An informal photo dump and some thoughts on French building elements, establishments, food and people.
03., Palais Garnier’s Grand Foyer
The architecture and location of the Palais Garnier are intertwined with the history of Paris… and a famous phantom. Entering the opera house is a theatrical experience in of itself. As our group ascended the famous Grand Staircase and approached the Foyer, we were greeted by ornate marble columns, bronze statues, crystal chandeliers, paintings and frescoes. I think we were all rendered breathless by the sheer intricacy and opulance of the interior (there, of course, is no other appropriate reaction to Charles Garnier’s work).
On a visit to assess the progress of the Opera, Empress Eugénie is said to have questioned Garnier’s architectural vision and asked after the style of his work, to which he is rumored to have replied:
“Why Ma’am, in Napoleon Trois, and you complain!”
— Charles Garnier
Learning about the multiple functions of the building facinated me during our visit. The Paris Opera, while a venue for human art and expression, was meant to be a social gathering space for the people. This intention is reflected in the interweaving corridors, stairwells, landings and alcoves which allow movement of large masses of people and socializing (it is not hard to imagine wandering eyes behind fluttering fans and indiscernable threads of gossip floating in the air).
There had long been whisperings that a ghost stalked the halls of the opera house and, while some dismissed it as superstition, many believe that confirmation came true during a performance in 1896 of Helle. A fire in the roof of the opera house had melted through a wire holding a counterweight for the chandelier, which then crashed through the ceiling injuring several people and killing one spectator. Gaston Leroux, a journalist working for the newspaper Le Matin, read about the accident and used it, and the rumors of the ghost, as inspiration for a story: Le Fantôme de l’Opéra.
05., Printemps/ Haussmann
Haussmann’s renovation of Paris was a vast program commissioned by Emperor Napoleon III between 1853-70. The demolition of overcrowded and dense neighborhoods led to the development of wide avenues, new parks and squares, and the annexation of the suburbs surrounding Paris. The street plan and distinctive appearance of the center of Paris we see currently is largely the result of Haussmann’s renovation.
Two of Paris’ legendary monuments to shopping, Au Printemps and Galeries Lafayette still function today as they did at the time of their inception in the mid to late 19th century. Located in the 9th arrondissement and built in the Art Nouveau style, Au Printemps was established at the crossroads of Boulevard Haussmann and Rue du Havre, despite its distance from the heart of Paris.
As the grands magasins’ principal clientele, women were of central importance as consumers with purchasing power. Following the birth and spread of the department store, women were able to appreciate a sense of agency and claim these spaces for themselves. In the 19th century, department stores represented a new opportunity for middle and upper class women. The luxurious retail havens were among the first urban spaces where women could move around without the “protection” of men outside the home. They ushered in changes in consumption and culture that made women more powerful in a largely gender-segregated society.
“All elegant women are Printemps customers.”
— Printemps’ 1919 Slogan