Author: Cheryl Brooks

PARIS NAVIGO PASSES – THE BEST WAY TO EXPLORE THE CITY, AND BEYOND. HOW TO GET AROUND PARIS LIKE A LOCAL

Posted in Paris City - Attractions, Destinations by Navigo, Paris - Districts, Paris Region (Ile de France). 4 Comments on PARIS NAVIGO PASSES – THE BEST WAY TO EXPLORE THE CITY, AND BEYOND. HOW TO GET AROUND PARIS LIKE A LOCAL

Pais is a huge city, and fortunately has an excellent public transport system to allow you to explore it.

About 5 or 6 years ago, I wrote a blog story about the Paris Navigo Pass and its uses. It is indeed the only way to get around Paris these days. Since then, its use has expanded to include the relatively new tram system that circles the city. I know from conversations I have with friends and colleagues that there are still many visitors who don’t know about this transport card, or only restrict themselves to using it on the metro trains. Somehow, they don’t tend to use the bus system, or extend their travels to explore the outer edges of Paris. In response to a number of enquiries to demystify the Navigo network, I’ll explain how it all works.

Inside the Paris metro station, Opera, showing direction signs.

As we all know, many cities around the world have a transport swipe card, to avoid the necessity of purchasing a ticket for every ride, and enhance the flow of passengers on their networks. London has its Oyster card, Sydney its Opal Card, Hong Kong the Octopus Card. All these systems have one thing in common: they are distance-based, meaning that the further each individual journey, the more it costs, which is deducted from the stored balance on the card. The convenience factor still makes them worthwhile, which is why everyone, either resident or visitor, acquires one. To encourage the take-up of a city’s card system, there’s often, but not always, a saving instead of buying individual tickets for every journey.

Paris, as you are probably aware, has its own transport swipe card, the Paris Navigo Pass, as well as the Navigo Decouverte Pass and now, the new Navigo Easy Pass. Officially, the difference between them is that the Navigo Pass is supposedly for locals, whereas visitors are encouraged to purchase the Navigo Decouverte Pass. I have never been able to discern a difference, and the Navigo Pass is the only one we’ve ever had, and we’re not full-time residents, so henceforth, I’ll simply refer to it as the Navigo Pass. The cost is the same, including the initial 5 Euros to purchase it. From then on, it’s simply a matter of topping it up at one of the machines at any metro station.

To purchase the Navigo, you will need to have a passport-sized photo of yourself. If you don’t have a spare, or forget to take it to Paris, virtually every metro station has at least one of those little photo booths, since the French require photo I.D. for many services, as well as the transport card.

The automatic ticket machines are found at every metro station.

The Pass has an upfront, one-off fee of 5 Euros to purchase it, then add the fee for the duration you nominate—weekly, monthly. You take your photo and 5 Euros to the ticket window for the staff member to process it, it’s not done at the machine. However, when you need to top it up, you do it on one of the machines. These take credit cards of course, as well as cash.

As of a few months ago, it’s now possible to download Navigo Passes on Android smartphones using the Ile-de-France Mobilités app. to load your ticket. However, I’ve read a few comments from users saying that they couldn’t locate the download on their phones. It seems that with some brands of phone, it’s a bit hit ‘n miss. Probably for now though, it’s safer to simply buy the Pass from a metro station—at least until the bugs are ironed out of the system.

Now, as with many things, there’s a downside to the Navigo Pass. Although its use allows unlimited travel for its duration, it is for 7 days use, Monday – Sunday. You can argue that this makes no sense (agreed!), that it shouldn’t matter which day of the week you start from, 7 days duration is still 7 days. However, we’re stuck with the facts as it stands. You can though, purchase it up until the Wednesday of that week, but from then until Sunday, you must buy a Navigo Jour (day) pass, which offers unlimited 24-hour travel, or individual tickets to tide you over. No big deal, but a nuisance. As I say, it makes no sense.

When you purchase it, the staff member, and from then on, the machine, will want to know how many zones you want the Pass to cover. We always go for the maximum, i.e., up to and including zone 5. The cost for only zones 2 to 3 is only marginally cheaper, and in our view, it’s simply more convenient to have the maximum allowed, as you might not know just how far you want to explore. The fact you’ll have unlimited travel will hopefully encourage you to spread your wings and go to areas you might not have ventured to before. Right now, the cost for all 5 zones is 30.75 Euros for a week and 86.40 Euros for a month, while zones 2 – 3 costs 28.20 Euros for a week and 78.80 Euros for a month, plus the initial 5 Euros to buy it.

By way of some recognition of the shortcomings of the Navigo Pass, just a few months ago, a new Pass was introduced, the Paris Navigo Easy. This Pass allows you to top up just a single trip, a full price or reduced-price set of 10 trips, on this one Pass card. The Navigo Easy Pass is sold for 2 Euros, plus the number of rides you want, up to 10 at a time. Note that you don’t need a photo of yourself for this Pass. You place the Pass against the card reader at the metro, on the bus or tram. It seems to us that the introduction of this Pass indicates perhaps that the Paris Visite Card may be soon phased out. This is a very useful Pass to acquire if you arrive in the city during the week, before you can purchase the full Navigo Pass or Navigo Decouverte Pass.

The Chateau de Fontainebleau is one of many destinations accessible by Navigo.

At this point, it’s time to discuss just how far from the city the Navigo Pass covers. As well as within the city limits, i.e., within the Périphérique ring-road, the Pass extends out to the Ile-de-France areas. You can enjoy any number of great day trips out of the city using your Navigo. I’ve written about a couple of excursions on earlier blogs, such as to Fontainebleau, Versailles, the Parc de Seaux, Château de Malmaison, Château de Champs-sur-Marne, Vaux le Vicomte, and Auvers-sur-Oise (where Van Gogh spent his last year and where he’s buried), among other great destinations that are perfect for a day’s excursion. Check out these particular destinations on earlier blogs. You can also go out to Disneyland using a Navigo Pass.

Marches Paul Bert and Serpette at the Marche aux Puces.

We use a combination of metro and buses for such excursions as a day out to the Marché aux Puces de Paris Saint-Ouen (to give it the full, official name) out at Clignancourt. We take Line 4 metro to its terminus at Porte de Clignancourt, and following the crowd, walk from the metro station towards the market, passing under the motorway, the Bvd Périphérique, and stroll from the beginning of the market precinct—the biggest in Europe—into the sections of this vast area that we’ve come to explore. When we’re done—and by this time, usually very weary—rather than retrace our steps to the metro, we take a no. 85 bus from rue des Rosiers on the edge of the market, and ride all the way to Chatelet, down by the river, passing through areas of the city we would not otherwise have a reason to go to. A delightful way to recover from our exertions around the flea market.

Parisian bus stops indicate which bus numbers stop there and have a route map of each bus number.

Thinking of buses, many visitors feel a little intimidated about using the bus network. This is a pity, since it’s a great way to see the city on your journey, rather than taking the metro (which may indeed be quicker), where you simply pop up to ground level after an underground trip, without having the least idea about the neighbourhoods you’ve travelled under, or features such as monuments or landmarks. We have a friend who often picks a bus route, pretty much at random, hops on and goes right to the end of the line, and takes it back again, perhaps alighting in an area of interest that she had noticed on the way out. A great, very inexpensive way to explore the city since it does not cost extra to travel a longer distance—one stop or 20, it doesn’t matter.

The Navigo reader on a bus is the plum-coloured disc as you enter at the front.

At each bus stop there is a route map marking every stop, so it’s easy to see where you’re headed. If you have a bus map booklet, it’s so easy to plot a route for the day. You can see where bus lines overlap, which is also an aid to plotting a route. Sometimes, it’s more efficient to take a combination of metro and buses, and there are always bus stops near metro stations. With the buses, you get on at the front, and next to, or near, the driver is the round, plum-coloured plate where you tap your Navigo on entering. There’s an electronic sign hanging from the bus ceiling, as well as route maps on the wall for you to follow your journey and know when to get off. You exit buses from the middle door, not the front again, which keeps the passenger flow moving more efficiently. We use buses a lot, simply because it’s more pleasant and when time isn’t particularly an issue. As well, buses can sometimes be closer to your destination than a metro stop.

Paris trams service the outer areas of the city. Photo, shutterstock

The tram network has existed since the early 1990s, and services the outer edges of the city. One of the main ideas behind it was to alleviate the need for people in outer areas having to come closer to, or right into the city, and probably change metro or bus lines, in order to catch transport to an area of Paris outside the immediate inner city, say for work purposes. There are now 13 tram lines, the first one in the system being the Saint-Denis – Bobigny line. A second line appeared in 1997, the Coteaux line, servicing the Hauts-de-Seine. Two others opened in 2006, one marking the return of the tramway in Paris and a line in Seine-Saint-Denis. Since 2010, several additional lines were planned, which also mark the arrival of the rubber-tyred trams.

Museum of the History of Immigration is located in a magnificent Art Deco bulding.

Admittedly, most visitors won’t need to use the tramway, and one of the few times we used it was on a recent visit, when we caught it to visit the Museum of the History of Immigration, housed in an Art Deco masterpiece, the former Palais de la Porte Dorée at avenue Daumesnil in the 12^th arr. The tram stop on Line T3 is just a few minutes’ walk from the museum, and we used it again after our visit and got off at Porte d’Italie to catch the Line 7 metro back to our apartment. Like the buses, you tap onto the round card reader plate in the carriage to register your journey, but you don’t tap off, as with all other methods of Parisian transport, it’s not distance-based. It was just a very pleasant novelty being above ground rather than down in the metro. If you do a Google search, you’ll find tramway maps to download. It has been a very popular, and practical move, to help eliminate unnecessary congestion within the city’s public transport system.

Use your Navigo Pass for the Montmartre funicular.

A few things to bear in mind with the Paris Navigo Pass. It’s valid to use on the Montmartre Funicular, and you can use it to go out to Charles de Gaulle airport, but for some unaccountable reason it’s not valid on the Orlyval, which is the automatic shuttle train serving Orly airport. If you wish to take public transport to Orly, you can take the Orlybus, which departs from metro station Denfert-Rocherau (lines 4 and 6). To go to CDG airport, you can take either the metro or the Roissybus, all of which are available using the Navigo. If you are only in Paris for a few days, the Paris Visite Pass has been the card to obtain, and it’s available for periods of 1, 2, 3 and 5 days. However, as mentioned above, it seems that the new Navigo Easy Pass may be replacing it. After that duration, the Navigo Pass is the way to go.

So: armed with your bright, new Navigo Pass—whichever version you decide is appropriate for you—as well as both a metro and a bus map, it’s time to confidently sally forth and explore the city.

Paris is enormous, and fortunately, has an excellent and extensive public transport system to enable you to explore it. Photo, shutterstock

ART NOUVEAU RESTAURANTS OF THE BELLE EPOQUE IN PARIS

Posted in Paris City - Attractions, Paris City - Food. 4 Comments on ART NOUVEAU RESTAURANTS OF THE BELLE EPOQUE IN PARIS

Restaurant La Tour d’Argent in the Latin Quarter, overlooking the River Seine.

One of the great attractions with Paris is that it is, as everyone knows, a great food destination. Whether it’s the many outdoor produce markets (some sources say 69, others say over 80!), or the wide variety of bistros, brasseries, restaurants and famous landmarks such as La Tour d’Argent that boast impressive Michelin stars, the city has more dining options than can ever be explored in a lifetime. As well as great food, a number of Parisian restaurants are historic gems with fabulous interiors that are an attraction in themselves.

Typical Art Nouveau style in this building at 24 Place Etienne Pernet, Paris.

Paris has a rich legacy of restaurants from the Belle Epoque years—roughly 1890-1914—that have still retained their Art Nouveau décor. This was a lively and artistic period in the city, kicked off by the inauguration of the Eiffel Tower in 1889, and abruptly ended by World War 1. The Art Nouveau style had spread throughout Europe during these years, and the various World Fairs in Paris in 1878, 1889 and 1900 promoted its influence and accelerated the spread of the style. Naturally, restaurants were quick to follow the trend.

Traditional bouillon restaurants remain very popular in Paris.

The ancestor of the modern Parisian brasserie is a category of eatery that became known as Bouillons. These were cheap ‘n cheerful, often spacious eateries, that usually served simple, traditional French cuisine, in particular a “bouillon” which has provided the name for this class of restaurant.

The concept was to serve good quality food quickly, at an affordable price, that included a single dish of meat and a bouillon (soup or broth) to the workers of the market halls. The first bouillon in Paris opened in 1767 on rue des Poulies in the 1^st arr., specialising in consommés or ‘restaurants’ (which, interestingly, and somewhat confusingly, at the time referred to bouillon broth), opened by a man named Boulanger. It closed around 1854 when the street was torn down. That same year, another Bouillon was opened by a butcher, Adolphe-Baptiste Duval. By 1900, nearly 250 bouillons could be found in Paris. In effect, they became the first popular chain of restaurants.

Interior of the dining room of Bouillon Chartier, rue du Faubourg Montmarte.

During the early years of the 20^th century, bouillons were widely frequented and became an integral part of the Parisian culinary culture. However, their popularity declined over the years as the dining scene evolved, and many bouillons closed down. Fortunately, there are a few authentic bouillons remaining, such as Bouillon Chartier, Bouillon Pigalle, Bouillon Julien and Bouillon Racine, and they take great pride in being able to maintain their wallet-friendly prices. Most of these have also retained their Art Nouveau décor, so a visit is a real treat for the senses.

In 1896, Bouillon Chartier was opened by brothers Frédéric and Camille Chartier at no. 7 rue du Faubourg Montmartre. It has a beautiful, original Art Nouveau interior—a large, mirrored dining room with high, decorative stained glass ceilings and a mezzanine which makes the space seem even bigger. Brass railings, carved timber panelling, white glass globe lighting, and painted ceramic tiled walls typical of the Art Nouveau style. Paper overlays on the tables are used by the waiters to scrawl your order, and as there’s always a crush of diners, there’s a fair chance you’ll be sharing a table with others. Dinner isn’t a relaxed affair here, and it’s definitely not a place for a quiet, intimate dinner, as the waiters in bowties rush about, barely taking a breath. The food is super-cheap, and certainly not “gourmet” in any way. Bouillon Chartier is a Paris institution, and the main attraction, frankly, is the stunning, original Art Nouveau décor.

Bouillon Racine was originally started by one of the Chartier brothers.

The Chartier Brothers created two other Bouillons in 1906. One is Bouillon Racine, located at no. 3 rue Racine in St Germain des Pres, in the 6^th arr., which is between the Latin Quarter, Odeon and Saint Michel. The beautiful décor is in the typical Art Nouveau style: carved wood and ceramics, with mirrors and glass paintings. Camille Chartier kept the restaurant until 1926. After several owners, in 1962, the University of Paris opened a restaurant there for the staff and it remained operational until 1993.

Bouillon Racine was returned to its original Art Nouveau spendour after an extensive renovation.

By then, it was looking shabby and badly in need of repairs and some restoration work. A complete renovation took place in 1996, thanks to the “Companions of the Duty”, who called in craftspeople who still had expertise in almost lost techniques and skills. Bevelled mirrors, painted ceramics, stained glass, carved woodwork, marble mosaics and gold-leaf lettering were restored to their original condition.

Bouillon Racine was owned for a time by the University of Paris, Sorbonne.

Bouillon Racine has since been classified as an Historic Monument. The restaurant has two floors, and is open daily. The food is excellent and the menu changes seasonally. The head chef was awarded a Michelin star at one of his previous restaurants, so a visit will be gastronomically very worthwhile!

The extraordinary interior of Bouillon Julien.

Bouillon Julien at no. 16, rue du Faubourg Saint-Denis in the 10^th arr., remains one of the best preserved examples of the Art Nouveau style, certainly in Paris. Over the years, it has been the favoured haunt of many well-known figures such as Edith Piaf and her lover Marcel Cerdan, the champion boxer, who would regularly dine here at table no. 24. The building was constructed in 1906, and decorated by a number of exceptional artisans working in the Art Nouveau style. Armand Segaud created the peacock panels, while the mahogany bar is attributed to famed ‘École de Nancy’ woodworker, Louis Majorelle, who also designed the furniture.

Oe of the four ‘Flower Women’ inspired by Mucha at Bouillon Julien

The master glassmaker Louis Trezel, inspired by the iconic images of Alfons Mucha, created 4 magnificent “flower women.” Famous ceramist Hippolyte Boulenger designed the patterns of the tiles—a veritable carpet of flowers, with its combination of geraniums and daisies. The beautiful stained glass ceiling is a fine example of the Art Nouveau style. The restaurant underwent a careful restoration in 2018, which reinstated the original wall colour of Céladon green, an emblematic colour of the era. Bouillon Julien is open every day until midnight. The inexpensive, classic bouillon food is good, although truth be told, the beautiful interior may be the bigger attraction.

Brasserie Mollard is opposite Gare St Lazare.

Aside from the Bouillons—and those mentioned above are by no means the only ones—there are numerous other spectacular Art Nouveau interiors of other bistros, cafes and restaurants in Paris. From its humble beginnings in 1867, Mollard benefitted greatly from its location at no. 115 rue Saint-Lazare, directly across from the newly built Gare St Lazare, . By 1895, Monsieur Mollard’s success was such that a new and grander remodel was warranted to match the status of his popular brasserie.

The beautiful interior of Brasserie Mollard.

The task was assigned to famed Belle Epoque architect, Édouard-Jean Niermans, designer of the Negresco Hotel in Nice, the Hotel de Paris in Monte Carlo, Angelina’s Tea Room at no. 226 rue de Rivoli, and the Moulin Rouge. Niermans designed the mosaics, chairs, tables, light fixtures and even the coat racks. When the project was complete, Mollard was hailed by local newspapers as the most chic and modern restaurant in Paris. During the Nazi occupation of Paris during WW2, Mollard provided a free daily soup line to the hardest hit members of its neighbourhood throughout the occupation. Like many of its fellow Art Nouveau dining rooms, Mollard’s fantastic decor was covered over in paint and large mirrors some time in the first half of the 20^th century and not rediscovered until 1965. In 1989, it was added to the register of Monuments Historiques.

The unassuming exterior of Brasserie Vagenende, on Bvd St Germain.

If you didn’t know about the Art Nouveau gem Brasserie Vagenende, you’d probably walk past it, with its pleasant but unassuming façade. But if you stopped and headed straight inside, you would find yourself back in 1904, when the Chartier brothers bought a pretty patisserie to transform it into a beautiful brasserie. The Vagenende family took over in the 1920s, protecting this treasure in a fast-changing world.

The beautiful Art Nouveau interior of Brasserie Vagenende.

When a supermarket threatened to take over the space in the 1960s, French Culture Minister Andre Malraux stepped in as saviour—as he did for so many historic Parisian places as well as famous towns such as Sarlat in the Dordogne. He had Brasserie Vagenende listed as a Monument Historique, and its sumptuous interior is now exquisitely preserved. The food is hearty, traditional, homemade French dishes such as platters of charcouterie, onion soup, chateaubriand steaks, fresh fish, and traditional desserts along the lines of crème caramel and profiteroles. It’s located at 142 Bvd St Germain, in the 6^th arr.

The incredible Art Nouveau interior of Beefbar.

Regarded by many as the city’s most spectacular Art Nouveau interior, Beefbar, is located at 5 rue Marbeuf in the 8^th arr. This veritable masterpiece of Art Nouveau was listed as a Monument Historique in 1983. The main hall, under a majestic glass roof, is adorned with murals, stained glass and glazed ceramics, creating a luxurious yet intimate atmosphere. The real story of Beefbar though is that the room was, from 1898, the winter-garden-style restaurant of the old Langham Hotel. Once the hotel closed down, its building was repurposed for other needs and businesses. As WW2 approached, the Art Nouveau jewel of a restaurant was boarded up for protection from the Nazis. It was then completely forgotten about, until new owners of the corner cafeteria found the hidden room in the late 1970s during renovations for what would become La Fermette Marbeuf, a local institution of an eatery in the 1980s and ‘90s.

The former winter garden decor was installed into Beefbar.

In 1982, a similar discovery was made at Maisons-Laffitte. A winter garden identical to the one mentioned, was auctioned off and saved from a tragic fate. The stained glass and tiles, meticulously dismantled and numbered, were integrated into La Fermette Marbeuf. It was renamed Beefbar in 2018. This is not exactly a cheap ‘n cheerful—no surprise, given its location, between rue Francois 1er and Ave. George V, not far from the Champs Elysees. When making a reservation, be sure to ask to be seated in an Art Nouveau room.

Restaurant Le Train Bleu at Gare de Lyon.

The largest, and one of the most impressive, Art Nouveau restaurants in Paris is Le Train Bleu at the Gare de Lyon. As Paris was about to host a major new Universal Exhibition in 1900, the Gare de Lyon, with trains to Lyon, Marseille and the Riviera, had to take the appearance of a palace. The project was entrusted to architect Marius Toudoire, who built the 64m high clock-tower, the monumental façade of the railway station, and a prestigious restaurant, symbol of travel, comfort and luxury. Le Train Bleu was inaugurated in 1901, so named because the sleeping cars on the trains were dark blue. Gilding, mouldings, chandeliers, frescoes representing the cities served by the railway line, and landscapes that travellers would see during their journey to Marseille, Monaco or Nice.

The magnificent interior of Le Train Bleu at Gare de Lyon.

As well, there are portraits of actresses Sarah Bernhardt and Gabrielle Rejane, and the author of ‘Cyrano de Bergerac’, Edmond Rostand. Many films have been shot on location at Le Train Bleu, and over the years celebrities flocked there. Coco Chanel, Brigitte Bardot, Jean Cocteau, Colette and Marcel Pagnol were regulars. The menu consists of traditional, classic dishes such as La Coquille Saint-Jacques, La Bouillabaisse, house-smoked salmon, Gigot of lamb etc. Expensive. The restaurant has been a Monument Historique since 1972.

Maxim’s is likely the most famous restaurant in Paris.

Last but not least on this list is undoubtedly the most famous restaurant in Paris, Maxim’s. The restaurant dates from 1893, and boasts an iconic, wonderful interior, which has been described as something akin to an Art Nouveau forest: candelabra that look like exotic trees and light shades like night blooming flowers, wall murals of cavorting nymphs, lush floral carpet, a botanically decorated stained-glass ceiling. It’s all very glamorous, designed to make everyone look all the more beautiful, and that’s likely one reason why the beau monde, from Marcel Proust to Brigite Bardot, made Maxim’s their second home for decades.

‘Maxim’s Bar’ by Paul-Victor Galland, soon after its opening in 1893.

The moody lighting and garnet-and-gold detailing make for a dark, sensuous effect, which may explain why Maxim’s earned a reputation, “back in the day”, as the restaurant for mistresses, not wives. Many of us may recall a pivotal scene from the 1958 film ‘Gigi’ where Maxim’s was the perfect backdrop. These days, the restaurant is perhaps more the go-to for cashed-up tourists, and yes, it is expensive! It’s located at 3 rue Royale in the 8^th, not far from Place de la Concorde.

Musee Maxim’s, above the restaurant, has a treasure trove of Art Nouveau decorative items.

If dining at the restaurant is out of the question (understandable!), consider a visit to Musée Maxim’s, located above the restaurant. It reconstructs the apartment of a courtesan who experienced the “jet-set” lifestyle of the 1900s, with masterpieces by Tiffany, Majorelle and Massier.

This is just a short run-down on Art Nouveau restaurants in Paris. Others to check out include Poulette, that dates back to 1906, well-known for its extraordinary Art Nouveau tiles, artfully winding flowers, curvy urns, and allegories to coffee and beer. It also has a classic zinc-topped bar. Its menu is totally modern, and serves biodynamic wines. Find it at 3 rue Etienne Marcel in the 1^st arr. not far from Saint Eustache church.

Another Monument Historique to look out for is Petit Bouillon Pharamond, also in the 1^st arr. at 24 rue de la Grande Truanderie, near Les Halles. It has a fine Art Nouveau interior, and the food is inexpensive, specialising in the cuisine of Normandy. If you’re in the neighbourhood, check out Brasserie Bofinger at 5-7 rue de la Bastille in the 4^th arr. Specialising in Alsatian specialties, it’s a Paris institution.

29 Avenue Rapp, one of the most magnificent Art Nouveau buildings in Paris.

THE ELEGANCE AND LUXURY OF AVENUE MONTAIGNE, PARIS

Posted in Paris City - Attractions, Paris - Districts. 6 Comments on THE ELEGANCE AND LUXURY OF AVENUE MONTAIGNE, PARIS

For anyone with an interest in high fashion, it’s generally acknowledged that Paris is a world leader, if not the leader, in haute couture. For decades, the top street for Parisian couture houses was the Faubourg St Honore. It was his desire to assert his own vision and originality that Christian Dior opened his couture house in 1947 on Avenue Montaigne, rather than the Faubourg St Honore. Since then, this short road has gradually seen many of the top fashion houses establish themselves here, and nothing says “fashionista” more than an address on Avenue Montaigne.

Avenue Montaigne is regarded as one of the most elegant streets in Paris.

The beautiful Avenue Montaigne is located in the 8^th arrondissement, between the Rond Point des Champs Élysées and Place de l’Alma near the Seine. It’s a relatively short street at less than a kilometre long. At the river Seine end, the avenue leads to a breathtaking view of perhaps the most famous structure in Paris, the Eiffel Tower.

The so-called Allee des Veuves (Widows’ Alley) in the 18th century.

In writings from the 17^th century, the Avenue Montaigne is referred to as a simple path along which vegetables were grown. In 1770, the avenue was planted with a double row of elms by order of the Marquis de Marigny and was nicknamed Allée des Veuves, because it had become a gathering place for women in mourning. Over time, it had gained the reputation as the place to meet some these often lonely women who were in search of a discreet “gallant” adventure. It was not the elegant, refined place we know today.

The Allée des Veuves gained a certain notoriety when, in September 1792, at the foot of one of the elm trees in front of the house of a certain Dame Brûlée, some of the French crown jewels that had been stolen earlier that month, had been buried. The royal jewels had been stored at the Garde-Meuble (now the Hotel de la Marine) that faces onto Place de la Concorde. The thieves had split up the jewels into numerous packages and secreted them in a number of locations throughout the city. The small haul recovered from Allée des Veuves had been buried there by one of the thieves, who divulged the hiding place in order to avoid the guillotine.

Michel de Montaigne and his works, for whom the street was renamed in 1850.

In 1850 the street was re-named after French Renaissance statesman and philosopher, Michel de Montaigne. During the Universal Exhibition of 1855, the Palais des Beaux-Arts was built there by the architect Hector-Martin Lefuel, and elegant houses began to be built along the avenue, becoming one of the most fashionable places in the Champs-Elysées district.

Paris has long been famous for dance, and during the 19^th century like those we’ve seen in numerous Impressionist paintings of the era, around Montmartre. Avenue Montaigne also earned renown for its sparkling and colourful Bal Mabille (Mabille Gardens) on Saturday nights. This open-air dance venue opened in 1831, when the area had large parts that were still vegetable gardens. It was struck by shells during the siege of Paris in 1870-71 during the Franco-Prussian War, and ultimately had to close in 1875 and was demolished in 1882. Under the Third Republic, there was a shooting range, as well as an orchestra there led by a well-known conductor and composer of the time, Olivier Métra.

The Bal Mabille in 1858 after gaslighting had been installed.

The Bal Mabille extended from nos. 49 to 53 in the modern street numbering. It was opened by Monsieur Mabille, one of the city’s innumerable dance instructors, and was originally for his pupils. It was later opened to the public. His son refurbished it as a sort of enchanted garden, with sand paths, lawns, trees and shrubs, galleries and a grotto. It was equipped with 3,000 gas lamps, very modern for the time, and was thus able to stay open after dark. Coloured glass globes illuminated the areas under trees, and strings of lights and chandeliers were suspended between them. There was an area with a roof for weather protection, and the grounds contained a Chinese pavilion, artificial palm trees and a merry-go-round. The entrance fee was quite high, so that only the relatively well-to-do were able to frequent the establishment.

The Bal Mabille became somewhat notorious for fliratious liaisons.

It soon became the most fashionable dancing location of the period, although it had a reputation for attracting more foreigners in search of “pretty faces” than Parisians. The garden also had a reputation as being a place where gentlemen could meet prostitutes.

The origins of the can-can are said to have been at the Bal Mabille.

The polka was introduced there by Elise Rosita Sergent, known as la Reine Pomare, and another dancer known as Céleste Mogador. As well, the can-can is said to have been invented there–not up at Montmartre as we tend to think–and crowds flocked to watch the famous Céleste Mogador dance it.

As well as famous fashion houses, the Avenue Montaigne has a couple of other landmarks. One of these is the Théâtre des Champs Élysées at no. 15. The theatre is named not after the famed Avenue, but rather after the neighbourhood in which it’s situated. Commissioned by a famous impresario of the day, Gabriel Astruc, the theatre was designed by French architect Auguste Perret to provide a venue suitable for contemporary music, dance and opera, in contrast to the traditional institutions like the Paris Opera. Inaugurated on 02 April 1913, it was the first example of Art Deco architecture in the city, and the first Parisian theatre to be entirely built in reinforced concrete instead of steel. It has 3 auditoriums, the largest having 1,905 seats.

Jean Cocteau’s advertising poster for the original production of Stravinsky’s ‘The Rite of Spring.’

The opening show was the world première of Igor Stravinsky’s ‘The Rite of Spring’, performed by Sergei Diaghilev’s Ballets Russes company, with choreography by Vaslav Nijinsky. The opening night at the Theatre on 29 May 1913 caused a sensation, with many reports describing the reaction as a riot or near-riot, due to the avant-garde nature of the music and choreography. The artist Jean Cocteau wrote about the reaction of the first night’s audience saying “…It immediately rebelled. It laughed, scoffed, whistled, cat-called, and perhaps might have got tired in the long run if the mob of aesthetes and a few musicians in their excessive zeal had not insulted and even jostled the people in the boxes. The uproar degenerated into a free-for-all.”

Poster advertising Josephine Baker’s show at the Theatre de Champs Elysees.

Since that memorable start, the theatre has become known as a venue of innovative programming for opera, recitals, orchestral concerts, and dance featuring a wide variety of artists ranging from the magnificent cabaret dancer Josephine Baker, Louis Armstrong, Ella Fitzgerald, Oscar Peterson, Igor Stravinsky, Richard Strauss, Andreas Schiff, the Staatskapelle Dresden and the Vienna Philharmonic among so many other internationally famous performers. The Théâtre des Champs Élysées was one of the first modern edifices to become a listed building, when in 1970 it was registered as a Monument Historique.

Hotel Plaza Athenee, Avenue Montaigne, Paris. Photo, Shutterstock

One of the most famous landmarks on Avenue Montaigne is the Hôtel Plaza Athénée at no. 25. With incredible views of the Eiffel Tower, the hotel has long been regarded by many as the foremost luxury hotel in the area since its opening in 1913—the same year as the Théâtre des Champs Élysées—and has been the hotel of choice for guests such as Grace Kelly, Jackie Kennedy, Rudolph Valentino, and Sophia Loren.

The hotel is far too discreet to discuss any more recent famous guests! Its history is interwoven with that of its neighbour, the Théâtre des Champs Élysées, which opened within weeks of the hotel, and became a haunt for both composers and theatregoers. The hotel is now part of the Dorchester Collection that includes Le Meurice, also in Paris, London’s Dorchester Hotel and numerous prestige hotels in major European and American cities, as well as Dubai.

Madeleine Vionnet’s famous bias-cut dresses.

By the early 1920s, a few major fashion designers had set up shop along the avenue, such as the Callot sisters and especially their former employee, Madeleine Vionnet, who set up her fashion house in a private mansion at no. 50. She pioneered the revolutionary ‘bias-cut’ dress, draped expertly over the body, which changed the shape of women’s fashion. She became known as the “Queen of the bias cut” and “the architect among dressmakers.”

Christian Dior in front of 30 Avenue Montaigne in 1947.

The name that springs to mind though, when thinking of couture, is of course Christian Dior. He opened his atelier at no. 30 Avenue Montaigne on 16 December 1946, although today the current Dior corporation celebrates 1947 as the opening year. Dior first set eyes on the hôtel particulier in 1946, declaring later that “it had to be 30 Avenue Montaigne. I was going to settle here and nowhere else!” The four-storey residence had been built in 1865 for the illegitimate son of Napoleon 1. The couturier said he was drawn to the understated elegance of the neoclassical façade, as well as its relatively modest scale and proximity to the elegant, cosmopolitan clientele staying at the Hôtel Plaza Athénée. In homage, Dior’s first collection included creations called ‘Plaza’ and ‘Athénée’.

Three outfits from Dior’s New Look collection, 1947.

Dior showed his first collection of 90 garments on 12 February 1947. It became known as the “New Look”, when Carmel Snow, editor-in-chief of Harper’s Bazaar magazine, who admired the originality of the collection, and congratulated the designer, praising him by saying “It’s quite a revolution, dear Christian! Your dresses have such a new look!” When the ‘New Look’ became the talk of fashion, it transformed the fortunes of both Dior and France. It came at an ideal time. Resurrecting themselves through fashion, among other industries after WW2, France and Dior were beginning to create a new identity.

Models were assaulted wearing Dior’s New Look in 1947.

For many, the collection’s lavish sense of exaggerated femininity marked a welcome departure from wartime austerity. However, from others it prompted harsh backlash, as Dior’s styles, which used metres and metres of fabric for a single dress, was offensively wasteful.

The Galerie Dior museum entrance is on rue Francois 1er.

The success of the House of Dior necessitated an extension being added to 30 Avenue Montaigne. A year later, the neighbouring 11b, 13 and 15 rue Francois 1er were also rented to accommodate the 25,000 people travelling to see the Dior collections each season. Today, one of the Must Sees in Paris is the beautiful Galerie Dior museum, accessed from the rue Francois 1er side. You can read more about this gorgeous venue in a blog I wrote when it first opened post-COVID: https://parisplusplus.com/paris/la-galerie-dior-a-homage-to-the-artistry-of-the-master-of-dreams/

Today, Avenue Montaigne has a plethora of top designer boutiques, including Chanel at no. 51—although their flagship store is in rue Cambon—Louis Vuitton at no. 19, Balenciaga at No. 57, Celine at No. 55, Yves Saint Laurent at No. 53.

Interior of the Gucci boutique on Avenue Montaigne

Gucci at No. 60 has an extravagant interior, Armani is at nos. 18 and 2, Valentino at no. 17. Versace recently opened a large new store extending over two levels, at no. 45.

Dolce & Gabbana boutique on Avenue Montaigne

Other illustrious fashion houses include Dolce & Gabbana, Givenchy, Chloe, Ralph Lauren, Loewe, Jimmy Choo, Prada, Max Mara, Ferragamo, and Fendi. This list is by no means exhaustive, but just an indication of the prestige fashion labels in residence.

Restaurant L’Avenue, on the cnr. of Ave. Montaigne and rue Francois 1er.

It’s not all high fashion though. Aside from the Plaza Athénée, there’s a great restaurant on the corner of 41 Avenue Montaigne and rue Francois 1er named L’Avenue, which describes itself as an upscale bistro—somewhat of an understatement, given the neighbourhood! There’s another hotel as well, the beautiful Hotel Montaigne at no. 6, self-described as being “in the heart of Culture and Haute Couture”.

Harry Winston Jewellery, 29 Ave. Montaigne

The street has had its share of notoriety in recent years. On 04 December 2008, the Harry Winston jewellery store at No. 29 was robbed of more than €80 million worth of diamond rings, necklaces and luxury watches by a gang of four armed men just before closing. It had also been robbed in October 2007, when a similar heist netted the robbers around €20 million.

The Salvatore Ferragamo store occupies two large floors.

Famous residents of Avenue Montaigne have included the actress Marlene Dietrich, who maintained an apartment at No. 12 for many years, and died there in 1992. During her last years, Soraya Esfandiary-Bakhtiary (formerly married to the Shah of Iran) lived at No. 46. For many years, the Canadian Embassy was located at No. 35.

La Flamme de la Liberte at Place Diana, Pont d’Alma, opposite Ave. Montaigne

At the far end of the street, and just opposite, is the Pont d’Alma, chiefly known these days as the location where Princess Diana and her boyfriend Dodi Al Fayed died in a car crash in the tunnel just to the north of the bridge, back in August 1997. There is a memorial at the Place Diana, called the Flamme de la Liberte (Flame of Liberty), which is a replica of the torch of the Statue of Liberty in New York harbour. Given to France by the USA to celebrate Franco-American friendship, it became a spontaneous shrine to Diana. There are always bouquets of flowers laid at the base of the Flamme.

One of the attractive cafes at the top of Ave. Montaigne at metro Alma-Marceau.

There are a couple of good brasseries at the intersection of Avenue Montaigne, Avenue George V and Avenue President Wilson, that we’ve eaten in whenever we’ve gone to a performance at the nearby Theatre des Champs Élysées. Metro Alma-Marceau (Line 9) is also at this intersection.

The beautiful Artcurial building, at the end of Ave. Montaigne, at the Rond Point.

At the other end of Avenue Montaigne, one of the loveliest buildings in Paris is Artcurial, a contemporary art auction house in a magnificent historic mansion built in 1844 that overlooks the Rond Point. It’s set in lovely gardens and surrounded by a beautiful, cast-iron fence with heavily ornamental, gilded gates. Just around the corner is the Champs Élysées.

Christmas decor, Christian Dior, Avenue Montaigne. Photo, Shutterstock

There is a lot to see in this very upmarket neighbourhood, and perhaps after checking out Avenue Montaigne, you could take a stroll along Avenues George V and Marceau to round out your day surrounded by luxury and high fashion!

View of the Eiffel Tower fom a suite in the Plaza Athenee Hotel.

THE ALBERT KAHN GARDENS, A HIDDEN PARADISE IN PARIS

Posted in Paris City - Attractions, Paris. 4 Comments on THE ALBERT KAHN GARDENS, A HIDDEN PARADISE IN PARIS

The Albert Kahn Japanese garden in autumn.

We had been aware of this beautiful place in Paris for quite a few years, but due to so many other distractions in the city, had never managed to get there. Whenever we came across a reference to it, or someone mentioned it, typical descriptions were that it was a quiet haven, an exquisite retreat covering 4 hectares, and a little-known, almost-hidden paradise. One glorious, bright sunny day on a recent visit, we were determined to finally get there, after reading an article describing the property’s recent re-opening, following a renovation and restoration project that took 6 years to achieve. And how glad we were that we did!

Albert Kahn, at his office in Paris in 1914.

First of all, we wanted to know about Albert Kahn: who was he, and what led him to create this beautiful place? He was born Abraham Kahn in Marmoutier, in the Alsace region, in March 1860, the eldest of six children of Louis Kahn, a cattle dealer, and his wife, Babette Kahn. Babette died when Albert was 10 years old, and after the German annexation of Alsace-Lorraine following the 1870 Franco-Prussian War, the Kahn family moved to Saint-Mihiel in north-eastern France in 1872, where he continued his studies until 1876. In 1879, Kahn became a bank clerk in Paris, but studied for a degree in the evenings. He mixed in intellectual circles, making friends with the painter Mathurin Meheut and sculptor Auguste Rodin.

Kahn became a principal associate of the Goudchaux Bank, one of the most important financial houses in Europe at the time. He built up a fortune by speculating first on gold and diamond mines in South Africa, and collaborated with a banking syndicate on industrial projects and international loans. He started his own bank in 1898, at the age of only 38 yrs. While maintaining a busy working life, he resumed his studies at the highly regarded École Normale Supérieure. He became life-long friends with his tutor, to whom he eventually admitted that success in business “was not his dream.”

Albert Kahn’s house in Boulogne-sur-Seine.

Albert Kahn settled in Boulogne-sur-Seine, on the banks of the river, in 1893. Initially a tenant in the mansion, he fell in love with the place and bought it two years later.

The drawing room of the Autour du Monde Society in Albert Kahn’s house.

Once his fortune was made, he started to create philanthropic projects. He was interested in the political and social questions of the time, and set up places where people could debate such issues, get to know one another better, and where Kahn advocated integration and dialogue between populations. His aim was to break down barriers between biological, sociological, political, economic, and geographic differences. He also promoted higher education through a travel scholarship, the Autour du Monde Scholarship, through the Université de Paris, which entailed the recipient to travel for 15 months in a foreign country, and “truly come into contact with life.” In 1905, Kahn opened up these grants, or scholarships, to include young female specialists.

Photo of Chinese Empress Dowager Cixi taken during Albert Kahn’s journey to China.

In 1909, he travelled with his chauffeur/photographer to Japan, China and the United States on business and returned with many photographs of their journey. This prompted him to begin a project collecting a photographic record, a sort of inventory project, of the entire Earth.

An early colour photo commissioned by Albert Kahn and exhibitied in Paris in 1931.

He then sent photographers to every continent to record images of the planet using early colour photography: autochrome plates and early cinematography. Their orders were simple: “Keep your eyes open.” Between 1909 and 1931, they collected over 72,000 colour photographs and 183,000 metres of film, known as The Archives de la Planete.

A tribesman in Mongola. One of the thousands of photos commissioned by Albert Kahn.

At his Boulogne-Billancourt property, Kahn maintained facilities for images to be developed, projected and screened. His screenings attracted notable people such as Auguste Rodin, Colette, Auguste Renoir, Henri Bergson and the Nobel prize winner, Rabindranath Tagore. Many of these images form the core of the collection at the museum in the gardens. As well, 69,000 photographs have been digitised and are available online.

A Jain Temple official in Ahmadabad, India, from Albert Kahn’s vast
photographic collection

In 1914, he initiated the creation of the Comité de Secours National, which aided civilian victims of war, and two years later, he founded the Comité National d’Études Sociales et Politiques (CNESP), where intellectuals got together in order to inform authorities on contemporary issues through their findings and analyses. At the end of WWI he published a manifesto in favour of preventing conflicts, The Droits et Devors des Gouvernements, and created the first centre of social documentation at the École Normale Supérieure in 1920.

Unfortunately, Albert Kahn lost is fortune in the Wall Street Crash and during the Great Depression, and he had to stop funding the bursaries and the Archives of the World project. His bank folded, and he was personally bankrupt. However, by 1936, his property and possessions were safely in the hands of the Departément de la Seine, and he was allowed to remain living in his former home until his death. His gardens were opened to the public, and his photographic collection was put on display. Tragically, when he died in November 1940 shortly after the German Occupation of Paris, because he was Jewish, his body was thrown into a mass grave. Luckily for humanity, his vision has lived on. In 1968, the newly created Departément des Hautes-de-Seine became owner of the Kahn property, gardens, and collection. Today, the museum and gardens attract over 120,000 visitors a year.

During his lifetime, Albert Kahn was an avid gardener, who wanted to create a very special garden based on his humanist philosophy and vision of the world. To this end, he gradually acquired properties adjoining his home, and by1910, he ended up with twenty plots of land covering a total area of 4 hectares. From then until 1920, Kahn decided to create a garden of “scenes.” A great pacifist at heart, he imagined the world in one garden, where different cultures would mingle, in line with his philosophy for the foundation of the Comité National d’Études Sociales et Politiques. He was convinced that knowledge of others would contribute to peace and harmony, and raise awareness of other ways of life. In this way, his gardens enabled the elite of the time to discover the value and richness of cultural diversity, as expressed in the different themes and planting of the garden scenes.

The Vosges forest – intended as a tribute to Albert Kahn’s childhood, it was designed as a reproduction of the Vosges forest where he grew up. There are shady conifers and deciduous trees from the mountains, and blocks of granite strewn along the dirt paths, exactly like a genuine forest.

There are many pathways that lead through the various garden themes.

The golden forest and the meadow – as you leave this wood, an expanse of grass stretches before you, bordered by another forest whose colours change with the seasons: the bright yellow of the spruce trees in spring is replaced in autumn by the golden leaves of birch. The meadow itself brims with the colourful hues of the wild annuals and perennials that bloom there.

The blue forest and the marsh – You move from the warm yellow to the blue of the American Atlas Cedars and Colorado Spruces in the blue forest. Take time to admire the plant species beneath these tall trees, which vary according to the time of year.

The rose garden and orangery. Photo, Shutterstock

The French garden, its orchard and rose garden – Continue on to the orchard and rose-garden, with its orderly layout providing a contrast with the previous areas.

Inside the enormous greenhouse, with its winter garden.

The fruit trees are arranged symmetrically around squares, and the roses climb over arches to form an arbour. Framed by flowerbeds, the garden follows the geometric layout of the classical gardens created in the 17^th century. There is a glass and metal great greenhouse standing beside it, which houses the winter garden.

The English garden – in contrast to the French garden, this garden is characterised by lush vegetation grown to imitate nature. The cottage, one of the original buildings, still stands. Its fountain bears a carved image from a La Fontaine fable, and a narrow stream meanders across its lawn to a small pool.

One of the two houses Kahn imported from Japan to install in his garden.

The Japanese village and contemporary garden – The walk ends with a trip to the Land of the Rising Sun, the highlight of the tour. The first part of this classically inspired garden represents a traditional village, with a traditional teahouse and 2 traditional dwellings transported from Japan. The second represents contemporary Japan, created in the 1990s by landscape architect Fumiaki Takano.

The Japanese garden with traditional Japanese bridge over a stream

The red bridge is an obvious eye-catcher, stretching over the pond where colourful carp zigzag. The path of the water through the garden symbolises the life and work of Albert Kahn and his incredible openness to the rest of the world.

The new Albert Kahn museum, designed by Kenzo Kuma

This is one of the loveliest garden environments in Paris. Take a leisurely stroll through the garden, browse through the archives, and imagine what life at the start of the 20^th century was like in Asia, Europe, America and Africa, all housed in the beautifully designed new museum, the work of Japanese architect Kengo Kuma.

The glass and cast-iron greenhouse in the French garden.

It’s easy to get to the Albert Kahn Museum and Garden. Take the metro to Pont de Saint-Cloud , which is the last stop on Line 10, and it’s just a couple of minutes from the metro. The street address is: 2, rue du Port, Boulogne-Billancourt. Note: the museum is closed on Mondays, and of course, expect that the garden’s landscape will obviously be different according to the time of year, so bear this in mind when planning a visit, according to what you want to see. Entry fee is about 8 Euros.

Part of the Albert Kahn gardens. Photo, Shutterstock

THE SPARKLING SEASIDE TOWN OF LA ROCHELLE

Posted in Bordeaux Region. 4 Comments on THE SPARKLING SEASIDE TOWN OF LA ROCHELLE

The St Nicolas Tower and the Tour de la Chaine at the mouth of the old port of La Rochelle

Less than 2 hours by car up the coast from Bordeaux will take you to the beautiful port city of La Rochelle. One of the country’s most important seaports from the 14^th to 17^th centuries, the city’s luminous limestone façades glow in the bright coastal sunlight. Although its old commercial harbour, the Vieux Port, isn’t deep enough for the modern ships of today, it’s now one of the largest yachting harbours along the French Atlantic coast. With its straight streets, arcaded walkways, half-timbered houses adorned with fearsome gargoyles and slate tile roofs, shady promenades on the site of the city’s ancient fortifications, and some fabulous lighthouses, it’s one of our favourite places in France, and a very rewarding destination for visitors to discover.

We had originally planned to drive directly up to La Rochelle from Bordeaux, with only a couple of brief stops along the way. However, there were so many fascinating and picturesque detours, we ended up taking a couple of days to stop and enjoy some delightfully unexpected sights before arriving at La Rochelle.

Archaeological site of a Gallo-Roman villa at La Rochelle.

Remains of Roman villas and salt evaporation ponds have been found, although archaeological finds trace the history of the port of La Rochelle, on the Bay of Biscay, back before the Gallo-Roman period to the Gallic tribe of the Santones. The Romans developed salt production along the coast and also wine production, shipping these various products from La Rochelle throughout the Empire. Although the town was founded during the 10^th century, it became an important trading port in the 12^th century, when the Dukes of Aquitaine granted it a charter as a free port after they had destroyed the neighbouring town of Châtelaillon.

Chateau Vauclair was built by the English in 1185.

The opening of the English market following the second marriage of Eleanor of Aquitaine in 1152 to the Plantagenet, Henry II, plus the presence of the Knights Templar and the Knights of St John of Jerusalem, quickly make this small town the largest port on the Atlantic coast. Henry II had the Château Vauclair built in 1185, but it was demolished around 1375 on the orders of Charles V after the Siege of La Rochelle, and its stones were used to build a new fortification wall. Remains of Château Vauclair are still visible in the Place de Verdun.

The naval Battle of La Rochelle in 1372 during the Hundred Years’ War.

During the Hundred Years’ War, La Rochelle changed hands a number of times, but was finally captured by the French in 1372. Until the 15^th century, La Rochelle was the largest French harbour on the Atlantic coast, dealing mainly in wine, salt and cheese.

Depiction of the St Bartholomews Day Massacre at La Rochelle in 1572.

During the Renaissance, La Rochelle adopted Protestant ideas. Calvinism started to spread in the region, resulting in violent suppression on the orders of Henri II, including some so-called heretics being burned at the stake in La Rochelle in 1552. Despite these measures, conversions to Calvinism continued, not only because of religious convictions, but also the desire for political independence, and popular opposition to royal expenses and the many calls for heavy contributions towards the building projects to fortify the coast against England.

The Protestant Museum, which tells the story of the Huguenots in La Rochelle.

La Rochelle became a centre for the Huguenots, and using Geneva as the model, the city declared itself an independent Reformed Republic. In effect, La Rochelle became an entity described as “a state within a state.” Needless to say, this led to numerous conflicts with the Catholic central government. After the Massacre of St Bartholomew’s Day in 1572, during which an enormous number French Protestants were killed, many of the survivors took refuge in La Rochelle.

The Ile de Re, that was invaded by the English in 1622. Photo, Shutterstock

Despite having been granted certain privileges, such as freedom of worship under Louis XIII, in 1622 La Rochelle sided with the English, who had invaded the nearby Île de Ré.

Depiction of Cardinal Richelieu at the Seige of La Rochelle.

The town was blockaded for 14 months during the Siege of La Rochelle, along with other Protestant cities such as Sancerre, by the French king’s minister, Cardinal Richelieu, who built a vast sea wall to prevent English ships from relieving their allies. There’s a marker buoy in the bay which marks the place where Richelieu’s sea wall was built. The city finally capitulated, around three-quarters of the population having starved to death. Under continuing persecution, many Huguenots emigrated, founding such cities as New Rochelle, in the vicinity of today’s New York, in 1689.

A walk around La Rochelle will come across many links to the town’s maritime trading past.

Sea trade helped revive La Rochelle, with regular trade relations with New-France (Canada) and the West Indies. It was the heyday of the great shipowners that also saw the start of an intellectual and artistic influence that these commercial activities brought. There is a 17 stage walk through the town’s historic centre exploring the history that links La Rochelle to Quebec. Ask at the Tourist Office for details.

The Saint Nicolas Tower at the entrance into th old port of La Rochelle

There are some very impressive historic monuments in the town. The most conspicuous is undoubtedly the famous Towers of La Rochelle. Looking out to the Atlantic, at the entrance into the Vieux Port (old port), there’s the Tour Saint Nicolas, built in 1384, named after the patron saint of sailors, and the Tour de la Chaine. At times throughout the city’s history, a chain was stretched between these two towers to stop ships from entering. Today, the Tour Saint Nicolas still looks much as it did in the 1400s. Together with the Tour de la Chaîne on the opposite bank, it’s an impressive sight, and beautifully illuminated at night. You can climb the towers to get fabulous views over the city port and sea from their terraces, and all year round, the towers host exhibitions and events.

La Tour de la Chaine, at the entrance into the port of La Rochelle.

King Louis XI visited the Tour de la Chaine in 1472, and legend has it that he etched an inscription on one of the tower’s windows with the diamond on his finger. During the 17^th century, the tower was used to store gunpowder. During the Fronde uprising (by the nobility to check the increasing power of the monarchy), the tower exploded, and for 300 years was left open-topped. Important restoration work took place in the 20^th and 21^st centuries where the castellated rampart walkway was rebuilt, a new roof was put on and 2 indoor floors were reinstated.

The Lanterne Tower is the oldest lighthouse on the Atlantic coast. Photo, Shutterstock

Not far from these two towers is the Tour de la Lanterne, the oldest lighthouse on the Atlantic coast, its origins dating back to the end of the 17^th century. Located on the corner of the sea wall of the St-Jean-du-Port district, it’s the last medieval lighthouse on the Atlantic coast, and has always been both a lighthouse and a prison. There are over 600 examples of graffiti carved into its walls by prisoners over a period of 300 years—mostly English, Dutch and Spanish sailors who were captured at sea, as well as Protestants and militants from the Vendée (a counter-revolution in the Vendée region of France during the Revolution). The Tour was the residence of the “ship disarmer”, who was in charge of disarming the ships before they were permitted to enter the port, and it features a monumental arrow and a lantern to guide sailors. Topped by an octagonal Gothic spire and standing at 55m tall, you can see it from all around the Pertuis d’Antioche—the strait between the islands of Ré, Aix and Oléron—and it’s part of the “sea look-out” for military surveillance of the coast.

The lively waterfront of La Rochelle is lined in cafes and restaurants.

The streets immediately behind the harbour are the centre of activity in the town, and where visitors tend to spend most of their time. There’s a broad boulevard around the harbour, ideal for promenading and seeing much of the action of the town. There are also a lot of market stalls here, buskers and street artists and a wide range of restaurants. Those around the harbour front are mostly ‘cheap and cheerful’ seafood bistros, and many are very good.

Enter the historic centre from the port through the rch of the Grosse Horloge

However, for more upmarket restaurants in town, follow the street that starts from the end of the harbour-front eateries, that enters the old town. At the point where it leaves the harbour, the whole street is lined with good quality restaurants. There are numerous entry points into the town, but the most impressive entrance is next to the Grosse Horloge (large clock tower).

The lively streets of the historic centre of the town.

The town’s arcaded streets allow market traders to display their merchandise while sheltering them from inclement weather. Make sure you walk through the pretty rue de l’Escale, which is famous for being paved with cobblestones that came from St-Laurent, Canada, as ballast on the merchant ships.

The main square in the St Nicolas district.

The St-Nicolas district, which used to be the fishermen’s district, is between the railway station and the Vieux Port. Full of charm with its cobbled streets, its lovely little square is nestled in amongst the trees, and its houses tucked away under the old arcades. It’s a lively little quarter, with patisseries, butchers and restaurants on the inviting little terraces. It’s rather bohemian, with art galleries and bookshops, second-hand shops, pretty window displays and outdoor stalls, it’s perfect for relaxing strolls.

Place de la Fourche has lots of cafes and bir-a-brac shops.

The Place de la Fourche is the perfect setting for an outdoor lunch. If you enjoy hunting for unique antiques and treasures such as old postcards, vintage utensils, glassware, and lots of silverware engraved with family monograms, go to Place de la Motte Rouge, for the flea market held there every Thursday and Saturday under the shady trees. Every summer a crafts and creative market also sets up here, and it’s a very pleasant pastime strolling along browsing among their pretty, white wooden stands.

Don’t miss a visit to the daily market (Wednesday is the biggest day), in a 19th century building in St-Nicolas. It’s located between the railway station and the Vieux Port. Apart from the fabulous display of fresh produce, this market has an “à table” local producers scheme. Basically, you get a plate at the market, buy some bread, wander around and choose what you want from the stall holders—fresh, succulent oysters, wonderful cheeses, pâté, charcuterie, seasonal fruits etc., then enjoy your lunch selection onsite.

One of the most impressive of all the historic monuments in La Rochelle is the Hotel de Ville—a lovely 17th century building with turrets and elaborate carvings, inside a fortified wall.

Another beautiful building, the so-called Maison Henri II, is as lovely as the Hotel de Ville. Although it’s really just a façade of a house overlooking a small garden, it has a highly decorative appearance with numerous columns, and dates from the 16th century.

The Église Saint-Sauveur is a mix of styles from different centuries and periods of construction. A Gothic church on the site of an earlier 12th century church was demolished during the Wars of Religion, although the belltower remains. Rebuilt again in the 17th century, the replacement church burned to the ground except for the façade, and was rebuilt yet again in the early 18th century.

Other sights of interest include the Cathedral St-Louis on Place du Verdun, the Chamber of Commerce and the Law Courts. Dating from 1706, the pretty Cloister of the Dames Blanches is worth a look, and is often used for exhibitions. The cobbled arcaded rue d’Escale, leads to Maison Nicolas Venette, a house with numerous gargoyles and busts of doctors from antiquity. Venette was an important scientist and writer of various textbooks.

La Rochelle has many elegant white limestone mansions such as this.

All these fine buildings are in a lovely setting, with numerous townhouses and pretty streets, and much to enjoy as you wander about. This part of the old town also has numerous boutiques and other shopping opportunities to discover.

The perfect end to an enjoyable day exploring La Rochelle is to take a stroll to La Guignette. Well known by the locals and even beyond, this wine cellar is an institution here. Housed in a blacksmith’s old workshops, La Guignette embodies such traditional places, where the decor reflects life in the district over the last decades. The speciality of the house is an aromatic wine-based fruit drink: the green one is apple, the red is made from red berries and the yellow one is citrus fruit.

The ‘France I’ at the Maritime Museum is now a bar and restaurant.

Few visitors discover one of the locals’ favourite bars. Head to the Maritime Museum, and next to it is the ‘France I’, a former meteorological ship. It’s now a bar and restaurant, and a great place for an aperitif and simple snack, such as a seafood platter, or the inevitable oysters. You can relax and enjoy the sunset from the timber deck, and pretend you’re about to cast off!

Francofolies annual Music Festival at La Rochelle

If you find yourself in La Rochelle during July, you’ll encounter the annual Francofolies. Founded in 1985, this is a huge 5 day music festival, and aims at promoting French-language music, featuring both up-and-coming musicians as well as established artists, and sometimes a non-French guest—this year, Sting will appear. Around 100 concerts are programmed each year on several stages spread through the city, and one of the main venues is at the foot of the Towers. This festival attracts hundreds of thousands of visitors, so booking accommodation could be problematic. This year, 2024, the dates are Wednesday 10 to Sunday 14 July.

La Rochelle has two outstanding museums. The museum of Art and History of La Rochelle has brought together the Museum of the New World and the Museum of Fine Arts. The city was one of the major trading ports and emigration points to the New World, and it was the last sight thousands of emigrants saw before setting sail for the Americas and the Antilles. The Museum of the New World explores the relationship between France and the Americas, and its collection includes paintings, sculpture, ancient maps and decorative arts as well as 18^th century French furniture and rare American colonial furniture.

To discover the coast of La Rochelle, take a boat ride to Fort Boyard or go island hopping over to Ile de Ré, Ile d’Oleron and Ile d’Aix. Two hour, half day or full day trips are offered, and they leave from the Vieux Port, Cours des Dames or the Esplanade Saint Jean d’Acre. Pop into the Tourist Bureau for information.

The beautiful port of La Rochelle on the Atlantic coast is a very rewarding destination, with much to offer the visitor, with a vibrant maritime history, charming old port, Europe’s largest marina for pleasure boats, rich architectural heritage, cobbled streets, lively atmosphere and fantastic gastronomy. The city is often referred to as La Ville Blanche, due to its luminescent white limestone buildings, that for many visitors, makes it the most attractive resort town in the country.