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stone corridor inside the Bastille
photo by Chirag D. Shah, found on Flickr

So who is the THATLou King of Bastille Day?

So Bastille Day is tomorrow. In America when you hear “Happy 4th (of July)” one thinks of the Liberty Bell in Philly, of the signers of the Declaration of Independence (men in wigs and tights, oh yeah!), a big middle finger to fat Georgie III and that small island across the Atlantic. Flags, picnics, parades. John Philip Sousa. The feelings are happy, independent, straight-forward. Simple. Much like Americans, perhaps.

But I’m not sure everything is so cookie-cutter clean here (comme d’habitude, the French being the kings of the complicated color: Grey). First of all the very term Bastille Day is exclusively Anglo. Then these “Happys” or well wishing. Well. One (as in: one who is a foreigner who lives here and just doesn’t get it, such as me, I suppose) can say “Joyeux 14 juillet”, but the French often do a double-take when this is foisted on them.

I do most of my THATLou work at a café on Fbg St Denis called Quincaillerie and Damien, one of my favorite waiters there, told me it’s possible to say – as in, grammatically it’s not wrong. I asked him why and he said, “what’s happy about it?” Good point. The date in fact isn’t as clear, the 14th of July is just the beginning of a long struggle of the people. People without rights (“rights come later”, as Damien pointed out) got fed up and stormed the Bastille, a fortress. They had to fight for a remarkably bloody 4 more years, before any significant heads went toppling (literally). As for the complicated question of “rights” well, let’s leave that to Jean-Jacques Rousseau.

If I’d made this Bastille Day THATLou completely appropriate to France’s National day, I’d’ve confined the treasure exclusively to the period leading up to & following the revolution, but then our fine treasure hunters wouldn’t get to cover 40 to 50% of the Louvre, which is what they’ll be navigating tomorrow. Moreover, quite frankly the Revolution is a period of French history which bores me. It’s completely lacking in the charms of Henri IV’s lovers or Francois 1er’s Renaissance art commissions.

So to focus on la Fête Nationale, the theme for tomorrow’s hunt is “All Things Gaul, for those who have the gall” hunt. And who had more Gaulish Gall than King Philippe-Auguste?

medieval image of french king phillipe-auguste

At the ripe old age of 15 he inherited the throne (in 1180) and over the next 43 years expanded his territory considerably. He was the first of the great Capetian kings of medieval France & destroyed the English-based Angevin Empire which greatly extended his empire. For the first 10 years P-A made his mark on his capital in both good and bad ways (in 1186 he started having the streets paved (much earlier than I would have guessed), however, under his rule, the expulsion of the Jews was in 1182 — they were allowed to return only on condition that they pay a heavy tax in 1198).

But on a larger scale (which will of course bring us back to Paris) he had remarkable military prowess. In 1190 (aged 25, when his first wife died) he left for the crusades & within a year took control of the thorny terrain of Normandie (Richard the Lionheart had been made prisoner of Henri VI in 1194). Following the death of Richard, Philippe-Auguste continued to feud the new King of England, John (who invaded Normandie in 1202, as well as Touraine, Anjou and Poitou). By 1214 Philippe-Auguste had defeated John at the Battle of Bouvines (which was significant enough to force King John to have to sign the Magna Carta).

A page taken from a Cambridge manuscript on the battle of bouvines showing horses and riders

A page taken from a Cambridge manuscript. I found on a great history quiz site (where they acknowledge the French won)

On the personal side he was far less decisive. After his first wife, Isabelle de Hainaut, died in 1190 he mistakenly married Ingeburg of Denmark. He tried to undo this mistake, with another perhaps larger mistake. The day after he married the sister of the Danish king he procured the annulment of his marriage by an assembly of bishops and turned around to marry Agnes de Marenie. A move which merited a quick excommunication from Pope Innocent III. By January 1200 Innocent III imposed an interdict on France, which forced Philippe-Auguste to pretend to be reconciled with Ingeburg (in fact he refused to live with her & kept his Danish mistake in semi-captivity. Only when Agnes died in 1213, did he accept Ingeburg as France’s queen (although still not by his side!).

stone corridor inside the Bastille
photo taken by Sophie-G.net

In the meantime, tomorrow’s hunters may very well want their “give-away” (I can only get people to read this blog out of thatlou bribery, apart from those who my mother pays. Thank you, Momma), which was promised to them last weekend – so here you go, guys, this will be your bonus question: First find Philippe-Auguste’s conical structure photographed herewith (easy, as its outline is clearly delineated on the map and is the core of Sully, under the Cour Carrée). Apart from being asked to just take in the sheer SIZE of those boulders, you’re reminded that back in the day you’d be standing in water right now – you’re in a moat. So, for an extra 20 bonus points, please have your teammates pose as though they’re being eaten alive by an alligator, the last whisp of life being outside Philippe-Auguste’s formidable structure!

There you go, hunters, Just reading this post you’ve made XX points out (yes, that 20 I just highlighted, but there might be other tidbits that serve as bonus material, herewith!). Until then, have fun at the firemen balls and seeing the fireworks over the Eiffel Tower and not saying Happy Bastille Day!

mounted military figures parade for Bastille Day with Arc de Triomphe in the background.
Photo taken from Kid Culture

Another piece which may just appear in All Things Gaul is Géricault’s Raft of Medusa, as written about in Medusa as Bestiary.

Just Do It! – Nike of Samothrace

Left side, Nike of Samothrace, from 220 – 190 BC Louvre
Winged Victory of Samothrace: she was meant to be viewed from the right, so the detail of her left side isn’t so well carved – compare to the next photo (photos taken from www.Wikipedia.org)

The Winged Victory of Samothrace has appeared in many THATLous, from Angels + Wings to of course Beauty + the Beast(iary). A variation of the write up attached to her (below in italics) generally has some sneaky bonus question inserted. As she’s an Icon of the Louvre, her photo is on the map — easy to find making her only 10 game points*. Sometimes the bonus questions request hunters to pose in their photos with their hands as she once had them, cupping her lips as she calls out Victory! With her hand on display nearby within the Daru Staircase (some of her fingers were found in a drawer at the Kunsthistorisches Museum in Vienna), it would take hunters a bit of time to actually read the Louvre’s information sheets about her in order to win these craftily embedded bonus points (Or maybe you’ve already read this very post, saving you time on your hunt!). Other bonus questions get involved in her whereabouts, Samothrace being in the Northern Aegean sea, north of Pergamon (an important ancient Greek colony in Turkey that at times became a ping pong ball between the Persians and Greeks).

Nike of Samothrace, from 220 – 190 BC, Louvre
Nike of Samothrace, from 220 – 190 BC. Please note the exceptional sculpture and detail of her Hellenistic wet-drapery (photo taken from www.wikipedia.org)

The Winged Goddess of Victory / Nike of Samothrace (Nike = Victory in Greek) stands proudly on the prow of a ship, soaring above the Daru Stairwell. She is one of those Hellenistic treasures we all have to study in Art History 101, a piece as noteworthy to the Louvre as the Mona Lisa or Venus de Milo. She was found in Samothrace where a sanctuary was consecrated to the Cabeiri (gods of fertility) whose help was invoked to protect seafarers and to grant victory in war. Honouring these gods, they offered this nearly nude Nike made of Parian Marble in a religious act. It has also been suggested that she was dedicated to Rhodes, in commemoration of a specific naval victory. No one is certain of her provenance, however, the partial inscription of the word Rhodes implies the whereabouts of whatever battle she was presiding over.

That said the Archeological Museum of Samothrace contests this Rhodian provenance, maintaining to this day that she was erected by the Macedonian general Demetrius I (aka Poliorcetes) after his naval victory at Cyprus between 295-289 BC. Samothrace was an important sanctuary for Macedonian kings, furthermore her spiral figure also appeared on contemporary Macedonian coins.

Louvre’s Daru Staircase
Louvre’s Daru Staircase, taken from www.wikipedia.org

Wherever this beauty is from, she was discovered dislodged by the French Counsul (read: amateur archaeologist) Charles Champoiseau (I’m convinced that all British, French and German 19th century Consuls, Consul Generals and Diplomats were required to be ‘amateur archaeologist’ — on the prowl in foreign lands to see just what they could ravage their visiting countries of. Diplomacy was a side business they fit in when they happened to be in town for a cocktail and shower). M Chamoiseau swiftly excavated her, sending both Nike and the prow on which she stands to the halls of the Louvre in 1863.

By 1884 she was holding sway over the grand Daru Staircase and has been there ever since…. Sauf! During WWII. She was removed on 2 September 1939 — to be sheltered in the safety of Château de Valençay (along with other Louvre Icons, Michelangelo’s Dying Slavesand the Venus de Milo), in case Paris saw war. Every time I mount these stairs among the throngs of tourists I think of these evacuating railway tracks (as seen below) and how incredibly lucky the treasures of the Louvre and Paris were not to have bombed during WWII — but also how horribly ironic is was that Nike’s original purpose was to be the first in battle against the Titans, protecting Zeus, and yet here she was hiding out in a Château cowering against the Germans.  Anyway, WWII is subject on France I probably shouldn’t get into.

Preparing for WW2, Nike descends the Daru Staircase on 3 September 1939
Preparing for war in another way, Nike descends the Daru Staircase on 3 September 1939, photo appears on http://www.wikipedia.com

The 7th century BC Greek poet, Hesiod has it that Nike was the daughter of Styx (Hatred) and Pallas (God of War Craft); Part of a powerful clan, Nike was sister to Zelos (Rivalry), and Kratos (Strength) and Bia (Force). When Zeus was preparing to battle the Titans, Styx and her brood pledged their allegiance to him. Zeus made Nike his charioteer and proclaimed that the four children should remain by his side always (who’d be stupid enough to turn down the children of Hatred, when it comes to fighting a war?).  Though Nike was a popular theme for Greek sculpture, her story doesn’t really continue past Zeus’s battle against the Titans.

As for her wonderfully sexy form, with typical Hellenistic material no thicker than cling-wrap, her movement forward is powerful. For a thorough examination of this I recommend this page from the Met’s website for a context and timeline on the Hellenistic age. As per the first photo’s caption, she was meant to be viewed from the right, so the detail of her left side is relatively course.

The proper pronunciation of Nike is Nee-Kay — Just Say It!


(Photo credited to Nicolas de Boyer, published in 1995 by Lynn H. Nichols The Rape of Europa: The Fate of Europe’s Teasures in the Third Reich and the Second World War.New York: Vintage Books)

* You’ll see when we meet for the THATLou briefing, the Louvre map has photos of six highlights per floor on their map. When it’s such a “greatest hit” (my joke term for these Louvre icons) those treasures are only worth 10 game points, as there’s no challenge to finding them. That is NOT TO SAY you don’t want to find these easy-to-find Icons, because you’ll be well rewarded with bonus questions on pieces like the Mona Lisa and Venus de Milo, or our own Nike of Samothrace.

When things are in bold, usually that’s a hint that they refer to bonus questions…

Painted study of a Crowned Crane, Pieter Boel (1622 – 1674), Louvre

The fact that this painting of a Crowned Crane, also known as the Royal Bird, was painted from life was revolutionary in the 17th Century. Before Pieter Boel (1622 – 1674) animals had mostly been painted from stuffed animals and for their emblems and allegories (Durer being an exception, he regularly painted from the real deal, too).

Boel apparently set up shop in the ménagerie at Versailles, where a small octagonal pavilion was surrounded by enclosures in which exotic and domestic animals were kept in semi-liberty. His paintings, which were nearly scientific, were then used by the tapestry manufacturer Gobelins; this crane, for instance appears in the foreground of the month of August in “The Months” tapestry (aka The Royal Houses). I, for one, prefer Boel’s fine plumage to that of the wall carpets (don’t you think of Persia for carpets?). But one
mustn’t quibble, tapestries are quintessential to France’s history, and as a Charles Le Brun painter (as the animal-expert), Boel played an important role in France.

 Boel's August in “The Months” tapestry (aka The Royal Houses), Louvre Paris
Boel’s August in “The Months” tapestry (aka The Royal Houses), Louvre Paris

Gobelins, found in the 13th Arrt (at the metro station named after it), was Louis XIV’s royal tapestry factory. It was Henri IV (my favourite king, as he fought for his inherited crown for 20 odd years before he just pooped out and converted to Catholicism in order to rule France. As he said, “Paris is worth a mass”) who rented space in Gobelins for his Flemish tapestry makers — more than 200 of them, I believe.

Boel was born in Antwerp, though I’ve had trouble discerning whether the Louvre considers him Flemish or French — he died in Paris, and was a member of Charles le Brun’s team of painters for Gobelins; Although since Flanders was a part of Burgundy, I guess I history blurs the lines of distinguishing whether Boel was Flemish or French. His naturalist studies are all over the Richelieu wing of the Louvre (the most pleasant of the three wings, because it’s 80% less crowded than the Denon wing!) from 17th C France to 17th C Flanders, to adjoining stairwells where these fine parakeets can be found (“room 20” is actually at the top of a rather grand stairwell).

Gobelins table mosaic with images of birds

Ooops! Did I say that out loud? What if you go on one of the THATLous? This fine plumage could very well be in an Angels + Wings THATLou, or of course the Animals in Art. Not to mention the fact that Boel’s Versailles role & Gobelins contributions make him a fine candidate for All Things Gaul!  Anyway, to put THATLou and the Louvre aside for just a minute (they does seem to nose its way in everywhere!) both our Indian bull from yesterday’s post and these Flemish French flocks are fine renditions of naturalists paintings. From the Met to the Louvre, India to Versailles, these creatures seemed to prevail in the 17th Century.

To close off our new Islamic wings visits, we’re hopping across the pond from London’s Victoria and Albert Islamic Wing to NY. In 2011 The Met opened 19,000 sq feet (1770 m) of space devoted to Islamic art (the formal name of which is so long I’m not going to bother with it here). They haven’t had a new wing devoted to Islamic art since 1975. Worse, still, that was closed in 2003 to make room for the expanded Greek and Roman wing (which is utterly divine, by the way). The irony being, of course that this decision was made 2 years after 9/11, the very same year Chirac was ordering the Louvre’s Islamic collection. At the time plenty of critics pointed out that the west was being given priority so literally over the middle east.


Met, stanboul2000.wordpress.com

Mistakes aside, the Met’s made right and after nearly a decade of debating has invested 50 million dollars to showcase their 12,000-piece strong Islamic collection. Construction started in 2009, in the midst of economic hardship, and this past November opened their 15 rooms.  I would like to have a brief visit with the naturalist painter, Mansur, a fine Indian included in the permanent collection, but just a quick aside:

The Met made an interesting decision to include a 16th century illuminated manuscript folio of the Prophet Muhammad. Thomas Campbell, de Montebello’s replacement, said “we hope that does not become a lightening-rod issue.” I don’t much care for Campbell (basically because he’s not Philippe de Montebello. When I was at Vanity Fair and fearful of losing any cultural education, I volunteered at the Met often, which is when I fell in love with the cadence of de Montebello’s voice and fine lemon-lipped accent. He could be telling the room the sky was blue and I’d find it sublimely insightful), but I respect Campbell for saying that the reason Muhammad is included is because they didn’t want to be accused of ‘ducking’ the issue.

There are tons of pieces to choose from, among them the Damascus Room, an 18th C wood-paneled reception chamber entirely intact, but for now I’d like to have a small visit with this blue bull, Nilgai. It is a page or leaf from the Shah Jahan Album (aka the Emperor’s Album or the Kevorkian Album).

Ink, opaque water color and gold on paper, he’s painted by the “Wonder of his age”, Mansur. During Jahangir’s reign (1605-1627) in the Mughal Empire, the painter Mansur accompanied the Emperor everywhere in order to paint page after page of natural phenomena. I suppose one could argue that Jahangir would have surely been a blogger, because as a copious diary keeper, he also insisted on having drawings to enhance his stories. And nature was his muse. This finely framed, delicate-legged bull antelope is taxonomically correct apparently. I wouldn’t know I haven’t ever seen an antelope, let alone a blue-tinged bull antelope. But there’s something sweet about the fellow. Here’s a real one, though he doesn’t look so blue to me, nor so sweet with those sharp horns.

a real blue bull, aviandiversity.com

Perhaps I was struck by Mansur’s gentle soul because he reminded me of an old friend at the Louvre, Pieter Boel: Another 17th Century naturalist painter, who has made plenty of appearances in plenty of THATLous. Hmmmm. Thoughts for the next post are already bubbling!

Largest, Oldest, Most Famous. These adjectives catch my attention. Continuing on this thread of new Islamic art wings at major museums (the Louvre, The Met), we’ve crossed the channel to London’s Victoria and Albert. The centerpiece to the Jameel Gallery of Islamic art, which opened in July 2006, is just that: The largest, the oldest signed, and undoubtedly the most famous Persian carpet in the world. Behold the Ardabil Carpet.

The Carpet at the V&A
LACMA Los Angeles

When William Morris, an art referee for the museum at the time (and the grandfather of textile design), first saw the Ardabil carpet in 1893 he was smitten, describing it as “the most remarkable work of art … the design is of singular perfection …”, banging on in delirious delight. Morris didn’t know that it was one of a pair (the other of which is at LACMA in Los Angeles, and was at one point in JP Getty’s possession).

Measuring 10.51m x 5.34m (34.4 x 17.6 feet), it has over 26 million knots of silk and wool. The pair took more than 4 years to weave and were laid on the floor of the burial place of Shaikh Safi al-Din, the founder of the Safavid Dynasty. They were in the mosque of Arbadil (NW Persia) from 1539-40, when they were made on royal commission, till 1890 when they left Iran for England. The inscription of the weaver (who wasn’t really a slave, but probably using the word in humility)

I have no refuge in the world other than thy threshold.
There is no protection for my head other than this door.
The work of the slave of the threshold Maqsud of Kashan in the year 946 (Muslim calendar).

 

After years of having it hanging from the wall, the Jameel Gallery had it restored outdoors near Wales. A slanted platform was made for it to rest and fresh river water, which is low in minerals there apparently, washed it clean. For some reason this amazes me the most about the Ardabil carpet – that it wasn’t cleaned in a scientist’s restoration lab. It is no longer hanging, but flat, and the V&A have a high-tech non-reflective whoosiwhatsit suspended above it so to protect the 10 colours from damage. Every half hour a dim light is switched on to illuminate it. A precious flash to behold this singular perfection.

 

The idea here is that the more you read of this THATMuse blog, the more likely you’ll be to find hints to existing THATMuse treasure… The more you read, the more you’ll win. This Ardabil carpet, however, is an exception. Not only would it be too easy to find in a THATVA, it is too fine to take photos of. Something sacred to even the THATMuse gods!

So after this bout of considering the Near Eastern Antiquities (from the oldest piece at the Louvre, to huge gentle Lamassus, fearsome Persian griffins and big bulls), what’s more logical than to turn my attention to the Louvre’s imminent Islamic Art wing in the Visconti Wing? It’s been in the making for quite some time. Back when Chirac and his adorable nose were leading France, the NY Times ran a piece on one of the major donors to construct the new wing. Apparently Saudi Prince Walid bin Talal’s donation of million was the largest gift ever made to a museum. Though Prince Walid owns 17% of the not so successful Eurodisney, he also has several luxury hotels in Paris (among them the George V). More interesting to finance people, he’s also Citigroup’s largest single shareholder, so I suppose a million gift is a drop in the bucket. At the 2005 unveiling of the plans for the wing, the French gov’t pledged million, and Total, the French oil company, coughed up a measly .8 million. Anyway, pennies aside here’s the photo the Times ran:

For more than 25 years the Louvre has kept most of its 17,500 pieces of Islamic art, ranging from the 7th to the 19th Centuries, in storage. It has one the world’s most important collections of carpets, as well as Ottoman empire art.

So in 2003, when Chirac was pitting France against its Anglo allies (god bless him – and let’s not forget de Villepin for his delivery to the UN. Have just thrown in a snap of this silver fox for good measure. I hear pretty faces sell) in the debate over the war in Iraq, he ordered the opening of an Islamic Art Department.

Taken from Mario Bellini Architectes


Architects Mario Bellini (Italian) and Rudy Ricciotti (French) won the competition to create the 3,500 meter squared space in Denon’s Visconti Courtyard. The glass and steel structure is the most dramatic change to the Louvre’s neoclassical architecture since IM Pei’s pyramid entrance and inverted pyramid were unveiled in 1989 and 1993, respectively.

Taken from Waagner-Biro.at

The Guardian quoted Mario Bellini in 2008 as saying “the roof is only supported by eight very narrow tubes which are leaning and dancing together and which support the weight of the veil to the bottom of the foundations”, two levels below. Ricciotti has described the 150-ton structure as a “golden cloud”, a more diplomatic description than Bellini’s “headscarf blown in by the wind”, which he said when Sarkozy laid the first stone in July 2008. One does have to wonder if Bellini was taking a small stab at the French for outlawing Muslim headscarves in public schools with such a visceral description.


Published in L’Express.fr on 4 Jan 2012

The Louvre recently announced in a press release that the €98 million wing would open this summer, but Le Figaro reported that the Louvre still needs to raise €10 million. Previously the Visconti Cour was slated to open in 2009, 2010 and now this, so we’ll see. Whenever it does open, getting a glimpse of the nearly 18,000 pieces will be a treat.

Does this look like it’ll be completed in 5 or 6 months? Published in batiacu.com

In the coming days I might linger on new Islamic wings in other museums, such as the Met’s November 2011 unveiling of their 12,000 Islamic works or London’s V&A, which opened the Jameel Gallery recently. I’m straying a bit from THATMuse in these Museum Musing posts, and my training is based exclusively on Western Art (Baroque Roman architecture to be specific), but what fun to consider these Near Eastern treasures! Here’s an article on the Louvre’s Empty Quarter which I wrote for France Today.

MARIE DE MEDICI, Queen of France Frans Pourbus the Younger (Antwerp 1569 – Paris 1622) 16th Century, Netherlands
Dragon Lady Queen of France, Marie de Medici, by Frans Pourbus

MARIE DE MEDICI, Queen of France Frans Pourbus the Younger (Antwerp 1569 – Paris 1622) 16th Century, Netherlands

Marie de Medici & Henri IV had a sour marriage: in part because the Bourbon king had a penchant for the ladies (his favorite lover is being naughty in this hunt) & in part because Marie was meddling & power-hungry (it was in her Florentine blood – here take twenty points for naming another Medici Queen, touched on in these pages**). Despite this, they had six children, one of whom would become the Queen of England (Henrietta-Maria, married to Charles I) & another Queen of Spain (Elisabeth, married to the Hapsburg king, Philip IV). After Henri was assassinated (1610) the Parlement de Paris made Marie “Regent” to her young son, King Louis XIII. She did a great deal for Paris, having the Palais du Luxembourg built (based on her childhood home, the Palazzo Pitti, it currently houses France’s Sénat), which she placed in the Jardin du Luxembourg (based on Florence’s Boboli Gardens). If you’d like to learn more about her and these 6th Arrondissement Paris gems we have a Latin Quarter THATRue. But shameless self-promotion and Paris history aside, we’re straying from Marie’s story: when Louis XIII came of age her dragon-queen side had no intention of ceding power. Twice he had to exile his mother (to Blois + Angers, respectively) & twice she staged rebellions (talk about persistent — And against her own son!). Finally by 1628 Cardinal Richelieu, Louis XIII’s chief minister (whom she had procured a cardinal-ship for, but as with all those close to her, he ended up becoming one of her many enemies) had her exiled from France altogether. Richelieu (known as history’s first what, again? History’s first Prime Minister is the answer found herewith but not in your hunts! Aren’t you glad you bothered to read this post?!?) was not to be meddled with either: Marie died in exile in Cologne, in 1642 a year before her son Louis XIII died.

Treasure hunt patrons in front of Marie de Medici’s Palais du Luxembourg
THATRue launch in 2014, in front of Marie de Medici’s Palais du Luxembourg, photo by Lindsey Kent of Pictours Paris…

If you like this blurb on Marie, you can get more on our Latin Quarter hunt! ** After Queen Catherine de Medici, Marie’s elder, was widowed by Henri II, she had the Tuileries gardens built for her Palais des Tuileries (1564); both the gardens and palace got their name from the tile factories which they replaced (tuile means tile in French). The 23-hectare gardens we know today — which connect the Louvre, where the kings lived, to Place de la Concorde, where French monarchy came to an abrupt (and bloody!) end — date to 1664 at the hand of André le Nôtre, Louis XIV’s Versailles gardener. And for all you competitive souls looking to pick up some bonus points, those words in bold up above may just help you on your hunt — and well done on reading up on Louvre treasure prior to your hunt!

Just a quick round up of the notable companies involved in the Paris Entrepreneur’s THATLou. Though its purpose is as a networking event, we can’t overlook the theme these fine capitalists will be scouting for — Power + Money in the halls of the Louvre! This past week THATLou has focused on Roman Empire power, but there’s a panoply of international power both at the Louvre and in these pages which may just nose its way to the surface in this scheming hunt. Stay tuned for the winners.

NYSE Trader’s floor, 1963
NYSE Trader’s floor, 1963 photo by Thomas O’Halloran

THATLou Parisian Entrepreneur Night

http://shiraly.com/

Shiraly is a one-stop website for design professionals to promote their products and services, identify new sources and events, and get inspired by things that help make the world a more interesting place to live in.

Inspiring articles and op-eds range from Lalique’s crystal door, to Delanoe’s recycling in Paris, a brief history of the Paris metro, to thoughts on Balmain’s reinvention, Fauchon and let’s not forget the waterworks show at Le Grand Rex. Though Shiraly is geared toward interior designers and architects, artists and artisans, its “Inspiration” page is read by a far greater audience on both sides of the pond.


http://www.savoirfaireparis.com/

Savoir Faire Paris is your ultimate English-speaking personal assistant in Paris. Organizing everything from meetings, events, and service calls to travel, apartment management, and the ‘business of living’, Savoir Faire is dedicated to saving you valuable time. Providing superior customized service to individuals, families and businesses alike, Savoir Faire caters to your tastes and needs, allowing you to experience a more personalized Paris. Send us your “to-do” list and then consider it done! Savoir Faire exists to simplify and enhance the lives of its clients.


http://flavorsofparis.com/

Flavors of Paris — We provide highly personal, carefully vetted walking tours of some of Paris’ most charming, pleasurable and downright ‘local’ foodshops that are neither pretentious nor ‘gourmet’. Our English language walking tours introduce you to a sampling of neighbourhood food shops, with all the tastings included. We also offer tours customized to your specific interests.


http://guide2paris.com/

Guide2Paris is a one-stop website for english speaking tourists, residents and property hunters. Browse the comprehensive Paris guide, check out the events calender, search for Paris companies on our business directory, look for Paris accommodation and restaurants, and keep up to date with the latest Paris news and featured articles.


http://www.frenchmystiquetours.com/

French Mystique Bike Tours is a company that specializes in doing day-long bike tours exploring the countryside near Paris. Our tours are focused on showing you off the beaten path places and are full of charming villages, beautiful country scenery and magnificent châteaux. While we also cover some well known destinations, the emphasis is on showing you a side of France not seen by most tourists.


http://www.kasiadietz.com/

Kasia Dietz is a designer who creates wearable art in the form of totes, handbags, clutches and other limited edition accessories. Select collections are hand-printed. Kasia Dietz also designs custom bags to order. All products are made {with love} in Paris and available internationally.

Adam Smith in profile etching, 1787.
Adam Smith etching, 1787. Taken from Harvard’s Visual Information Access System (lest the invisible hand attack me, the site is: http://www.library.hbs.edu)

… Because Individual Ambition Does Benefit Society, no matter what the French Mercantilists thought…

A Panoply of Power

Mme de Pompadour, by Maurice-Quentin Delatour
Mme de Pompadour, by Maurice-Quentin Delatour (this is a pastel – how did he avoid smudging??)

My mind has turned to Power & Money at the Louvre as I start to build the Entrepreneur’s THATLou. Sadly it’s rather soon. I say sadly, because there are just so many great anecdotes nestled in the halls of the Louvre. It will be a tough process of elimination more than anything. Should I focus on a region or country? A period of time, perhaps?

For this theme, could I give myself a real challenge and exclude all French monarchs? The Louvre does have 35,000 works from which to scrounge. And it’s not like France is lacking in colourful figures with tight fists on power: Mme de Pompadour, Mme de Sevigné and Diane de Poitiers are a few who come to mind – None actual Queens.  And ruthlessly ambitious ministers abound – we’ve got the clever economist Jean-Baptiste Colbert, of Colbertism (read, protectionism), the fearsome warrior, Anne de Montmorency (first constable to François I), and the clergymen-turned-politicians Cardinal Richelieu and Talleyrand. But it does seem a crime to leave out the rest of the western cannon just for France.

Alexander the Great 'The Azara Herm' 1st century AD after the original by Lysippus from circa 330 BC, Louvre
Alexander the Great ‘The Azara Herm’ 1st century AD after the original by Lysippus from circa 330 BC

What about Alexander the Great, and his equally important father Philip of Macedon? The Louvre just had an exhibition devoted solely to him. He had the nerve to attack the Persian Empire, pushing as far as the Indus River.  Speaking of the Persian Empire, we mustn’t over look Darius the Great, nor his father or son, Cyrus and Xerxes, respectively. His greatness and matching palace has merited more than one THATLou post.

Then what about the Iliad? The Trojan War is rich in power. Achilles, with his distinctly human faults, personifies power. Perhaps because of that very first scene with him in the Iliad, with Thetis, his goddess mother consoling the big whiney cry baby, trying to coax him into returning to war). There are so many scenes from his life to choose from, so many pots to choose from… the detail below is from an attic black-figured neck amphora from 520 – 510BC. A scene of Ajax carrying a dead Achilles, with Hermes on his left, Athena on his right.

Black figure pot painting of Ajax carrying Achilles with Hermes and Athena
taken from Louvre.fr

Moving on from Greece, one automatically thinks of Rome, no? Finding living fiction, the Julio-Claudian dynasty is of course oozing in power — and very, very RICH in soap-opera, with scheming murders, adultery and just plain juice. Yes, I think our next few posts may linger on the Roman Empire.

Milo of Croton devoured by a lion, Marble, by Pierre PUGET (Marseille, 1620 -1694).
gardens of the Château de Versailles, 1819
taken from louvre.fr

Milo of Croton was a powerful 6th Century athlete, having won the Olympics 6 times for his strength as a wrestler. As with any star in Greece, there were a plethora of legends about him. One story had him carrying a 4-year old bull on his shoulders before slaughtering and devouring him all in one day… Aristotle compared Milo to Heracles for his appetite: his daily diet was allegedly 20 lb of meat, 20 lb of bread, and eighteen pints of wine.

But it is Milo’s death which captivates most. His death was the story of pride: Well past his prime, the aged Milo decided to split a tree trunk he found already cleft. With his hand stuck in it, a pack of wolves devoured him. Modern literary references range from Rabelais to Shakespeare, all the way down to Emily Bronte’s Wuthering Heights when Catherine refers to Milo’s demise asking “Who is to separate us, pray? They’ll meet the fate of Milo!”

Finance Minister Jean-Baptiste Colbert authorised Pierre Puget (1620 – 1694), an academic sculptor, to use some marble that had been left in Toulon, and commissioned him to do a piece for Louis XIV.  Milo wasn’t a particularly popular subject in 17th C French scupture, but here Puget made him one, replacing the wolves with this fierce-some lion. Having him about to take a big juicy bite out of Milo’s rear-end. A sassy man this Puget was, as the thread keeping Milo’s demise together is about how he was vanquished by his pride and vanity, trying — and failing — to defy age and the weakness that comes with it. His roar isn’t just a physical one from those painful claws, no. Human glory is ephemeral, folks, and Puget wants you, and more importantly, the King, to know it. Life spans were shorter than they are now, so Louis XIV’s 44 years did not make him a spring chicken!

Falconet's Milo of Croton, 1754. Louvre Paris
Falconet’s Milo of Croton


Etienne-Maurice Falconet (1716 – 1791) took this sassy-ness one step further. Puget’s Milo at least has a small modicum of pride — standing, pushing the lion’s head away. Falconet tipped his hat to his elder by choosing this subject, but furthered Milo’s insult by making him a painful mess, a baroque basket case. He pits man against beast on equal footing, with Milo’s end clearly seconds away. This sculpture is small — .66m tall, .64m wide, .51m deep — and was the model which would gain Falconet entry to the French Academy (ten years later, in 1754). As it’s a small piece it’s tucked away at the end of the French sculpture wing, behind a series of rooms which run along rue de Rivoli. Quite different from Puget’s Milo, who stands smack dab in the middle of the Cour Puget, in the spotlight, where the noses of the public sully the windows on the street, looking into this Richelieu’s sculpture wing.

Louvre sculpture gallery with glass ceiling

Now aren’t you glad you read this entry? These Milos could appear in all sorts of THATLous, from Power + Money to Animals in Art or Athlete’s THATLou. And now you’re all prepped for any bonus point questions which may arise, even if asked to produce a limerick!

Frank Lloyd WRIGHT (1867-1959) Window from the Coonley House, 1912
photo taken from the Met’s website

Frank Lloyd WRIGHT (1867-1959)

Window from the Coonley House, 1912

Height 86 ¼ x 28 x 2 inches, glass and zinc

The Avery Coonley House, in a suburb of Chicago, was designed by FLW and constructed in 1907-8. Bonus fifty points if you get a tourist to take your whole team’s photo in the Frank Lloyd Wright room nearby — and for those New Yorkers who don’t know where this room is, shame on you. But to put THATMet aside for a moment I must tell you a quick story from FLW’s life, which you guys probably knew, but I didn’t and find it an absolutely bizarre and fascinatingdiscovery: FLW left his first wife in 1909 (in Illinois) for Mamah Borthwick Cheney, a married client with whom FLW was having a long-standing very public affair. In 1911 he and Mamah moved in together in Scottsdale, AZ (where his maternal family was from) in a house he built and named Taliesin…

On August 15, 1914, while Wright was in Chicago, his manservant of 2 months, Julian Carlton, set fire to the living quarters of Taliesin and had a total blood bath, axing 7 people as the fire burned the house down.  The dead were: Mamah; her two children, John and Martha; Thomas Brunker, the foreman; Emil Brodelle, a draftsman; David Lindblom, a landscape gardener; and Ernest Weston, the son of the carpenter William Weston. Two victims survived —William Weston and draftsman Herb Fritz—and the elder Weston helped to put out the fire that almost completely consumed the residential wing of the house. Carlton, hiding in the unlit furnace, survived the fire but died in jail six weeks later. His wife Gertrude also survived, having escaped the burning building through the basement; she denied any knowledge of her husband’s actions. This entry is entirely too long for you to be reading whilst on a hunt, but one more fact I am compelled to raise: FLW rebuilt Taliesin and it burned down again in 1925 (to an electrical fire)! Talk about loyal to your land!

POINTS: 45

The above is the 2nd of a two-part series, giving you examples of the funny bits of useless knowledge you pick up going on THATLous and THATMets and whathaveyous. The first part of the THATMet Teaser concerned FLW’s teacher, Savvy Mr Sully.

“Still life with Carp” by Abraham van Beyeren, Louvre
taken from the Louvre website

Poisson d’Avril is the French version of April Fool’s Day, where on the 1st of April French people will post fish on each others’ backs. In tribute to this, the theme for next Sunday’s THATLou (a part of the Sunday series) is… you guessed it: Fish + Water! Lucky you’re reading this, as it’s you may very well pick up some terrific bonus points…

This “Still life with Carp” (creative name, no?) was painted by Abraham van Beyeren, a 17th Century Dutch master who’s niche was still lifes. He was a protege to Pieter de Putter. Though de Putter was a lesser painter, his name may be worth a THATLou goldmine —

It’s not guaranteed, but it wouldn’t be a surprise if for some hefty bonus points you just might be asked to write a limerick / haiku / rhyme about Pieter de Putter. These golden Carp could very well apply to the Animals in Art THATLou, or even the Food + Wine THATLou.

Oh yeah, and it’s not too late to sign up for the Poisson d’Avril Fish + Water THATLou, which is part of our Sunday Series open to the public. As we do the first Sunday of every month, we’re meeting at 2.30 on…. no joke… 1 April. Contact me now if you’d like to join a handful of veritable fisherman (among them Sasha Levensohn-Wahl, founder of Savoir Faire Paris, http://www.savoirfaireparis.com/)

Have I mustered your interest to put your Plume to Paper for Mr Pieter de Putter who just might have a Dutch stutter?