635:
1063:
249:
114:
562:
49:
328:
1071:
684:
1079:
794:
990:. Since 1773, he had started to engrave his constructions and his projects but, because of the evolution of his style, he did not cease retouching his drawings, and the engravers constantly had to redo their boards. Ledoux evolved towards an architecture always more detailed and colossal, with vast walls that were increasingly smooth, and with increasingly rare openings. The differences between a drawing of the Pavillon de Louveciennes as it first was, made by the British architect
421:
709:
paying public. Above them was a raised terrace or balcony for state employers. Directly above was the first tier of boxes reserved for the aristocracy, and above this a tier of smaller boxes occupied by the middle-class the second. Thus Ledoux achieved his ambition that the theatre could at the same time be a place of social communion and shared entertainment while still maintaining a strict hierarchy of the classes.
948:
812:
627:. The alliance of the columns is an archetypal motif of neoclassicism. Inside, a cavernous hall gives the impression of entering an actual salt mine, decorated with concrete ornamentation representing the elementary forces of nature and the organizing genius of man, a reflection of the views of the relationship between civilization and nature endorsed by such eighteenth-century philosophers as
494:
600:, the saltworks' boilers were built close to the wells, and the wood was brought from the adjacent forests. Contrary to what the French government wanted, Ledoux placed the saltworks near the woods as opposed to the source of the salt water. He logically reasoned that it would be easier to transport water than wood. Close to the first of these sites, the
144:(Architecture considered in relation to art, morals, and legislation). In this book he took the opportunity of revising his earlier designs, making them more rigorously neoclassical and up to date. This revision has distorted an accurate assessment of his role in the evolution of Neoclassical architecture. His most ambitious work was the uncompleted
386:, received widespread praise and attracted new patrons to the architect. The owner Franz-Joseph d'Hallwyll (a Swiss colonel) and his wife, Marie-Thérèse Demidorge, were anxious to ensure work was executed economically. Therefore, Ledoux had to reuse portions of the existing buildings, the former Hôtel de Bouligneux. He had envisaged two
704:
rank had stood. Ledoux, realizing this was not only inconvenient but elitist planned the theatre at Besançon on more egalitarian lines with seating for all but in some quarters such a plan was seen as radical if not revolutionary, the aristocracy had no wish to be seated alongside commoners. However Ledoux found an ally in the
1033:
with the first sketches of the town of Chaux, centered on the royal saltworks. The project, constantly perfected but never executed, was engraved beginning in 1780. The engravings, announced in 1784 and probably all designed by 1799, were finally published in 1804, as part of the first edition of his
955:
At the same time, work on the law courts of Aix-en-Provence was suspended, and Ledoux was accused of embroiling the
Treasury in ill-considered expenditure. When the Revolution broke out, his rich clientele emigrated or perished under the guillotine. He saw his career and his projects stopped while at
536:
Ledoux was interested in the work of the Royal
Administrations Department and at times considered working for them, even though the positions they offered were often on the borderline between architect and engineer. Through this interest in civic and municipal architecture and due, in no small part,
712:
The seating was not the only innovation at the theatre. With the aid of the machinist Dart de Bosco Ledoux expanded the wings and back stage scenery apparatus, giving it greater depth than was customary, and many other modern improvements. Besançon was the first theatre to screen the musicians in
876:
are the only ones that haven't been altered beyond recognition. In certain cases, the entry was framed with two identical buildings; in others, it consisted of a single building. The forms were archetypal: the rotunda (Heap, Reuilly); the rotunda surmounting a Greek cross (La
Villette, Rapée); the
703:
columns. However, if the neoclassical hints to the exterior was regarded as modern then the interior was a revolution – venues for public entertainment were rare in the French provinces, and where they did exist it was traditional that only the nobles had seating, while those of less exulted
1560:
Cornelius
Steckner: Die "Verschönerung" von Kassel unter Friedrich II. Andeutungen zur Stadtsanierung durch das Bau-Departement unter Johann Wilhelm von Gohr und Claude Nicolas LeDoux, in: Gunter Schweikhart (Hrsg.): Stadtplanung und Stadtentwicklung in Kassel im 18. Jahrhundert, Kassel 1983, p.
708:
of
Franche-Comté, Charles André de la Coré, an enlightened man, he consented to follow this reforming plan. Even so, it was decided that the social classes would still be segregated thus while the theatre of was the first to have a ground floor amphitheatre furnished with seats for the ordinary
339:
Church, Paris, Ledoux married Marie Bureau, the daughter of a court musician. A friend from
Champagne, Joseph Marin Masson de Courcelles, found him a position as the architect for the Water and Forestry Department. Here between 1764 and 1770 he worked on the renovation and designs of churches,
619:, is considered Ledoux's masterpiece. The initial building work was conceived as the first phase of a large and grandiose scheme for a new ideal city. The first (and, as things were to turn out, only) stage of building was constructed between 1775 and 1778. Entrance is through a massive
654:
The significance of this plan is twofold: the circle, a perfect figure, evokes the harmony of the ideal city and theoretically encloses a place of harmony for common work, but it recalls also contemporary theories of organization and of official surveillance, particularly the
871:
To cut short the protests of the
Parisian population, the operation was carried out rapidly: fifty barriers to access were built between 1785 and 1788. Most were destroyed in the nineteenth century and very few remain today, of which those of La Villette and
763:, at Bourneville near Ferté-Milon. One of his more notable town houses was for the widow of the Genevan banker Thélusson. This classical mansion, a venue for Parisian high society, was situated at the heart of a large landscaped garden accessed from the
666:
The saltworks entered a painful phase of industrial production and marginal profit, because of competition with the salt-water marshes. After some not very profitable trials, it closed indefinitely in 1790 during the national instability caused by the
674:
For a brief period in the 1920s the salt works were reused but eventually closed due to competition. For the following decades, the salt works lay in decay until they were named a UNESCO world heritage site and refurbished as a local cultural center.
881:(Picpus); the Greek temple (Gentilly, Courcelles); the column (le Trône). At Place de l'Étoile, the buildings, flanked with columns alternating with cubic and cylindrical elements, evoked the House of the director at Arc-and-Senans; at the
1506:
Président
Antoine-Louis Hyacinthe Hocquart de Montfermeil (1739-1794), president of the Court of Assistance of the Paris Parliament (1770), general prosecutor (1778), President and first president (1789); after he was executed during the
1049:, a new column formed of alternating cylindrical and cubic stones superimposed for their plastic effect. In this period, taste was returning to the antique, to the distinction and the examination, of the taste for the "rustic" style.
1025:
who carried through the style in the United States for public architecture with the intention that the spirit of the ancient
Athenian democracy would be echoed by buildings serving the new democracy of the United States of America.
650:
for the workers. On the straight diameter are the workshops for the extraction of salt alternating with administrative buildings. At the centre is the house of the director (illustrated), which originally also contained a chapel.
308:. Ledoux would frequently employ this motif that was condemned by the strict French tradition, which embraced the principle of superimposing the classic column motifs on each floor, rising from simplest to the most complex:
458:). From this point Ledoux worked often in the Palladian style, usually employing a cubic design broken by a prostyle portico which gave an air of importance even to a small structure. In this genre, he built, in 1770, a
516:
ground floor. Statues of illustrious members of the
Montmorency family decorate the roof. However, the depletion of the Montmorency fortune meant that Ledoux was required to execute the project with some parsimony.
443:, the Château de Bénouville, while not one of Ledoux's most inventive plans, is notable for the unusual placement of the main staircase at the center of the garden facade, a position normally taken by the main salon.
532:
and for the new entrance of the town, to correct them. This work was finished in April 29th 1776. Of these corrections survived the plan for the first floor of the Museum with the drawings and comments of Ledoux.
1020:
and his project for the Cenotaph of Newton, he is considered a precursor to the utopians who would follow. Boullée and Ledoux were a specific influence on subsequent Greek Revival architects and especially
178:. At an early age his mother, Francoise Domino, and godmother, Francoise Piloy, encouraged him to develop his drawing skills. Later the Abbey of Sassenage funded his studies in Paris (1749–1753) at the
128:. He used his knowledge of architectural theory to design not only domestic architecture but also town planning; as a consequence of his visionary plan for the Ideal City of Chaux, he became known as a
2106:
2101:
774:
On the Rue Saint-Georges, for the creole Hosten, Ledoux designed an ensemble of tenements for rental, designed in such a way they could in future be extended ad infinitum. In the
968:(granting) was abolished in May 1791, which rendered the facilities useless. A symbol of fiscal oppression, Ledoux, who had amassed a handsome fortune, was arrested and thrown in
642:
The entrance building opens into a vast semicircular open air space that is surrounded by ten buildings, which are arranged on the arc of a semicircle. On the arc is the
860:
was to have six towers (one every 4 kilometers) and to comprise sixty tax-collecting offices. Ledoux was charged to design these buildings, which he baptized pompously "
997:
During his imprisonment, Ledoux had started to write a text to accompany the engravings. Only the first volume appeared during his lifetime, in 1804, under the title
154:. Conversely his works and commissions also included the more mundane and everyday architecture such as approximately sixty elaborate tollgates around Paris in the
935:"(Ah! Monsieur Ledoux, you are a terrible architect). Ledoux, rendered the object of scandal by these opinions, was relieved of his official functions in 1787 while
868:" and to which he wanted to give a character of solemnity and magnificence while putting into practice his ideas on the necessary links between form and function.
1001:(Architecture considered under the relation of art and legislation). It presented the theatre of Besançon, the saltworks of Arc-and-Senans and the town of Chaux.
759:
He was well acquitted with the world of finance and those who inhabited it. He designed a large house and park for Praudeau de Chemilly, the treasurer of the
1012:
Around the time of the royal saltworks, Ledoux formalized his innovative design ideas for an urbanism and an architecture intended to improve society, of an
908:
1030:
217:(literally "Greek taste") phase of early Neoclassicism. However, under the tutelage of Contant d'Ivry and Chevotet, Ledoux was also introduced to
2091:
2081:
2076:
140:
hampered his career; much of his work was destroyed in the nineteenth century. In 1804, he published a collection of his designs under the title
1635:
The current Palais de Justice was built under the Bourbon Restoration by the architect Penchaud on the substructures of the building by Ledoux.
975:
He still made a project for a school of agriculture for the duc de Duras, his companion in captivity. Perhaps the intervention of the painter
713:
an orchestra pit. The building was widely acclaimed on its opening in 1784 but when Ledoux submitted plans for the proposed new theatre in
186:. On leaving the Collège, age 17, he took employment as an engraver but four years later he began to study architecture under the tutelage of
1902:
1608:
896:
This audacious construction met with political criticism, as well as aesthetic criticism of the architect, accused by commentators such as
240:. Another client obtained through the auspices of his teachers was Président Hocquart de Montfermeil and his sister, Mme de Montesquiou.
405:
The recognition given to the relatively modest Hôtel d'Hallwyll led in 1767 to a more prestigious commission, the Hôtel d'Uzès, on the
248:
1587:
had recently published engravings of the temples at Paestum, which effectively brought them into the European architectural repertory.
2023:
2004:
1987:
1972:
1954:
1939:
1917:
1870:
1848:
1819:
1229:
467:
771:
in the form of a pillared triumphal arch. The circular central salon, had at its centre a colonnade which supported the ceiling.
113:
2096:
1403:
1273:
1262:
1211:
1123:
612:
409:. There too, Ledoux preserved the structure of an earlier building. Today the panelling from the salon, an early example of the
398:
decorated with urns at the foot of the garden. However, the limitations of the site made this impossible, so Ledoux resorted to
145:
281:
The following year the Marquis de Montesquiou-Fézensac commissioned Ledoux to redesign the old hilltop château on his estate at
732:. This project, however, was to be beset by many difficulties. Trouble began in 1789 when construction was interrupted by the
336:
274:
and panels painted with trophies of helmets and weaponry, all executed in bold detail. In 1969 this interior was moved to the
2086:
836:
1624:
1326:
327:
604:
decided to explore a more mechanized and efficient method of extraction, by constructing a purpose-built factory near the
1574:, in: XXVIIe Congrès International d'Histoire de l'Art. L'Art et les Révolutions, Strasbourg 1992, p. 345–372; Abb. 2-5.
1776:
1187:
1158:
1070:
991:
893:
and the HĂ´tel de la Guimard. The order employed was generally Doric Greek. Ledoux also used multiple rustic embossings.
832:
634:
155:
1062:
1386:
983:, helped him avoid the guillotine. But he lost his favourite daughter whilst the other brought a lawsuit against him.
857:
805:
683:
1321:
1165:
1017:
508:
His reputation established, Ledoux commenced a period of yet more ambitious designs. The HĂ´tel de Montmorency on the
429:
187:
1266:
1247:
1182:
924:
513:
501:
475:
695:, Franche-Comté. The exterior of the building was designed as a severe Palladian cube, adorned only by an almost
671:. Thus the dream of success for a factory, conceived at the same time as a royal residence and a new city, ended.
912:
410:
125:
232:
The two master architects introduced Ledoux to their affluent clientele. One of Ledoux's first patrons was the
561:
48:
31:
1170:
986:
Ledoux, who was eventually released, ceased building and attempted to prepare the publication of his complete
728:. This was followed by the spectacular project that he conceived for the Palais de Justice and the prison of
528:
to become "Contrôlleur et ordonnateur des bâtimens de Hesse". Back in Paris, he received the plans for Museum
420:
194:
2037:
897:
1687:
1042:
873:
749:
286:
413:, largely carved by Joseph MĂ©tivier and Jean-Baptist Boiston to the designs of Ledoux, is preserved in the
1765:
1342:
1022:
721:
447:
436:(1768–1769) for the Marquis de Livry. With its simple, almost severe, facade of four stories, broken by a
236:, an immensely wealthy connoisseur who commissioned him to remodel part of his palatial town house in the
233:
218:
179:
2045:
1756:
Some examples of this continuation into the nineteenth and the beginning of the twentieth centuries: the
1133:
509:
301:
1995:
1584:
1174:
778:, around a commercial warehouse, he designed the gardens of Zephyr and Flora, which were illustrated by
628:
433:
150:
1511:, his collection of paintings were declared nationals treasures and dispersed among provincial museums.
1078:
902:
608:, in the Val d'Amour. The saline water was to be brought to the factory by a newly constructed canal.
569:
In the 18th century salt was an essential and valuable commodity. The unpopular salt tax, known as the
117:
Project for the ideal city of Chaux: House of supervisors of the source of the Loue. Published in 1804.
2008:
1770:
1265:
and boulevard, Paris, 1772 (destroyed) : The woodwork of the circular salon are preserved at the
793:
2071:
2066:
821:
577:
537:
to the notorious influence of Madame du Barry, Ledoux was commissioned with the modernization of the
368:
198:
175:
1707:
1366:
1302:
1282:
1278:
1199:
1100:
1096:
976:
801:
643:
402:
painting a colonnade on the blind wall of the neighboring convent, thus extending the perspective.
275:
257:
132:. His greatest works were funded by the French monarchy and came to be perceived as symbols of the
2039:
L'architecture considérée sous le rapport de l'art, des moeurs et de la législation. Tome premier
1711:
1691:
1144:
696:
171:
1999:, 34 volumes, edited by Jane Turner, reprinted with minor corrections in 1998. New York: Grove.
364:
262:
1138:
956:
the same time the first blows of the pickaxe began to ring on the already obsolete wall of the
756:
which met in the town house he had built for Mme d'Espinchal, on the Rue des Petites-Écuries.
462:
in the Chaussée d'Antin; and following that commission the house of Mlle Saint-Germain, in the
2019:
2000:
1983:
1968:
1950:
1935:
1913:
1898:
1866:
1844:
1815:
1744:
1645:
1604:
1548:
1338:
843:
811:
733:
668:
414:
383:
372:
356:
137:
1598:
285:. Ledoux rebuilt the château and created new gardens, replete with fountains supplied by an
1676:
1221:
1206:
1181:), 1768-1769: Property of the general council of the Calvados, at the present it houses the
979:, son-in-law of the entrepreneur PĂ©coul, and considerably enriched in the collection of the
775:
593:
582:
546:
479:
463:
459:
321:
237:
133:
1469:
1761:
1508:
1421:
1307:
1147:, Paris, 1766: It is the only private construction of Ledoux which remains in the capital.
969:
890:
764:
729:
605:
497:
482:
352:
54:
1960:
1876:
1757:
1658:
1154:
1113:
936:
660:
542:
541:(Eastern Saltworks). The modernization was initiated following the construction of the
406:
305:
206:
1863:
Les architectes parisiens du XVIII siècle : dictionnaire biographique et critique
947:
549:, a title he held until 1790, with the position yielding him an annual salary of 6000
446:
Ledoux travelled to England in the years 1769-1771. There he became familiar with the
17:
2060:
1980:
Claude-Nicolas Ledoux: Architecture and Social Reform at the End of the Ancien RĂ©gime
779:
768:
529:
455:
454:, an influential Renaissance architect, was famous for his Italian villas (e.g., the
819:
In the process of his work in Franche-Comté, Ledoux had become an architect for the
1695:
1371:
1311:
1252:
1046:
931:" ("the bastions of taxation metamorphosed into columned palaces"), and exclamed, "
550:
309:
2016:
Claude-Nicolas Ledoux: Architecture and Utopia in the Era of the French Revolution
1442:
L'Architecture considérée sous le rapport de l'art, des mœurs et de la législation
1352:
999:
L'Architecture considérée sous le rapport de l'art, des mœurs et de la législation
826:
725:
331:
HĂ´tel d'Hallwyll, Paris, 1766. Elevation of the facade on the rue Michel-le-Comte.
212:
142:
L'Architecture considérée sous le rapport de l'art, des mœurs et de la législation
256:
In 1762, the young Ledoux was commissioned to redecorate the Café Godeau, in the
1294:
1108:
700:
692:
620:
391:
317:
313:
282:
1710:, who saw it as one of the causes of the Revolution, responded with his famous
589:, salt was extracted from saline wells by vaporizing in wood-fuelled furnaces.
474:, and most notably the Music Pavilion constructed between 1770 and 1771 at the
201:. These two eminent Parisian architects designed in both the restrained French
124:(21 March 1736 – 18 November 1806) was one of the earliest exponents of French
1993:
Vidler, Anthony (1996). "Ledoux, Claude-Nicolas", vol. 19, pp. 55–58, in
1839:
Gallet, Michel (1982). "Ledoux, Claude Nicolas", vol. 2, pp. 648–654, in
1671:
1013:
863:
847:
714:
656:
512:
dates from this period. It has a principal façade in the Ionic order above a
493:
271:
829:
and undertook to plan their vast headquarters on the rue du Bouloi in Paris.
1440:
In 1804 was published a volume including the works from 1768 to 1789 :
878:
745:
705:
597:
485:, whose patronage and influence were to be of use to Ledoux in later years.
395:
387:
379:
348:
2051:
964:
had been able to install its employees in the buildings by Ledoux, but the
466:, the house of Attilly in the suburb of Poissonnière, a house for the poet
1234:
471:
451:
437:
290:
267:
226:
183:
1476:
624:
571:
525:
440:
222:
167:
994:
and the engraving that was published in 1804 illustrate this process.
300:
In 1764, he designed for Président Hocquart, a Palladian house on the
1381:
1286:
852:
586:
581:. Salt served as a valuable source of income for the French king. In
521:
202:
129:
77:
1077:
946:
792:
647:
633:
560:
492:
419:
344:
326:
247:
95:
1310:, Paris, 1778 (destroyed in 1826 at the time the prolongation of
691:
In 1784 Ledoux was the architect selected to design a theatre at
1356:
1178:
886:
360:
343:
Among the still extant works from this period are the bridge of
545:. In 1771 Ledoux was promoted to Inspector of the saltworks in
951:
Portrait of Ledoux with his daughter. 1782 - Musée Carnavalet.
30:"Claude Ledoux" redirects here. For the Belgian composer, see
1975:. Foreign Editions: Berlin, 1989; Tokyo, 1989; Madrid, 1994.
1814:. Berkeley and Los Angeles: University of California Press.
382:, Paris), a building that, according to the Dijon architect
148:, an idealistic and visionary town showing many examples of
638:
The Royal Saltworks at Arc-et-Senans: House of the director
1932:
Historical Dictionary of Neoclassical Art and Architecture
1881:
Three Revolutionary Architects, Boullée, Ledoux and Lequeu
1572:
Ledoux, Kassel und der Amerikanische Unabhängigkeitskrieg.
1910:
Architectural Theory: An Anthology from Vitruvius to 1870
1843:, edited by Adolf K. Placzek. London: Collier Macmillan.
815:
Rotonde de Chartres (today: entrance to the Monceau park)
2046:
Site du bicentenaire de la mort de Claude Nicolas Ledoux
1161:
have been conserved since 1968 at the Carnavalet Museum.
270:
painted on the walls were interspersed with alternating
939:, succeeding Calonne, disavowed the entire enterprise.
736:, when only the ground floor walls had been completed
1041:
As a radical utopian of architecture, teaching at the
933:
Ah! Monsieur Ledoux, vous ĂŞtes un terrible architecte!
919:" (a "monument to enslavement and despotism"). In his
911:
of taking excessive freedoms with the ancient canons.
1718:" ("The wall walling Paris renders Paris grumbling.")
929:
les antres du fisc métamorphosés en palais à colonnes
378:
In 1766 Ledoux began designing the HĂ´tel d'Hallwyll (
500:, for whom Ledoux designed a Music Pavilion at her
289:. In addition in the gardens and park he built an
103:
84:
62:
39:
611:The design, which received royal approval, of the
424:Pavilion of Mme du Barry, Louveciennes, 1770-1771
1856:Architecture de Ledoux, inédits pour un tome III
1583:Ledoux is not known to have travelled to Italy;
1243:, faubourg Poissonnière, Paris, 1771 (destroyed)
557:The Royal Saltworks at Arc-et-Senans (1775–1778)
504:, was to use her influence to advance his career
1982:. Cambridge (Mass.) and London: The MIT Press.
889:opened by a peristyle recalled the pavilion of
1829:, translated by Peter Thornton. London: Faber.
1016:charged with symbols and meanings. Along with
2107:Members of the Académie royale d'architecture
1895:Les Propylées de Paris, Claude-Nicolas Ledoux
856:, or internal customs duties: this notorious
846:, of drawing a barrier around Paris to limit
724:for the construction of the new town hall in
190:, for whom he maintained a lifelong respect.
8:
1812:The Architecture of the French Enlightenment
1698:and at the edge of the basin of La Villette.
839:, obtained on an idea from the chemist and
2102:Academic staff of the École des Beaux-Arts
2042:, 1804 (Gallica site: on-line publication)
1603:. Cambridge University Press. p. 26.
47:
36:
1716:Le mur murant Paris, rend Paris murmurant
1420:Project for the prison and law courts of
1402:Project of the town of Chaux, around the
825:, for whom he built a salt storehouse in
252:Château de Mauperthuis, 1763 (demolished)
1925:Claude-Nicolas Ledoux, architecte du Roi
1069:
1061:
810:
682:
340:bridges, wells, fountains and schools.
112:
1453:
1398:Some of his other "visionary" designs:
1157:, Paris, 1767 (détruit vers 1870): The
752:, in various masonic ceremonies at the
1923:Moreux, J.-Ch.; Raval, Marcel (1945).
1644:It is thought that he belonged to the
1934:. Lanham, Maryland: Scarecrow Press.
917:monument d'esclavage et de despotisme
7:
2052:Claude Nicolas Ledoux on Empty Canon
1841:Macmillan Encyclopedia of Architects
1648:, either in Philalèthes or Éveillés.
1082:The Pavillon of Cercles, On the A39.
740:Domestic and commercial architecture
623:portico, inspired by the temples at
197:, and also made the acquaintance of
174:, the son of a modest merchant from
1248:Pavillon de musique de Mme du Barry
646:'s forge, the forging mill and two
520:In the year 1775 Ledoux arrived in
1196:Hôtel de la présidente de Gourgues
748:Ledoux took part, with his friend
25:
1908:Mallgrave, Harry Francis (2005).
1886:Levallet-Haug, Geneviève (1934).
1834:Claude-Nicolas Ledoux (1736–1806)
1597:Camp, Pannill (4 December 2014).
1529:Braham 1980, p. 167 (figure 215).
1066:HĂ´tel de Mlle Guimard - Elevation
720:In 1784, Ledoux was chosen over
460:house for Marie Madeleine Guimard
260:. The result was an interior of
229:, were to influence him greatly.
225:, which, along with the works of
1888:Claude-Nicolas Ledoux, 1736-1806
1745:nouvelle Ă©dition, vol. 9, p. 361
1739:Louis-SĂ©bastien Mercier (1783).
1404:Royal Saltworks at Arc-et-Senans
1274:Royal Saltworks at Arc-et-Senans
613:Royal Saltworks at Arc-et-Senans
182:, where he followed a course in
146:Royal Saltworks at Arc-et-Senans
1322:Rue des Petites-Écuries (Paris)
1159:boiseries du salon de compagnie
585:, due to subterranean seams of
448:Palladian style of architecture
297:of which little remains today.
221:, in particular the temples of
2092:French neoclassical architects
2082:18th-century French architects
2077:People from Marne (department)
2048:- Saline d'Arc et Senans, 2006
1827:Early Neo-Classicism in France
1224:, Paris, 1769-1770 (destroyed)
1126:, Paris, 1764-1765 (destroyed)
837:Controller-General of Finances
468:Jean François de Saint-Lambert
1:
1893:Lyonnet, Jean-Pierre (2013).
1183:chambre régionale des comptes
27:French Neoclassical architect
1930:Palmer, Allison Lee (2011).
1675:, a monumental gateway to a
1380:Pavillons et barrières de l'
1218:Maison de Mlle Saint-Germain
833:Charles Alexandre de Calonne
767:. The house had an immense
717:but they were not accepted.
699:neoclassical portico of six
156:Wall of the General Tax Farm
1625:Giovanni Niccolò Servandoni
1387:Wall of the Farmers-General
1277:(1774–1779) (classified as
1120:Hôtel du président Hocquart
858:Wall of the Farmers-General
806:Wall of the Farmers-General
754:Loge FĂ©minine de la Candeur
565:Plan view of the facilities
166:Ledoux was born in 1736 in
2123:
1363:Siège de la Ferme générale
1267:Boston Museum of Fine Arts
1263:rue de la Chaussée-d'Antin
1124:rue de la Chaussée-d'Antin
1004:He died in Paris in 1806.
347:, the Prégibert bridge in
29:
1967:. Paris: Editions Hazan.
1788:Gallet 1982, pp. 652–653.
1777:Jean-Baptiste André Godin
1472:L'Architecture considérée
1036:L'Architecture considerée
687:Théâtre de Besançon, 1784
126:Neoclassical architecture
46:
2014:Vidler, Anthony (2006).
2011:(subscription required).
1978:Vidler, Anthony (1990).
1945:Rabreau, Daniel (2005).
1897:. Editions Honoré Clair
1318:HĂ´tel de Mme d'Espinchal
1074:Hôtel de Thélusson, 1778
1045:, he created a singular
1029:After 1775 he presented
335:On 26 July 1764, in the
293:, a pheasantry and vast
188:Jacques-François Blondel
136:rather than Utopia. The
32:Claude Ledoux (composer)
2036:Claude-Nicolas Ledoux,
1890:. Paris and Strasbourg.
1861:Gallet, Michel (1995).
1854:Gallet, Michel (1991).
1832:Gallet, Michel (1980).
1825:Eriksen, Svend (1974).
1688:Place Denfert-Rochereau
1497:Mallgrave 2005, p. 191.
1202:, Paris (reconstructed)
960:. As of June 1790, the
925:Louis-SĂ©bastien Mercier
898:Jacques-Antoine Dulaure
874:Place Denfert-Rochereau
679:The theatre of Besançon
575:, was collected by the
502:Château de Louveciennes
476:Château de Louveciennes
373:Saint-Etienne d'Auxerre
1912:Blackwell Publishing.
1810:Braham, Allan (1980).
1657:a former associate of
1083:
1075:
1067:
1023:Benjamin Henry Latrobe
952:
816:
808:
798:Rotonde de la Villette
688:
639:
566:
505:
425:
332:
253:
244:Early work (1762–1770)
234:Baron Crozat de Thiers
219:Classical architecture
205:manner, known as the "
193:He then trained under
118:
18:Claude Nicholas Ledoux
2087:French urban planners
2018:. Basel: Birkhäuser.
1996:The Dictionary of Art
1947:Claude Nicolas Ledoux
1585:Giambattista Piranesi
1415:House of the gardener
1406:, published in 1804:
1279:monuments historiques
1207:HĂ´tel of Mlle Guimard
1166:Château de Bénouville
1081:
1073:
1065:
1018:Étienne-Louis Boullée
950:
883:Bureau des Bonshommes
814:
804:, old station of the
796:
786:Architecture for the
686:
637:
629:Jean-Jacques Rousseau
564:
496:
430:Château de Bénouville
423:
330:
251:
195:Pierre Contant d'Ivry
151:architecture parlante
122:Claude-Nicolas Ledoux
116:
41:Claude-Nicolas Ledoux
1766:Familistère de Guise
1570:Cornelius Steckner:
1538:Braham 1980, p. 169.
1520:Braham 1980, p. 161.
1488:Eriksen 1974, p. 66.
1259:HĂ´tel de Montmorency
1043:École des Beaux-Arts
992:Sir William Chambers
909:Quatremère de Quincy
428:Ledoux designed the
199:Jean-Michel Chevotet
1797:Vidler 1996, p. 57.
1708:Pierre Beaumarchais
1460:Vidler 2006, p. 10.
1335:Parc de Bourneville
1331:, Paris (destroyed)
1283:World Heritage Site
1214:, Paris (destroyed)
1200:rue Saint-Dominique
1134:rue Michel-le-Comte
1116:), 1763 (destroyed)
1047:architectonic order
977:Jacques-Louis David
850:and evasion of the
802:Place de Stalingrad
722:Pierre-Adrien Pâris
180:Collège de Beauvais
76:Dormans-sur-Marne,
1692:Place de la Nation
1261:, intersection of
1241:Pavillon d'Attilly
1145:rue de Montmorency
1084:
1076:
1068:
953:
817:
809:
689:
640:
567:
506:
426:
411:neoclassical style
351:, the churches of
333:
254:
119:
2097:Fermiers généraux
2009:Oxford Art Online
1903:978-2-918371-16-8
1865:. Paris: Mengès.
1646:Rosicrucian Order
1610:978-1-107-07916-8
958:fermiers généraux
844:Antoine Lavoisier
734:French Revolution
669:French Revolution
602:Fermiers Généraux
415:Carnavalet Museum
384:Jacques Cellerier
359:, Rolampont, the
357:Roche-et-Raucourt
138:French Revolution
111:
110:
88:November 18, 1806
16:(Redirected from
2114:
1949:, Monum, Paris.
1798:
1795:
1789:
1786:
1780:
1774:
1754:
1748:
1741:Tableau de Paris
1737:
1731:
1728:MĂ©moires secrets
1725:
1719:
1705:
1699:
1685:
1679:
1677:sacred enclosure
1667:
1661:
1655:
1649:
1642:
1636:
1633:
1627:
1621:
1615:
1614:
1594:
1588:
1581:
1575:
1568:
1562:
1558:
1552:
1545:
1539:
1536:
1530:
1527:
1521:
1518:
1512:
1504:
1498:
1495:
1489:
1486:
1480:
1470:Digital copy of
1467:
1461:
1458:
1375:
1330:
1303:HĂ´tel Thellusson
1281:of France and a
1222:rue Saint-Lazare
1212:Chaussée-d'Antin
1191:
1142:
1130:HĂ´tel d'Hallwyll
1101:Musée Carnavalet
1097:rue Saint-Honoré
921:Tableau de Paris
906:
776:Rue Saint-Lazare
750:William Beckford
617:Salines de Chaux
594:Salins-les-Bains
539:Salines de l'Est
510:Chaussée d'Antin
464:Rue Saint-Lazare
302:Chaussée d'Antin
276:Musée Carnavalet
258:rue Saint-Honoré
91:
72:
70:
51:
37:
21:
2122:
2121:
2117:
2116:
2115:
2113:
2112:
2111:
2057:
2056:
2033:
1961:Vidler, Anthony
1883:. Philadelphia.
1807:
1802:
1801:
1796:
1792:
1787:
1783:
1768:
1762:Charles Fourier
1755:
1751:
1738:
1734:
1730:, October 1785.
1726:
1722:
1706:
1702:
1686:
1682:
1669:From the Greek
1668:
1664:
1656:
1652:
1643:
1639:
1634:
1630:
1622:
1618:
1611:
1600:The First Frame
1596:
1595:
1591:
1582:
1578:
1569:
1565:
1559:
1555:
1546:
1542:
1537:
1533:
1528:
1524:
1519:
1515:
1509:Reign of Terror
1505:
1501:
1496:
1492:
1487:
1483:
1468:
1464:
1459:
1455:
1450:
1438:
1427:The project of
1422:Aix-en-Provence
1396:
1382:Octroi de Paris
1369:
1324:
1308:rue de Provence
1185:
1136:
1099:, Paris, 1762 (
1060:
1055:
1010:
970:La Force Prison
945:
943:Difficult times
900:
891:Madame du Barry
841:fermier général
791:
765:Rue de Provence
742:
730:Aix-en-Provence
681:
606:forest of Chaux
559:
498:Madame du Barry
491:
483:Madame du Barry
478:for the King's
365:Cruzy-le-Châtel
353:Fouvent-le-Haut
246:
164:
99:
93:
89:
80:
74:
68:
66:
58:
55:Martin Drolling
42:
35:
28:
23:
22:
15:
12:
11:
5:
2120:
2118:
2110:
2109:
2104:
2099:
2094:
2089:
2084:
2079:
2074:
2069:
2059:
2058:
2055:
2054:
2049:
2043:
2032:
2031:External links
2029:
2028:
2027:
2012:
1991:
1976:
1958:
1943:
1928:
1921:
1906:
1891:
1884:
1877:Kaufmann, Emil
1874:
1859:
1852:
1837:
1830:
1823:
1806:
1803:
1800:
1799:
1790:
1781:
1749:
1732:
1720:
1700:
1680:
1662:
1659:Jacques Necker
1650:
1637:
1628:
1616:
1609:
1589:
1576:
1563:
1553:
1540:
1531:
1522:
1513:
1499:
1490:
1481:
1462:
1452:
1451:
1449:
1446:
1437:
1434:
1433:
1432:
1429:immeuble-loyer
1425:
1418:
1417:
1416:
1413:
1410:
1395:
1392:
1391:
1390:
1377:
1360:
1346:
1339:La Ferté-Milon
1332:
1315:
1299:
1290:
1270:
1256:
1244:
1238:
1225:
1215:
1203:
1193:
1162:
1155:rue Montmartre
1148:
1127:
1117:
1114:Seine-et-Marne
1104:
1089:Café militaire
1087:Decoration of
1059:
1056:
1054:
1051:
1009:
1006:
962:Ferme générale
944:
941:
937:Jacques Necker
822:ferme générale
790:
788:ferme générale
784:
741:
738:
680:
677:
661:Jeremy Bentham
578:Ferme Générale
558:
555:
543:Burgundy Canal
490:
487:
407:rue Montmartre
363:and portal of
337:Saint-Eustache
306:colossal order
266:and mirrors.
245:
242:
207:Louis XV style
163:
160:
109:
108:
105:
101:
100:
94:
92:(aged 70)
86:
82:
81:
75:
64:
60:
59:
52:
44:
43:
40:
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
2119:
2108:
2105:
2103:
2100:
2098:
2095:
2093:
2090:
2088:
2085:
2083:
2080:
2078:
2075:
2073:
2070:
2068:
2065:
2064:
2062:
2053:
2050:
2047:
2044:
2041:
2040:
2035:
2034:
2030:
2025:
2024:3-7643-7485-3
2021:
2017:
2013:
2010:
2006:
2005:9781884446009
2002:
1998:
1997:
1992:
1989:
1988:9780262220323
1985:
1981:
1977:
1974:
1973:9782850251252
1970:
1966:
1962:
1959:
1956:
1955:2-85822-846-9
1952:
1948:
1944:
1941:
1940:9780810874749
1937:
1933:
1929:
1926:
1922:
1919:
1918:1-4051-0257-8
1915:
1911:
1907:
1904:
1900:
1896:
1892:
1889:
1885:
1882:
1878:
1875:
1872:
1871:9782856203705
1868:
1864:
1860:
1857:
1853:
1850:
1849:9780029250006
1846:
1842:
1838:
1835:
1831:
1828:
1824:
1821:
1820:9780520067394
1817:
1813:
1809:
1808:
1804:
1794:
1791:
1785:
1782:
1778:
1772:
1767:
1763:
1759:
1753:
1750:
1746:
1742:
1736:
1733:
1729:
1724:
1721:
1717:
1713:
1709:
1704:
1701:
1697:
1693:
1689:
1684:
1681:
1678:
1674:
1673:
1666:
1663:
1660:
1654:
1651:
1647:
1641:
1638:
1632:
1629:
1626:
1623:a student of
1620:
1617:
1612:
1606:
1602:
1601:
1593:
1590:
1586:
1580:
1577:
1573:
1567:
1564:
1557:
1554:
1550:
1547:Palmer 2011,
1544:
1541:
1535:
1532:
1526:
1523:
1517:
1514:
1510:
1503:
1500:
1494:
1491:
1485:
1482:
1478:
1474:
1473:
1466:
1463:
1457:
1454:
1447:
1445:
1443:
1435:
1430:
1426:
1423:
1419:
1414:
1411:
1408:
1407:
1405:
1401:
1400:
1399:
1393:
1388:
1384:
1383:
1378:
1373:
1368:
1367:rue du Bouloi
1364:
1361:
1358:
1354:
1350:
1349:Grenier Ă sel
1347:
1344:
1340:
1336:
1333:
1328:
1323:
1319:
1316:
1313:
1309:
1305:
1304:
1300:
1297:
1296:
1291:
1288:
1284:
1280:
1276:
1275:
1271:
1268:
1264:
1260:
1257:
1254:
1250:
1249:
1245:
1242:
1239:
1236:
1232:
1231:
1230:Saint-Lambert
1226:
1223:
1219:
1216:
1213:
1209:
1208:
1204:
1201:
1197:
1194:
1189:
1184:
1180:
1176:
1172:
1168:
1167:
1163:
1160:
1156:
1152:
1149:
1146:
1140:
1135:
1131:
1128:
1125:
1121:
1118:
1115:
1111:
1110:
1105:
1102:
1098:
1094:
1090:
1086:
1085:
1080:
1072:
1064:
1058:Constructions
1057:
1052:
1050:
1048:
1044:
1039:
1037:
1032:
1027:
1024:
1019:
1015:
1007:
1005:
1002:
1000:
995:
993:
989:
984:
982:
978:
973:
971:
967:
963:
959:
949:
942:
940:
938:
934:
930:
927:stigmatised "
926:
922:
918:
915:denounced a "
914:
910:
904:
899:
894:
892:
888:
884:
880:
875:
869:
867:
865:
859:
855:
854:
849:
845:
842:
838:
834:
830:
828:
824:
823:
813:
807:
803:
799:
795:
789:
785:
783:
781:
780:Hubert Robert
777:
772:
770:
769:porte-cochere
766:
762:
761:Maréchaussées
757:
755:
751:
747:
744:Ledoux was a
739:
737:
735:
731:
727:
723:
718:
716:
710:
707:
702:
698:
694:
685:
678:
676:
672:
670:
664:
662:
658:
652:
649:
645:
636:
632:
630:
626:
622:
618:
614:
609:
607:
603:
599:
595:
590:
588:
584:
583:Franche-Comté
580:
579:
574:
573:
563:
556:
554:
552:
548:
547:Franche-Comté
544:
540:
534:
531:
530:Fridericianum
527:
523:
518:
515:
511:
503:
499:
495:
488:
486:
484:
481:
477:
473:
469:
465:
461:
457:
456:Villa Rotunda
453:
449:
444:
442:
439:
435:
431:
422:
418:
416:
412:
408:
403:
401:
397:
394:leading to a
393:
389:
385:
381:
376:
374:
370:
366:
362:
358:
354:
350:
346:
341:
338:
329:
325:
323:
319:
315:
311:
307:
303:
298:
296:
292:
288:
284:
279:
277:
273:
269:
265:
264:
259:
250:
243:
241:
239:
238:Place VendĂ´me
235:
230:
228:
224:
220:
216:
214:
209:" and in the
208:
204:
200:
196:
191:
189:
185:
181:
177:
173:
169:
161:
159:
157:
153:
152:
147:
143:
139:
135:
134:Ancien RĂ©gime
131:
127:
123:
115:
106:
102:
97:
87:
83:
79:
73:21 March 1736
65:
61:
56:
50:
45:
38:
33:
19:
2038:
2015:
1994:
1979:
1964:
1946:
1931:
1924:
1909:
1894:
1887:
1880:
1862:
1855:
1840:
1833:
1826:
1811:
1805:Bibliography
1793:
1784:
1752:
1740:
1735:
1727:
1723:
1715:
1703:
1696:Parc Monceau
1683:
1670:
1665:
1653:
1640:
1631:
1619:
1599:
1592:
1579:
1571:
1566:
1556:
1543:
1534:
1525:
1516:
1502:
1493:
1484:
1471:
1465:
1456:
1441:
1439:
1436:Publications
1428:
1409:Overall plan
1397:
1379:
1362:
1348:
1334:
1317:
1312:rue Laffitte
1301:
1292:
1272:
1258:
1253:Louveciennes
1246:
1240:
1227:
1217:
1205:
1195:
1164:
1151:Hôtel d'Uzès
1150:
1129:
1119:
1106:
1092:
1088:
1040:
1035:
1028:
1011:
1003:
998:
996:
987:
985:
980:
974:
965:
961:
957:
954:
932:
928:
920:
916:
895:
882:
870:
861:
851:
840:
831:
820:
818:
797:
787:
773:
760:
758:
753:
743:
719:
711:
690:
673:
665:
653:
641:
616:
610:
601:
591:
576:
570:
568:
538:
535:
519:
507:
445:
427:
404:
400:trompe-l'Ĺ“il
399:
377:
342:
334:
299:
294:
280:
272:Pier glasses
263:trompe-l'Ĺ“il
261:
255:
231:
210:
192:
165:
149:
141:
121:
120:
90:(1806-11-18)
2072:1806 deaths
2067:1736 births
1769: [
1758:Phalanstère
1712:alexandrine
1424:, 1785–1786
1370: [
1325: [
1298:, 1778–1784
1293:Théâtre de
1255:, 1770–1771
1237:(destroyed)
1186: [
1137: [
1109:Mauperthuis
1107:Château de
1093:Café Godeau
901: [
489:Later works
392:Doric order
295:dépendances
283:Mauperthuis
2061:Categories
2007:. Also at
1764:, and the
1672:propylaeum
1171:BĂ©nouville
1014:ideal city
1008:Utopianism
913:Bachaumont
877:cube with
848:contraband
726:Neufchâtel
715:Marseilles
657:Panopticon
388:colonnades
367:, and the
322:Corinthian
304:using the
104:Occupation
69:1736-03-21
53:Ledoux by
1389:) (1785).
1353:Compiègne
1228:Pavillon
879:peristyle
864:Propylées
827:Compiègne
746:Freemason
706:Intendant
598:Montmorot
417:, Paris.
396:nymphaeum
380:Le Marais
349:Rolampont
268:Pilasters
213:Goût grec
176:Champagne
162:Biography
107:Architect
1963:(1987).
1927:. Paris.
1879:(1952).
1858:. Paris.
1836:. Paris.
1394:Projects
1295:Besançon
1289:in 1982)
1235:Eaubonne
1175:Calvados
1103:, Paris)
923:(1783),
866:de Paris
693:Besançon
480:mistress
472:Eaubonne
452:Palladio
438:prostyle
434:Calvados
291:orangery
287:aqueduct
227:Palladio
184:Classics
98:, France
1477:Gallica
1376:, Paris
1143:and 15
981:octrois
853:octrois
697:Grecian
648:bothies
625:Paestum
572:gabelle
526:Germany
441:portico
390:in the
324:, etc.
223:Paestum
168:Dormans
130:utopian
2022:
2003:
1986:
1971:
1965:Ledoux
1953:
1938:
1916:
1901:
1869:
1847:
1818:
1607:
1561:33-50.
1549:p. 138
1431:, 1792
1412:Market
1287:UNESCO
1177:(near
1031:Turgot
966:octroi
835:, the
644:cooper
596:or in
587:halite
551:livres
522:Kassel
514:rustic
310:Tuscan
203:Rococo
78:France
57:, 1790
1773:]
1448:Notes
1385:(see
1374:]
1343:Aisne
1329:]
1198:, 53
1190:]
1141:]
1132:, 28
1122:, 66
1053:Works
988:Ĺ“uvre
905:]
885:, an
701:Ionic
621:Doric
615:, or
369:quire
345:Marac
318:Ionic
314:Doric
172:Marne
170:-sur-
96:Paris
2020:ISBN
2001:ISBN
1984:ISBN
1969:ISBN
1951:ISBN
1936:ISBN
1914:ISBN
1899:ISBN
1867:ISBN
1845:ISBN
1816:ISBN
1605:ISBN
1357:Oise
1179:Caen
1091:(or
907:and
887:apse
862:les
361:nave
85:Died
63:Born
1775:of
1760:of
1475:at
1351:of
1285:of
1095:),
800:at
663:.
659:of
592:In
470:in
432:in
371:of
2063::
1771:fr
1743:,
1694:,
1690:,
1444:.
1372:fr
1365:,
1337:,
1327:fr
1320:,
1306:,
1251:,
1233:,
1220:,
1210:,
1188:fr
1173:,
1169:,
1153:,
1139:fr
1038:.
972:.
903:fr
782:.
631:.
553:.
524:,
450:.
375:.
355:,
320:,
316:,
312:,
278:.
158:.
2026:.
1990:.
1957:.
1942:.
1920:.
1905:.
1873:.
1851:.
1822:.
1779:.
1747:.
1714:"
1613:.
1551:.
1479:.
1359:)
1355:(
1345:)
1341:(
1314:)
1269:.
1192:.
1112:(
215:"
211:"
71:)
67:(
34:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
