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<p>The Palais-Royal (French: [pa.lɛ ʁwa.jal]) is a former French royal palace located on Rue Saint-Honoré in the 1st arrondissement of Paris. The screened entrance court faces the Place du Palais-Royal, opposite the Louvre. Originally called the Palais-Cardinal, it was built for Cardinal Richelieu from about 1633 to 1639 by architect Jacques Lemercier. Richelieu bequeathed it to Louis XIII, before Louis XIV gave it to his younger brother, Philippe I, Duke of Orléans. As the succeeding Dukes of Orléans made such extensive alterations over the years, almost nothing remains of Lemercier's original design.<br />
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The Palais-Royal is now the seat of the Ministry of Culture, the Conseil d'État and the Constitutional Council. The central Palais-Royal Garden (Jardin du Palais-Royal) serves as a public park; its arcade houses shops.<br />
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History<br />
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Palais-Cardinal<br />
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Originally called the Palais-Cardinal, the palace was the personal residence of Cardinal Richelieu. The architect Jacques Lemercier began his design in 1629; Construction commenced in 1633 and was completed in 1639. The gardens were begun in 1629 by Jean Le Nôtre (father of André Le Nôtre), Simon Bouchard, and Pierre I Desgots, to a design created by Jacques Boyceau. Upon Richelieu's death in 1642 the palace became the property of the King and acquired the new name Palais-Royal.<br />
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After Louis XIII died the following year, it became the home of the Queen Mother Anne of Austria and her young sons Louis XIV and Philippe, duke of Anjou, along with her advisor Cardinal Mazarin.<br />
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From 1649, the palace was the residence of the exiled Henrietta Maria and Henrietta Anne Stuart, wife and daughter of the deposed King Charles I of England. The two had escaped England in the midst of the English Civil War and were sheltered by Henrietta Maria's nephew, King Louis XIV.<br />
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The Palais Brion, a separate section near the rue de Richelieu to the west of the Palais-Royal, was purchased by Louis XIV from the heirs of Cardinal Richelieu. Louis had it connected to the Palais-Royal. It was at the Palais Brion that Louis had his mistress Louise de La Vallière stay while his affair with Madame de Montespan was still an official secret.<br />
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Philippe I, Duke of Orléans<br />
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Henrietta Anne was married to Louis' younger brother, Philippe I, Duke of Orléans in the palace chapel on 31 March 1661. After their marriage, Louis XIV allowed his brother and wife to use the Palais-Royal as their main Paris residence. The following year the new duchess gave birth to a daughter, Marie Louise d'Orléans, inside the palace. She created the ornamental gardens of the palace, which were said to be among the most beautiful in Paris. Under the new ducal couple, the Palais-Royal would become the social center of the capital.<br />
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The palace was redecorated and new apartments were created for the Duchess's maids and staff. Several of the women who later came to be favourites to King Louis XIV were from her household: Louise de La Vallière, who gave birth there to two sons of the King, in 1663 and 1665; Françoise-Athénaïs, marquise de Montespan, who supplanted Louise; and Angélique de Fontanges, who was in service to the second Duchess of Orléans.<br />
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The court gatherings at the Palais-Royal were famed all around the capital as well as all of France. It was at these parties that the crème de la crème of French society came to see and be seen. Guests included the main members of the royal family like the Queen Mother, Anne of Austria; Anne, Duchess of Montpensier, the Princes of Condé and of Conti. Philippe's favourites were also frequent visitors.<br />
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After Henrietta Anne died in 1670 the Duke took a second wife, the Princess Palatine, who preferred to live in the Château de Saint-Cloud. Saint-Cloud thus became the main residence of her eldest son and the heir to the House of Orléans, Philippe Charles d'Orléans known as the Duke of Chartres.<br />
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he Académie Royale de Peinture et de Sculpture occupied the Palais Brion from 1661 to 1691 and shared it with the Académie Royale d'Architecture from 1672. The royal collection of antiquities was installed there under the care of the art critic and official court historian André Félibien, who was appointed in 1673.<br />
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About 1674 the Duke of Orléans had André Le Nôtre redesign the gardens of the Palais-Royal.<br />
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After the dismissal of Madame de Montespan and the arrival of her successor, Madame de Maintenon, who forbade any lavish entertainment at Versailles, the Palais-Royal was again a social highlight.<br />
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In 1692, on the occasion of the marriage of the duke of Chartres to Françoise Marie de Bourbon, Mademoiselle de Blois, a legitimised daughter of Louis XIV and Madame de Montespan, the King deeded the Palais-Royal to his brother. The new couple did not occupy the northeast wing, where Anne of Austria had originally lived, but instead chose to reside in the Palais Brion. For the convenience of the bride, new apartments were built and furnished in the wing facing east on the rue de Richelieu.<br />
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It was at this time that Philippe commissioned a Grande Galerie along the rue de Richelieu for his famous Orleans Collection of paintings, which was easily accessible to the public. Designed by the architect Jules Hardouin-Mansart, it was constructed around 1698–1700 and painted with Virgilian subjects by Coypel. The cost of this reconstruction totaled about 400,000 livres. Hardouin-Mansart's assistant, François d'Orbay, prepared a general site plan, showing the Palais-Royal before these alterations were made.<br />
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Philippe II, Duke of Orléans<br />
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When the Duke of Orléans died in 1701, his son became the head of the House of Orléans. The new Duke and Duchess of Orléans took up residence at the Palais-Royal. Two of their daughters, Charlotte Aglaé d'Orléans, later the Duchess of Modena, and Louise Diane d'Orléans, later the Princess of Conti, were born there.<br />
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At the death of Louis XIV in 1715, his five-year-old great-grandson succeeded him. The Duke of Orléans became Regent for the young Louis XV, setting up the country's government at the Palais-Royal, while the young king lived at the nearby Tuileries Palace. The Palais-Royal housed the magnificent Orleans Collection of some 500 paintings, which was arranged for public viewing until it was sold abroad in 1791.<br />
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He commissioned Gilles-Marie Oppenord to redesign the apartments of the Duchess on the ground floor in 1716 and to decorate the Grand Appartement of the Palais Brion in the light and lively style Régence that foreshadowed the Rococo, as well as the Regent's more intimate petits appartements. Oppenord also made changes to the Grande Galerie of the Palais Brion and created a distinctive Salon d'Angle, which connected the Grand Appartement to the Grande Galerie along the rue de Richelieu (1719–20; visible on the 1739 Turgot map of Paris). All of this work was lost, when the Palais Brion was demolished in 1784 for the construction of the Salle Richelieu, now hosting the Comédie-Française.<br />
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Louis d'Orléans<br />
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After the Regency, the social life of the palace became much more subdued. Louis XV moved the court back to Versailles and Paris was again ignored. The same happened with the Palais-Royal. Louis d'Orléans succeeded his father as the new duke of Orléans in 1723. He and his son Louis Philippe lived at the other family residence in Saint-Cloud, which had been empty since the death of the Princess Palatine in 1722.<br />
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Claude Desgots redesigned the gardens of the Palais-Royal in 1729.<br />
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Louis Philippe I<br />
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In 1752 Louis Philippe I succeeded his father as the duke of Orléans. The Palais-Royal was soon the scene of the notorious debaucheries of Louise Henriette de Bourbon who had married to Louis Philippe in 1743. New apartments (located in what is now the northern section of the Rue-de-Valois wing) were added for her in the early 1750s by the architect Pierre Contant d'Ivry.[15] She died at the age of thirty-two in 1759. She was the mother of Louis Philippe II, Duke of Orléans, later known as Philippe Égalité. A few years after the death of Louise Henriette, her husband secretly married his mistress, the witty marquise de Montesson, and the couple lived at the Château de Sainte-Assise where he died in 1785. Just before his death, he completed the sale of the Château de Saint-Cloud to Queen Marie Antoinette.<br />
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Louis Philippe II<br />
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Louis Philippe II, Duke of Orléans was born at Saint-Cloud and later moved to the Palais-Royal and lived there with his wife, the wealthy Louise Marie Adélaïde de Bourbon whom he had married in 1769. The duke controlled the Palais-Royal from 1780 onward. The couple's eldest son, Louis-Philippe III d'Orléans, was born there in 1773. Louis Philippe II succeeded his father as the head of the House of Orléans in 1785.<br />
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Theatres of the Palais-Royal<br />
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The Palais-Royal had contained one of the most important public theatres in Paris, in the east wing on the rue Saint-Honoré (on a site just to the west of what is now the rue de Valois).[16] It was built from 1637 to 1641 to designs by Lemercier and was initially known as the Great Hall of the Palais-Cardinal. This theatre was later used by the troupe of Molière beginning in 1660, by which time it had become known as the Théâtre du Palais-Royal. After Molière's death in 1673 the theatre was taken over by Jean-Baptiste Lully, who used it for his Académie Royale de Musique (the official name of the Paris Opera at that time).<br />
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The Opera's theatre was destroyed by fire in 1763, but was rebuilt to the designs of architect Pierre-Louis Moreau Desproux on a site slightly further to the east (where the rue de Valois is located today) and reopened in 1770. This second theatre continued to be used by the Opera until 1781, when it was also destroyed by fire, but this time it was not rebuilt. Moreau Desproux also designed the adjacent surviving entrance façades of the Palais-Royal.<br />
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At the request of Louis Philippe II two new theatres were constructed in the Palais-Royal complex shortly after the fire. Both of these new theatres were designed by Victor Louis, the architect who also designed the shopping galleries facing the garden (see below). The first theatre, which opened on 23 October 1784, was a small puppet theatre in the northwest corner of the gardens at the intersection of the Galerie de Montpensier and the Galerie de Beaujolais. Initially it was known as the Théâtre des Beaujolais, then as the Théâtre Montansier, after which Victor Louis enlarged it for the performance of plays and operas. Later, beginning with the political turmoil of the Revolution, this theatre was known by a variety of other names. It was converted to a café with shows in 1812, but reopened as a theatre in 1831, when it acquired the name Théâtre du Palais-Royal, by which it is still known today.<br />
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Louis Philippe II's second theatre was larger and located near the southwest corner of the complex, on the rue de Richelieu. He originally intended it for the Opera, but that company refused to move into it. Instead he offered it to the Théâtre des Variétés-Amusantes, formerly on the boulevard du Temple but since 1 January 1785 playing in a temporary theatre in the gardens of the Palais-Royal. This company changed its name to Théâtre du Palais-Royal on 15 December 1789, and later moved into the new theatre upon its completion, where they opened on 15 May 1790. On 25 April 1791 the anti-royalist faction of the Comédie-Française, led by Talma, left that company's theatre on the left bank (at that time known as the Théâtre de la Nation, but today as the Odéon), and joined the company on the rue de Richelieu, which promptly changed its name to Théâtre Français de la rue de Richelieu. With the founding of the French Republic in September 1792 the theatre's name was changed again, to Théâtre de la République. In 1799 the players of the split company reunited at the Palais-Royal, and the theatre officially became the Comédie-Française, also commonly known as the Théâtre-Français, names which it retains to this day.<br />
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Shopping arcades<br />
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Louis Philippe II also had Victor Louis build six-story apartment buildings with ground-floor colonnades facing the three sides of the palace garden between 1781 and 1784. On the outside of these wings three new streets were constructed in front of the houses that had formerly overlooked the garden: the rue de Montpensier on the west, rue de Beaujolais to the north, and rue de Valois on the east. He commercialised the new complex by letting out the area under the colonnades to retailers and service-providers and in 1784 the shopping and entertainment complex opened to the public. Over a decade or so, sections of the Palais were transformed into shopping arcades that became the centre of 18th-century Parisian economic and social life.<br />
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Though the main part of the palace (corps de logis) remained the private Orléans seat, the arcades surrounding its public gardens had 145 boutiques, cafés, salons, hair salons, bookshops, museums, and countless refreshment kiosks. These retail outlets sold luxury goods such as fine jewelry, furs, paintings and furniture to the wealthy elite. Stores were fitted with long glass windows which allowed the emerging middle-classes to window shop and indulge in fantasies. Thus, the Palais-Royal became one of the first of the new style of shopping arcades and became a popular venue for the wealthy to congregate, socialise and enjoy their leisure time. The redesigned palace complex became one of the most important marketplaces in Paris. It was frequented by the aristocracy, the middle classes, and the lower orders. It had a reputation as being a site of sophisticated conversation (revolving around the salons, cafés, and bookshops), shameless debauchery (it was a favorite haunt of local prostitutes), as well as a hotbed of Freemasonic activity.<br />
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Designed to attract the genteel middle class, the Palais-Royal sold luxury goods at relatively high prices. However, prices were never a deterrent, as these new arcades came to be the place to shop and to be seen. Arcades offered shoppers the promise of an enclosed space away from the chaos that characterised the noisy, dirty streets; a warm, dry space away from the elements; and a safe-haven where people could socialise and spend their leisure time. Promenading in the arcades became a popular eighteenth century pastime for the emerging middle classes.<br />
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From the 1780s to 1837, the palace was once again the centre of Parisian political and social intrigue and the site of the most popular cafés. The historic restaurant "Le Grand Véfour", which opened in 1784, is still there. In 1786, a noon cannon was set up by a philosophical amateur, set on the Paris meridian, in which the sun's noon rays, passing through a lens, lit the cannon's fuse. The noon cannon is still fired at the Palais-Royal, though most of the ladies for sale have disappeared, those who inspired the Abbé Delille's lines:<br />
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Dans ce jardin on ne rencontre<br />
Ni prés, ni bois, ni fruits, ni fleurs.<br />
Et si l'on y dérègle ses mœurs,<br />
Au moins on y règle sa montre.<br />
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("In this garden one encounters neither meadows, nor woods, nor fruits, nor flowers. And, if one upsets one's morality, at least one may reset one's watch.")<br />
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The Cirque du Palais-Royal, constructed in the center of the garden, has been described as "a huge half-subterranean spectacle space of food, entertainments, boutiques, and gaming that ran the length of the park and was the talk of the capital." It was destroyed by fire on 15 December 1798.<br />
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Inspired by the souks of Arabia, the Galerie de Bois, a series of wooden shops linking the ends of the Palais-Royal and enclosing the south end of the garden, was first opened in 1786. For Parisians, who lived in the virtual absence of pavements, the streets were dangerous and dirty; the arcade was a welcome addition to the streetscape as it afforded a safe place where Parisians could window shop and socialise. Thus, the Palais-Royal began what architectural historian Bertrand Lemoine [fr] describes as "l’Ère des passages couverts" (the Arcade Era), which transformed European shopping habits between 1786 and 1935.<br />
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Palais de l'Égalité and the Revolution<br />
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During the revolutionary period, Philippe d'Orléans became known as Philippe Égalité and ruled at the Palais de l'Égalité, as it was known during the more radical phase of the Revolution] He had made himself popular in Paris when he opened the gardens of the palace to all Parisians. In one of the shops around the garden Charlotte Corday bought the knife she used to stab Jean-Paul Marat. Along the galeries, ladies of the night lingered, and smart gambling casinos were lodged in second-floor quarters.<br />
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The Marquis de Sade referred to the grounds in front of the palace in his Philosophy in the Bedroom (1795) as a place where progressive pamphlets were sold.<br />
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Upon the execution of the Duke, the palace's ownership lapsed to the state, whence it was called Palais du Tribunat. The Comédie-Française, the state theatre company, was reorganised by Napoleon in the décret de Moscou on 15 October 1812, which contains 87 articles.<br />
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Bourbon restoration to Second Empire<br />
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fter the Restoration of the Bourbons, at the Palais-Royal the young Alexandre Dumas obtained employment in the office of the powerful Duke of Orléans, who regained control of the palace during the Restoration.<br />
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The Duke had Pierre-François-Léonard Fontaine draw up plans to complete work left unfinished by the Duke's father. Fontaine's most significant work included the western wing of the Cour d'Honneur, the Aile Montpensier, and with Charles Percier, what was probably the most famous of Paris's covered arcades, the Galerie d'Orléans, enclosing the Cour d'Honneur on its north side. Both were completed in 1830. The Galerie d'Orléans was demolished in the 1930s, but its flanking rows of columns still stand between the Cour d'Honneur and the Palais-Royal Garden.<br />
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Following the July Revolution of 1830 when the Duke of Orléans ascended the throne as Louis-Phillipe I, the palace remained the principal residence of the new monarch.<br />
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In the Revolution of 1848, a Paris mob attacked and looted the royal residence Palais-Royal, particularly the art collection of King Louis-Philippe. During the Second French Republic, the palace was briefly renamed the "Palais-National".<br />
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During the Second French Empire of Napoleon III, the Palais-Royal became home to the cadet branch of the Bonaparte family, represented by Prince Napoléon-Jérôme Bonaparte, Napoleon III's cousin. A lavish dining room was constructed in the Second Empire style, and is now known as the Salle Napoleon of the Council of State.<br />
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During the final days of Paris Commune, on May 24, 1871, the palace, seen as a symbol of aristocracy, was set afire by the Communards, but suffered less damage than other government buildings. As a result, it became the temporary (and later permanent) home of several state institutions, including the Conseil d'Etat, or State Council.<br />
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The Palais-Royal today<br />
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Today, the Palais-Royal is the home of the Conseil d'État, the Constitutional Council, and the Ministry of Culture.<br />
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Gardens<br />
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The first garden of the Palais was planted by Cardinal Richelieu in 1629, where the Court of Honor is today. In 1633, Richelieu obtained authorisation to extend the garden northeast into the land occupied by the obsolete medieval city walls of Paris. He also received permission to sell forty-five building sites around the garden. The new garden site was 170 meters by 400 meters, making it the third largest garden in Paris, after the Tuileries Garden and Luxembourg Garden. The new garden featured long alleys shaded by trees, elaborate parterres and flower beds, a fountain in the centre, and a circular water basin at the north end. The master hydraulics engineer Jean-Baptiste Le Tellier designed the fountain, which, like the Louvre Palace, took its water from the La Samaritaine pump on the Seine.<br />
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The garden was redesigned several times, notably in 1674 by André Le Nôtre, and his nephew Claude Desgots in 1730. In 1817, under Charles X of France, the main water basin was enlarged to twenty-five meters in diameter, and the longitudinal parterres were remade in 1824. In 1992 the landscape gardener Mark Rudkin created new lawns and flower beds, termed "Salons of greenery", with seasonal flowers enclosed by grills covered with climbing plants. The garden was classified as a French historical monument in 1920, followed by the rest of the Palais-Royal in 1994.<br />
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A small cannon was installed in the middle of the bowling green at the north end of the garden in 1786. It fired a shot each day at noon, regulated by an ingenious mechanism that used a magnifying lens pointed at the sun's noontime position to light the match which fired the gunpowder. Between 1891 and 1911, the official noontime in France was defined by the cannon shot. It was stolen in 1998, but recovered and returned to its place in 2002.<br />
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The two major alleys of the gardens are named for two of the famous 20th-century residents of the neighbouring buildings, the writers Colette and Jean Cocteau.<br />
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(Wikipedia)<br />
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Das Palais Royal, früher Palais Cardinal, ist ein Pariser Stadtpalast im 1. Arrondissement, etwa 150 Meter nördlich des Louvre. Das Palais beherbergt heute in seinem Haupttrakt den Staatsrat (frz. Conseil d’État), im Westflügel die Comédie-Française und den Verfassungsrat (frz. Conseil constitutionnel) und im Ostflügel das Kulturministerium.<br />
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Geschichte<br />
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Es wurde in den Jahren 1627 bis 1629 von dem Architekten Jacques Le Mercier für den ersten Minister Ludwigs XIII., Kardinal Richelieu, gebaut, nach dessen Tod 1642 ging es in den Besitz der Krone über und nahm seinen heutigen Namen an. Nach Richelieu bewohnte die Königinmutter und Regentin Anna von Österreich das Palais mit ihren beiden minderjährigen Söhnen, Ludwig XIV. und Philippe d’Orléans.<br />
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Zur Zeit der Fronde, die in den Jahren 1648 bis 1653 in Paris und ganz Frankreich wütete, erlebte Ludwig XIV. eine Nacht im Palais Royal, die seine lange absolutistische Regentschaft stark prägen sollte. Nachdem Angehörige der Pariser Parlamente, der französischen Gerichtshöfe, im Jahre 1648 gegen königliche Verordnungen Mazarins und Annas von Österreich revoltierten, war die Regentin gezwungen, mit ihren beiden Söhnen, dem minderjährigen König Ludwig XIV. und dessen jüngerem Bruder Philippe, Herzog von Anjou, Paris zu verlassen und in das königliche Schloss nach Saint-Germain-en-Laye zu fliehen, um einer Gefangennahme durch die Frondeure zu entgehen.<br />
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Jedoch verlangten die politischen Unruhen bald zunehmend die Präsenz der königlichen Familie in der Hauptstadt Paris und so kehrte Anna von Österreich mit ihren Söhnen im Jahre 1651 nach Paris in das Palais Royal zurück. In der Nacht vom 9. auf den 10. Februar gelang es aufständischen Pariser Bürgern, durch die Kooperation königlicher Angestellter bis in das Schlafgemach des jungen Königs vorzudringen, um dessen Anwesenheit zu überprüfen. Der sich schlafend stellende Ludwig lag schutzlos ausgeliefert in seinem Bett, während die aufständischen Bürger an diesem vorübergingen. Die Mitglieder der königlichen Familie waren faktisch zu Gefangenen in ihrem belagerten Palais geworden. Obwohl dem jungen König in jener Nacht kein körperlicher Schaden zugefügt wurde, grub sich dieses Erlebnis im Pariser Palais Royal dennoch tief in sein Gedächtnis ein. Niemals wieder wollte er seinen Untertanen so macht- und schutzlos ausgeliefert sein, was aus späteren Aussagen Ludwigs XIV. und einigen innenpolitischen Maßnahmen hervorgeht. Auch die Tatsache, dass er das von ihm beauftragte Schloss in Versailles in den 1680er Jahren zu seinem festen Wohn- und Regierungssitz machte, geht zum Teil auf die früheren Pariser Erfahrungen zurück. Aufgrund seiner Lage außerhalb von Paris galt Schloss Versailles als eine besser zu verteidigende Anlage als die königlichen Schlösser und Palais im Pariser Zentrum.<br />
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Im Jahr 1636 wurde in einem Anbau das Palasttheater geöffnet. In den Jahren 1660 bis 1673 spielte dort die Schauspieltruppe von Molière. Nach seinem Tod diente das Gebäude bis zum Jahr 1763 als Ort für diverse Opernaufführungen, dann brannte es – am 6. April 1763 – komplett aus. Am Ende des 18. Jahrhunderts wurde die Anlage wiederaufgebaut. Seit dem Jahr 1786 dient sie der Comédie-Française als Sitz.<br />
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Seit der zweiten Hälfte des 17. Jahrhunderts residierten im Palais Royal die Mitglieder des Hauses Orléans, beginnend mit Philippe I., dem Bruder Ludwigs XIV., und seiner (zweiten) Gemahlin Liselotte von der Pfalz. Es folgten ihr Sohn, der Regent Philippe II., Louis Philippe I. und Louis-Philippe II. („Philippe Égalité“).<br />
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Am 8. Juni 1781 kam es zu einem weiteren Brand des Palais Royal. Es geriet der Opernsaal in Brand, weshalb die Pariser Oper erneut umziehen musste. In den Jahren 1781 bis 1784 ließ Philippe Égalité die Galerie de Bois bauen, ein gigantisches Immobilienprojekt, wobei rund um den Palastgarten drei riesige Galerieflügel mit etwa 60 Häusern mit Arkadengängen, Wohnungen, Läden, Gastronomiebetrieben und Vergnügungseinrichtungen errichtet wurden, die bis heute stehen. Hier konzentrierte sich bald das Nachtleben der Hauptstadt. Die Promenade auf der „Allée des Soupirs“ (Seufzerallee) war in ganz Europa berühmt, weil sich dort die schönsten Mädchen und Frauen aus allen Ständen prostituierten, auch Personen aus dem Hochadel wurden dort angetroffen. Da die Anlage dem Herzog von Orléans, einem entfernten Vetter des Königs, gehörte, hatte die Polizei keinen Zutritt. Dies ermöglichte eine gewisse Versammlungsfreiheit und so wurde das Palais zu einer Zentrale der Patriotischen Bewegung, darunter auch der Klub der Zweiundzwanzig. Am 13. Juli 1789 (nach einigen Quellen am 11. Juli oder 12. Juli) rief dort Camille Desmoulins zum bewaffneten Aufstand auf. Der Herzog selbst schloss sich der Revolution an (und nannte sich „Philippe Égalité“), als Mitglied des Nationalkonvents stimmte er sogar für die Hinrichtung seines Cousins, des Königs. Das verhinderte aber nicht, dass er selbst unter der Terrorherrschaft 1793 festgenommen und guillotiniert wurde.<br />
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Die einst berüchtigten Spielhallen wurden im Jahre 1838 geschlossen.<br />
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Zu den Bewohnern der Häuser am Jardin du Palais Royal gehörten unter anderem Colette, Jean Cocteau und Jean Marais.<br />
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Von 1829 bis 1831 wurde, nachdem die Galerie de Bois geschlossen wurde, eine neue Galerie im Palais Royal errichtet, die Galerie d’Orléans.<br />
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Bei den zahlreichen Brandstiftungen im Zuge der Pariser Kommune wurde unter anderem auch das Palais Royal teilweise in Brand gesteckt.<br />
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Im Ehrenhof (Cour d’Honneur) des Palais Royal befindet sich seit 1986 das begehbare Kunstwerk Les Deux Plateaux des französischen Installationskünstlers Daniel Buren.<br />
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Das Palais Royal im Film<br />
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Das Palais Royal dient in diversen Spielfilmen als Kulisse. Zu ihnen gehören:<br />
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Charade (1963) von Stanley Donen<br />
Interview mit einem Vampir (1994) von Neil Jordan<br />
Männer und Frauen – Eine Gebrauchsanweisung (1996) von Claude Lelouch<br />
The Da Vinci Code – Sakrileg (2006) von Ron Howard<br />
So ist Paris (2007) von Cédric Klapisch<br />
Ca$h (2008) von Éric Besnard<br />
Vorsicht Sehnsucht (2009) von Alain Resnais<br />
Mission: Impossible - Fallout (2018) von Christopher McQuarrie<br />
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(Wikipedia)<br />
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Der Jardin du Palais Royal ist eine große Parkanlage im 1. Arrondissement von Paris. Sie wurde 1633 angelegt und ist als Jardin remarquable ausgezeichnet.<br />
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Lage und Namensursprung<br />
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Der Park ist von vier arkadenartigen Galerien umgeben: Galerie de Montpensier im Westen, Galerie de Beaujolais im Norden, Galerie de Valois im Osten und Galerie du Jardin im Süden.<br />
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Geschichte<br />
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Der Garten wurde vom Kardinal Richelieu gewollt, um den Palais Royal zu schmücken und vom königlichen Gärtner, Pierre Desgotz, gestaltet. Palast und Garten wurden nach dem Tod des Kardinals Ludwig XIII. vermacht und die königliche Familie ließ sich dort nieder. Das heutige Aussehen mit Galerien und Alleen erhielt er durch Charles X.<br />
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Besonderheiten<br />
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Statuen<br />
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Zwischen 1900 und 1945 standen in dem Garten eine Vielzahl von Statuen, von denen heute nur noch zwei erhalten sind:<br />
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Martial Adolphe Thabard,<br />
Le Charmeur de serpent (1875) und<br />
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Paul Le Moyne,<br />
Le Pâtre et la chêvre (1830)<br />
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Le Charmeur de serpent, errichtet um 1830<br />
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Le Pâtre et la Chèvre, errichtet um 1830<br />
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Monument à Victor Hugo, Marmor von Auguste Rodin, errichtet 1909; steht heute im Musée Rodin<br />
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Statue de Camille Desmoulins, Bronze von Eugène-Jean Boverie, errichtet 1905; 1942 abgebaut und eingeschmolzen im Zusammenhang mit Mobilisation des métaux non ferreux<br />
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Am Eingang zum Garten Les Deux Plateaux oder Colonnes de Buren<br />
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Le petit canon<br />
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1785 erfand Sieur Rousseau, ein Ingenieur für mathematische Instrumente und Uhrmacher, der ein Geschäft in der Beaujolais-Galerie hatte, eine Kanonenuhr. Sie wurde 1786 auf Anordnung des Duc d’Orléans gegenüber von Rousseau Laden aufgestellt und auf den Meridian von Paris ausgerichtet. Dank einer Lupe entzündeten die Sonnenstrahlen einen Docht, der das Pulver in der Kanone sonnigen Tagen von Mai bis Oktober entzündete und somit zur Mittagszeit einen Knall auslöste. Dies diente dazu, die Uhren in Paris auf die genaue Zeit einzustellen. Auf dem Sockel stand der Spruch: Horas non numero nisi serenas (Nur die glücklichen Stunden zählen.) 1799 wurde sie weiter südlich (in die Nähe der Colonnes de Buren) verlegt, wo sie noch heute steht.<br />
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Ab 1816 oder 1826 war die Zeit, die vom Mittagsweiser am Palais Royal angezeigt wurde, nicht mehr die offizielle Zeit in Paris. Zu jener Zeit galt in der Tat die durchschnittliche Sommerzeit von Paris (die Zeit der Uhren) und ersetzte damit die Zeit, die an der Sonnenuhr abgelesen wurde. 1891 wird die mittlere Zeit des Medianwerts von Paris auf ganz Frankreich ausgedehnt. 1911 wird es verboten, sich nach der petit canon zu richten, denn Frankreich hat die GMT angenommen.<br />
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1990 wird die Kanone restauriert und beginnt wieder, mittags zu donnern. Doch damit muss sie wieder aufhören, wegen des Plan Vigipirate. Als sie 1998 gestohlen wird, wird eine Nachbildung aufgestellt. 2011 entscheidet das französische Kulturministerium, die ursprüngliche Funktion wieder herzustellen aber ohne die Auslösung per Sonnenstrahl. Jedoch gibt es einen Beauftragten, der jeden Mittwoch um 12 Uhr einen Schuss abgeben muss.<br />
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Weitere Besonderheiten<br />
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In dem Garten steht ein Wallace-Brunnen.<br />
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Am 15. Dezember 1934 wurde von der tschechoslowakischen Gemeinde in Frankreich eine Gedenktafel in der Galerie von Valois zum Andenken an die tschechoslowakischen Freiwilligen angebracht, die am 22. August 1914 „(um) an der Seite Frankreichs die Freiheit der Nationen (zu) verteidigen und die nationale Unabhängigkeit wieder (zu) erlangen“. Die Tafel soll daran erinnern, dass sich zwei tschechische Vereine in Paris, der Sokol von Paris und der Sozialistische Verein Rovnost, vor einem tschechischen Restaurant im Garten, wo sie ihre Versammlungen abhalten, in der Absicht zusammenkamen, Frankreich im Krieg zu helfen. Dies führte zur Verpflichtung von mehreren hundert Freiwilligen in der Fremdenlegion für die Dauer des Krieges.<br />
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Filme, die hier gedreht wurden<br />
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1963: Charade von Stanley Donen<br />
2015: Le Grand Jeu von Nicolas Pariser<br />
2018: Baron noir, TV-Serie<br />
2018: Dix pour cent, TV-Serie<br />
2018: Mission: Impossible – Fallout von Christopher McQuarrie<br />
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(Wikipedia)</p>](https://live.staticflickr.com/65535/55303214035_fd1e006aee_s.jpg)
