Henri IV: Wars Of Religion

In the time before King Louis XIV’s reign, 17th century France was involved in several civil wars, there were no secure borders and the aristocracy acted as local rulers. In 1643 when Louis XIV came to power, he thought that he needed to secure both France and his own rule. He decided to build a new palace complex 12 miles outside Paris. To him, isolation meant security, he would be away from the plotters and schemers in Paris. He also believed that having all government departments and ministries living within Versailles would centralize the government and create reform.

Still, the negative aspects of France’s rule under King Louis XIV far outweigh the positive ones. His reign can best be described by the statement “L’état, c’est moi,” (I am the state) that is attributed to him. King Louis XIV spent state money to pay for his own luxuries and monuments that glorified his image. It was also customary for the artists King Louis XIV sponsored to include direct or indirect allusions to him in their productions thus creating a god-like image of him. The Palace of Versailles alone used 5% of France’s income. This liberal

Louis XIV, the ruler of France from the late seventeenth century to the early eighteenth century, claimed, “I am the state.” He considered this to be absolutism. His goal, also acquainted with absolutism, was, “one king, one law, one faith;” Furthermore, Louis wanted to promote religious unity, royal dignity, and security of the state. In order to achieve this goal, he had to rule with a firm hand, laying down the law for all to see. Louis XIV’s absolutism fostered in four major parts: the building of Versailles to control the nobility, the breeding of a strong military, the improvement of France’s economy, and, while quite harsh, the brutal extinction of religious toleration.

     Both men had a common ability to see the goodness in other men as royal

The article did not contain much information and did not go into detail about each topic mentioned. The information was not very organized and some parts included extraneous details about the status of the building or landmark in modern times. It also included details about France’s modern industry. These again were irrelevant and unnecessary details that did not aid in the research of the topic. The database itself was difficult to navigate. The articles it presented for the topic were irrelevant and the content of the articles did not provide adequate information. The article was taken from Funk and Wagnall's New World Encyclopedia. This encyclopedia is used in many different databases and is considered to be a reliable source. It contains over 25,000 different records of various subjects. However, there are many others websites and sources that provided the same information in a more organized, detailed manner. Overall, this source was not beneficial to the research of eighteenth century France and is not recommended for other

An essential need of the city and urban life, for bringing people together and seeing architecture as a social form. (147-148 writing on cities)

During the nineteenth century, Paris further developed into the entertainment capital of the world. Alistair Horne, the author of the Seven Ages of Paris, vividly illustrates several historical moments that occurred in Paris. Through the horrors and triumphs, Paris was able to endure through it all for ages and still emerge greater than before. In comparison, Vanessa R. Schwartz, the author of Spectacular Realities: Early Mass Culture in Fin-de-siècle, demonstrates how the explosive popularity of the boulevard, the newspapers, wax museums, panoramas, and early cinema led to the creation of a new culture in Paris. Driven by consumerism, a cultural revolution was happening, who’s new culture transcended gender and class divisions. Both authors

In C. M. Harris’s journal article Washington's Gamble, L'Enfant's Dream: Politics, Design, and the Founding of the National Capital published in “The William and Mary Quarterly, Third Series, Vol. 56, No. 3 (Jul., 1999)”, Harris address the foundation of the national capital city and the political and economic issues it underwent. Indeed, throughout this historical timeline of the National City, Harris enounce main key moments that lead to establishment of Washington D. C’s urban plan. One of them that has been thoroughly discussed was the appointment of French-American architect and civil engineer Pierre Charles L'Enfant (who was also an artist of Baroque tradition) as the designer of the national city master plan in the winter of 1777-1778

French minister Richelieu symbolized absolutism in many ways. With his policy of total subordination of all groups and institutions to the French monarchy, Richelieu worked to break the power of nobility. This is because French nobility’s selfish and independent ways went against the the crown’s goal to centralize the state. To break it Richelieu leveled castles, which were a symbol of feudal independence. He also destroyed aristocratic conspires, with speedy executions. In addition to this Richelieu’s genius is best reflected in the administrative system he established. Extending the use of royal commissioners, known as intendants giving them responsibility for justice, police, and finances in each of Frances 32 generalities or districts.

Cities are generators of economic life and source of changes in the world. Thereby, Jane Jacobs in her book The Death and Life of Great American Cities puts into relief the role of cities on the social and economic levels, while denouncing the disastrous consequences of urban renewal programs. To that extent, in chapters 2 and 3, she discusses "The Uses of Sidewalks”, arguing that over all people need safety and trust in their city. Therefore, first she claims the necessity of keeping streets and sidewalks safe because they are the “vital organs” of cities (29). Secondly, she argues that the functioning of cities should be organized in order to foster human interaction in which “casual public

The 17th and 18th centuries were a tumultuous time for France and its colonies, as the slave trade grew and power shifted from nobles to the king, and the system of government slowly changed. The goal of absolutism was stability, order, and to achieve a unified state, building the power and strength of France, and ultimately of its Sun King. However, this shift in power caused tension which came to a peak in 1789 at the start of the French Revolution with the storming of the Bastille, as well as delegitimized the authority of the monarchy. Louis XIV curbed the power of the nobles in order to create a standing army and absorb more power for an absolutist regime, and instead created intendants, or nobles of the robe chosen from the upper middle class, to help manage the country. The cruelty of the slave trade in the New World caused a growing unrest among the French people. This in combination with the absolutist rule beginning with Louis XIV in France angered many, resulted in revolts breaking out, and eventually led to the French Revolution.

“Old Paris” was viewed as a collection of picturesque memories, cherished dwellings, close neighborhoods, and lively streets. The people inhabiting “Old Paris” included those in the banlieues

His first comprehensive city plan was La Ville Contemporaine (the Contemporary City) a project to house three million inhabitants designed in 1922. This was Le Corbusier’s first attempt to reconcile man, nature and machine (Fishman, 189). The city starts at the center with a transportation hub for busses, trains, cars and planes. Surrounding this hub there will be an organized cluster of 24 60-story skyscrapers. These glass and steel skyscrapers are cross-shaped. Each individual skyscraper is to be set within a large rectangular green space. The skyscrapers house the “brain” of the city. The city is beautifully geometric and symmetrical. Placing the skyscrapers in the city center reinforces the emphasis on capital as a means of creating a successful city. Because of the shape and mass of each skyscraper, they have more usable space than an entire neighborhood but also relieves density and congestion because of the organization (Frampton, 46).

In his 1832 novel Notre-Dame of Paris, Victor Hugo interlaces discussions of medieval architecture with a story set among the people of medieval Paris. In his story, he introduces us to a number of grotesque and morally questionable characters, whose actions and appearances often bridge the line between empathetic and unpleasant. For each of these main characters, Hugo establishes a location for his readers to associate with them, and thus compares his characters to the architecture of the city, many of whose buildings and locations are mixtures of dissimilar architectural styles or are crooked and uneven. The architecture of these locations, as well as the symbolism of the architectural styles, provides us with both an emotional and a literal backdrop to the characters and their behaviors. Through these associations, Hugo uses the

It was one of the largest efforts to rebuild the centre of a city since ancient times. While there was the glamour of the many entertainments in the city, there was also a darker side of poverty, crime and prostitution. "The city - with its pristine exterior, its soiled underside, its hollow entertainments - provided the makings of an enormous duality: a two-sided mirror...a spectacle and secret life." (Bromber 1996: 62) One of the key parts to this design by Haussmann were the wide tree lined avenues, which replaced the smaller streets that had previously existed in the city. "Haussmann's grand design for the reconstruction of Paris was being carried forward by the Third Republic, and the city was now laced with wide, tree-lined avenues." (Schneider 1972: 134) In fact, the modern city of Paris is based on the city that was built by Haussmann and the modern perception of Paris as being the artistic and cultural centre that it is known for, is chiefly based on Haussman's design and re-modelling of the city.