L'Hôtel de ville de Beaugency et sa restauration au XIXe siècle

Das Rathaus von Beaugency ist ein seltenes Beispiel öffentlicher Gebaude der Renaissance. Erbaut zwischen 1526 und 1533, sticht es hervor durch seine Fassade, deren dekorative Formensprache sich ableitet von den großen Bauten derr Zeit um 1515, wie den Schlössern von Bury oder Blois (Flügel Franz' L). Berücksichtigt man den lokalen Kontext, so ist es denkhar, eine Beteiligung des Baumeisters Pierre Biart anzunehmen, det zur selben Zeit auch am Schloß von Beaugency tätig war. Im Laufe der 1840er Jahre nahm Léon Vaudoyer das Gebaude auf und lieferte sogar eine Ergänzung nach derselben Methode, die Félix Duban gerade bei der Restaurierung des Flügels Franz' I. in Blois anwandte. Fünfzig Jahre spater, zwischen 1892 und 1898, restaurierte der Architekt René Dusserre das Bauwerk nach den Planen von Léon Vaudoyer und gab ihm damit sein uns heure vertrautes Aussehen.The Hôtel de ville at Beaugency is a rare example of Renaissance public architecture. Built between 1526 and 1533, its façade reflects the decorative vocabulary of the great constructions conceived around 1515, such as the châteaux of Bury and Blois (the wing built for François 1er). Given the local context, the master mason Pierre Biart may have been involved, as he was working of the château of Beaugency at the time. During the 1840s, Léon Vaudoyer took note of the building and offered a reconstruction in the manner of Félix Duban who was then restoring the François 1er wing at Blois. Fifty years later, between 1892 and 1898, René Dusserre used the plans of Léon Vaudoyer to restore the building and impart the physiognomy known to us today.L'Hôtel de ville de Beaugency est un exemple rare de l'architecture publique de la Renaissance. Construit entre 1526 et 1533, il se distingue par une façade dont le vocabulaire décoratif est issu des grandes réalisations des années 1515 comme les châteaux de Buty ou de Blois (aile François Ier). Compte tenu du contexte local, il est possible d'envisager une intervention du maître maçon Pierre Biart qui intervint également durant la même période au château de Beaugency. Au cours des années 1840, Léon Vaudoyer releva l'édifice et en fournit même une restitution selon une méthode que Félix Duban était justement en train de mettre en œuvre dans la restauration de l'aile François Ier de Blois. C'est en se conformant au projet de Léon Vaudoyer que l'architecte René Dusserre restaura l'édifice cinquante ans plus tard, entre 1892 et 1898, et lui conféra la physionomie que nous lui connaissons aujourd'hui.Droguet Vincent. L'Hôtel de ville de Beaugency et sa restauration au XIXe siècle. In: Bulletin Monumental, tome 165, n°1, année 2007. Beaugency. Monuments du Moyen Âge et de la Renaissance. pp. 99-108

Le couloir central dans la distribution : son apparition et son développement au XVIIIe siècle

The central hallway in the distribution of living spaces : its appearance and development in the eighteenth century, by Vincent Droguet. The internal distribution of residential living spaces was a major area of interest for the eighteenth-century architect. In practice, the central hallway in the upper storey appeared in the second half of the seventeenth century and became prevalent at the end of the reign of Louis XIV. The malouinières, country houses of the ship-owners of Saint-Malo, are witness to the early adoption of this type of organisation in the provinces. Architectural theory, however, resisted this arrangement, as is visible especially in the works of Jacques-François Blondel.La distribution interne des demeures constitua l'un des sujets de réflexion privilégiés des architectes français du XVIIIe siècle. Dans la pratique, la distribution à couloir central, au premier étage des habitations, fit son apparition dans la seconde moitié du XVIIe siècle et se répandit à partir de la fin du règne de Louis XIV. Les malouinières, maisons de campagne des armateurs de Saint- Malo, témoignent de la répercussion précoce de ce mode d'organisation en province. Toutefois, la théorie architecturale fut plus réticente à admettre ce type de distribution, comme on peut le constater notamment à travers les ouvrages de Jacques-François Blondel.Droguet Vincent. Le couloir central dans la distribution : son apparition et son développement au XVIIIe siècle. In: Bulletin Monumental, tome 160, n°4, année 2002. pp. 379-389

Bernard Sournia, Jean-Louis Vayssettes: Montpellier: la demeure classique. Cahiers du Patrimoine no 38, Paris, Imprimerie nationale, 1994. 336p., 257 ill.

Droguet Vincent. Bernard Sournia, Jean-Louis Vayssettes: Montpellier: la demeure classique. Cahiers du Patrimoine no 38, Paris, Imprimerie nationale, 1994. 336p., 257 ill.. In: Revue de l'Art, 1995, n°109. pp. 79-80

Bernard Sournia, Jean-Louis Vayssettes: Montpellier: la demeure classique. Cahiers du Patrimoine no 38, Paris, Imprimerie nationale, 1994. 336p., 257 ill.

Droguet Vincent. Bernard Sournia, Jean-Louis Vayssettes: Montpellier: la demeure classique. Cahiers du Patrimoine no 38, Paris, Imprimerie nationale, 1994. 336p., 257 ill.. In: Revue de l'Art, 1995, n°109. pp. 79-80

Les Palais Européens de l’empereur Qianlong et leurs sources italiennes

The European palaces of the Emperor Qianlong, and their Italian sources. Built between 1747 and 1768, several European-style buildings were added to the summer palace of the Yuangmingyuan, the favourite residence of the Chinese Emperor Qianlong. Today these European buildings and their gardens are in a seriously dilapidated state, but old engravings and photographs still depict them in their former glory. Two Jesuits played an essential role in their design, Father Benoist for all the water works and Brother Giuseppe Castiglione from Milan (1688-1766) for the buildings themselves. It is possible to identify certain European sources for these remarkable works. In the gardens, the space is not organised around a principal building but is rather a succession of architectural, plant or hydraulic events. Several elements have analogies with certain motifs in the villas of post-classical Rome. Other similarities may be found with villas of Lombardy or Piedmont, such as the Venaria Reale, built by Amedeo da Castellamonte. The waterfall of the Haiyantang incorporated water effects similar to those of the villas of the Latium, whilst the table fountains of the Dashuifa evoke the thicket of the triumphal arch at Versailles. The labyrinth, the bosco and the open-air theatre are all inspired by Italian models, transmitted, notably, by the engravings of Falda and Dal Re ; the decorative ponds are inspired by French examples. Throughout this exceptional composition, Castiglione has masterfully given the Emperor a sort of secret garden, full of surprises, where the zig-zagging design helped acclimatise European models which had been imported to China and rethought there.Droguet Vincent. Les Palais Européens de l’empereur Qianlong et leurs sources italiennes. In: Histoire de l'art, N°25-26, 1994. Varia. pp. 15-28

Un Girardon à Tours

Droguet Vincent, Réau Marie-Thérèse. Un Girardon à Tours. In: Revue de l'Art, 1991, n°92. pp. 90-91

Fate of alkyphenols and phthalates within a wastewater treatment plant using biofiltration

International audienceThis study describes the works realised on the monitoring of concentrations of two families of emerging pollutant (alkylphenols and phthalates) during the different stage of treatment in the Seine Centre wastewater treatment plant (WWTP). The results showed that, although WWTPs are not designed to reduce pollution of micropollutants, the majority of alkylphenols and phthalates were significantly lowered. Moreover, the efficiency of a new unit using activated carbon was also monitored as well as sludge at the different stages of their treatment

Non-Invasive On-Site Raman Study of Pigments and Glassy Matrix of 17th-18th Century Painted Enamelled Chinese Metal Wares: Comparison with French Enamelling Technology

International audienceA selection of 10 Chinese enamelled metal wares dating from the 17th-18th centuries (Qing Dynasty) was analysed on-site by mobile Raman microspectroscopy. These wares display cloisonné and/or painted enamels and belong to the collections of Musée du Louvre in Paris and Musée Chinois at the Fontainebleau Castle in France. Pigments (Naples yellow lead pyrochlore, hematite, manganese oxide etc.), opacifiers (fluorite, lead arsenates) and corresponding lead-based glassy matrices were identified. One artefact was also analysed by portable X-ray fluorescence spectrometry (pXRF) in order to confirm the Raman data. In some of these metal wares, it is suggested that cassiterite was unpredictably used as an opacifier in some parts of the decor. The results are compared to previous data obtained on Chinese cloisonné and Limoges enamels as well as recent data recorded on painted enamelled porcelains of the Qing Dynasty. Lead arsenate apatite detected in some of the 17th-18th century blue enamelled decors is related to the use of arsenic-rich European cobalt ores, as also characterized in French soft-paste porcelain and glass decors and high-quality Limoges enamels for the same period. However, lead arsenate could then also have been deliberately used for white opacification. The specific Raman signature displaying the shape of the Raman scattering background indicates the presence of colloidal gold (Au° nanoparticles) in red to violet enamelled and cloisonné areas. At least three types of Naples yellow lead pyrochlore pigments identified with Sb-rich, Sn-rich and mixed Sb-Sn-(Zn, Fe?) compositions prove the use of European pigments/recipes

Origins and behaviour of alkylphenols and phthalates across a megacity like Paris?

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Devenir des micropolluants au sein des stations d’épuration : étude simultanée des filières eau et boue

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