Located between the chambers of the Queen and the King on the lower level of the château de Fontainebleau is one of Marie-Antoinette’s private boudoirs commissioned by Louis XVI.
The silver boudoir (“boudoir argent”) was decorated by the Rousseau brothers in 1786 in the antique style. The boudoir is named after the silver background on which various arabesque designs, incorporating floral motifs, animals, classical figures, are painted. These silver panels are set within gold frames, creating an intense shimmer in the space.
One of Marie Antoinette’s favorite cabinetmakers, Jean Henri Riesener provided the furniture pieces for this space.
The roll-top desk and the trough-shaped table are lined with mother-of-pearl, their iridescence and classicizing motifs complementing the metallic sheen and the overall decorative style of the boudoir.
This extraordinary room also features four pairs of overdoor sculptures, representing female personifications of various arts and sciences, such as music, theater, and astronomy. Each figure holds the attributes of one or two of the nine muses.
These are all my guesses on what these figures could represent, but it is interesting that there are eight figures holding the emblems of the nine muses.
Does this suggest that the intended occupant of this space, Marie Antoinette, was to complete the iconographic program as one of the muses? If one of these figures is a hybrid of two muses, that would mean that this boudoir is the queen’s very own Parnassus where she surrounds herself with a divine entourage..
A private, intimate space where a woman can enjoy music, conversation, and company of her closest companions. Whatever the precise intention/identification for the sculptural program might have been, I’d say this is definitely a boudoir fit for a queen.
Chapel of the Virgin, Church of Saint-Roch, Paris
Etienne Falconet’s Divine Glory shines upon the Nativity Scene, flanked by St. Jerome and St. Barbara.
Michel Anguier’s Nativity group replaced Falconet’s Annunciation, lost during the French Revolution.
One of the the most curious things in the house museum Nissim de Camondo in Paris (see my previous post here) is the porcelain closet attached to the dining room.
Walk through the door to the left of the fireplace, and voilà! You’re in the porcelain closet.
Shelves after shelves of beautifully pristine dinner, coffee, and tea service! The star of this porcelain fantasy is the “service Buffon,” a porcelain dinner set created at the manufacture de Sèvres around 1784.
The name “Buffon” refers to George-Louis Leclerc, comte de Buffon (1707-88), the French naturalist, famous for his Histoire naturelle, the wildly popular and hugely influential encyclopedia cataloguing the knowledge of all known species of fauna and flora. His books were accompanied by thousands of engraved plates that illustrate natural history specimens.
Each of these porcelain dinner pieces features a distinct exotic bird species, inspired by the plates of Buffon’s Histoire naturelle des oiseaux (Natural History of the Birds).
The gold-trimmed illustrations of birds are set against green background with the pattern of dotted circles, called l’oeil-de-perdrix (eye-of-partridge). Some pieces also display grisaille cameos of antique profile busts.
Imagine, in the time before digital photography and Google Image, a magnificent dinner served on these plates and bowls. Imagine the delight of uncovering these images of exotic birds as one works through the meal. Imagine the air in the dining room, thick with fascination and curiosity for these earthly, yet otherworldly creatures and the alternate universe they seem to occupy..
Tucked away in the southeastern edge of the quiet and serene Parc Monceau in the 8th arrondissement is a small museum that is, without a shadow of doubt, one of the most magical places in all of Paris.
It is a place to which I’ve returned time and again, and each visit induces in me a state of complete enchantment.
Musée Nissim de Camondo.
It is dix-huitièmiste’s dream come true.
Built in 1911, this house was intended as a showcase for the impressive collection of 18th-century decorative arts of the comte Moïse de Camondo, the patriarch of a wealthy Jewish banking family. When his son, Nissim de Camondo, died in combat during WWI, the father donated the mansion, as well as its entire contents, in his memory to the French state, and the house became a state museum in 1935.
The house museum, one of the most impressive of its kind, is chock-full of treasures from the golden age of French furniture and decorative art, and every nook and cranny has so much to offer to the visitor’s enjoyment.
In September 2014, I had the good fortune of visiting several eighteenth-century hôtels particuliers (townhouses built by the wealthy elites) in the Saint-Germain district of Paris during the Journées du Patrimoine. One weekend of the year, many of the national and municipal buildings around France open up to the public as an effort to instill a sense of appreciation for French national heritage. Hôtel de Noirmoutier, located at 138 rue de Grenelle in the 7th arrondissement, is one of the buildings I visited that weekend.