Guidebook for Lyon

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Musée des Beaux-Arts de Lyon

The Museum of Fine Arts is one of the largest and leading French and European museums thanks to the wealth and impact of its collections and exhibitions. Located in the heart of Lyon, between the Rhône and Saône rivers, it is found in a magnificent building dating from the 17th century. It gathers Greek and Roman antiquities or Oriental, particularly Egyptian, a medallion and collections of paintings, sculptures and decorative arts, which make it, after the Louvre, the most important of the provincial museums. Origin One of the oldest monasteries in Gaul From its foundation around the 6th century to its total reconstruction in the 17th, the abbey underwent many transformations. In former times, the churches of St. Saturnin and St. Pierre were located next to the service quarters and houses of wealthy nuns inside an enclosed area. Because of its wealth and privileges, this monastery was always regarded as being the most important one in the city. The Royal Abbey of the Sisters of St. Pierre In 1659, under Louis XIV, the abbess Anne de Chaulnes obtained the necessary funds to construct the Royal Abbey. Royers de la Valfenière, an architect from Avignon, designed an imposing, Italian-inspired building composed of four wings around a cloister. Work was finished in 1685 under the direction of the abbess Antoinette de Chaulnes, Anne's sister. Until 1792, the buildings belonged to the royal abbey des Dames de Saint-Pierre, built in the 17th century. Around thirty nuns, who were mostly of high aristocratic descent, lived there under the authority of the abbess. The abbess always came from the high French nobility and here received the personalities of the kingdom. In 1730, the abbey was home to some sixty Benedictine nuns, and thirty-two were living there in 1792, when they were expelled. Decorated with beautiful pink marble columns, the private prayer chapel remains as a vestige of their living quarters. The institution had a particularly aristocratic slant, as is shown by its renovation by Louis XIV of France in the 17th and 18th centuries. The present state of the Palace of Saint-Pierre is largely down to these renovations, which included the construction of the baroque refectory and monumental honour-staircase, said to be by Thomas Blanchet. The refectory has been renovated since then and now serves as the reception for group visits, as well as housing two monumental paintings on the subject of dining, The Multiplication of the Loaves and The Last Supper, both by Pierre-Louis Cretey. The rest of its current scheme was designed by Nicolas Bidaut and Simon Guillaume and is made up of sculptures. It now houses the Greek vase collection. In the 18th century, the abbey was among the wealthiest in France, in particular because of revenue obtained from store rentals on the ground level. The Palais du commerce et des Arts The expulsion of the nuns and the destruction of the église Saint-Saturnin date to the French Revolution, though the abbey's other church (the église Saint-Pierre) still exists and now houses 19th and 20th century sculptures. After the Revolution the remaining buildings housed the Palais du Commerce et des Arts, at first made up of works confiscated from the clergy and nobility but later becoming more multi-disciplinary. For example, it gained archaeology and natural history collections and those of the Académie des Sciences et des Lettres. The imperial drawing school was created in 1805 in the Palais du Commerce et des Arts to provide Lyon's silk factories with designers. It gave birth to the famous Lyon School. In 1860, the Chambre de Commerce left the Saint-Pierre and the establishment became the Palace of Arts. From 1875, the museum's collections underwent a major expansion and had to be expanded - the staircase by Pierre Puvis de Chavannes dates to this era. The Musée des Beaux-Arts Creation of the museum Thanks to its proximity to the Lyon city hall, the abbey was not sold or destroyed during the French Revolution, while Terror was prevailing. In 1792, as the nuns left the convent, the Municipal Council designated the building as a place to conserve medals, bronzes and other artistic monuments. In the year IX (1801), the Chaptal decree to establish painting collections in fifteen French cities enabled the founding of the Lyon Museum of Fine Art. The institution also fulfilled local aspirations, such as recalling the city's prestigious Roman past and furnishing models for the silk industry, which was in crisis at that time. In 1803, Napoleon decided to turn it into a museum. Louvre Museum sent a total of 110 paintings (including The Adoration of the Magi by P.P. Rubens, The Circumcision by Le Guerchin and Discovery of the Relics of St. Gervais and St. Protais by Philippe de Champaigne). During the 19th century, the building was home to different institutions. The museums of painting, epigraphy, archeology and natural history shared the structure with the School of Fine Arts, the Municipal Library (Arts and Sciences section) and learned societies. Since then, the “Musée Saint-Pierre” (Saint-Peter’s Museum) has been generally considered the most impressive of Lyon’s museums. The magnificent Palace rooms house paintings and sculptures dating from the 15th century to modern times. Many famous French and European artists are represented: Veronese, El Greco, David, Delacroix, Renoir, Gauguin, etc. A specific section is dedicated to ancient Egyptian, Greek and Roman art. The second largest medal collection in France The Museum of Fine Arts of Lyon may house over 8000 antiquities, the big boaster being Egypt with its sarcophaguses and gates of Ptolemy, it may be home to 2500 mind-blowing painters – Picasso, Pérugin, Véronèse, Rubens, Géricault, Delacroix, Monet, Gauguin, Manet, Picasso or Matisse -, 8000 works on paper, and 1300 sculptures, but the museum also has (drum-roll) the second largest collection of coins, medals and seals in the whole of France. This 50000–strong collection began back in the 19th century and was topped up by recent discoveries of the Terreaux and Celestins treasures. The start of the 20th century was marked by a considerable opening-up of the collections, leading to the Palace of Arts becoming the Museum of Fine Arts. After several restoration projects, it was in the mid-1990s that the building acquired its present scheme. The Museum in the XIXth Century The First Years, 1803-1830 From 1803 on, visitors could inspect the first paintings sent by the French state every Wednesday from ten a.m. to one p.m. New deposits (The Assumption of the Virgin by G. Reni, Bathsheba Bathing by Veronese) and purchases (St. Francis by F. Zurbaran, Fruits and Flowers in a Wicker Basket by A. Berjon) helped to build a true museum of fine art that was inaugurated by the Count of Artois on September 20, 1814. The Cabinet of Antiques contained older collections and acquisitions (Greek Kore statue). In the cloister gallery, inscriptions and sculpted fragments make up the lapidary museum. The Palace of Arts 1830-1875 In 1834, the architect R. Dardel (1796-1871) enhanced the museum. In the restructured areas, he added a sumptuous décor, which is currently present only in the Medal Room (formerly the room for modern marbles). In the middle of the century, the development of the Lyon school of painting and new deposits from the French state enriched the collections (Last Words of the Emperor Marcus Aurelius by E. Delacroix, Odalisque by J. Pradier, Dante and Virgil by H. Flandrin, who was a painter from Lyon). The Golden Age, 1875-1900 During this period, the architect A. Hirsch (1828-1913) began extensive work on the building, garden and cloister. His most spectacular undertaking was the restructuring of the south wing to present the large preparatory drawings for the décor of the Pantheon in Paris by P. Chenavard (The Philosophy of History). In 1881, decoration of the monumental staircase was assigned to P. Puvis de Chavannes from Lyon (The Sacred Woods, Dear to Art and the Muses). In the east wing, from 1876 to 1891, the J. Bernard Museum presented some three hundred paintings which had been donated by the former mayor of the La Guillotière district of Lyon to the city. An ambitious acquisition policy marks this period. Museum curators purchased at large sales and from antiques dealers in Paris, Rome, Florence and other cities. They bought primarily Greek and Roman art (Mirror with a Greek Stand), works from the Middle Ages and Renaissance (sculpted group of The Announcement to Mary), Islamic art and 19th century paintings. The Turn of the Century At the beginning of the 20th century, the museum was a precursor in acquiring Impressionist paintings (Café-Concert at Les Ambassadeurs by E. Degas, Nave Nave Mahana by P. Gaugin), which was unique for museums outside of Paris. As a reward for its daring choices, the museum obtained works of established artists such as J. Chinard (Juliette Récamier), Theodore Géricault (Portrait of a Woman Suffering from Obsessive Envy) and A. Rodin; the museum acquired five of his sculptures (including The Temptation of St. Anthony). Between the Wars The collections opened up a world of art to public viewing, ranging from the Far East to modern decorative arts. During this period, many of the institutions and collections left the St. Pierre Palace. These included the Museum of Natural History in 1914 and the School of Fine Arts in 1935. In 1921, works related to the history of Lyon were transferred to the new Gadagne Museum. The deconsecrated church exhibited sculptures from the 19th and 20th centuries. Large Exhibits After World War II, retrospectives focusing on modern artists such as Picasso or Matisse were the source of many major acquisitions (Portrait of an Athlete by M. Larionov). Museum resources were also enriched from bequests (Guimard Bedroom). At the end of the sixties, the departure of French antiquities for the new Museum of Gallo-Roman Civilization and the transfer of the Egyptian Gallery to the Guimet Museum of Lyon represented major upheavals for the collections. More recently, the Museum of Contemporary Art was removed from the New Saint-Pierre wing (built in 1860 by the architect T. Desjardins). The Latest Renovation, 1990-1998 In 1989, debate on the Museum's missions led to a vast renovation project (The City of Lyon and the French State in the Context of the Major Renovation Mission). The curator, Philippe Durey, and the architects P.C. Dubois and J.M. Wilmotte undertook a complete remodeling of the building. Work was carried out in five phases, from 1990 to 1998, in order to keep the building open to the public. There are 14,500 square meters of surface area. The Lyon Museum of Fine Arts groups the Saint-Pierre Palace, the church and the New Saint-Pierre wing. In 1997, the prestigious collection of J. Delubac (Woman Seated on the Beach by P. Picasso) considerably enriched Museum resources.

864 persone del luogo consigliano

Musée des Beaux-Arts de Lyon

20 Pl. des Terreaux

864 persone del luogo consigliano

The Museum of Fine Arts is one of the largest and leading French and European museums thanks to the wealth and impact of its collections and exhibitions. Located in the heart of Lyon, between the Rhône and Saône rivers, it is found in a magnificent building dating from the 17th century. It gathers Greek and Roman antiquities or Oriental, particularly Egyptian, a medallion and collections of paintings, sculptures and decorative arts, which make it, after the Louvre, the most important of the provincial museums. Origin One of the oldest monasteries in Gaul From its foundation around the 6th century to its total reconstruction in the 17th, the abbey underwent many transformations. In former times, the churches of St. Saturnin and St. Pierre were located next to the service quarters and houses of wealthy nuns inside an enclosed area. Because of its wealth and privileges, this monastery was always regarded as being the most important one in the city. The Royal Abbey of the Sisters of St. Pierre In 1659, under Louis XIV, the abbess Anne de Chaulnes obtained the necessary funds to construct the Royal Abbey. Royers de la Valfenière, an architect from Avignon, designed an imposing, Italian-inspired building composed of four wings around a cloister. Work was finished in 1685 under the direction of the abbess Antoinette de Chaulnes, Anne's sister. Until 1792, the buildings belonged to the royal abbey des Dames de Saint-Pierre, built in the 17th century. Around thirty nuns, who were mostly of high aristocratic descent, lived there under the authority of the abbess. The abbess always came from the high French nobility and here received the personalities of the kingdom. In 1730, the abbey was home to some sixty Benedictine nuns, and thirty-two were living there in 1792, when they were expelled. Decorated with beautiful pink marble columns, the private prayer chapel remains as a vestige of their living quarters. The institution had a particularly aristocratic slant, as is shown by its renovation by Louis XIV of France in the 17th and 18th centuries. The present state of the Palace of Saint-Pierre is largely down to these renovations, which included the construction of the baroque refectory and monumental honour-staircase, said to be by Thomas Blanchet. The refectory has been renovated since then and now serves as the reception for group visits, as well as housing two monumental paintings on the subject of dining, The Multiplication of the Loaves and The Last Supper, both by Pierre-Louis Cretey. The rest of its current scheme was designed by Nicolas Bidaut and Simon Guillaume and is made up of sculptures. It now houses the Greek vase collection. In the 18th century, the abbey was among the wealthiest in France, in particular because of revenue obtained from store rentals on the ground level. The Palais du commerce et des Arts The expulsion of the nuns and the destruction of the église Saint-Saturnin date to the French Revolution, though the abbey's other church (the église Saint-Pierre) still exists and now houses 19th and 20th century sculptures. After the Revolution the remaining buildings housed the Palais du Commerce et des Arts, at first made up of works confiscated from the clergy and nobility but later becoming more multi-disciplinary. For example, it gained archaeology and natural history collections and those of the Académie des Sciences et des Lettres. The imperial drawing school was created in 1805 in the Palais du Commerce et des Arts to provide Lyon's silk factories with designers. It gave birth to the famous Lyon School. In 1860, the Chambre de Commerce left the Saint-Pierre and the establishment became the Palace of Arts. From 1875, the museum's collections underwent a major expansion and had to be expanded - the staircase by Pierre Puvis de Chavannes dates to this era. The Musée des Beaux-Arts Creation of the museum Thanks to its proximity to the Lyon city hall, the abbey was not sold or destroyed during the French Revolution, while Terror was prevailing. In 1792, as the nuns left the convent, the Municipal Council designated the building as a place to conserve medals, bronzes and other artistic monuments. In the year IX (1801), the Chaptal decree to establish painting collections in fifteen French cities enabled the founding of the Lyon Museum of Fine Art. The institution also fulfilled local aspirations, such as recalling the city's prestigious Roman past and furnishing models for the silk industry, which was in crisis at that time. In 1803, Napoleon decided to turn it into a museum. Louvre Museum sent a total of 110 paintings (including The Adoration of the Magi by P.P. Rubens, The Circumcision by Le Guerchin and Discovery of the Relics of St. Gervais and St. Protais by Philippe de Champaigne). During the 19th century, the building was home to different institutions. The museums of painting, epigraphy, archeology and natural history shared the structure with the School of Fine Arts, the Municipal Library (Arts and Sciences section) and learned societies. Since then, the “Musée Saint-Pierre” (Saint-Peter’s Museum) has been generally considered the most impressive of Lyon’s museums. The magnificent Palace rooms house paintings and sculptures dating from the 15th century to modern times. Many famous French and European artists are represented: Veronese, El Greco, David, Delacroix, Renoir, Gauguin, etc. A specific section is dedicated to ancient Egyptian, Greek and Roman art. The second largest medal collection in France The Museum of Fine Arts of Lyon may house over 8000 antiquities, the big boaster being Egypt with its sarcophaguses and gates of Ptolemy, it may be home to 2500 mind-blowing painters – Picasso, Pérugin, Véronèse, Rubens, Géricault, Delacroix, Monet, Gauguin, Manet, Picasso or Matisse -, 8000 works on paper, and 1300 sculptures, but the museum also has (drum-roll) the second largest collection of coins, medals and seals in the whole of France. This 50000–strong collection began back in the 19th century and was topped up by recent discoveries of the Terreaux and Celestins treasures. The start of the 20th century was marked by a considerable opening-up of the collections, leading to the Palace of Arts becoming the Museum of Fine Arts. After several restoration projects, it was in the mid-1990s that the building acquired its present scheme. The Museum in the XIXth Century The First Years, 1803-1830 From 1803 on, visitors could inspect the first paintings sent by the French state every Wednesday from ten a.m. to one p.m. New deposits (The Assumption of the Virgin by G. Reni, Bathsheba Bathing by Veronese) and purchases (St. Francis by F. Zurbaran, Fruits and Flowers in a Wicker Basket by A. Berjon) helped to build a true museum of fine art that was inaugurated by the Count of Artois on September 20, 1814. The Cabinet of Antiques contained older collections and acquisitions (Greek Kore statue). In the cloister gallery, inscriptions and sculpted fragments make up the lapidary museum. The Palace of Arts 1830-1875 In 1834, the architect R. Dardel (1796-1871) enhanced the museum. In the restructured areas, he added a sumptuous décor, which is currently present only in the Medal Room (formerly the room for modern marbles). In the middle of the century, the development of the Lyon school of painting and new deposits from the French state enriched the collections (Last Words of the Emperor Marcus Aurelius by E. Delacroix, Odalisque by J. Pradier, Dante and Virgil by H. Flandrin, who was a painter from Lyon). The Golden Age, 1875-1900 During this period, the architect A. Hirsch (1828-1913) began extensive work on the building, garden and cloister. His most spectacular undertaking was the restructuring of the south wing to present the large preparatory drawings for the décor of the Pantheon in Paris by P. Chenavard (The Philosophy of History). In 1881, decoration of the monumental staircase was assigned to P. Puvis de Chavannes from Lyon (The Sacred Woods, Dear to Art and the Muses). In the east wing, from 1876 to 1891, the J. Bernard Museum presented some three hundred paintings which had been donated by the former mayor of the La Guillotière district of Lyon to the city. An ambitious acquisition policy marks this period. Museum curators purchased at large sales and from antiques dealers in Paris, Rome, Florence and other cities. They bought primarily Greek and Roman art (Mirror with a Greek Stand), works from the Middle Ages and Renaissance (sculpted group of The Announcement to Mary), Islamic art and 19th century paintings. The Turn of the Century At the beginning of the 20th century, the museum was a precursor in acquiring Impressionist paintings (Café-Concert at Les Ambassadeurs by E. Degas, Nave Nave Mahana by P. Gaugin), which was unique for museums outside of Paris. As a reward for its daring choices, the museum obtained works of established artists such as J. Chinard (Juliette Récamier), Theodore Géricault (Portrait of a Woman Suffering from Obsessive Envy) and A. Rodin; the museum acquired five of his sculptures (including The Temptation of St. Anthony). Between the Wars The collections opened up a world of art to public viewing, ranging from the Far East to modern decorative arts. During this period, many of the institutions and collections left the St. Pierre Palace. These included the Museum of Natural History in 1914 and the School of Fine Arts in 1935. In 1921, works related to the history of Lyon were transferred to the new Gadagne Museum. The deconsecrated church exhibited sculptures from the 19th and 20th centuries. Large Exhibits After World War II, retrospectives focusing on modern artists such as Picasso or Matisse were the source of many major acquisitions (Portrait of an Athlete by M. Larionov). Museum resources were also enriched from bequests (Guimard Bedroom). At the end of the sixties, the departure of French antiquities for the new Museum of Gallo-Roman Civilization and the transfer of the Egyptian Gallery to the Guimet Museum of Lyon represented major upheavals for the collections. More recently, the Museum of Contemporary Art was removed from the New Saint-Pierre wing (built in 1860 by the architect T. Desjardins). The Latest Renovation, 1990-1998 In 1989, debate on the Museum's missions led to a vast renovation project (The City of Lyon and the French State in the Context of the Major Renovation Mission). The curator, Philippe Durey, and the architects P.C. Dubois and J.M. Wilmotte undertook a complete remodeling of the building. Work was carried out in five phases, from 1990 to 1998, in order to keep the building open to the public. There are 14,500 square meters of surface area. The Lyon Museum of Fine Arts groups the Saint-Pierre Palace, the church and the New Saint-Pierre wing. In 1997, the prestigious collection of J. Delubac (Woman Seated on the Beach by P. Picasso) considerably enriched Museum resources.

Traboules Trail

From the Croix-Rousse area to Place des Terreaux, it is possible to follow the paths or traboules of 19th century canuts. Traboules are a type of passageway primarily associated with the city of Lyon, France, but also located in the French cities of Villefranche-sur-Saône, Mâcon, Saint-Étienne, along with a few in Chambéry. The word ‘traboules’ is a corruption of the Latin ‘trans-ambulare’, or ‘to pass through’, dating back to the 4th century, allowing folk more direct access to the town’s fresh water source than the winding streets provided. In Lyon, they were originally used by silk manufacturers and other merchants to transport their products. These passageways are full of the eventful history of the 19th century silk industry, from the Revolution to the subsequent industrial period. Every traboule is different though. Each has a unique pastel colour, a particular curve or spiral staircase, vaulted ceilings or Renaissance arches. Some have counted as many as 400 traboules in Lyon, but just over 40 are open to the public, each clearly marked with a small identifying seal. It’s the atmospheric Vieux Lyon and the arty Croix Rousse. The first examples of traboules are thought to have been built in Lyon in the 4th century. Lacking water, the inhabitants moved to the banks of the Saône (in the 'lower town', at the foot of the Fourvière hill). The traboules thus allowed them to get from their homes to the river quickly and allowed the canuts on the La Croix-Rousse hill to get quickly from their workshops to the textile merchants at the foot of the hill. Thus the traboules of Lyon are located primarily in the 'old city' (5th arrondissement) and the Croix Rousse (1st and 4th arrondissements) and are often credited with helping prevent the occupying Germans from taking complete control of these areas during World War II. The "Traboule de la cour des Voraces" ("Traboule of the Voracious Court") is the most famous, located in the Croix-Rousse quarter. It is one of the landmarks of the Canut Revolts and it is also the oldest reinforced concrete stairwell in Lyon. It is possible to discover more about the universe of the canuts, who were mainly in the area of Croix-Rousse in Lyon in the nineteenth century, through the following places and visits: •The wall of canuts •Visiting aweaving workshop by pushing the door of the old workshop of the Ressicaud family, a family setting of the 19th century (kitchen andloft). •The visit of “La Maisondes Canuts” with the history of the silk in Lyon and the life of silkworms. •Walking down the hill of the Croix Rousse by the famous “Traboules” in the footsteps of silk workers. The Traboules passageways allow people to enter the world of silk. In the 19th century 30,000 silk weavers lived in the hill of the Croix-Rousse. Croix-Rousse’s past is linked to the history of the silk weavers of Lyon and the inhabitants of this famous hill located between the Saône and Rhône rivers. From the Plateau it is possible to reach the Place des Terreaux through the winding hills, around the famous Traboules or going down the stairs that characterise the Old Town of the Croix-Rousse. These shortcuts, in the form of internal passage, allow to communicate from a street to the other one by crossing one or several buildings. Besides their picturesque aspect, they conceal architectural curiosities and often miracles. In large numbers on the slopes of the Croix-Rousse, they were mainly used to bring back the silk traders down the hill without exposing them to the elements. They sheltered the secret comings and goings of Canuts during their great revolt in 1831 and Resistants of Lyon during the 2nd World War. The main alleyways are: - 9 place Colbert at 14a St Sebastian and climbing at 29 rue Imbert Colomès: the "Court of Voracious " or " House of the Republic" (place Colbert ) whose name comes from a group of the silk weavers (Canuts) which were very active especially revolutionary in 1848. Monumental six-story facades of stairs. - from 20 rue Imbert Colomès to 55 rue des Tables Claudiennes - from 30 rue Burdeau to 19 rue René Leynaud (passage Thiaffait) - from 6 rue René Leynaud to 3 rue des Capucins - from 6 rue des Capucins to rue Ste Marie des Terreaux - from 2-4 rue Ste Catherine to 21 rue d'Algérie The Croix-Rousse prolongs the Peninsula to the north between the Saône and the Rhône and is composed of two distinctive quarters: the slopes and the plateau of the hill. According to literature, ths hill owes its name to a cross built in 1560 out of a yellow-purple stone from Couzon known at the time as 'pierre rousse'. Today, Croix-Rousse is a mixture of two vibrant quarters: a village atmosphere on the plateau, night-life and an atmosphere of festivity on the slopes. Some history In spite of the Roman ruins, and up until the XV century, little historical data has been available. The Croix-Rousse territory really came into being at the Renaissance. From 1512 Louis XII initiated the building of ramparts in the extreme southern end of the plateau where the slopes start. The triangles formed by these fortifications are still visible today and have shaped the topography of the roads and squares. Between the XVII and XVIII centuries, agricultural activities (vegetables and livestock) took up most of the area but slowly trade took up more space on the Grande Rue and in the Serin quarter. Most of the first houses were built during the second half of the XVIII century: in 1795 there were 5,995 inhabitants. After the Revolution, from 1793 to 1852, the Croix-Rousse witnessed some very agitated moments before becoming part of the economic and political sphere of Lyon. This was a time of major building work and social unrest. During the Restoration, from 1818 onwards, the silk industry and the large Jacquard looms transformed the economy. The silk-workers, mainly installed at Saint-Georges or on the Peninsula, migrated to the Croix-Rousse which became 'the hill that works’ in contrast to Fourvière 'the hill that prays’. On this widely available land, buildings were constructed for the silk trade and new roads were laid; the number of inhabitants consequently jumped to 28,610 in 1852. One cannot talk about the history of the Croix-Rousse without mentioning the Canut Revolt. In 1831, at a weak point in the textile industry, the workers demanded their salaries, which were constantly being cut, to be maintained. The Croix-Rousse weavers’ revolt, joined by weavers from the Brotteaux and the Guillotière districts, occurred from 21 to 24 November and was severely reprimanded. Another insurrection happened in April 1834, then another in 1848 called "des Voraces". Between 1852 and 1871, the Croix-Rousse became part of Lyons and could take advantage of its municipal services: hospitals, the funicular tram in 1863, railway lines in the north, distribution of water and lighting, schools.

13 persone del luogo consigliano

Traboules Trail

13 persone del luogo consigliano

From the Croix-Rousse area to Place des Terreaux, it is possible to follow the paths or traboules of 19th century canuts. Traboules are a type of passageway primarily associated with the city of Lyon, France, but also located in the French cities of Villefranche-sur-Saône, Mâcon, Saint-Étienne, along with a few in Chambéry. The word ‘traboules’ is a corruption of the Latin ‘trans-ambulare’, or ‘to pass through’, dating back to the 4th century, allowing folk more direct access to the town’s fresh water source than the winding streets provided. In Lyon, they were originally used by silk manufacturers and other merchants to transport their products. These passageways are full of the eventful history of the 19th century silk industry, from the Revolution to the subsequent industrial period. Every traboule is different though. Each has a unique pastel colour, a particular curve or spiral staircase, vaulted ceilings or Renaissance arches. Some have counted as many as 400 traboules in Lyon, but just over 40 are open to the public, each clearly marked with a small identifying seal. It’s the atmospheric Vieux Lyon and the arty Croix Rousse. The first examples of traboules are thought to have been built in Lyon in the 4th century. Lacking water, the inhabitants moved to the banks of the Saône (in the 'lower town', at the foot of the Fourvière hill). The traboules thus allowed them to get from their homes to the river quickly and allowed the canuts on the La Croix-Rousse hill to get quickly from their workshops to the textile merchants at the foot of the hill. Thus the traboules of Lyon are located primarily in the 'old city' (5th arrondissement) and the Croix Rousse (1st and 4th arrondissements) and are often credited with helping prevent the occupying Germans from taking complete control of these areas during World War II. The "Traboule de la cour des Voraces" ("Traboule of the Voracious Court") is the most famous, located in the Croix-Rousse quarter. It is one of the landmarks of the Canut Revolts and it is also the oldest reinforced concrete stairwell in Lyon. It is possible to discover more about the universe of the canuts, who were mainly in the area of Croix-Rousse in Lyon in the nineteenth century, through the following places and visits: •The wall of canuts •Visiting aweaving workshop by pushing the door of the old workshop of the Ressicaud family, a family setting of the 19th century (kitchen andloft). •The visit of “La Maisondes Canuts” with the history of the silk in Lyon and the life of silkworms. •Walking down the hill of the Croix Rousse by the famous “Traboules” in the footsteps of silk workers. The Traboules passageways allow people to enter the world of silk. In the 19th century 30,000 silk weavers lived in the hill of the Croix-Rousse. Croix-Rousse’s past is linked to the history of the silk weavers of Lyon and the inhabitants of this famous hill located between the Saône and Rhône rivers. From the Plateau it is possible to reach the Place des Terreaux through the winding hills, around the famous Traboules or going down the stairs that characterise the Old Town of the Croix-Rousse. These shortcuts, in the form of internal passage, allow to communicate from a street to the other one by crossing one or several buildings. Besides their picturesque aspect, they conceal architectural curiosities and often miracles. In large numbers on the slopes of the Croix-Rousse, they were mainly used to bring back the silk traders down the hill without exposing them to the elements. They sheltered the secret comings and goings of Canuts during their great revolt in 1831 and Resistants of Lyon during the 2nd World War. The main alleyways are: - 9 place Colbert at 14a St Sebastian and climbing at 29 rue Imbert Colomès: the "Court of Voracious " or " House of the Republic" (place Colbert ) whose name comes from a group of the silk weavers (Canuts) which were very active especially revolutionary in 1848. Monumental six-story facades of stairs. - from 20 rue Imbert Colomès to 55 rue des Tables Claudiennes - from 30 rue Burdeau to 19 rue René Leynaud (passage Thiaffait) - from 6 rue René Leynaud to 3 rue des Capucins - from 6 rue des Capucins to rue Ste Marie des Terreaux - from 2-4 rue Ste Catherine to 21 rue d'Algérie The Croix-Rousse prolongs the Peninsula to the north between the Saône and the Rhône and is composed of two distinctive quarters: the slopes and the plateau of the hill. According to literature, ths hill owes its name to a cross built in 1560 out of a yellow-purple stone from Couzon known at the time as 'pierre rousse'. Today, Croix-Rousse is a mixture of two vibrant quarters: a village atmosphere on the plateau, night-life and an atmosphere of festivity on the slopes. Some history In spite of the Roman ruins, and up until the XV century, little historical data has been available. The Croix-Rousse territory really came into being at the Renaissance. From 1512 Louis XII initiated the building of ramparts in the extreme southern end of the plateau where the slopes start. The triangles formed by these fortifications are still visible today and have shaped the topography of the roads and squares. Between the XVII and XVIII centuries, agricultural activities (vegetables and livestock) took up most of the area but slowly trade took up more space on the Grande Rue and in the Serin quarter. Most of the first houses were built during the second half of the XVIII century: in 1795 there were 5,995 inhabitants. After the Revolution, from 1793 to 1852, the Croix-Rousse witnessed some very agitated moments before becoming part of the economic and political sphere of Lyon. This was a time of major building work and social unrest. During the Restoration, from 1818 onwards, the silk industry and the large Jacquard looms transformed the economy. The silk-workers, mainly installed at Saint-Georges or on the Peninsula, migrated to the Croix-Rousse which became 'the hill that works’ in contrast to Fourvière 'the hill that prays’. On this widely available land, buildings were constructed for the silk trade and new roads were laid; the number of inhabitants consequently jumped to 28,610 in 1852. One cannot talk about the history of the Croix-Rousse without mentioning the Canut Revolt. In 1831, at a weak point in the textile industry, the workers demanded their salaries, which were constantly being cut, to be maintained. The Croix-Rousse weavers’ revolt, joined by weavers from the Brotteaux and the Guillotière districts, occurred from 21 to 24 November and was severely reprimanded. Another insurrection happened in April 1834, then another in 1848 called "des Voraces". Between 1852 and 1871, the Croix-Rousse became part of Lyons and could take advantage of its municipal services: hospitals, the funicular tram in 1863, railway lines in the north, distribution of water and lighting, schools.

Opéra Nouvel

The Opera The Opera National de Lyon is a work and a place of art. Offering ballets, operas, theater, it takes an active part in the cultural life of Lyons. Its peristyle becomes a place of urban dances in summer with its terrace that becomes a coffee-jazz. It is located next to the River Rhone a few hundred metres from Place Terreaux and near Rue de République and the Musée des Beaux Arts. It faces the town hall of Lyon “Hotel de Ville. A striking cultural entertainment landmark The Lyon Opera with its exciting and diverse program of events that appeal to all ages and tastes is an impressive space that successfully blends classical and contemporary culture. Free live jazz concerts outdoors in the summer, drinks and food available during shows. History The origins of the Lyon Opera date back to 1756 when Jacques-Germain Soufflot, architect of the Panthéon in Paris, created the first Lyon Opera. Almost a hundred years later it was deemed too small and Antoine-Marie Chenavard and Jean-Marie Pollet built the new Lyon Opera which opened in 1831. Another hundred years later it was transformed by French architect Jean Nouvel, French scenography company Ducks Scéno, and acoustician Frits Peutz. Soufflot, a friend of Cochin, travelled with him to Italy. Facing the Hotel de Ville, its huge stage was surrounding by rooms for the actors and theatre staff, while the audience were provided with a long gallery for promenading, three staircases to the different gallery levels and two cafes. It must have been a sober building, for Soufflot denied himself the use of the classical orders. The auditorium, which was an almost complete oval, had three tiers of galleries and a panelled ceiling. It was in 1754 that the Consulate also awarded Soufflot the project for the Grand Théâtre that Lyon needed on the site of the garden located behind the Hôtel de Ville. The architect was inspired by the theatres in Parma and Milan that he had visited during his Italian escapade. The three continuous balconies of the hall were provided with Italian style loggias, their successive terracing making the top appear wider as a reminder of ancient theatres. The three levels of the low-key façade were topped with a wide cornice and a balustrade, with blocks supporting pairs of small cupids sculpted by Antoine Michel Perrache. His plan was innovative: for the first time in France, a theatre that was completely detached, an oval auditorium in contrast to the normal elongated auditorium and a stage that was slightly inclined towards the audience, fitted with an under floor level for machinery and very high flies! Considered as a fundamental stage in the architecture of theatres, it was the first building to reconcile the practical needs of the theatre with the desire of the audience of 2000…to be seen! It was opened in August 1756, in the presence of Soufflot, who came from Paris for the occasion, and Melchior Munet, who directed the construction. However, Soufflot’s Grand Théâtre was destroyed by a fire in 1826. It was replaced in 1831 on the same site by a theatre built by Antoine-Marie Chenavard and Jean-Marie Pollet. Another hundred years later the city of Lyon decided the building was still not sufficient and using the original 1831 building, a collaboration between distinguished French architect Jean Nouvel and French scenography company Ducks Scéno along with acoustician Frits Peutz resulted in the present form of the Lyon Opera. It became the Opéra de Lyon. The Building The style of the building is essential Italian with a horseshoe-shaped auditorium. The height of the building was effectively doubled by the creation of a striking steel and glass barrel vault which cleverly concealed the theatrical rigging system and provided additional space for the ballet company. It is well considered an architectural tour de force with its use of traditional and modern styles. Making the most of the beautiful outdoor covered terrace at the front of the building, the Opera of Lyon puts on a quality program of jazz beginning every year in June. The concerts are everyday at 7pm, 8:15pm and 10pm and admission is free. The style of the building is essential Italian with a horseshoe-shaped auditorium. The height of the building was effectively doubled by the creation of a striking steel and glass barrel vault which cleverly concealed the theatrical rigging system and provided additional space for the ballet company. It is well considered an architectural tour de force with its use of traditional and modern styles. With its history covering over three centuries, in 1996 the Opéra de Lyon was the first French house to become an “Opéra National”. For this institution, such a label is a sign of recognition: for its innovative and dynamic artistic policy; for its national and international outreach thanks to the artistic quality of its productions, its audio-visual approach and its tours; and for the complete creative pole that it represents – with its Orchestra, Choruses, Ballet, Children’s Choir, Studio, and set and costume workshops.The “Opéra National” convention clinches the agreement and the involvement of public authorities: the State, with the Ministry of Culture, the City of Lyon, the Auvergne-Rhône-Alpes Region and the Metropolis of Lyon. It confirms the main lines that, in 1996, presided over the drafting of the first text. Today, it also salutes the Opéra National de Lyon as a “citizen’s Opera House”, attached to promoting and developing a policy of openness to all audiences, with accessibility and sustainable development. Its identity is fashioned on a daily basis by all the teams of the Opéra National de Lyon, one of the most dynamic and inventive houses in France or Europe. Jean Nouvel’s extremely dramatic architecture stages the audience’s arrival as though in a show. Jean Nouvel renovated the 18th century Opera house, preserving its neo-classical façade and surmounting it with an imposing glass dome. The half-ton dome, that crowns the building, adding several floors, attracts stares every night, like an emblem. In the dark space that absorbs the light, everyone’s attention is at once focused on the essential: music. The Opera house also attract fans of contemporary theater architecture. The lighting of the dome is also a work of art. The facades typical of the 19th century contrast with the modernity brought by Jean Nouvel in the early 90's. The roof is a gigantic glass roof, and the red light varies in intensity depending on the number of people attending evening representations. The National Opera The Lyon Opera has seen many significant world premiers of French operas including Richard Wagner’s Die Meistersinger in 1896 and Arnold Schoenberg’s Erwartung in 1967. The principal conductor of the orchestra since 2008 is Kazushi Ono and two other notable French artists associated with the Opera are stage director Laurent Kelly and soprano Natalie Dessay. The company maintains its own permanent orchestra, choir and ballet. The choir has been conducted since 1995 by Alan Woodbridge. Lyon Opera Ballet The Lyon Opera Ballet include 31 international dancers who, under the direction of Yorgos Loukos, present an exciting postmodern and contemporary repertoire. The idea being to preserve a classical structure directed towards contemporary dance. Le Péristyle Café-Jazz Making the most of the beautiful outdoor covered terrace at the front of the building, the Opera of Lyon puts on a quality program of jazz beginning every year in June. The concerts are everyday at 7pm, 8:15pm and 10pm and admission is free.

83 persone del luogo consigliano

Opéra Nouvel

83 persone del luogo consigliano

The Opera The Opera National de Lyon is a work and a place of art. Offering ballets, operas, theater, it takes an active part in the cultural life of Lyons. Its peristyle becomes a place of urban dances in summer with its terrace that becomes a coffee-jazz. It is located next to the River Rhone a few hundred metres from Place Terreaux and near Rue de République and the Musée des Beaux Arts. It faces the town hall of Lyon “Hotel de Ville. A striking cultural entertainment landmark The Lyon Opera with its exciting and diverse program of events that appeal to all ages and tastes is an impressive space that successfully blends classical and contemporary culture. Free live jazz concerts outdoors in the summer, drinks and food available during shows. History The origins of the Lyon Opera date back to 1756 when Jacques-Germain Soufflot, architect of the Panthéon in Paris, created the first Lyon Opera. Almost a hundred years later it was deemed too small and Antoine-Marie Chenavard and Jean-Marie Pollet built the new Lyon Opera which opened in 1831. Another hundred years later it was transformed by French architect Jean Nouvel, French scenography company Ducks Scéno, and acoustician Frits Peutz. Soufflot, a friend of Cochin, travelled with him to Italy. Facing the Hotel de Ville, its huge stage was surrounding by rooms for the actors and theatre staff, while the audience were provided with a long gallery for promenading, three staircases to the different gallery levels and two cafes. It must have been a sober building, for Soufflot denied himself the use of the classical orders. The auditorium, which was an almost complete oval, had three tiers of galleries and a panelled ceiling. It was in 1754 that the Consulate also awarded Soufflot the project for the Grand Théâtre that Lyon needed on the site of the garden located behind the Hôtel de Ville. The architect was inspired by the theatres in Parma and Milan that he had visited during his Italian escapade. The three continuous balconies of the hall were provided with Italian style loggias, their successive terracing making the top appear wider as a reminder of ancient theatres. The three levels of the low-key façade were topped with a wide cornice and a balustrade, with blocks supporting pairs of small cupids sculpted by Antoine Michel Perrache. His plan was innovative: for the first time in France, a theatre that was completely detached, an oval auditorium in contrast to the normal elongated auditorium and a stage that was slightly inclined towards the audience, fitted with an under floor level for machinery and very high flies! Considered as a fundamental stage in the architecture of theatres, it was the first building to reconcile the practical needs of the theatre with the desire of the audience of 2000…to be seen! It was opened in August 1756, in the presence of Soufflot, who came from Paris for the occasion, and Melchior Munet, who directed the construction. However, Soufflot’s Grand Théâtre was destroyed by a fire in 1826. It was replaced in 1831 on the same site by a theatre built by Antoine-Marie Chenavard and Jean-Marie Pollet. Another hundred years later the city of Lyon decided the building was still not sufficient and using the original 1831 building, a collaboration between distinguished French architect Jean Nouvel and French scenography company Ducks Scéno along with acoustician Frits Peutz resulted in the present form of the Lyon Opera. It became the Opéra de Lyon. The Building The style of the building is essential Italian with a horseshoe-shaped auditorium. The height of the building was effectively doubled by the creation of a striking steel and glass barrel vault which cleverly concealed the theatrical rigging system and provided additional space for the ballet company. It is well considered an architectural tour de force with its use of traditional and modern styles. Making the most of the beautiful outdoor covered terrace at the front of the building, the Opera of Lyon puts on a quality program of jazz beginning every year in June. The concerts are everyday at 7pm, 8:15pm and 10pm and admission is free. The style of the building is essential Italian with a horseshoe-shaped auditorium. The height of the building was effectively doubled by the creation of a striking steel and glass barrel vault which cleverly concealed the theatrical rigging system and provided additional space for the ballet company. It is well considered an architectural tour de force with its use of traditional and modern styles. With its history covering over three centuries, in 1996 the Opéra de Lyon was the first French house to become an “Opéra National”. For this institution, such a label is a sign of recognition: for its innovative and dynamic artistic policy; for its national and international outreach thanks to the artistic quality of its productions, its audio-visual approach and its tours; and for the complete creative pole that it represents – with its Orchestra, Choruses, Ballet, Children’s Choir, Studio, and set and costume workshops.The “Opéra National” convention clinches the agreement and the involvement of public authorities: the State, with the Ministry of Culture, the City of Lyon, the Auvergne-Rhône-Alpes Region and the Metropolis of Lyon. It confirms the main lines that, in 1996, presided over the drafting of the first text. Today, it also salutes the Opéra National de Lyon as a “citizen’s Opera House”, attached to promoting and developing a policy of openness to all audiences, with accessibility and sustainable development. Its identity is fashioned on a daily basis by all the teams of the Opéra National de Lyon, one of the most dynamic and inventive houses in France or Europe. Jean Nouvel’s extremely dramatic architecture stages the audience’s arrival as though in a show. Jean Nouvel renovated the 18th century Opera house, preserving its neo-classical façade and surmounting it with an imposing glass dome. The half-ton dome, that crowns the building, adding several floors, attracts stares every night, like an emblem. In the dark space that absorbs the light, everyone’s attention is at once focused on the essential: music. The Opera house also attract fans of contemporary theater architecture. The lighting of the dome is also a work of art. The facades typical of the 19th century contrast with the modernity brought by Jean Nouvel in the early 90's. The roof is a gigantic glass roof, and the red light varies in intensity depending on the number of people attending evening representations. The National Opera The Lyon Opera has seen many significant world premiers of French operas including Richard Wagner’s Die Meistersinger in 1896 and Arnold Schoenberg’s Erwartung in 1967. The principal conductor of the orchestra since 2008 is Kazushi Ono and two other notable French artists associated with the Opera are stage director Laurent Kelly and soprano Natalie Dessay. The company maintains its own permanent orchestra, choir and ballet. The choir has been conducted since 1995 by Alan Woodbridge. Lyon Opera Ballet The Lyon Opera Ballet include 31 international dancers who, under the direction of Yorgos Loukos, present an exciting postmodern and contemporary repertoire. The idea being to preserve a classical structure directed towards contemporary dance. Le Péristyle Café-Jazz Making the most of the beautiful outdoor covered terrace at the front of the building, the Opera of Lyon puts on a quality program of jazz beginning every year in June. The concerts are everyday at 7pm, 8:15pm and 10pm and admission is free.