Our tour of the city of Bordeaux was with Sarah who met us in our lobby at Villas Fuchs. As we walked across the street Sarah told us that the city is now a UNESCO World Heritage site because of the large number of 17th century buildings still standing. The 17th century was the boom time for this city. We started in front of the Monument aux Girondins (Girondines Monument), a tribute to the revolutionaries, located in the Place des Quinconces, covering 40 acres, it is one of the largest city squares in Europe. The monument was built between 1894 and 1902 to honor the Girondins, a moderate political faction who were arrested and beheaded in 1793 after losing a power struggle during the French Revolution to the more radical Montagnards because they had not killed the king.
The project was led by architect Henri Deverin and sculptor Alphonse Dumilâtre. The base of the fountain includes allegorical sculptures representing the Republic’s triumph, eloquence, and history.
It features a 141 foot column topped by a bronze statue representing Liberty breaking her chains, culminating at a height of 177 feet.
The central woman with the stick and orb is Marianne, a symbol from the revolution of France. She represents the Republic, the triumph of justice, liberty, and reason. She is often depicted wearing a Phrygian cap. She appears on stamps, currency, and as statues in public buildings. Notice the fantastical details of the webbed hooves of the horses.
Here Marianne is banishing dishonesty, lies, and ignorance.
During the German occupation in 1943 the bronze sculptures were dismantled by the Nazis to be melted down for weaponry. They were saved by French workers who hid them in a factory in Angers. The statues were rediscovered in 1945 and eventually returned to Bordeaux. The fountain remained “empty” for decades until the statues were finally reinstalled in 1983.
Le Coq Gaulois (The Gallic Rooster) symbolizes the French peoples’ attitude of “cock”iness, ie vigilance strengthened by their rural roots. It is frequently used by national sports teams.
As we walked toward Place de la Comédie, Sarah explained some of the city’s history. Bordeaux, founded as Celtic Burdigala around 300 BC, became a flourishing Roman trade hub and capital of Aquitania. In the middle ages (approximately 1100-1400) the city was controlled by the English. For centuries there was a wall around the city both for protection and to ensure collection of duties. Most of the wall was destroyed during the 18th century building projects. The 17th century was the height of the city’s prosperity owing to its central location for trade of wine from local wineries, slaves from West Africa, and sugar, cocoa, and coffee from Haiti. Sarah showed us a miniature model of the city.
The 17 and 18th century buildings were almost entirely in Neo-classical architecture, with the crown jewel being the Opera House.
Even the ceiling of the portico is intricately detailed with decor.
Facing the theater, on the other side of the square, stands the InterContinental Bordeaux – Le Grand Hotel, which opened in 1789, and remains a prominent landmark in the city.
Sarah pointed out the the Bar à Vin and the École du Vin (Wine School), the official wine bar of the Bordeaux Wine Council.
The city symbol is selfevident.
Sarah directed us to Place du Chapelet where we found Église Notre-Dame de Bordeaux (Notre Dame of Bordeaux Cathedral), a Baroque church constructed in the late 17th century. It is dedicated to the Virgin Mary. It was part of a 13th-century Dominican monastery; the adjacent, formerly ruined cloister was restored and is now the Cour Mably. The original church was demolished in 1675 by order of Louis XIV as part of urban planning changes, leading to the construction of the current church.
The facade is known for its intricate Baroque architecture, featuring sculptures and detailed stone carvings.
Inside the cathedral the wealth of the city can be found including elaborate marble alters
and a pulpit of carved mahogany from the Caribbean inlaid with marble from the Pyrenees.
The organ at the Église Notre-Dame de Bordeaux, built in 1785 by Godefroy Schmidt, is housed in what is considered the most beautiful 18th-century mahogany and oak case in the region. This historic instrument features four manuals, 58 stops, and approximately 4,238 pipes, offering exceptional sound tailored for the church’s amazing acoustics.
During the French Revolution, the church was stripped of its religious function and served as a “Temple of Reason”. It also spent time as a military warehouse, a political club, and even a library before returning to the church in the 19th century.
As we walked to our next stop Sarah regaled us with a tale of Goya: Franciso Goya left Spain in 1824, disillusioned by the political oppression of King Fernando VII, and moved to Bordeaux, where he spent his final years, dying here in 1828. After 60 years, Spain requested his remains be returned, but it was discovered that his head was missing from the skeleton. The head was never found, leading to theories that it was taken for scientific study (phrenology) or stolen as a model for a painting of a skull which was found in an antique shop in 1928 with an inscription on the back: “Skull of Goya, painted by Fierros”. When the Spanish consul in Bordeaux, Don Joaquin Pereyra, reported the missing skull, the directive from Madrid was to proceed with the repatriation anyway. Goya’s body, minus the head, is now buried in the Real Ermita de San Antonio de la Florida in Madrid.
We walked through the Passage Sarget, a historic covered shopping gallery built in 1833. It is located in the city center, connecting the Cours de l’Intendance to the Rue Sainte-Catherine. The arcade is the 18th century precursor to the 20th century shopping mall.
The gallery is known for its atypical charm, high glass roof, and unique boutiques. It also features the copper topped lights found throughout the city.
Sarah took us to the main boulevard to take a moment and explain the 17th century architecture. As we had seen in Paris, the bottom is the main wares house, or business establishment. The next floor up, with the small windows, was for the many clerks and bookkeepers who worked for the establishment. The next level up with the ornate terraces were the receiving rooms for the family, above which are the family bedrooms, and at the top the servants’ quarters.
And as in Paris, the grill work on the terraces can be ornate. The claim here in Bordeaux is that decorating with grillwork initiated here prior to its adoption in Paris.
The wrought iron is brought from Sweden. Some are quite elaborate as a manner of showing off one’s wealth. Those with spikes are teasingly coined the “cuckold” protectors.
I found the conept hilarious and this one the funniest.
As this was a very wealthy area, and it was the age of enlightenment, many of the streets were named for the “thinkers” of the time.
We asked Sarah about the gold notary signs we see above some doors. She explained that notaries in France have a lot of specific and strict requirements which, once attained, come with a lot of special privileges. The distinction is often inherited.
The Porte Dijeaux (Gate of Jews) in Bordeaux is an 18th-century, neoclassical triumphal gate built between 1748-1753 from Frontenac stone. Originally an entrance to the old walled city marking the western Roman entrance, its name derives from Gascon, meaning “Gate of Jews” because Jewish communities historically lived beyond it.
Librairie Mollat, a famous independent bookstore is considered the largest independent bookstore in France, spanning over five connected historic buildings. Founded in 1896, it is a significant cultural landmark in the city. The store offers a vast selection of over 300,000 titles across various genres and includes a large English section.
Three times in history Bordeaux became the capital of France. The government relocated to Bordeaux during the Franco-Prussian War (1870–1871), the beginning of World War I (1914), and during the German invasion in World War II (1940). Palais Rohan, which serves as the Hôtel de Ville (City Hall) of Bordeaux since the 1830s, was built in the 18th century as a monumental residence for the Archbishop of Bordeaux. It features an austere Louis XVI-style façade and a renowned grand staircase. Refugees fleeing from the north during WW II stayed here while awaiting visas to the Americas.
Next door to Palais Rohan is Cathédrale Saint-André (Bordeaux Cathedral of Saint Andrew), a stunning example of Gothic architecture, with construction spanning from the 12th to the 16h century. It serves as a central symbol of Bordeaux and is located near the City Hall in the heart of the city. Due to being built over 400 hundred years, the cathedral has a heterogeneous mix of architectural styles, featuring different colors of stone on its facade.
This cathedral was the site of significant royal weddings, including Eleanor of Aquitaine to the future King Louis VII in 1137.
The first Pope of Avignon was a bishop of Bordeaux.
Saint Andrew was crucified on a cross and is thus often depicted.
The first Cathédrale Saint-André opened in 1090. The 1200s portal from that time is of the French Gothic style and has statues that were recently cleaned using laser technology.
From here one can begin the Camino de Santiago trek.
Inside St. Andrew can be found in the stained glass.
The 18th-century organ case is one of the largest in France, housing a heavily utilized organ,
The interior boasts a rich collection of liturgical art, sculptures, and medieval illuminated manuscripts.
I particularly loved the columns.
and the grill work.
The Tour Pey-Berland, built in the 1400s, stands separately from the main cathedral to avoid vibrations from its massive bells damaging the main structure.
A gilded statue of the Virgin Mary, Notre-Dame de Aquitaine, sits atop the tower since the 1800s. She is facing the Médoc wine region.
As we walked away we had a great view of the back of the cathedral.
Jacques Chaban-Delmas, a friend of Charles DeGaulle and a former Prime Minister of France, was the mayor of Bordeaux for nearly half a century.
I just love this picture and what it says about France, the French, and the vibe.
The tram passes directly behind the cathedral. To preserve the historic center, Bordeaux implemented a ground-level power supply system in the 2000s, making it the first city in France with a fully wireless tram in its core
Walking down the street, we had a last glimpse of the Tour Pey-Berland.
Rue Sainte-Catherine, originally part of the Roman way, is a mile long artery known as one of Europe’s longest fully pedestrianized shopping streets. Running from Place de la Comédie and the opera to Place de la Victoire, it serves over 230 shops, houses underground rivers. Sarah told us on a Saturday afternoon it is teen central.
Sarah pointed out a traditional timber-framed house, a style prominent in the region during the medieval and early modern periods, this one c 1500s. The facade features exposed wooden beams and masonry that have been preserved to reflect the city’s architectural heritage.
As we once again passed through Place de la Comédie, Sarah told us that prior to the heat wave of the summer of 2025, only 15% of private homes had air conditioning. Now they are irapidly becoming the majority.
Originally built in the 15th century, the Grosse Cloche (Great Bell), is a historic monument and one of the oldest belfries in the country. The structure has served as a gateway, a defensive belfry, and even a prison. The bell itself, named “Armande-Louise”, weighs 7,750 kilograms and was cast in 1775.
The bell only rings six times a year for major celebrations (including Bastille Day and May 8th), plus the first Sunday of every month at noon.
This plaque commemorates the site of Simon Millanges’ printing workshop, where the first edition of Montaigne’s Essays was published in 1580. Millanges was printer to the King. Montaigne preached tolerance and invented the style of essay writing. The plaque features a famous quote from Montaigne: “I do not portray the being, I portray the passing.” It also mentions that Montaigne’s grandfather, Ramon Eyquem, made the pilgrimage to Compostella via the Via Turonensis route.
Along this street, St. James, we found several more independent coffee, books, and books plus coffee shops.
We got a glimpse of the Porte Cailhau, a historic defensive gate built between 1493 and 1496 to commemorate King Charles VIII’s victory at the Battle of Fornovo.
Sarah pointed out a very old church which, she told us, can be dated to before 1600 by its pointed gables and mullioned windows.
Place de la Bourse was designed between 1735 and 1738 by Jacques Gabriel, and built by his son Ange-Jacques Gabriel, the principal architect of King Louis XV. It was built as the stock exchange, but it now serves as the Chamber of Commerce.
Historically, it served as a symbol of Bordeaux’s wealth and opening up to the world, breaking down the medieval walls of the city, which were mostly destroyed at that time.
In the original plan, a statue of Louis XV was erected on the square, which was destroyed during the French Revolution and melted into a cannon.
The fountain of the Three Graces in the center was added in1869.
The slate roofing and urns on top of the ballustrade were all classically French post Versailles in the 1750s.
During the 1700s the walls and buildings on Quai Richeliu, which is along the Garonne River, were torn down and new ones built of uniform height and style.
On the buildings here can be found mascarons, which are carved faces commonly found above doorways or windows, particularly in Europe, typically featuring grotesque, human or mythological faces intended to frighten away evil spirits.
We headed back to Porte Cailhau, a a blend of Gothic and Renaissance styles. It stands at 115 feet high.
Once through we found ourselves in Place du Palais, a vibrant, pedestrian-friendly square that was once the site of the 10th-century Palais de l’Ombrière, the former residence of the Dukes of Guyenne and later English kings.
It was time for lunch,
which meant time for some wine too, of course.
After lunch the ladies decided it was time to do some shopping. Sarah told us that the French term for window shopping translates literally to window licking; we were ready. We headed back to Rue Sainte-Catherine, which was much more crowded than it had been earlier.
We visited La Galerie des Grands Hommes, a distinctive, circular shopping center in central Bordeaux, which opened in 1991 on the site of a former 19th-century metal market. It is located within the upscale “Golden Triangle.”
We passed both familiar and new to us shops.
Two of our favorite shops were these little flower shops.
Along the way we got a better look at the Porte Dijeaux.
Once we returned to Place de la Comédie, we realized that it was a “No Kings” protest day in the U.S., and several expats were displaying signs in front of the opera house.
Also in the square, not previously mentioned by me, is Sanna, a monumental sculpture by Catalan artist Jaume Plensa. The seven-metre tall cast-iron head was originally installed in 2013 as part of a temporary exhibition of eleven sculptures throughout the city. Due to its popularity, the sculpture remained in place permanently following a public fundraising campaign. The work is designed to create a serene contrast with the hustle and bustle of the surrounding urban landscape.
After a bit of a rest, it was time to head out into the evening for dinner at Bistro 1554.
It was yet another elegant dinner of multiple courses from soup
and ravioli
to meat
and desert.
Having stuffed ourselves, we decided it was prudent to walk it off. We headed to the river for the night views.
The Miroir d’eau (Water Mirror) in is a reflecting pool covering 337,100 sq ft. Located on the quay of the Garonne River in front of the Place de la Bourse. It was built in 2006 and creates a stunning reflection.
The river also beautifully reflects the lights from the bridges.
Even the street lights along the river are beautifully designed.
The following day we were on our own in the city. We headed back to the river.
The street lights were even more beautiful in the daylight.
We passed the Bourse Maritime (Maritime Stock Exchange). Built between 1921 and 1925, it was designed as a replica of the central pavilion of the nearby 18th-century Place de la Bourse. The building served as a hub for the city’s maritime commerce and is now a significant landmark in the UNESCO World Heritage-listed historic center of Bordeaux.
In front of which stands a bronze statue which depicts Modeste Testas (also known as Marthe Adélaïde Modeste Testas), an enslaved African woman who was born in East Africa and brought to Bordeaux in the late 18th century. The monument serves as a memorial to the city’s historical involvement in the slave trade. The statue represents the resilience of enslaved people, with broken shackles depicted at her feet. It was sculpted by artist Kafack F. and inaugurated in 2019.
We made our way to the Sunday market which featured all the usuals for a French market: cheeses,
olives,
colorful autumnal veggies,
patés,
and fish.
The special Bordeaux inclusion here Cannelé.
And very special to this market were oh so many oysters, which we tried on the spot.
Ahead we could see the Jacques Chaban Delmas Bridge.
Off in the distance we could see Cité du Vin, a modern museum dedicated to wine culture from around the world. The unique architecture is designed to resemble a swirling glass decanter or a knotted vine stock. We did not make it that far into the city.
Instead we turned inland and explored some side streets.
We found a small local Église Saint-Louis-des-Chartrons (Church of Saint-Louis-des-Chartrons), a Roman Catholic church designed in the Gothic Revival architectural style built between 1874 and 1880. Situated in the historic Chartrons district of the city. the church is named after and dedicated to Saint Louis, King of France.
We went in and looked around.
On our way back to our hotel, we passed a bronze statue of Jeanne d’Arc (Joan of Arc) created by French sculptor Jules Déchin. It was erected in 1950.
We wandered back by the fair.
And did I mention there was, of course because this is France, a carousel.
We took a walk through the public gardens, which were beautiful despite the late season.
And in the garden we found yet another carousel!
We came upon a statue of Louis-Urbain-Aubert de Tourny (1695-1760). In 1743, he became intendant of Guyenne, an old French province which corresponded roughly to the Roman province of Aquitania Secunda and the Catholic archdiocese of Bordeaux. He is the one responsible for the beautification of the quays on the Garonne adding buildings, opening avenues, and creating a public garden.
Dinner was simply French: oysters, artichokes, and champagne at Brasserie Le Noailles.
The next day we returned to wine tastings. Our morning was spent at Château Marquis d’Alesme, a historic winery located in the Margaux commune or appellation of Bordeaux.
The estate, founded in 1585 by François d’Alesme, is classified as a third growth (Troisième Grand Cru Classé) in the official 1855 Bordeaux classification. Marquis d’Alesme was a conseiller in the Bordeaux parliament and first horseman of King Edward.
Our guide Pascal gave us more history of the estate. Dutch merchant Jan Bekker Teerlink bought the estate in 1809, renaming it Marquis d’Alesme-Becker.
The estate saw a succession of owners, including English firm WH Chaplin & Co and the Zuger family, until it was sold in 2006 to petrochemical industry businessman Hubert Perrodo, who had bought his first estate in 1989 and had elaborate plans of combining several of his Margaux estates. But Perrodo was killed in a skiing accident later the same year as he had purchased this estate.
The estate is currently run by his second child, Nathalie Perrodo. She destroyed pretty much all of the buildings on the estate and rebuilt the entire property. She is half Chinese and has brought much of the Eastern cultures into details of her design. She used local artisans to blend cultures into the decor. Construction commenced around 2016.
The harvesting hall was inspired by a Roman palladium. It has no echo.
In the 2006 sale of the property Mrs. Zuger kept the house and continues to live there today.
Pascal took us up to the top of the vats and explained that here, like most of the wineries we have visited in Bordeaux, gravity is used to fill the tanks and crush the grapes.
The harvest having been recent, the maceration is about done, and they have moved on to mixing and removing solids.
The estate produces 600,000 bottles a year.
The decor on the walls of the barrel rooms is of Chinese influence. Water is on the walls of even years, as above; wind is on the walls of the odd years, as below.
As we climbed to the roof, Pascal pointed out the pair of antique Chinese white marble Foo Dog guardian lion statues, historically positioned in pairs to symbolize protection, strength, and the balance of yin and yang. They are traditionally placed at entrances to protect against negative energy and ward off evil. One lion (male) typically has its paw on a ball (symbolizing wealth and power), while the other (female) rests a paw on a cub (symbolizing nurture).
From the roof we had a great view of Mrs. Zuger’s home
as well as the vineyards, which are beginning to change with autumnal colors,
and a traditional church in the distance.
During the reconstruction of the estate, the building which houses the tasting room was moved to its current location from a previous site by artisans stone by stone with attention to correct placement for the correct feng shui.
Above is the original shield of the d’Alesme family.
Inside is packed with antiques and objects of art.
The 14th century pagodas were a gift from the emporer to his parents. There are only 6 of these in the world; the other 4 are in Buckingham Palace.
The photo is from Versailles and represents all the varietal colors of grapes.
We were seated in this magnificent room for the tasting.
Lunch here was different than it has been throughout this experience. Here rather than serving courses, many small plates were served family style to all of the guests seated together.
After lunch we moved on to our last, but certainly not least important, winery: Château Mouton Rothschild. Acquired in 1853 by Baron Nathaniel de Rothschild, Château Mouton Rothschild is a premier Pauillac estate that famously rose to First Growth status in 1973. It had been ranked as a Second Growth in the official 1855 Bordeaux classification. It is now owned by three siblings of the 6th generation of Rothschilds.
Our guide Camille explained that the estate was revolutionized by Baron Philippe de Rothschild, grandfather of the current owners, from 1922, introducing on-site bottling and creating a world-class reputation. He decided to change the labels yearly, hiring an artist for a unique design each year. The estate has been in collaboration with Robert Mondavi at Opus One since 1979.
Baron Phillippe was an Aries, so rams are seen represented frequently both in the art he collected and on the labels.
Mouton means sheep, but it also means little mount; the terroir includes about 25 feet of gravel.
Camille showed us the steel vats
and their tops from which the grapes are added. The tops of the vats are sealed, but there is a one-way valve through which CO₂ can escape.
Unique here is a rail system for the trolleys that move the grapes.
The wood vats are custom made for the winery with windows to show the wine.
The cellar dates from 1926. The clarity of the wine is checked every 3 months using a glass and a candle. Three whipped egg whites are poured into each barrel toward the end of the aging process, then left for 40 days to precipitate sediments.
The old cellar is now used as an art museum to showcase the family’s extensive art collection as well as a museum containing original artist renditions of each year’s label. Unfortunately, we were not allowed pictures in either museum.
We finished the day with a spectacular tasting.
As it was our last day, Jeff posed with our driver.
The next day we all road the train back to Paris where we parted ways. Eric and I continued on the metro to Montmartre, a historic hilltop neighborhood in Paris’s 18th arrondissement. Upon emerging from the metro we were greeted by a statue entitled “La Quatrième Pomme” (The Fourth Apple). Being New Yorkers, we could not resist a pic of “The Big Apple.” The sculpture was created by French artist Franck Scurti and inaugurated in 2011. It serves as a tribute to the 19th-century French philosopher and socialist Charles Fourier, referencing his concept of the “fourth apple” in relation to industrial society.
We walked to Hotel Des Arts and checked in. Both the upstairs lobby
and the one below are both chock full of artwork from local artists. Montmartre is renowned for its bohemian artistic history.
After settling in, we headed out into the late afternoon to explore the neighborhood. As we headed up our street, we spied a windmill above the park at the top of the street.
It is one of the last remaining functional windmills of the many that once dotted the Montmartre hill, but more on them later.
As the sun set, we reached the windmill that is now a part of Le Moulin de la Galette. Originally built in 1622, it was once a working flour mill before becoming a popular 19th-century dance hall. It served as inspiration for famous artists like Pierre-Auguste Renoir, who painted the scene in 1876, and Vincent van Gogh.
Today, it operates as a restaurant.
As we continued up the hill we passed several closed art galleries.
We peeked inside a few.
Near the top we entered Place du Tertre, a famous, albeit touristy, square filled with craft shops and artists painting portraits and landscapes.
At the very top we found Sacré-Cœur Basilica (Basilica of the Sacred Heart) situated at the summit of the Montmartre butte, the highest point in the city.
It was time for our reservation, so we headed back past Place du Tertre to Le Poulbot Restaurant.
Inside, of course, more art was on display.
Having been in France at this point for nearly 3 weeks, and not yet having had a bowl of onion soup, it was time.
Ditto for the duck.
And the same for one of my all time favorite deserts: crème brûlée.
On the way back down the hill, we noted that the area was hopping with an active night life.
We had a walking tour booked for the morning. We left our luggage at the hotel and headed to the assigned metro stop at the foot of the hill. We noted that the metro sign does indeed look the same as the one we had seen this summer in Montreal, said to have been gifted from Paris.
Our guide Elise explained that originally Montmartre was a separate village.
The street on which we were standing had a city wall, which was built for the purpose of taxes. Eating and drinking outside the city wall became popular to avoid said taxes. In 1860 with the reconstruction of the city, the wall came down, but it remained less expensive to live in this arrondissement, which attracted artists along with the working class.
Elise took us first to Moulin Rouge cabaret located on the Boulevard de Clichy. She explained that although it had been built in 1889 by Charles Zidler and Joseph Oller, the iconic red windmill was gifted later, in 1899, the same year in which the Eiffel Tower was built. It is famously known for the can-can dance and as the birthplace of modern cabaret, but also historically significant, it was the first building in the city powered by electricity. It had to be outside the city because of how risqué it was considered. But the cabaret has hosted famous patrons including Sigmund Freud, Oscar Wilde, and the Prince of Wales.
Moulin Rouge dancers hold the Guinness World Record for the most simultaneous “demi-grand rond de jambe” cancan kicks, achieving 29 kicks in 30 seconds. The on-site atelier handcrafted every feather and sequin for the dancers’ costumes. The venue has been managed by the Clerico family since 1955, with the current owner having been inspired by Las Vegas shows to modernize the revue. The venue currently has an incredible 1,500 employees, including a massive team of waitstaff.
Painter Henri de Toulouse-Lautrec, lover of the can-can, became the soul of the neighborhood. He created iconic posters for the venue, featuring stars like La Goulue (Louise Weber). He was addicted to absinthe, which he called the Green Fairy. In one of his paintings, depicted outside the venue, the men are wearing top hats, which is a sign of the wealth of the clientele. There was no stage added until the 20th century, an American musical influence. Since 1957, all show names begin with the letter “F” (e.g., Féerie), a tradition started by choreographer Doris Haug to bring good luck.
Elise pointed out Cafe Petit Moulin which was used as a set for the movie Amelie.
Elise told us that the French use terraces around cafes all year round partly to smoke, but also to people watch. All of the chairs at cafes face outward for the important people watching activity. By law they must allow room for passage of pedestrians.
As we climbed the hill Elise started talking about all of the street art in the neighborhood, some of which are large murals, others not so large.
Louise Michel was a 19th century schoolteacher. In 1871 she actively participated in the events of the Paris Commune, ie the end of the Franco-Prussian War, both on the front line and in support. The Freedom fighters had unsuccessfully tried to assassinate the president; they were executed by firing squad. Having turned herself in to secure her mother’s release, she was instead deported to New Caledonia, where she converted to anarchist thought. She became an icon for anarchists. For the love of honesty.
We walked by the home of Théo Van Gogh, art dealer and brother of Vincent, who visited here 1886-1888. It was during the evolution of the neighborhood, which Vincent Van Gogh painted often.
Elise also pointed out a building with typical Haussmann architecture, which we have seen throughout Paris and Bordeaux. They were built after nearly 60% of the existing buildings had been demolished. She reiterated that above the commercial space lived the family with the servants at the top, which was generally freezing in the winter and very hot in the summer. The staircases were made very narrow to save on internal space, which is why so many of the elevators in these buildings are so tiny today.
Street art is not confined to paintings and murals. Included can be mosaics or statues, no matter how small,
as well as sketches,
iron works.
and even door knobs.
Most are anonymous. Sometimes we can recognize the same artist’s work.
Elise showed us a cast-iron Wallace fountain, similar to the one we had seen outside the Shakespeare and Co. bookstore. Sir Richard Wallace was a philanthropist and a hygienist who gifted 50 fountains to the city for the municipality; there are now 107. The females portrayed are models of Greeks goddesses who portray kindness, simplicity, charity, and sobriety. Each one is different from her sisters, by the way she bends her knees and where her tunic is tucked into her blouse. Even today they may be the only source of free clean water for the poor and homeless. Today’s modernized fountains have a button instead of a lever, many have sprinklers to cool off residents, and some even have free sparkling water.
The Bateau-Lavoir (Washhouse Boat or Floating Laundry) is a famous, historic artists’ collective where Pablo Picasso lived and worked 1904-1907, and is where he famously painted Les Demoiselles d’Avignon in 1907.
The upstairs studio, currently occupied by a 102 year-old woman, was his favorite because the windows are plentiful and face north, which means the light changes very little throughout the day.
Around the corner was the home of Iolanda Cristina Gigliotti (1933–1987), professionally known as Dalida, an Italian naturalized French singer and actress. Throughout her international career, Dalida sold more than 140 million records worldwide. She was French by marriage, which lasted only two years. She then had many lovers, three of whom committed suicide; she became known as the black widow. She died in 1987, many believe by suicide.
Of the approximately 30 windmills built for the city of Paris in the 1600s, only two remain. They had been used as mills (moulin) for flour and spices, also to crush grapes and break stones for plaster. They were in use until the 19th century. One is, as we had seen the previous evening, on the Moulin de la Galette (Mill of the Pancake), now privately owned.
Around 250 AD Saint Denis, patron saint of Paris, was decapitated by the Romans soldiers nearby for the crime of converting citizens to Christianity. Paris was pagan until the 4th century. Legend holds that once beheaded, Saint Denis walked nearly four miles carrying his head before stopping to wash it in this fountain in the Square Suzanne Buisson, the site traditionally believed to be the spot where this miraculous event occurred. The statue depicts Saint Denis holding his own severed head in his hands. The current statue was installed in 1941, but the fountain itself is much older and was historically believed to provide holy water.
A statue of Dalida was erected in a square dedicated to her 10 years after her death. Her breasts are wiped to shiny because it is believed to touch her breasts brings one good luck, although this makes no sense to me after she buried so many partners. Bocce is played in the square. It is a very popular activity in Paris due to its sociability; it can be a glue to a community.
La Rue de l’Abreuvoir is widely considered one of the most picturesque and historic streets in Montmartre district of Paris. It is particularly significant to the story of Saint Denis because it is part of the legendary path he walked after his decapitation.
Recently there was an attempt to stop traffic from passing through this area and a call for a ban on parking. This banner is a protest to that proposal.
As we have seen elsewhere, the French love to protest and strike.
There remains one last vineyard in Montmartre. Prior to the Revolution, vineyards here were owned by the church. In 1789 most of them were destroyed. The area became slums until the 1930s when the government took the land back to clean it up. Each year now there is a grape harvesting party to pick the grapes. The wine is sold for €50 and is terrible, but the proceeds go to charity for the neighborhood.
Au Lapin Agile (The Agile Rabbit) cabaret is one of the oldest and most iconic cabarets in Paris, dating back to the 19th century. The venue was a famous gathering spot for artists, writers, and bohemian figures, including Pablo Picasso, who painted it in 1905. One of the artists drew a rabbit, so the name was changed. Sometimes when an artist could not afford his bill, he gave the proprietor a drawing instead. Picasso once gave a piece that later sold for €40 million.
The distinctive sign featuring a rabbit jumping out of a pot was painted by André Gill in 1875.
The coat of arms of Paris features a white ship (an ancient merchant vessel) on a red field, with a blue upper section containing gold fleurs-de-lis, symbolizing the city’s maritime history and royal ties, often accompanied by the Latin motto Fluctuat nec mergitur(Tossed but not sunk). Adopted in 1358 and officially registered in 1699, this emblem represents the city’s resilience. It can be seen on buildings
and even on lamp poles.
Construction of the Basilique du Sacré-Cœur de Montmartre (Basilica of the Sacred Heart of Montmartre), a Roman Catholic minor basilica, began in 1875, was completed in 1914, and it was formally consecrated in 1919.
The architecture is inspired by Romanesque and Gothic styles as well as Greek inspired Byzantine styles. It features distinct white travertine stone that helps it stand out against the skyline and, even better, is self-washing.
Basilique du Sacré-Cœur de Montmartre has maintained uninterrupted perpetual adoration of the Blessed Sacrament since August 1, 1885. Day and night, continuous silent prayer is offered for the world, even throughout the World Wars and the COVID-19 pandemic.
The basilica is the second most visited church in Paris after Notre-Dame. As is true for all churches by law in Paris, admission is free. But as our time was drawing short, and we had visited so many cathedrals and churches in France, we chose not to enter. From this high point are stunning views of Paris below.
As we walked back down the hill, we looked back at this magnificent building.
At the base we found locks of love, attestations of the unbreakable bonds of those who came before us.
From this vantage point we had a good view of the Eiffel Tower in the distance.
We passed one last church as we descended the hill: Eglise Saint-Pierre de Montmartre, one of the oldest churches in Paris, with construction beginning in 1133. for Louis VI.
We passed back through Place du Tertre one last time
and noted the portrait painters trying to make a sale.
We chose to go to the Moulin Galette for our last French meal. Despite it being touristy, it had a special appeal.
Behind the bar one can look up into the windmill.
We were seated out on the terrace.
There can be found a reproduction of “Bal du moulin de la Galette” (Dance at Le Moulin de la Galette), a famous painting by Pierre-Auguste Renoir. The lady in pink is thought to have been his mistress. The straw hates depicted represent the working class.
We had to have another cup of onion soup before leaving France, with, of course, a glass of champagne
followed by Moules Marinières with pomme frites.
After lunch we collected our luggage and headed to the airport. There we had a final glass of wine to toast our journey.
Jo & Eric's travels 