Deep in the heart of Paris, under the Gare de l’Est exists a perfectly preserved relic from WWII. Tucked away behind a secret hatch on the platform rests a WWII bunker completely undisturbed by time and modernization. A set of tunnels was built under the train station to help transport luggage, but when the war began, it was transformed into a safe haven. The bunker was initially created by the French government but was unfinished before the German military took over France and occupied Paris in 1940. Both the French and German government had wanted to keep the trains at this station running because there are tracks that lead into Germany.
Within the solid concrete walls and armored door are the remains of equipment and furniture used during WWII as protection from a gas attack. Although, during WWII, gases were used less than during WWI and instead were replaced with air raid attacks. Historians do not believe the bunker could have survived an air raid attack, but thankfully these were not common in Paris. All of the machines and equipment are in perfect working condition and appear to be “new” from 1939.
As you first enter the double door that is armored against bullets and gas attacks, the cool 59°F air surrounds you. As you travel deeper into the bunker, you will find regulation rooms complete with desks and chairs, telephones, and timetables for 1930’s trains. There are not any food or dormitory spaces because the bunker was only meant to be utilized for 10 hours at a time. You can find control rooms and an engine room as well. There are a few bicycles connected to equipment, which were intended to be used to operate the air filtration system in the bunker if the electricity went out. Along the walls are some German inscriptions and bilingual plans, which is evidence of the German occupation and usage. Marie-Noëlle Polivo writes, « …chaque cheminot français avait derrière lui un homologue allemand. » In English, “[…each French railway worker had a German counterpart behind him.]”
While there were other bunkers under train stations throughout Paris, most have been destroyed and dismantled. SNCF, the French national railway company, has promised to preserve this bunker however, only opening it during Heritage days and for other important events. Only 10 people are allowed in the bunker at one time and tickets sell out within minutes every year, as only around 220 people can go down inside the bunker each year. The tour guides worked hard with SNCF during 2019 to create tours that allow people to explore the bunker with virtual reality headsets.
References
https://www.neverends.net/le-bunker-sous-la-gare-de-lest/#prettyPhoto
https://www.atlasobscura.com/places/wwii-bunker-under-gare-de-l-est
The most macabre tourist attraction in Paris, the Catacombs, was initially a very practical solution to a serious 18th century sanitation problem. Cemeteries in Paris were overfull, so the remains needed to be moved to a separate, safer location underground. The skeletons were taken from many cemeteries around Paris, but primarily from les Saintes-Innocents, a very popular burial location for Parisians from the 12th to the 18th century.
This massive architectural wonder hides many secrets within its walls. Located in the Fifth Arondissement, the Mosque is constructed in the Moorish style, as seen by its arches, courtyards, intricate tiling, and lush gardens. The towering minaret reminds onlookers that the Parisian skyline boasts more than cathedral spires and the Eiffel tower. While impressive from the exterior, the true beauty of this structure lies within. The interior is linked by open-air courtyards surrounding a botanical garden and a bubbling fountain. La Grande Mosquée de Paris offers something for everyone: a school, library, restaurant, tearoom, prayer room, and bathhouse are all found within its walls. However, the Mosque’s worth extends beyond its physical features.
In the 12th arrondissement of Paris exists a colorful and refreshing line of English styled cottages. This line of 35 residential and private houses is located on the famous Rue Crémieux; named after Jewish lawyer and advocate for human rights, Adolphe Crémieux. Avid users of social media are very familiar with this pastel painted street as it is known as, “Instagram’s most favorite street”. With one search, #RueCremieux will locate 31,000 images that have this hashtag. Proof, this enchanting stretch of houses has captured the attention of many and has served as the perfect backdrop for an Instagram post.
Nearly every tourist in Paris plans to visit the Louvre. The Louvre is seen as one of the quintessential French experiences, even though most of the art pieces it contains hail from other nations. Yet, when approaching the Louvre, tourists seem to be focused solely on the looming glass pyramid over the neatly cut treetops of the Jardin des Tuileries, completely missing the structure to their left. This imposing yet unassuming wing of the Louvre Palace houses le Musée des Arts Décoratifs, or MAD, one of the premier museums of Paris. The Musée des Arts Décoratifs is itself historical. Opening on May 29th, 1905, MAD has seen two World Wars, the end of the Cold War, and the establishment of the European Union by the time it was renovated between 1996 to 2006.
Tucked between white marble works of centuries past in the Louvre’s Cour Puget resides Jean Michel Othoniel’s La Rose du Louvre, a painting series that only just recently made its way into the historic halls of the Louvre’s permanent collection, in October 2019. Othoniel’s work was commissioned to celebrate the 30th anniversary of the Chinese-American architect I.M. Pei’s Pyramid that stands at the entrance to the museum.
The old master Peter Paul Rubens served as Othoniel’s inspiration for the flower that he hoped would become a symbol of the heart of French artistic tradition. Rubens’ work Wedding of Marie de’ Medici to Henri IV provided the very floral motifs on which La Rose du Louvre is based. The abstract representation of a rose seen in each panel carries a dual symbolism for Othoniel. Floral imagery is often packed with symbolic potential, and Othoniel’s project taps into this meaning in an effort to illuminate the subtleties that flowers have to offer. The choice of the rose shows intentionality, as Othoniel associates “la reine des fleurs” with “le roi des musées.” Symbolic of the Louvre’s position of cultural power and explanatory of some of the stories held within the museum’s vast corners, La Rose du Louvre took very little time to transition between its first presentation on May 25, 2019 and its permanent induction some five months later. Visually, the work is also at home, as its black ink on gold leaf creates a pleasing aesthetic as the work is flanked by its sculptural neighbors. Othoniel expounded on the symbolism of flowers inherent in La Rose du Louvre with his accompanying text Herbier Merveilleux, or The Secret Language of Flowers. Owing to Othoniel’s artistic dedication to floral forms as well as the familiarity he gained with the Louvre while working as warden, the text is a guide to the intricate meanings found within the flowers of the Louvre.
Villa Léandre Road, located in Paris’ 18th arrondissement, sits amidst the bustling hilltop attraction that is Montmartre. Villa Léandre is a relic of the past, as is exemplified by the homey air that its Art Deco style maintains. Renamed in 1936 after the comedian Charles Léandre, the street embodies a bygone era, the Paris of 100 years past. Though Paris and even Montmartre itself have continued to urbanize, Villa Léandre has stayed true to the style of arts décoratifs that originated in France and developed during the 1920’s.
Today, Nicolas Flamel may be best known as the supposedly immortal philosopher who plays a key role in the Harry Potter franchise. In real life, his house at 51 rue de Montmorency – la maison de Nicolas Flamel – has gained an immortality of its own as the oldest still-standing house in Paris.
Taking its name from the powerful Medici family of Florence, Italy, la fontaine Médicis is a hidden gem nestled in the popular Luxembourg gardens in Paris. Marie de Medici (1575 – 1642), who was the widow of King Henri IV of France, found herself weary of living in the Louvre after her husband’s death. She decided to have her own palace, Palais des Médicis, constructed (~1623 – 30) on the left bank of the Seine. Feeling nostalgic for the style of the Palazzo Pitti and Boboli Gardens in her hometown of Florence, she commissioned both her palace and its surrounding gardens to be modeled on this same Italian Renaissance style.
However, much of the original design has been changed or replaced in a number of reconstructions over the years. These include the change in form from grotto to fountain along with other modifications in 1799 by the celebrated Jean Chalgrin (1739 – 1811), architect of the Arc de Triomphe. The most notable changes took place later, between 1864 – 66, when the fountain was moved about 30 meters to its current location in the Luxembourg gardens due to the construction of la rue Médicis. There, the fountain was extensively rebuilt into the version we see today. This final construction was based on the designs of Alphonse de Gisors (1796 – 1861), with sculptures by Auguste Ottin (1811 – 90), and contains a number of decorative elements.
include a central niche featuring Ottin’s statue of Acis holding Galatea, the two lying together under a rock on top of which is perched Polyphemus, ready to launch the stone fated to kill his rival*. The side niches are decorated with a statue of a faun (probably Pan) and a huntress (probably Diana). Because the fountain no longer had a “back” once it was moved to its current location, a large bas-relief by Achille Valois (1785 – 1862), featuring Leda with Jupiter transformed into a swan**, was moved from another salvaged fountain (originally at the intersection of the rue du Regard and the rue de Vaugirard) and placed on the new back wall for the Medici fountain.