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100-672: The building, an historic monument from the 16th century, contains furnished rooms from different periods of Paris history, historic objects, and a very large collection of paintings of Paris life; it features works by artists including Joos Van Cleve , Frans Pourbus the Younger , Jacques-Louis David , Hippolyte Lecomte , François Gérard , Louis-Léopold Boilly , and Étienne Aubry , to Tsuguharu Foujita , Louis Béroud , Jean Béraud , Carolus Duran , Jean-Louis Forain , Pierre Puvis de Chavannes , Johan Barthold Jongkind , Henri Gervex , Alfred Stevens , Paul Signac , and Simon-Auguste . They depict

200-752: A Mater Dolorosa . Saint Jerome became increasingly of interest and popular after the publication of Erasmus 's nine-volume set of his works, prefaced with a biography, in 1516, and the general increased interest in the text of the Bible. Jerome had compiled the Latin Vulgate which remained the official version of the Western church until the Protestant Reformation was well under way. Paintings of Saint Jerome were produced by Joos and his workshop, apparently beginning in 1521, in three basic types: penitent amid

300-412: A Spartan education. It called for both males and females to be taught in state-run schools and taught revolutionary ideas instead of the customary history, science, mathematics, language and religion. His educational plan was supported by Robespierre and his ideas were borrowed in later schemes, notably by Jules Ferry . On 20 January 1793, the eve of the king's execution, Le Peletier was assassinated in

400-508: A birth date of about 1485 to 1490 is inferred. Joos van Cleve is believed to have moved to Bruges between 1507 and 1511 since his painting style is similar to that of the painters of Bruges. Later he moved to Antwerp, and in 1511 became a free master in the Antwerp Guild of Saint Luke . He was co-deacon of the guild for several years around 1520, along with registering pupils there at various dates between 1516 and 1536. In 1528 he bought

500-592: A close-up with domestic still life details, and added Saint Joseph over the Virgin's shoulder. The wine and fruits on the foreground are a reference to Christ's incarnation and future sacrifice. They also hint at the emerging genre of still-life painting in Flanders. Another of the many compositional types exists in very similar versions, one in the Museum of Fine Arts, Budapest and another sold at Sotheby's on 30 January 2014. It

600-469: A desert landscape, with his attribute of a lion; at bust or half-length in a cluttered study, often with a skull on his desk; and lastly in his study, naked to the waist and holding a rock. The first two are not original, and borrow in particular from Albrecht Dürer ; the last, from the 1520s onwards, is an unusual combination of a figure type usually seen outdoors with the indoors study setting. In some versions of this type there are inscriptions referring to

700-407: A famous painting, Les Derniers moments de Michel Lepeletier or Lepelletier de Saint-Fargeau sur son lit de mort . David described his painting of Le Peletier's face as "Serene, that is because when one dies for one's country, one has nothing with which to reproach oneself." This painting, known only through a drawing made by a pupil of David, is considered by scholars the first official painting of

800-519: A house from his wife's parents. As there are no records of his being in Antwerp between 1529 and 1534, it is possible he spent some of this time in Italy or France at the court, or even London. From surviving documents it is clear that he was alive in Antwerp on 10 November 1540 and dead by 4 February 1541. He had two children from his first marriage, a daughter and a son. His son named Cornelis (1520) became

900-575: A lawyer ("avocat") in the employ of the Place du Châtelet , a prison. In 1785 he was advanced to avocat-general. In 1789 he was elected to the Parlement of Paris , and in that same year he became a deputy of the nobility to the States-General . Initially, he shared the conservative views of the majority of his class, but by degrees his ideas changed and became increasingly radical. On 13 July 1789 he demanded

1000-454: A painter. Although the date of his death is unknown, Joos van Cleve drew up a will and testament on 10 November 1540, and his second wife was listed as a widow in April 1541. There are a number of other "van Cleef" Antwerp painters recorded from his time, some of whom may have been relatives. Compositions were often copied, repeated or adapted; for example at least six versions of an Adoration of

1100-630: A particularly rich source of discoveries for the museum. The southern cemetery, the Necropole of Pierre Nicole, near Val-de-Grace, was the most important under the High Empire, and was used until the fourth century AD. The excavations there between 1870 and 1970, uncovered some four hundred sepulchres, with furniture, sculpture and inscriptions. The Necropole of the Gobelins, in the Faubourg Saint-Marcel,

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1200-484: A portrait artist were highly regarded as demonstrated by a summons to the court of Francis I of France . There he painted the king ( Philadelphia Museum of Art ), the queen Eleanor of Austria ( Kunsthistorisches Museum ) and other members of the court. His portrait of Henry VIII of England is of comparable size to that of Francis I (72.1 x 59.2 cm) and the compositions and costumes in both portraits are similar. Some historians have interpreted this as evidence that

1300-453: A replica of the prison. Eighty-three of these miniature Bastilles were carved in 1790 and one sent to each of the Departments of France by the new government. During the 19th century, Paris was the scene of three revolutions and was administered by six different governments, each of which left its imprint on the city. Beginning in 1800, under Napoleon Bonaparte, Paris was governed directly by

1400-575: A restaurant in the Palais Royal . His murderer, Philippe Nicolas Marie de Pâris, a member of the Garde du Corps , entered the restaurant, approached Le Peletier, and said "You voted for the King's death, Monsieur Le Peletier?" Le Peletier replied, saying "I voted according to my conscience. What has that to do with you?" Pâris proceeded to plunge a saber that he had hidden under his cloak into Le Peletier's chest. Pâris

1500-601: A skilled technician, his art shows sensitivity to color and a unique solidarity of figures. His style is highly eclectic: he was one of the first to introduce broad world landscapes in the backgrounds of his paintings, sometimes collaborating with Joachim Patinir , which would become a popular technique of sixteenth century northern Renaissance paintings. Some works reflect the popular style of Antwerp Mannerism , while others are variations on early Netherlandish masters of two or more generations before, or reflect recent Italian painting. Four of his more important paintings have

1600-627: A whole pirogue , or long, narrow canoe made from a single tree trunk. It dates to about 2700 BC, during the Neolithic period. It was discovered in the early 1990s, along with several other pirogues that were even older, at a site located near the modern Rue Henri-Farman in the 19th arrondissement, on what was then a channel of the Seine. Other items on display from this period include earthenware cooking pots, early ceramics, wooden tools, necklaces of otter teeth, and carved female figures. They date back long before

1700-418: Is full of charm and tenderness and was popular in his own time as well as with later collectors. The composition shows the Virgin with a brilliant red cloak, lined with fur and elaborately embroidered with pearls along the outside edge. The Virgin is seated in a loggia-like space with open windows through which a distant mountainous landscape is visible. She has her lips parted in a slight smile while she helps

1800-545: Is the very ornate cast-iron stairway of honour to the upper floor. The walls decorated with gilded woodwork and mirrors, also original, illustrate the refined classical style of the late 18th century. One furnished room in the section depicts the cell at the Temple Prison where the Louis XVI, Marie Antoinette and their son were held prisoner beginning August 13, 1792. After the King's trial and execution one January 21, 1793, She

1900-608: Is therefore likely that he came from the Lower Rhenish region or city named Kleve (in traditional English "Cleves"), from which his name is derived. It is assumed that he began his artistic training around 1505 in the workshop of Jan Joest , whom he assisted in the panel paintings of the wings for the high altar of the Nikolaikirche in Kalkar , Lower Rhine, Germany, from 1506 to 1509. These include one of his self-portraits. From this

2000-590: Is thought that the "Antwerp Mannerists" were in turn influenced by Joos van Cleve. Like Quentin Matsys , a fellow artist active in Antwerp, Joos van Cleve appropriated themes and techniques of Leonardo da Vinci . This is apparent in the use of sfumato in the Virgin and Child . Multiple versions of a soft, sentimental Madonna and Child and the Holy Family were discovered, produced in his workshop. Joos van Cleve's skills as

2100-607: The BBC Four series Britain's Lost Masterpieces , centred on the fine art collection of the Royal Pavilion in Brighton, uncovered a work of Joos van Cleve, a portrayal of Balthazar , previously attributed to Bernard van Orley . The painting had once been the left-hand door of a folding altarpiece triptych. The influence of Kalkar and Bruges are seen in many of Joos van Cleve's early works, such as Adam and Eve (1507). The Death of

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2200-542: The French Revolution . This part of the collection is located was the Hotel Le Pelletier de Saint-Fargeau. It was the residence of a prominent revolutionary figure, Louis-Michel Le Pelletier de Saint-Fargeau. He was a Deputy of the radical Montagnard faction, who was assassinated on 20 January 1793, because he had voted for the execution of King Louis XVI. One notable feature remaining from the building of his time

2300-570: The Grand Palais and the Paris Metro . An important collection of paintings by major illustrators of Paris life in the period, including Henri Gervex , Carlolus-Duran, Louise Abbéma and Jean Béraud was donated to the museum in 2001 by François-Gérard Seligmann, and is displayed in the corridor of the first floor. The section also includes a colourful variety of posters from the epoch created by Alphonse Mucha and other artists, including posters for

2400-527: The Last Judgement . Various inscriptions in the second type, usually on the back wall, also exhort thoughts of death and judgement. The last type is probably known only from numerous workshop or later versions. Louis-Michel le Peletier, marquis de Saint-Fargeau Louis-Michel le Peletier, Marquis of Saint-Fargeau ( French pronunciation: [lwi miʃɛl lə pɛltje] ; sometimes spelled Lepeletier ; 29 May 1760 – 20 January 1793)

2500-808: The Louvre . the Château d'Écouen , and the famous gallery of the Chateau de Chenonceau spanning the River Cher in the Loire Valley . In 1572, the hôtel was purchased by Madame de Kernevenoy, the widow of a member of the Court of Henry II of France , and the preceptor of the Duke of Anjou, who became Henry III of France . Her Breton name was difficult for the Parisians to pronounce, and gradually

2600-569: The Paris Métro is named for him. A Sèvres biscuit porcelain bust of Louis Michel Le Peletier is on display in the Château de Vizille , Isère. On 30 September 1793 the French Navy's ship Séduisant , one of two newly commissioned ships, with 74 guns, over 56 meters in length and 1550 tons in weight, was renamed Peletier . On 30 May 1795, the ship reverted to her original name Séduisant . The painter Jacques-Louis David represented his death in

2700-742: The Paris Opera , adding to the city's reputation as a cultural capital. Following the capture of Napoleon III by the Prussians at the Battle of Sedan on 2 September 1870, Paris was besieged by the Prussian army. Despite shortages of food and water, the city endured the siege until January 1871, when an armistice was signed by the French government. A party of leftist Parisians, known as the Paris Commune , refused to accept

2800-666: The Tuileries Palace , then in the medieval tower on the Square du Temple . A moderate revolutionary government took power, but was replaced by the more radical Montagnard faction, led by Robespierre . The King was held 13 August 1792 to 21 January 1793, when he was taken to be guillotined at the Place de la Révolution; Marie Antoinette was imprisoned from 13 August 1792 to 1 August 1793 in the Temple's tower. The Montagnards imprisoned and then executed

2900-561: The Tuileries Palace . Between 7–10,000 Communards were killed in the street battles or executed by the army immediately afterwards. The museum's holdings on these events includes the Binant Series of paintings. The Belle Epoque was a flourishing period for Paris cultural life. It was particularly expressed at the international expositions in 1889, which gave the city the Eiffel Tower , and 1900 Paris International Exposition , which added

3000-664: The Virgin Mary were the bread and butter work of early 15th century painting workshops, and Joos van Cleve produced many different types of the Virgin and Child , the Holy Family and the Virgin and Child with St Anne . In some instances the prime version has been lost, but the type can be recovered through the numerous replicas produced by his workshop and copyists. Most of these were no doubt produced with no specific commission, with many distributed by agents and dealers across Europe, for

3100-451: The monogram "JB", presumably for Joos van der Beke, rather inconspicuously placed. In three other works a self-portrait is placed among the minor figures. From the seventeenth to the nineteenth centuries, the name of Joos van Cleve as an artist was lost. Some of the paintings now attributed to Joos van Cleve were, at that time, known as the works of the "Master of the Death of the Virgin", after

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3200-611: The "Trois Glorieuses", the Parisians rebelled, forcing the King abdicate and to depart Paris for exile. His place was taken by King Louis Philippe . This revolution was commemorated by two new Paris monuments, the Arc de Triumph on the Etoile and the July Column in the center of the Place de la Bastille . In 1834, Louis Philippe also had the Luxor Obelisk , brought from Egypt, raised into place in

3300-782: The Chat Noir and Moulin Rouge cabaret. A painting by Paul-Joseph-Victor Dargaud depicts the assembly of the Statue of Liberty ( Liberty Enlightening the World ). The iron pieces were formed at the boundary of Gaget on rue de Chazelles in Paris, then disassembled and shipped to New York in pieces. Jean Béraud (1849-1935), born in St. Petersburg, Russia, became a meticulous painter of Paris society. The museums holds more than eighty of his works. The Art Nouveau style first

3400-513: The Christ Child drink from a glass with red wine, a symbol of Christ's future suffering and blood and the Eucharist . Characteristic of Netherlandish painting of this period are the jewel-like colours and the details of the Virgin's costume and brocade pillow in the foreground. A new devotional type of the Virgin alone, her hands clasped in prayer, also appears in many versions. This may be called

3500-506: The Cour Carré of the Louvre, imagined by Henry IV, and created two grand royal squares, Place des Victoires and Place Louis-Le-Grand (now Place Vendôme . In 1670 he tore down old city walls and gates and replaced them with four triumphal arches, of which two, at Porte Saint-Martin and Porte Saint-Denis , still remain. The squares and palaces of Paris were decorated with monumental sculpture of

3600-586: The Cour Henri IV and the courtyard called "de la Victore". Expansion continued. In 1989, a nearby mansion, the Hôtel Le Peletier de Saint Fargeau, was purchased and connected with the museum. This hotel was also built in the middle of the 16th century, and was originally known as the Hôtel d'Orgeval . It was purchased by Michel Le Peletier and passed on eventually to his grandson, Le Peletier de Saint Fargeau , who

3700-483: The French Revolution, a rehearsal for David's later achievement The Death of Marat . Le Peletier had a brother, Felix (1769–1837), well known for his advanced ideas, and a brother Amédée Louis Michel le Peletier, comte de Saint-Fargeau (1770–1845), a noted entomologist . The writer and academician Jean d'Ormesson was descended from his daughter Suzanne le Peletier de Saint-Fargeau and her descendants owned

3800-543: The Grand Boulevards in the center of the city. At the beginning of the 20th century, two new wings were added in the rear, which enclosed the garden. An even larger expansion program was begun in 1913 by he architect Roger Foucault. The project was interrupted by the First World War, but resumed after the war and was finally completed in 1921, doubling the exposition space in the museum. The new buildings finally enclosed

3900-611: The King in the costume of a Roman emperor. Before the French Revolution it was placed before the Hotel de Ville, and was moved to the museum in 1890. The facade features a statue of "Immortality" by Louis-Simon Boizot . During the Revolution, Boizot was a member of the Commission des Monuments in 1792. From 1805 he was a professor at the Academie des Beaux-Arts, where, among other works, he executed

4000-511: The Kings. Most of these were destroyed during the Revolution, but fragments of the original monumental statue of Henry IV on the Pont Neuf are on display in this section of the museum, as well as pieces of the statue of Louis XV that formerly stood in the Place de la Concorde . Louis XIV founded the royal workshops for cabinet-making, tapestries and other decorative items to furnish the royal palaces and

4100-627: The Louvre was gradually transformed from a medieval fortress into a sprawling palace, connected to the Tuileries Palace. Grand new royal squares were created at Place Dauphine and the Place Royal, now Place des Vosges . The Pont Neuf was constructed over the Île de la Cité, adding a major link between the two banks of the Seine In his urban planning, Louis XIV promised to "Do for Paris what Augustus did for Rome." Among his many projects, he completed

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4200-483: The Magi triptych composition by him and his workshop are known, though varying considerably in size, with the widths of the centre panel ranging from 56 to 93 cm. This probably reflected different intended sites for the paintings, from private house chapels to churches. Numerous paintings contain heraldry , which often enables the customers to be identified, including eleven of the twenty-one altarpieces attributed to

4300-678: The Prefect of the Government of the Seine, and a Prefect of Polce, both named by him. After his Coronation as Emperor in 1804, Napoleon set out to embellish Paris as his Imperial capital. His architects Charles Percier and Pierre Fontaine , constructed the arcades of the Rue de Rivoli , and placed a column with his statue on Place Vendome , modelled after that of the Roman Emperor Trajan in Rome. He decorated

4400-554: The Seine, and began construction of a new network of tree-lined boulevards and avenues linking new public squares and monuments. He also demolished blocks of overcrowded and unhealthy housing in the center. On the edges of the city he created major parks, including the Bois de Boulogne and Bois de Vincennes , modelled upon the parks he had seen during his exile in London. These new Parisian parks soon served as models for parks in other cities, including Central Park in New York. In addition, he built new theatres and concert halls, including

4500-399: The Virgin (1520) shows the combined influence of several artists. It has the intense emotionality of Hugo van der Goes , and iconographic ideas of Jan van Eyck and Robert Campin . A strong influence of Italian art combined with Joos van Cleve's own color and light sensitivity make his works especially unique. The " Antwerp Mannerist " style is identifiable in the Adoration of the Magi . It

4600-472: The architect Raymond du Temple. They are attributed to Baudoin de Soissons and the painter Jean de Bruges . Objects in the galleries include: The end of the 16th century saw Paris divided during the French Wars of Religion (1562–1598), then rebuilt by a series of strong monarchs. New institutions emerged, including the guild of Paris merchants and the municipal magistrates. Henry IV of France (reigned 1589–1601) began major new urban construction projects;

4700-417: The armistice or the rule of the French government. They seized a park full of cannon, killed two French army generals, and established a separate government. The Commune lasted for 72 days, until, during the Semaine Sanglante (21–28 May 1871) the city was recaptured by the French Army. In the final days of the Commune, its soldiers set fires and destroyed many Paris landmarks, including the Hotel de Ville and

4800-437: The assistance of two other prominent 18th century painters, Jean-Honoré Fragonard and the animal painter Jean-Baptiste Huet . After the death of Demarteau the decor was moved to other Paris residences, before being purchased by Musée Carnavalet. The museum displays two 18th-century rooms from the Hôtel de Breteuil, a large mansion on Rue Matignon, which was the residence of the Vicomte de Breteuil and his wife. It illustrates

4900-509: The black cat of the " Le Chat Noir " cabaret in Montmartre in 1881, a popular meeting place for artists, and a model of the Bastille for an early 19th century cafe of that name in the 11th arrondissement. Joos van Cleve Joos van Cleve ( / ˈ k l eɪ v ə / ; also Joos van der Beke ; c. 1485–1490 – 1540/1541) was a leading painter active in Antwerp from his arrival there around 1511 until his death in 1540 or 1541. Within Dutch and Flemish Renaissance painting , he combines

5000-455: The building, the city archives, and the collection. The door of the original Hotel de Ville, still charred from the fire, is on display in the museum. The collection was gradually rebuilt, and in 1880 the building formally became the museum of the history of Paris. Many more additions followed, as the collection grew. In 1872, the building was enlarged on three sides, largely using vestiges of buildings demolished during Haussmann's construction of

5100-441: The celebrated portrait of Juliette Récamier by François Gérard (1805). Following the final downfall and exile of Napoleon in 1815, the restored French king, Charles X faced the political turbulence of the Parisians. In 1830 he attempted to bring it under control by ending freedom of the press and reducing the size of the Chamber of Deputies. This aroused an even greater fury among the Parisians. During 27–30 July 1830, known as

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5200-447: The center of the Place de la Concorde . An epidemic of cholera struck Paris in 1832; the overcrowded neighbourhoods in the center of the city were particularly hard hit. Louis Philippe responded with construction of the first network of Paris sewers, and the construction of new and wider streets. Discontent with Louis Philippe appeared in the February Revolution of 1848, with new demonstrations and riots in Paris. A new French Republic

5300-409: The city's history and development, and its notable characters. Carnavalet Museum is one of the 14 City of Paris's museums that have been incorporated since January 1, 2013, in the public institution Paris Musées . In October 2016, the museum was closed to the public for a major renovation. It reopened in 2021 with new rooms and galleries and an expanded collection. The land on which the museum stands

5400-403: The city. In 1866 he persuaded the city of Paris to purchase the Hotel Carnavalet to house the museum, and assembled a large collection of history objects and documents. Until the museum was completed, the collection was stored, with the city archives, in the vaults of the Hotel de Ville . In May 1871, in the last days of the Paris Commune , the Communards set fire to the Hotel de Ville, destroying

5500-399: The elaborate neoclassical woodwork made by Joseph Métivier and Jean-Baptiste Boiston. The woodwork is full of Greco-Roman symbols, including the sceptre and the lyre. Each of the four doors has a sculpted decoration of an animal representing a continent; an alligator for America, a camel for Africa, an elephant for Asia and a horse for Europe. The Salon of Philosophers displays the armchair of

5600-453: The existence of the Legislative Assembly , he was elected President of the General Council for the Yonne département in 1791. He was then elected by this département to become a deputy to the National Convention . Here he was in favor of the trial of Louis XVI by the Assembly and was one of the deciding votes for the death of the king. While in the Convention, Le Peletier focused mainly on revolutionary reform of education, promoting

5700-418: The famous Château de Saint-Fargeau until 1960s. Le Peletier appears as an antagonist in Assassin's Creed Unity , where he is depicted as a secret member of the Templar Order under Grand Master Francois-Thomas Germain who believes that he is doing what is right for France before what is right for the Templars. He is assassinated by the protagonist Arno Dorian in the Palais-Royale after he votes to have

5800-422: The first time, a series of rooms devoted to Paris history In the 20th and 21st centuries. The exhibits include: Two unusual galleries in the museum display the distinctive signs that hung in front of Paris shops in the 18th and 19th centuries, illustrating the profession or the product of the shopkeeper. These range from the signs of wigmakers, locksmiths and the makers of eyeglasses, illustrating their products, to

5900-418: The first written description of the village in 52 BC in Julius Caesar 's De bello Gallico . During the Bronze Age a Gallic people called the Parisii settled in the area and founded Lutetia. Its location is traditionally held to be on the Île de la Cité , but their presence is not documented on the left bank of the Seine before the 1st century BC, when Julius Caesar recorded his visit to their leaders on

6000-407: The fountain on Place du Châtelet with a statue of victory, to celebrate his Egyptian and Italian campaign. In 1899, the statue was moved to the courtyard of the museum. Personal souvenirs of Napoleon displayed in the museum include the case of dishes and silverware which he took with him on his military campaigns, and his death mask. It also displays paintings of notable Parisians of the time, including

6100-405: The height of the Louis XVI style, just before the French Revolution. The new style was characterised by symmetry, straight lines, and ornaments adapted from antiquity, such as acanthus leaves and egg-shaped designs. The Salon d'Uzès (1767) was main room for entertaining company in the Hôtel d'Uzès , a mansion on rue Montmartre . It was designed by the architect Claude-Nicolas Ledoux , who planned

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6200-454: The height of the facade on the street and on the two wings by one storey, as well as the addition of groups of classical sculpture on the main facade and on the two wings. Boislève had the misfortune of being too closely associated with Fouquet , the royal chancellor who was accused of misusing royal funds to build his own palatial residence. The hôtel and furnishings were confiscated from Boisléve in 1662, and sold at auction. The new buyer rented

6300-412: The homes of private clients. His decoration for two salons of the Hôtel La Rivière (Salles 1-13 and 1-124) made in 1652–55, was acquired to the Carnavalet in 1958. The Salon Demarteau is a masterpiece of 18th century painting and design. It was originally made for the residence of the engraver Gilles Demarteau .It recreates a fantasy of an idyllic country scene, painted by François Boucher in 1765, with

6400-408: The hotel in 1677 to Madame de Sévigné , famous for her letters describing the daily life and intrigues of the Parisian nobility. She lived in the Hôtel Carnavalet from 1677 until her death in 1696. The idea of creating a museum of Paris history was launched by Baron Haussmann , who, under Napoleon III , was in the midst of his grand project of building new avenues, parks and squares in the center of

6500-442: The house from 1677 until her death in 1696. Her letters to her daughter comprise the most detailed portrait of social and cultural life in Paris during the period. Public discontent and hunger, and a royal government in Versailles judged out of touch with the hardships of the Parisians, led to the storming of the Bastille in July 1789 and the downfall of the monarchy. Louis XVI and his family were brought to Paris and imprisoned in

6600-439: The house of a wealthy Roman, with colors still largely vivid, discovered under the current rue de l'Abbaye-de-l'Épée. Other objects discovered include a sword from the Bronze Age (2000–800 B.C.); a fourth-century bottle used for perfume, wine, or honey. The Medieval and Renaissance section (Lower Level, Salles S-7 to S-9) presents displays and objects from the 5th to 16th century, beginning in 451 AD, when Saint Genevieve inspired

6700-436: The houses of the wealthy. The Holy Family was a newly popular subject in small devotional paintings, reflecting increased theological and devotional interest in the role of Saint Joseph . One of the earliest examples of the new type is the painting by Joos dated to c. 1512 at the New York Metropolitan Museum of Art . This essentially reduced the figures from Jan van Eyck 's Lucca Madonna (c. 1435, Städel , Frankfurt) to

6800-410: The medieval city were discovered and made their way to the museum. The construction of the Palais de Justice and other administrative buildings on the island led to the destruction of many medieval buildings, including six churches. Objects from these churches are preserved in the museum. One of the prominent displays in this section is a scale mode of the Île de la Cité as it appeared in 1527. The model

6900-420: The more moderate revolutionaries during the Great Terror . Robespierre and his followers were in turn arrested and killed. A series of interim governments took and lost power, until finally Napoleon Bonaparte seized power in 1799, bringing the Revolutionary period to an end. On the Second Level (Salles 2.51-2.57), The museum presents the most extensive existing collection of historic objects and art relating to

7000-432: The museum displays an extensive collection of art and practical objects recovered from neolithic sites and from the ancient Gallo-Roman of Lutetia . The gallery also displays objects found in the 1990s at the first permanent settlement known in Paris, in the neighbourhood of Bercy . This discovery included objects related to agriculture, fishing, and raising livestock, dated to 6500–4500 BC. Discoveries on display include

7100-424: The philosopher Voltaire . It was ordered for him by the Marquis de Vilette, in whose residence on the Quai de Conti Voltaire spent his last days before his death in February 1778. It was made of carved and gilded oak, with cushions of velour, and movable wooden and iron shelves for his books and papers. It could be rolled from room to room. The cabinet of the Hôtel Colbert-de-Villacerf, preserved after that building

7200-599: The portraits were pendants painted to commemorate the meeting of the two kings in Calais and Boulogne on 21 and 29 October 1532, which Joos might possibly have witnessed. Other historians have proposed the alternative view that van Cleve based the Henry VIII portrait on that of Francis I without meeting the English king. He may have hoped that this gesture might earn him English royal commissions in future. Small devotional pictures of

7300-550: The recall of Necker , whose dismissal by the king had aroused great excitement in Paris. In the Constituent Assembly he moved the abolition of the death penalty , of the galleys and of branding , and the substitution of beheading for hanging . This attitude won him great popularity, and on 21 June 1790 he was made president of the Constituent Assembly . He remained in this position until 5 July 1790. During

7400-437: The residences of wealthy Parisians. The Royal Academy of Painting and Sculpture was founded in Paris in 1648, during the regency of Anne of Austria. The Carnavalet Museum has many examples of the work of its students; furniture designed by cabinet-maker Andre-Charles Boulle , noted for its inlays of previous woods and metals, is found in this section. The painter Charles Le Brun , who primarily worked for Louis XIV, also decorated

7500-553: The resistance of the city against Attila and Huns. In 481, under Clovis, King of the Franks , she became the patron Saint of Paris. Her tomb, placed in the new Basilica of the Holy Apostles on what is now Mount Sainte-Genevieve, This church became the beginning point of an annual procession to the Île de la Cité. This island became administrative center of the Kingdom of France , the home of

7600-538: The royal palace, the Palais de la Cité , and the cathedral of Notre Dame de Paris , which was consecrated 1163. During this period, the city grew rapidly. By 1328, at the beginning of the 14th century, the city had 250,000 inhabitants, making it the largest city in Europe. During the restoration of the cathedral, carried out by Eugene Viollet-Le-Duc and Jean-Baptiste Antoine Lapsus between 1844 and 1864, important objects from

7700-570: The sculpture for the Fontaine du Palmier erected in the Place du Châtelet , Paris. The gilded "Victory" was the centrepiece of the fountain, and celebrated Napoleon's triumphant return from Egypt. It was finished in 1806, and placed atop a column with sphinxes spouting water at the base. The statue on display at the Carnavalet is the original model of "Immortality", holding olive wreaths in both hands. The current collections on display are presented within

7800-720: The territories of John III, Duke of Cleves , and the Holy Roman Empire , suggesting the duke or a close courtier. Three paintings delivered to King Francois I of France are recorded. The great majority of his work is religious subjects or portraits, with the main exceptions being versions of the Suicide of Lucretia , and a Leonardo-esque half-length nude, the Mona Vanna in the National Gallery in Prague . In January 2021 an episode

7900-466: The traditional techniques of Early Netherlandish painting with influences of more contemporary Renaissance painting styles. An active member and co-deacon of the Guild of Saint Luke of Antwerp, he is known mostly for his religious works and portraits, some of royalty. He ran a large workshop, with at least five pupils and other assistants, which produced paintings in a variety of styles over his career. As

8000-543: The triptych in the Wallraf-Richartz-Museum in Cologne . In 1894 it was discovered that the monogram on the back of the triptych was that of Joos van der Beke, the real name of Joos van Cleve. His oeuvre was reconstructed in the 1920s and 1930s by Ludwig von Baldass and Max Jakob Friedländer . Now over 300 works are generally attributed to him or his workshop, which vary considerably in both quality and style. He

8100-639: The tumultuous events that decimated the city at that time: the Hundred Years' War and the Great Plague of 1348 These statues were found in 1973 during the excavation of a new shopping and convention center, the Forum of Les Halles , on the site of the historic city produce market. The gallery also displays a group of six stained glass windows, originally in the chapel of the College of Dormans-Beauvais , built in 1375 by

8200-542: The two 17th century residences, the Hôtels Carnavalet and Le Pelletier de Saint-Fargeau. Some rooms have their original decoration intact, while others have been recreated with furnishing and decoration of a certain period. They include furnished rooms from historic residences from the 16th, 17th, 18th, 19th and 20th centuries. The displays cover 3900 square meters, laid out in eight "parcourses" or sequences of rooms from different periods. On its lowest level (Rooms S1-S6)

8300-455: The workshop. In other works the identity of local saints gives clues. Antwerp was the centre of European trade in the period, and the Antwerp merchant class was highly cosmopolitan. Five paintings can be linked with Italy, especially Genoa , and others to Cologne (three altarpieces) and Danzig in Germany, and four to various Netherlandish cities. Others have the arms of his homeland Mark-Cleves,

8400-515: The Île de la Cité. Early coins minted by the Parisii are also displayed, dating to between 90 and 60 BC, with a masculine head in profile, and a horse on the reverse. The coins were used in the extensive river commerce of the Parisii on European rivers. Following the Roman conquest of Gaul by Julius Caesar in 52 BC, the minting of the coins as stopped. Following the Roman conquest in the 1st century BC, Lutetia

8500-402: Was a French politician, Freemason and martyr of the French Revolution . Born in Paris, he belonged to a well-known family, his great-grandfather, Michel Robert Le Peletier des Forts , count of Saint-Fargeau , having been Controller-General of Finances . After the death of his title-holding family, Le Peletier gained a vast amount of wealth. Le Peletier entered into politics by becoming

8600-474: Was a representative of the nobility in the Estates-General of 1789 . In 1793, Le Peletier voted for the execution of Louis XVI , and was murdered, in revenge for his vote, on January 20, 1793, the same day as the execution of the king, . The Hôtel Le Peletier de Saint Fargeau was annexed to the Carnavalet. It was opened to the public in 1989, commemorating the bicentennial of the French Revolution. The museum

8700-491: Was able to leave the restaurant with no resistance from its patrons. Pâris fled to Normandy , where, on the point of being discovered, he supposedly shot himself in the head. Other sources claim the real murderer fled to England where he died years later. The Convention honored Louis Michel Le Peletier with a magnificent funeral. His body was displayed in the Place Vendôme beneath the statue of King Louis XIV . Le Peletier

8800-610: Was born in Brussels shortly before the end of the 19th century, and quickly moved to Paris. It was vividly expressed in the Paris metro stations and posters of Alphonse Mucha. Two landmark rooms in the Art Nouveau style are displayed in the museum; a private dining room in the Art Nouveau from the Café de Paris (1899), and the jewellery shop of Georges Fouquet , designed by Alphonse Mucha (1901). The renovated museum opened in 2021 includes, for

8900-582: Was buried in the Panthéon in Paris in 1793. His body was removed by his family on 14 February 1795. Just a month after the assassination, on 23 February 1793, the Opéra-Comique presented the first of four performances of a musical treatment of his life and death called Le Peletier de Saint-Fargeau, ou Le premier martyr de la République française , with a libretto by Auguste-Louis Bertin d'Antilly and music by Frédéric Blasius . The station Saint-Fargeau of

9000-400: Was centred on the left bank, occupying an area of about 130 hectares. Like other Roman cities, it was constructed around the intersection of north–south road (now Rue Saint -Jacques) and an east–west road (now Rue Cujas). Nearby was the amphitheater, near Rue Monge and still present, in much-modified form; and the Forum, at Rue Soufflot, where the government buildings were located. The Roman port

9100-409: Was closed in 2017 for a major renovation, and reopened in 2021. The museum as of 2021 had forty decorated rooms and galleries, and 3800 objects on display. The total collection, as of 2021, included 625,000 objects. The statue of Louis XIV in the costume of a Roman emperor, is one of the very few images of him which survived the French Revolution. It was made by sculptor Antoine Coysevox and depicts

9200-486: Was demolished, also represents the lavish style of the 17th century. It displays a portrait of Cardinal Mazarin from about 1665. The walls are decorated with grotesque polychrome paintings and gilding. Other works on display from this period include a painting depicting the celebration of the marriage of Louis XIII with Anne of Austria, which took place on the place Royale (now the Place des Vosges) in April, 1612. There are several paintings of Madame de Sévigné, who lived in

9300-581: Was made by the artist Fedor Hoffbauer and his son, Charles, between 1860 and 1870. The section displays a collection of sculptural elements, including busts of Saints and apostles, that formerly belonged to the Church of the Saints-Innocents, which was demolished as the neighbourhood expanded. These include a well-preserved 14th-century sculpture of the head of the Virgin Mary, peaceful and contemplative, despite

9400-568: Was on the Ile-de-la-Cité, and there was a smaller settlement on the right bank of the Seine. Extensive excavations in the 19th century uncovered the paved streets; three large Roman baths; and residences. A group of sculpted heads are on display, which were discovered near the state of the Roman amphitheater in Paris in 1885. The statues had oak crowns, and represented either gods, or the Imperial family. Two large Roman necropoles, or cemeteries, proved

9500-468: Was proclaimed, and Louis Napoleon, nephew of Napoleon Bonaparte, was elected president. At the end of 1851 he orchestrated a coup d'État and proclaimed himself Emperor. Napoleon III played an important role in creating the present extent and map of Paris. On January 6, 1848, he expanded the city from twelve to twenty-one arrondissements. taking in the surrounding communes that were outside the city walls. He named Georges Eugene Haussmann , as his prefect of

9600-459: Was purchased in 1544 by Jacques de Ligneris, the president of the Parlement of Paris, who commissioned the architects Pierre Lescot and Jean Goujon to build a townhouse. In 1548, Lescot and Goujon were taken away from the project to the construct the new Louvre Palace ; the building was completed in about 1560 by Jean Bullant , whose other notable works included portions of the Tuileries Palace ,

9700-469: Was smaller, and was used in the later, or Low Empire. The most valuable discovery there was a set of surgical instruments dating from the second century AD. The excavations of the amphitheater site were particularly meticulous; they were directed by Thèodore Vacquer, who became under-conservator of the Carnavalet Museum in 1870. One especially important discovery by Vacquer was the fresco on the wall of

9800-475: Was the father of Cornelis van Cleve (1520–1567) who also became a painter, and inherited the workshop. Cornelis became mentally ill during a residence in England and was therefore referred to as 'Sotte Cleef' (mad Cleef). Joos van Cleve was born around 1485–90. The birthplace of Joos van Cleve is not precisely known. In various Antwerp legal documents he is referred to as 'Joos van der Beke alias van Cleve'. It

9900-522: Was transferred to the Conciergerie for her own trial on October 14, 1793. She was sentenced to death two days later, and taken directly the guillotine on the Place de la Concorde . The furniture is original, but th room is not an exact recreation, but an "evocation" of the original room. Other works and objects relating to the Revolution include one of the original stones of the Bastille prison, carved into

10000-425: Was transformed to "Carnavalet". During this period, the facade and portals were given lavish decoration of Renaissance sculpture, much of which still can be seen. They were the work of the sculptor Jean Goujon and his workshop. The mansion was bought in 1654 by the intendant Claude Boislève, who commissioned the architect François Mansart to make extensive renovations in the new classical style. This included raising

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