Historic homes of Paris
September 22, 2001 | 12:00am
Fine homes never die. Nor do they simply fade away – at least not in France where old homes are painstakingly and lovingly restored by those who seek to relive a glorious and an illustrious past. In this engaging volume, we see homes that stand as monuments to French culture. Each home celebrates French living at its best, "the fine art of living."
It is well-established that French nobles and aristocrats were great patrons of the arts. Their magnificent homes became hubs of artistic expression and excellence. Far from being mere showplaces, these homes were among the best exponents of French culture and the arts.
Christiane de Nicolay-Mazery was born to this rarefied world. Her family still owns one of the finest renaissance castles in France and her family still lives in one of the grand townhouses that she features in this book.
Nicolay-Mazery takes us into the former residence of Baron Guy de Rothschild, the Mazarin Palace, now home to the French Academy, the exotic and exuberant home of the d’Ornanos who are descendants of Polish kings, the British Embassy, once the home of Napoleon’s sister Pauline Borghese, and other memorable homes. Each imbued the French decorative landscape with a vibrant spirit – integrating various cultural influences while respecting French tradition.
The former residence of Baron Guy de Rothschild and his wife Marie Helene is regarded as a masterpiece of French architecture. The Hotel de Lambert, as it was once known, was the work of architect Louis le Vau, who was to become the architect of the Versailles Palace. Shortly after its completion in 1641, Lambert de Thorigny, the proprietor, suddenly passed away. The property was then passed on to his brother, who commissioned the best artists in France to design the public areas of the residence. Charles le Brun was commissioned to embellish the interiors. Le Brun brought a richness to the decor, executing it with delicacy and a fineness of hand. When the house eventually passed to Madame Dupin, a noted literary figure, the Hotel Lambert played host to leading personalities in the fields of politics and the arts. Subsequent owners would follow this lead, receiving artists such as Voltaire and Chopin.
When the house was offered to Baron Guy de Rothschild for sale, it seemed strangely familiar to him – had not Chopin played there? Hadn’t he dedicated a ballad to Rothschild’s great grandfather? Was he not a portage of the Rothschild ancestors? Rothschild finally decided on the property to house the extensive art collection of his grandfather. He also decided that he would continue the venerable tradition of this home.
Baroness Marie Helene de Rothschild restored the salons of the main floor but embarked on a major renovation for the rest of the house with Italian architect Renzo Mongiardino.
In a year’s time, the place shone with the grandeur and elegance of the age of Louis XIV. Once again this grand home was brought to life, and again it welcomed luminaries from the old and the new world. In this way, the finest pieces of French decorative arts were brought to light.
When Cardinal Mazarin died in 1661 after having governed France for nearly 18 years, he left behind a vast fortune – most of it dedicated to founding an academy for the arts and sciences. Initially 100 young scholars attended this institution, many of whom were chosen by King Louis XIV himself. Many went on to become leading authorities in various fields. In the years that followed, changing political fortunes dictated that the five royal academies founded by the King would merge into one, which then became known as the Academie Française.
The academy houses a large collection of the Cardinal’s books which form part of the library. There is also an astonishing collection of portraits of academy members dating back to the French Revolution. Perhaps the academy is best known as the defender and promoter of the French language. No major change in the French language can be made without the consent of the academicians who are also known as the "immortals."
Maurice Druon, the perpetual secretary of the academy, presides over a majestic structure that overlooks the Seine and the façade of the Louvre. Druon ensured that the interior design and the architecture of the building would reflect the decorative traditions of 17th-century France. But he also introduced other artistic influences such as renaissance bronzes, old master’s paintings, regency furniture, as well as period portraits. Such has given the academy a distinctive yet sober elegance. In preserving this legacy, the role of the academy in French intellectual life is certain to endure for generations.
Also overlooking the Seine river, in an altogether different setting, is the home of the Count and Countess d’Ornano. Hubert and Isabel d’Ornano epitomize modern-day aristocrats. This dynamic couple oversees two very successful cosmetics firms – Orlane and Sisley. When they moved into a 1920s building, they filled their large apartment with mementos from their Polish noble heritage and fused these elements with classical French design. These were further enhanced by modern art pieces and various antiques. The result is an exuberant mix of colors, patterns and textures that evokes bygone days. Much more than evoking a rich past, the d’Ornanos wanted to bridge the old and the new. In their home, there is a healthy respect for the past and an ongoing dialogue with the present.
The British Embassy in Paris, formerly the home of the Duchess de Charost, came into fame when the sister of Napoleon I, Pauline Borghese, bought the home. It is said that Princess Pauline created one of the finest examples of the French empire styles. She also transformed the home into a gathering place for the luminaries of French society. The house was eventually sold to the Duke of Wellington and has served as the British Embassy residence since.
The embassy became the center of French cultural life. There, British government officials met their French counterparts as well as leading figures in the French cultural scene. Today, this historic home still serves as a center for cultural activities, hosting receptions, lectures and exhibitions. This practice has become quite the norm in embassy residences around the world. Yet few can really claim to be historic homes where one can sense the weight of tradition. But the old Charost residence seems destined to continue as a haven for social and cultural activities in the heart of France.
As one reads this book, it is tempting to think that these homes, bastions of the elite and the well-born, are simply enclaves of glitz, glamour and elegance. Beyond what seems like a gilded world, the notion of refinement comes across clearly as does the notion of pride – enduring values in any age. A strong sense of pride underscores the efforts at cultural preservation. In these turbulent times, these questions invariably arise – what is the relevance of such homes to a world racked by violence and the specter of war? Aren’t there more pressing concerns that we as readers and responsible citizens should attend to? But one must remember that when the world looks bleak it is important to look to symbols of creativity, artistry and talent for they serve to inspire and uplift us. There is a need to remember that what is past is not really gone. There is a need to seek what is noble in the world. Cultural preservation in its many forms speaks to those needs.
Your comments and suggestions are welcome. Please e-mail: marie.martel@USA.net.
It is well-established that French nobles and aristocrats were great patrons of the arts. Their magnificent homes became hubs of artistic expression and excellence. Far from being mere showplaces, these homes were among the best exponents of French culture and the arts.
Christiane de Nicolay-Mazery was born to this rarefied world. Her family still owns one of the finest renaissance castles in France and her family still lives in one of the grand townhouses that she features in this book.
Nicolay-Mazery takes us into the former residence of Baron Guy de Rothschild, the Mazarin Palace, now home to the French Academy, the exotic and exuberant home of the d’Ornanos who are descendants of Polish kings, the British Embassy, once the home of Napoleon’s sister Pauline Borghese, and other memorable homes. Each imbued the French decorative landscape with a vibrant spirit – integrating various cultural influences while respecting French tradition.
The former residence of Baron Guy de Rothschild and his wife Marie Helene is regarded as a masterpiece of French architecture. The Hotel de Lambert, as it was once known, was the work of architect Louis le Vau, who was to become the architect of the Versailles Palace. Shortly after its completion in 1641, Lambert de Thorigny, the proprietor, suddenly passed away. The property was then passed on to his brother, who commissioned the best artists in France to design the public areas of the residence. Charles le Brun was commissioned to embellish the interiors. Le Brun brought a richness to the decor, executing it with delicacy and a fineness of hand. When the house eventually passed to Madame Dupin, a noted literary figure, the Hotel Lambert played host to leading personalities in the fields of politics and the arts. Subsequent owners would follow this lead, receiving artists such as Voltaire and Chopin.
When the house was offered to Baron Guy de Rothschild for sale, it seemed strangely familiar to him – had not Chopin played there? Hadn’t he dedicated a ballad to Rothschild’s great grandfather? Was he not a portage of the Rothschild ancestors? Rothschild finally decided on the property to house the extensive art collection of his grandfather. He also decided that he would continue the venerable tradition of this home.
Baroness Marie Helene de Rothschild restored the salons of the main floor but embarked on a major renovation for the rest of the house with Italian architect Renzo Mongiardino.
In a year’s time, the place shone with the grandeur and elegance of the age of Louis XIV. Once again this grand home was brought to life, and again it welcomed luminaries from the old and the new world. In this way, the finest pieces of French decorative arts were brought to light.
When Cardinal Mazarin died in 1661 after having governed France for nearly 18 years, he left behind a vast fortune – most of it dedicated to founding an academy for the arts and sciences. Initially 100 young scholars attended this institution, many of whom were chosen by King Louis XIV himself. Many went on to become leading authorities in various fields. In the years that followed, changing political fortunes dictated that the five royal academies founded by the King would merge into one, which then became known as the Academie Française.
The academy houses a large collection of the Cardinal’s books which form part of the library. There is also an astonishing collection of portraits of academy members dating back to the French Revolution. Perhaps the academy is best known as the defender and promoter of the French language. No major change in the French language can be made without the consent of the academicians who are also known as the "immortals."
Maurice Druon, the perpetual secretary of the academy, presides over a majestic structure that overlooks the Seine and the façade of the Louvre. Druon ensured that the interior design and the architecture of the building would reflect the decorative traditions of 17th-century France. But he also introduced other artistic influences such as renaissance bronzes, old master’s paintings, regency furniture, as well as period portraits. Such has given the academy a distinctive yet sober elegance. In preserving this legacy, the role of the academy in French intellectual life is certain to endure for generations.
Also overlooking the Seine river, in an altogether different setting, is the home of the Count and Countess d’Ornano. Hubert and Isabel d’Ornano epitomize modern-day aristocrats. This dynamic couple oversees two very successful cosmetics firms – Orlane and Sisley. When they moved into a 1920s building, they filled their large apartment with mementos from their Polish noble heritage and fused these elements with classical French design. These were further enhanced by modern art pieces and various antiques. The result is an exuberant mix of colors, patterns and textures that evokes bygone days. Much more than evoking a rich past, the d’Ornanos wanted to bridge the old and the new. In their home, there is a healthy respect for the past and an ongoing dialogue with the present.
The British Embassy in Paris, formerly the home of the Duchess de Charost, came into fame when the sister of Napoleon I, Pauline Borghese, bought the home. It is said that Princess Pauline created one of the finest examples of the French empire styles. She also transformed the home into a gathering place for the luminaries of French society. The house was eventually sold to the Duke of Wellington and has served as the British Embassy residence since.
The embassy became the center of French cultural life. There, British government officials met their French counterparts as well as leading figures in the French cultural scene. Today, this historic home still serves as a center for cultural activities, hosting receptions, lectures and exhibitions. This practice has become quite the norm in embassy residences around the world. Yet few can really claim to be historic homes where one can sense the weight of tradition. But the old Charost residence seems destined to continue as a haven for social and cultural activities in the heart of France.
As one reads this book, it is tempting to think that these homes, bastions of the elite and the well-born, are simply enclaves of glitz, glamour and elegance. Beyond what seems like a gilded world, the notion of refinement comes across clearly as does the notion of pride – enduring values in any age. A strong sense of pride underscores the efforts at cultural preservation. In these turbulent times, these questions invariably arise – what is the relevance of such homes to a world racked by violence and the specter of war? Aren’t there more pressing concerns that we as readers and responsible citizens should attend to? But one must remember that when the world looks bleak it is important to look to symbols of creativity, artistry and talent for they serve to inspire and uplift us. There is a need to remember that what is past is not really gone. There is a need to seek what is noble in the world. Cultural preservation in its many forms speaks to those needs.
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