CONCORDEHôtel de Talleyrand

George C. Marshall Center

Place de la ConcordeRue Saint-Florentin

Paris

CO

NC

OR

DE

Hôtel d

e Talleyrand

George C

. Marsh

all Cen

ter

United States Department of StateOverseas Buildings OperationsUnited States Embassy ParisGeorge C. Marshall Center PARIS

CONCORDEHôtel de Talleyrand

George C. Marshall CenterUnited States Department of State

2, rue Saint-Florentin Place de la Concorde Paris

A Commemorative Editiondirected by

Susan Douglas Tatewith

Linda Stevenson

and with the collaboration ofFabrice Ouziel James Christopher Hahn Danièle Buchler

Lela Felter Kerley Julian McIver Pleasants Eric and Linda ChristensonChristina Vella Vivien Woofter Candice Nancel

2007

Concorde: The Hôtel de Talleyrand and George C. Marshall Center

This Commemorative Edition was produced in 2007 through the University of Florida Publications Office© Susan Tate. All rights are reserved.

The book was printed in the United States by Storter-Childs Printing Company, Inc. of Gainesville, Florida.

ISBN 978 1 4243 4103 0

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Contents Foreword ............................................................................................... 5

Introduction Beyond the Façade .............................................................................. 7

Chapter1 Paris in the Eighteenth Century ....................................................... 11 The Other Paris ..................................................................................... 11 Suburban Paris ...................................................................................... 12

Chapter2 Louis Phélypeaux, comte de Saint-Florentin .................................. 21

Chapter3 Reflections of an Era: The Eighteenth Century on the Rue Saint-Florentin ..................... 25 An Urban Mansion or hôtel particulier ................................................. 25 Décor & Furnishings at the Leading Edge ........................................... 36

Chapter4 In Paris, Only Elegance Counts ........................................................ 57 The Hôtel de Talleyrand from Saint-Florentin to Post-World War II ............................................................................. 57

Chapter5 Talleyrand: Enigmatic Diplomat ...................................................... 67

Chapter6 Talleyrand: Savoir-faire & Savoir-vivre ............................................ 77

Chapter7 The Marshall Plan .............................................................................. 83 “A Short Time to Change the World” ................................................... 83

Chapter8 The State Apartment: Restoration and Craftsmanship .................. 95 The Restoration Project Background and Philosophy ............................ 96 Restoration and Craftsmanship ............................................................. 99 The State Apartment Rooms ............................................................... 103 Past and Future Work.......................................................................... 125

Chapter9 Stewardship & Adaptive Use: The Hôtel de Talleyrand Enters a New Millennium .................... 127

Chapter10 Private Support Joins Public Initiative Restoration of the Hôtel de Talleyrand State Apartment ............ 131 Donors Honor Roll for the Restoration of the George C. Marshall Center Hôtel de Talleyrand - American Embassy in Paris ................................ 133

Conclusion Artisans and Authors ....................................................................... 137

Authors and Contributors to this Publication .............................. 138 Bibliography ..................................................................................... 145 Sources and Credits for Images ....................................................... 149

� FORWARD

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Foreword

T his English language commemorative edition uses French spelling and capitalization conventions for proper names of people, titles, and places, such as “comte de Saint Florentin” rather than “Count de Saint Florentin.” Exceptions to this have been made for the two most frequently used names in the book, Hôtel de Talleyrand and Place de la Concorde. For terminology and for special names that are not cited frequently, the French words are italicized.

This book includes chapters by authors and contributors from multiple disciplines. These disciplines—including architecture, interior design, building construction, and history—provide a holistic view. While every effort has been made to provide continuity, the variations of individual perspectives have been preserved.

Because this edition is intended to illustrate the significance of the building and its restoration within convenient dimensions, the extensive background research, conducted between August 2006 and April 2007, has been condensed and footnotes have been removed. All references used in the text are listed in the bibliography. A copy of expanded text with footnotes has been archived at the University of Florida Architecture and Fine Arts Library.

The goal of this book is to commemorate the significance of the architecture, the décor, the history, and the restoration of the Hôtel de Talleyrand. It is a story with an international past, present, and future.

t Detail from the Grand Dining Room ceiling

� INTRODUCTION

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IntroduCtIonBeyond the Façade C oncorde expresses, in a word, the historical significance of the Hôtel de Talleyrand. Situated on the Place de la Concorde in Paris, the mansion has for two centuries witnessed defining events and international developments. From 1948-1951 the building served as the headquarters in Europe of the American administration of the European Recovery Program, better known as the Marshall Plan. This name has become an icon of concord between countries on two continents and stands as a new paradigm in international relations.

The site was destined for distinction. In 1757 Ange-Jacques Gabriel, as the principal architect for King Louis XV, was charged with developing a prominent space to be known as the place de Louis XV, now the Place de la Concorde. Gabriel controlled the design of the surrounding architecture, including an urban mansion or hôtel particulier for the comte de Saint-Florentin. Within the framework of Gabriel’s plan, the young architect Jean-François-Thérèse Chalgrin designed elegant interior features that were then executed by accomplished artists and craftsmen. The extravagant suites, with their gilded forms, moldings, and mirrors, reflected the leading edge of eighteenth century style.

The most noted proprietor at 2, rue Saint-Florentin was Charles-Maurice de Talleyrand-Périgord, prince de Bénévent, a diplomat of outstanding dexterity and cultured tastes. The luxury of his table and the splendor of his entertaining set the stage for a lifetime of masterful intrigue. Though he remained influential in five successive regimes, his years in the mansion from 1812 to 1838 marked the zenith of his enigmatic political career. As Talleyrand stated, “The art of statesmanship is to foresee the inevitable and to expedite its occurrence.”

Built in 1767-1769, the Hôtel de Talleyrand stands at the northeast edge of the Place de la Concorde. 

t The view from the Hôtel de Talleyrand across the Place de la Concorde includes the Obelisk of Luxor installed in 1836 and the 1889 Tour Eiffel.

� INTRODUCTION

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In 1838, baron James-Mayer de Rothschild purchased the mansion. Generations of Rothschilds played a major role in financing, international investment banking, and in management of world renowned vineyards in the Bordeaux region. The expansions of the Hôtel de Talleyrand directed by the Rothschilds were remarkable for compatibility with the eighteenth century heritage of the building. The Rothschild family remained stewards of the mansion until its purchase in 1950 by the United States.

The Hôtel de Talleyrand has continued its traditional role as host to international associations and significant events. June 2007 marks the 60th anniversary of the Marshall Plan and recognizes the restoration of the Hôtel de Talleyrand State Apartment, rooms so rich in history and drama. These rooms now house the George C. Marshall Center and a permanent exhibit, “The Marshall Plan: The Vision of a Family of Nations.” The Hôtel de Talleyrand is listed on the Register of Culturally Significant Properties of the U.S. Secretary of State and is registered by the Monuments historiques of France. With this heritage, it is fitting that this restoration has been supported in a spirit of international cooperation that stands as a model for the future of the Hôtel de Talleyrand.

t The Grand Dining Room of the Hôtel de Talleyrand hosted vital conferences of colleagues during the Marshall Plan era.

The State Apartment of the Hôtel de Talleyrand reflects the leading edge of eighteenth century design.

The twenty-first century restoration of the State Apartment rooms is the result of scholarly research, skilled craftsmanship, and international support.

2� CHAPTER THREE

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the Eighteenth Century on the Rue Saint-Florentin

ChapterthreeReflections of an Era:

W hat is so significant about the architecture and décor of the Hôtel de Talleyrand? From the perspective of the twenty-first century, one might feel detached from the classical symmetry of the façade, the formal order of spaces, and the lavish ornament of the interior. Yet, when seen as an amalgamation of the aesthetic and philosophical ideas of its past, one may begin to connect with this visual record of the designers, the craftsmen, the diplomats who speak to us through these walls. Foremost, this building speaks of the orchestration of structure, space, detail, furniture, hardware, and materials that makes it an expression of its time and that makes it timeless. This harmony, this Concorde, is the essence of the hôtel de Talleyrand.

An Urban Mansion or hôtel particulierIt was ironic that a significant architectural symbol of eighteenth century

enlightenment was the freestanding pavilion at Louveciennes commissioned by the comtesse Jeanne Béçu Du Barry, the quintessence of the self-indulgence of the old régime. The design for her pavilion in 1770 by the young Claude-Nicolas Ledoux was purely and precisely neoclassical. The pavilion panels carved with nymphs, urns and arabesques by Jean-Baptiste Feuillet and Joseph Métivier became a part of the history of the Hôtel de Talleyrand in the late nineteenth century when baron Alphonse de Rothschild acquired the carvings.

t The Grand Reception Room or grand salle d’audience links enfilade with the State Office and the formal rooms beyond.

The refined details of the Oval Room or salon ovale reflect the leading edge of the neoclassical style.

2� CHAPTER THREE

The sequence of entry progresses up the Grand Staircase to the three antechambers.

CONCORDE 27

The development of the urban mansion, the hôtel particulier, during the seventeenth century has been described as “one of the most brilliant episodes in the history of architecture.” After the death of Louis XIV in 1715, Versailles lost the momentum of court favor and Paris experienced a surge of moderate to grand versions of the hôtel particulier.

The distribution of a building, in the eighteenth century definition, was intended to achieve not only an organization of spaces but also “an effect of harmony, as well as comfort and grandeur…, the choice of appropriate wall-decoration and an assessment of the principal pieces of furniture required.” The grand staircase or grand escalier combined with the entry foyer to provide a tour de force leading up to the apartments of the noble floor or the bel étage. The interior spaces continued the format of the previous époque with apartments of linked rooms en enfilade, commencing with antechambers to filter visitors by rank. The mansion on the rue Saint-Florentin was distinguished by the formality of three antechambers preliminary to the Grand Reception Room.

In 1757 Louis XV had ceded to the Ville de Paris land for a new place in front of the turning bridge of the Tuileries to carry his name as sovereign. The terrain was supplemented by an agreement in 1766 with the convent of the Dames de l’Assomption, a part of which was allocated to a hôtel particulier, to be designed in harmony with the Gabriel composition of the place de Louis XV. The building, including a budget for the interior, was financially supported by the Ville de Paris.

In 1742 at age 44, architect Ange-Jacques Gabriel succeeded his father as premier architecte du roi. For 33 years, he worked exclusively for Louis XV in what became known as the style Gabriel, a “thoroughly national style.” His design for the Petit Trianon at Versailles stands as a landmark of neoclassicism. In his 1755 design for the place de Louis XV, later named the Place de la Concorde, Gabriel responded to the French Academy’s stipulations for correct classical architecture, yet he altered proportions to create lightness of scale, horizontality, and contrast of shade that produced a statement of the era.

Conceiving the mansion on the rue Saint-Florentin as an integral part of the larger ensemble of the Place de la Concorde enabled architect Gabriel

The antechambers linked enfilade to create the sequence of admittance to the Grand Reception Room.

2� CHAPTER THREE

to continue his harmonious composition. This neoclassical concept helped define the distribution of spaces and the character of decorative features that became the charge of the young architect Jean François-Therèse Chalgrin, whose first major commission in Paris was the completion of the hôtel de Saint-Florentin. Chalgrin’s legendary project would be the Arc de Triomphe de l’Étoile begun in 1806.

At the age of twenty-eight Chalgrin gained an influential patron in the comte de Saint-Florentin. His work for the Count included a townhouse for his mistress, Madame de Langeac; the mansion was subsequently leased by Thomas Jefferson. From 1781 to 1785, Thomas Jefferson, Benjamin Franklin, and John Adams served as emissaries from the new United States to France. After the departure in 1785 of Franklin and Adams, Jefferson remained as U.S. Ambassador to France until 1789. Jefferson wrote,

… I was powerfully aided by all the influence and the energies of the marquis de La Fayette, who proved himself equally zealous for the friendship and welfare of both nations; and in justice I must also say that I found the government entirely disposed to befriend us on all occasions….

Within the eighteenth century realm of superior architecture, a new group of contributors evolved. These were the ornemanistes or decorators. In 1768, Jean-Charles Delafosse in his Nouvelle Iconologie credited himself as “architect, decorator, and teacher of design.” In his 1773 Dictionnaire…des arts et métiers, Abbé Jaubert described this profession.

The decorator is the only person who knows how to use the talent of each artist to best advantage, to arrange the most elaborate pieces of furniture…. To excel in this art, which has been born before our eyes, it is necessary to have a good eye, to have a good knowledge of design, and to create an ensemble that will give a pleasing impression.

As architect, Chalgrin served also as ornemaniste - chief decorator or interior designer. He directed a noteworthy decorative team of sculptors, carvers, and painters highlighted by Jean-Simon Berthélemy, creator of the magnificent Grand

An emissary of the young United States from 1781 to 1789, Thomas Jefferson is commemorated in this statue by Jean Cardot, unveiled the 4th of July 2006.

Limestone from Paris quarries was transported to the site by boat and cart.

CONCORDE 2�

Staircase ceiling painting La Force accompagnée de la Prudence portant á l’Immortalité le globe de la France. In his designs for the rue Saint-Florentin, Chalgrin “kept to Gabriel’s preordained formula while revealing his own greater modernity….”

While the massive colonnades were reserved for the two monumental buildings forming the place de Louis XV, the concept of continuity was evident in the mansion rising on the rue Saint-Florentin. A relationship of floor levels with its immediate neighbor, the Garde-Meuble de la Couronne; common features in the window framework, balcony console brackets, and the limestone from Paris quarries established continuity of the mansion in its surroundings.

On the rue Saint-Florentin, the restrained classicism of the tri-part entrance recalled the sixteenth century models of Palladio and Serlio. The projecting portico framed an arched entrance and was crowned by a sculpture centered on the family coat of arms. The portal, viewed from inside the courtyard, was enhanced with a niche to each side with statues by the sculptor to the king, Étienne-Pierre-Adrien Gois. The statues were later relocated to niches at the landing of the Grand Staircase.

The Grand Staircase space rises to the celestial ceiling painted by Jean-Simon Berthélemy.

�2 CHAPTER THREE

Sculptor François-Joseph Duret (1729-1816) kept a livre-journal which documented the versatility of the artist involved in decoration. This versatility was punctuated by his work at the rue Saint-Florentin where, in addition to the lions he sculpted for the entrance, he also made artificial hands of plaster covered in leather after the comte de Saint-Florentin lost his hand in a hunting accident.

Author and historian Jean-François Parot portrayed the visual character of the façade through the eyes of the fictitious Nicolas Le Floch, police commissioner during the reign of Louis XV, in his 2004 Grands Détectives series novel, Le crime de l’hôtel Saint-Florentin:

Upon the rue Saint-Florentin sprang a glorious portico decorated with a stone coat of arms held by two goddesses. The arms shield was divided in two quarters of azure blue fields with gold leaves and inserts of ermines representing the Phélypeaux family at diagonals to two quarters of red fields with the three mallets of the Mailly family [of his wife].

Title page for Gabriel and Chalgrin drawings with the family crest of the owner

Section view of foyer and elevation of south wall of the entrace court.

CONCORDE ��

Through this gate, carriages entered the court and turned to the left toward the stables beyond the courtyard walls. Guests ascended the entry steps, guarded by the sculptural lions, to the central vestibule. From this foyer, visitors were escorted up the Grand Staircase or grand escalier to its second landing and the bel étage. There began the prologue in the sequence of arrival for the State Apartment where three Antechambers linked en enfilade. The Third Antechamber gave access to the Grand Reception Room, the grande salle d’audience, a room for formal occasions or elaborate entertainment.

In the adjacent State Office, grand cabinet, official documents crossed a desk that overlooked the place de Louis XV. Author Parot staged the sequence of arrival from the gates to the State Office as his novel Le crime de l’hôtel Saint-Florentin continued:

Nicolas finally decided to make his way into the walls of the mansion. A Swiss guard of monumental stature, covered with silver braid, received him arrogantly and condescended to announce his name and status as magistrate…. At the first floor a succession of antechambers led him to the office of the minister. The valet signaled by grating his nails on the door. ... The duc de La Vrillière, in a gray suit and without a wig, slumped in a seat near the grand fireplace of mottled jasper marble … no longer the little, rotund good-natured man that Nicolas had known.

Section detail associated with the design of the Grand Staircase

The Grand Reception Room seen through the doorway of the State Office.

�� CHAPTER THREE

Décor & Furnishings at the Leading Edge It is extraordinary that the Hôtel de Talleyrand State Apartment eighteenth

century spaces and features have survived essentially intact through wars, revolutions, and the ravages of time. What did not survive were the other elements that were critical to the unified composition requisite for the eighteenth century interior décor – the furniture, draperies, upholstery, and decorative accessories – creating the “effect of harmony” in the distribution of the interiors.

It is highly significant that the 1777 property inventory conducted upon the death of the comte de Saint-Florentin, as well as subsequent inventories, have survived to complete the vision of the historic State Apartment. Comparisons of the 1777 inventory with records of the prevailing trends of the eighteenth century confirm that the Hôtel de Talleyrand stood at the leading edge of design at the time of its construction.

The Grand Reception Room reflects the unified composition essential to eighteenth century décor

�2 CHAPTER THREE

The State Bedroom or grande chamber à coucher features a lit à la Turque with transitional rococo alongside neoclassical elements such as the guilloche of the arm.

The lit à la Turque incorporates transitional features in the curving back crest.

The State Bedroom exemplifies the coordination of a room and its architectural details with the textile ensemble directed by the tapissier or upholsterer.

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Stone flooring was appropriate for the foyer, grand staircase, and antechamber.

�2 CHAPTER THREE

No significant interior was complete without an ensemble of art works, elegant frames, porcelain vases, an array of candelabra and chandeliers, and the ultimate power symbol – the clock. Interest in science and art combined to promote the creation of exceptional clocks, barometers, and thermometers for prominent display. The sumptuous timepieces designed by André-Charles Boulle for Louis XIV had begun a trend that continued through the eighteenth century.

The Saint-Florentin inventory identified a significant collection of clocks. These included in the State Office “… a clock marking hours and minutes by Lepaute of Paris … composed of a terrestrial globe … figures representing a woman and love … two faces … a plinth ornamented with architraves and cornices … in antique bronze with gray veined marble ….” In addition was found “…a clock with garlands and serpents by Le Paute, a clock with a figure representing astronomy by Breton, a clock in an antique vase form by Julien Le

The importance of the owner of the hôtel particulier emanated from every feature of the mansion from the Grand Staircase to each hardware detail.

The preferred flooring in the eighteenth century, parquet en point de Versailles, was detailed to transition from the Grand Reception Room to the State Office.

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Roy, a clock with signs of the Zodiac and phases of the moon by Charles Goret, a small enameled clock with garland and flowers by Lenoir.”

So momentous was the esteem of the clock that it often occupied the position of honor at the center of the chimneypiece mantle. Alternatively, a large and accurate regulator clock, enhanced by elaborate casework, was set en parquet or on the floor. Clocks were also designed en cartel for the wall or even to be mounted on the mirror above the mantel. Enhanced with features that evolved from baroque to rococo to neoclassical, the clocks were encrusted with gilded bronze ormolu surrounds or ornaments.

The technology of interior lighting remained virtually unchanged from early history to the introduction of gas lighting in the nineteenth century. Within this restricted field, the advent of the wax candle, large mirrors, and crystal drops for the lustre or chandelier magnified and enlivened the available light in elegant interiors of the eighteenth century. In the State Office was described “… a gilded chandelier of Bohemian crystal of six lights with a cord and two silk tassels …” Chandeliers were supplemented by girandoles or floor stand candelabra. In the Grand Reception Room were “…two girandole stands of three branches with gilding and figures representing Africa in porcelain from Saxony….”

More common than the fragile chandelier was the suspended lantern. The glass sides of the lantern that protected the flame from drafts made it a very practical lighting source in vestibules, staircases, and rooms of high use. The Saint-Florentin inventory noted in the Grand Staircase “… a lantern with five white glass and reflector pieces ….”

Made available by technical developments of the eighteenth century, large scale mirrors and more accurate clocks became symbols of power and wealth.

Crystal drops magnified the available light from the lustre and mirrors multiplied the effectiveness of chandeliers, candelabra, and floor standing girandoles.

�� CHAPTER THREE

A brief but intense marriage between rococo Louis XV and neoclassical Louis XVI interiors lasted from about 1760 to 1775. Furniture that evolved during this transition integrated curving forms with more regular geometries and increasingly classical details. The style of decorative textiles was transformed only in stages, with a lag behind the signs of change that had been evident in the other decorative arts since mid-century. The interior décor conceived in 1767-1769 by the young Chalgrin for the comte de Saint-Florentin was an especially proficient example of the Greek taste. This transitional mode evolved into the style identified by historians as Louis XVI neoclassical style that dominated the next decade.

Susan Tate with thanks to Fabrice Ouziel

The State Apartment rooms reflected the transition from rococo curves to classical architectural details.

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ChapterFourIn Paris, Only Elegance CountsThe Hôtel de Talleyrandfrom Saint-Florentin to

Post-World War II

O ver time the Hôtel de Talleyrand evolved, as buildings do; yet the mansion remained remarkably unchanged from its original architectural intent through the expansions during the Rothschild century of tenure. The first change was initiated by the comte de Saint-Florentin, who ordered the erection of a link to the Tuileries centered on a fountain, attributed to Pierre-Louis Moreau-Desproux or to Jacques-Germain Soufflot. It was demolished in 1801 to make way for the rue de Rivoli.

The rue Saint-Florentin had opened in 1640 to provide access to the convent of the Dames de l’Assomption. First known as the cul-de-sac de l’Orangerie, then the Petite rue des Tuileries and the rue de Bourgogne, it was given its current name after the construction of Saint-Florentin’s mansion. The gardens and the monumental dome of the convent were separated from the rear of the mansion when the rue Mondovi was added. Known originally as the hôtel de Saint-Florentin (on the architectural drawings as L’hostel de Monseigneur le comte de St. Florentin, Place de Louis XV), it came to be called hôtel de La Vrillière in 1770 when the proprietor advanced to the title of duke.

During the 35 years after the 1777 death of Saint-Florentin, the mansion was known by the names of a succession of occupants — hôtel de Fitz-James (1777-

t The elegance of the eighteenth century Hôtel de Talleyrand is reflected in the nineteenth century expansion of the mansion for baron Alphonse-James de Rothschild.

A link to the Tuileries, centered by pedimented fountain, was an early addition to the mansion.

�� CHAPTER FOUR

1784), hôtel de l’Infantado (1784-1800), and the hôtel d’Hervas (1800-1812). Inherited by his sister and niece the comtesse de Maurepas and the duchesse d’Aiguillon, the property was sold immediately to the duc and the duchesse de Fitz-James.

The duc de Fitz-James, a relative of James II of England, ceded the property after seven years to the princesse de Salm-Salm, duchesse de l’Infantado. Two years later in 1786, the architect Jacques Cellerier (1742-1814) designed for the duchesse a remarkable circular stable around an arena, connecting north of the original stable court. “The originality of its concept immediately marked this construction which became one of the most famous of its type” and was honored by publication around 1801 in the celebrated Krafft and Ransonnette anthology of the Plus belles maisons et des hôtels construits à Paris et dans les environs....

During the turmoil following the Revolution the family de Salm-Salm removed themselves to Madrid in 1790. A brief residence by the ambassador of

The plan for the quarter prior to the extension of the rue de Rivoli indicates the link of the mansion to the Tuileries and the remarkable circular stable and arena added in 1786

The circular stable is visible in this detail of the plan of the quarter after the creation of the rue de Mondovi. The extension of the rue de Rivoli eliminated the link to the Tuileries.

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Venice and possibly in 1793 by the statesman Lazare Carnot (1753-1823) was followed by the requisition of the property by the Commission of Commerce.

Adhering to the mandate to sell the valuable mirrors of all the maisons nationales, the mirrors of the hôtel particulier on the rue Saint-Florentin were removed and sold by August (fructidor) 1795. During this period, a saltpeter manufacture was reported to have been installed by the sans-culottes of the Tuileries in the famed stables of the Infantado. The Terror was a grim period in the history of the grand place created for the statue of Louis XV as the guillotine eliminated aristocrats, revolutionaries, and monarchs.

Under the Directoire in 1796, increasing stability of society allowed Madame de l’Infantado to rent the property to Joseph Navarre for the next nine years. During the Consulate, the mansion passed to the marquis d’Hervas in 1800. An entrepreneur, d’Hervas purchased additional land from the convent of the Dames de l’Assomption along the rue de Rivoli.

The mansion’s enduring name came from the next and most controversial resident, diplomat and bon-vivant Charles Maurice de Talleyrand-Périgord, proprietor at the rue Saint-Florentin from 1812 until his death in 1838. Talleyrand was in sufficient debt from his standard of living and extension of property holdings around his château de Valençay to attempt negotiations for funds through his international connections.

In 1811, Napoléon directed his minister of the treasury Nicolas-François Mollien to reimburse Talleyrand for a visit of Spanish princes at Valençay and to buy back his Paris properties including a house on rue de Babylone, the country pavillion de La Muette, and notably the hôtel de Monaco, later the hôtel de Matignon, the residence of the French Prime Minister.

Though less palatial than the hôtel de Monaco, the mansion then called the hôtel Hervas on the rue Saint-Florentin was an exceptional setting for the lifestyle of Talleyrand. Hervas, by then a counselor of state for the new king of Spain Joseph Bonaparte, was ready to divest the property and his standing debt. Both transactions were highly convoluted and financially advantageous to Talleyrand, who was accustomed to tricky finance, “coutumier de ce genre de passe-passe financier.”

�0 CHAPTER FOUR

Charles Maurice de Talleyrand-Périgord imposed relatively little physical change on the Hôtel de Talleyrand. One might say he was otherwise occupied.

Shortly after the death of Talleyrand in 1838, his Paris home on the rue Saint-Florentin was sold by Dorothée de Courlande, comtesse Edmond de Périgord, duchesse de Dino (ostensibly Talleyrand’s lover as well as the wife of his nephew), to whom he had willed the property. Baron James-Mayer de Rothschild (1838-1857) was the successful bidder, investing over one million francs to acquire this symbol of elegance and artistic excellence. “In Paris, Only Elegance Counts,” asserted baron de Rothschild.

In 1839, James de Rothschild initiated work on the building and commissioned the painter Louis François Bertrand to restore the Grand Staircase ceiling painting of Berthélemy. Yet he did not move to the rue Saint-Florentin, preferring to reside in the former mansion of Queen Hortense on the rue Lafitte. There, James and Betty de Rothschild engaged the chef Carême in an aggressive campaign

Soldiers watch during la commune de Paris of 1871. To the left is the Hôtel de Talleyrand with the Rothschild addition identified by the two floors of unshuttered windows.

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to present “the best table in Europe.” The ballroom that could accommodate 3,000 guests and a 40 piece orchestra was highlighted by Carême’s buffet as a focal point. In this interim, the Hôtel de Talleyrand was not lacking in elegant denizens. The Princess of Lienven lived in Talleyrand’s former apartment on the entresol from 1846 to about 1860.

The history of two branches of the Rothschild family has been linked in the chronicles of culture with the vineyards of Bordeaux. In 1868 baron James de Rothschild had purchased the renowned estate of Château Lafite. The Château Mouton had been purchased by Nathaniel de Rothschild of the London branch of the Rothschild family in 1853.

Baron James Rothschild offered the property at the rue Saint-Florentin to his son Alphonse-James de Rothschild (1857-1905) and his new wife, Léonora, who established a home in the mansion. The refined and sensitive addition to the mansion was executed by baron Alphonse de Rothschild after the death of his father, who had acquired the properties along the rue de Mondovi during the 1860s. After demolishing the buildings on these properties, Rothschild directed the expansion of the Hôtel de Talleyrand along the rue de Rivoli.

Successfully blending the new façade with the original composition of Ange-Jacques Gabriel, the architect Léon Ohnet (1813-1874) created an addition that was a remarkable example of compatible design. This harmony might be contrasted with the prevailing built environment of the Second Empire (1852-1870) and the ensuing Belle Époque years. The era was dominated by architecture and furnishings that ranged from the exuberant Beaux-Arts baroque of Garnier’s Opéra and eclectic “tous les Louis” furniture to the revolutionary Art Nouveau at the turn of the century.

The interior alterations skillfully combined neoclassical architectural features with nineteenth century preferences in use and circulation. Two major spaces added during this building campaign reflected the evolution of rooms dedicated to family dining and to formal dining; these were the Rothschild Dining Room with its distinctive corner bay window and the Grand Dining Room overlooking the rue de Mondovi.

The Grand Dining room combined neoclassical features with nineteenth century functional preferences.

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Following the example of his father, Alphonse de Rothschild was an avid collector of art and architectural decoration. One of the treasures of this collection was the series of wall panels from Madame Du Barry’s pavilion at Louveciennes, executed from design drawings by the noted neoclassical architect Claude-Nicolas Ledoux. These panels were integrated into two of the eighteenth century rooms in the State Apartment.

Edouard-Alphonse de Rothschild (1906-1950), son of baron Alphonse, inherited the Hôtel de Talleyrand in 1906. His contribution to the building’s evolution was a major renovation and addition to the mansion along the north side. Designed by the architects Chatenay and Rouyrre, the work was completed in 1911.

In 2004, baron Guy de Rothschild recalled his childhood in the Hôtel de Talleyrand. Among his striking memories was his birthday party that was interrupted by the culmination of the transatlantic crossing by Charles Lindbergh in the Spirit of Saint Louis. Myron Herrick, then American Ambassador to France, had a similar memory of Lindbergh’s arrival in Paris on May 21, 1927. The ambassador’s lunch party proceeded to Le Bourget field where they spotted the approaching plane. “… In a moment pandemonium broke loose—not the pandemonium the newspapers always tell about at political conventions, but the real thing. I certainly never witnessed any occasion like it. Soldiers and police were swept away, the stout fence demolished, and the crowd surged toward the aeroplane.”

The intermezzo of jazz and abstract art following World War I, the Grande Guerre, ended abruptly as the Second World War began. As hostilities escalated, the French government requisitioned the Hôtel de Talleyrand and linked it with the adjacent Ministère de la Marine. By that time, baron Edouard de Rothschild had installed a fully stocked bomb shelter with a pump to equalize inside and outside air pressure in case of a gas attack. Iron girders for bomb protection were integrated on the upper floor adjacent to the rue de Rivoli. During the German occupation, the German Admiralty seized the building for southern operational headquarters of the German Navy. Small tack holes in the walls of the Grand Dining Room may have been the result of posting of maps and other documents. The Germans installed a second story bridge across the rue Saint-Florentin to the Marine building. The cellar function became a cell function.

This neoclassical detail from the Rothschild Dining Room illustrates the compatibility of the nineteenth century additions.

The Rothschild dining room is reflected through a mirror marked by the tain of age.

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The German Commander of Paris, General Dietrich von Cholitz, had reacted with rage at the cable from Adolph Hitler that commanded him to turn Paris into “a blackened field of ruins.” In the Kriegsmarine on the Place de la Concorde were over five tons of mines and munitions — enough to blow up Gabriel’s neoclassical palaces, everything in the block behind, and the Hôtel de Talleyrand next door. The Allies were advised of the urgency of the Liberation of Paris before the General was forced to execute the demolition orders. Fortuitously for the monuments of Paris, including the Place de la Concorde and the Hôtel de Talleyrand, the Allies reacted immediately. Phillippe François Marie, comte de Hauteclocque, better known as General Leclerc, arrived with his Second Armored Division to liberate Paris and to accept the surrender. The artillery wounds to the stone walls of the Hôtel de Talleyrand remain protected by the City of Paris as a monument to survival.

After the Liberation, the building served various government offices until 1948. In April of that year, the U.S. congress had passed legislation to create the European Recovery Program, better known as the Marshall Plan. In June, Averell Harriman, official ambassador and liason to the newly created Organization for European Economic Cooperation in Paris, wrote the French Minister of Foreign Affairs Georges Bidault to initiate discussion of the Hôtel de Talleyrand as the seat for the recovery program’s administrative activities in Europe. During these discussions, the responsibilities for the significant features of the historic monument were detailed. In a letter dated 16 July 1948 Minister Bidault put the building at the disposal of the American agency without charge until the contract of sale to the United States on 14 November 1950 by the Rothschild heirs.

Harriman set up his office in the “corner suite furnished with antiques and trimmed in green and gold, its floor-to-ceiling windows affording a panoramic view of La Place.” He positioned his desk under a huge bust of Benjamin Franklin, America’s first representative in Paris. Harriman was extremely conscious of forming and maintaining good relationships. When advised of complaints that the fluorescent lights burning late into the night in the Hôtel de Talleyrand ruined the somber beauty of the Place de la Concorde, Harriman immediately had black shades drawn over the windows at night.

Destruction around the Hôtel de Talleyrand during World War II.

The artillery damage to the Hôtel de Talleyrand on the rue Mondovi is protected as a monument to survival by the City of Paris.

From July 1948, the French Minister of Foreign Affairs made the Hôtel de Talleyrand available for ECA activities until the contract of sale was concluded in 1950 between the Rothschild family and the U.S. Department of State.

�� CHAPTER FOUR

Averell Harriman, worried about the appearance of his elegant accommodations while necessities remained in short supply, provided a press release explaining that his suite essentially comprised a national monument. In fact, Ambassador Harriman had, in August, 1948, written to the Minister of Foreign Affairs requesting a loan of furniture suitable for the larger offices in the Hôtel de Talleyrand. The Mobilier National, the agency that furnished government buildings, embassies and ministerial offices, graciously supplied the furniture for the original state reception rooms and the foyer.

A former staff member, Ms. Gabrielle Griswold, recalled the Harriman suite and the cubicles created by subdividing the original state antechambers. From a reception area adjacent to the Grand Staircase, Ms. Griswold recalled that a central corridor was cut through the antechambers to the Harriman office. The corridor was known by the staff as “King’s Row.” The remainder of the state rooms functioned as offices and the Grand Dining Room of the Rothschild wing served as the conference room. One member of the U.S. press corps observed the ECA at work in the rest of the building in “a labyrinthine maze of cubicles, pens, partitions and old corridors.”

By 1952 some 2,500 to 3,000 people had come to work with the ECA or the American Embassy in Paris and they filled up the Hôtel de Talleyrand and seven other large office buildings, one of which later became the residence of the U.S. Ambassador to France. The elegant place to see and be seen for this international working world was either the bar at the hôtel de Crillon or the popular snack bar downstairs at the Hôtel de Talleyrand.

Susan TateLinda StevensonJulian Pleasants

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The Hôtel de Talleyrand remained in harmony with its historic context while fulfilling its post-World War II role. Shades were drawn on the windows during late night work to mitigate the effect of office lights on the Place de la Concorde.

7� CHAPTER SIX

CONCORDE 77

ChapterSIxTalleyrand: Savoir-faire & Savoir-vivreQuestioned on the importance of culture in the life of a diplomat, Talleyrand enjoyed giving this answer:

“Il y a trois savoirs, le savoir proprement dit, le savoir-faire et le savoir-vivre; les deux derniers dispensent bien du premier.”

“There are three kinds of knowledge: knowledge itself, practical knowledge, and social knowledge; the last two excuse the absence of the first.”

A ccording to his definition of knowledge, the prince de Bénévent did not care for pretentiousness. On the contrary, according to him, knowing how to present the proper appearance, to speak well, to receive company and, of course, to do so with good manners constituted the major assets in the portfolio of the successful diplomat.

The portrait that François Gérard painted of Talleyrand in 1808, while Talleyrand was still the Grand Chamberlain of the Empire, showed the prince de Bénévent in traditional attire - black silk breeches with white silk stockings and blue gray frock coat, buttoned to the neck. The diplomat is seated, haughty, impassive, measuring with dignity some imaginary opponent. Goethe said of this portrait: “His expression is completely unfathomable - he looks ahead, but it is doubtful that he sees that which he appears to be observing.”

7� CHAPTER SIX

To receive company, Talleyrand alternated between the State Apartment of the grand floor or bel étage, where the salons of honor were reserved for official dinners, and the mezzanine entresol below, where his living spaces were situated. This entresol, located between the ground floor and the first or grand floor, reflected the same arrangement as the ceremonial rooms above. During the reign of Talleyrand, the entresol became a political, diplomatic, and social center.

Opened twice a week to certain visitors who frequented the mansion, it was, wrote Pasquier, “a rather comfortable sort of club” where one could as easily meet current and former ministers, peers, deputies, as rich distinguished foreigners. In the evening, one arrived around one in the morning by the private staircase from the rue Saint-Florentin, and remained there up to four or five in the morning; one played whist or craps, while spending a great deal of money. During the day, it was a place of conversation where one could mix with the high society, writers, artists and musicians.

Talleyrand’s established savoir-faire and his savoir-vivre reached an apogee with the culinary and gastronomical intervention of Antonin Carême. Talleyrand made Carême famous, but Carême certainly made the table of Talleyrand the supreme table of Paris. It is notable that this occurred within the sensual gourmandise that reigned in early nineteenth century Paris, where the fashion was sumptuous dinners, brilliant parties, and high-society gatherings. Talleyrand was not alone in this practice. The food celebrity, Brillat-Savarin, who eventually published his treatise on culinary theories, Physiologie du goût (1825-1826) shared this gastronomical stage.

The friendship between Talleyrand, the prince of diplomacy, and Carême, the chef who was called in his time the “Talleyrand of the kitchen”, lasted for thirty years. While this might appear odd, it was not so in the light of their shared passion for the gastronomic. Talleyrand’s passion for food was underscored by his remark on his return in 1797 from his sojourn in the United States. Talleyrand described that country as a place where “one finds thirty-two religions and only one dish.”

Carême designs for architectural pastries or pièces montées

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A connoisseur of fine food, Talleyrand was held to be an expert in soups and truffles. The gastronomic prince, according to Brillat-Savarin, introduced the practice of sprinkling soup with parmesan cheese and the service of Madère sec after the soup course. His table endowed French cuisine with many classic recipes, some still known by his name. Tradition holds that Carême created a time-honored chestnut dessert for the Russian minister Count Von Nesselrode during the 1814 visit of Tsar Alexandre I at the rue Saint-Florentin.

Talleyrand oversaw the choice of foods to be served as well as the quality of the ingredients that went into all the dishes served at his table. According to Carême, “his knowledge of food was first rate. He knew how to make a choice, according to the season, for the foods that were the most succulent and worthy of appearing at his table.” Considered a grand amateur of wines, Talleyrand owned the world renowned wine estate of Haut-Brion from 1801 to 1804.

Talleyrand was a host par excellence. This fashionable prince made sure that each guest was attended by his own valet de pied, who stood behind each chair to assist with serving. An aficionado of the habits of the ancien régime, Talleyrand’s table was served à la française, with all courses presented simultaneously, in contrast to the popular service à la russe, where delicacies were served one after the other. The talk at the table was always about food, an ongoing tradition in France. Talleyrand entered this as passionately as if he were discussing a political affair of the highest importance. In contrast to this elegant gastronomic setting, the kitchens of the rue Saint-Florentin were, according to Carême, “an abyss of heat.”

But who was Antonin Carême, this chef-d’ouvre of chefs? Born into a family of 25 children, Carême taught himself to read and write. He spent hours at the Bibliothèque Royale on their public days. Among his interests were architectural masterpieces, whose drawings he perused at the library. For Carême, pastry making represented one of the branches of architecture. Anatole France reported that Carême liked to declare with a smile, “the arts are five in number: painting, sculpture, poetry, music, and architecture – whose principal branch is confectionery.” His fame as a “pâtissier-architecte”, as he liked to call himself,

Antonin Carême as the pâtissier-architecte

�0 CHAPTER SIX

was founded on his fabulous pièces montées which he colored with the skill of a painter and embellished with great expertise.

Carême was only 19 when he entered the service of Talleyrand at the hôtel Gallifet on the left bank in Paris. After his tenure with Talleyrand, Carême served the Prince Regent of England, the British Ambassador at the Court of Vienna, Tsar Alexandre I in Saint Petersburg, and finally baron James-Mayer de Rothschild. Throughout his short life of 49 years, Carême served emperors and diplomats, wrote extensively on the culinary arts, and published a five-volume encyclopedia entitled L’Art de la cuisine au XIX siècle.

Talleyrand’s diplomacy was grounded in his social acumen, his savoir-faire and his savoir-vivre. This capacity to hold sway, in public and private, was nourished by the symbiotic relationship between this king of chefs and chefs of kings.

Danièle Buchler

�� CHAPTER EIGHT

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ChaptereIGhtThe State Apartment:

Restoration and Craftsmanship

R emarkable it is to find a building, even one of historic stature, surviving virtually intact through the vicissitudes of politics and society; through additions and alterations; through the ravages of successive wars, and through functional modernizations of the twentieth century. Was it the spirit of the designers, the craftsmen, the occupants who spoke through the physical features of the building to the diverse team that would come together over nearly a decade to effect this twenty-first century restoration? Even though the most diligent research and analysis must leave gaps in the story of the past, every possible effort has been exerted to understand the original intent and evolution of this building. The result is a restoration that will continue to tell a story of international cooperation from the past to the present and for generations to come.

t Gilding restoration in the Grand Reception Room overlooking the Place de la Concorde from the Hôtel de Talleyrand

�� CHAPTER EIGHT

The Restoration Project Background and Philosophy

In 1999, the project to restore the State Apartment of the Hôtel de Talleyrand officially launched an eight year campaign of international cooperation, culminating in a celebration of the sixtieth anniversary of the Marshall Plan in 2007. While the eighteenth and nineteenth century character of the hôtel has remained intact along the rue Saint-Florentin and the rue de Rivoli, the interior spaces have undergone remodeling and redecorating campaigns over the centuries. Interpreting these layers of history was the key to this restoration project.

This project’s success is due to the dedicated efforts of the entire restoration team; the staff of the United States Department of State OBO (Overseas Buildings Operations), art historians, conservators, architects, builders, craftsmen, artisans and the many private donors whose generous contributions made the work possible.

For the Department of State OBO, Vivien P. Woofter, IIDA, in Washington, D.C. and Candice L. Nancel, Director of the George C. Marshall Center in Paris, oversaw the project management. The philosophy of the restoration project was established through the research of the late Robert Carlhian, ancien expert près la cour d’appel de Paris and internationally noted authority in historic interior décor, and by Fabrice Ouziel, interior architect and consultant in historic architecture and interior décor. Their research was documented in several reports, including; Étude préalable à la restauration: Analyse historique & technique, Rapport final and Vestibule, grand escalier & antichambres du premier étage.

Experts in historic architecture and décor applied their knowledge of historical methods of construction, finishing techniques and architectural philosophy of the period. Faced with the unknowns of the past, the restoration team attacked the complexities of eighteenth century texts and drawings, photographs from the nineteenth and twentieth centuries, maps, surveys and inventories. The synthesis of this information helped to reveal the story of the Hôtel de Talleyrand.

In addition to these archival sources, the building provided its own clues

Curators viewing Louveciennes panel

CONCORDE �7

to understanding its history and development. Careful analysis of the layers of building materials and techniques yielded the record of changes over the lifetime of the building when correlated with the archival record. During the research and execution of the project, conservators and museum specialists from many institutions had the opportunity to visit the work site and share their own experiences with similar projects.

The restoration team worked to establish the hierarchy of character-defining features, to be retained and treated according to the correct approach for their preservation. Notably, a majority of original features remained intact. Other features that were a part of the evolution of the building were found to be significant to the character of the State Apartment.

The condition of the features determined elements that could be restored in place and those which needed to removed and transported for special restoration in the workshop. In this process, the craftsmen from the past came forward to tell their stories.

Removal of the boiseries, or wood paneling, in the State Office revealed an amazing message. Field notes and calculations, scribbled on a plaster wall with a lump of coal, and concealed behind the decorative wood panels revealed the

Wood sculpture repair in State Bedroom

Signature dating to 1769 found on wall when boiseries were removed for restoration

�� CHAPTER EIGHT

hand and thoughts of the workman who, in a moment of pride, signed his name, Jean-Baptiste Mergerand, and the date 1769. Thus, a trace of history was left for future stewards of the building to find in their own work of restoring the building over two hundred and thirty years later.

With the understanding that our current era is a part of the chain of history of a place, three important principles of good preservation practice have been applied to this work. The first is the concept of reversibility; treatments should be reversible in the future without detriment to the original element. The second principle is to make allowance for future solutions to technical problems, with methods that have yet to be invented. Thus, by leaving as many of the original features as possible, the door is opened to future research. The third principle is that by leaving some visibly unrestored sections of an element in the finished space, the viewer is able to visualize the effect of the work, and the materials and their patinas that have formed over time are preserved for future study.

Wood carver restoring trumeau sculpture carving from the Oval Room.

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Restoration and CraftsmanshipLuminous and rich, the materials and finishes of an eighteenth century

interior are brought back to life through the talents of the artists and artisans who restore them. Each material requires a specific treatment by highly skilled specialists and the overall result must integrate each restored component into a holistic presentation that recaptures the essence of the period.

CarpentryIt is through the medium of the boiserie wood panels that ornamental

sculptors created their masterpieces, reflections of the art de vivre of the French Enlightenment. The degree of ornamentation on the paneling helps differentiate between the state rooms used for official visits, the reception rooms used for entertainment and the private apartments where the families actually lived.

The restoration carpenter specializes in the conservation of all such carved wood décors. His task is to consolidate destabilized wood while striving to preserve the original surface. He has access to the latest technological advances in bonding agents and resins, often associating them with more traditional methodologies. In the restoration, craftsmen used an odiferous mass of heated garlic to treat wood for protection against insects and micro-organisms. The artist’s savoir-faire is gained from years of experience and familiarity with woodworking together with a profound respect for the works under his charge.

Beyond the visible aesthetics, restoration carpentry also involves the substrates, fasteners, and structural framework. During the restoration, panel warping was corrected by attaching continuous wood brackets to the back side, carefully driving leveling shims, applying adhesives and clamps. After installation, shrink voids were filled and the finish was then restored.

Wood carver

Securing panels with shims

Setting boiseries in place

100 CHAPTER EIGHT

GildingDuring the eighteenth century, the painters-gilders-glaziers guild used glue

and oil-based paints for both gold leafing and the painting of the paneling. Gilding was applied to moldings and sculptural features of panels, frameworks, and cornices.

Before application of the leaf, the sculpted definition of the raised carving would be emphasized by chiseling out all incrustations with finishing tools. To restore missing elements of sculpted panels, craftsmen applied a mixture of chalk and rabbit hide glue, chewed in the mouth. “Fish-glue” was used in the formulation of a coating to provide a base for gilding. Sturgeon air bladder was the preferred fish additive. The mixture was kept at a low simmer for application.

The leaf was then placed on the paneling with the aid of a fine brush made of animal hair. Often, the gilders could be seen to dust the brush against their face, to generate static to attract the leaf. Finally, the contours were burnished with an agate stone to improve the shine of the gold.

The major task of the gilding restorer is to uncover the original gilding as well as to conserve the delicate underlying surface by cleaning soiled and overlaid gold with appropriate solvents. Or, more painstakingly, the restorer must delicately scrape away the layers millimeter by millimeter with the help of a scalpel. The aim of this type of minute work is to use new gold leaf only when the original has totally disappeared.

Gilding utensils

Gilding preparation

Gilding preparation

Application of gold leaf Burnishing tool

CONCORDE 101

Paint Analysis and the Gray PaintFrom the beginning of the eighteenth century, Versailles fashion dictated

that gold leaf be displayed against a white background. In the private mansion of the comte de Saint-Florentin, gilding was exquisitely shown against a light gray background. This cutting edge use of the gray field has been restored in the rooms of the Hôtel de Talleyrand, based on traces of the original finish found during paint analysis prior to restoration. As part of the restoration, layers of over-painting on the wood panels had to be removed to reveal the original color scheme.

Paint analysis in the lab

Cross section of paint analysisLaboratoire d’analyses Gilles Perrault

102 CHAPTER EIGHT

Decorative PaintingPainted wall decoration has for centuries been a major element of interior

design in France. It is often the element that suffers the most from the degradations inherent in exposure and through the passage of time especially when the supporting materials are wood or plaster.

When not confined to overdoor panels, artistic decoration would expand across a whole ceiling or wall, following the Italian fashion. Certain painters adopted this aesthetic decoration as their specialty, rivaling each other in their inventiveness.

The painting restorer first restores and consolidates the support material. The goal is to preserve the painted decorations at their best, and to return them to the initial clarity created by the artist. The restorer makes use of state-of-the-art conservation methods with the goal of ensuring the reversibility of all such interventions. The main tasks are adhering the substrate, repairing damaged elements, cleaning the surface of centuries of airborne particles that degrade the surface, and removing varnish. These tasks are among the most difficult of the restoration. The painting restorer must also clean away subsequent layers of paint, then perform paint touch-ups on worn and damaged areas before sealing the restored surface with a new coat of varnish.

Panel repair

Decorative painting restoration

Removing boiseries for restoration u

CONCORDE 10�

The State Apartment RoomsThe restoration of this masterwork of eighteenth and nineteenth century

architecture creates a setting for diplomatic and cultural exchange that is the mission of the George C. Marshall Center. The Center is comprised of ten spaces on the main level, or bel étage, each space defined by its own detail and décor. After entering the building and climbing the semi-enclosed Grand Staircase, the visitor enters a series of antechambers that overlook the cour d’honneur. The State Apartment, or grand appartement, is organized in two rows of rooms with doors leading directly from one space to the next in a straight line, or enfilade. These spaces in turn lead to the public reception rooms that look over the Place de la Concorde. Succession through the comte de Saint-Florentin’s reception rooms was determined by the status of the visitor.

The original plan organization for the State Apartment is intact. Minor alterations included changes to door openings between the first antechamber and the Oval Room and State Bedroom. The nineteenth century Rothschild wing added two rooms, the Rothschild Dining Room and the Grand Dining Room.

Floor Plan of the George C. Marshall Center Rooms

Rooms enfilade

10� CHAPTER EIGHT

Marshall AntechamberPremière antichambre

During the earliest years of the hôtel, the first three spaces entered from the Grand Staircase originally served as receiving rooms and a dining room and contained minimal ornamentation in their original eighteenth century appearance. In the later nineteenth century, the Rothschild family added significant embellishments to each of the three antechambers, and these spaces assumed a new function as gallery spaces intended to impress the visitor.

Polychrome marble wall finish that contained both real and faux marble finishes characterized the décor of the first space, now called the Marshall Antechamber. At the time of the twenty-first century restoration work, the restitution of the finishes was determined through research of archival sources and through study of rooms from a similar period.

In order to create a coherent presentation of this space, the painting on the decorative wood panels, or boiseries, simulated the pattern and graining of the varieties of richly colored marbles that were extant in the room; bleu turquin, vert campan, rouge de Languedoc, sarrancolin and blanc veiné. A faux bois treatment, fashionable in nineteenth century interiors, was applied to the faces of the doors opening into the room.

Faux marble painting

Restoration of the faux bois finish

View before restoration Marshall antechamber after restoration

CONCORDE 12�

Past and Future WorkEarlier restoration projects for the building have provided important

information to inform the decisions for the current project now just completed. In 1996 the stonework of the facades was restored the Department of State. In 1981-4, the building infrastructure and work spaces were rehabilitated under the direction of Washington architect Hugh Newell Jacobsen, FAIA, with Paul Roddick, Architect. Robert Carlhian, French historic expert, and his associate, architect Marc Barroux were consultants for the project.

This building speaks of the owners, the designers, the craftsmen, those who worked to shape it. We can appreciate this message because of those people across the centuries who understood their roles as stewards for its preservation. The building will continue to tell its story because of the network of activists, donors, researchers and craftsmen who have conserved it. The Hôtel de Talleyrand has been prepared to take its message into the future. What will the future bring? New life to the building while preserving this priceless site and structure.

Linda Stevensonwith thanks toFabrice Ouziel

Team members representing the many artisans, researchers, and mangers who comprised this exemplary restoration project

CONCORDE 127

ChapternIne Stewardship & Adaptive Use:The Hôtel de Talleyrand

Enters a New Millennium

T he history of the Hôtel de Talleyrand was altered by the events of September 11, 2001. After a new assessment of operation security issues, the Department of State made the decision to move its Consular offices out of the Hôtel de Talleyrand building. Through the active stewardship of the Department of State Overseas Buildings Operations (OBO) and through support of civic-minded individuals, foundations, institutions, and corporations, the Hôtel de Talleyrand adapted to new roles.

The ambitious project to restore the eighteenth century rooms of the State Apartment of the Hôtel de Talleyrand, begun in 1999, celebrated completion in 2007. The restoration project stands as a model for research, craftsmanship, and international cooperation in preserving historic sites. The restored rooms now reflect their original magnificence and colorful history. The State Apartment continues its historic role as a venue for diplomatic, business and cultural exchanges between the United States and its European partners in the context of high-level conferences, receptions, and cultural events.

In 2003 a unique permanent exhibit, “The Marshall Plan: The Vision of a Family of Nations,” was inaugurated in the George C. Marshall Center of the Hôtel de Talleyrand. The exhibit was developed to recognize European initiatives

t This feature of the Marshall Antechamber reflects the attention to research and craftsmanship in the restored State Apartment.

12� CHAPTER NINE

and creativity and the great sense of good will and mutual aid that was fostered during this seminal period.

Looking to the future, the OBO and Embassy proposed leasing space to U.S. based private tenants who would serve as stewards of the historic property in cooperation with the Embassy’s ongoing use of the Marshall Center for diplomatic and cultural activities. Beyond the restored State Apartment, the remainder of the building was in need of substantial building system renovation work. OBO worked with the Embassy to identify improvements necessary to bring the building into compliance with current safety standards. Through the joint endeavor of the Embassy and the future tenants, the building would be revitalized while remaining in U.S. Government diplomatic service, thereby continuing to represent enduring American and French ties.

Compatible with the dignity of the historic Hôtel de Talleyrand and the mission of the restored George C. Marshall Center as a site for promoting international exchange, the law firm of Jones Day and the World Monuments Fund now have become a part of the history and the future of the building. Jones Day is an international law firm which has 30 locations in the centers of business and finance throughout the world. With more than 2,200 lawyers, including more than 400 in Europe and 200 in Asia, it ranks among the world’s largest law firms. The World Monuments Fund is the foremost private, nonprofit organization dedicated to the preservation of endangered architectural and cultural sites around the world.

The Jones Day Paris offices engaged the architectural firm of François Braun & Associés to develop a plan for rehabilitation of spaces while preserving their character-defining features. The project has proposed to preserve moldings, mantels, artistic overdoor panels, and materials of significance and to allocate functions that are compatible to the spaces of the building. Other work will bring the spaces into compliance with standards for safety and viability. The work is being developed in coordination with the reviewing agencies responsible for protecting the historical context of the City of Paris.

The State Apartment rooms offer a remarkable setting for cultural events.

Meetings and conferences are hosted in the Grand Dining Room.

CONCORDE 12�

Today, the George C. Marshall Center, the law firm of Jones Day, and the World Monuments Fund together offer a new vitality for the building. Thus, the Hôtel de Talleyrand has launched upon a new era in its history of international communication and culture.

The Entresol Salon features historic elements in this adaptive use as a conference room for Jones Day projected by François Braun & Associés.

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ChaptertenPrivate Support Joins Public InitiativeRestoration of the

Hôtel de Talleyrand State Apartment

T he Restoration of the State Apartment in the Hôtel de Talleyrand now known as the George C. Marshall Center has been an extremely enriching experience for all concerned on both sides of the Atlantic. As a result, this monumental project, which began in 1999, has fostered relationships between private and public sectors in the field of architectural historic preservation that will continue to develop long into the future.

The Bureau of Overseas Buildings Operations of the United States Department of State commissioned Robert Carlhian and Fabrice Ouziel, French experts in historic décors to conduct a study of the building. Pursuant to the study, the Overseas Buildings Operations and the American Embassy in Paris approved the George C. Marshall Center Restoration Project that would use the most highly skilled artisans under the guidance of French experts in the field of restoration. This important restoration/preservation project was to be executed primarily through private funding.

Much interest was shown at the outset in this fund-raising effort. An Honorary Steering Committee, headed by the United States Ambassador to France Howard H. Leach, was formed to guide fundraising activities. Former Ambassadors, international leaders, and individuals having a connection with the building were approached in France and the United States to serve on the committee.

t Limited edition commemorative scarf created for the restoration campaign showing flags from 17 Marshall Plan participating countries and architectural details from the State Apartment of the Hôtel de Talleyrand

1�2 CHAPTER TEN

Ambassador Craig R. Stapleton, continued the fundraising campaign when he came into office in 2005. Not only have civic-minded individuals, foundations and corporations from the United States and Europe stepped forward to fund this project, but so has the public sector, with Charles E. Williams, Director and Chief Operating Officer of the Overseas Buildings Operations of the U.S. Department of State committing funds to this project. Room by room the restoration continues to advance with the support of the donors and the advice of numerous curators and conservation specialists from leading châteaux and museums in France and the United States.

The restoration project has also inspired several preservation programs that share knowledge and further the skills in use in this project. The U.S. Embassy in Paris partnered with the World Monuments Fund to develop a successful lecture series on French and American efforts in architectural preservation. The Overseas Buildings Operations created a program to train staff to maintain and preserve the historic décors and objects in Embassy buildings. With the participation of the French Cultural Foundation, an artisan exchange was established in 2006 between France and the United States. The American preservation scholar will work in the Marshall Center in Paris, and the French preservation scholar will work at Gold Leaf Studios in Washington, D.C. and various other locations in the United States.

It is the hope of the U.S. Department of State that this valuable Franco-American interchange that has characterized this restoration project will continue to develop and inspire further progress in the recognition and preservation of historically significant properties for generations to come.

Vivien WoofterCandice Nancel

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Donors Honor Roll for the Restoration of the George C. Marshall CenterHôtel de Talleyrand - American Embassy in Paris

Major Philanthropist ($�00,000 - $1,000,000)Mrs. Betty Knight Scripps

Philanthropist ($2�0,000 - $���,���)The Florence Gould Foundation WORLD MONUMENTS FUND® Robert W. Wilson Challenge to Conserve Our HeritageDaimler Chrysler AG Major Benefactor ($100,000-$2��,���)The Getty FoundationFedEx CorporationThe Frederick H. Bedford Jr. and Margaret S. Bedford FoundationWORLD MONUMENTS FUND® Kress Foundation European Preservation ProgramMs. Linda J. Wachner

Sustaining Benefactor ($2�,000-$��,���)The French Heritage SocietyRothschild & Cie, BankBaron Guy de Rothschild Baron et Baronne David de RothschildMr. and Mrs. Sid Richardson BassMrs. Jack C. Massey Mrs. Jayne Wrightsman

Benefactor ($10,000-$2�,���)Hermès International Mr. and Mrs. Roupen GulbenkThe Mary W. Harriman FoundationBanque TransatlantiqueM. Claude SereBertrand & Caroline Collomb Mr. Terry Parsons M. et Mme. Stéphane Baquet, LVS AntiquitésThe Honorable Craig R. Stapleton and Mrs. Stapleton The Honorable Howard H. Leach and Mrs. Leach The George C. Marshall FoundationMr. and Mrs. Herman SokolLafarge North America, Inc.Tishman Speyer Corporation

1�� CHAPTER TEN

Major Sponsor ($�,000 - $�,���)M. Michel Doligé Cartier International The Felix & Elizabeth Rohatyn Foundation

Sponsor ($1,000 - $�,���)Dr. and Mrs. James EwingM. Yves Saint LaurentM. Pierre BergéCaterpillar Corporation The Honorable Walter J.P. Curley and Mrs. CurleyAchelis/Bodman FoundationMrs. Vivien P. WoofterLivingston Foundation Inc.Ms. Hildegard B. ShishkinThe Honorable James G. LowensteinProfessor Thomas C. Schelling and Alice Coleman-SchellingMme. Martine KlotzMrs. Joan H. ColbertMs. Alexandra StablerRichard McKeeMustafa MisceliMr. Albert J. BeveridgeThe Honorable Bruce C. Gelb

Contributor ( $100 - $���) Dr. Roger L. and Donah J. BurgessThe Honorable John Gunther Dean and Mrs. DeanR.G. & M.M. Cleveland Mr. Allen DecuyperMr. Steve SirlsMs. Leah LondonMrs. Mary S. HumelsineThe Honorable Arthur A. Hartman and Mrs. HartmanMrs. Waldemar A. Nielsen Mrs. Loretta CaseyMr. and Mrs. Charles T. Cross Mr. Monteagle and Antonia R. StearnsMr. and Mrs. John B. Chambers Mr. and Mrs. Morris F. WeiszMrs. Gabrielle Griswold Mr. and Mrs. Frank HerreraMr. Brian Shaw

CONCORDE 1��

Donors to the Book Concorde: The Hôtel de Talleyrand and George C. Marshall Center in Paris, A Commemorative Edition, 2007.

The Jones Day FoundationBertrand & Caroline Collomb

The University of Florida College of Design, Construction & Planning Department of Interior Design Historic Preservation Programs France-Florida Research Institute Center for European Studies

Hahn Construction of Gainesville, FloridaStevenson Architects of Bradenton, Florida

1�� CONCLUSION

CONCORDE 1�7

ConCluSIonArtisans and Authors

T he Department of State wishes to thank the highly skilled artisans from the following companies who worked on the restoration of the George C. Marshall Center in the Hôtel de Talleyrand.

ArcoaAtecmaAtelier d’Oeuvre de ForgeAtelier Mariotti Atelier MauryAtelier Mériguet-CarrèreAtelier de restauration Gilles Perrault Les Ateliers de la ChapelleBerg & Berg Declercq Passementiers Établissments Bénard & DaugertÉtablissement MalevilleFrancine Van HertsenHermine CleretHollard

Jacques ClémentKerlan s.a.LR Paris Maison LeclaireMarie-Lys de CastelbajacMichel BourbonMichel ChauveauParis Bureau ProductionsPrelleSapelS.O.E. Stuc & StaffSurround Art Tassinari & ChatelVerasetaVincent Boury

1�� CONCLUSION

Authors and Contributors to this Publication

Susan Tate, AIA, has served as project director for this publication. Professor Tate has been a member of the faculty of the University of Florida College of Design, Construction and Planning since 1972. She has served as Principal Investigator for a Getty Foundation Grant to develop campus Preservation Guidelines; as Chair of the University Committee for Preservation of Historic Buildings and Sites; as Director of the Preservation Institute: Nantucket, a program of the University of Florida; and has coordinated with the UF France-Florida Research Institute to encourage historic preservation interchange between France and Florida. A professional member of the American Institute of Architects, she is a Registered Architect and General Contractor specializing in historic preservation and interior design. Her professional practice outside the university focuses on historic building analysis, compliance with historic preservation standards, restoration and rehabilitation guidelines.

Linda Stevenson, AIA is a principal of Stevenson Architects, Inc. and a Registered Architect with extensive experience in the field of historic preservation. Some recent projects include the restoration of Ca’d’Zan at the John and Mable Ringling Museum of Art, Venice Train Depot Restoration, and serving as the historical architect for the Edison Ford Winter Estates. Ms. Stevenson is conducting post graduate work at the University of Florida, including several projects that assist in the rebuilding of flood ravaged neighborhoods in New Orleans. A professional member of the American Institute of Architects, she has been a Richard Morris Hunt Fellow, a cultural exchange program between the American Architectural Foundation and the French Heritage Society. Her research for the doctor of philosophy degree includes the compatible evolution of the Hôtel de Talleyrand.

CONCORDE 1��

The late Robert Carlhian (1910-2001), ancien expert près la cour d’appel de Paris and Chevalier de la Légion d’Honneur, entered into the renowned interior décor company of his family, the Maison de décoration Carlhian, in 1928, and became the director in 1930. Also listed as a U.S. Department of State Culturally Significant Property, the Bosch Palace in Buenos Aires features nineteenth century interiors designed by his father, André Carlhian. Robert Carlhian brought his deep knowledge, expertise and life long passion for French eighteenth century décor to the restoration of the Hôtel de Talleyrand. From 1981 to 1984 he served as the consultant for historical architecture and interior architectural décor to the American architect Hugh Newell Jacobsen, FAIA. In 1999, he began the historical and technical consulting work for the restoration of the State Apartment and continued on the project until his death in 2001.

Fabrice Ouziel, architecte d’intérieur, commenced working on the Hôtel de Talleyrand with M. Robert Carlhian in 1999, and continued his work through the completion of the project in 2007. An expert in the French neoclassical period, with special emphasis on eighteenth century architecture and historic interior architecture, he is dedicated to recovering and representing the spirit and the sensibility of the period. He received his diploma from the École nationale supérieure des Arts décoratifs in Paris. In 2000, he founded Fabrice OUZIEL & Associés with Mlle Catherine Voiriot and M. Dominique Fernandès, both art historians. He is the author of several articles and has recently collaborated on a book, La Place Vendôme, on the subject of the eighteenth century boiseries and the practitioners of the art. For this publication, he shared his extensive knowledge of the period and his deep understanding of the edifice.

James Hahn has been licensed as a General Contractor since 1979. He completed his degree in Business Administration at the University of Tennessee with the support of an athletic grant-in-aid and was a member of the 1968 National Championship football team. Mr. Hahn’s experience ranges from large commercial and institutional project supervision to craftsman detailing. His expertise includes holistic evaluation of materials and methods of construction, codes and standards for life safety and historic preservation, mitigation solutions and implementation. For this publication, Mr. Hahn provided building process analysis, documentation, and management.

Danièle Buchler, Ph.D., earned her French Baccalauréat, série Philosophie, from the Lycée Albert Camus, studied Italian literature at the University of Perugia, and worked as a stewardess for 5 years with Pan American Airways. After raising three sons in Florida with her husband, a University of Florida professor of physics, Danièle completed her B.A., M.A., and Ph.D. Her dissertation topic was “Le Bouffon et le carnavalesque dans le theatre francais, d’Adam de la Halle a Samuel Beckett” (The Fool and the Carnivalesque in French Theater). Dr. Buchler teaches French Grammar and Composition as a lecturer at the University of Florida and serves as Vice-President and Program Coordinator of the Alliance Française of Gainesville.

1�0 CONCLUSION

Lela Felter Kerley, Ph.D., historian, has focused her research on the cultural history of France. During her master’s studies at Florida State University, she was an Associate of the Institute on the French Revolution and Napoléon. Her dissertation topic for the Doctor of Philosophy degree with the University of Florida Department of History was “Female Public Nudity in Belle Époque Parisian Entertainment.”

Eric and Linda Christenson are writers, speakers, and consultants on the Marshall Plan. They were Co-Executive Producers of the 1997 PBS special The Marshall Plan: Against the Odds. They collaborated on the U.S. Department of State’s exhibit, The Marshall Plan: The Vision of a Family of Nations, in the Hôtel de Talleyrand in Paris, France and consulted on the companion DVD. With support from the George C. Marshall Foundation, Linda has catalogued the films of the Marshall Plan; her 2002 Marshall Plan Filmography can be viewed at www.marshallfilms.org, and an update is in progress. Since 2004 she has lectured annually on the Marshall Plan at the George C. Marshall International Center in Leesburg, Virginia.

Julian Pleasants, Ph.D. is Director of the Samuel Proctor Oral History Program and Professor of History with the College of Liberal Arts and Sciences. His research interests include analysis of key figures of the political arena and oral history as a research tool. His international commitments have included administration of a summer program with the University of Innsbruck from 1976-1991 and travel to 62 countries. Dr. Pleasants is author of numerous publications; his recent books include Hanging Chads: Florida’s 2000 Election Recount, and Gator Tales: An Oral History of the University of Florida, a collection of outstanding persons whose lives have been involved with the University of Florida.

Christina Vella, Ph.D., holds a doctorate in Modern European and U.S. history. Author of Intimate Enemies: The Two Worlds of the Baroness De Pontalba, she lectures widely and has served as a history consultant for PBS, the History Channel, and NPR, as well as the U.S. Department of State. Her most recent book is Indecent Secrets: Italy’s Infamous Murri Murder Affair.

CONCORDE 1�1

Vivien Woofter, IIDA, Interior Designer and Program Manager for the Overseas Buildings Operations (OBO) of the U.S. Department of State for the restoration of the Hôtel de Talleyrand State Apartment, directed for over 15 years the Interior Planning and Design Division for OBO, including significant historic properties of the U.S. worldwide. For her extensive professional accomplishments, she was awarded an Honorary Doctorate of Humane Letters from her alma mater, the University of West Virginia.

Candice Nancel works for the US Embassy in Paris, France as Manager of the George C. Marshall Center in the Hôtel de Talleyrand. Working with the U.S. Department of State Overseas Buildings Operations (OBO) she has managed the restoration of the Marshall Center in Paris. She is also part of an OBO team developing a program for care and preservation of precious interiors and décors. Before joining the U.S. Embassy Staff Mrs. Nancel was the Founding Director in France for the Christian Children’s Fund organization, Un Enfant Par La Main. Prior to that, she worked for the Paris Chamber of Commerce developing the World Trade Center Organization in Paris. Mrs. Nancel is married to Frederic Nancel and has two children.

The U.S. Department of State The following people at the Embassy of the United States in Paris have contributed to this publication and provided valuable assistance: Elizabeth (Jamie) Agnew, Minister Counselor for Tri-Mission Management; C. Judson Hamblett, General Services Officer; Jean-Luc Merrant, Maintenance Supervisor, Bureau des Services Généraux. In Washington, editorial assistance has been provided by Susan Holly and Sandra Stabler.

1�2 CONCLUSION

The University of Florida The State of Florida has been linked with France since its colonial history in the seventeenth century. In the United States, the French diplomatic mission, the Embassy, is complemented by ten French General Consulates in major cities, including Miami, Florida. The Alliance française de Gainesvilleis one of eight alliance organizations in Florida. The University of Florida (UF) is one of the nation’s largest public, land-grant research institutions and one of the most comprehensive universities in the United States, encompassing virtually all recognized academic and professional disciplines. It is one of only 17 public, land-grant universities admitted to the Association of American Universities. The University of Florida has a 2,000-acre campus, over 900 buildings, and over 50,000 students. The northeast area of the campus is listed as a Historic District on the National Register of Historic Places. The UF College of Design, Construction and Planning (DCP) is one of the largest design, planning and construction institutions in the country with more than 1,500 students. DCP is home to five nationally accredited professional disciplines: architecture, building construction, interior design, landscape architecture, and urban and regional planning. The college is also home to a Doctor of Philosophy program and an interdisciplinary program in Historic Preservation, which allows graduate students to gain expertise in research and application of historic preservation in the United States and abroad. In 2002, the French Embassy awarded the designation of centre pluridisciplinaire to theFrance-Florida Research Institute at the University of Florida. The FFRI is one of seventeen designated centres in the United States and supports interchange at the UF campus by experts from France representing a wide range of disciplines. In 2003, UF established membership at Columbia University’s Reid Hall in Paris to support UF studies in France. The Center for European Studies supports UF studies abroad programs throughout Europe. The University of Florida has provided support with pride and enthusiasm for this significant project to document the history and the restoration of the Hôtel de Talleyrand in Paris. This contribution has been made possible through the College of Design, Construction & Planning (Dr. Christopher Silver, Dean); the Department of Interior Design (Dr. Margaret Portillo, Chair); Historic Preservation Programs (Roy Graham, FAIA, Director); and Development (Sally Morris, Assistant Director of Development). Other support from the University of Florida has included the France-Florida Research Institute (Dr. Carol Murphy, Director); the Center for European Studies (Dr. Amie Kreppel, Director); the Samuel Proctor Oral History Program (Dr. Julian Pleasants, Director); and University Relations Publications (Sharon LaFragola Eyman, Publications Coordinator).

The University of Florida Century Tower was erected in 1953 for the centennial of the university to commemorate alumni lost in World War I and World War II.

CONCORDE 1��

Sources and Credits for Images(Numbers indicate pages, letters indicate Top, Bottom, Center, Right, Left)

©hermineCleretphotographe(claret@club-interenet.fr)Back cover, title page 1,6, 9 L, 20, 24, 25, 27, 29, 36-39, 40 B, 42 R, 54-56, 61, 62, 94, 97 T, 98-100, 102-105, 106, 108-123, 124 T, 125, 126, 134, 136, 139 T1 and T2, 141.

©oeCdphotooCde90 (OECD council in session), 93

©“europeanCommissionbycourtesyoftheMediathèque Fondation Jean Monnet pour l’Europe”88R

GermanMarshallFundoftheunitedStates92

GeorgeC.MarshallFoundation83, 84 R, 84 BL (George C. Marshall Foundation/UPI), 85T

libraryofCongress86 R, 89B, 91 CR (Care), 91 TL, 91 CC

Thenationalarchivesoftheu.S.84 TL & CL, 85 B, 87, 88 L, 89 T & C, 90 B, 90 T1 & T2, 91 C & TR, 91 BL, 91 CL

archivesnationaldeFrance(withappreciationfortheassistanceofM.YoannBrault)57-58

BibliothèquenationaledeFrance(BnF)10, 14-15, 19

FrançoisBraun&associés,architectes129

ChâteaudeChantilly,MuséeCondé44 (Le déjeuner d’huîtres by Jean-François de Troy 1735)

departmentofStatearchivesatthehôteldetalleyrandCover, 30-32, (DOS prints from original drawings archived in BNF), 22 T (Original at Palace of Versailles by Michel Van Loo 1769 © Agence photographique de la Réunion des Musées Nationaux ), 70, Talleyrand (Original at Musée Carnavalet by Pierre-Paul Prud’hon, 1807), 63 T&B, 85 C, 86 L, 91 BC & BR, 103 L, 150, 65 (Services Généraux ), 23 (Courtesy Archives of Jones Day Paris), 147, 148

Courtesyofviviennea.hutchison:8, 82

Candicenancel,departmentofState,GeorgeC.MarshallCenter42 R, 96, 97 B, 101 L, 102 T, 110B, 111 RT, 124 B, 128

©Fabriceouziel33 T (Collection Robert Carlhian), 47 (Courtesy Tassinari & Chatel), 48, 60 (Courtesy of Desvarreux photographe. Private Collection), 105 B, 110T

Maisontassinari&Chatel118 R

laboratoired’analyseGillesperrault101 T

CourtesyClaudelandes49 B Fenêtres de Paris

CourtesyWilliamadairofGoldleafStudios,www.goldleafstudios.com50 R

©Jameshahn4, 7, 9R, 26, 28T, 33B, 34, 35, 40T, 42L, 46, 50L, 51-53, 63C, 107, 125, 130, 146

©Susantate28B (detail from Les Tuileries et le pont Royal by Arthur Henry Roberts, Courtesy of the Curator of the Musée Carnavalet), 76 (Courtesy of the Curator of the Musée Carnavalet), 66 (Courtesy of the Curator of the Musée Carnavalet).

Public Domaine : 22 B (by François Bouch c1750), 41 (Le Monument du Costume series 1741-1814), 49T (l’Encyclopédie), 51, 69 (by Elisabeth-Louise Vigée-Lebrun, 1783), 71, 73 (by Pierre-Paul Prud’hon), 75 (by Pierre-Paul Prud’hon, 1817), 77, 78, 79, 81 (by François Gérard, 1808).

erratanote:Every effort has been made to correctly identify and credit material reproduced in this commemorative edition. If any errors have occurred, the corrections will be acknowledged in the archived edition.

1�� BIBLIOGRAPHY

BibliographyHÔTEL DE TALLEYRAND:

Carlhian, Robert and Fabrice Ouziel. Analyse historique & technique pour l’Hôtel de Saint-Florentin dit Hôtel de Talleyrand Pièces Historiques : Étude Préalable à la Restauration. Paris : United States Department of State Foreign Buildings Operations, Février 2000.

Carlhian, Robert and Fabrice Ouziel. Pièces justificatives pour l’Hôtel de Saint-Florentin dit Hôtel de Talleyrand Pièces Historiques : Étude Préalable à la Restauration. Paris : United States Department of State Foreign Buildings Operations, Février 2000.

Carlhian, Robert and Fabrice Ouziel. Rapport final pour l’Hôtel de Saint-Florentin dit Hôtel de Talleyrand Pièces Historiques. Paris : United States Department of State Foreign Buildings Operations, Février 2000.

Chalgrin, Architect, Ancien Pensionnaire du Roy. Les plans, coupes et élévations de l’Hostel de Monseigneur le Comte de St. Forentin, Place de Louis XV. Reductions printed with permission of la Bibliothèque Nationale. Paris : USIS, 1984.

Crumley, Bruce. “Foreign Assets,” France Magazine, Washington: La Maison Française, Winter 2002-03, pp. 14-21. Color photographs of restoration by Hermine Cleret, Dept. of State.

Fabrice Ouziel & Associés. Vestibule, grand escalier & antichambres du premier étage pour l’Hôtel de Saint-Florentin dit Hôtel de Talleyrand Pièces Historiques. Paris : United States Department of State Overseas Buildings Operations, Février 2004.

Foreign Buildings Operations, Department of State, Paris. Autocad Floorplans. Existing utumn 2003, Volume 15, Issue 4, New York: French Heritage Society, pp. 2-3. Conditions, 2004.

Krafft, J.C., Architecte, & N. Ransonnette, Graveur. Plans, Coupes, Élévations des Plus Belles Maisons et des Hôtels Construits à Paris et dans les Environs, Paris : 1801. “New Marshall Plan Center,” Au Courant, Volume 15, Issue 4. New York: French Heritage Society, Autumn 2003, 2-3.

Parot, Jean-François. Le crime de l’hôtel Saint-Florentin. « Grands-détectives » dirigé par Jean-Claude Zylberstein. Paris: Éditions Jean-Claude Lattès, 2004.

Retour à l’hôtel Talleyrand sur les pas de Saint-Florentin, de Talleyrand, du tsar Alexandre 1er et du général Marshall. « Figures du passé » par Marc Saporta ; « The Architect’s point of view » by Hugh Newell Jacobsen; « Jean-Simon Berthélemy, Un décorateur en vogue à la fin du XVIIIe siècle » par Nathalie Volle ; « Gabriel, Chalgrin et quelques autres » par Robert Carlhian. Paris: USIS, 1984.

ARCHITECTURE AND DÉCOR:

Blakemore, Robbie G. History of Interior Design & Furniture: From Ancient Egypt to Nineteenth-Century Europe, Second Edition. New York: Wiley, 2004. Blondel, Jacques-François, 1705-1774. Cours d’architecture, ou Traité de la décoration, distribution & construction des bâtiments: contenant les leçons données en 1750, & les années suivantes. Paris : Desaint, 1771-1777. Microfilm. Comtess Du Barry, Jeanne Vaubernier. Memoirs of the Comtess du Barry with Minute Details of her Entire Career as Favorite of Louis XV. New York and London : M.Walter Dunne, 1903.

Elliott, Cecil D. Technics and Architecture: The Development of Materials and Systems for Buildings. Cambridge and London: MIT Press, 1992.

Feray, Jean. Architecture intérieure et décoration en France, des origines à 1875. Paris: Editions Berger-Levrault, 1988. Fleury, Michel et al. Fenêtres de Paris: XVIIe et XVIIIe siècles. Cahiers de la Rotonde 18. Paris: Commission du Vieux Paris, 1997.

Glorious Borders : Three Centuries of French Frames. An Exhibition Organized by Gold Leaf Studios, William, Director. Washington, 1999.

Hinchcliffe, Tanis, “Gender and the Architect: Women Clients of French Architects During the Enlightenment,” 113-134. Gender and Architecture. Durning, Louise and Richard Wrigley, Ed. Chichester, 2000.

Hinson, Cynthia. “Lighting the City of Light: French Contributions to Lighting from 1667 until 1900.” Unpublished paper, University of Florida College of Design, Construction & Planning, Fall Semester 2006.

Jones, Colin. The Great Nation: France from Louis XV to Napoleon 1715-99. London: Allen Lane, The Penguin Press, 2002.

von Kalnein, Wend. Architecture in France in the Eighteenth Century. Translated from the German by David Britt. New Haven and London: Yale University Press, 1972, 1995.

Laugier, Marc-Antoine, 1711-1769. Essai sur l’architecture :An essay on the study and practice of architecture Explaining the true principles of the science; Illustrated with figures, elegantly engraved ... To which are added, directions for the embellishment of cities, and for the laying out of gardens. Paris, 1756. Electronic resource.

CONCORDE 1��

de Maurepas, Arnaud & Antoine Boulant. Les Ministres et les Ministères du Siècle des Lumières (1715-1789), Étude et dictionnaire. Paris: Christian, 1996.

Melchior-Bonnet, Sabine. The Mirror: A History. Translated by Katharine H. Jewett. New York and London: Routledge, 2001.

Moffett, Marian, Michael Fazio, and Lawrence Wodehouse. Buildings Across Time. Boston: McGraw-Hill, 2004. Pages 405-413.

Montagné, Prosper. Larousse Gastronomique. Translated from the French. New York: Crown Publishers, 1961.

Ouziel, Fabrice. « Boiseries et ornemanistes » La Place Vendôme sous la direction de Thierry Sarmant et Luce Gaume. Paris : Action Artistique de la Ville de Paris, 2002, 157-165.

Poisson, Michel. Paris Buildings and Monuments. New York: Harry N. Abrams, Inc., 1999.

Pons, Bruno. L’Hôtel de Beauharnais. Paris : Extrait du n° 166, Éditions de la Caisse nationale des Monuments Historiques et des Sites.

Pons, Bruno. « The Hôtel d’Orsay in Paris, » The Salon Doré by Dare Myers Hartwell. Washington : The Corcoran Gallery of Art, 1998, 19-41.

Remy Garnier, sa. Maison Garnier Paris Fabricant : Cuivrerie et Serrurerie Artistiques, Crémones, Rosaces, Feuillages. Reproduction du livre original de la Maison Garnier constitué par des modèles crées depuis 1832. Arnay-le-Duc: Les Presses de l’Imprimerie Fuchey, 2004. 250 pages illustrées, 40 pages en couleur au style Louis XV, Louis XVI, Directoire, Empire, Guimard, Art Deco, Modern, Mauresque, Vieux Fer.

Rowen, Herbert H. A History of Early Modern Europe 1500-1815. New York: Holt, Rinehart and Winston, 1960. France and Europe 1715-1815, pp. 413-432 and pp. 636-686.

Sutcliffe, Anthony. Paris: An Architectural History. New Haven and London: Yale University Press, 1993.

Thornton, Peter. Authentic Décor: The Domestic Interior 1620-1920. New York: Viking, 1984..

Verlet, Pierre. French Furniture of the Eighteenth Century. Translated by Penelope Hunter-Stiebel. Charlottesville and London: University Press of Virginia, 1991. Originally published in 1955 as Les Meubles Français du XVIIIe Siècle by Pierre Verlet.

Verlet, Pierre, Curator-in-Chief at the Louvre Museum. Translated by George Savage. The Eighteenth Century in France: Society, Decoration, Furniture. Rutland, VT and Tokyo: Charles Tuttle Company, 1967.

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Whiton, Sherrill and Stanley Abercrombie. Interior Design & Decoration, Fifth Edition. New Jersey: Prentice Hall, 2002. (First edition by Sherrill Whiton 1951.) pp. 358-395.

ARCHITECTURAL DICTIONARIES:

Forbes, J. R. Dictionnaire d’Architecture et de Construction: Français/Anglais et Anglais/Français. Paris and New York: Lavoisier, 1988.

Harris, Cyril M. Dictionary of Architecture and Construction, Fourth Edition. New York : McGraw-Hill, 2006.

Lavenu, Mathilde et Victorine Mataouchek. Dictionnaire d’Architecture. Gisserot-Patrimoine Culturel. Bordeaux: Pollina à Luçon, 1999.

TWENTIETH CENTURY, MARSHALL, AND WORLD WAR II:

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Burns, James MacGregor. Roosevelt: The Soldier of Freedom. New York: Harcourt Brace Jovanovich, Inc., 1970.

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Collins, Larry and Dominique Lapierre. Is Paris Burning? New York: Simon and Schuster, 1965. (Edition Edison, NJ: Castle Books, 2000.)

Eichengreen, Barry and Marc Uzan, “The Marshall Plan: Economic Effects and Implications for Eastern Europe and the Former USSR”, Economic Policy, Vol. 7, No. 14, Eastern Europe, April,1992, pp. 13-75.

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1�� BIBLIOGRAPHY

Hug, Kathleen E., Ed. Holden Jeanne, USIA Senior Staff Writer. The Marshall Plan. 32 pages. nd (c.2000). Hunt, Michael H. The World Transformed: 1945 To The Present. New York: Bedford/St. Martins, 2004.

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Larrabee, Eric. Commander In Chief. New York: Simon and Schuster, 1987

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Mee, Charles L. Jr., The Marshall Plan: The Launching of Pax Americana. New York: Simon and Schuster, 1984

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“Selling Democracy: Films of the Marshall Plan 1947-1955. A Program of the Internationale Filmfestspiele Berlin in Association with the Museum of German History.” February 6-15, 2004. Curated by Dr. Rainer Rother and Sandra Schulberg. The Men Behind the Marshall Plan Films: Summary of Film Review, pp. 13-17.

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The Washington Post, February 11, 1948; The New York Times, February 11, 1948

TALLEYRAND PERIOD Memoires :

Carême, Marie Antoin. Le régime culinaire de Napoléon à Sainte-Hélène, Paris: Maynier et Brimeur, 1912.

Carême, Marie Antoin. Le Maître d’hôtel français, 1822.

Boigne, Comtesse de. Mémoires.

Colmache, Revelations of the Life of Prince Talleyrand, London: 1850.

Dino, Dorothee, duchesse de. Memoirs of the Duchesse de Dino, 1909-1910.

Mémoires d’Aimée de Coigny

Mémoires de Mme de Remusat

Mémoires du chancelier Pasquier

Mémoires de la reine Hortense

Molé, Mémoires

Pichot, Amédée. Souvenirs intimes sur M. de Talleyrand, Paris: E. Dentu, 1870.

Taleyrand-Perigord, Charles Maurice de. Mémoires complets et authentiques de…, Paris: J. de Bonnot, 1967.

Vitrolles, Mémoires

Talleyrand General Sources :

Arrigon, Louis Jules. Une amie de Talleyrand, la duchesse de Courlande, Paris: Flammarion, 1946.

Beau, André. Talleyrand: Chronique indiscrète de la vie d’un prince: Consulat, Empire, Restauration, Paris: Royer, 1992.

Bernard, Jack. Talleyrand: A Biography, New York: Putnam, 1973.

Bernardy, Francoise de. Talleyrand’s Last Duchess, New York: Stein and Day, 1966.

Bonner, Paul Hyde. Hôtel Talleyrand: A Novel, New York: Scribner, 1953. (Fiction)

Brinton, Crane. The Lives of Talleyrand, New York: W. W. Norton & Co., 1936.

Comte de Saint-Aulaire. Talleyrand, New York: Macmillan and Co., 1937.

Cooper, Duff. Talleyrand, London: J. and J. Gray, 1932.Cooper, Duff. Talleyrand. Stanford: Stanford University Press, 1932.

Dodd, Anna Bowman. Talleyrand: The Training of a Statesman, New York: G.P. Putnam’s Sons, 1927.

Dupuis, Charles. Le ministère de Talleyrand en 1814…Paris: Plon Nourrit et cie., 1919.

Dwyer, Philip G. Talleyrand: Profiles in Power. London: Longman imprint of Pearson Education, 2002.

CONCORDE 1�7

Dwyer, Philip. Charles-Maurice de Talleyrand, 1754-1838: A Bibliography, Westport: Conn.: Greenwood Press, 1996.

Ferrand, Franck. “Haut-Brion Vineyard Diplomacy, France Today, November 2006, 20-21.

Lacombe, Bernard Mercier de. La vie privée de Talleyrand: Son émigration, son marriage, sa retraite, sa conversion, sa mort, Paris: Plon-Nourrit, 1910.

Lacour-Gayet, Georges. Talleyrand, Paris: Éditions Payot, 1947.

Madelin, Louis. Talleyrand: A Vivid Biography of the Amoral, Unscrupulous, and Fascinating French Statesman, New York: Roy Publishers, 1948.

Missoffe, Michel. Le Coeur secret de Talleyrand, Paris: Librarie académique Perrin, 1956.

Orieux, Jean. Talleyrand: The Art of Survival, New York: Knopf, 1974.

Orieux, Jean. Talleyrand: Talleyrand ou le sphinx incompris. Paris: Flammarion, 1970.

Pflaum, Rosalynd. By Influence and Desire: The True Story of Three Extraordinary Women—The Grand Duchess of Courland and Her Daughters, New York: M. Evans, 1984.

Pichot, Amédée. Souvenirs Intimes sur M. de Talleyrand Recueillis. Paris : E. Dentu, Libraire de la Société des Gens de Lettres, 1870.

Poniatowski, Michel. Talleyrand aux États-Unis, 1794-1796, Paris: Presses de la Cite, 1967.

Robin-Ducellier, A. L’art culinaire sous Napoléon: Carême et son temps, Paris: L’Art Culinaire, 1906.

Schumann, Maurice. Talleyrand, Prophet of the Entente Cordiale, Oxford: Clarendon Press, 1977.

Seydoux, Philippe, Docteur en historie de l’art. “Grandes Demeures: Valençay et Talleyrand, ” Vieilles Maisons Françaises. 181, L’Indre. Février 2000, 27.

Train, John, Ed. Wit: The Best Things Ever Said . Mark Twain, Voltaire, Churchill, Talleyrand, et al, New York: Harper Collins, 1991.

Vivent, Jacques. La vie privée de Talleyrand, Paris: Hachette, 1940.

de Waresquiel, Emmanuel. Talleyrand. Le Prince immobile. Paris: Fayard, 2003.

Ziegler, Philip. The Duchess of Dino, New York: John Day Co., 1963.