutes I stood within the choir in complete silence and looked at the statues created under the wishes of two kings and dedicated to the Queen of the Heavens. 

It is still a moment I will never forget and one of my very favorites, and one I think of every time I am in Notre Dame.

Listen to the full episode here

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Episode 29 - Liberty Leading the People & the Three Glorious Days

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Episode 29 - Liberty Leading the People & the Three Glorious Days

The most recognized painting by the Romantic master Éugène Delacroix, La Liberté Guidant le Peuple au 28 Juillet 1830, depicts the event of this day, 196 years ago. Painted in 1830 for the Salon of 1831, the painting commemorates the Paris uprising of 1830, known as the Trois Glorieuses  (Three Glorious Days), which ousted King Charles X. 

France's timeline is marked by more than one Revolution. Most know of the big one that resulted in the beheading of Marie Antoinette & Louis XVI, which began in 1789. Four decades later, the people would rise up again against the brother of Louis XVI. After the fall of Napoleon in 1814, the Bourbons returned. First with Louis XVIII in 1814 and again in 1815 after Napoleons less than triumphant return, and ruling until his death on September 16, 1824. Without an heir, Louis’s brother the Comte d’Artois would take the name Charles X and the throne of France. 

Charles X started strong with removing the censorship of the press; his reversal of that six years later would be his demise. A lover of the arts, he added his own museum within the Louvre dedicated to Egyptian antiquities, created in 1826 and advancing the purchasing of collections to add to the Louvre. The rooms of Charles X still stand today with lavishly decorated ceilings and are filled with Egyptian and Roman antiquities and are steps away from the Galerie d’Apollon. 

While Charles X's rule began with popular measures, he would eventually return to the more monarchical ways of his Bourbon roots. Citizens began to realize that things were not getting better as promised. Unemployment was high, food prices were soaring, all leading to rising poverty, and the generation made up of the children of the French Revolution was tired of it. 

Charles X by François Gérard

To gain control, Charles X wanted to restore the Absolute Monarchy, the same one that ended with his older brother, Louis XVI. Clearly Chuck forgot how that worked out for Louis. The parliamentary government of the Chamber pressed back against him when they convened on March 2, 1830. Believing his announcement of entering Algiers to reclaim the port would unite everyone behind him. 

Charles X made many missteps along the way, including putting Prince Jules de Polignac in the role of the President of the Council of Ministers.  If the last name sounds vaguely familiar, it may be because of his mother. Polignac was born on May 14, 1780, and raised at Versailles. His mother, Madame de Polignac, was besties with Marie Antoinette, a relationship that alienated many at court and even spread rumors of an affair. Madame de Polignac was also very close to the Comte d’Artois, future Charles X, even spreading the rumors that he was the father of Jules de Polignac. 

After fleeing Versailles and France during the Revolution, he remained in close contact with Louis XVIII and Charles X. When the Bourbons returned to Paris and the throne, Jules was one of the most trusted advisors and would ascend through the government. 

When the people began to mistrust the king and government, having such a close reminder of the major Revolution and the monarchy's excesses would work against Charles. The ministers and chamber members quickly backed away from the crown and sided with Adolphe Thiers and the more progressive members, who were becoming increasingly outspoken.   

After the king's announcement at the opening and the backing by Polignac, a vote was held a few days later. Known as the Address of 221, in regard to the 221 votes for and 181 against the king's decrees. In response, on March 19, 1830, the king suspended meetings and adjourned the chambers, sending them all home. Sitting on it for two months, he eventually dissolved the entire chambers on May 16, 1830. 430 chamber members were all out of a job. He set a new vote for July 5, 13 & 19, at which 430 new officers would be elected, with the majority being the Liberal party and the Ultraroyalists, led by Polignac, in the minority. 

Jules de Polignace by François Gérard

Charles X was really upset at this point and, in response, issued four decrees that would put the nail in the coffin of his reign. Issued on July 25, the first would cripple the press, essentially ending the freedom of the press by ordering that journalists and papers had to have a license issued by the king.  The second, once again, dissolved the Chamber of Deputies and called for another election in September. The third would change the election law altogether, and the fourth would give the king full power to appoint his Ultraroyalist members to any office he wished.  (Any of this sound familiar?)

On Monday, July 26, more than 50 newspapers were forced to stop the presses, but not all of them obeyed. Many published articles spoke out against the king and the crackdown on the press, provoking further ire at the throne. 

The next morning, the press gathered and vowed to fight back. Claude Mangin. Prefect of Paris and another good ol’ boy of Polignac and the King, was ordered to seize their presses from the twelve newspapers that published pieces overnight against the king. As the officers of Mangin arrived, they were met with workers who were waiting for them and were not going to go down easily.  

By the afternoon, one by one, the editors, owners, typesetters, journalists, and printers began to march into the center of Paris. The Place Vendôme, Place de la Bastille, and Place du Carrousel saw large crowds of outraged citizens that the police were no match for. 

July 28, the pivotal day of the uprising, brought everyone together. People traveled from outside of Paris to support and speak out against the King and Polignac. What made this Revolution different than the one at the end of the 18th century is that it united everyone. The rich, the poor, and even past supporters of the king and monarchy. 

On the Rue de Richelieu, across the street from the Palais Royal, sat the gunsmith Fauré le Page, who had serviced the crown since Louis XV, including Charles X. On the morning of July 27, third-generation owner Jean André le Page and his employees worked around the clock to melt down and forge weapons and ammunition to give to the protestors to fight against the Garde Royal.

With weapons in hand, the crowds gathered in front of the Hotel de Ville, and the Garde Royal was quickly outnumbered. The angry crowd gathered every cobblestone and projectile to build barricades, and also tossed them at the police force. At 1:30 p.m, the crowd entered the Hotel de Ville, seized control, and raised the tricolor flag. 

The significance of this moment and the return of the French flag we know today marks the symbolic end of the Bourbon reign. The tricolor flag was adopted in February 1794, in the midst of the major Revolution. Prior to that, the flag had been solid blue or white with fleur de lis or white with the coat of arms of the monarchy. To rid itself of anything associated with the king, the Tricolor flag was created and inspired by the ribbon cockades the fighters wore on their hats at the time. 

The colors have many meanings and have changed in size over time until Napoleon decreed they should all be the same size. The bleu for Paris, the bourgeoisie, and fraternité. Blanc for Saint Martin, the clergy, egalité, and the Royalists. And finally rouge for the city of Paris or Saint Denis, the nobility, and even liberté. You can take your pick, as there are many versions. 

When Louis XVIII and the monarchy returned, so did their blue flag with fleur de lis, so the triumphant moment the tricolor returned in 1830 was quite significant. A fantastic painting at the Petit Palais by Léon Cogniet  captures the transformation of the flag from the Bourbons to the flag we know today that also represents the 1830 uprising. 

As the sun rose on the morning of July 29, the Royal Guard, King and Polignac knew they had been beaten. A third of their 8,000 soldiers had been killed, and they were outnumbered, with even more protestors arriving overnight.  Charles X and Polignac fled to the Château de Saint-Cloud and discussed how they would survive this. Other leaders were proposed for the chamber, but back in Paris, Adolphe Thiers and the leaders of the liberal party weren’t having it. 

Before Restoration

The Marquise de Lafayette, war hero and member of the chamber, had been opposed to Charles X and his move to absolute monarchy. At the start of the uprising, Lafayette was hoisted as the leader of the newly restored National Guard, even at 73 years old.  As the hours ticked by on July 29, leaders including Thiers and Lafayette met with the Duc d’Orleans in the Palais Royal, and put their support behind the “man of the people” 

On July 30, the deputies voted 47 to 3 to name the duc d’Orleans the Lieutenant General of the Kingdom. Meanwhile, Charles was still holding tight and naming his own government.  It took quite a bit of convincing, but the duc accepted on July 31. Charles X would finally abdicate the throne on August 2 but tried to name his son, Louis de France, Louis XIX, as heir to the throne, followed by his 9-year-old grandson, Henri d’Artois, as his heir. (His story and that of his mother are a great one; I will add it to my list for an upcoming episode) It involves hiding in a chimney. 

Since there was never a Louis XIX or Henri V, king of France, you know that didn’t quite work out how Charles wanted it to. 

The Duc d’Orleans, on August 9, 1830, in the Palais Bourbon, took the name Louis Philippe, King OF the French. The July Monarchy would reign for 18 years until another revolution took him down in 1848, and in comes Louis Napoleon Bonaparte. 

It was on the penultimate day of the uprising that inspired the 32-year-old artist, Eugène Delacroix, sitting in his atelier, a mile down the river at 15 Quai Voltaire, Delacroix was moved to capture this moment of the Trois Glorieuses Jours. 

In 1818, Delacroix’s good friend Théodore Géricault painted the monumental Raft of the Medusa. (listen to the past episode for more) The current-events painting won over plenty of fans and skeptics. History paintings in the lexicon of art were deemed the pinnacle of artistic styles, but they were rarely painted so close to the moment of the event. Another thing his pal Géricault did.

After the untimely death of his friend in 1824, Delacroix was thrust upon his own throne, as the leader of the Romantic movement, although reluctantly. 

After Restoration

On October 12, 1830, in a letter Delacroix wrote to his brother Charles Henri, “I have undertaken a modern subject, a barricade, and if I have not conquered for the fatherland, at least I will fight for it. This has put me in a good mood,” and he did just that. 

For three months, he sketched and painted from September 20 to mid-December 1830. An astonishingly quick period to create such a large piece and bring the entire moment to life.  

The entire scene was one of the lower and upper classes, as well as men of all ages, united. This was exactly why the Three-day Revolution is marked as such a defining moment in French history, as told in art and also remembered by the July Column in the Place de la Bastille. It was the mix of all classes that stood up against the monarchy. While the first Revolution began with the poor vs the monarchy, the July Revolution saw all classes in arms together. 

Delacroix perfectly captures that in his grand tableau. To the left of center, we see what appears to be a wealthy man wearing a top hat. Many incorrectly identify it as a self-portrait of the artist, but it’s most likely Delacroix’s close friend, Frédéric Villot, artist and curator of the dept of paintings at the Musée du Louvre. Villot was the first to write the record of paintings of the Louvre and a description of each in 1851. 

Delacroix was a Bonapartist; his father, Charles François Delacroix, served under the Empire as a prefect, and a man rumored that could have been his father, Talleyrand, was a minister of Napoleon until he turned on him. A few things were added to the painting that give a nod to Napoleon. The man on the left in the white shirt carries a briquet sword used by the Napoleonic armies.  Representing a print worker, Delacroix added a few details that link the 1830 revolution to the Vendée War of 1793. Adding the handkerchief of Cholet, a very notable symbol and rallying cry, at his waist that holds his gun. In the background, now clearly visible since the most recent restoration, is a gentleman wearing a Napoleon bicorne hat. 

Just below, crawling from the edge of the painting, a young boy wearing a National Guard cap, the same guard the King dissolved at the start of the year, but the people and leaders of the left brought back.

Below on the left edge of the painting is the figure often called “Hector” in reference to the poem by Homer’s Iliad. Hector is killed and dragged behind Achilles' chariot, a scene depicted many times, including by Jacques-Louis David. For Delacroix, it’s another artist that he was paying homage to, Théodore Géricault. While painting The Raft of the Medusa, Géricault had such trouble painting the feet of one of the figures that he gave up and covered them with socks. Delacroix put one blue sock on the man, which signifies the men the soldiers were pulling from their homes and killing on the streets. 

On the lower right, a Swiss soldier of the Royal Guard in his coat recalls the Swiss guards who were killed in the August 10, 1792 siege of the Tuileries. Beside him, a French Cuirassier soldier head down in his chest armor. Walk down a few steps to the left of Liberty to see another Géricault painting, the Wounded Cuirassier (  1814), for a full look at his uniform. 

In the center, it is impossible not to be drawn to the lovely allegory of Liberty, which is also known as the symbol of the Republic, Marianne. In her yellow-tinted cream dress, she bares her breast in homage to motherhood and the birth of the nation. Inspired by the Greek statuary and the goddess Victoire, the beautiful draping of her dress is reminiscent of my other favorite in the Louvre, the Winged Victory of Samothrace. However, Delacroix never would have seen this beauty. Discovered in 1863, the same year of Delacroix’s death, only her surviving torso was on display from 1865 to 1871. 

Delacroix was the master of colors and uses them perfectly in this painting, but with very few hues. Bleu, Blanc et Rouge stands out in this painting, exactly as they should, and every variation of gray from the darkest to the lightest. Using color and light, he directs your eye to what he wants you to see first: the figure of Liberty and the French flag.

Delacroix also uses it on the man below who is crawling up the barricade and looking up at the Goddess Liberty. The last figure Delacroix painted, the print worker in his blue shirt with a bit of white peeking out and his red sash, also evokes the flag and that of the people devoting themselves to liberty. 

When the painting was first exhibited, her Phrygian cap was a much brighter red, and he was asked to mute the color to a deeper shade in 1855. The cap itself dates back to Roman times when it was placed on freed slaves and thus an image of freedom. In her left hand, she holds a rifle that brings the classic Greek & Roman image to the contemporary moment. 

While Liberty holds up the French Tricolor, she turns her perfectly sculpted face of a Roman coin back to the crowd that has gathered to follow her. At her side is a young boy with two pistols in the air and an ammo bag around his torso, which he took off a guard and was ready to take up the fight today and into the future. 

The classic pyramid structure, much like Gericault’s Raft of the Medusa, is a mix of hope and despair. At the top of the pyramid, you have the flag, and as your eye travels down to the base, there is death. In the top right, don’t miss the towers of Notre Dame de Paris. The symbol of France and the conservative monarchy was topped with a tiny French Tricolor, visible against the smoke, as the rise of the French Republic was underway. 

Accepted on April 13, 1831, for the Salon, it would be unveiled in the Salon Carré of the Louvre on May 1 under no 511. One of the largest Salons, with 3,211 pieces exhibited. Of which 52 reflected the July Revolution, in paintings, drawings, or sculpture. 

Displayed under the title Scenes de Barricades, it was met with a wide mix of criticism. Many thought the allegorical woman was dirty, displaying her hairy armpit and filthy feet while the nude man and his visible pubic hair were right at eye level. 

At the Salon, the painting was purchased by the State for 3,000 francs, but it was displayed only briefly at the Musée du Luxembourg in 1833 & 1834. Adolphe Thiers was worried it would inspire another uprising and had it removed and returned to Delacroix in 1839. The painting was hidden away in the Val d’Oise with his aunt, Felicité Riesener, until 1848. 

Returned to the Musée du Luxembourg, but it was kept hidden until the 1855 Universal Exhibition, when he also had to darken her cap. Special permission had to be obtained for the unveiling, and after the painting went back into storage. In 1863, when it was finally returned to the public with the Luxembourg, it was too late for the master to see it hung; the father of the Romantic movement was gone on August 13, 1863.  In November 1874, , it finally appeared in the Musée du Louvre in the Salle des États, eventually moving to the Salle Mollie,  where you can still see it today.

Restoration 

The last restoration of Liberty Leading the People was done in the summer of 1949, following World War II. The varnish was lightened, but multiple overpaintings were discovered, done by the restorer at the time, Michel Zezzos. (ZAY-ZO) The art of restoration has changed since the mid-20th century. At the time, Zezzos added orange highlights to the dress to create folds and green to the sky that altered the clouds and smoke that weren’t noticeable until under the watchful eye of the C2RMF restorers in 2024. 

The restoration took 6 months, from mid-October 2023 to April 2024, and was on view Thursday, May 2, 2024, when I was there first thing in the morning to see its beautiful return.

Today, with the help of advanced technology, restoration starts long before they touch the canvas. With the assistance of ultraviolet,  infrared reflectography, and false-color infrared 

Through the X-rays, they can see the multiple adjustments Delacroix made before the final composition, many of them in the positioning of the key figures' faces. Originally, the face of Liberty was looking a bit more straight ahead, and both eyes were visible. An early sketch held by the Musée Delacroix shows Liberty looking straight ahead, with the flag flying to the right.  The artists would do dozens and dozens of sketches; by the time it was ready to paint, the subject was worked out. Although there were a few changes found under the X-ray. Just below, the man in the blue shirt was also changed to be captured in profile. 

The young boy next to Liberty was initially sketched closer to her but later separated from her, allowing him to stand on his own and giving him greater importance. In the 2024 restoration, once ther layers of varnish were removed, the figure of the young boy literally stepped in front of Liberty. Prior to it, it was as if they were side by side; once cleaned, the depth was revealed. 

The last addition was the man in the blue shirt, looking up at Liberty as if he had crawled into the scene, giving him a sense of movement. 

The restoration of Liberty was the fourth in the undertaking of bringing the master of color painting back to their vivid creation. Normally, large companies and benefactors contribute to the high cost of restoration, but with a painting that can signify the very essence of France, the Louvre and the state took care of the cost. 

Stand back and take in the entire painting. The lower parts are dark and reflect the reality of the uprising, conflict, and death. In the center, the glowing warmth of Liberty represents the dawn of a new day, a path forward, and better times ahead.

Women from Algiers in their Apartment

Within the Salle Molien, four other paintings tie in to Delacroix’s Liberty. Another restored Delacroix masterpiece is just behind. The Women from Algiers in their Apartment, painted four years after Liberty. Delacroix uses the same profile on the seated woman on the right in the white shirt. 

In 1808, Antoine Jean Gros painted Napoleon on the Battlefield of Eylau , February 9, 1807, commissioned by Denon to be used to create a large tapestry. Multiple figures inspired Delacroix, including the bodies in the lower center and the gentleman on his knees looking up at Napoleon. 


Then there is Géricault’s Raft of the Medusa and the figure with socks alongside his Wounded Cuirassier.

Jean-Jacques le Barbier’s Jeanne Hachette au siege de Beauvais en 1472

One painting that might have inspired Delacroix for the entire scene is Jean-Jacques le Barbier’s Jeanne Hachette au siege de Beauvais en 1472. Sadly destroyed in 1940. 

In the last 196 years, Delacroix’s masterpiece has continued to inspire.  Frederic Bartholdi visited the Musée du Luxembourg and saw our lovely Delacroix Liberty, which inspired the design of his very own, the Statue of Liberty. 

Liberty Leading the People by Christian Gumy in Hotel de Ville

Today, Delacroix’s well-known painting has been copied onto clothes, reimagined on billboards, inspired other artists to adopt it as their own, projected onto the side of a plane, and even applied to my beloved Swatch watch. The former mayor of Paris, Anne Hidalgo, had a great contemporary version created using stencils by Christian Gumy in her office at the Hotel de Ville. Apropos, as the event takes place outside her window.  Then there is the cover of Coldplay's 2008 album Viva la Vida. 

Another favorite was an advertising campaign by Qualcomm technology that reimagined the scene from the other side. The photo was hung on the Palais du Louvre outside the windows of the Musée des Arts Décoratifs in December 2021.

It is the only painting Delacroix created in his entire career that represented Paris, and in turn he represented the  liberté, egalité and fraternité of  France 










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Episode 28 - Napoleon's Looting of Art

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Episode 28 - Napoleon's Looting of Art

Napoleon has carried the brunt of most of the blame for the looting of art from Italy and other European countries, but not all of it lies on his shoulders. 

The looting of art from country to country isn’t a new idea. It all started with the Romans and the Greeks and continues to this day. There are a few more international rules in place to stop this, but not everyone follows them. In the 12th century, Doge Enrico Dandolo looted treasures and the horses later known as the horses of Saint Mark’s while in Constantinople. Something Napoleon would steal as well. 

Henry VIII and the English, well, they take the cake, and still to this day a huge controversy. Many would take things from the very places they invaded to fund their crusades against their enemies. Then there is WWII and Hitler; we won’t go into that today, but put it this way: Hitler was a big fan of Napoleon. 

Napoleon was born on August 15, 1769, on the island of Corsica. Had he been born a year earlier, he would have been Italian, but on May 15, 1768, under the Treaty of Versailles, Corsica became part of France. His rise to greatness would come from his father cutting a few corners, allowing him to enter the prestigious military schools in Brienne and eventually Paris. 

Quickly rising through the ranks, he got the attention of the leaders of the Revolution and the Directory. Paul Barras, one of the five members of the Directory, noticed the young, brash general and realized he could use him to his advantage. Within days, Napoleon’s name was being spoken in every corner of Paris. No longer was he being made fun of or bullied in class; now he was given anything he wanted. 

The young hotshot General Napoleon was given his first major appointment, leading an army of more than 48,000 soldiers into Northern Italy. The first Italian campaign under Napoleon was one of the most defining of his life. From March 24, 1796, to April 1797, General Napoleon forged through Italy, defeating the armies of Austria and Sardinia and forcing the Pope to his knees. A practice Napoleon grew quite fond of. Then there was all the looting, but before we talk about what Napoleon did, we need to go back a few years. 

On August 10, 1793, the  Musée Central des Arts de la République- you know this as the Musée du Louvre opened in the midst of the Revolution and less than a month after the death of Marat (if you missed that episode, listen to it after this one). The museum's foundation would be the King's Royal Collection, which began under François I and was greatly expanded by Louis XIV. The paintings of Italian artists made up the bulk of the collection, including those of Leonardo da Vinci, who moved to France at the request of François I and brought with him many of his unfinished works. A real Italian Renaissance fan, François I frequently visited Italy, often returning with many paintings he filled his palaces, including Fontainebleau. 

In the 16th century, Henri IV became so enamored with art that he moved many of the artisans into the Palais du Louvre itself to work on pieces at his request.  As for Louis XIV, the Sun King who loved performing and building massive châteaux, when it came to art, he just purchased what he was told to. German born collector Everhard Jabach held a large number of paintings and drawings of Italian and Northern artists and sold hundreds of pieces to Louis XIV in 1661 & 1671. He also advised him on art that was for sale in England and other cities he should acquire. In the 74 years of reign under Louis XIV, only a fraction of less than 5 years were focused on art, but one might never know when entire books are filled with the listings of paintings, sculptures, objets d’art, and drawings he acquired. Jabach’s name is all over the plaques of the Louvre and I wondered for years just who he was.

During the Revolution, once the museum opened, collections from those who fled France in fear of the guillotine and precious items taken from churches would also fill the Grande Galerie, but the leaders had loftier goals: to obtain the greatest art in Europe. 

On June 26, 1794, the French army defeated the First Coalition, made up of the Holy Roman Empire (including Austria & Sardinia) and England, at Fleurus in what was then Austria. Drunk with power, they were ordered to take art, treasures, and military trophies. One of the most coveted items was Rubens' Descent from the Cross, painted in 1611, which was stolen from the Cathedral of Notre Dame in Antwerp. 

On September 20, 1794, the Descent of the Cross, among the 150 paintings by Rubens, Van Dyck & Rembrandt and other prominent artists, arrived in Paris and was placed in the museum. Their arrival was declared a triumph, stating that the arrival in the homeland of the arts and genius in the homeland of liberty and sacred equality. Although created by foreign artists, their absence from France was seen as a travesty. 

They wouldn’t stop there. The collecting continued into Holland, Antwerp, Bruges, Aix la Chapelle, Liège, Bonn, Koblenz, and Cologne. All orchestrated by the Directory to obtain the greatest works in Europe. In Ghent, they grabbed the famed altarpiece by Van Eyck, the exact one that would be stolen again during WWII and five other times. They began to send art experts into the battle zones who would know what to grab, a bit of a reversed Monuments Men scenario, taking rather than saving.

The Committee of Public Safety gathered these experts from every corner and added additional specialties as needed. Botanist André Thouin and geologist Barthélemy Faujas de Saint Fond would both enrich the National History Museum with their finds. Architect Charles de Wailly also worked on the Eglise Saint Sulpice including the pulpit, and one of the many who updated the chapel of the Virgin knew what to take, including the columns of Charlemagne's final resting place. Many opposed this practice, but their concerns were ignored. 

Entire collections were taken, belonging to fleeing leaders like Frederick, Prince of Orange in Holland, which consisted of 194 paintings by artists of the Northern School. And it went on and on and on. 

Columns of Charlemagne, a few remain in the Louvre


The Directory was off and running, and now with Napoleon in their pocket, they couldn’t be stopped. Although when Napoleon stepped in, he did it somewhat legally. Well, as legal as you can get. With each theft, he left behind treaties he had worked out with the city's leaders, who had been backed into a corner, which they would sign off on and, at times, hand over the art, gold and silver, weapons, and, quite often, horses for his soldiers, and even food. 

The Directory ordered Napoleon to take everything he could. In a letter in May 1796, he was told to “Leave nothing in Italy which our political situation will permit you to carry away, and which may be useful to us”

Growing up, Napoleon was more focused on maps and history than he was on art. He quickly understood what art meant and, more importantly, what having it could do. At the end of May, Napoleon wrote a letter to Guillaume Faipoult and asked for “a list of the pictures, statues, cabinets and curiosities in Milan, Parma, Piacenza, Modena and Bologna.”  In another letter less than a week later, Napoleon asked for a list of “three or four known artists to choose what is fitting to take to send to Paris.”

The Directory requests didn’t end with art; they extended into manuscripts, antiquities, plants and even animals. There were many who opposed the systematic looting, including the first director of the Louvre, Dominique Vivant Denon, who would later change his tune, take anything he could get his hands on, and become the first director of the Louvre. 

The Directory took it up a notch and, on May 11, 1796, decreed an official commission led by Gaspard Monge, a mathematician and scientist who was more interested in amassing manuscripts than in art. Arriving in Italy as early as June 1796, he brought botanists and scientists as well as artists Jean-Simon Berthélemy, Jean-Guillaume Moitte, and future Napoleon artist Antoine-Jean Gros.  

As quickly as Napoleon looted a city, he just as quickly left a treaty behind to give the appearance that what he did was legal. In every treaty, he tacked on a line requiring them to hand over at least 20 paintings to the French. When the battles kept swinging heavily in the direction of the French, Pope Pius VI conceded more art in appeasement and to hold off the outright plundering. 

The Treaty of Tolentino, the treaty to rule all treaties, was signed on February 19, 1797, between the French and the Papacy of Pope Pius VI. Nine months into the campaign, seen as a success by the French in many ways, especially in the gathering of art. The treaty stated that the French would have full access to any building, including churches, public museums, businesses, and private homes, and could take whatever they wanted.  Then they went to Venice. 

For centuries, Venice had been known for holding some of the greatest art in all of Europe.  Artists Veronese, Tintoretto, Titian, and Bassano all called Venice home, and the wealthy lines of Doges poured money into the art for the churches, palaces, and official buildings. With the treaty in place, it was time to visit the floating city.  

At the time, there were many things, especially in the churches, that Venice took from other countries and cities, especially Constantinople. (Listen tp episode 20 Siege of Constantinople here) 

Within the Monastery of San Giorgio was the massive creation by Paolo Veronese depicting the Wedding at Cana and the first miracle performed by Christ, turning water into wine. Commissioned by the wealthy abbot of San Giorgio, Girolamo Scrocchetto, on June 6, 1562. Veronese painted the masterpiece on canvas, which was unusual for Renaissance artists. 

Until then, paintings were often done on wood, but the damp conditions of Venice made that difficult. Fresco was almost impossible in the humidity, and canvas was becoming more mainstream and accessible. 

The massive painting stretches out over 32 feet across by 22 feet high. The same measurements as the wall itself. Finished by October 6, 1563, the painting is in the High Renaissance style and is filled with 130 figures, including Christ and the Apostles, as well as leaders of Europe at the time, including Francois I and many of the great Venetian artists, but Veronese never stated who anyone was. 

For over 230 years, the Wedding at Cana hung on the wall of the San Giorgio until 1797, when Napoleon’s soldiers entered and removed the painting, cut it in half, rolled it up, and added it to their art booty.

In December 1797, 640 crates were sent from Italy in a mass convoy and arrived in Paris on July 27 & 28, 1798, and were greeted with a two-day celebration, the Festival of Liberty and the Arts.  For two full days, the convoy drove through the streets of Paris. The Apollo Belvedere stood tall and held a banner that read, “Greece lost them; Rome lost them. Their fate has changed twice; they won’t change again”.  

Many years ago, I came across the lithograph by Pierre Gabriel Berthault of the long procession in an unrecognizable Champ de Mars, as we know it today. The four horses of Saint Mark’s take pride of place in the center, and on either side a cage of lions and even a few camels. 

Napoleon returned as a hero, and within a few short years he would be ruling France. 

On July 22, 1803, the Musée Central des Arts de la République was renamed the Musée Napoléon and filled with his personally captured booty from Italy. The former summer apartment of Anne of Austria held the many Roman statuary, including the large Tiber taken from the Vatican along with the statue of the Nile. (In 1815, the Nile was returned to Rome, but the Tiber remained in the Louvre and still in the Anne of Austria rooms, but currently in storage. You can see copies of each created in the 17th century in the Tuileries. 

The looting continued into the start of the 19th century. Dominique Vivant Denon opposed it early on but later became one of its most prominent advocates. In the summer of 1811, Denon visited Tuscany and Pisa, and removed the 13th-century masterpiece by Cimabue,  the Maestà,from the church of Saint Francis, along with Giotto’s Saint Francis of Assisi Receiving the Stigmata. Today, both are still in the Salon Carré of the Louvre. 

Denon took paintings of Fra Angelico, Fra Filippo Lippi, and Botticelli from Florence, all legally, under the condition of the Treaties of Tolentino and Campo-Formio. All still in the Louvre. 

After the fall of Napoleon in 1814, Louis XVIII, brother of Louis XVI and a Bourbon, returned once more to the throne of France. Trying to wipe away the memory of the First Empire, he began removing many of the effigies and reminders that Napoleon had added to Paris, but stopped short of returning any of the art that had been taken.  

The first Treaty of Paris, signed on May 30, 1814, marked the end of strife between France, England, Austria, Prussia, and Russia. The end of Napoleon launched the return of the Bourbon king & reshaped the French territory to what it was before the Revolution in 1792, including returning Venice to the Austrians. One clause was left out, that of the art. It wasn’t going anywhere.  

Napoleon’s surprise return from his first exile didn’t sit well with the countries that agreed with the first treaty, especially when he headed to Waterloo. 

The Prussians took matters into their own hands.  They were really riled up about the massive loss of life they endured due to Waterloo, and Napoleon was to blame. Arriving in Paris in the last few days of the Waterloo campaign, a Prussian envoy visited the Louvre and Denon and demanded the return of works. Denon refused unless he was told by the king of France and turned them away. 

On the morning of July 11, Prussian soldiers returned to the Louvre and physically removed many of the paintings & sculptures that had been taken by the French in 1794. 

All the graces of the first treaty were now in jeopardy, and a second Treaty of Paris was drawn up over five months. Since the subject of looted art was completely ignored in the first treaty, it would be in the second. Signed on November 20, 1815, it returned the rights to the artwork to its country of origin. However, because of changes in borders and even in who controlled the area in 1815 as opposed to who had it at the time of looting, this threw a kink into the plan to France's benefit.

Even with the treaty in place and clearly written that the art needed to be returned, Louis XVIII and the director of the Louvre Dominique Vivant Denon, were slow, or more like immovable, in the action of actually doing so. 

Klemens von Metternich, an Austrian diplomat, had once orchestrated the marriage between Napoleon and his second wife, Marie Louise, and later signed the treaty of his exile. Now in Paris, he ordered that the artwork be returned to Austria, which included Venice.   Here is where it got tricky: at the time of the looting, Venice didn’t belong to Austria; it didn't until the Treaty of Campo-Formio on October 18, 1797.

The Horses of Saint Marc’s were removed in September during a second attempt. The Austrians arrived to remove them in the middle of the day, banging and cutting at the sculptures and arc. Parisians, outraged, tried to stop them, and soldiers had to be brought in. They were finally removed days later in the dark of night, leaving lasting damage to the horses and the arc. Although shouldn’t they actually go back to Istanbul? Today there are copies, recently restored; more on that soon. 

Venetian sculptor Antonio Canova was tasked by Pope Pius VII himself with collecting and returning the thousands of pieces taken from the Vatican. Canova believed that Napoleon violated the terms of the Treaty of Tolentino by holding Pope Pius VII captive in France following Napoleon's coronation in 1802. Because of this, any and all art, manuscripts, treasures, gold, and stones taken from the Vatican must be returned. The problem was, nobody else believed that, at least not in Paris. Eventually he did find one ally, the British William Richard Hamilton. A man himself known for his own looting throughout Greece, including the major pieces of the Parthenon, still a lively debate today. 

In September, the Belgians were also calling for the return of their own art but met with a very stubborn Denon, who was protecting the Louvre.  Finally allowed in on September 18, 1815, and for two weeks reclaimed more than 80 paintings that had been taken mainly from churches between 1794-1796.

Canova was finally allowed to enter after lengthy negotiation on October 2, 1815.

For days, they loaded up paintings and sculptures along with the hundreds of manuscripts. Three weeks later, on October 24, a convoy of 41 vehicles left Paris and headed back to Italy.  Although only a fraction of what was taken was returned. 

Canova kept an inventory, completed in Italy, of what was taken. He noted 506 paintings, taken from Italy between 1796 and 1814, although the bulk was taken in the first two years. A handful of paintings & sculptures were lost, and in the end 294 were returned to Italy.  Of the ones that remained in the Louvre, they were either gifted by the Pope or traded; such is the case with the largest painting in the Louvre. 

Once the Wedding Feast of Cana arrived at the Louvre on July 31, 1798, it was glued back together, placed on a stretcher, placed into a frame, and hung in the Salon Carré. When it was noted that the painting was on the list to be returned in 1815, Denon stated that it was far too large to send back and that attempting to ship it to Venice would be damaging to the piece. Clearly the Venetians & Austrians didn’t want it cut up again and allowed the painting to remain in the Louvre in exchange for a much smaller painting by Charles le Brun of Le Repas chez Simon now kept in the Gallerie dell’Accademia in Venice. 

Canova was able to return many of the sculptures, including three that Napoleon held in the highest regard and that formed the basis of his Antiquite collection in the museum. The marble Apollo Belvedere was a 2nd-century Roman copy of a Greek statue. Pope Julius II placed it in the Belvedere Palace in the Vatican. The very tall Apollo stretches out his arm that once held a bow ready to strike. 

The Laocoön is a group sculpture that includes the Trojan priest of Poseidon, Laocoön, and his sons as they are attacked by snakes. Also placed in the Belvedere by Pope Julius II and was first noticed by Francois I in 1515, who asked the pope if he could have it. It would be quite the accomplishment for Napoleon to finally obtain the statue for France, even if only briefly. 

The Louvre may have the Venus de Milo, but it originally also had the Venus de Medici. Copied in the 1st century from a Greek statue of Aphrodite. The once definitive example of Venus it was copied many times, including by Louis XIV, and copies can still be found all over France, from the Tuileries to Versailles. Part of the Villa Medici collection in Rome, it was taken from Palermo, where it was hidden to avoid Napoleon’s reach, but was still discovered and taken to Paris in 1803.  

Today, many still remain in the Louvre, but have remained through diplomatic treaties and exchanges. Should they have been taken in the first place? That is up for more debate. There are the things that normally happened during the periods of conflict and war between many countries. 

On July 29, 1899, at the first Hague Peace Conference, a formal decision and Regulations concerning the Laws and Customs of War on Land was adopted and signed by 23 states, including France, Italy, Belgium, Germany, Greece, the Netherlands, and Spain.  

Article 56 specifically stated:

The property of the communes, that of religious, charitable, and educational institutions, and those of arts and science, even when State property, shall be treated as private property. 

All seizure of, and destruction, or intentional damage done to such institutions, to historical monuments, works of art or science, is prohibited, and should be made the subject of proceedings

At the 2nd International Peace Conference in 1907, an updated version was signed on October 18, 1907, and adopted by 101 states. It has become the rule, even if it's not always respected. 

In the 1930s and 40s, Hitler and his ERR would toss the entire regulation out as he carved his way through Europe, taking anything he wanted, including many of the same things Napoleon once took and had been returned. 








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Episode 27 - The Death of Marat

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Episode 27 - The Death of Marat

On July 13, 1793, Charlotte Corday talked her way into the apartment of writer Jean-Paul Marat and plunged a knife into his chest while he soaked in the bath, killing the Voice of the People within seconds.  

It was a pivotal moment in the French Revolution and was made famous by the painting by Jacques Louis David. A copy by his atelier hangs in the Musée du Louvre steps from the Coronation of Napoleon, while the original resides at the Royal Museum of Fine Arts in Belgium. A few other copies created under his watchful eye are scattered around France, and in the fall of 2025, three, including the original, were brought together for the first time in the Louvre’s exhibit dedicated to David, which was incredible. 

A painting that is as much propaganda as it is historical and has become the very definition of the event. If you say the “Death of Marat” to anyone, they don’t think of the event itself, they think of this painting, but few know of the actual details of the crime. 

Portrait of Marat by Jean-François Garneray

You could say that 1793 saw some of the most notable deaths in France. The year began with the death of Louis XVI on January 21, an event in which Marat was directly involved. On October 16, the blade fell on Marie Antoinette, ending the once-ruling monarchy. 

Jean Paul Marat, the voice of the people, was born on May 24, 1743, in Boudry, Switzerland, and moved through Paris and England as a doctor and writer, and even treated the future King Charles X. 

In the 1780s, his attention began to turn to politics and speaking out. By the end of the decade, on September 12, 1789, he published the first issue of L’Ami du Peuple, the Friend of the People, from his office in Odéon. Less than a month later, the royal family would be forced to leave Versailles and settle into the Palais des Tuileries, and the French Revolution, as we know it picked up speed. 

Through it, Marat became increasingly outspoken and poured all his feelings into writing. Often calling for the death of officials and the king, and gaining the support of the people to stand against them, he became one of the most feared men in Paris. Think of pamphlets as the 18th century newspaper, and more than 6,000 of each issue were printed, handed out on the streets, and pasted to the walls. 

He was frequently threatened, brought before the court, hid in the sewers, and even fled France on one occasion, but it was more because he had an affair with his printer's wife. 

Serving in the National Assembly, he voted for the death of King Louis XVI on January 20, 1793, and aligned himself with Robespierre and the artist Jacques-Louis David. The last Issue, no 685 of L’Ami du Peuple was published on September 21, 1792, but had already riled up a young lady living in Normandy. You can find most of the issues in French online at the national library website

Marie Anne Charlotte de Corday d’Armont was born on July 27, 1768, in Normandy to a noble but broke family. Educated under the nuns at the Abbey aux Dames in Caen, she was introduced to the French philosophers and an entirely new view of the world that differed from her family's. Her brothers had fought for the king, and her parents and grandparents were anti-revolutionists. 

She believed Marat was inciting violence and must be stopped. The September massacres of 1792, which Marat’s writing fanned the flames of violence calling for the death of thousands. While tensions escalated in Paris, many Girondin members fled to Calvados and Caen, falling into the lap of Charlotte. Just a few doors down from her home, the outspoken members held meetings that she attended, and she was able to learn even about what was happening in Paris. Marat became enemy number one and the reason for all the strife, and must die.

Charlotte Corday by Tony Robert-Fleury

Charlotte left Caen on July 9, 1793, and traveled to Paris. She was told that Marat would be at the National Convention on the 11th and would be easy to approach. Just before noon on Thursday, July 11, she arrived in Paris at the (28) Rue Notre Dame des Victoires and stayed at the Hotel de la Providence, a few blocks away, at 19 rue des Vieux Augustins (today Rue Hérold). 

The next day, she takes care of a few things her new Girondins friends asked her to do and then writes a bit of a manifesto to the “French friends of laws & peace”

Waking up early on Saturday, July 13, she walked the very quiet streets of Paris to the Palais Royal just blocks from her hotel. Then known as the Palais Egalité, she found the Badin cutlery store open at 8 am at no 177 in the Galerie de Valois. (a few doors down from another event tied to the artist David) For 40 sols, she purchases a 6-inch black-handled kitchen knife and sheath and slides it into her bodice. 

After she buys a newspaper, she sits down for a coffee. The headline of the paper calls for the execution of the leaders of the Girodins; it was all she needed to erase any doubt she might have had. 

At 9 am, it was time, but she wasn’t sure where Marat lived. Asking a carriage driver, he offered to take her there, to the Rue des Cordeliers. Through the right bank, past the Louvre and over the Pont Neuf to Marat’s building, but she hadn’t quite planned how she would get inside. Knocking on the door, she meets the concierge, Marie-Barbe Pain, who acknowledges that Marat lives on the first floor but refuses to let her in. 

A few hours later, she returns and is able to enter and reach the first floor. She gets as far as Simone Évrard, Marat’s wife, who turns her away. Frustrated, Charlotte travels back across the river to the right bank and her hotel, where she writes and sends a letter to Marat. The letter states that she arrived at his home earlier in the day and was refused, and she has important information for him regarding those who stand against the Convention, and begs for his help. 

Charlotte Corday, la dernière toilette by Mathieu Ward

Waiting at the hotel for an answer, she had a little spa time and had her hair curled and styled, a girl's got to take care of herself. She puts on a brown and pink dress and a black hat with a green ribbon, then slides the knife into her bodice once again. Marat didn’t answer her letter, and now she must finish her mission. She also takes her baptismal papers with her in case her body needs to be identified later. 

It's now just after 7 pm on a hot July 13, 1793, and Charlotte is not taking no for an answer. She arrives at the door, and Simone tries to turn her away. Charlotte raises her voice, and from the bathtub, Marat calls to let her in. She gives him her second letter, and they speak for fifteen minutes, when suddenly, Charlotte lunges forward with the knife and stabs Marat in the chest, on his right side, and the blade cuts through the aorta, heart, and pierces his lung. He dies within minutes. 

Marat assassiné ! by Jean-Joseph Weerts 1880

Simone lunges and attacks Charlotte and forces her to the ground with the help of Laurent Bras, who works with Marat. The neighbor across the way saw a chair being held in the air and attacking a woman, and rushed over to hold Charlotte down as Simone tried to tend to Marat, but it was too late. 

Word of his death spreads quickly on the streets below. The police arrive and interview everyone in the apartment. The two were alone at the time of the killing, unlike many depictions in drawings and paintings, but Charlotte truthfully tells the facts and even why she did it. Quickly removed from the scene and taken to the police station, and by the end of the day, she sat in the Abbey prison down the street where Boulevard Saint Germain and Rue de Four cross. 

Two days later, on July 15, Charlotte Corday was moved to the Conciergerie, better known as the Antichamber of death. In a few weeks, Marie Antoinette would also arrive. Charlotte’s trial was held on July 16. Earlier that morning, she wrote a letter to her father admitting to the entire crime, and with this one death, she would save “hundreds of thousands of citizens”. It was intercepted and used against her at her trial. 

Court cases of this kind back then were a bit of a joke; they all ended the same way: at the guillotine.  On Wednesday, July 17, at 8 am,  Corday was sentenced to death, and the execution would happen in a matter of hours. Around 5 p.m., executioner Henri Nicolas Charles Sanson entered her cell to take her on the same walk he would do with Marie Antoinette almost exactly three months later.  

At 5:30 pm, she was led up the stairs and into the Cour du May beside the courthouse, wearing the red shirt of a murderer. The streets are filled with angry people who want to see the killer for themselves. The less than two mile route took almost two hours; it’s basically a test run for the path the queen would also take to the Place de la Révolution (Place de la Concorde). 

At 7:30 pm, the blade dropped, and the life of Charlotte Corday was over. Immediately following her death, an autopsy was ordered on her body, but not for the reasons you might think. The same officials who tried her in court couldn’t believe that a woman would pull off such a crime on their own and had to have been spurred on by a man or at least driven mad by one. So they called for a doctor to see if she was still a virgin or not. She was 

On July 18th, Charlotte’s body and head were laid to rest at the Madeleine cemetery in pit number 5. Today, this is the Chapelle Expiatoire, noted for the final resting place of Louis XVI and Marie Antoinette following their own beheading and built after they were moved to the Basilique Saint Denis.  The location of Charlotte’s pit is essentially where the chapel stairs are today. Charlotte’s bones are now mixed with the thousands of other Parisians in the Catacombs, but her skull has had another life and many different versions of who may have it or where it is. 

In the hours after the death of Marat, Jacques Louis David was contacted to create a portrait to elevate the writer to that of a martyr. David had successfully done that at the start of the year for another man who would become the image of the Revolutionists. 

Louis Michel Lepeletier de Saint Fargeau was a lawyer and served in the National Assembly. On January 20, he voted for the death of Louis XVI, and his own would come the same day. Later that evening, while dining in the Février restaurant in the Northeastern corner of the Palais Royal, Philippe Nicolas Marie de Paris, a former guard of the king, walked in and stabbed and killed Lepeletier for his vote against Louis XVI. 

David had talked with Lepeletier the day before his death and was shaken by the death, and also worried for his own life.  David wasn’t just an artist; he became a politician and an event planner as well. Not only was he crafting the image of the Revolution, but he also had to design the events that surrounded it. 

On January 24, three days after his death, Lepeletier was placed high on a pedestal in the center of Place des Piques, today's Place Vendome, and draped with his bloody shirt. David created a portrait of the newest martyr of the Revolution shortly after his death, titled The Last Moments of Michel Lepeltier.  Using the same general pose as Hector in his 1783 painting of the Sorrow of Andromache, which hangs in the Louvre.  Following the viewing and funeral, he was interred into the Pantheon but removed in February 1795. 

David had visited Marat the day before his death, just as Lepeltier had. I would imagine that with that fact, nobody invited David over for dinner ever again

The reaction to his death brought out high emotions, resulting in protests and marches throughout France. Fearing for their own lives, the members of the National Assembly called for a quick funeral and burial. Due to the heat and his skin condition, Marat’s body was rapidly decomposing, making the need for a speedy burial even more important. 

His funeral was planned for July 16 and designed by David. On July 15, his body was placed in the convent of the Cordeliers, steps from his front door. His body was in such a state that they covered it with a cloth, exposing only the knife wound. On the evening of the 16th, his body was surrounded by incense burners. It was still very hot in Paris, and they tried to mask the aroma from his body. Thousands of people lined the streets to see the body of the Friend of the People one last time. Just before the funeral parade was to start, the skies turned dark, and a lightning and thunder storm raged overhead, without a drop of rain. 

On September 21, 1794, Marat was given the honor of Pantheonization and interred into the new final resting place of the great men of France. It wouldn’t last long. After the fall of Robespierre and the end of the Terror, the Convention wanted to erase any of the reminders of this period and the men who were elevated in death to its glory. On February 26, 1795, his body and that of Lepelletier were removed in the dark of night and placed in the cemetery of Saint Etienne de Mont. 

While David began painting Lepeltier immediately, he waited two months before even starting Marat. This also allowed the gravity of the event and the painting's eventual meaning to settle, which can be seen as both good and bad. The political climate was so charged at the time, with the people on one side fearing for their own lives and political careers, and the other wanting to elevate Marat to sainthood.

The first depiction of the murder was done by Jean Jacques Hauer and is held today in the Musée Lambinet in the city of Versailles. It was presented on August 10, 1793, in the newly opened museum that would come to be known as the Louvre. Although the victim and the assailant were in the room alone at the time of the murder, Charlotte is depicted as capturing the moments just after she strikes and kills. 

In the months after his death, many artists depicted the murder, but only one artist had been to the home of Marat and saw his body in the hours after his death. 

Taking his time, he finally completed the painting on October 14, 1793. A painting that is as much propaganda as it is historical and has become the very definition of the event.

David chose a simple scene, one that may seem unfinished but was also his way of letting the few elements speak for themselves. 

Marat is placed in his tub, soaking in his sulfur water to help alleviate the pain of his skin condition. Once thought to be syphilis, in recent years, they have been able to test the blood left on the letter he had at his desk. Marat suffered from a combination of atopic dermatitis, severe acneiform, and dandruff, but together they left horrible lesions and flaking skin. 

A desk was created with a flat board and a small box to hold his inkwell and extra quills alongside. He would spend the majority of his days since the start of June in this bath and wrap his head in a cloth soaked in vinegar to help with migraine headaches. 

David drew on religious imagery to depict the fallen martyr. The white turban becomes a halo, the white sheet on which he rests a shroud, and his arm dangling from the tub, a version of the pieta of Christ. The wound resembles the one Christ bore, which was touched by Saint Thomas. All subtle nods to something that then aligns this theme with something greater than just the political message. 

David was cutting his teeth for what would come in a few short years with Napoleon. 

The artist left Charlotte out  in the painting, but she is still there, in a way. The knife rests on the floor, although David painted it with a white pearl handle rather than the black one it had. The green fabric was the color of the counterrevolutionists, the same color she wore in her hat, and the letter he clutches in his left hand was based on the one she presented to him that morning, or at least represented it and bore her name. 

The painting was unveiled for the first time on October 16, 1793, and placed in the courtyard of the Louvre. In the center, a wooden pyramid was erected, and on either side, the painting of Marat and Lepeltier was displayed for anyone in Paris to see. That same day, a block away, Marie Antoinette would pass by, sitting on a box upon a flat board placed on wheels and pulled by horses. A symbolic choice of days to display the paintings, although these two men would later be seen as villains, not heroes. 

A month later, on November 14, 1793, it was presented for the first time to the Convention and would remain in the presidential gallery until July 1794.  With this painting, David captured a moment that would be carved in stone in the history of France. 

The painting was turned into an engraving, and thousands of copies were made and sent to every corner of France to hang in government buildings. Four copies within the workshop of David were created under his watchful eye to be used as cartoons at the Gobelins to be turned into tapestries.  (I have yet to find any of the tapestries online or in museums and none exist in the Gobelins collection) 

In 1795, both paintings were returned to David, and he kept them until his death. The painting of Lepeltier was purchased by Lepeletier’s daughter, Suzanne, who had become the first orphan of the state in 1793. In 1826, she destroyed the painting and any other versions of it. All that remains today is a sketch by Anatole Devosge, created when he saw the original painting in David’s atelier. 

After David’s death in 1825, friend and artist Antoine Jean Gros kept the Death of Marat and covered it with a layer of canvas, then sealed it with white lead to hide it. It wasn’t seen again until 1846. In 1886, after the death of JL David’s grandson Jules David Chassagnol, the original was donated to the Royal Museum of Belgium, where it remains today. 

However, luckily, you can see the copies made in his atelier by his students to be used to create tapestries,  in multiple museums in France, including the Musée du Louvre.  Versions stay very faithful to the original, with only a few slight changes noticeable when all are together. At the Musée des Beaux-Arts in Reims, the box is inscribed with “unable to corrupt me, they killed me”. At the Musée des Beaux-Arts in Dijon, the box is blank, as is the one held in Versailles, but rarely on view. While the original in Belgium is simply marked with A Marat, David, and at the bottom L’an deux and 17 93 that has been smudged away. 

Since then, Charlotte has been viewed more as a heroine and Marat as the villain. She is often depicted as a beautiful and strong woman, a 19th-century Jeanne d’Arc. It's a subject that still captures artists today. 

I recently saw a version by Bernard Buffet done in 1977. In 1907, Edvard Munch depicted the two as lovers with Marat lying in a bed and a nude Charlotte standing in front holding a knife. And even Picasso gave it his own reimagined existence. 

History is interesting, and art plays such a large role in how it is told. It is exactly why I love the Louvre so much and discovering all the stories held inside a painting. It is also interesting how time can alter the view of the event. At the time this was painted, Marat was raised to the highest realm of a saintly martyr, only to come crashing down within two years. 
Time gives us the opportunity to see it from many sides and gain a better understanding of it. Today it is more important than ever to really look into these things the old-fashioned way, with reading and research and not AI. 

Musée Carnavalet

In Paris, you can find more on Marat and Charlotte Corday in the Musée Carnavalet, which also holds a copy of his death mask and even part of his jaw. 

There are many reminders in the streets of Paris, especially in Saint Germain. Book a walking tour with me to uncover it all and relive the history on the very streets where it happened. 

The bathtub Marat died in was later sold by his wife and remained missing until 1804, when it was purchased by André Augustin Capriol de Saint Hilaire in Paris from a scrap metal dealer. Capriol took it with him when he moved to Taverny, north of Paris. After his death, his daughter Marie Adelaide left it to the Abbé Joseph Rio upon her death in 1861. It was then passed to Abbé Le Cosse of the bishopric of Vannes and eventually made its way to the tiny island of Île aux Moines. Le Cosse liked to show it off to people, and word eventually spread, reaching the pages of Le Figaro on July 15, 1885.  A year later, it was auctioned off and purchased by the Musée Grévin in Paris, where it is on display to this day. 





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Episode 26 - The Raft of the Medusa

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Episode 26 - The Raft of the Medusa

Many are familiar with the large painting hanging in the Salle Mollien of the Louvre by Théodore Géricault, but did you know it was based on a true story? Le Radeau de la Méduse (The Raft of the Medusa) was painted in 1818 when Géricault was 27 years old. It depicts the story of the French ship Medusa, a 40-gun frigate used during the Napoleonic Wars in 1810, which was intended as a decoy for his escape to America. 

However, the Medusa would become the very example, shining a light on what was wrong with the Restoration of the Bourbons, even as they tried to hide it. It was in their attempt to erase it that would bring the entire affair to the forefront and inspire the young French artist. 

Theodore Géricault had just returned from Rome in November 1817 and wanted to make his mark in the Parisian art community. His fellow artists, Jean-Antoine Gros and Horace, the son of his mentor Carle Vernet, were finding their own commissions. Géricault wanted something big, and the legacy-making theme would fall right into his lap. 

In 1816, France was trying to move forward and past the First Empire. Napoleon was finally exiled far, far away in Saint Helena, and the Bourbon Louis XVIII returned to the throne once more. In March of 1815, when Napoleon had returned for 100 days, Louis XVIII had fled Paris, and those who remained close to him and defended him would be rewarded later. 

Hugues Duroy de Chaumereys was just one of those men. Born on December 20, 1763, into a wealthy family, he entered the navy with the help of high-ranking members and friends of his father. At the start of the Revolution, he fled France for England and returned only when Louis XVIII came into power in 1814. 

Granted a full pardon for his departure from France, he became a close defender of the king. 

After Napoleon's abdication on April 6, 1814, the government sought to roll back the clock. The Treaty of Paris was signed on May 30, 1814, and restored France's borders to those of 1792. Territories that had changed hands with the British and Dutch were returned, including the interest in Senegal. Although slavery had been abolished in France on February 4, 1794, Napoleon would reinstate it in the French colonies in 1802. 

Retaking Senegal from the British and establishing a French colony were top priorities for the king, and he needed trusted individuals to carry out the mission. 

Which brings us back to our villain, Chaumareys. Chosen by the king on April 22, 1816, to lead an exploration and to establish Senegal with a French governor and community. 

Based in Rochefort on the Charente river in the Southwest of France, the voyage was delayed due to weather. Beginning on June 15, 1816, 365 people were loaded into small boats from the port of Rochefort and ferried out to Île d’Aix.  The same island  Napoleon visited before his exile,  just a year before, in July 1815. 

On June 17, 1816, the Medusa left the port of Aix alongside three other ships in the fleet.

The Medusa, the largest frigate, the Echo, a corvette and smaller warship, the Argus, a sailboat, and the Loire, which carried supplies.  

The four ships were filled with everyone you would need to restart a French base. Potential governor Julien Désiré Schmaltz, his wife Reine, and daughter Eliza were on board, as well as doctors, teachers, explorers, engineers, scientists, gardeners, and of course, a few bakers. 

One week into the voyage, a teenage sailor fell off the Medusa and into the sea. The recovery attempt by the captain was so badly handled that the young man died and was lost to the sea. It was the first but not the last crack in the captain's control. Rumblings on board had already destroyed the confidence of many under his leadership. 

Timeline of the wreck 

On July 1st, the four ships started the day together, with the smaller Echo the closest. The Medusa was off the coast of Mauritania just after Noon and by nightfall made the tragic mistake of breaking off at the southernmost tip of the peninsula at Cape Blanco.  It’s thought that Governor Shmaltz was anxious to get to Senegal and encouraged the captain to speed up. 

The Echo would remain close to keep an eye on the Medusa until the poor decisions of the captain made it difficult; they knew of the terrain and didn’t want to end up with the same fate as the Medusa. At 3 am on July 2, the Echo disappeared. A few of the sailors and officers attempted to trick the captain into getting the ship back on course. 

As the sun rose on July 2nd, the crew began to spot rocks and notice that the water became clearer and shallower. One even told the captain they had to be near the Argun reef and sandbar, but it was quickly ignored. It was also high tide, which could have been the worst luck of all. A storm was rolling in, and the waves crashed against the Medusa; at 3 pm, the ship brushed the edge of the sandbar. They managed to quickly navigate away, but it was brief. At 3:15 pm, scrapes, groans, and jolts, then the final blow came, and the frigate was lodged into the sand bar. On board, it was utter silence. 

They tried everything, but the combination of the storm, high tide, and an idiot for a captain left the 365 people on board in a panic. The hull was filling with water, and only one option remained. One of the members brought in to build new homes in Senegal was carpenter Valery Touche-Lavilette, who quickly sketched out a plan to build a raft to hold supplies, while the boats would be used for people. Using whatever could be found on board, the mast was removed, along with many of the deck boards. 

For two days, Lavillette and his men built the raft directly into the water. A railing around the massive raft was added to hold supplies, and the deck itself was partially open to the water, with boards haphazardly spaced and water splashing through every few inches. Nicknamed “the Machine”, it was a massive undertaking in less than ideal conditions. 

Measuring 65 by 23 feet, it was first loaded with barrels of guns, casks of wine, water, and food, and tied to the raft. Once the first few dozen men climbed on board, the raft quickly sank further into the water. The barrels of food were removed as more men came on board, but the raft continued to sink as deep as 4 feet while still remaining afloat. The voyage should be short; in a few hours, they should be at the shore and on to a new life. 

The construction of the raft with its limited supplies also made it very dangerous for people. The massive crowd had to stand on the boat because it was submerged by more than 4 feet of water. 

On July 5, as water filled the hull, the decision was made to abandon the ship quickly. 

Only six small boats were available, which could hold only half of their crew, and were reserved mostly for the elite and high-ranking officers.  

Future governor Schmaltz and his family took one of the boats, which could have held 15 more people. To make matters worse, a second boat was used just for their luggage. 

Just after 8 am, the six boats and large raft pushed off from the ship. Without any steering capability, the raft was attached to four of the small boats, but within two hours, the upper crust on the boats realized that the raft was slowing them down and cut it loose just 6 miles from the Medusa.

As the sun went down late into the evening, a storm rolled in, and 20 people died from falling into the ocean. Screams could be heard from the water below. 

Between the sun beating down on them and drinking the seawater, delirium set in quickly. On July 6th, the second night of being adrift at sea, the panic and fight for power began. The raft had five barrels on board at the start, two of which were filled with wine. Either for survival or boredom, the rafters dipped into the wine. Chaos ensued, and a battle for control between the officers and the men resulted in the death of 65 men as well as the only woman on board, who had broken her leg and was pushed into the sea. 

Three days before, as the raft was loaded, a case of biscuits was tossed from the Medusa and fell into the sea. Recovered, the flour biscuits inside turned into a salty paste. For the first two days, it was all the food they had. 

On the third day, July 7, the real horror began. Fewer than half of the original passengers remain on board. Starving, the men ate pieces of clothing, leather, and even bits of rope that had been cut during the battle the night before. Two barrels of wine were left, the only remaining source of calories.  Now the hardest decision was made. 

On day three,  just over 60 people were left on the raft, many of whom were injured and on the edge of death.  The self-appointed leaders of the raft decided that, to survive, they would need to consume the unfortunate raftmates. At first, many officers refused to be a part of it, but after another day or so, they had no choice if they wanted to survive.  Pieces were cut away and left to dry in the sun to make it a bit easier to consume.

Gericault captures this moment in a sketch that is held at the Louvre but is not on display. It’s hard to imagine this moment and those that follow. I think every one of us would say we would never do that, but in that moment, when your only chance of survival is at stake, it's hard to say. A horrific thought at that. 

As the sun rose on day 4, only 30 people remained. 

The raft continued to float at sea for days. More and more men succumbed to the elements. A brief sign of hope when a school of flying fish landed on the raft, but many used the raw fish as a side dish to get the other source of meat down. 

On July 12, 27 men remained. It was decided that only 15 were in good enough shape to survive a few more days. Between the wine and the few bottles of cognac on hand, they realized that 12 men needed to go. Three sailors and one soldier were given the job of ending the lives of the remaining men, many of whom were already close to death. 

In the final days of the ordeal, the 15 men had become emaciated, were delirious, and were barely holding on. Surviving on the little wine that remained, flesh, one lemon, and 30 cloves of garlic.  On the final morning, a white butterfly flew over the raft and sat on the mast. A few thought about eating the tiny creature, but many saw it as a sign that they were close to land. 

On the 12th day, a smaller raft was built and barrel staves fashioned into oars, but the structure sank into the ocean. It was the last hope they had. 

On July 17th, the 13th day into the ordeal, with only 15 men left alive, the sun rose on a perfectly clear day. 

Meanwhile, the more than 200 people who fled the Medusa in lifeboats were settling in Senegal. Captain Chaumerys had sent the Argus out to find the raft, but not to rescue the people. He wanted the three crates filled with 90,000 francs of gold and silver coins. 

Suddenly, a ship appeared in the distance. Unsure if it was real or just their delirium, they stacked up the remaining barrels, tied cloth around a barrel ring, and waved it in the air, hoping to be spotted. This is the moment that Géricault decided to paint.  The Argus had, in fact, given up its search and changed course to head back to Senegal.

Two hours later, the Argus would spot them and head straight for them, and they would be saved. The men were treated and given food, but Doctor Savigny cautioned them to eat only a small amount. A few men gorged on the food, and their emaciated bodies couldn’t handle it. Of the 15 found, five died over the next few days, leaving just 10 survivors.

The raft was found 104 miles from the initial wreck and 32 miles from shore. 

On July 19th, they arrived at the port of Saint Louis, no doubt happy to see land once again. Governor Schmaltz took the glory of finding the survivors at his direction. 

17 people had remained aboard the Medusa, and 12 survived for 42 days before they were found. They were left with food, water, and shelter from the elements.

Two of the raft's survivors play an important part in this story.  Alexandre Corréard, an engineer and journalist, wrote the eyewitness account of the tragedy and published it. That act led to his dismissal from his job as an engineer, prompting him to become a publisher.   Doctor Henri Savigny was one of three who volunteered to take the raft. On his arrival in Paris, he testified at the Ministry of the Navy against the captain. When he co-authored the detailed account with Corréard, he found instant fame. 

News traveled much more slowly than it does today. At the start of September 1816, the Echo arrived in Paris with Corréard and Savigny as well as the 8 other survivors. Corréard and Savigny wrote the definitive account of the horrific event for the Navy. By September 11, 1816, the ordeal appeared in every paper across France, including the acts of cannibalism. However, they barely scraped the surface of what really happened.

Chamereys returned to France in February 1817 and was arrested immediately. Before the war council on February 25, 1817, the entire affair was discussed behind the locked doors of the king and the government. On May 3, he was found guilty of abandoning the Medusa as well as the raft of 147 people. He should have been given the death penalty, but he was sentenced to three years in prison and stripped of any honors. 

Outraged by how the entire ordeal was handled, Corréard and Savigny were up in arms. Out of the shadows would come an unlikely aid. Police minister Élie Decazer obtained Savigny's report and leaked it to the Journal des Débats, where it appeared on September 13, 1816. 

The story captivated all of France, and Corréard and Sauvigny published the entire account in November 1817. The young Théodore Géricault was drawn in fresh from Rome.

Alexandre Corréard by Géricault

Géricault was a young and very handsome gentleman known for his red, curly hair and fine legs. (No evidence of this, so Hot Leg Henri is keeping his title. Attracted to art from a very early age, his father tried to steer him toward a more lucrative career. It would be his uncle Jean Baptiste Caruel and his wife who would help him follow his passion in more ways than one. 

His uncle married the young and beautiful Alexandrine Modeste de Saint Martin in 1807. She was 22 and closer in age to her new nephew, Géricault, who was 16 at the time. The two became very close friends, and Alexandrine convinced her husband to give the young artist a cover job in the tobacco business steps from the Louvre. 

The two became quite close and became involved. Caruel purchased the Château de Grand Chesnay near Versailles, where Géricault set up a small workshop to paint and spend any free time with his aunt. To help cover their relationship, the artist began dating Madame Montgolfier, daughter of Joseph and creator of the first air balloon I shared last week in episode 25.

On April 10, 1812, Géricault’s beloved grandmother died, leaving him with a large inheritance, allowing him to return to Paris, rent an apartment and atelier, and create a bit of distance between him and his aunt. 

His first foray into the official Paris Salon came in 1812, when his painting The Officer of the Chasseurs won him the gold medal. (The painting hangs in the Louvre across from the Medusa)  

The relationship with his aunt morphed into a full afair and resulted in a pregnancy upon his return from Rome. His uncle was well aware of the situation and turned his back on his nephew, writing him out of his life. On August 21, 1818, Georges Hipolyte was born on the Rue Pavee Saint André des Arts. His birth certificate left his parents' identities unknown. 

Géricault never saw his son, and little is known, although after the artist's death in 1824, Georges fought to take his father's name. He died on December 31, 1882, without ever meeting either of his parents. 

The news of the pregnancy sent Géricault into a frenzy. Without it, we may not have this stunning painting. He shaved his head, locked himself away in his atelier, and worked around the clock for days without sleep or food. 

At the beginning of 1818, Géricault contacted the two survivors and authors, Henri Savigny and Alexandre Corréard, who recalled their harrowing tales in minute detail.  Corréard would be a frequent visitor and close friend, advising him on even the smallest of details. Builder Valery Touche-Lavilette joined in, recreated a scale model of the raft, and added a few anecdotes from the story, but remained mostly silent. 

With their help, he began sketching and even carving figures in wax to place on the scale model, capturing the moment that had occurred just two hours before they were saved. Corréd, Savigny, and Lavilette serve as models for a few of the men huddled under the mast in the final painting. 

So dedicated to getting every detail correct, Géricault spent months researching every aspect. Traveling to Le Havre, he sketched the sky and the sea and interviewed sailors. To understand what could happen to the human body, he visited the morgue and hospitals, sketching people in each stage of death from the moments before and after. 

On June 28, 1818, Géricault moved to a larger studio to hold his large 16 x 23-foot canvas, purchased on February 24. The studio was located at 80 rue du Faubourg-du-Roule, now Faubourg Saint Honoré, and directly across from the Élysées Palace.  A short walk away, Géricualt visited a friend and pathologist who worked at the Hôspice Beaujon at 208 Faubourg Saint-Honoré. On one visit, he was gifted a severed head that he kept on the roof of his atelier and frequently sketched as it decayed. 

Spending time at the morgue, he sketched severed arms and legs, many of which he turned into paintings as well. One was on display at the Louvre in 2022 for the Still Life exhibit. I was quite excited to see it up close, only because of how it is tied to the raft.  

All of these gruesome details Géricault sketched and painted never actually end up in the painting. When it came time to bring the scene to life, he pivoted to depicting the unwitting sailors as strong, well-built men. Not the emaciated, struggling-to-survive men they really were. 

Within the painting, Géricault created four groups. The lower portion of the raft, which almost spills over the frame, holds six figures in various stages of death. On the left side, the older man with a red cloth draped on his head holds his dead son's body at the edge of the raft with a look of total despair. To his right is a torso of a man added at the last minute and one of the only reminders of the cannibalism that would occur on the raft. On the right, the body of a man whose leg is trapped between the boards hangs into the sea. Just above him is a bloody axe, another grizzly reminder.

Eugène Delacroix, paid a visit to the atelier on the Rue Saint-Honoré, and after seeing the piece, he ran home through the streets, amazed and inspired.  The handsome neck you see on the dead man with his hand draped over the board is Delacroix himself, who posed for his friend.

Géricault had such a hard time painting the feet of the young dead man on the left, which sits just above the water, that he gave up and covered his feet in socks. In 1830, Delacroix would pay homage to his friend in Liberty Leading the People; you see Géricault’s influence in the lower left of the painting.  

In the center, the tight group is in a perfect pyramid presentation and looks to be trying to pull themselves up in a last-ditch effort to survive. The group under the mast is a blend of fright and hope. Three of the four figures were the actual survivors of the horrible ordeal. 

The large painting perfectly captures the fear and urgency of the effort to survive. Upon closer examination, it can evoke a range of emotions. Géricault added twenty figures when, in fact, there were only fifteen historically at the time.

In the center of the painting, the men have discovered a ship, leading your eye to the horizon and pointing it out to the others. At the top of the pyramid, the hero of the tableau is a black man. The tale of Medusa and the Machine rocked the monarchy and the government. It took down a captain and a governor and caused more distrust of those in power. While Corréard and Savigny wrote about it, it inspired Géricualt to create his own painting in revolt, but for a reason few may notice. 

The voyage to Senegal was about reestablishing France's presence in the country, but it was also about slavery. There was, in fact, a black sailor on the raft, Jean Charles, but was he the one who reached up on the barrel to signal the ship? We don’t know for sure, but Géricault was going to speak out in his own way against slavery and how France continued to take part in the slave trade at the time and add three black figures.

For each of the three figures, he used Joseph, a stunning model from Santo Domingo who arrived in Paris in 1804. In 2019, the Orsay held an exhibit titled “Le Modèle Noir”. It was amazing, and I think about that exhibit every week. Curators researched many paintings from the 18th and 19th centuries and gave us names for many of these models that, until then, were unknown. 

If you are ever in LA, find the stunning portrait of Joseph painted by Géricault at the same time as the Raft of the Medusa. 

By June 1819, Géricault had moved his painting to the Théâtre-Italien, where he finished his masterpiece in July 1819. Within a month, it would make its grand debut to the public. Few had seen the painting beyond those who modeled for it, but because of its subject matter, it was already making waves within the art world.

On August 25, 1819, the Salon opened in the Louvre and included 1305 paintings with more than 110 showcasing historical moments, battles, or figures. Traditionally, the government was the largest purchaser of works at the Salon, and historical paintings were the favorites for filling the many offices, palaces, and churches. 

The annual/bi-annual artistic salons began in the 17th century and were among the few ways for artists to display their work for purchase by the State or wealthy individuals. Beginning with the king's artists, it morphed into jury-selected artists and the famous diversion of the Impressionists. 

The Salon of 1819 was a reflection of the political climate happening in France at the end of the First Empire. The largest salon since the fall of Napoleon, his return, and the rise of the Bourbons once again would include many historical paintings. 

Géricault saw the success his fellow artists had with the genre and wanted in on the action as well as to make a statement. With the large inheritance from his grandmother, he was able to do just that. Few would take on such a large project without a commission in place. It was a risky move that wouldn’t pay off as he expected or secure the pride of placement in France until after his death. 

To submit the painting to the Salon, he renamed it “Scene of a Shipwreck” to avoid political issues or expulsion from the event.  Anyone who saw the painting, as well as the largest in the Salon, knew exactly which event it referred to.  Hanging high above the western door of the Salon Carré, leading to the Grande Galerie, it was hard to miss due to its size. As a few paintings were sold, it was moved to eye level for the last six weeks of the salon, which ended on November 30, 1819.

The painting won Géricault another gold medal but failed to get a coveted sale. Deflated and depressed, he took the painting back to his atelier 

At the beginning of the next year, Géricault was contacted by James William Bullock, who requested that the painting be a part of his exhibit at the Piccadilly in London. Bullock proposed what proved to be a very lucrative deal in the end, in which Géricault would be compensated with a portion of the ticket sales. Beginning in June 1820, the painting was seen over the next six months by tens of thousands of people, resulting in a check for 20,000 francs. More than he would have ever made by selling it to the French government. 

Bullock then took it to Dublin, where it was displayed, but it had less impact, as many people had traveled to London to see it the year before. Returning to France, Géricaut attempted to sell it a few more times, and the Louvre and government officials continued to turn it away. 

Théodore Géricault wouldn’t live much longer after he painted his masterpiece. Died at just 32 years old on January 26, 1824, after suffering from a fall from his horse (or syphilis). 

The Louvre, on behalf of the director general, Count Auguste de Forbin, purchased the painting on November 12, 1824, for 6,000, and since then it has hung in the Louvre. It was sadly 10 months after Gericault died. 

In 1859, the Louvre commissioned a copy,s. Pierre-Désiré Guillemet and Étienne-Antoine Ronjat, who can be seen today at the Picardy Museum in Amiens, created the copy.

Géricault used a substance called bitumen, which made the dark browns and blacks appear even darker. Bitumen never fully dries, so the painting could not be rolled; it would stick to itself and tear. During the evacuation of the Louvre on September 3, 1939, the large canvas traveled through Versailles on a truck used to move stage scenery. As it went through town, it struck a tram power line, knocking out power in the golden town. 

The Raft was hidden away in the Château de Chambord during the war. Since its return in 1945, it has hung on the first floor of the Denon wing in the red room of the Salle Mollien, just a few steps from the Mona Lisa. Look at all the paintings in this room, including those by Delacroix and the other Romantic artists, and see how they speak to one another. 

You can visit his tomb at the Père Lachaise and find a bronze bas-relief of the Raft done by Antoine Étex, but notice that they covered the naked, naughty parts of the gentleman falling into the water. 

The painting is also a good test of how you see the world. Which parts strike you the most? Are you an optimist or a pessimist? Do you know the hope and elation at the top, or is it the despair at the lower portion? Either way, it is a masterpiece, and I never get tired of sitting in front of it alone on an early morning before the room is filled.

As for those crates filled with gold and silver coins, they have never been found. 







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Episode 25 -  How the First Balloon Flights Inspired the Paris Olympic Vasque

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Episode 25 - How the First Balloon Flights Inspired the Paris Olympic Vasque

It’s hard to do anything these days that can impress the masses and capture attention for more than 20 seconds. Companies, restaurants, and museums all want that viral moment that spreads within hours but then is forgotten just as fast. 

Paris is a bit different. Are they endlessly annoying influencers telling you a cafe covered with fake flowers is the one to go to, or just take photos at? However, there is another entirely different side of Paris. One that is tied to its deep history, running through the streets like an ancient vein of cobblestones. The French love their history and their heritage. Each September, one weekend is dedicated to the many historic buildings that open for just two days. 

So when something new appears in Paris, it will first be met with a whole lot of distrust and hatred, but if you tie it to a historic moment or idea, you have a good chance the skeptical Parisians will like it or eventually come around to saying it's at least ok. 

For the 2024 Paris Olympics, organizers had a lot of work ahead of them and, of course, very lofty goals, starting with the opening ceremonies. We aren’t going to get into the entire ceremony or the ridiculous opinions that came from it, but there was one moment at the very end that did what few things can. Capture attention and keep it, returning to it each year. 

With each Olympics, every host city wants to do its best at showcasing how unique and beautiful its city truly is. Sadly, for anyone who comes after the Paris Summer Games, you are out of luck. It will be hard to top Paris's venues and skyline. The Chateau de Versailles, as the background for the equestrian competitions, even swimming in the Seine, was pretty magical with the Eiffel Tower above. 

A few months before the opening ceremonies, we heard that the Olympic cauldron would be placed in the Jardin des Tuileries, and one day a silver balloon appeared. We didn’t know how it would all tie together until we learned, at the same time as the rest of the world, that the cauldron was lit and lifted from the center of the basin and up into the air. 

During the Olympics and the Paralympics, each night after the sun set, the balloon would rise into the air. During the day, the lucky few who were able to grab tickets fast enough got close to it, but it was still just as easy to see from anywhere in the garden, the surrounding streets, and even the terrace of the Louvre. 

The balloon was seen as such a huge success that it would be brought back each summer until the 2028 Summer Olympics in LA. Lucky for those in Paris, for the next few months, you can once again see the large silver balloon and cauldron rise from its base each night, and each day, you can walk around the base without a ticket. 

What was this amazing sorcery, and how is the flame not setting the helium-filled balloon on fire, and furthermore, why a balloon? 

French designer Mathieu Lehanneur designed the torch that carried the flame from Greece through nearly every corner of France and even to French territories in the middle of the ocean, ending in Paris on July 26, 2024. 

The 51-year-old designer opened his own atelier in 2001 and has added his creations to museums, including lighting in the Café Mollien in the Louvre, which has since been removed. His contemporary lighting and furniture with rounded corners give each piece a playful quality. 

Lehanneur designed a large helium balloon at over 75 feet in diameter, with a very special nod to history, which sits above a 23-foot-diameter ring of fire. However, it wasn’t the actual flame that encircled the ring, and couldn’t be each year after the Olympics had concluded. It was created by EDF, the French energy company, and consists of LED light beams and a water mist, making it 100% renewable and with no environmental impact. Pretty cool, huh? 

Why a balloon, you ask? Well, this is Paris, and nothing happens by chance. The heritage is taken very seriously here, and the balloon is a nod to an event that happened on December 1, 1793, in this very same spot.

But first, we need to talk about the first balloon launch that took place in front of Marie Antoinette herself. 

Picture this: it's Thursday, September 19, 1783, and just after 1 pm in the courtyard of the Chateau de Versailles, a duck, a rooster, and a sheep are loaded into and tied to a basket that hangs from the balloon. Louis XVI had heard about a new invention that could rise from the earth and into the sky, and had to see this for himself. 

The Montgolfier brothers were born into a large family of 16 kids. Their father headed up a paper and stationery company that had been in the family since the 14th century. With a bevy of siblings, Etienne and Joseph headed off to Paris to follow their own passions. 

Etienne studied architecture and called Jacques Germain Soufflot the architect of the Pantheon, a mentor.  Joseph was interested in chemistry and set up a lab in Paris until 1772, when their brother Raymond died, and the siblings were all called home to work in the family business. 

In 1782, the brothers, combining all their interests and a moment of good fortune, created the first hot-air balloon. One day, Joseph had tossed a piece of paper into the fire and watched it lift into the air above the flames. This led Joseph to create a cubed frame covered in silk, place it in his fireplace, and watch it rise up his chimney; Eureka! 

By the end of the year, the two brothers had put their heads together, and by December 1782, the first steps toward flight had begun. Various fabrics from silk to wool and paper, combined with every kind of fire fueled by manure, leather, or raw meat. 

On April 25, 1783, they hit the jackpot. A 105-cubic-foot balloon, constructed of canvas and strengthened with paper from the family biz, weighing just under 500 pounds, lifts into the air and travels 1300 feet, much to the amazement of the small crowd below. 

Night and day, they worked to perfect their design, and on June 4, 1783, a bigger balloon was flown and stayed aloft for 10 minutes, traveling a mile and a half. Word spread quickly throughout the scientific community and reached Versailles and the attention of the king himself. 

Louis XVI might have been the one man in the royal lineage who never wanted to take the throne. Louis was happiest taking clocks apart, looking at large maps, plotting navigational routes, and playing with locks and keys. He was a bit of a nerd, and I mean that as a compliment. When word reached Louis of this amazing feat of flying, he needed to see it for himself. 

Much to the delight of the Montgolfier brothers, who needed funding to take their project even higher, no pun intended. The two were invited to Versailles to present the flying balloon to the king himself. 

Of course, the brothers decided they needed to create a new, larger balloon. With this, the shape of the hot air balloon we know today was created. The brothers called upon their friend Jean-Baptiste Réveillion, the owner of the Royal Manufacture of Wallpaper, to assist in creating the new, larger balloon. 

Over 1000 m3, it was tested on September 11, a week before their date with the king. It was a success, but not so fast; the rain had other ideas. Much like the same thing that happened 243 years later on the Pont Neuf to the JR structure, the wind and rain ripped apart the balloon. 

A date was set with the king for September 19; a new balloon had to be created in less than a week; the previous one had taken two months. This was also the perfect time to go even bigger on the balloon at 1400 m3. 

The big day arrived. There in the courtyard of the Chateau de Versailles before Louis XVI, Marie Antoinette, and a few thousand of their friends, the Montgolfier brothers watched their balloon lift into history. 

On September 19, 1783, at 1:11 pm, with the precious cargo tied into a basket, the balloon lifted and traveled almost 2000 feet, and in eight minutes, traveled north 3 ½ kilometers to the carrefour de Maréchal in the nearby Bois de Vaucresson. A rip in the balloon brought the trio down, and to the surprise of everyone, completely unharmed, for the most part. 

The world's first astronauts were given a hero's return to the chateau and placed in the royal menagerie, where they lived out a very lavish life. Although some bystanders said the duck’s beak was broken from the sheep sitting on it. 

Physician Jean-François Pilâtre de Rozier was on hand that day and was the first to see the three thriving animals for himself. The next step was to fly a human, and the physician was the first to raise his hand. 

A larger balloon was designed, and this time they covered it with wallpaper decorated with a motif fit for Versailles. On a blue background, gold intertwined L’s, the cipher of the Bourbon Louis’s, as well as the symbols of the zodiac, eagles, and of course, the sun of Louis XIV.

The first test was held on October 15th, rising 85 feet and remaining aloft for over 4 minutes. 

On October 19, on the Rue de Montreuil in the Folie Titon park of the Révillon manufactory, the first human, Pilâtre de Rozier, was launched 266 feet from the ground, this time tethered. Later that same day, André Giroud de Villette joined the good doctor and remained aloft for almost 10 minutes. 

After final approval from Louis XVI himself, the first non-tethered launch took place on November 21, 1783, from the Château de la Muette outside Paris. The king wanted to use convicted criminals for the first flight in case it ended in death, but was convinced by his advisors that it would be safe. 

The balloon not only stayed in the air, but it also quietly traveled over the Jardin des Tuileries and the city itself. Can you imagine the surprise people below would have if they were unaware of the event? For 5 ½ miles, it crossed Paris, landing SE of Paris in Butte-aux-Cailles. 

The Montgolfier Brothers would cement their place in history and science, so much so that Montgolfière is the French word for Hot Air Balloon.  Joseph would live until 1810 and be awarded the Legion of Honor by Napoleon and named to the Academy of Science. Sadly, Etienne died in 1799, but would have been given the same honors had he lived long enough. What would these two fellows think now?

As for the first man to travel into the air, Jean-François Pilâtre de Rozier, he became obsessed. On June 23, 1784, Rozier returned to Versailles to fly in an even larger balloon christened La Marie Antoinette. Alongside chemist Joseph Louis Proust and in front of Marie Antoinette, Louis XVI, and guest King Gustavus III of Sweden, the two took to the sky. This time, they reached beyond the clouds, 9800 feet above the earth, and disappeared from view. In less than an hour, they traveled 32 miles before running out of fuel and dropping near the forest of Chantilly. 

Rozier’s need for speed or height would be his undoing. Bolstered by successful launches, he now wanted to cross the English Channel. On June 15, 1785, with physicist Pierre-Ange Romain, in a specially designed balloon that sat on a column to hold enough fuel for the crossing. Shortly after takeoff, strong winds blew them back over land, and the balloon lost its air and crashed to the earth.  The first man to travel into the air was also the first man to die in the pursuit of flight. 

While the Montgolfier brothers were presenting their creations before the king and queen of France, two other brothers were nipping at their heels. 

 Physicist Jacques Charles created the first hydrogen-filled balloon, which is fourteen times lighter than air. Working with brothers Ann-Jean & Nicolas Robert, a silk balloon coated in rubber was constructed in the Place des Victoires. On December 1, 1783, from close to the very spot where we find the Olympic Vasque today, Jacques Charles and Nicolas Robert took off and floated 27 miles while more than 400,000 people watched, including Benjamin Franklin. 

The 2024 Olympics, held in Paris, did a beautiful job of melding the games with the city's backdrop and a heavy dose of history. In Paris, you are constantly rubbing shoulders with history, even if you aren’t paying attention. Marble plaques attached to buildings share the story of a past figure that lived there, or a historic moment that occurred, or even mark the spot where someone died in the fight to free Paris during the Liberation of 1944. 

Everything in Paris has a story; it’s what gets me out of bed every morning hours before the sun rises. I love to find those deep connections between what we see today and how it came to be.  

This is the same as what can be found in the story of the balloon in the Tuileries, but it doesn’t end with the first balloon flights that occurred from and over the garden; it is also in the exact spot at which the balloon vasque sits today. 

The balloon is situated over the round eastern basin of the Tuileries, which sits on the invisible line that runs through Paris, known as the Axe Historique. The Jardin des Tuileries was created under Catherine de Medici in the 16th century and attached to her palace, which once stood at the end of the Louvre. Garden architect Pierre le Nôtre was tasked with designing a garden that would include a grotto, vegetables, and endless beds of flowers, all for her enjoyment. 

The garden would evolve in the 17th century under Louis XIV and Pierre’s grandson, André Le Nôtre, who would add the quintessential French design of geometric lines.  

As the king liked to escape to the countryside to his place of birth in Saint-Germain-en-Laye, he asked Le Nôtre to extend the view from the Palais du Louvre through the garden and to the top of the hill. We know it as the Champs-Élysées. 

While the axis dates to the 17th century, it was in the 19th century that monuments were added along the line, linking history forever, and finally anchored in 1989. 

Today, the axis begins at the Musée du Louvre. Off-center from the Pyramid of IM Pei (listen to episode 16 for more) is a statue originally designed by Bernini for Louis XIV and finished in 1684. Louis hated it and hid it in the farthest corner of Versailles until he had François Girardon redesign the Sun King into a Roman hero. 

While IM Pei was finishing the Pyramid and the Cour Napoléon, a copy of the redesigned statue was created in lead as the original was too fragile to move.  Upon arrival, IM Pei placed it SW of the Pyramid, which may look a bit odd, until you realize it is the beginning of the Axis line. 

Louis XIV rides his trusty steed and looks as if he is ready to head out for the weekend to one of his many countryside estates. From this spot on a clear day, or better yet, from the window of the former bedroom of Henri II on the first floor of the Louvre look west to the outskirts of Paris. 

From Louis, we see the Arc du Triomphe du Carrousel, commissioned by Napoleon and built in 1808. More on that soon. The line runs through the central path of the Arc's garden and to the Olympic balloon, cementing its place in history, even if only temporarily.  

Continuing through the Tuileries, the Place de la Concorde, and the 13th-century Luxor Obelisk, a gift from Egypt to France in 1830, and erected in 1836. The golden triangle on the top of the obelisk is easy to spot over the trees of the garden from inside the Louvre. 

Continue down the Avenue des Champs-Élysées to the crowning monument of the Arc de Triomphe. The big brother of the Carrousel was imagined by Napoleon, but he never saw it completed. Finished by Louis-Philippe in 1836 and is still dedicated to the glory of the great soldiers of France, many of whom had given their lives for the country. 

From there, the line extends along Avenue Charles de Gaulle and ends outside Paris, in the business district of La Défense, at the Arc de la Défense. Inaugurated in 1989.

As for the Cauldron, it returned this summer and will return one more time in 2027. Maybe it will return in the future; it is a rather beloved addition to Paris's skyline.

The Jardin des Tuileries opens to the public each morning at 7 am, but it can easily be seen without entering the garden. 

You can watch it rise again each night at sunset, and it stays high above the city until 2 am. It will rise 197 feet into the air until September 14th.  

Hours through July 31, garden closes at 9:30 pm, vasque rises at 10:30 pm

                          August: garden closes at 8:30 pm, vasque rises at 9:30 pm

  September 1-14, the garden closes at 7:30 pm, and Vasque rises at 8:30 pm 

Unfortunately, the Vasque isn’t designed for people or sheep, but you can travel by air for a fantastic view of Paris. 

In the Parc André Citron in the 15th near the Seine and not far past the Eiffel Tower is the Ballon Generali that offers tethered visits 150 meters into the Parisian sky for 16 to 20 euros 

https://ballondeparis.com

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Episode 24 - The Affair of the Poisons

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Episode 24 - The Affair of the Poisons

In the late 17th century, all of Paris and the court of Versailles were embroiled in the Poison Affair, and few were immune to its reach, including the Sun King.

It all began in 1662 when a gentleman named Godin de Sainte-Croix began an affair with Marie-Madeline Dreux d’Aubray. Marie-Madeline was born on July 22, 1630, in Paris to a very influential family.  Her father served in the military, and her mother, Marie Olier, was the brother of Jean-Jacques Olier, who created the Society of Saint Sulpice. 

The oldest of five children, her mother died shortly after giving birth to her youngest brother in 1637. Just 7 years at the time of her passing, her father expected her to help with her siblings and be in charge of the house. At the same age, she was raped by a neighbor, and at 10, she began to have sexual relations with her two younger brothers up to three times a week. 

Thankfully, she was able to escape the family due to her substantial dowry, and at the old age of 21 on December 20, 1651, in the Église Saint Eustache, Marie-Madeline married Antoine Gobelin, Marquis de Brinvilliers. Descendant of the family that made their money in fabric dying and tapestry. The building and the manufacturing still hold their name today. 

The marriage resulted in three children, and Antoine already had 4 illegitimate ones that she was to care for when he was away as commander of the Regime of Auvergne.  They had a high standing in the Marais, where they lived, and held parties and salons that everyone wanted to attend. Although it all began to quickly slip away due to Antoine’s constant gambling, leading him to make a break for it and eventually flee France and his many creditors. 

In 1662, Marie-Madeline was aware of her husband's infidelity as well as his gambling, and began to separate her own family money from him. One evening, her husband invited a fellow soldier to their home. Jean Baptiste Godin de Saint-Croix and Marie Madeline began quite the affair shortly after their introduction, around the same time her husband fled in the dark of night.

The two lovers did not hide their affair. Once her father learned of the relationship, he had Godin locked up in the Bastille for three months in 1663, an action that would lead to his own death. While there, Godin met Egidio Exili, who was in the Bastille for poisoning the sister-in-law of Pope Innocent X, Olympia Maidalchina, in Rome. 

Godin was already fascinated by chemistry and poisons, and Exili taught him all he needed to know about creating tasteless, odorless poisons that could not be detected and would cause a quick death. Exili told him, upon his release, to visit Christopher Glasser, a master chemist at the Jardin Royale des Plantes, to get everything he needed. 

A prison stint couldn’t keep these two apart, and as soon as he was released, he was once again at her side and teaching her everything he had learned in the Bastille. 

Godin lived at no 5 Rue Hautefeuille, the Hotel des Abbes de Fécamp, they were a short walk to the garden to get their supplies. The two would test out their poisons mixed in with sweet cakes and take them to the patients of the Hotel Dieu, where they would track the symptoms, dosage, and length of discomfort before their victims’ deaths. Killing numerous people in their research just for the thrill of it. It is not known just how many were killed, but the list could be quite long. 

Marie-Madeline took what she learned and tried it out on her father on September 10, 1666, killing him, and a few years later, in 1670, her two brothers, Antoine and Francois, and a sister were also victims of her potions.  Although their fractured relationship after years of abuse left them a bit distrustful of her.  Marie Madeline was able to place a trusted footman, Jean Amelin de la Chaussée, into their household to slowly poison and kill her brothers. The death of her sister followed later,  as a way to knock out all obstructions to get to her full inheritance. 

Saint-Crox also became concerned for his own life and began to document and make note of her actions, and even take evidence of her crimes and lock it all away in a red leather box. A note was left that if anything was ever to happen to him before she herself died, to go look inside the red box. Unfortunately for Marie-Madeleine, he died of natural causes on July 31, 1672, and it set off the Affair of the Poisons. 

Upon his death, he left a long list of creditors seeking payment and demanded that the king intervene. A search was authorized of his property, and the note was discovered a week after his death on August 8. His trusted valet, Jean Amilin de La Chaussée, was brought in for questioning, and he corroborated all the mysterious evidence in the red box. His actions led to his own demise when he was sentenced to death and killed on March 24, 1673.

After the death of Saint Croix and the discovery of his letters, Marie quickly left for London and eventually frequently moved throughout northern France, but was finally caught in 1676 in Liege, Belgium.  Charged with murder in absentia in 1673, a few determined investigators kept looking for her. One even dressed up as a priest and infiltrated the convent and waited for his moment to arrest her and bring her back to Paris on April 17, 1676. 

On April 26, the questioning and torture began. At first, she pleaded her innocence, although a letter in her own hand was filled with her endless admissions to crimes. Her torture included “water cure,” pouring gallons of water from a tube into her mouth that could often end in a quick death. Think of a beer bong without an off switch.  She admitted to killing her brother and father 

A second trial began on April 29 and culminated on July 14, with Madame de Sévigné in the front row, taking notes on everything that was said. Sevigne, the lady of letters we covered before, was born in 1626 in the Place des Vosges. Spending time at the court of Versailles, her daughter, Françoise, could have been a victim if she had spent any more time under the watchful gaze of Louis XIV. Francoise married Francoise de Grignan and left Paris on April 19, 1678, thereby beginning the letters that would document all of Parisian society. 

It was discovered in 1669 that Marie-Madeliene attempted to kill Jean-Baptiste Colbert twice, on February 18 and again on May 5. He was a close member of the court of Louis XIV and chief minister of state, but this was nothing compared to what his court at Versailles would soon endure. 

When Henriette of England, wife of Philippe I, Duc d’Orleans, and brother of Louis XIV, died on June 30, 1670, it is believed that the poison came from Marie-Madeline. A glass of Chicory was given to Henriette by the Knight of Lorraine, who was also the lover of her husband and wanted her out of the way. Later that day, she died at just 26 years old. Upon her death, her autopsy revealed that she died from suspicious causes. 

The entire ordeal captured the attention of all of Paris. The day's documenter, Madame de Sévigné, gives us the most detailed account. “Assassination is the safest; it is a trifle compared to the eight months of  killing her father and receiving all his caresses and sweetness, where she always responds with doubling the dose.” Alexander Dumas also noted all the details of the trial and used them in his books. 

The Torture of Marie Madeline de Brinvillers Jean-Baptiste Cariven

On July 16, 1676, Marie Madeline met her final fate on the Place de Grève, now Place de l'Hôtel de Ville. Beheaded and burned on a stake, her ashes were tossed into the Paris wind. Sévigné said that “Never has the city been so aroused, so intent on a spectacle”. She also remarked that Paris had now inhaled her evil and that it would return in the next seven years. 

As Marie-Madeline was taken the short way to her death, she said: “Out of so many people, must I be the only one to be put to death? Half the people in Paris are involved in this sort of thing, and I could ruin them if I were to talk”.   When news reached the king, he ordered an investigation. Louis XIV appointed Gabriel Nicolas de la Reynie, the lieutenant general of the police, to create a group to look into the allegations. He never knew how close to home it would get. 

Reynie first went to every alchemist in and around Paris, which led him to poisoners, and in no time, he was at the door of Catherine Deshayes Monvoisin. 

Catherine was born in 1640 and married Antoine Monvoisin, a Parisian jeweler. They had one daughter, Marie-Marguerite, who would later turn against her mother. Catherine was first just a palm reader and fortune teller, but that quickly led to being a potion and poison maker and performing abortions. 

Aphrodisiacs were her gateway drug. Providing for the many women of society used to arouse their spouses. Made with everything from chocolate to cocaine, cloves, and cannabis, and turned into a paste that could be rubbed on their intended love interest.

Gabriel-Nicolas de La Reynie by Pierre Mignard

Madame Monvoisin developed quite a fan base, and women of all ranks of society lined up at her door each day.  Her practice began to expand into the darker arts. One of the most horrific acts during this time was the Black Mass, a practice that had been around for centuries but was given a name in the 17th century. Another woman who loved to dabble in the occult world, Catherine de Medici, was known to hold a Black Mass on May 28, 1574. During the time of the Poison Affair, a former priest, Etienne Guibourg, revived the practice in Paris with Monvoisin in 1673. It is not for the faint of heart to hear, and the practice involves the killing of a baby, which Monvoisin was never short of. 

In 1658, Madame de Montespan was a lady-in-waiting to Henriette d’Angleterre, the wife of the king's brother Philippe d’Orleans. The beautiful Henriette and Louis XIV had a very close relationship, sharing an affection for music, parties, and the finer things in life. The TV show Versailles depicts the two in a very, very close relationship; however, there hasn’t been any proof they two were also sexually involved. 

Madame de Montespan

Henriette died June 30, 1670, at 26 years old, of suspicious causes still contested to this day. At the time, it was imagined to be a poisoning orchestrated by the lover of her husband or Montespan herself. 

Montespan had her eyes on the king, but needed to befriend  Louise de la Valliere, the current headmistress. When Louise and Queen Marie Therese were pregnant by the king at the same time, the queen asked Montespan to dine with the king each evening. It was sending the fox into the hen house, and after the birth of the king's illegitimate child, Louise left the court as Montespan moved into her place. 

La Voisin and Montespan first met in 1665, when she asked for a love potion to use on the king to attract his attention. The affair between the king and Montespan began in May 1667. Over the next eleven years, she gave birth to seven children with the king, all but one of whom survived to adulthood. In the final years, Montespan became a  little rounder around the edges, and the king turned his eyes to some of the younger members at court. 

Living in the glowing rays of the Sun King always came to an end for any of his mistresses, and Montespan wasn’t going to go quietly. 

The Black Mass became well known throughout Paris after Monvoisin’s arrest, and everyone would learn the truth about her most famous client. In 1672, Guibourg and La Voisin, as she came to be known, found an empty chateau near Orleans and François de Rochechouart de Mortemart, the Madame de Montespan. Montespan lay on a stone slab, completely naked, with her arms out like a cross and holding a candle in each hand. Guibourg placed a silver chalice on her belly and above her, holding a baby that would bleed into the chalice. 

Montespan had to chant, “Asmodée, prince of love, I beg you to accept the sacrifice of this child in exchange, I would keep the king’s affection, the favor of the princesses of the court, and the satisfaction of all desires.”  The ritual was held three times: in 1673, 1677, and 1679. Her sexual relationship with the king ended in 1678, and she remained at court for her children until it all came crashing down after March 17, 1769. 

On a sunny afternoon, La Voisin was walking out of the church and was arrested by Reynie. Although she was quite adept at the dark arts, she was also a very devoted member of the church and a high priestess. Believing her powers and actions were bestowed upon her by God, she easily walked away with the Lieutenant, thinking she had done nothing wrong. Her abilities were widely known, and every morning, people lined up outside her door to see her for one of many reasons.  

At the time, women had little to no rights, especially over their own bodies, and were happy to pay her for fortunes or alleviate a pregnancy, making her a very wealthy woman. 

An inspection of her home on Rue Beauregard in the 2nd, authorized by her daughter, found more than 2500 babies buried in her backyard. 

The court of the Chambre Ardente was held in the Arsenal in front of 13 magistrates interrogating hundreds of prisoners. Experts, including doctors, were on hand to help delve into the chemistry, poison terminology, and evidence. The windows were covered with dark cloth, as all of Paris watched day and night for a glimpse of the men and women being brought in. 

The investigation, known as the Chambre Ardente, lasted over three years and resulted in a significant outcome. 442 people were accused, of which 319 were subpoenaed, 194 were arrested, and 36 were executed, and twice as many committed suicides. 

Among these were a few closely associated with La Voisin.  Françoise Filastre was arrested in 1680 and confirmed the involvement of Etienne Guibourg and the Black Masses. Francoise was sentenced to life in prison and died in 1686, but her testimony would lead to the incrimination of Montespan. After Voisin’s arrest, Montespan had contacted Filastre to supply her with poison to use at court. 

Françoise de Dreux was of noble birth and married to a high-ranking member of the Parliament of Paris. However, she was in love with Armand Jean de Vignerot du Plessis, the duc de Richelieu, and she killed her husband so she could be with her lover.  Arrested and brought to trial for another man, M. Pajot, she was accused of also ordering the poison to kill her lover’s wife, Anne de Richelieu. She was later acquitted, but another woman would bring it all back to light. 

Margurite Joly was just as skilled and successful as La Voisin. Arrested, she was subject to water torture and gave up the names of many of her clients, including François de Dreux, who thought she was in the clear. Dreux was going to be arrested, but managed to flee France before she could be found. 

Marguerite Leféron was the wife of a judge whom she didn’t like very much. She, like Dreux, killed her husband so she could marry her lover, De Prade. De Prade was only after her money, and so she needed to kill him as well.  She was arrested and exiled, but not everyone went to the stake. 

Marie Brosse, La Brosse, was known as the first poisoner arrested in the roundup and pointed her finger at La Voisin. One night at a party after a bit too much wine, La Brosse bragged to everyone how much money she had due to selling poison to many women in Paris who wanted to kill their husbands or lovers. Someone at the party reported it back to Reynie, and Brosse was arrested, as well as her daughter and sons. Marie met her fate on the Place de Greve on May 8, 1679. 

Marguerite de Poulailon obtained poison from Marie Brosse to kill her husband, Alexandre de Pouaillon, but he survived and was able to hand her over to the police. Her beauty saved her from the same fate as many of the other women, and when Reynie heard of her lenient sentence of exile, he stepped in and had her sent to work at a holding house for former prostitutes in Angers, where she would spend the rest of her life. 

The court of the Chambre 

In 1678, the investigation was pointing in many directions to Louis XIV and the court of Versailles. Evidence mounted, and it was discovered that Louis XIV had been poisoned for 13 years. The Sun King ordered Reynie to only make notes on unattached paper so it could be destroyed.  

On July 13, 1709, 29 volumes of evidence were destroyed in a fire. Much of it against Montespan, but we have all the notes of Madame de Sévignè and the files of Reynie are still held in the Prefecture of Paris. 

Versailles season 2 is all about the Poison Affair, loosely based on the facts, but fun nonetheless. The character Madame Agathe serves the role that would have been closer to La Voisin. 

Episode 9. Black Mass  

Listen to the full episode here on Apple, Spotify or YouTube

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Episode 23 - The Birth of a Legend and the Woman Behind the Mona Lisa

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Episode 23 - The Birth of a Legend and the Woman Behind the Mona Lisa

She is the most famous painting in the world, and everyone has an opinion of her. Are there better paintings in the Louvre? Sure, but she also deserves every bit of fame she has garnered for many reasons. Sadly, because of the chaos that surrounds her, you aren’t able to truly appreciate her the way you might other paintings.

Is she overrated, as found in an online poll a few years ago? Well, maybe a little, but you need to know her entire story and the reason why she is so famous, and also the reason she is revolutionary in the world of art. Over the next few months, I will share her story from every angle possible, and at the end, you can let me know if you still think she is overrated. I guarantee you will change your tune. 

Years ago, I wanted to know more about the theft of the painting itself in 1911, which I will share in August, and it led me deep down the rabbit hole of all things Lisa, as just about everything I do does. 

Today, we start with the story of the woman herself. 

Who is the woman behind the most famous painting in the world? Was she the mistress of Giuliano de’ Medici? Leonardo da Vinci in drag? A wealthy woman of the Renaissance and friend to the artists? Or was she a Florentine woman and wife of a wealthy silk & wool merchant? 

It is one of the greatest questions in art history, right up there with why she is famous in the first place. 

You know this lady as La Joconde or as the Mona Lisa. 

She hangs in the Musée du Louvre and every day, more than 25,000 people visit to snap a selfie and remark how small she is, but few realize she was a real person. Many don’t even know why they have to run up the marble steps, barely looking at Winged Victory on the way to take a picture and check Lisa off the list. 

On Tuesday morning, June 15, 1479,  Lisa di Antonio Gherardini was born in Florence at the corner of Via Maggio and Via Sguazza, not far from the Palazzo Pitti of the Medicis. 

The Gherardinis were the typical Florentine family. They lived in the heart of the city, came from well-known and established families, and attended church regularly. Her father, Antonmaria, came from a long line of wool merchants and had been married twice before meeting Lisa’s mother, Lucrezia del Caccia. His first two wives died tragically during childbirth,  

Lucrezia del Caccia was born in 1454 and was fifteen years younger than her husband. At twenty-five, she was practically an old maid. Lucrezia came from a well-off family that owned a prosperous wool business as well as farms and property in Chianti. Six more children would follow, and she also outlived her husband by just a year.

Hours after her birth, Lisa was wrapped up and taken in a long procession across the Arno River for her baptism at San Giovanni. Lisa di Antonio Marie Gherardini was named after her paternal grandmother, and her birth was recorded on a warm Tuesday afternoon in Florence. Little did her parents know that someday her name would be spoken around the world.

The building she was born in is now gone, but a plaque marks the address. 

In 1494, the large Gherandini family moved to the other side of the Arno near Santa Croce, a move that would place her in the center of her destiny. Residing between via del Pepi and via Ghibellina, her father met their new neighbors, the Giocondos. 

Francesco del Giocondo was born on March 19, 1465. The Giocondo family was also in the wool and silk business in Florence and owned multiple workshops in and around Florence. He had been married once or even twice before; the paperwork is a bit murky, and he lost both wives during childbirth, just like Lisa’s father. His first wife, Camilla, had a son, Bartolomeo, on February 24, 1493, but died on July 24, 1494, while delivering their second child; neither survived.

Eight months later, on March 5, 1495, at age 15, Lisa married the son of their neighbor, Francesco del Giocondo. The marriage ceremony in 15th-century Florence was a bit different from what it is today. It began with a “ring day,” when the bride would be taken to her future husband's home for the evening. If she spent the night, it was a successful match, and the next day her dowry would be transferred to her husband. Two days later, a wedding ceremony was held in the church with the entire town in attendance. 

Arno river in Florence

A year later, they welcomed their first son, Piero, on May 24, 1496, quickly followed by a daughter, Piera, on May 5, 1497. Four more children followed: Camilla in 1499, Marietta in 1500, Andrea in 1502, and finally Giocondo in 1507. Sadly, only three survived to adulthood. 

The Giocondos lived between Lisa’s parents and a gentleman named Ser Piero da Vinci.  Ser Piero, notary, called the Medici family a client as well as Antonmaria Gherardini and Francesco del Giocondo. Ser Piero came from a long line of notaries dating back to the 13th century. Born in April 1426 and following in his grandfather's footsteps, he worked in Vinci and traveled between Pisa and Florence. 

On one particularly hot July night in 1451, Piero met a young Caterina di Meo Lippi. She was 15 at the time, shocking today, but the normal age to be married or bear a child back then. The result of this hot summer night was the birth of one of the greatest artists of the Renaissance, Leonardo da Vinci, on April 15, 1452.  

Piero didn’t marry the young mother, but his parents would take care of her and then little Leo once he was born. The union and result of that night was never anything shameful; the da Vinci family was very open about it and even helped with a dowry for Caterina to marry after the birth. Piero would eventually marry four times and have 11 more children. 

Ser Piero shared an office in Florence on the Via Ghibellina starting as early as 1449. Traveling between the Tuscan cities until finally settling with his large family just a few doors down from his office in March 1480. 

Between 1484 and 1497, Ser Piero served as referee and notary for Francesco and his brothers, a role he often filled within the family. He also worked for the Basilica of the Santissima Annunziata, where Francesco del Giocondo and his wife were frequent guests.

In the Spring of 1500, Leonardo arrived in Florence. His father’s house was clearly busting at the seams with children, and he stayed instead at the Annunziata. A place of worship, a convent, and also served as a hotel for visiting members of the church. Leonardo would have stayed until the autumn of 1501, when he was also going to paint a fresco within the church. It was during this time that the del Giocondos met Leonardo. 

Leonardo was 51 years old and had completed the Last Supper in Milan just a few years before. Traveling between Tuscan towns, he was asked frequently to take on portrait commissions and turned them down. Even Isabella d’Este, the first lady of the Renaissance who amassed a large collection of art, some of which is in the Louvre including one that was the first target of Peruggia on that steamy summer night in August 1911, more on that in two months. Even with Isabella’s money and clout, he turned her request down. 

Francesco del Giocondo climbed the ranks of society. Appointed to the consul of the silk guild, he became a civil servant and was elected to one esteemed post after another from 1499 to 1512. It is also thought that with Francesco’s connections, he helped facilitate the commission for the fresco of the Battle of Anghiari in the Palazzo Vecchio. Awarded in 1504, the fresco was fraught with issues, and he abandoned the project in 1505. Nothing survives today. 

In turn, Leonardo da Vinci agreed to paint a portrait of his wife Lisa. He must have caught Leo on a good day. 

Leonardo began painting Lisa in February 1503, a little over two months after the birth of her last daughter, Andrea. For days on end, the lovely Lisa sat in front of him with her right arm over her left, turned slightly, and looked straight ahead. To keep Lisa entertained, Leonardo brought in a band of musicians, entertainers, and jesters, giving her a little smile, which is also the most notable and talked about characteristic of the painting. 

A portrait of that size was rarely seen. Normally, they were much smaller, which is ironic because one of the most common responses to seeing her is that she is “smaller than people expect”. 

Leonardo worked on the painting for four or five years before he set it aside. 

Da Vinci liked to “meditate” on his paintings, work a little on a painting, then take a break to ponder what he would do next. So it wasn’t out of the norm that the painting of Lisa wasn’t finished.

During this period, Francesco ran into a bit of a problem. The Medici family was under attack, and Francesco was under suspicion of working for the exiled family. Arrested and tossed into prison until the Medici returned and bailed him out. 

Francesco never paid Da Vinci for the portrait. 

Years went by, and tragedy struck the family. Another son, Giocondo, was born on December 20, 1507, and survived only 19 days. Their daughter, Camille, entered the convent at 12 years old in 1511 and died on January 18, 1518. Worried for their lone surviving daughter, Marietta, born November 11, 1500, they took her to the nearby Sant’Orsolo convent. 

The Sant’Orsolo was the Ivy League of convents. Only the women of the top notch of society could enter as members. The family had to pay for their lodging, food, and anything else they needed throughout their lives. Marietta became Sister Ludovica on October 20, 1521, and lived there until her death in 1579. It would also become the final home of our Lisa. 

It is thought that Francesco contracted the plague and died in March 1538. He was interred in a family vault in the Santissima Annunziata. In his will, he left everything to his children; only three had outlived him, including Sister Ludovica. Lisa’s dowry was returned to her, as was the custom, and all her clothing and jewelry were hers to keep. She was placed in the care of his first son, Bartolomeo, whom Lisa adopted after their marriage, and Piero. 

Not much is known about the last years of Lisa's life. After her husband's death, she moved into the Casa Grande with her son Piero. In her final year, the convent of Sant’Orsolo (Saint Ursula) would be her home alongside her daughter. 

Lisa never saw the unfinished painting that would make her a household name worldwide. She died in the convent on July 14, 1542. The cause of death is unknown. 

Recently, in September 2025, in the San Lorenzo area of Florence, a monumental discovery was unearthed. The convent of Sant’Orsola dates back to the 15th century. In 1810, Napoleon had the convent closed for many years, and during WWII it served as a tobacco factory. In the 1980s, it was purchased by the Italian Ministry of Finance and is currently being restored. 

Less than a year ago, beneath reinforced concrete poured in the 1980s, a series of tombs was uncovered, including the tomb thought to be that of Lisa Giocondo. A few fragments of bone remain; the skull is missing, and it's unclear whether they can extract any DNA. We do know that on July 15, 1542, Lisa was interred here in the convent, not in the family vault with her husband. 

How do we know the painting is in fact Lisa Giocondo? It’s a question historians and researchers have asked for over 500 years. The first mention of the portrait painting and its connection to Lisa was written years after the deaths of Leonardo and Lisa.  

Florentine artist, architect, and writer Giorgio Vasari wrote one of the most definitive guides to the artists of the Renaissance. Published in 1550,  Lives of the Most Excellent Italian Architects, Painters and Sculptors from Cimabue until our Time.  It was a series of multiple books and editions covering the greatest artists of the time.  The second edition was released in 1568, and the da Vinci chapter was greatly updated. Multiple sources, many close to Da Vinci himself, provided information, but the original description of the Mona Lisa is still used today as the certified account, although Vasari never actually saw the painting in Da Vinci's atelier.

His account describes the painting: 

“Seeing that the eyes had that luster and watery shine which are always seen in life, and around them were all the vivid rosy tints of the skin, as well as the eyelashes, which cannot be done without the greatest subtlety. The eyebrows, through his having shown the manner in which the hairs arise from the flesh, where more thick and where more sparse, and curved following the pores of the skin, could not be more natural. The nose, with its beautiful nostrils, rosy and tender, seemed to be alive. The mouth, with its cleft and its ends united by the red of the lips to the flesh-tints of the face, truly seemed to be not pigments but flesh.”

His account came from the subject's family members, as well as other artists who saw the painting between its creation and 1550. 

One detail many notice today is that she doesn’t have eyebrows. What changed between this first account and today? In the last few years, Lisa has undergone multiple X-rays and wavelengths of light that have uncovered even more secrets and maybe a few answers. More on that in another episode soon, or we will be here all day.

In 1508, Leonardo carried the painting with him to Milan, then to Rome in 1513, and finally to France, where he spent the last years of his life. 

On December 9, 1515, Francois I arrived in Bologna to meet with Leo X after his recapture of Milan. This was the moment that a young French king met the Italian artist. At the time, Leonardo’s benefactors were falling out of power, and he needed to make a change.

Francois, I had asked in December 1515 if he wanted to move to France, but Leonardo declined.  By the summer of 1516, Leonardo changed his mind and accepted the king’s generous offer of a palace to live in, money, and anything he needed. 

On August 12, 1516, at 64 years old, Leonardo, with his assistants Francesco Melzi, Salai, as well as Ambassador Pallavicini and Battista de Vilanis, departed Rome for the long voyage to France. Nothing survives to this day that records the exact route or the trip's notes, but there are many theories about the path from Italy. 

The 270 km journey from Rome to Florence took 9 days on foot, with about 30 km per day. Staying in Florence for a few days to say goodbye to friends and family before moving on to Bologna and Castelnovo, another 220 km.  By September 6, the group had arrived in Milan and remained there for two weeks, during which Leonardo worked on the plans for the Sforza Castle. The castle wall had been destroyed by the Swiss army, and François asked Leonardo to redesign it. 

From Milan, the route gets very murky. Many historians over the last 500 years have proposed different ideas. Traveling in the fall, the snow began to fall, and some of the routes would have been treacherous for even a young man. Possible ideas include traveling through Switzerland, and one sketch has survived of a bridge over the River Rhone. The lakeside wonderland of Annecy is also a possible option. Some reports state that Leonardo rode on the back of a mule for the 1500 to 2000 km journey, others that he was carried in a chair by his two assistants. 

Packed in his bag were three paintings. Saint John the Baptist, Sainte Anne, and the Mona Lisa. As Leonardo liked to “meditate” on his paintings and also drift between mechanical sketches and his other pursuits, he took forever to finish anything. 

Some researchers believe the background landscape was inspired by his travels through the Alps, but any notes supporting that were destroyed during the French Revolution. 

On October 28, 1516, Leonardo and crew arrived at the Chateau d'Amboise to the delight of François I. Just a few weeks after Ambassador Pallavicini died of the plague, the traveling companions were all put into quarantine. Leonardo hadn’t added to his journal until a month later, at the end of November. 

The King gave his beloved artist the nearby Château de Clos-Lucé, just a short walk away. He even created an underground tunnel linking the two together so he could visit Leonardo anytime. 

Francois I was born on September 12, 1494, and was never destined to be king of France. After his father’s death, his mother, Louis de Savoy, contacted her husband's cousin, King Louis XII, and moved the family to the Palais du Louvre. Without an heir to the throne, the two decided to marry their children and named Francois I as the heir to the throne. Claude de France married Francois I in Saint Germain-en-Laye on May 18, 1514. On January 1, 1515, Louis XII died, and Francois became King of France at 20 years old. 

François I's mother, Louis de Savoy, loved the Italian Renaissance, and at a very early age, he was raised with a love of the arts. Known as the Père et Restaurateur des Lettres (father and restorer of letters), this was no doubt due to the influence of his mother. As soon as he took the throne in 1515, he headed off to Italy, where he enjoyed the lavish meals and art. 

Up until Francois I, the kings didn’t have much of an adoration for art, and only a scattering of paintings decorated the medieval castles, but that was all about to change. I think of Francois as the Father of Art for France, the man who loved it so much that he brought Leonardo da Vinci back to France and began the collection that would later become the building blocks of the Musée du Louvre. 

Leonardo da Vinci was only the first of the many artists who would move from Italy to France. The King also invited painter Niccolo Machiavelli, Michelangelo, the architect Sebastiano Serlio, and goldsmith Benicento Cellini. While living in France, Leonardo spent more time on party planning and costume designs for the King than on painting. At times, he picked up his brushes to work on the three paintings he brought with him, but in the last three years of his life, he spent little time with the canvas. 

On May 2, 1519, Leonardo da Vinci took his last breath. Died of a stroke at 67 years old. He was long thought to have died in the arms of Francois I, as depicted in many paintings in the Musée du Louvre and the Petit Palais. The king and the artist were great friends, and he believed Leonardo to be the smartest man in the world and often called him father. At the time of the death, the King was in Saint-Germain-en-Laye and would not have been at the master’s bedside, but it was a nice thought. 

Leonardo changed his will just 10 days before his death on April 23, 1519, leaving all his works to Melzi, including the three paintings. His close assistant and “servant”, Gian Giacomo Caprotti, known as Salai, also had numerous paintings and sketches in his hands after da Vinci’s death. Salai met Leonardo at age 10 and became a trusted member of his atelier, although he constantly stole from him as a teenager. Da Vinci taught him the fine craft of painting, and a few copies of Lisa are said to be by Salai himself. 

Salai was killed in a street brawl on January 19,  1524. Without a will, an inventory of his belongings was created on April 21, 1525, and many paintings were listed, including  “A Joconde” that most likely was done by Salai and not da Vinci.

What happened to da Vinci's paintings between his death and the years that followed is also a bit of a blur. Multiple reports had very different ideas before it came into François I's hands. Salai's sister is said to have had Lisa, but these are most likely copies done in da Vinci's presence. With so many copies out there at that time, it is hard to say. 

In a 17th-century inventory of the royal collection, a note states that Francois had paid 4,000 gold crowns, or 9.7 million dollars today, for the painting. However, it is a bit harder to find the transaction date. Many date this to 1518, a year before Leonardo's death, but if so, would she have left France with Salai then? 

For close to 20 years, the king of the Renaissance kept his prized lady in his Appartement de Bains (bathroom) at the Chateau de Fontainebleau. A lavish collection of rooms that included baths and steam rooms, the last place to keep a painting. Later, it moved to the Cabinet des Tableaux, renamed the Pavillon des Peintures, but damage had already been done. A 16th-century oil painting on a wooden panel was not a match for a cold chateau with horrible heating and ventilation. Many of the paintings from the original royal collection were destroyed due to neglect and a lack of understanding of proper art handling at the time. 

Today, she is held inside a concrete wall, behind two layers of triple-pained bulletproof non-reflective glass separated by a few centimeters. Within the wall, 25  pounds of silicone keep the masterpiece painted on wood at a perfect 55 degrees. Sensors for temperature, movement, and even sound. Each July, she is removed from her tomb and given a once-over under the tightest possible security. 

















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The History of the Pont Neuf, Yesterday & Today

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The History of the Pont Neuf, Yesterday & Today

Like many great cities, Paris was born from the Seine. The once-small island, which held the city of Lutetia and is now known as Ile de la Cité, was the precursor to Paris.  There are 37 bridges that cross the Seine in Paris, linking the left and right banks together, each holding its own slice of history.

Only two wooden bridges linked the island to the left and right banks for the first 800 years. More bridges were added beginning in 1378 with the Pont Saint Michel. As they were built of wood, numerous floods, river traffic, and even a deep freeze destroyed most of the bridges, and more than once.  

As the city expanded from the island, the need for another bridge was imminent. The kings had moved to the Palais des Louvre and Queen Mother Catherine de Medici had built her Palais des Tuileries, which also brought hundreds of courtiers and servants to the center of the city. Where the king goes, the businesses go, and then the people. A 16th-century gentrification of Paris. 

Paris in 1575

Henri III was under the strong thumb of his mother in 1577 and launched a commission to build a new bridge at the end of the island, linking the two sides of Paris for the first time in one span. It was by far the riskiest location in the city center. The river was at its widest, and the current constantly changed. It would be a project that only the king's architects could tackle. Architects Jacques & Baptiste Androuet du Cerceau began the project under the vision of Henri III, even if they also thought it was a little crazy. 

On May 31, 1578, Henri III laid the first stone on the left bank with his mother, Catherine de Medicis, at his side. Just days before, a duel to the death that included two of the king's closest friends and soldiers.  Louis de Maugiron and Jacques de Caylus were each killed, and it was devastating for the king. At the laying of the stone, the king was visibly upset and cried, giving the bridge the nickname "Pont Pleurs," the bridge of tears. 

Construction continued for eleven years until the sixth War of Religion reached Paris and forced Henri III to retreat. On August 2, 1589, Henri III was killed by a Dominican monk, launching the King of Navarre, the other Henri III, onto the throne of France and becoming Henri IV, aka Hot Legs Henri. 

Henri IV made his grand entrance to Paris on March 22, 1594, and was shocked at what he found. The city was falling apart. The Louvre had been without a king since 1589, while Henri IV fought for his acceptance to the throne. The far from finished Pont Neuf wasn’t more than a few piers sticking out of the Seine, and work needed to resume so it wouldn’t be lost forever. Ten years after the work had stopped, Hot Legs Henri called for the completion in May 1598, with a few changes made by architects Guillaume Marchand, François Petit, and Pierre de Illes. And to pay for it, they would tax wine as it entered Paris, with the proceeds regularly set aside to build fountains. A few hundred years later, an Englishman would use his money to create fountains to bring water to the drunk Parisians. It all evens out in the end. 

Henri IV removed the houses that his predecessor had imagined for one important reason. He wanted people to have a clear view of the Galerie Bord de l’Eau (Grande Galerie) of the Palais du Louvre. 

For five years, the work continued. The bridge would span across the end of the island, very different from what you see today. The tip of the island that includes the Pont Neuf sits on the remnants of three small islands: the Ile du Patriarche to the north, Ilot de la Gourdaine to the east, and the Ile aux Bureau on the south side. 

Paris 1609

On June 20, 1603, Henri IV made his first crossing of the bridge from the convent of the Grands Augustins to the Louvre. The bridge hadn’t been finished yet; only the south arm was complete, and all but three arches of the north. Henri, the positive guy with a bit of royal arrogance, decided he could cross the bridge on his horse and the wooden planks to reach the right bank. Many curious Parisians couldn’t wait to check out the bridge for themselves, although it ended in death after they fell into the Seine. The king ordered the bridge to be completed tout de suite. 

The bridge was finally finished on July 8, 1606, 420 years ago next month, and luckily, before the King’s untimely death on May 14, 1610. (for more, listen to episode 18)

The official inauguration was held in 1608, but it would take another 18 years before the entire project would be completed. Four hundred years ago this year, in 1626, the bridge and the surrounding area were finally finished. Sitting at over 760 feet long and 72 feet wide, it was also the first paved bridge in the western world. 

When the bridge was finished, it became the most popular spot in Paris. Every level of society would be found on a given day. From the aristocracy to the pimps and prostitutes. The sidewalks, the first not only in Paris but the first in all of Europe, were set up a few steps from the street, no longer fearing for your life as you walked down the street. 

If the police were looking for someone, they knew to wait below the statue of Henri IV at some point, every single person in Paris crossed the Pont Neuf. 

The arcades between the arches were used by merchants, booksellers, and peddlers, who would set up each day and carry their stock and furniture away each night. Just like Paris today, the pickpockets and thieves found the distracted shoppers easy prey.  In 1776, structures were built into the arcade and managed by the Royal Academy of Paintings, a gift from Louis XV years earlier. 

Henri Cognacq, a name you may not recognize, built an empire that began in one of the small arcades closest to the right bank. In 1868, under a large red umbrella, Ernest sold red knit hats and red fabric and became so successful that he opened a department store just steps away. The Samaritaine opened in 1870

The Pont Neuf became the epicenter of Paris in every way. Theatrical performances were held at the center of the bridge years before a theater was built.  Before we had the beloved bouquanistes you had the Pont Neuf. The sidewalks were lined with booksellers, with as many as 50 stalls and even individuals selling books from a tray strapped around their shoulders, set up along the bridge.  Ladies known as Bouquetières sold flowers and gifts to the smart gents passing over the bridge on their way home. 

While walking on the bridge in the day was the chicest activity in Paris, once the sun went down, it became the original no-go area and the darker side of life on the Pont Neuf. When the large cloaks worn by men in the 17th century became all the rage among aristocratic Parisians, the thieves would hide in the shadows and rob a passerby, only to cut the massive piece of fabric in two and resell it. They might have missed the moral of the story of Saint Martin. 

Built of limestone, the bridge was also the first to be decorated. Only viewed from below along the wall and lining the bridge are 381 mascarons, first conceived before 1608 and widely attributed to Germain Pilon, sculptor of the Valois family. Pilon died in 1590 but he could have possibly done a few drawings under Henri III.  The 380 male mascarons are each individually created, and no two are alike. They include scary faces of satyrs and sylvains, Roman gods of the forest. Faunes, Greek dryads, and a few faces encircled in flowers. There is only one female, a Medusa mask at the very center, looking down into the square. Some say that they represent the husbands of each of Henri IV’s conquests. None of the originals remain on the bridge today; a few can be found in the Carnavalet museum. 

The crowning decoration of the bridge is, of course, Henri IV himself. 

The idea of an equestrian statue of Henri IV was first proposed in 1604. Inspired by the great efigies of Rome and the Florentine Medicis. Built under the orders of his wife, Marie de Médicis, but his untimely murder would come before the statue was finished. Completed in Italy in December 1611, it took two years before it left Livorno in the spring of 1613 and set out from the port of Genoa to Paris. The ship was attacked by pirates and sank off the coast of Savona. 

Many months later, in 1614, the wreckage was discovered, and the statue was finally headed to Paris on a barge from Le Havre, down the Seine, arriving on July 24, 1614, and placed on the Pont Neuf and inaugurated on August 23, 1614, now as a remembrance for the king who was killed four years before.

Sitting on a pedestal created by Marchand, the statue of Henri IV was surrounded by the Four Captives statues that can now be seen in the Musée du Louvre in the Richelieu wing. Designed by Pierre de Cambrai and carried out by his son-in-law, Francesco Bordoni, in 1618. They were finally put in place in 1635 after the base was finished. A fantastic painting by Jean-Baptiste Lallemand hangs in the Carnavalet, giving you an idea of what the statue and captives looked like. 

Musée Carnavalet

 Like many monuments in Paris, it would not survive the Revolution. Broken and melted down, it was all but destroyed, an a few pieces of the statue survived and are now in the Carnavalet.

Jacques Louis David, artist and official party planner of the Revolution, suggested they add a statue dedicated to the people in the place of Henri IV. It would be created by melting down many of the statues, including Henri, repurposing marble statues, and incorporating pieces like the four captives of Louis XIV. It never happened. However, this wouldn’t stop the next megalomaniac. 

Napoleon Bonaparte found an empty pedestal, and of course, he needed to have it filled. In 1810, the base was strengthened to hold a massive 198-foot-tall stone obelisk. Napoleon was ousted before anything could actually be built.  

Napoleon was barely out the door when Louis XVIII ordered an exact replacement of Henri IV and returned it to the Pont Neuf. Henri would rise again. 

On August 25, 1818, the final statue we still see today was inaugurated and cast from the original mold using bronze from other statues in Paris, including a statue of Napoleon once in Place Vendome. Customary at the time, four boxes were placed inside the horse's belly to serve as a time capsule, including the one placed in the base the year before. A copy of the Life of Henri IV by Péréfixe, printed on parchment and bound in green leather, was also added, along with 26 medallions, a crystal effigy, a letter, and a list of the people present at the occasion, the creation of the statue, and other books.  

Inside the statue, a closely kept secret is hidden. A workman named Mesnel, a loyal Bonapartist, stuffed Henri with two cylinders of anti-royalist papers while he was being built. It was a myth until 2004, when it was restored, and the cylinders were found hidden in his elbow and neck, filled with the very papers. Before the restoration was finished, they returned the hidden treasures to the king. Check out a few photos here

Henri stands at the bridge and looks west into the Place Dauphine, the very one he had constructed in 1607.  Before the bridge was finished, the Place Dauphine was laid out. The triangle-shaped royal square was named for his son, the dauphin, Louis XIII. The royal square is surrounded by structures in the Henri IV style, and a few of the originals remain today. The two at the entrance at no 29 & 33 and 13, 15, and 19 on the south side still date to the first construction of the Place Dauphine. 

The bridge would undergo its first restoration in the 1810s and 20s, almost completely rebuilding it. The piers holding caves were filled in, and the bridge was flattened in the center of each arm, and the sidewalk was lowered as well. 

It wasn’t until 1888 that the Square du Vert Galant was built, extending the island even further. 

The square du Vert Galant was given the name in remembrance of Henri IV and his nickname, Vert Galant. Hot Legs, as you can imagine, had quite a way with the ladies. Everything you read about the nickname will say the nickname came from his many love affairs , “at his advanced age”. He died at 56. 

I have also read and overheard many a tour guide say that Henri would take his ladies down there for a romantic rendezvous. I will note again that the park wasn’t created until 1888, 278 years after his death. 

During the 17th and 18th centuries, the Seine had to be a lot cleaner than it is today. Every summer, men and women would climb down for a little swim on a hot day. Separated into their own areas, the men were able to dip and swim au naturale.

Under Haussmann and Napoleon III, the bridge, like much of Paris, went through another transformation. The stalls in the arcades were replaced with benches, turning the bridge into a park as well as a thoroughfare. 

In the same period between 1853 and 1855, Victor Baltard, the creator of many of the street “furniture” around Paris, was tasked with creating the amazing lampposts that still line the bridge today. Designed in the memory of the Dauphin Louis XIII, the nautical theme cast iron posts included dolphins, tritons, and the heads of Neptune. They are gorgeous and so beautifully done. 

Below each lamppost, a cast-iron box inscribed with 1854 once held the gas valves that turned the lamps on and off, which had to be done by hand every day. I love that they leave these little reminders for us long after they fall out of use. 

In 2018, the base and structure beneath the statue of Henri IV underwent another inspection, resulting in a restoration in 2021. New wrought-iron grills were added, and the metal grates were replaced with glass panels as a fight against the stupid locks. The walls below had shown cracks and fractured stones as well as a few of the mascarons in dire need of a facelift. Most of the work was finished by the start of 2024. 

One thing long gone is the water pump built on the northwestern side of the bridge. The first water pump in central Paris was built under Henri IV in 1608 after the completion of the Pont Neuf, and was later known as the Samaritan pump. Given that name from the bronze bas relief that hung above Christ at the well of Jacob, and met the Samaritan woman who offered him a drink. 

At the very top of the structure was an astronomical clock with a figure that came out to mark the hours, as well as the month, day, and year. Sadly, nothing remains, but there are a few paintings and even a model of the later design, made under Louis XIV by Robert de Cotte, with the relief of the Samaritan, though it no longer shows the clock. 

After Henri’s massive reconstruction and expansion of the Palais du Louvre and connection to the Palais des Tuileries, more water was needed, and the Samaritaine pump would do just that.  It would be used until 1813, when it was destroyed under Napoleon, as it was no longer needed. 

The bridge has inspired artists since its creation. Paintings can be found in the collections of the Louvre, the Musée d'Orsay, the Carnavalet Museum, and the National Gallery in Washington, DC. Everyone from Monet to Renoir captured the daily crossing of the Pont Neuf. A painting by Renoir in 1872 holds the modern life of Paris with carriages and women walking alone, a scandal. The country had barely survived the Siege in 1870 and the Commune in 1871 and was once again returning to normal. From a cafe window, Renoir painted it in a single day while directing his friends and family to repeatedly walk into traffic so he could capture the hectic scene. I think of this painting every single time I cross the bridge from the right bank. 

In 1985, a pair of contemporary artists took their turn, this time turning the bridge itself into a piece of art. Artists Christo and Jeanne Claude are well known for their art installations that include draping or wrapping structures in fabric. The two, both born on June 13, 1935, Christo in Bulgaria and Jeanne Claude in Morocco and met in Paris in 1958.  It was love at first sight, and the couple would spend the rest of their lives creating art all over the world. 

The idea to wrap the Pont Neuf in fabric began in 1975. It took ten years to convince the city of Paris, and in the end, from September 22 to October 7, 1985, the northern arm was wrapped in 440,000 sq ft of “Pierre de Paris” colored nylon canvas. Every element of the northern arm was wrapped, including the Baltard lampposts. It was held in place by 429,000 feet of nylon rope and 13 tons of steel chain. The project was self-funded by the artists and cost more than 10 million francs. 

On September 22, 2025, the Place du Pont Neuf, the home of Henri IV, was renamed the Place du Pont Neuf - Christo et Jeanne Claude to mark the 40th anniversary of the event. 

That same year, another project was to encase the Pont Neuf once again, but had to be rescheduled to this year. 

The Caverne du Pont Neuf, created by French artist JR, is a homage to Christo and Jeanne Claude. The couple's nephew, Vladimir Yavachev, approached JR in 2023 with an idea. JR had met Christo through Vladimir in the last years of his life and shared a love for large-scale art installations. 

As one of the keepers of the flame of Christo & Jeanne Claude, Vladimir wanted to mark the anniversary of one of their greatest works. This time it wouldn’t take ten years to convince the mayor of Paris; it took only a few months. Again, the project would be self-funded by JR through the sale of his framed art and private donations. 

JR has imagined a mountain inspired by the quarries where the stone was found to build the bridge in the 16th century. Visiting and photographed the limestone quarries and stone caves in Greece.  For months, he brought the vision to life in his studio, creating the design that would later be printed and constructed by the Air Toiles Concept, which would print and sew more than 203,437 square feet of nylon in Brittany.

After four months of manufacturing, including ten large inflatable pieces that form the structure of the 80 peaks of the cave, as well as the interior structure that will include an interactive experience involving sound and scents. JR worked with Daft Punk artist Thomas Bangalter on the interior, which promises to be amazing. It was to open on June 6 for 22 days and could hold 700 visitors at once. 

On May 11, the installation began, and it was very exciting to visit each day as the project was born before our eyes. Boats in the Seine would anchor down the printed tarps tightly with rope; there is no attaching or drilling anything into the historic structure.  As the sun set on May 20, the inflatable structure began to rise from the bridge, forming the cave. It appeared that the Alps had been moved into the very center of Paris. From the Pont des Arts, on a clear, sunny morning, it’s an incredible thing to see. 

June 4, 2026

Sadly, on June 2, after a week of high temperatures, part of the printed cover was ripped in a few minutes by the high winds of a brief storm, followed by a pelting of rain and hail. It was just four days before it was to open to the public. The opening has been delayed while they repair the structure, and we are waiting for news that we can visit the inside. It will be open 24/7 until June 28th, when they will need to begin taking it down to reopen the bridge.

I love the installation, and I also love the message JR conveys in each of his creations. Photos online do not do it justice; it really needs to be seen in person.  

On June 21,  1994, fashion designer Kenzo Takada covered the entire western downstream side of the bridge in potted flowers for the launch of his new perfume “Flowers”. 32,000 potted begonias and 42,000 ivy plants cascaded over the railings, adding a lovely scent to the air in the center of Paris. At the end, plants were given away to passersby.  I hope JR incorporates that scent into the experience. I will keep you posted.

Pont Neuf wasn’t just the “new bridge,” it was so much more. Sure, it was the first in stone, without houses, the widest and the longest, and the first to have sidewalks in Europe. It was also the first celebrity monument in Paris. People traveled from all over Europe to see it, including Peter the Great. In 1717, Peter arrived in Paris after visiting Amsterdam to collect books, check in on Madame de Maintenon after the death of Louis XIV, and see Pont Neuf for himself. 

While people today line up to view Paris from the Eiffel Tower, in the 17th and 18th centuries, the first place people wanted to see was the Pont Neuf. Long before people bought cheap Eiffel Tower keychains that went home with paintings of the Pont Neuf, brass-and-stone miniatures, and hand fans painted with the bridge's image. The bridge ushered in the new modern age and the birth of the great city we know today. 

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Episode 21 - The New Windows of Notre Dame and the Repeated Destruction of History

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Episode 21 - The New Windows of Notre Dame and the Repeated Destruction of History

The restoration of Notre Dame after the 2019 fire was nothing short of a miracle. In just over five years, the cathedral opened its doors once more to the faithful, but in reality to millions of tourists. However, with any major project in France or anywhere in the world, there will always be a political or self-serving edge that sneaks in.

On December 8, 2023, President Macron announced, at the so-called urging of Bishop Laurent Ulrich, his intention to add new contemporary windows to the cathedral to reflect the fire and the Renaissance. At the time, it was thought that the windows might reflect the craftsmen and women and even the fire itself, but that was not at all what we would eventually see. 

Ulrich was named bishop of Paris on April 26, 2022, and oversaw the restoration of the cathedral's interior, including its furniture and decoration. We were told by the diocese that whatever had been inside the cathedral on April 14, 2019, the day before the fire, would return. That has been far from true and a flat-out lie.

Over the last 161 years, since Viollet-le-Duc's restoration was completed in 1865, bishops and church officials have continued to erase his contributions. 

In creating this week's podcast episode, I wanted to take a deeper look at the controversy surrounding the new windows at Notre Dame, but, as with anything, it led me down another road. The systematic vandalism of Notre Dame was done by the church officials who should be there to protect it. 

Eugene Viollet le Duc, the man behind the restorations of many of the French monuments, including the Basilique Saint Denis.  Notre-Dame de Paris. Built in the 13th century, barely survived the many conflicts and the Revolution, but was thankfully saved when Victor Hugo wrote Notre Dame de Paris in 1831. Suddenly, a light shone upon this cathedral, and a cry to save it from destruction sparked a competition among architects. 

Viollet-le-Duc, the self-taught architect, and his partner, Jean-Baptiste Lassus, had just finished restoring Sainte-Chapelle and were primed to take on the monumental task. Viollet was just 29 years old and already had extensive experience with Gothic churches. They wanted to preserve as many 13th-century details as possible and restore each element and style.

Viollet wasn’t just an architect but also an artist, creating meticulous drawings of each statue, chimera, king, and stained-glass window. By hiring the best craftsmen in France, they could recreate each element lost over the years. Lassus died in 1857 during construction, leaving Viollet with the huge task and the voices of critics, which to this day have never been silenced. 

The commission was awarded on March 31, 1844, and the project was completed in 1865. For over 20 years, VLD had the spire rebuilt, redesigned the lead roof, and the 16 statues of the Apostles & Evangelists. Added the gargoyles, returned the statues of the kings to the facade, and rebuilt much of the statuary around the doors of the cathedral. 

The inside is where his brilliance really shines, none more so than in the chapels, or the chapels before 1950, I should say. Viollet looked at each chapel as a canvas, one that would incorporate all elements and combine them to tell a story, including a translucent, colored tapestry of stained glass. 

When Viollet took on this massive endeavor, the cathedral had suffered through the Revolution, the destruction of the original stained glass under Louis XV, and the near-total loss when the city tried to sell the cathedral off for parts. Thankfully, there weren’t any takers. Breathing new life also meant a return to color.  

The overall theme of a Gothic cathedral is light. The appearance of lightness that you see on the exterior, the capturing of light that fills the interior, and the guiding principles of Viollet le Duc. 

In the words of the architect himself: “First, the cathedral of Paris, as is well known, is oriented in such a way that one entire side of the monument faces south and the other north. One of these sides, therefore, receives a brighter and more colorful light than the other. It seemed necessary to take advantage of this arrangement to establish overall harmony. Rather than counteracting this orientation, it was deemed necessary to reinforce it. Thus, firstly, all the windows of the chapels facing south are decorated with grisaille in warm tones, while those facing north have grisaille in pearly and cool tones. From this, it follows that upon entering the monument, one sees one side in light, one side in shadow, one side warm and bright, and one side cold. This instinctively produces a generally tranquil effect on the eye. Nothing is more tiring for the eyes than an interior lit by contrasting light of similar qualities in terms of light intensity, tonal value, and color. The painting of the chapels had to naturally correspond to the system of light distribution. Following a general rule, the tonality of the paintings on the north side is cooler than that on the south side. However, as unity must be maintained, from distance to distance, on the south side, gray tones, green tones, and cool tones recall the general harmony of the north side, and, on the northern side, warm tones recall the general harmony of the southern side.”

Some look at the windows of the north and south nave that are predominantly grey or grisaille and might think they aren’t as beautiful as the type of colored stained glass you see in the chevet or Sainte Chapelle.  

Here is VLD explaining the theory. “Indeed, the colored light from the stained-glass windows, even if they are, as we say, only grisaille, breaks down the pure colors, such as vermilion, yellow, and intense blue, weighing them down; it is necessary to counteract this influence by seeking tones that, on the contrary, acquire value from the translucent coloring of the stained-glass windows. Thus, for example, if the stained-glass windows spread a light lilac glaze with a slightly azure tint, and one wishes to obtain a blue tone, one must green the blue; a purple tone, one must warm this lacquered tone with a yellow; a green tone, one must keep this tone very light and transparent. If, on the contrary, these stained-glass windows color the light in a very slightly purplish yellow, the green tones must be almost blue; the blues, azure; the yellows, greenish; the reds, lacquered When these muted tones have the proper value due to the light illuminating them, the touches of pure color take on their true value and are not, or rather do not appear to be, decomposed by the quality of the day. It is, therefore, useful, we believe, to consider the examples we give in this collection of paintings in light of the location of the chapels and consequently the light they receive. Thus, one will have the explanation of certain harmonies of muted tones.

It is, of course, hard to envision this today in 2026 because the painted walls of the nave chapels were destroyed in the mid-20th century, less than 100 years after they were created. 

The bishop of Paris, Marie-Dominique-Auguste Sibour, wanted to restore the chapels and launched a fundraising campaign within the parish. Viollet, a lifelong atheist, was surprisingly close with the bishop, and the two developed a deep trust. The two developed a plan for the names of the chapels and the themes of each. Picking saints, figures, and those who had been attached to the church. 

The chapels of the nave were never a part of the original plan of the 12th-century church. During construction, wealthy guilds and families approached the church and said they would pay to have a chapel built. Next thing they know, the wall of the nave and transept was destroyed and bumped out, creating fourteen chapels. It was up to the owner to decorate and maintain the interior, and most had carved wooden walls to close off from onlookers. To get an idea of this, visit Saint Eustache. High above each chapel are the family crests of the original owner, and one chapel still has its lovely carved entrance. 

Once the church took over the chapels, there weren’t enough funds to pay for the decoration or to bring it into the style of the rest of the church. That wouldn’t be done until over 600 years after they were created. 

Each and every chapel of Notre Dame was treated as its own little stage with every element working together, just as Viollet had described. From the altar to the gate to every painted element, and of course, the windows. Visit the chevet chapels at the eastern end of the church to get an idea of his vision. 

For over 80 years, Notre Dame basked in its colorful glory. Weaving the stories of the saints and figures of the church with a beautiful motif that would inspire Art Nouveau and an American named Walt Disney. 

Then came the 1950s. A familiar story of neglect or poor cleaning led to a few loud voices claiming that the decor wasn’t up to the standard of the great cathedral and needed to be removed. Moisture, humidity, candle soot, and dirt, a problem churches still fight today, can have lasting effects that are hard to recover from. 

The fight was led by Pierre Maire Auzas, the inspector general of historic monuments, who claimed the work was “unworthy”. The first victim was the wall of the north nave just before the first chapel. A beautiful statue of the Virgin and Child that now greets you at the entrance was once against this wall painted with a light yellow, blue and brown motif with stylized fleur de lis, lilies, and reliquaries. 


Auzas felt it took away from the statue, when in fact VLD painted it to enhance it. In 1951, it was the first work to be erased. Prior to the fire, this was where a large gift shop was set up for visitors leaving the cathedral. When the walls were stripped, there must have been some heavy furniture in the way that they couldn’t or didn’t want to remove. Lucky for us it has left a few reminders of what once was. 

The lower part, painted with brown and black squares, remains and was found and restored after the fire. 

Bolstered by the success of their destruction, the chapels of the nave were next. One thing that VLD did during his restoration was to remove all of the Les Mays paintings that had remained in the church. Created in the mid-17th century, the Goldsmith Guild of Paris donated a large painting each year on May 1 for over 70 years. At one time, all 76 hung in the church. In the 1950s, Auzes wanted to reunite many with the cathedral for which they were created, and would clash with the 19th-century painted walls. 

The chapels of the nave were covered from the roof to the floor with decorative paint, something that wouldn’t work with the reimagined chapels of Auzes. A unanimous verdict by the historical group was that the “artistic work, especially religious, during the Second Empire was considered uninteresting and without creative genius”. There is always a political and self-serving angle that weaves its way in. 

So between 1959 and 1963, the fourteen chapels of the nave were whitewashed of any color or decor. Entire chapels stripped down to the stone, including the altars. 

Today, in the 2nd chapel of the north nave and the 4th, there is a little reminder of what once was. Today’s chapel of Abrahm, once Saint Charles, holds a bit of the green-and-burgundy harlequin pattern behind the statue of Saint Francois-Xavier baptizing. In the 4th chapel of Isiah, below a statue of Saint Landry, bishop of Paris, who founded the Hotel Dieu, forest green “stones” outlined in cream, in what once was the chapel of Saint Vincent de Paul. 

I have photos on my website, along with the original designs from a fantastic book by Viollet le Duc and Maurice Ouradou, featuring each of the chapels' designs and ornaments. I have a link to the original online version from 1870.


Although this systematic destruction and vandalism occurred in the 1950s and 60s there is very little photographic evidence that remains. Much like Chanel and their founders ties to Nazism, Notre Dame seems to want to also hide this period. I have many books about the history of Notre Dame, and only a few even mention this episode. Neither the original painting nor the destruction.  

All of this brings us to the new controversy, but the past is a very important factor. 

Notre Dame was designated a historic monument on December 31, 1862, during Viollet-le-Duc's work. A classification that protects all of the elements of the structure, including the art and decoration, whether it is original 12th or 13th century or created prior to the distinction. This also oversees how a restoration is handled and how it must be overseen by a national architect, and the respect taken to its heritage. Above all others. 

This, along with another incredibly important distinction, should protect the cathedral. On May 31, 1964, the Venice Charter was adopted by conservators and outlined the rules governing historic monuments and buildings. The thirteen resolutions outline the protection, but also “ applies not only to great works of art but also to more modest works of the past which have acquired cultural significance with the passing of time,” as article 1 states. 

The Venice Charter is one of the most important documents in the art world. It has been adopted as the rule not only for historic buildings but also for the restoration of paintings and sculptures. (listen to episode 13 Venus de Milo & 20 Delactoix’s Constantinople) 

Two of the standout hits of the charter that apply heavily in the conversation today. 

Article 8. Items of sculpture, painting, or decoration which form an integral part of a monument may only be removed from it if this is the sole means of ensuring their preservation.

Article 11. The valid contributions of all periods to the building of a monument must be respected, since unity of style is not the aim of a restoration. When a building includes the superimposed work of different periods, the revealing of the underlying state can only be justified in exceptional circumstances and when what is removed is of little interest, and the material which is brought to light is of great historical, archaeological, or aesthetic value, and its state of preservation is good enough to justify the action. Evaluation of the importance of the elements involved and the decision on what may be destroyed cannot rest solely with the individual in charge of the work.

You can read the full Venice Charter here

Since Notre Dame reopened in December 2024, the attacks on the chapels have continued. Before the fire, chapels were filled with numerous paintings,  statues, candlesticks, reliquares and crucifixes. Today, they are devoid of any character, and nothing ties them to the names given for the reopening. 

The idea of replacing the windows in the southern nave of Notre Dame was first discussed in 2021, after the fire. Michel Aupetit, archbishop at the time of the fire, placed Pere Giles Drouin in charge of the redesign of the cathedral interior. In a YouTube video I found recorded March  22, 2022, Drouin talks about the chapels that have very little use, “dead space,” and giving them more life. (They are far from that now.) It was also at this time that the idea of new contemporary windows for the south nave was first brought by Drouin.  

When this idea reached the then-Minister of Culture, Roselyne Bachelot, she said NO and based her decision on the Venice Charter. 

On April 23, 2023. General Gerorgelin and President Macron visited the Notre Dame worksite along with Bishop Ulrich. Macron brought up his wish for new stained-glass windows and said that “it must come from you,” or it will never happen. 

On December 4, 2023, four days before Macron visited the site again, Ulrich sent a letter regarding the window. Four days later, Macron announced his interest in replacing the windows. 

Exactly one year before the re-opening on December 8, 2023, Macron first spoke of the desire to “mark the 21st century.”  It was first said that the windows would also mark the five years since the fire.  (hoping it would be something like ND de Reims)

At the same time, Macron announced their intent to replace the windows. He also expressed his wish to have a museum dedicated to Notre Dame opened at the Hotel Dieu, just outside the cathedral's doors. The removed Viollet-le-Duc windows would be placed there. (more on that in a minute)

Shortly thereafter, on March 11, 2024, the Ministry of Culture, now under Rachida Dati, named Bernard Blistène, former director of the Centre Pompidou, in charge of the international competition for the artist to create the new windows. 

It was swiftly brought to the floor of the national assembly on December 19, 2023, by Caroline Colombier after Macron’s announcement. On May 21, 2024, they concluded that the replacement under the governing bodies was accepted.

On July 11, 2024, the National Heritage and Architectural Commission unanimously issued a negative opinion, a very rare occurrence. 

On December 18, 2024, President Macron announced the selection of French artist Claire Tabouret to create a set of six new windows. Born in 1981 in the south of France, she attended the École des Beaux Arts in Paris for a year, then the Union School of Arts in New York. She now lives in Los Angeles. 

On that date, we saw our first glimpse of what the windows would look like. 

Windows for the Chapel St Vincent de Paul & Chapel Saint Genevieve

The chapels of the south nave were renamed before the 2024 reopening. Representing Pentecost, the visitor is to walk out of the cathedral “in the light”. Although the chapels take the names of saints or figures tied to Paris, well, kind of. Saint Joseph, Saint Thomas d’Aquin, Sainte Clotilde, Saint Vincent de Paul, my girl Sainte Genevieve, and fellow patron saint of Paris, Saint Denis, and ending with the real head scratcher, Saint Paul Chen. A wonderful story of an amazing man, but one that never came to Paris until his remains were transferred after he was beatified in 1908. 

This past winter, the artist's final designs were on display at the Grand Palais. The full-size painted version on paper of each window, along with a behind-the-scenes look at how they were created.  Hung on a white wall, the window was reimagined, including the top of the window, to pay homage to Viollet-le-Duc and the glass designer Alfred Gérente. 

I visited the exhibit the day it opened on December 10, and of course, I went in with the idea of hating everything about their existence. On their own, they are lovely, they are bright and colorful, and the talent of the artist shines through. That said, I still disagree with the idea of replacing the windows, if you haven’t figured that out yet. 

The Archbishop of Paris chose the theme of Pentecost and specific texts from the Book of Acts were given to the artist.  

Window for the Chapel Saint Deni

Chapel Saint Joseph  "All gathered together in one place." The apostles stand in a circle in front of the historic windows that are being removed. 


Chapel Saint Clothilde "Suddenly a sound came from heaven." The windows are a rush of turbulent water, while calm in the lower section

Saint Vincent de Paul, "Like a violent gust of wind" represented by a tree bending in the wind against a bright orange background. 

Chapel Saint Genevieve "Then tongues of fire appeared to them and rested on each of them." At first, I was excited because I thought she depicted Sainte Genevieve, as that would make sense, but it is the Virgin Mary dressed in her signature blue is depicted with long, loose hair, often more associated with Mary Magdeline. 

Chapel Saint Deni:s "Those who heard had their hearts pierced." The Holy Spirit now appears as a dove above the design of the former windows. Mary in blue stands and looks above as the apostles are on their knees below. 

Chapel Saint Paul-Chen  "They spoke according to the gift of the Spirit." A long procession made up of many people winds its way through th windows and into the future.

I’ve added a link to the exhibit information on my website; it is in French. 

The fight against the windows sped up at the start of the year.  Didier Rykner of La Tribune de l’Art, leading the fight, created a petition on December 12, 2023, and, as of today, it has more than 352,000 signatures. You too can sign it here

Notre Dame gave their overall approval on Feb 24, 2026 (an email sent that day from the recteur), they have no standing on anything outside of what is involved and affects worship

On April 17, 2026, the regional prefecture authorized the public establishment to remove the Viollet-le-Duc windows. 

On May 5, 2026, two heritage-defense associations brought a case before the Paris administrative court to halt the project as a matter of urgency. They had to show the urgency of the situation, the legality, and raise doubt on the legality of the project 

At 3 p.m. on May 12, 2026, Didier Rykner  & Paul Lacaze of Sites et Monuments and SOS Paris had their day in the Paris Administrative Court, pleading that the replacement of the windows be stopped. 

On May 19, the Administrative Court rejected the suspension of work by the Sites & Monuments and SOS Paris 

The judge didn’t see the urgency since the structure itself will not be altered, and the windows can be removed. The lawyers for the project argued that  “121 m2 out of 2050m2”, 6% of the 19th-century windows, 5% of the overall windows are what is at stake here. When a high percentage of those windows are high above and out of view of visitors, it’s a weak argument.

Not all hope is lost, and they, siding with the historical interest, remain optimistic that they can prevail, even if it is long after the windows are replaced. 

On May 22, it was announced that the windows will now be displayed at the Château de Pierrefonds and the Cité de l’Architecture at Trocadéro. 

The Château de Pierrefonds was renovated by Viollet-le-Duc under Napoleon III from 1857 to 1879. Four of the windows are said to be installed with an explanation of their creation.  The other two at the Trocadero, where the remains and copies of historic cathedrals and chateaux make sense. 

In May 2026, the chapels of the south nave began to show signs of work. Paintings were covered and then protected in a metal cage, statues were covered, and the wood-carved walls of the chapel of Saint Vincent de Paul were hidden behind plywood. 

Removal work will begin on June 22, and installation of new glass will not begin until October and will be completed by the 2nd anniversary

The new windows designed and painted by Tabouret will be created by the Atelier Saint-Marq. The oldest atelier de vitraux, which opened in 1640, will take on the project this summer.

The new stained glass windows will be placed into the existing framework, and the exact dimensions of the Viollet-le-Duc windows will be used, so the judges deem there is no emergency to stop the project, which also leaves this open. 

Once the windows are in place within the state-owned cathedral, they become a public work, which will also make them very difficult to change or remove. 

And the cost of all of this, at least 4 million euros, is paid by the state 

This is not the first time the stained-glass windows of Notre Dame have sparked controversy. In many ways, the two cases are very similar, but the earlier one is never mentioned in the press or in Notre Dame's history. 

In 2020, a remarkable discovery was made in the gallery above the Notre Dame nave: long-lost stained-glass panels dating to 1935. These fragments were sent to the Manufacture Vincent Petit for analysis, reigniting interest in a lesser-known chapter of the cathedral's history.

In the 1930s, stained-glass artist Louis Baillet was tasked with selecting artists for Notre Dame's new stained-glass windows. However, the project faced resistance. The 19th-century Viollet-le-Duc windows were criticized for being too pale and not aligning with the cathedral's Gothic aesthetic. Despite these challenges, twelve artists took on the project, funding much of it themselves in hopes of leaving a lasting mark on one of the world’s most iconic landmarks.

The artists exhibited their designs at the Pontifical Pavilion in 1937 to garner support, yet the Commission for Historical Monuments rejected them, citing inconsistencies in design, proportion, and color. World War II further derailed the project, leaving much of the work incomplete.

While plans were initially made to replace Viollet-le-Duc’s windows in Notre Dame, including updates to its 13th-century Rose Windows, fragments of these windows remain today. Of the original twelve windows, only a few pieces, a complete rose window, and an almost-complete bay survive. Notably, Jacques Le Chevallier’s designs were among the few that were retained and reinstalled in 1965.

Not everyone agreed to replace the VLD windows. Gabriel Rupinich-Robert, Grand Inspector of Historical Monuments, believed they were in fine condition and did not require replacement. Similarly, Aléette de Maille, Vice President of La Sauvegarde de l’Art Français, opposed the removal of these unique art pieces.

Following the devastating 2019 fire, all stained-glass windows were found intact, aside from minor heat damage to the small rose windows. Restoration efforts began, focusing on cleaning, analyzing, and re-firing the glass using modern techniques. Of the twelve original artists, only works by Le Chevallier and Hébert-Stevens are known to exist today.

Le Chevallier’s family returned one of his windows to Notre Dame in 2013 to commemorate the cathedral’s 850th anniversary, later donating it to the Cité du Vitrail in Troyes. Additionally, crates of never-fired glass panels were discovered post-fire, offering a glimpse into these artists' incomplete vision.

I have photos and a video I made of the exhibition of these windows at the Stained Glass Museum in Troyes in the summer of 2025. 

As for the museum dedicated to Notre Dame, I mentioned earlier.  On the same day in December 2023 when Macron announced his wish for new windows, he also mentioned the creation of a museum dedicated to Notre Dame. A fantastic idea in my opinion. There are thousands of items not on display within the cathedral and scattered across museums in France, not to mention all the items they removed and never returned after the restoration. 

Just across the parvis is the Hotel Dieu, the oldest hospital in Europe, which covers a massive city block all the way to the Seine. Only a fraction is used for emergencies. 

However, the project did not make it very far. The Paris city council didn’t even tee up the project, as it would have to go through a lengthy process of changing the Local Urban Planning Scheme.  There has been little to no word since March 2025

The work was to begin this year, with completion and opening in 2028. They haven’t even opened the competition for an architect. This project will most likely never happen. Maybe they should use the 4 million euros that the windows are costing for the start of the project. 

Notre Dame has a difficult line to follow. It is once again the most visited monument in France. Following the fire, the crowds have returned in record numbers. However, Notre Dame is also still a cathedral and a religious structure. It is also a State-owned structure, but the interior is run by the church. These days, they are leaning further toward tourism, with a heavy dash of self-interest. I love Notre Dame and have been obsessed with the history and architecture of this beautiful cathedral long before I ever set foot inside. I just hope that history can survive a few more generations before it is completely erased. 

In France, the country's history and heritage are among its greatest gifts. Every year, hundreds of French people line up for a glimpse inside the many buildings opened for one weekend only. That is why this systematic destruction is so surprising. All wrapped up in a few people's egos and self-interest, that will destroy something meant to be seen by future generations.

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