The boulevards constitute an important part of the urban and social identity of the city of Paris. They have been built at the initiative of the central power on the site of the successive concentric fortifications of the city at the time when these became obsolete and were demolished.
The name "boulevard" (French: boulevard) comes from the Dutch bolwerc, meaning "work of boards", which referred first to the walls, and later to the embankment of the walls.[1].
Boulevards are associated with a certain state of mind of leisure and frivolity. This vocation was already manifested in the century with the creation of numerous theaters around the Theater de la Porte Saint-Martin. This boulevardier spirit developed in the boulevard theaters, which gave light and fun pieces, far from the academicism of the official theaters. The Boulevard du Temple received the nickname Boulevard du Crime ("Boulevard of Crime") at the time of the Restoration, in allusion to the numerous crimes committed not on the street but on the stages of theaters. It was also on the Grands Boulevards that the first public representation of cinematography took place.
On the right bank, Paris has three rows of boulevards:
The Boulevard Périphérique preserves the idea of a boulevard in terms of a ring road, but does not share the social and cultural characteristics of traditional Parisian boulevards.
The Grand Boulevards
Contenido
Los Grandes Bulevares (en francés: Grands Boulevards) son los bulevares parisinos por excelencia. Se sitúan en la orilla derecha, en lugar de las antiguas fortificaciones de Carlos V y de Luis XIII. Los Grandes Bulevares son constituidos en la actualidad por los bulevares Beaumarchais"), Filles-du-Calvaire"), Temple, Saint-Martin, Saint-Denis"), Bonne-Nouvelle"), Poissonnière, Montmartre, Italiens, Capucines y Madeleine.
La segunda cinta de murallas construida alrededor de París fue la de Carlos V"), construida entre 1370 y 1382. Iba de la Porte Saint-Antoine"), en la actual Place de la Bastille, a la Porte Saint-Denis y luego al Louvre. En la parte noroeste, habían sido sustituidas por las murallas de Luis XIII"), construidas entre 1633 y 1636 y que iban de la Porte Saint-Denis a la Porte Saint-Honoré (actual Place de la Madeleine).
Boulevard architecture
Introduction
The boulevards constitute an important part of the urban and social identity of the city of Paris. They have been built at the initiative of the central power on the site of the successive concentric fortifications of the city at the time when these became obsolete and were demolished.
The name "boulevard" (French: boulevard) comes from the Dutch bolwerc, meaning "work of boards", which referred first to the walls, and later to the embankment of the walls.[1].
Boulevards are associated with a certain state of mind of leisure and frivolity. This vocation was already manifested in the century with the creation of numerous theaters around the Theater de la Porte Saint-Martin. This boulevardier spirit developed in the boulevard theaters, which gave light and fun pieces, far from the academicism of the official theaters. The Boulevard du Temple received the nickname Boulevard du Crime ("Boulevard of Crime") at the time of the Restoration, in allusion to the numerous crimes committed not on the street but on the stages of theaters. It was also on the Grands Boulevards that the first public representation of cinematography took place.
On the right bank, Paris has three rows of boulevards:
The Boulevard Périphérique preserves the idea of a boulevard in terms of a ring road, but does not share the social and cultural characteristics of traditional Parisian boulevards.
The Grand Boulevards
Contenido
Los Grandes Bulevares (en francés: Grands Boulevards) son los bulevares parisinos por excelencia. Se sitúan en la orilla derecha, en lugar de las antiguas fortificaciones de Carlos V y de Luis XIII. Los Grandes Bulevares son constituidos en la actualidad por los bulevares Beaumarchais"), Filles-du-Calvaire"), Temple, Saint-Martin, Saint-Denis"), Bonne-Nouvelle"), Poissonnière, Montmartre, Italiens, Capucines y Madeleine.
Hacia 1660, estas fortificaciones estaban en mal estado y eran inútiles tras las victorias de Luis XIV. Se demolieron las murallas y se llenaron los fosos. En las nuevas calles creadas en su lugar, podían circular cuatro vehículos a la vez y en sus laterales se plantaron dos filas de árboles. Algunas puertas de las antiguas murallas fueron sustituidas por arcos de triunfo (Porte Saint-Denis, Porte Saint-Martin).
Este era el Nouveau Cours, construido entre 1668 y 1705 por el arquitecto Pierre Bullet"), durante el reinado de Luis XIV. En la parte oeste de la calle y sus alrededores, la nobleza y la burguesía financiera construyeron magníficos palacetes. Por el contrario, en la parte este se instalaron atracciones populares (teatros, bailes, acróbatas, restaurantes…).
La calzada fue pavimentada en 1778. La iluminación de gas hizo su aparición en 1817 en el Passage des Panoramas y se extendió al bulevar en 1826. El primer ómnibus a caballos Madeleine-Bastille entró en funcionamiento el 30 de enero de 1828.
Los parisinos hicieron de ellos un lugar de paseo cuyo éxito ha persistido a lo largo de los siglos y las trasformaciones urbanas. El Bel Ami de Maupassant deambulaba por los bulevares en búsqueda de placeres y, en los años 1950, en Funny Face&action=edit&redlink=1 "Funny Face (musical) (aún no redactado)") era en los bulevares donde Fred Astaire sentía mejor el placer de estar en París. En el siglo , sobre todo en la parte oeste, numerosos cafés y restaurantes fueron sustituidos por edificios de oficinas o sedes de empresas.
La apertura posterior de otros ejes de gran capacidad (Boulevard Richard-Lenoir"), Boulevard Haussmann, Avenue de la République&action=edit&redlink=1 "Avenue de la République (París) (aún no redactado)")…) ha reducido la visibilidad en la topografía parisina de los Grandes Bulevares y, por tanto, de las antiguas murallas de Luis XIII. La noción de los Grandes Bulevares se hizo un poco más confusa. Muchos parisinos incluirían sin duda entre ellos el Boulevard Haussmann, porque las vitrinas de los grandes almacenes que atraen a los paseantes concuerdan bien al espíritu de los bulevares.
Venue of the great Parisian festival
In the 19th century, the Grands Boulevards became an unavoidable meeting place for the Paris Carnival, then very large. They were invaded by the carnival crowd to the point that, around 1900, during the three big days the circulation of vehicles was diverted and the passage of the famous Madeleine-Bastille bus was interrupted. The parades of the Bœuf Gras") and the queens of the Mi-Carême") necessarily passed through there. The last big parade of the Paris carnival, on Mi-Carême Thursday, March 28, 1946, passed through all the boulevards.
During the carnival celebrations, between 1892 and 1914, gigantic confetti battles took place on the Grand Boulevards, sold in glasses or by the kilo. In the early 1890s, at the time of the festival, the "Serpentine (toy)" streamers made the trees of the Grand Boulevards "hairy and multicolored."
The boulevards of the Mur des Fermiers Généraux
New line of fortifications, new strip of boulevards: starting in 1784, Ledoux built the Mur des Fermiers Généraux"), bordered by a line of boulevards on its outer side. This wall, subsidized by the tax called octroi") and detested by Parisians, would be demolished when the next strip of walls was built, but the boulevards remained. The urban plans of the 1950s attempted, without success, to transform them into an urban highway.
The Boulevards of the Marshals
In the 1920s, the destruction of the walls of Thiers made it possible to create a third strip of boulevards that went completely around Paris. These new streets were named after marshals of the First Empire and would constitute the "frontier" of Paris for many Parisians until the construction of the Périphérique.
The Haussmannian boulevards
"Haussmannian" boulevards constitute a particular type of boulevards in terms of their origin. They resulted from large demolitions in the Parisian urban fabric and not from the use of the vacant space of an old strip of walls. They are similar to other boulevards due to their geographical (concentric arteries), social and cultural characteristics. Some of the most notable are Boulevard Saint-Germain and Boulevard Haussmann.
The transformations of the Second Empire imposed the boulevard on the identity of Paris. The boulevards, which had previously only been built in sparsely inhabited areas and only served to surround the capital, then became the axis that structured the city's circulation.
It is at the level of architecture that the Haussmannian era, both on the old and new boulevards, contributed most to the image of Paris: the alignments of buildings governed by Paris urban planning regulations, with their typical balconies, made the Parisian boulevard an immediately recognizable axis.
La segunda cinta de murallas construida alrededor de París fue la de Carlos V"), construida entre 1370 y 1382. Iba de la Porte Saint-Antoine"), en la actual Place de la Bastille, a la Porte Saint-Denis y luego al Louvre. En la parte noroeste, habían sido sustituidas por las murallas de Luis XIII"), construidas entre 1633 y 1636 y que iban de la Porte Saint-Denis a la Porte Saint-Honoré (actual Place de la Madeleine).
Hacia 1660, estas fortificaciones estaban en mal estado y eran inútiles tras las victorias de Luis XIV. Se demolieron las murallas y se llenaron los fosos. En las nuevas calles creadas en su lugar, podían circular cuatro vehículos a la vez y en sus laterales se plantaron dos filas de árboles. Algunas puertas de las antiguas murallas fueron sustituidas por arcos de triunfo (Porte Saint-Denis, Porte Saint-Martin).
Este era el Nouveau Cours, construido entre 1668 y 1705 por el arquitecto Pierre Bullet"), durante el reinado de Luis XIV. En la parte oeste de la calle y sus alrededores, la nobleza y la burguesía financiera construyeron magníficos palacetes. Por el contrario, en la parte este se instalaron atracciones populares (teatros, bailes, acróbatas, restaurantes…).
La calzada fue pavimentada en 1778. La iluminación de gas hizo su aparición en 1817 en el Passage des Panoramas y se extendió al bulevar en 1826. El primer ómnibus a caballos Madeleine-Bastille entró en funcionamiento el 30 de enero de 1828.
Los parisinos hicieron de ellos un lugar de paseo cuyo éxito ha persistido a lo largo de los siglos y las trasformaciones urbanas. El Bel Ami de Maupassant deambulaba por los bulevares en búsqueda de placeres y, en los años 1950, en Funny Face&action=edit&redlink=1 "Funny Face (musical) (aún no redactado)") era en los bulevares donde Fred Astaire sentía mejor el placer de estar en París. En el siglo , sobre todo en la parte oeste, numerosos cafés y restaurantes fueron sustituidos por edificios de oficinas o sedes de empresas.
La apertura posterior de otros ejes de gran capacidad (Boulevard Richard-Lenoir"), Boulevard Haussmann, Avenue de la République&action=edit&redlink=1 "Avenue de la République (París) (aún no redactado)")…) ha reducido la visibilidad en la topografía parisina de los Grandes Bulevares y, por tanto, de las antiguas murallas de Luis XIII. La noción de los Grandes Bulevares se hizo un poco más confusa. Muchos parisinos incluirían sin duda entre ellos el Boulevard Haussmann, porque las vitrinas de los grandes almacenes que atraen a los paseantes concuerdan bien al espíritu de los bulevares.
Venue of the great Parisian festival
In the 19th century, the Grands Boulevards became an unavoidable meeting place for the Paris Carnival, then very large. They were invaded by the carnival crowd to the point that, around 1900, during the three big days the circulation of vehicles was diverted and the passage of the famous Madeleine-Bastille bus was interrupted. The parades of the Bœuf Gras") and the queens of the Mi-Carême") necessarily passed through there. The last big parade of the Paris carnival, on Mi-Carême Thursday, March 28, 1946, passed through all the boulevards.
During the carnival celebrations, between 1892 and 1914, gigantic confetti battles took place on the Grand Boulevards, sold in glasses or by the kilo. In the early 1890s, at the time of the festival, the "Serpentine (toy)" streamers made the trees of the Grand Boulevards "hairy and multicolored."
The boulevards of the Mur des Fermiers Généraux
New line of fortifications, new strip of boulevards: starting in 1784, Ledoux built the Mur des Fermiers Généraux"), bordered by a line of boulevards on its outer side. This wall, subsidized by the tax called octroi") and detested by Parisians, would be demolished when the next strip of walls was built, but the boulevards remained. The urban plans of the 1950s attempted, without success, to transform them into an urban highway.
The Boulevards of the Marshals
In the 1920s, the destruction of the walls of Thiers made it possible to create a third strip of boulevards that went completely around Paris. These new streets were named after marshals of the First Empire and would constitute the "frontier" of Paris for many Parisians until the construction of the Périphérique.
The Haussmannian boulevards
"Haussmannian" boulevards constitute a particular type of boulevards in terms of their origin. They resulted from large demolitions in the Parisian urban fabric and not from the use of the vacant space of an old strip of walls. They are similar to other boulevards due to their geographical (concentric arteries), social and cultural characteristics. Some of the most notable are Boulevard Saint-Germain and Boulevard Haussmann.
The transformations of the Second Empire imposed the boulevard on the identity of Paris. The boulevards, which had previously only been built in sparsely inhabited areas and only served to surround the capital, then became the axis that structured the city's circulation.
It is at the level of architecture that the Haussmannian era, both on the old and new boulevards, contributed most to the image of Paris: the alignments of buildings governed by Paris urban planning regulations, with their typical balconies, made the Parisian boulevard an immediately recognizable axis.