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18-560: For the auditorium of his earlier theatre, the Grand Théâtre de Bordeaux (1773–1780), Victor Louis had combined the ancient semicircle with the ellipse giving a horseshoe plan and devised open balcony boxes , both features which he employed again in the Salle Richelieu (1786–1790), as well as in his later theatre, the Théâtre des Arts (1791–1793). As originally designed, the auditorium of

36-641: A Greek and Roman temple is typically topped with a pediment. The different variants of porticos are named by the number of columns they have. The "style" suffix comes from the Greek στῦλος , "column". In Greek and Roman architecture, the pronaos of a temple is typically topped with a pediment . The tetrastyle has four columns; it was commonly employed by the Greeks and the Etruscans for small structures such as public buildings and amphiprostyles . The Romans favoured

54-702: A young Marius Petipa staged some of his first ballets. The theatre was designed by the architect Victor Louis (1731–1800). Louis later designed the galleries surrounding, the gardens of the Palais Royal , and the Théâtre Français in Paris . The Grand Theatre of Bordeaux was conceived as a temple of the Arts and Light, with a neo-classical facade . It has a portico of 12 Corinthian style colossal columns which support an entablature on which stand 12 statues that represent

72-615: Is one of the oldest wooden frame opera houses in Europe not to have burnt or required rebuilding. Today, the theatre is home to the Opéra National de Bordeaux, as well as the Ballet National de Bordeaux which has many international dancers. Portico A portico is a porch leading to the entrance of a building, or extended as a colonnade , with a roof structure over a walkway, supported by columns or enclosed by walls. This idea

90-740: Is the best-preserved Roman hexastyle temple surviving from antiquity . Octastyle buildings had eight columns; they were considerably rarer than the hexastyle ones in the classical Greek architectural canon . The best-known octastyle buildings surviving from antiquity are the Parthenon in Athens , built during the Age of Pericles (450–430 BCE), and the Pantheon in Rome (125 CE). The destroyed Temple of Divus Augustus in Rome,

108-448: Is the inner area of the portico of a Greek or Roman temple , situated between the portico's colonnade or walls and the entrance to the cella , or shrine. Roman temples commonly had an open pronaos, usually with only columns and no walls, and the pronaos could be as long as the cella . The word pronaos ( πρόναος ) is Greek for "before a temple". In Latin , a pronaos is also referred to as an anticum or prodomus . The pronaos of

126-574: The White House is perhaps the most notable four-columned portico in the United States. Hexastyle buildings had six columns and were the standard façade in canonical Greek Doric architecture between the archaic period 600–550 BCE up to the Age of Pericles 450–430 BCE. Some well-known examples of classical Doric hexastyle Greek temples : Hexastyle was also applied to Ionic temples, such as

144-606: The Arts, to the artisans that built the building, and to the city of Bordeaux. The late scene shows a woman, allegory of Bordeaux, protected by Hermes and Athena, and in the foreground, three wealth of the city : the wine , the sea trade and the slave . In 1871, the theatre was briefly the National Assembly for the French Parliament . The inside of the theatre was restored in 1991, and once again has its original colours of blue and gold. The Grand Théâtre de Bordeaux

162-463: The Salle Richelieu seated around 2,000 spectators. The site for the building was so constricted, he placed the entrance foyer under the auditorium. His design was also innovative for the use of an iron frame (under the roof, the floors and boxes), mainly for the purpose of fireproofing . Originally called the Théâtre du Palais-Royal, it was first occupied by the Théâtre des Variétés-Amusantes , who gave

180-454: The designs of Félix-Joseph Barrias. From 1860 to 1864, Pierre Prosper Chabrol  [ fr ] carried out extensive modifications of the interior and exterior, as well as the expansion of the building toward today's Place Colette . The ceiling was repainted in 1864 by Philippe Chaperon with the assistance of Joseph Nolau and Auguste Rubé. It was repainted in 1879 by Alexis-Joseph Mazerolle, and in 1885, by Guillaume Debuffe. The theatre

198-404: The diameter of the balcony columns, which had previously obstructed the view for many spectators. The ceiling was repainted by Pierre-Luc-Charles Ciceri in 1840. Additional interior restoration work was carried out by Théodore Charpentier  [ fr ] in 1847 and 1850. The capacity in 1857 was 1,350 spectators. In 1858 the ceiling was repainted by Joseph Nolau and Auguste Rubé based on

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216-626: The four columned portico for their pseudoperipteral temples like the Temple of Portunus , and for amphiprostyle temples such as the Temple of Venus and Roma , and for the prostyle entrance porticos of large public buildings like the Basilica of Maxentius and Constantine . Roman provincial capitals also manifested tetrastyle construction, such as the Capitoline Temple in Volubilis . The North Portico of

234-663: The inaugural performance on 15 May 1790. It became the theatre of the Comédie-Française by an act of 14 May 1799, which merged the Variétés-Amusantes with the players from the Théâtre de la Nation of the Faubourg Saint-Germain. The new company gave their first performance on 30 May 1799 under the name Théâtre-Français de la République. The interior of the auditorium was redesigned in 1798 by Jean-Charles-Alexandre Moreau and in 1822 by Pierre Fontaine , who reduced

252-522: The nine Muses and three goddesses ( Juno , Venus and Minerva ). Pierre-François Berruer made four of the statues, and his assistant Van den Drix carved the others from Berruer's models. The interior grand staircase served as a model for the grand staircase of the Opéra Garnier in Paris. On the ceiling of the auditorium, there is a large fresco painted by Jean-Baptiste-Claude Robin. It pays homage to

270-623: The prostyle porch of the sanctuary of Athena on the Erechtheum , at the Acropolis of Athens . With the colonization by the Greeks of Southern Italy , hexastyle was adopted by the Etruscans and subsequently acquired by the ancient Romans . Roman taste favoured narrow pseudoperipteral and amphiprostyle buildings with tall columns, raised on podiums for the added pomp and grandeur conferred by considerable height. The Maison Carrée at Nîmes , France ,

288-482: The public foyer of the theatre. The painter Pierre Roussel created numerous portraits of actors who have appeared at the theatre. These can be found in the corridors and boxes. Grand Th%C3%A9%C3%A2tre de Bordeaux The Grand Théâtre de Bordeaux is an opera house in Bordeaux, France , first inaugurated on 17 April 1780. It was in this theatre that the ballet La fille mal gardée premiered in 1789, and where

306-418: Was destroyed by a fire on 8 March 1900. Only the walls of the facade remained standing. The new building, as reconstructed under the supervision of architects Julien Guadet and Henri Prudent, was inaugurated on 26 December 1900. The "Fauteuil de Molière" (armchair of Molière ), in which the actor agonized while performing the role of Argan in his last play, Le Malade imaginaire , is on permanent display in

324-508: Was widely used in ancient Greece and has influenced many cultures, including most Western cultures . Porticos are sometimes topped with pediments . Palladio was a pioneer of using temple-fronts for secular buildings. In the UK , the temple-front applied to The Vyne , Hampshire, was the first portico applied to an English country house . A pronaos ( UK : / p r oʊ ˈ n eɪ . ɒ s / or US : / p r oʊ ˈ n eɪ . ə s / )

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