# data[].attributes.location_name
Hospicio Cabañas, Calle Cabañas, Las Fresas, Guadalajara, Jal.

# data[].attributes.headline
Hospicio Cabañas, Calle Cabañas, Las Fresas, Guadalajara, Jal.

# data[].attributes.subject
Hospicio Cabañas, Calle Cabañas, Las Fresas, Guadalajara, Jal.

# data[].attributes.body
https://whc.unesco.org/es/list/815

# data[].attributes.location_name
Palacio de Minería, Calle de Tacuba, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.headline
Palacio de Minería, Calle de Tacuba, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.subject
Palacio de Minería, Calle de Tacuba, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.body
https://www.palaciomineria.unam.mx/

# data[].attributes.attachment_link.readable_text
1. Home

2. Historic Sites/Bldgs

The Palacio de Minería, The Palace of Mining, was designed and built between 1797 and 1813 by the Valencian sculptor and architect, Manuel Tolsá.

Inside, a museum is dedicated just to him. The building was intended to house the Spanish Royal School of Mines and Mining. The magnificent palace later housed other institutions, among them, the National University, the School of Engineering, the College of Mines, and eventually, the Physics Institute of the National Autonomous University of Mexico.

It is today, a museum belonging to the UNAM Faculty of Engineering. Opposite the Plaza, also named for Manuel Tolsá, and the most recent home to his own equestrian statue Carlos IV of Spain, the Palacio de Minería is a spectacular place to visit and a rare example of Mexican deference to the rare colonial-era genius.

Reason and Order

The Palacio de Minería dates back to 1793 when Tolsá was commissioned for the project. Tolsá also worked on the final stage of construction of the Metropolitan Cathedral, along with a slate of the era's most prominent projects. The importance of mining as the main economic activity of New Spain becomes ever more obvious as one approaches.

In fact, the Enlightenment ideals of reason and order put to the attainment of knowledge are perhaps nowhere more artfully realized.

Later in the 1860s, the palace was considered for use as the imperial palace of Emperor Maximiliano. He chose the Castle of Chapultepec as his residence. Soon thereafter, the facility was again put to use housing the Special School Engineering and it remained as such for almost a hundred years. In 1954, the Faculty of Engineering moved to a different building in the University City.

Within the building one can still fine a stunning Courtyard, Lecture Hall, a chapel to the Virgin of Guadalupe and the lavish stairways. Part of the UNAM heritage sites, it is still the site of conferences, specialized courses, and events like the International Book Fair. It also houses the Museo Manuel Tolsá, along with the seats of several city and national organizations, among the m the Society of Alumni of the Faculty of Engineering.

Heart of Mexico Walking Routes: Manuel Tolsá - Santa Veracruz Route

The extraction of silver and gold in New Spain was a very lucrative business, so its professionalization advanced during the viceroyalty. Between 1797 and 1813, Manuel Tolsá was commissioned to construct a building for the school of the Royal Mining Seminary. The result was an elegant palace, Tolsá's most important civil monument in the capital. The building shows the sober lines and rigorous decoration of the neoclassical style. Its monumental façade, the portico is formed by elegant columns that support a sober triangular pediment. The majestic main staircase is in the center of the patio and gives access to the second floor, with its double colonnade and a chapel dedicated to the Virgin of Guadalupe. Paintings by Rafael Ximeno y Planes, also a master of the Academy of San Carlos, survive in this chapel. Four meteorites that have fallen on Mexican territory are exhibited in the entrance hall.
< < El Caballito | Palacio de Correos > >

How to get here

Nearby

How to get here

Nearby

Nearest at 0.2 kms.

Recomendado por CANIRAC

Nearest at 0.2 kms.

Recomendado por CANIRAC

# data[].attributes.attachment_link.keywords[]
emergency contacts for tourists in mexico city

# data[].attributes.attachment_link.keywords[]
itineraries for stays short or long term in mexico city

# data[].attributes.attachment_link.title
Palacio de Minería, Calle Tacuba, Centro Histórico | Mexico City

# data[].attributes.attachment_link.description
One of the most significant examples of 18th century NeoClassicism.

# data[].attributes.location_name
Foro Valparaiso, Calle de Venustiano Carranza, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.headline
Foro Valparaiso, Calle de Venustiano Carranza, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.subject
Foro Valparaiso, Calle de Venustiano Carranza, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.body
https://sic.cultura.gob.mx/ficha.php?table=museo&table_id=2168

# data[].attributes.attachment_link.readable_text
Time Out dice

Entre las calles Isabel La Católica y Venustiano Carranza del Centro Histórico de la CDMX se encuentra el Palacio de los Condes de San Mateo de Valparaíso, una de las tantas razones por las que el político británico Charles Joseph La Trobe nombró a la capital como "la ciudad de los palacios" en 1836. Tras nueve años de estar cerrado, este edificio se abre para ti como el museo Foro Valparaíso, en el cual encontrarás historia, tanto de la familia que vivió aquí como del Banco Nacional de México que actualmente es dueño de este recinto, y 117 obras de los artistas mexicanos más influyentes del siglo XX.

El primer recorrido al Foro Valparaíso se hace desde la calle, al admirar la arquitectura del siglo XVIII encargada al arquitecto Francisco Antonio de Guerrero y Torres, quien unificó el estilo europeo del barroco con un lenguaje mexicano. Es por eso que para su construcción se usó cantera de Chiluca; la fachada fue recubierta de tezontle, la roca que nace de los volcanes que rodean el Valle de México; finalmente, se le adornó con los famosos azulejos de talavera de Puebla. Esta unión con la cultura y el arte mexicano es un tema muy recurrente en el edificio, por eso lo primero que te recibe en su interior es una obra paisajista del Valle de México de Daniel Thomas Egerton.

El recorrido continúa por 22 salas, pasa por la historia de la familia que mandó a construir el palacio, a través de retratos de uno de los máximos exponentes de la pintura barroca, Miguel Cabrera. También se cuenta de manera interactiva el nacimiento del Banco Nacional de México, que sucedió dentro de las paredes del mismo palacio. Por ejemplo, se hace una demostración de voz en off del día en que se creo el banco, con grabaciones que recrean la conversación de los directivos.

El Foro Valparaíso exhibe las obras que fueron adquiridas por Citibanamex y que no podrás encontrar en otros museos de la ciudad, ya que son pinturas que pertenecen a géneros que interesaban más a la burguesía. Verás temas como la existencia y la insignificancia de los bienes materiales, en la sala Naturaleza muerta con obras de Frida Kahlo y María Izquierdo, mientras que la sala dedicada a la Escuela Mexicana de Pintura reúne a grandes pintores del siglo XX como Rivera, Siqueiros, Orozco y Camarena, todos ellos hablando sobre la humanidad y la identidad propia de los mexicanos. Aunado al sentimiento de identidad mexicana, observarás pinturas paisajistas, de figuras como Jean-Baptiste Gros, Eugenio Landesio y a su más grande aprendiz, Dr. Atl.

El rol de la mujer es algo que destaca en la exposición permanente del museo, ya que se encuentra la primera pintura hecha por una artista mexicana, una representación de la Virgen de Guadalupe, realizada en 1798 por María Guadalupe Moncada, también destacan obras de Leonora Carrington y Remedios Varo, quienes se encuentran en una sala que habla del surrealismo, una corriente en la que también participó Juan O'Gorman, Julio Prieto y Francisco Toledo, artistas también presentes.

No pierdas de vista las escaleras suspendidas que son únicas en toda Latinoamérica y que sorprendieron a la arquitectura moderna por su estilo doble helicoidal, siendo tan precisas que si las miramos desde abajo vemos una hermosa silueta de caracol.
Recomendado: 45 museos que debes visitar en el Centro Histórico de la Ciudad de México.

# data[].attributes.attachment_link.title
Foro Valparaíso, grandes artistas mexicanos del siglo XX en el nuevo museo del Centro Histórico

# data[].attributes.attachment_link.description
El Museo Palacio de Valparaíso, un lugar para los amantes del arte y la historia en el Centro Histórico de la CDMX de City Banamex

# data[].attributes.location_name
Catedral Metropolitana de la Ciudad de México, Plaza de la Constitución, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.headline
Catedral Metropolitana de la Ciudad de México, Plaza de la Constitución, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.subject
Catedral Metropolitana de la Ciudad de México, Plaza de la Constitución, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.body
https://mexicocity.cdmx.gob.mx/venues/metropolitan-cathedral/?lang=es

# data[].attributes.location_name
Palacio del Marqués del Apartado, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.headline
Palacio del Marqués del Apartado, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.subject
Palacio del Marqués del Apartado, Centro Histórico de la Ciudad de México, Centro, Ciudad de México, CDMX

# data[].attributes.body
https://mexicocity.cdmx.gob.mx/venues/marques-del-apartado/?lang=es

# data[].attributes.attachment_link.readable_text
The Palace of the Marqués del Apartado is the ten-year (1795-1805) work of Manuel Tolsá. One of the greatest late-18th-century works, today it faces the Templo Mayor site which was uncovered beginning only in the 1980s. At the corner of Calle de Donceles and República de Argentina, it's likely one of the least-known of Tolsá's works. It's an astounding work for it age.

A work of strident Neo-classicism, the building has two facades on its respective streets, and three levels. Both facades are clad in quarried gray stone.

The Marquis of the Apartado refers to a title granted by the King of Spain to the descendants of Francisco Manuel Cayetano de Fagoaga y Arozqueta.

The Apartado de Oro y Plato was a proto-industrial organization founded in 1655. Dedicated to the extraction of gold and silver, it fell under the control of several owners.

Francisco Manuel Cayetano de Fagoaga y Arozqueta purchased it in 1718. The noble title was included with the purchase price. His descendants ran the Apartado for most of the 18th century, until 1778.

(One of the family homes is a historic landmark in .)

In the 19th-century, the building served as the residence of several other wealthy families, while the Apartado was folded into the Casa de Moneda in 1848. At the end of the 19th century, it was taken over by the government and was used as headquarters of the Ministry of Justice and Public Instruction.

In 2005, the building came under the control of the National Institute of Anthropology and History (INAH). It's also they're headquarters. This is fortunate. Multiple artifacts related to the Templo Mayor site have been found in and under the building. An unforgettable Cuauhxicalli (altar-piece) Eagle was discovered there in 1985 and is today in the INAH collection.

Heart of Mexico Walking Routes: Loreto - San Ildefonso Route

Francisco Fagoaga y Arozqueta inherited the position of "Apartador General de la Nueva España" from his father. The Apartador de Oro y Plata was an industrial establishment which took mineral from the mines to be ground and melted. After melting and separating gold from the silver, the metals were returned to the owners who took them to the mint for coinage. Fagoaga inherited from his mother, Doña María Josefa Arozqueta de las Heras Alcocer, a mercantile house for imports and exports. In 1772, Fagoaga took up the title of Marquis of Apartado from King Charles III and then entrusted the Master of Architecture of the Academy of San Carlos, Don Manuel Tolsá, with the construction of his palace just a few blocks from the Plaza Mayor. This was in about 1796. Over time, the building was modified for the offices of the Ministry of Justice and Public Instruction and for others. Archaeological excavations later uncovered the staircase of the Coateocalli, the House of the Serpent. These discoveries were made by Leopoldo Batres during the first excavations in 1901. This space was reserved, archaeologists suspect, as a house the gods of the lands conquered by the ancient Tenochca people, as war trophies.

Heart of Mexico Walking Routes: Ruta del México Antiguo

# data[].attributes.attachment_link.keywords[]
emergency contacts for tourists in mexico city

# data[].attributes.attachment_link.keywords[]
itineraries for stays short or long term in mexico city

# data[].attributes.attachment_link.title
Palacio del Marqués del Apartado, Centro Histórico | Mexico City

# data[].attributes.attachment_link.description
Manuel Tolsá's true masterwork: the Palace of the Marqués del Apartado

# data[].attributes.location_name
Hacienda Real San Miguel Ometusco, MZ 012, AXAPUSCO, San Miguel Ometusco, Méx.

# data[].attributes.headline
Hacienda Real San Miguel Ometusco, MZ 012, AXAPUSCO, San Miguel Ometusco, Méx.

# data[].attributes.subject
Hacienda Real San Miguel Ometusco, MZ 012, AXAPUSCO, San Miguel Ometusco, Méx.

# data[].attributes.body
https://experiencia.edomex.gob.mx/hoteles/mostrarHotelDetalle/1498

# data[].attributes.attachment_link.readable_text
La Hacienda Real San Miguel Ometusco es una hermosa construcción colonial del siglo XVIII que también fue santuario de la civilización Tolteca. Es una fabulosa extensión amurallada de 10 hectáreas, construida a principios del siglo XVIII, cabe mencionar que en esa época entre sus más asiduos huéspedes estaban el ex presidente Porfirio Díaz ya que por su belleza, serenidad y magnifica construcciones era uno de sus lugar preferidos.

La Hacienda Real San Miguel Ometusco es el lugar ideal para celebrar una boda inolvidable, te invitamos a que disfrutes de sus maravillosas instalaciones y a que te deleites en su restaurante.Aprovecha su aperitivo favorito en el ambiente agradable de su bar rodeado de una atmósfera de tranquilidad y buenos detalles. Cuenta con amplios y bien equipados salones de convencionescon capacidad para 150 personas para que lleves a cabo una fiesta magnífica.

Entre sus otras instalaciones y servicios están: Restaurante, bar con Karaoke, paseo a caballo, cuatrimotos, alberca, capilla, jardines, fogatadas, helipuerto, picadero para eventos y charros. ¡Contáctalos!

# data[].attributes.attachment_link.description
Haciendas para bodas - Hacienda Real San Miguel Ometusco. Precios, fotos, servicios, opiniones, cómo llegar y teléfono. Encuentra fácilmente la mejor hacienda para tu boda.

# data[].attributes.location_name
Teatro Juárez, De Sopena, Centro, Guanajuato

# data[].attributes.attachment_caption
Teatro Juárez, De Sopena, Centro, Guanajuato

# data[].attributes.headline
Teatro Juárez, De Sopena, Centro, Guanajuato

# data[].attributes.subject
Teatro Juárez, De Sopena, Centro, Guanajuato

# data[].attributes.body
https://es.wikipedia.org/wiki/Teatro_Ju%C3%A1rez_(Guanajuato)

# data[].attributes.attachment_link.readable_text
Fue construido entre 1873 y 1903 con un proyecto del ingeniero José Noriega, quien diseñó los teatros Manuel Doblado (León, Gto.), de la Paz (San Luis Potosí, S.L.P.) y Morelos (Aguascalientes, Ags.). El proceso de construcción, interrumpido por algunos años, fue reanudado en 1893 por el arquitecto Antonio Rivas Mercado y el ingeniero Alberto Male por órdenes del gobernador Joaquín Obregón González.

Fue inaugurado el 27 de octubre de 1903 por el presidente Porfirio Díaz. El evento presentado para la ocasión fue la ópera Aída, de Giuseppe Verdi, a cargo de la compañía italiana Empresa Ettore Drog y Cía., dirigida por Napoleón Sieni y Giorgio Polaco. Entre los artistas de dicha agrupación destacaron las señoritas María Grisi y María Pozzi y los cantantes Luigi Longobardi, Guillermo Carusón y Libero Ottoboni. La escenografía estuvo a cargo de un notable pintor catalán y del mexicano Jesús Herrera y Gutiérrez.

Arquitectónicamente, el teatro es una muestra del eclecticismo imperante en la época. Destaca su peristilo dórico de inspiración romana. La sala de espectáculos corresponde al modelo de las salas europeas; tiene forma de herradura, con cuatro órdenes de palcos y localidades generales; su decoración interior es de estilo oriental, destacando el telón realizado por el artista francés Labasta, decorador y escenógrafo de la Ópera Cómica de París; se trata de un cortinaje plegado que recrea un fragmento del cuento de hadas El cuerno de oro de Constantinopla.

# data[].attributes.attachment_link.description
Descubre la historia de Teatro Juárez de Guanajuato, y conoce las actividades que se presentan en este lugar. Ubica cómo llegar al recinto.

# data[].attributes.location_name
Petit Trianon, Château de, Versalles, Francia

# data[].attributes.headline
Petit Trianon, Château de, Versalles, Francia

# data[].attributes.subject
Petit Trianon, Château de, Versalles, Francia

# data[].attributes.attachment_link.readable_text
En el vasto recinto palaciego de Versalles, en la zona sureste, se ubica un edificio de planta cuadrangular, con cuatro fachadas desemejantes, obra de uno de los más grandes arquitectos del siglo XVIII, Ange-Jacques Gabriel.

El Pequeño Trianón, Le Petit Trianon en francés, fue mandado construir por el re para que su amante más célebre y favorita, Madame de Pompadour, pudiese refugiarse de la concurrida vida cortesana de palacio. Desgraciadamente nunca pudo ocuparlo por su prematura muerte, pero el palacete neoclásico -que de pequeño tenía poco- pasó a manos de la segunda favorita: Madame du Barry.

© Château de Versailles

Sin embargo, no alcanzó su culmen hasta que el rey Luis XVI se lo regalase a su esposa Maria Antonieta. La reina austríaca, que le sugirió quedárselo para convertirlo en un verdadero refugio de la vida palaciega, tan tortuosa para quien era detestada por la corte y el propio pueblo, se sentía en él a salvo de cualquier mal. Rodeada de jardines con diferentes concepciones por los cuatro costados, con aposentos cómodos y de una ostentación mucho más recatada, con espacio para ella misma donde poder estar en completa soledad, Le Petit Trianon se convirtió en su oasis en Versalles hasta el estallido de la Revolución francesa.

© Château de Versailles

La residencia real, al igual que el resto del château, fue abandonado en octubre del 1789 tras la marcha sobre Versalles. Entre el día 5 y 6 de aquel mes una muchedumbre armada tras asaltar el arsenal de París, marcharon hacia el palacio con el fin de protestar por el alto precio y la escasez del pan, la exigencia de reformas políticas liberales y una monarquía constitucional.

El enfrentamiento fue violento y sangriento, pero el rey de Francia tuvo que terminar claudicando a las exigencias del gentío enfurecido. El monarca, su consorte, el resto de su familia y los miembros de los Estados Generales de Francia que allí se encontraban tuvieron que volver con la población a la capital gala con un destino nada seguro.

© Château de Versailles, ToucanWings

Aquel segundo y último día de la marcha, que supuso el fin de la autoridad real en el país ilustrado, fue el último de Maria Antonieta en su comedido palacio. Intacto quedó prácticamente hasta nuestros días y, tras una reforma integral en 2008, fue abierto al público con el esplendor que durante el siglo XVII alcanzó. Su planta baja, su ático y sus jardines viven como vivieron aquellos días. Su historia reluce. Su fama, el carisma con el que quedó impregnado por la transgresora reina, permanecen de forma gratamente perceptible.

# data[].attributes.attachment_link.title
Le Petit Trianon, el oasis de Maria Antonieta en Versalles

# data[].attributes.attachment_link.description
Fue construido por orden del rey Luis XV de Francia para una de sus amantes, pero su esplendor vino con la esposa de su sucesor, y es que fue el palacio de Maria Antonieta. Esta es la historia de El Pequeño Trianón, una no tan pequeña joya de Versalles.

# data[].attributes.location_name
Hôtel de la Marine, Plaza de la Concordia, París, Francia

# data[].attributes.headline
Hôtel de la Marine, Plaza de la Concordia, París, Francia

# data[].attributes.subject
Hôtel de la Marine, Plaza de la Concordia, París, Francia

# data[].attributes.attachment_link.readable_text
The hôtel de la Marine (also known as the hôtel du Garde-Meuble) is an historic building located on place de la Concorde in Paris, to the east of rue Royale. It was designed and built between 1757 and 1774 by the architect Ange-Jacques Gabriel, on the newly created square first called Place Louis XV. The identical building to its west, constructed at the same time, now houses the hôtel de Crillon and the Automobile Club of France.

The Hôtel de la Marine was originally the home of the royal Garde-Meuble, the office managing the furnishing of all royal properties. Following the French Revolution it became the Ministry of the French Navy, which occupied it until 2015. It was entirely renovated between 2015 and 2021. It now displays the restored 18th century apartments of Marc-Antoine Thierry de Ville-d'Avray, the King's Intendant of the Garde-Meuble, as well the salons and chambers later used by the French Navy. A separate part displays the Al Thani Collection presenting international and inter-cultural works of art from the collection of Sheik Hamad bin Abdullah Al Thani.

The decision to create the current Place de la Concorde was originally taken in 1748, as the site for an equestrian statue of Louis XV. The statue celebrated the recovery of the King from a serious illness. The site was on swampy land beside the river at the very edge of Paris, between the gates of the garden of the Tuileries Palace and the Champs Elysees. This construction took place well before the construction of the Rue de Rivoli, the rue Royale, or the bridge over the Seine at that location.

The King owned most of the land, and donated it to the city for the new square. A competition was held for the design, which attracted nineteen different plans, but none of them were acceptable to the King. Instead, he assigned his royal architect, Ange-Jacques Gabriel, who had inherited the title of First Architect of the King from his father, Jacques V Gabriel, to make a fusion of the best ideas. Gabriel borrowed features of the proposals of Germain Boffrand, Pierre Contant d'Ivry and others. The most distinctive feature, the facade of columns facing the square, was largely inspired by the Louvre Colonnade designed by Claude Perrault in 1667-1674. The new plan was approved by the King in December 1755, and construction began in 1758. At that time, the plans for the use of the specific buildings had not been finalised. In 1768 the King decided that the northwest building should become the home of the Garde-Meuble of the Crown, the overseer of royal furnishings.

The new building was one of two structures with identical neoclassical facades on the north side of the square. To the west of the Rue Royale are four separate buildings behind a single facade, which originally were residences of the nobility. Number ten is now houses the Hotel Crillon, The Automobile Club of France occupies number six and number eight. The other building, to the east of Rue Royale,was designated the royal Garde-Meuble, or depot for the royal furniture, art, and other possessions of the crown.

The Hôtel du Garde-Meuble

The Garde-Meuble of the Crown had been created by Henry IV of France in the 17th century, and its head was given more specific duties by Louis XIV under his chief minister Jean-Baptiste Colbert. The Intendant of the Garde-Mueuble was a high official who reported directly to the King. Under Colbert, he was assigned to oversee and maintain all the furniture and decorative items of royal residences, including tapestries, and to protect and maintain particularly fine pieces of furniture, labeled as "Furniture of the Crown". These pieces were considered National, not personal property; in 1772, the Garde-Meuble became the first museum of decorative arts in Paris. Its galleries were open to the public on the first Tuesday of each month between Easter and All Saints' Day.

The Garde-Meuble contained a chapel, a library, workshops, stables and apartments, including those of the intendant of the Garde-Meuble - at first Pierre-Élisabeth de Fontanieu (1767-1784), then Marc-Antoine Thierry de Ville-d'Avray (1784-1792) whose apartment has been restored and is on display. Marie-Antoinette also had an apartment there which she used when visiting Paris from the Palace of Versailles.

In 1789 the Hotel held a large collection of weapons, mostly ceremonial, including swords, medieval lances, and two ornate cannon which Louis XIV had received as gifts from the King of Siam. On 13 July 1789, a large crowd angry at the King's decision to dismiss his finance minister Jacques Necker marched to the building, encouraged by the radical orator Camille Desmoulins. The intendant of the Garde-Meuble, Thierry de Ville-d'Array, happened to be absent that day. The acting intendant, frightened by the angry mob, invited the crowd inside the building to take away the weapons and two cannon, but urged them spare the more valuable art, tapestries and furniture. The next morning, 14 July 1789, the two cannon from the Hotel de la Marine fired the first shots at the Bastille, launching the French Revolution.

As the Revolution grew, the King was forced to move with his family from Versailles to Paris in October 1789, to the Tuileries Palace. Some of his valuable possessions were moved to the Conciergerie. It soon took on other duties. The Secretary of State of the Navy, César Henri de la Luzerne, moved his offices to the Garde-Meuble, and from 1789 onwards it housed the naval ministry. Under Admiral Decrès, the Navy gradually expanded its offices until by 1798 it occupied the entire building.

In 1792 a remarkable crime took place. A set of diamonds used in the coronation crowns of Louis XV and XVI, including the famous Regent Diamond, had been moved for safe storage to the building. On the night of 16-17 September 1792, the diamonds disappeared. The thieves, Cambon and Douligny, were later caught and guillotined in front of the building (the first executions by the guillotine on the Place de la Concorde).

In 1793, during the Reign of Terror, the portion of the modern Place de la Concorde in front of the neighbouring building, the Palais de Gabriel (now the Hotel Crillon, was the place of execution of Louis XVI and Marie Antoinette, and, in 1794, of the revolutionary leaders Danton and Robespierre.

Throughout the 19th century the building was modified for the various needs of the Navy. New wings were constructed behind the original building, and a neighbouring building at 5 rue Saint-Florentin was purchased in 1855 and added to the Hôtel. The interiors were also transformed; the salons facing the Place de la Concorde remained in place, but the large hall for the display of large royal furniture pieces was replaced in 1843 by two new salons honouring great moments in French naval history. Much or the original decoration of the rooms was removed, or covered by new works.

The interior decor by Jacques Gondouin, inspired by Piranesi, was an important step forward in 18th-century taste, but it was profoundly distorted by changes under the Second French Empire, although the grands salons d'apparat and the Galerie Dorée still maintain some of the original elements. The building was the scene of several historic events, from a ball honouring the coronation of Napoleon I in 1804, the celebration of the dedication of the Obelisque on the Place de la Concorde by King Louis Philippe in 1836, and the drafting of the decree of the French President abolishing slavery in April 1848.

After the fall of France in June 1940, the Kriegsmarine, the naval forces of Nazi Germany set up their headquarters here. They remained in place up until the Kriegsmarine had to evacuate its presence due to the approach of American and Free French forces in August 1944. In 1989 President François Mitterrand invited foreign leaders to the loggia of the hotel to view the parade celebrating the 200th anniversary of the French Revolution.

National monument

In 2015, the French government decided to consolidate all of the French military headquarters at a single site, the Hexagon at Ballard in the 15th arrondissement. The navy definitively left the building in 2015. Before its departure, the government considered leasing 12,700 square meters of the building to other tenants, but, after a study of the problem by a commission led by former President Giscard d'Estaing, it was decided to keep the entire building as a public monument under the direction of the Center of National Monuments.

The facade of the Hôtel de la Marine was begun in 1755, following the plan of Ange-Jacques Gabriel. As director of the Royal Academy of Architecture, Gabriel provided the ideas and plan, while the details and construction were directed by his deptuty, Jacques-Germain Soufflot, fifteen years younger.

The front facing the square was inspired by the grand classical style of Louis XIV, particularly by the east front of the Louvre Palace, begun in 1667 by Louis Le Vau, architect of Louis XIV, Charles Le Brun, and Charles Perrault. The front is decorated with sculpted medallions and guerlands, another feature borrowed from the Louvre. The long front is balanced at either by two sections with triangular frontons and Corinthian columns.

The distinctive feature of the façade, different from the Louvre, is the loggia, or passageway. The central front, slightly recessed, has a narrow walkway lined with twelve Corinthian columns. The setback of the loggia and the columns create patterns of light and shadow, an essential element of the design.

The ceiling of the loggia is decorated with sculpted octagonal medallions, representing the benefits the King was said to bring to the nation; there are allegorical symbols of music, the arts, industry, agriculture, defense and commerce. They originally also displayed the King's monogram, but the monograms were smashed during the Revolution.

One of the most original elements of the renovation of the building is the new glass skylight over the Courtyard of the Intendant, the entrance point for visitors. It which was created by the architect Hugh Dutton, and is supported by a framework of steel weighing thirty-five tons. Its V-shaped ribs, of polished stainless steel, act as mirrors, which capture and redirect the light in the optimal direction. Though the entire opening is covered with ribs, they cast a minimum of shadows, due to their mirrored covering, and give the very heavy roof an appearance of lightness. The effect is enhanced by the use of glass made with purified iron oxide, which does not change color in the light. The diffusion of light is similar to that created by the facets of the pieces of crystal in the chandeliers of the 18th century.

A large portion of the east side of the building on the first floor is occupied by the office and apartments of the Intendant of the Garde-Meuble, as it was decorated beginning in 1786 by the Intendant of the time, Marc Antoine Thierry de Ville d'Avray. It contains a reception room, the ceremonial office of the intendant, the bedrooms and bath of the Intendant and his wife, a dining room, a room for entertaining company, The restoration work removed eighteen layers of paint from two centuries before coming to the original decor.

After a simple anteroom, the first room of the apartments is the ceremonial office of the Intendant, lavishly furnished and decorated with paintings and a floor of multicoloured marquetry. His real working office, much simpler, is next to it. Near his bedroom he also had a small study equipped with devices for working with gemstones and making jewellery, a hobby of the Ville-d'Avray. The unfortunate Ville d'Avray de

While the Intendant Thierry De Ville d'Avray was very religious, as reflected in the sober architecture of his bed chamber, his predecessor, Pierre-Élisabeth de Fontanieu, serving between 1770 and 74, had very different taste. He was a libertine, and entertained a wide variety of women in his residence. His taste is illustrated by the decoration of his own bed chamber, and in the Cabinet of Mirrors, with its images of Cherubs painted on the mirrors. De Ville d'Avray had some of the Cherubs repainted to give them a more uplifting tone.

During the restoration of the building that began in 2015, the original office of the Intendant Fontanieu was discovered hidden behind the walls of the more recent naval offices. It still has its original two fireplaces and two notable pieces of its original furniture, a table and a drop-front secretary made by the celebrated furniture craftsman Jean-Henri Riesener (1771), which had previously been on loan to the Louvre Museum and the Palace of Versailles and were returned to their original home in the office.

One other curiosity remains from the office of Intendant Fontanieu; his Cabinet of Physics, where he practiced his hobby of geology. He created false precious stones, using crystal artificially colored, and employed the piece of equipment displayed in the room to trace lines, curves and designs on the jewellery pieces that he made.

The apartments also include the bath of the Intendant Fontanieu, in the classical Louis XVI style, with floral motifs on the furniture made popular by Marie-Antoinette. The bathtub had running hot water, supplied by a large overhead tank hidden above ceiling overhead.

In 1793, During the Revolution, the royal Garde-Meuble was abolished and the French navy took complete occupancy of the building. Beginning in 1843 and particularly during the July Monarchy. some of the rooms that had been used to display the royal furniture were turned into offices, while the rooms along the front of the building, facing the Place de la Concorde, were transformed into salons for naval functions.. The two principal rooms were the Salon d'Honneur and the Salon des Amiraux, or Salon of the Admirals. The walls, ceilings, and doorways were lavishly gilded and decorated with sculpture and mirrors and carvings with nautical themes, including prows of ships, anchors, fish, and sirens. During the reign of King Louis-Phillipe a series of large medallions were added, depicting illustrious figures in French naval history, including Pierre André de Suffren, Jean Bart and Louis-Antoine de Bougainville. These rooms were also sometimes used in the 19th century for non-naval events. Napoleon Bonaparte held a ball there in 1804 to celebrate his coronation as Emperor, and in 1836 Louis-Philippe celebrated the dedication of the Luxor column in the Place de la Concorde.

The Salon of Diplomats was used for more intimate diplomatic meetings until 2015. During the Revolution, in 1792, it was the site of the theft of the royal crown diamonds deposited there (later recovered). It also was equipped with a hidden listening post behind one wall, so that private discussions could be discreetly overheard.

Art, Decoration, Restoration

The original function of the building was a depot of decorative objects, and the Hôtel reflects that heritage, and retains to a very rich collection of paintings, sculptures, tapestries, chandeliers, furniture and other decorative art, mostly from the 18th and 19th century. By good fortune, the rooms of the building suffered less looting and destruction during the Revolution than many other Paris landmarks. The curators were able to find many of the original pieces of furniture and decoration at other locations, including the Palace of Versailles and the Elysees Palace.

The restoration of the building in the end cost a total of 135 million Euros. Ten million came from French government, 6.7 million from private donors, and 20 million from advertising receipts. The rest was borrowed by the Center of National Monuments, which hopes to recover the cost through future receipts. The project will also receive funding from the rental of offices on the third and fourth floors. These rooms, formerly apartments and storerooms in the old building, were restored to their original appearance, but have no ornate decoration or great historic value.

a gold and turquoise plate from the Yarlung Dynasty of Tibet (600-800 AD) in the Al Thani collection

Since the end of 2021 the Hôtel de la Marine has been the venue for the Al Thani Collection, a group of art objects from around the world brought together by Hamad bin Khalifa Al Thani of the royal family of Qatar. Under an agreement with the French Ministry of Culture, the gallery will show a rotation of items from the enormous collection of the Al Thani Family for a period of twenty years. The exhibit contains one hundred-twenty works at one time, out of a total in the collection of more than five thousand works. It presents precious objects from ancient civilisations in Europe, Asia, Africa, the Americas and the Middle East, related by use or theme. One notable object is a marble bust of the Roman Emperor Hadrian, made for Frederick II, Holy Roman Emperor in about 1240, and then moved centuries later to Venice, where it was set upon shoulders in armor made of gilded enamel, precious stones and pearls.

Bibliography (in French)

Hillairet, Jacques (1978). Connaissance du Vieux Paris. Paris: Editions Princesse. ISBN 2-85961-019-7.

Pommereau, Claude, "Hôtel de la Marine" (June 2021), Beaux Arts Éditions, Paris (ISBN 979-10-204-0646-0)

"Connaissance des arts" special edition, "L'Hôtel de la Marine", (in French), published September, 2021

^ "Connaissance des Arts" magazine special edition, "L'Hôtel de la Marine" (October 2021), p. 15

# data[].attributes.attachment_link.description
The hôtel de la Marine (also known as the hôtel du Garde-Meuble) is an historic building located on place de la Concorde in Paris, to the east of rue Royale. It was designed and built between 1757 and 1774 by the architect Ange-Jacques Gabriel, on the newly created square first called Place Louis XV.

# data[].attributes.attachment_link.readable_text
Fachada del costado norte.

La Escuela militar de Francia (del francés: École Militaire) es un conjunto de edificaciones en las que se imparten estudios militares. Situado en París, en el distrito VII, cierra, por el sureste, el Campo de Marte.

Construida durante el reinado de Luis XV, fue diseñada por el arquitecto Ange-Jacques Gabriel.

En 1748 terminó la Guerra de Sucesión Austriaca. Francia salió victoriosa pero se puso de manifiesto, durante los combates, la falta de preparación de la que adolecía el ejército real. El Mariscal de Saxe, que había combatido al lado de los franceses, propone a Luis XV la fundación de una escuela militar real. Apoyaron esta petición Madame de Pompadour, amante y consejera del rey, y el financiero Paris-Duverney, convenciendo al rey para crear una institución destinada a la formación de quinientos jóvenes pertenecientes a la nobleza.

Deseoso el rey de dejar un testimonio del esplendor de su reino, encarga a su primer arquitecto, Gabriel, el diseño de un edificio más vasto y más grandioso que el hotel de Les Invalides construido por Luis XIV. El 24 de junio de 1751 Gabriel presenta su "Gran Proyecto". La superficie prevista es inmensa, las fachadas magníficas, y la serie de detalles especificados, dan cuenta de la exacta interpretación que de los deseos del rey había hecho éste. Estaba previsto construir una planta baja abovedada, contar con agua corriente gracias a un sistema de cazos canalizados, y erigir, en el centro del edificio, una gran iglesia, mayor que la de Les Invalides, con una columnata como la de San Pedro de Roma.

El 13 de diciembre de 1751 se empieza la construcción de la escuela. Pero las arcas del Estado están vacías tras las guerras de Luis XIV, apenas pueden reunirse los fondos necesarios. El trabajo es tan lento que, en 1754, sólo se han construido algunos edificios para el servicio. Por tanto, y para no comprometer la inauguración de la escuela, se decide admitir un número reducido de alumnos, convirtiendo esos edificios en dormitorios y aulas. En 1756 la institución abre sus puertas e ingresan 200 cadetes.

Capilla St Louis

Aunque se sigue trabajando en la construcción de la escuela, la situación financiera es cada vez más preocupante. Madame de Pompadour y Paris-Duverney no pueden financiar por sí solos toda la obra y, finalmente, el rey decide, en 1760, que la institución servirá para la Escuela militar y el Colegio Real de la Flèche. El "Gran Proyecto" de Gabriel se viene abajo.

De todas maneras, y dada la magnífica perspectiva de la escuela en el Campo de Marte merece la pena acabarse con una hermosa fachada y, aunque reducida y eliminados diversos detalles del "Gran Proyecto", la fachada del edificio principal es espléndida tal y como puede contemplarse hoy. El 5 de julio de 1768 el rey pone la primera piedra de la capilla y la obra queda concluida en 1780.

La institución funciona tras veinte años de construcción y en ella se forman numerosos cadetes. El más célebre entre ellos Napoleón Bonaparte. Ingresa en la escuela militar en 1784 y sale de la misma en octubre de 1785, después de haber recibido la Confirmación en la capilla de la escuela.

El Colegio Real Militar no sobrevive a la muerte de su fundador. Siete años después de su apertura, el 19 de octubre de 1787, la Escuela militar cierra sus puertas y los enseres se intentan trasladar al hotel Dieu. Afortunadamente el desmantelamiento de la misma no se produjo. Los edificios son abandonados y utilizados después por los revolucionarios. Sirve como depósito, y acuartelamiento de la Guardia imperial. A medida de sus necesidades el edificio primigenio se fue ampliando hasta adquirir el aspecto que presenta hoy día.

A finales del siglo XIX la Escuela militar vuelve a su primitivo cometido: la enseñanza. En 1878 se instala la escuela superior de guerra. En 1911 se dedica a la preparación de los altos militares; y, hasta hoy, ha seguido formando a los oficiales.

La Escuela Militar reagrupa, actualmente, un conjunto de organismos de enseñanza militar superior: el instituto de los altos estudios de la defensa nacional (IHEDN), el centro de altos estudios militares (CHEM), el Centro de altos estudios del armamento (CHEAr), el colegio interarmado de defensa (CID) y los centros de enseñanza superior de las tres armas y la gendarmería; la escuela superior de los oficiales de reserva especialistas del estado mayor (ESORSEM).

Asimismo alberga numerosos servicios de la administración central del Ministerio de Defensa, principalmente la Delegación información y Comunicación de la Defensa (DICOD), y el primer regimiento de Train, encargado del sostenimiento logístico de la escuela.

Desde 1924 en la Escuela Militar se encuentra, también, el domicilio privado del Jefe del Estado Mayor de los Ejércitos Franceses (CEMA) así como los salones de recepción.

# data[].attributes.attachment_link.title
École Militaire - Wikipedia, la enciclopedia libre

# data[].attributes.attachment_link.description
La Escuela militar de Francia (del francés: École Militaire) es un conjunto de edificaciones en las que se imparten estudios militares. Situado en París, en el distrito VII, cierra, por el sureste, el Campo de Marte. Construida durante el reinado de Luis XV, fue diseñada por el arquitecto Ange-Jacques Gabriel.

# data[].attributes.location_name
Parc du Château de Compiègne, Place du Général de Gaulle, Compiègne, Francia

# data[].attributes.headline
Parc du Château de Compiègne, Place du Général de Gaulle, Compiègne, Francia

# data[].attributes.subject
Parc du Château de Compiègne, Place du Général de Gaulle, Compiègne, Francia

# data[].attributes.location_name
Observatorio Astronomico, Calle de Alfonso XII, Madrid, España

# data[].attributes.headline
Observatorio Astronomico, Calle de Alfonso XII, Madrid, España

# data[].attributes.subject
Observatorio Astronomico, Calle de Alfonso XII, Madrid, España

# data[].attributes.location_name
Museo del Prado, Calle de Ruiz de Alarcón, Madrid, España

# data[].attributes.headline
Museo del Prado, Calle de Ruiz de Alarcón, Madrid, España

# data[].attributes.subject
Museo del Prado, Calle de Ruiz de Alarcón, Madrid, España

# data[].attributes.location_name
Finca Marqués de Valdecilla, Paseo Santa Matilde, Valdecilla, España

# data[].attributes.headline
Finca Marqués de Valdecilla, Paseo Santa Matilde, Valdecilla, España

# data[].attributes.subject
Finca Marqués de Valdecilla, Paseo Santa Matilde, Valdecilla, España

# data[].attributes.body
https://www.turismodecantabria.com/disfrutala/que-visitar/358-finca-y-museo-marques-de-valdecilla/buscador-aWRab25hPTgmaWRNdW5pY2lwaW89NjMm

# data[].attributes.location_name
Catedral Metropolitana de Santa María la Real de Pamplona, Calle Dormitalería, Pamplona, España

# data[].attributes.headline
Catedral Metropolitana de Santa María la Real de Pamplona, Calle Dormitalería, Pamplona, España

# data[].attributes.subject
Catedral Metropolitana de Santa María la Real de Pamplona, Calle Dormitalería, Pamplona, España

# data[].attributes.body
https://www.pamplona.es/turismo/catedral

# data[].attributes.location_name
Belén Gigante de Zaragoza. Plaza del Pilar, Plaza de Nuestra Señora del Pilar, Zaragoza, España

# data[].attributes.headline
Belén Gigante de Zaragoza. Plaza del Pilar, Plaza de Nuestra Señora del Pilar, Zaragoza, España

# data[].attributes.subject
Belén Gigante de Zaragoza. Plaza del Pilar, Plaza de Nuestra Señora del Pilar, Zaragoza, España

# data[].attributes.body
https://www.catedralbasilicadelpilar.es/belen-gigante-de-la-plaza-del-pilar/

# data[].attributes.location_name
Parroquia de San Marcos, Calle de San Leonardo, Madrid, España

# data[].attributes.headline
Parroquia de San Marcos, Calle de San Leonardo, Madrid, España

# data[].attributes.subject
Parroquia de San Marcos, Calle de San Leonardo, Madrid, España

# data[].attributes.location_name
Palacio de Liria, Calle de la Princesa, Madrid, España

# data[].attributes.headline
Palacio de Liria, Calle de la Princesa, Madrid, España

# data[].attributes.subject
Palacio de Liria, Calle de la Princesa, Madrid, España

# data[].attributes.attachment_link.readable_text
The visit to Liria Palace is conducted as a guided tour with audio-guides in groups of up to 18 people. The tour covers the palace's 14 main rooms. The visit is with an audio guide, available in Spanish, English, French, Italian and German.

General Entrance Fee: € 15

Reduced Entrance Fee: € 13 (Children between the ages of 6 and 12, the unemployed, students under the age of 25, over 65s, people with reduced mobility in a wheelchair, disabled people).

Free Entry: Infants under the age of 6

Guided Visit: € 35 (Visit with official Liria Palace guide. During public opening times. Groups with a minimum of 10 and maximum of 15 people).

Free group visits: Mondays, except public holidays, at 9.15am and 9.45am, up to maximum number of visitors. Only on-line sale of tickets, opening one week in advance.

Available for sale at the ticket office, in which case the price will increase by €1.

# data[].attributes.attachment_link.description
Known as the "Royal Palace&#39;s little brother", the official residence of the House of Alba is now open to the public.

# data[].attributes.location_name
Capilla del Palacio Real de El Pardo, Mingorrubio, España

# data[].attributes.headline
Capilla del Palacio Real de El Pardo, Mingorrubio, España

# data[].attributes.subject
Capilla del Palacio Real de El Pardo, Mingorrubio, España

# data[].attributes.location_name
Calle de las Angustias, Valladolid, España

# data[].attributes.headline
Calle de las Angustias, Valladolid, España

# data[].attributes.subject
Calle de las Angustias, Valladolid, España

# data[].attributes.location_name
Puerta de Alcalá, Plaza de la Independencia, Madrid, España

# data[].attributes.headline
Puerta de Alcalá, Plaza de la Independencia, Madrid, España

# data[].attributes.subject
Puerta de Alcalá, Plaza de la Independencia, Madrid, España

# data[].attributes.location_name
Hospital de San Carlos, Calle de la Concha, Aranjuez, España

# data[].attributes.headline
Hospital de San Carlos, Calle de la Concha, Aranjuez, España

# data[].attributes.subject
Hospital de San Carlos, Calle de la Concha, Aranjuez, España

# data[].attributes.location_name
Convento de San Pascual, Aranjuez, España

# data[].attributes.headline
Convento de San Pascual, Aranjuez, España

# data[].attributes.subject
Convento de San Pascual, Aranjuez, España

# data[].attributes.location_name
Real Casa de la Aduana, Calle de Alcalá, Madrid, España

# data[].attributes.headline
Real Casa de la Aduana, Calle de Alcalá, Madrid, España

# data[].attributes.subject
Real Casa de la Aduana, Calle de Alcalá, Madrid, España

# data[].attributes.attachment_link.readable_text
From Wikipedia, the free encyclopedia

The Real Casa de la Aduana ( Spanish: Real Casa de la Aduana means royal customs house) is the headquarters of Spain's Ministry of Economy and Ministry of the Treasury. It is located on Madrid's longest street, the Calle de Alcalá.

The eighteenth-century building has been modified over the years. It was declared Bien de Interés Cultural in 1998.[citation needed ]

# data[].attributes.attachment_link.description
From Wikipedia, the free encyclopedia The Real Casa de la Aduana ( Spanish: Real Casa de la Aduana means royal customs house) is the headquarters of Spain's Ministry of Economy and Ministry of the Treasury. It is located on Madrid's longest street, the Calle de Alcalá.