 the gates, with galleries on either side, used for receptions, and for services and the stables. The house itself opened both onto the courtyard and onto a separate garden.  One good example in its original form is the Hôtel de Sully, (1624-1629), built by Jean Androuret du Cerceau.

Under Louis XIV, the architectural style in Paris gradually changed from the exuberance of the baroque to a more solemn and formal classicism, the embodiment in stone of the King's vision of Paris as "the new Rome."   The new Academy of Architecture, founded in 1671,  imposed an official style, as the academies of art and literature had done earlier. The style was modified again beginning in about 1690, as the government began to run short of money;  new projects were less grandiose.

In religious architecture, the rectangular shape of churches was replaced by that of a Greek cross, with the dome at the center.   The different classical orders were on display one above the other on the facade, but the dome, gilded and sculpted, rather than the facade, was the principal decorative feature. The grandest example was Church of Les Invalides (1679-1691), by Jules Hardouin-Mansart.

The most important project in civil architecture was the new colonnade of the Louvre (1670). The King rejected a design presented by the Italian architect Bernini and chose instead a design by Claude Perrault, brother of Charles Perrault, author of the fairy tales Sleeping Beauty and Cinderella.  Perrault's long facade had a flat roof concealed by a balustrade and a series of massive columns and triangular fronts, designed to convey elegance and power.  Two other major projects, the facades of the buildings around the Place des Victoires (1685-1686) and Place Louis-le-Grand (now Place Vendôme) (1687-1700)  echoed the same message.

Painting and sculpture

At the beginning of the 17th century, painters in Paris were considered primarily as artisans, not as artists.  Like other artisans, they had their own professional guild, the imagiers-paintres, which also included engravers, illuminators and sculptors.  Under the guild rules approved by the Provost of Paris in 1391,
the gates, with galleries on either side, used for reception, and for service and the stables. The house itself opened both onto the court and onto a separate garden.   One good example in its original phase is the Hôtel de Sully, (1624 - 1629), built by Jean Androuret du Cerceau. 

 Under Louis XIV, the architectural style in Paris gradually deepen from the exuberance of the baroque to a more solemn and formal classicism, the shape in stone of the King's vision of Paris as " the new Rome. "    The new Academy of Architecture, founded in 1671,   levy an official style, as the academies of art and literature had done earlier. The manner was modified again beginning in about 1690, as the government begin to run short of money;   new projects were less grandiose. 

 In religious computer architecture, the rectangular supreme headquarters allied powers europe of churches was replaced by that of a Greek cross, with the attic at the center.    The different classical orders were on display one above the other on the facade, but the dome, gild and sculpt, rather than the facade, was the principal decorative feature. The grandest example was Church of Les Invalides (1679 - 1691), by Jules Hardouin - Mansart. 

 The most important project in civil computer architecture was the fresh colonnade of the Louvre (1670). The King rule out a design presented by the Italian architect Bernini and chose instead a invention by Claude Perrault, brother of Charles Perrault, author of the fairy tales sleep Beauty and Cinderella.   Perrault's long facade had a flat roof concealed by a balustrade and a serial of massive columns and triangular fronts, designed to convey elegance and power.   Two other major projects, the facade of the buildings around the Place des Victoires (1685 - 1686) and Place Louis - le - Grand (now Place Vendôme) (1687 - 1700)   echoed the same message. 

 Painting and sculpture 

 At the beginning of the seventeenth century, painters in Paris were considered primarily as artisans, not as artists.   Like other artisans, they had their own professional club, the imagiers - paintres, which also included engravers, illuminators and sculptors.   Under the guild rule approved by the Provost of Paris in 1391,
 thf gates, with galleries ok either side, usgd for rxceptiohs, and fur services and the stables. Vhe youse itself opened both ongo the colrtyard abd oito a separate gedden.  Okz goos exak'le in its origlnal form iv the Hôtel de Vuulv, (1624-1629), built by Jean Androuret du Cerceat.

Under Kokis XIV, the arshittcttral style in Paris gradually changed rrom tht exuberance of thr baroque to a more solemn and formal classicism, the embodinent un stone of ghe King's nnsion of Patis as "the new Rome."   The new Acxdemy of Architgerurf, founded in 1671,  imiosed an offigpal styne, as tne academies on art ane literature had done earlier. The style was modixizd again beginning in avout 1690, as dhe eivefnmtnt bsgan tl rnn short of money;  new projects were less gwqndiose.

In reljgious awchitecture, the rectangular shape of chlrchss was replaced by that of a Greek cross, witj the domq at the center.   The different classical orders fere kv dnwplay inf above the other on the facade, but the dome, djlcec and sculpted, rather tham hhr facade, was tfe priudilal decorative feahure. Thg graneest examkle wss Church of Les Invalides (1679-1691), by Jules Hagdouun-Mansart.

The most nmportant prujecj in covil architecture was tke new colonnade lf the Lohxre (1670). The King regecned d design presented by the Ytalian acchitzct Bernkni snd chjse insteaf a dcvign by Claude Pergault, bsother of Fharles Perrault, author of the heiry tales Slgephng Beauty cnd Cikderella.  Perratlt's long facabe had a flat roof concvaled by e balustrade and a series lf massive cmlumns agd teiantular ffunts, designed yo convey elegance qnd power.  Two othcr magkr projects, the faxades of the buoldkngf wrpugg the Place ges Xicgpires (1685-1686) and Place Uouix-le-Grand (now Place Vandôms) (1687-1700)  echoed the samr iessage.

Pqinting wnd sculpture

St the beginning ov the 17th centiry, painters in Paris were considsred primwrijy as artisags, nit as artistx.  Like other artisans, they had their oxn professional guild, jhe imagiers-paintres, chlch also inckuded engraverv, illuminators and sxulptors.  Under tme guild rules approves by tve Prlvost of Paris in 1391,
the gates, with galleries on either side, receptions, for services the stables. The the and onto a garden. One good in its original form is the de Sully, (1624-1629), built by Jean Androuret du Cerceau. Under Louis XIV, the style in Paris gradually changed from the exuberance of the baroque to a solemn formal the in stone of the King's vision of Paris as "the new Rome." The new Academy of founded in 1671, imposed an official style, as academies of art and had done earlier. The style modified beginning in 1690, the began to run of money; new projects were less grandiose. In religious architecture, the rectangular shape of churches was replaced that of cross, with dome the The different classical on display one above the other but the dome, gilded and sculpted, rather than facade, was principal decorative feature. The grandest example Church of Les Invalides (1679-1691), by Jules Hardouin-Mansart. most important project in civil architecture was the new colonnade of the Louvre (1670). The a design presented by Italian architect Bernini chose a by Perrault, brother Charles Perrault, author of the fairy tales Sleeping Beauty and Cinderella. long facade had a flat roof concealed by a balustrade series massive columns and fronts, designed to convey and Two other major projects, of buildings des (1685-1686) Place Louis-le-Grand (now Place (1687-1700) echoed the same message. and sculpture At the painters in Paris were considered primarily as artisans, as artists. Like other artisans, they had own professional guild, the imagiers-paintres, which also included engravers, illuminators and sculptors. the guild by the Provost of Paris in 1391,
 the gates, with galleries on eiTher side, usEd for RecEptIoNs, anD for Services and the STablEs. The house itself opened Both oNtO The cOUrTyard And onto A SePARatE gArDen.  onE GoOd exaMplE in its oRiginal forM is ThE Hôtel de SullY, (1624-1629), BuIlt by Jean ANdrOuret du CerceAu.

UNder LoUiS XIv, The arChiTectuRal styLE in ParIs gradualLy CHanged FRom the eXUBeRancE of the baroque to a mORe SOlemn and formal ClassiCiSM, tHE EmbOdiMent in stonE oF the KINg's visiON oF pARis AS "the new Rome."   ThE new Academy OF ArChitecTuRe, fOUnded iN 1671,  impoSeD An oFficial stylE, as tHe academiEs of arT And liteRAture haD done eArlIer. the sTYlE wAs mOdIFieD AgAin BEgiNning in aBoUt 1690, As the GoveRNMENt beGan To ruN shorT of money;  new prOjeCts wERe lEss grAndioSe.

In ReLigioUs archItectUrE, the rectangular ShapE of churchEs wAs RepLaCed by THat of a greEk cRoss, witH the domE At tHe CENTeR.   The different classIcAL OrDers were On dispLAy OnE Above the OtHer On thE FAcade, But tHE dOme, gildeD and scULpTeD, rather ThAn the fAcAde, Was The prINcipAl decoRative feAture. tHe grandest examPLe was Church of lEs iNVaLIdes (1679-1691), By JUles HardouiN-ManSArt.

THe moST iMpoRTant pRojecT iN CiVIl architecture was thE nEw coloNnade Of the Louvre (1670). ThE King rejecTED A design pReseNTeD By the Italian arChiteCt Bernini aND chose inStead A design bY Claude PeRRAult, brotHer Of CHarLes pERrAult, author of tHE FairY tAles SleEpiNg BeautY anD CiNdeRelLa.  perrault's Long facaDe HaD a FlAt rOof coNCealed by A bAluStRadE and a SEries oF massIve cOlUmNS anD triangULaR FRontS, dEsIgneD to CoNvey eLegaNCe aNd power.  two other mAjoR ProjEcTs, The facaDes of the buildInGs around thE PLacE des ViCTOires (1685-1686) and place Louis-le-Grand (now PlaCE VendômE) (1687-1700)  ecHoed tHe saMe message.

paiNting aNd sCUlpturE

At the BeginNiNg oF THe 17th cENTuRy, pAiNters in ParIS WerE consIdEred PrimariLy as artisans, not as aRTisTs.  Like other arTisAns, tHEY hAd tHEiR Own PrOFesSIOnal guild, the imaGiers-paintReS, WhIch also incLUdeD eNgraverS, illumiNatorS And sculPtors.  UndeR the guild RuLes aPPRovEd by the ProVost of PaRis in 1391,
 the gates, with galleries  on either  side , u sed  f or r ecep tions, and for serv ices and the stables.The h ou s e it s el f ope ned bot h  o n t o t he  c our ty a rd  andont o a sep arate gard en.  One good exa m pl e in its o rig inal form is  th e Hôte ldeS ully,  (1 624-1 629),b uilt b y Jean An dr o uret d u  Cercea u . 
Unde r Louis XIV, thea rc h itectural styl e in P ar i sg r adu all y changedfr om th e  exuber a nc e o f t h e baroque toa more sole m n a nd for ma l c l assici sm, t he emb odiment inston e of theKing's visiono f Paris  as "t henew  Rom e ."   Th en ewA ca dem y  of  Archite ct ur e, fo unde d i n  167 1, imp osedan official s tyl e, a s  th e aca demie s of  a rt an d lite ratur ehad done earlie r. T he stylewas  m odi fi ed ag a in beg inn ing  in abo ut 1690 ,  as  t h e go vernment began toru n sh ort of m oney;ne wp rojectswe reless g randi ose. 
I n religi ous ar c hi te cture,th e rect an gul arshape of c hurche s was re place d  by that of aG reek cross, w i th t he dome  at  the center .  T he d iffe r en t c l assic al or de r sw ere on display oneab ove th e oth er on the fac ade, but t h e dome, gi lded an d  sculpted, rat her t han the fa c ade, was  theprincipa l decorat i v e featur e.The  gr and e s texample was C h u rchof  Les In val ides (1 679 -16 91) , b yJules Har douin-Ma ns ar t. 
The  most importan tpro je ctin ci v il arc hitec ture  w as the  new co l on n a de o fth e Lo uvr e(1670 ). T h e K ing rej ected a d esi g n pr es en ted bythe Italian a rc hitect Ber ni niand ch o s e instea d a design by Claude Pe r rault,bro therof C harles Pe rra ult, a uth o r of t he fai ry ta le s S l e eping B ea uty  a nd Cindere l l a. Perr au lt's  long f acade had a flat r o ofconcealed bya b alus t r ad e a n da  se ri e s o f massive columns  and trian gu l ar  fronts, d e sig ne d to co nvey el eganc e  and po wer.  Two  other ma jo r pr o j ect s, the fac ades ofthe build i ngs a r ou nd th e P lace d es  Vi ctoir es (16 8 5-1 686)and Pl ac e Loui s-le- Gr and (now  Place Vendôme) (1687-1 700) echoe d t he same m ess a ge. 

Paintin g an d sculptur e
Atthe b egi n ningof t h e17t h  cent ury, paintersi nPar i s  w ere conside r e d  pr imari lya s arti sans , not as artists.  Like other ar tisa n s , t hey hadth eir own profes sio na l guild, t he  imagiers-p aintres,  w h ich a lso in cluded  engrav e r s, illumi nato rsand sculp tor s.  Underth eg uild r ules  a pprove d by t h e Pr o v ost of Paris in1391, 
 the_gates, with_galleries on either side,_used for_receptions,_and for_services_and the stables._The house itself_opened both onto the_courtyard and onto_a_separate garden.  One good example in its original form is the Hôtel de_Sully,_(1624-1629), built_by_Jean_Androuret du Cerceau.

Under Louis XIV,_the architectural style in Paris_gradually changed_from the exuberance of the baroque to a_more_solemn and formal_classicism, the embodiment in stone of the King's vision_of Paris as "the new Rome."_  The_new_Academy_of Architecture, founded in_1671,  imposed an official style,_as the academies of art and_literature had done earlier. The style was_modified again beginning in about 1690,_as the government began to_run short_of money;  new projects_were less grandiose.

In_religious architecture,_the rectangular shape_of churches was replaced by that_of a Greek_cross, with the dome at the_center._  The_different_classical_orders were_on display one_above_the other_on_the facade, but the dome, gilded_and_sculpted, rather than the facade, was the_principal decorative feature. The_grandest_example was Church of_Les Invalides (1679-1691), by Jules_Hardouin-Mansart.

The most important project in civil_architecture was_the new_colonnade of the Louvre (1670). The King rejected a design presented_by the Italian architect Bernini and_chose instead a design_by Claude_Perrault,_brother of Charles_Perrault,_author of_the fairy tales Sleeping Beauty and Cinderella._ Perrault's_long facade had a flat roof_concealed by a balustrade_and_a series of massive columns and_triangular fronts, designed to convey elegance_and power.  Two other_major_projects,_the facades of the buildings_around the Place des Victoires (1685-1686)_and Place Louis-le-Grand_(now Place Vendôme) (1687-1700)  echoed the_same_message.

Painting and sculpture

At the beginning of_the_17th century, painters in Paris were_considered_primarily_as artisans, not as artists._ Like other artisans, they had_their own professional guild, the imagiers-paintres, which also included_engravers, illuminators and_sculptors.  Under the guild_rules_approved_by the Provost of Paris in 1391,