Creative Sanctuary

Ideas

The Nourishing Power of Gentleness

By Allison

blades of grass

©Danesh Mazloomdoost

“Once in a while we meet a gentle person.  Gentleness is a virtue hard to find in a society that admires toughness and roughness.  […] Gentle is the one who does ‘not break the crushed reed, or snuff the faltering wick.’  Gentle is the one who is attentive to the strengths and weaknesses of the other and enjoys being together more than accomplishing something.  A gentle person treads lightly, listens carefully, looks tenderly, and touches with reverence.  A gentle person knows that true growth requires nurture, not force.  Let’s dress ourselves with gentleness.”  –Henri Nouwen

 One evening several weeks back, I experienced a transformative moment that continues to stir in me.  It was a delicious fall evening.  The air was cooling, and the trees were still green.  Night had not fallen, but the blue hour was approaching.

My friend and I were leaving his office, laughing about God knows what.  When we stepped out, we encountered a young woman in crisis.  Her clothes hung off her bony frame, she was covered in sores, and she seemed to be doing some sort of distressed dance on the lawn.

I was startled and scared for her, and I froze.  My friend maintained his calm.  He approached her gingerly and asked what was wrong.  His voice was steady and soothing.

The young woman was apparently addicted to heroin, had been clean for seven months, and had recently relapsed after the death of her uncle.  She was sobbing.  Her story was disjointed, but her fear was clear.

She asked us to call an ambulance to take her to the University of Kentucky hospital.  As we waited with her, my friend maintained his compassionate, caring way.  He saw her, acknowledged her, and validated her.  He trod lightly, listened carefully, looked tenderly, and treated her with reverence.  Though I mostly stayed quiet, I held a space of compassion for both of them.

Within about 3 minutes, firefighters, EMTs, and police officers arrived.  The lights and sirens were jolting, and it must have been overwhelming for her to suddenly be surrounded by nine men in surgical masks.  But they were kind to her and helped her to the ambulance.  As she lay on the gurney, she thanked us profusely.

I have always admired my friend’s steady demeanor.  He is a gentle soul through and through.  That evening he reminded me that gentleness is life-giving.  His tender approach fortified a young person in crisis.  He helped her find the courage to wait for the ambulance and to maybe seek help. 

His gentleness also nourished me.  I witnessed its power to soothe and effect change.  After a long day at the office, he exercised focus, restraint, and compassion.  I aspire to this.  I have since deepened my commitment to gentleness and its beauty.  I imagine wearing it like a cloak, flowing softly and creating an aura of safety and tenderness.

Inspirations

Self-Soothing in Hard Times

Extreme Rest

Between, Within, Beneath

Pandemic Aloe: “Learning to Plant” Again

By Allison

pandemic aloeWe’re giving hugs again, gathering around tables with friends, and some people are even planning summer travels.  We are “learning to human again.”

I purchased my little aloe plant in fall 2020, when COVID cases were on the rise in the U.S.  Tending to my house plants distracted me from the scariness.  Months later, I can’t help but smile every time this scrawny pandemic plant catches my eye.  He is thriving but on his own terms.  This aloe refuses to grow straight.  I have gently tried to rectify this countless times.  Quietly, yet firmly I have encouraged him to “Stand tall. Reach for the light.”

But this charming aloe is a pandemic plant.  He is comfortable hanging over the edge of his terra cotta home.  Good posture doesn’t matter to him.  He languishes.  He is twisted and a little gnarly.  I have come to admire his commitment to growing crookedly.

I, too, have carved a twisty path in the last year.  Though I have not lost any loved ones, I have dealt with disenfranchised grief—the unnamable sadness that accumulates with continued disappointment and “small” losses.  Travel, weddings, family meals.  I have felt guilty for feeling sad.  What business do I have grieving when I’ve suffered so little compared to others?

As I “learn to human” again, I like to think that my aloe is “learning to plant” again.  I have an affinity for his hunched nature.  Standing tall is not necessarily easy.  Getting out into the world after more than a year of isolation is odd.  We are both off-kilter right now, but as the time is right, we are branching out.

Resting Bench

By Allison

banc-reposoir Alsace“I am that living and fiery essence of the divine substance that glows in the beauty of the fields.  I shine in the water, I burn in the sun and the moon and the stars.”  –Hildegard of Bingen (1098-1179)

The bancs-reposoirs (“resting benches”) of Alsace are sandstone memories of 19th-century peasant life.  Spaced about 2 kilometers apart on well-traveled ways, the benches provided a place of rest for farmers headed into town on market day.  Women, who carried their goods in baskets on their heads, placed them on the lintel topping the structure.  The resting benches were often shaded by linden trees.

Throughout Alsace, about 170 bancs-reposoirs remain, built in 1811 and 1854.  Found along a windy road in Hilsenheim, France, this bench offered a moment of respite to people carrying a heavy load.  Visiting it in the 21st century, I try to imagine the trek to the next town and the weight of the wheat and bran the women carried on their heads.  What emotional burdens weighed on them?  What were their passions?  Did they enjoy aspects of this work?

It goes without saying that there is a disparity in experience between 19th-century Alsatian peasants and a 21st-century college professor from across the ocean.  Though as I trace my finger on the lichen covering the stone, I remember that time is fluid and that in this spot, the centuries touch.  I sit on the same resting bench.  The landscape I take in resembles the backdrop of their lives—neat fields, spring greens, unruly grasses in the ditch.  They may have felt a similar May breeze on their skin.  Stone, place, and air connect us.

This moment also reminds me that rest is essential.  The world is currently burdened by a pandemic.  After almost a year of living in crisis mode, we need to sit on our own figurative resting benches.  Let us stop and catch our breath.  Let us remember our fiery essences.  Let us also be still and smile, seeing how we glow in the fields, shine in the water, and burn in the heavens.

 

La Petite Ceinture: The Path That Unlocked Paris, Luke Stanton

By Allison

petite ceinture 1Could you ever imagine being able to circumnavigate the city of Paris much like the 16th century explorer Magellan circumnavigated the Earth? Back in the late 19th century, such a form of transportation was made possible through the construction of the Petite Ceinture during the era of the Second Empire in France. In English, it translates to “little belt”, a connotation which rather undersells the immense scope and importance that this railway network possessed.
Without it, the metro transportation system that serves millions of Parisians today may have never existed.

Throughout the 19th century, the Petite Ceinture provided a multitude of functions, whether it involved transporting capital, housing public transit, or even contributing to military defense by supplying goods to French soldiers. The 35-kilometer-long belt provided stops at 29 different stations and could complete a round trip in just under an hour and a half. The efficient layout of the tracks prevented interfering with traffic in the city, thus creating a separation between the urban and transportation industries of Paris.

Despite its closure to public transportation in the 1930s, some parts of the line continue to function today, whether it be near Victor Boulevard in the 15th arrondissement or the Porte de Clichy metro station in the 17th arrondissement. In addition, the northern section of the tracks are currently being used to transport trains between the major stations in North and East Paris. Only 21 kilometers of the Petite Ceinture remain, although traces of the railway are still present throughout different areas of Paris. If you adventure around Montrouge, for example, you may find yourself taking a stroll through the gardens when you discover air vents which used to belong to train tunnels. If you recall the name “Jardin de la dalle d’Ivry”, which translates to “Ivry slab garden”, you can probably guess that such places cover areas where the line used to run. In addition, tennis courts and housing projects make up a majority of the urbanisation projects that have taken place of the belt’s remains.

While the inevitable evolution of the metro system has overshadowed the legacy of the Petite Ceinture , there are still pieces of its history to be discovered throughout different areas of Paris. The railway network continues to leave its mark to this day, whether it be through old tracks or nature trails that take place on its former paths. One does not simply think of the Petite Ceinture as a more traditional mode of transportation without considering its layout as providing connectivity and cohesion to a city bounded by lights.

References
Bretelle, Bruno. «L’action d’une association : l’inventaire de la Petite Ceinture de Paris». Revue
d’histoire des chemins de fer , 40, 2009, pp. 91-107.

Enon, Claire. «La survie d’un délaissé urbain : la petite ceinture de Paris». Architecture,
aménagement de l’espace , 2017.

Photos
https://pt.wikipedia.org/wiki/Petite_Ceinture#/media/Ficheiro:Paris_16e_Petite_Ceinture_prome
nade.jpg

World War II Bunker Preserved in Paris, Kore Severance

By Allison

bunker 1Deep in the heart of Paris, under the Gare de l’Est exists a perfectly preserved relic from WWII. Tucked away behind a secret hatch on the platform rests a WWII bunker completely undisturbed by time and modernization. A set of tunnels was built under the train station to help transport luggage, but when the war began, it was transformed into a safe haven. The bunker was initially created by the French government but was unfinished before the German military took over France and occupied Paris in 1940. Both the French and German government had wanted to keep the trains at this station running because there are tracks that lead into Germany.

Within the solid concrete walls and armored door are the remains of equipment and furniture used during WWII as protection from a gas attack. Although, during WWII, gases were used less than during WWI and instead were replaced with air raid attacks. Historians do not believe the bunker could have survived an air raid attack, but thankfully these were not common in Paris. All of the machines and equipment are in perfect working condition and appear to be “new” from 1939.

As you first enter the double door that is armored against bullets and gas attacks, the cool 59°F air surrounds you. As you travel deeper into the bunker, you will find regulation rooms complete with desks and chairs, telephones, and timetables for 1930’s trains. There are not any food or dormitory spaces because the bunker was only meant to be utilized for 10 hours at a time. You can find control rooms and an engine room as well. There are a few bicycles connected to equipment, which were intended to be used to operate the air filtration system in the bunker if the electricity went out. Along the walls are some German inscriptions and bilingual plans, which is evidence of the German occupation and usage. Marie-Noëlle Polivo writes, « …chaque cheminot français avait derrière lui un homologue allemand. » In English, “[…each French railway worker had a German counterpart behind him.]”bunker 2

While there were other bunkers under train stations throughout Paris, most have been destroyed and dismantled. SNCF, the French national railway company, has promised to preserve this bunker however, only opening it during Heritage days and for other important events. Only 10 people are allowed in the bunker at one time and tickets sell out within minutes every year, as only around 220 people can go down inside the bunker each year. The tour guides worked hard with SNCF during 2019 to create tours that allow people to explore the bunker with virtual reality headsets.

References

https://immobilier.lefigaro.fr/article/sous-la-gare-de-l-est-un-bunker-preserve-depuis-80-ans_df8823ca-02bd-11e8-be42-2176aaed995f/

http://www.leparisien.fr/paris-75/journees-du-patrimoine-a-paris-la-sncf-ouvre-le-bunker-secret-de-la-gare-de-l-est-19-09-2019-8155530.php

https://www.neverends.net/le-bunker-sous-la-gare-de-lest/#prettyPhoto

https://www.atlasobscura.com/places/wwii-bunker-under-gare-de-l-est

 

The Catacombs of Paris, Amelia Lorrey

By Allison

catacombs entranceThe most macabre tourist attraction in Paris, the Catacombs, was initially a very practical solution to a serious 18th century sanitation problem. Cemeteries in Paris were overfull, so the remains needed to be moved to a separate, safer location underground. The skeletons were taken from many cemeteries around Paris, but primarily from les Saintes-Innocents, a very popular burial location for Parisians from the 12th to the 18th century.

The Catacombs are the final resting place for over six million Parisians throughout history. Beginning in 1785, remains were transferred to the Catacombs nightly for two years and sporadically for several years after that. The work of moving the remains had to be done at night, so that Parisians would not get upset and protest the removal of their deceased loved ones from their initial burial place. A priest accompanied the transfer of the bones and said a prayer for those who were being laid to rest once again. However, despite this care, the remains were dumped rather unceremoniously into the tunnels of the Catacombs.

It was not until Napoleon came to power that the bones were set up in the decorative way that they are today. Napoleon decided that the piles of Parisian bones sitting in tunnels beneath the city were not merely a practical sanitation solution but also a potential tourist attraction. Inspired by the famous catacombs in Rome, Napoleon appointed two men, Nicolas Frochot and Louis-Étienne Héricart de Thury, to turn the Catacombs into a site worth touring. Thus, the bones were arranged artistically and the design of the tunnels chosen very intentionally to appeal to tourists’ more morbid curiosity. One famous example of this is the sign above an entrance to the ossuary which reads: “Arrète! C’est ici l’empire de la mort” (Stop! This here is the empire of death”). These sort of dramatic touches might seem to an uniformed tourist to be the sign of a dark and ancient place, but in reality, they were a 19th century way to aggrandize the Catacomb’s spooky allure.catacombs bones

We might think of the Catacombs as an example of the Romantic or macabre fascinations of earlier ages. However, it is more truthful to understand them, as they stand today, as an intentional tourist attraction—and a very effective one at that. Over 150 years later, tourists in Paris are still happy to shell out €14 for a chance to visit Frochot and Héricart de Thury’s strangely beautiful underground ossuary.

References
“Histoire Des Catacombes.” Paris Pittoresque, www.paris-pittoresque.com/monuments/33.htm.

Karmelek, Mary. “You (Posthumously) Light up My Life.” Scientific American Blog Network,
Scientific American, 15 Apr. 2011, blogs.scientificamerican.com/anecdotes-from-thearchive/
you-posthumously-light-up-my-life/.

“L’histoire Du Site.” Les Catacombes De Paris, catacombes.paris.fr/lhistoire/lhistoire-du-site#.

“The Unbelievable Story of the Paris Catacombs.” Walks of Italy Blog, 6 Feb. 2017,
www.walksofitaly.com/blog/paris/paris-catacombs.

La Sainte-Chapelle, Shanze Arshad

By Allison

la sainte chapelle

The beauty of the Sainte-Chapelle is unlike that of any other church in Europe. Commissioned during the reign of Louis IX, this monument took approximately six years to build with construction estimated to have finished around April 26, 1248. The chapel was originally built to house various artifacts from the Passion of Christ which included the Crown of Thorns. These artifacts were bought by Louis IX from Emperor Baudouin II of Constantinople, though not without paying a substantial amount of money. The relics were moved to Notre-Dame de Paris after the French Revolution, and were kept there until April 26, 2019 when a fire destroyed parts of the cathedral.

When looking at the exterior, the Sainte-Chapelle resembles any other chapel built in the gothic style. It is the interior that captures the attention of all its visitors.  The Sainte-Chapelle is divided into two floors: the lower chapel and the upper chapel. The lower chapel was meant as a place of worship for the palace domestic staff and was dedicated to the Virgin Mary. The blue ceiling with gold accents immediately catches the attention of any onlookers. Though certainly beautiful in its own right, it pales in comparison to the upper chapel.

The upper chapel is best described as breathtaking. Light pours in through the stained glass windows from all directions. Pink hues dominate the upper chapel and blend with the light to create an even more aesthetically pleasing look. Visitors first notice the blend of colors, but closer examination reveals the details put into making the stained glass. Each panel on these massive stained glass windows represents a scene from the Bible. The colors and light make it so that there is a sense of cohesiveness within the details of the upper chapel, which is what makes this church so unique. Though the upper chapel was reserved only for the royal family and their court, it is now open to all visitors. The Centre des Monuments Nationaux has created an app that even allows visitors to discover the secrets of the stained glass windows. Simply by taking a picture of a particular panel, visitors can enrich their understanding of the Sainte-Chapelle.

References

“26 Avril 1248 Consécration De La Sainte-Chapelle.” 26 Avril 1248 – Conscration De La Sainte-Chapelle – Herodote.net, 16 Apr. 2019, www.herodote.net/26_avril_1248-evenement-12480426.php.

“Application : Percez Les Secrets Des Vitraux.” Centre Des Monuments Nationaux, Centre Des Monuments Nationaux , www.sainte-chapelle.fr/Actualites/Application-Percez-les-secrets-des-vitraux.

Croire. “La Sainte Chapelle.” Croire, La Croix Croire, 15 Apr. 2014, croire.la-croix.com/Definitions/Figures-spirituelles/Saint-Louis/La-Sainte-Chapelle.

“Sainte Chapelle De Paris : Gothique Rayonnant, Apogée De L’Art Médiéval.” Le Blog De Paris, 16 May 2011, parisii.fr/2011/05/sainte-chapelle/.

Image

https://en.wikipedia.org/wiki/Sainte-Chapelle#/media/File:La-Sainte-Chapelle-interior.jpg

 

 

La Rue Crémieux: The Great Escape, Caroline Lancaster

By Allison

rue crémieuxIn the 12th arrondissement of Paris exists a colorful and refreshing line of English styled cottages. This line of 35 residential and private houses is located on the famous Rue Crémieux; named after Jewish lawyer and advocate for human rights, Adolphe Crémieux. Avid users of social media are very familiar with this pastel painted street as it is known as, “Instagram’s most favorite street”. With one search, #RueCremieux will locate 31,000 images that have this hashtag. Proof, this enchanting stretch of houses has captured the attention of many and has served as the perfect backdrop for an Instagram post.

Before “la rue” opened in 1865, the Imperial Arenas rested here holding 1,500 seats and served as a place of entertainment during the Second Empire in the 1850s. This time of opposition towards the government left room for people needing a place for entertainment. The Imperial Arenas filled that space and served as a getaway or great escape. The historical background reveals a cultural transition; it was once an arena for entertainment and now a social media phenomenon. La Rue Crémieux attracted as much attention then as it does now, and it seems as though the cobblestone street was destined to be an escape from reality. Now, it is most attractive for its green, blue, purple, yellow, and pink houses but also for its ability to offer a release from the hustle of Paris. The colorful setting, cobblestone street, and well maintained greenery takes its visitors out of Paris and offers them a new perspective. One that is brighter, newer, and bolder. This stands in contrast to the rest of the city of Paris.

Can the tourists and bloggers be blamed for finding this utopia to be captivating and exceptional?

It can be assumed that the people who live in the charming houses lining the street are forgotten or dismissed. However, the residents are not going down without a fight. There has been a recent protest because the residents are entirely annoyed with the constant attention on their homes. One resident vocalized that the street should be closed on evenings, weekends, and during “magic hour,” the time of day when the sun starts to sink and light is just right. The efforts made to slow down blogger traffic might be useless considering the effect this street has already had on Instagram. A public street versus private housing is a concept and debate that social media has completely disregarded; but when something is this refreshing and beautiful is there anyone to blame?

References

https://frenchmoments.eu/rue-cremieux-paris/

https://www.harpersbazaar.com/uk/culture/culture-news/a26746451/paris-rue-cremieux-pastel-street-ban-instagram-influencers/

Le Musée des Arts Décoratifs Paris, Jacob Potter

By Allison

Musée des arts décoratifsNearly every tourist in Paris plans to visit the Louvre. The Louvre is seen as one of the quintessential French experiences, even though most of the art pieces it contains hail from other nations. Yet, when approaching the Louvre, tourists seem to be focused solely on the looming glass pyramid over the neatly cut treetops of the Jardin des Tuileries, completely missing the structure to their left. This imposing yet unassuming wing of the Louvre Palace houses le Musée des Arts Décoratifs, or MAD, one of the premier museums of Paris. The Musée des Arts Décoratifs is itself historical. Opening on May 29th, 1905, MAD has seen two World Wars, the end of the Cold War, and the establishment of the European Union by the time it was renovated between 1996 to 2006.

Physically attached to the Louvre, MAD houses an impressive collection of art, objects, and furniture that rival its conjoined neighbor. According to the Figaro, the Louvre holds pieces recognized as the absolute best examples of fine art in the world while MAD houses art people would have actually owned and used. That does not mean that MAD’s collections are any less artistic. Rather, they are tangibly linked to France’s history and the lives of French people. Take the Soupière made by Jean-Baptiste-Claude Odiot in Paris in 1819. It serves a functional purpose by holding soup before it is served, yet the beautifully crafted silver angels, swans, and ornaments turn the structural components of the Soupière into artistic design elements.

These collections are exhibited in five departments based on the time period of the objects. The first department features pieces from the Middle Ages and the Renaissance in France, where authentic bedrooms, friezes, and altarpieces are re-created using objects from the collection. This department is followed by a collection of 17th and 18th century pieces, during the Ancien Régime. Within the 17th and 18th century displays, you will notice the proliferation of porcelain and the increasing ornateness of everyday objects in themed salons. The Ancien Régime section ends with the Revolution, starting a department of 19th century pieces. Here, gold accents dazzle your eyes alongside powerful, opulent color schemes.chair

After entering the Republic era, the time ranges of the departments become more condensed. The first of these temporally condensed section features objects in the Art Nouveau and Art Deco styles of the early 20th century, where human-made objects seek to imitate natural forms. These styles were heavily influential in France, and many of the pieces in this exhibit hail directly from various world’s fairs in the 1920s and 1930s. The fifth and final department houses contemporary or modern pieces and seeks to explore the very limit of modern design and fabrication. Many of the pieces in these final displays seek to blend aesthetics with increased functionality. The Bibliothèque des Chaises is a great example of this. This library of chairs is a repository of our modern attempt to make the sitting experience more comfortable, yet visually pleasing.

Within these five departments, the collections are further subdivided. Textiles, jewelry, paintings, toys, furniture, graphic arts, glassware, and advertisements can be found throughout all five departments, creating very diverse and holistic exhibitions. With these diverse collections, MAD aims to be as alive as its contemporary and modern department. Through exploring the history of everyday art, MAD seeks to follow the continuous breath of French taste from the middle ages to today. By exploring MAD’s dynamic exhibitions, you might just feel a hint of this breath, pushing you to design the next object for MAD’s modern department.

References

« Departments. » Musée des Arts Décoratifs Paris : n. pag. Web. 2 March 2020. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements/

Fauteuil « Œuf 3317 » et repose-pied « 3127 ». By Arne Jacobsen – Photo by Jean Tholance, Musée des Arts Décoratifs de Paris. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements /#&gid=1&pid=70

« Les 5 musées de mode à voir à Paris » Vogue 20 Février 2020 : n. pag. Web. 2 March 2020. https://www.vogue.fr/culture/article/5-musees-de-mode-a-voir-a-paris

Prat, Véronique. « Réouverture : le musée des Arts décoratifs retrace l’histoire du goût. » Le Figaro 4 Septembre 2006 : n. pag. Web. 2 March 2020. https://www.lefigaro.fr/lefigaromagazine/2006/09/04/01006-20060904ARTWWW90415-reouverture_le_musee_des_arts_decoratifs_retrace_l_histoire_du_got.php

Soupière. By Jean-Baptiste-Claude Odiot – Photo by Jean Tholance, Musée des Arts Décoratifs de Paris. https://madparis.fr/francais/musees/musee-des-arts-decoratifs/collections/departements /#&gid=1&pid=39

 

Villa Léandre, Will Hardy

By Allison

villa léandreVilla Léandre Road, located in Paris’ 18th arrondissement, sits amidst the bustling hilltop attraction that is Montmartre. Villa Léandre is a relic of the past, as is exemplified by the homey air that its Art Deco style maintains. Renamed in 1936 after the comedian Charles Léandre, the street embodies a bygone era, the Paris of 100 years past. Though Paris and even Montmartre itself have continued to urbanize, Villa Léandre has stayed true to the style of arts décoratifs that originated in France and developed during the 1920’s.

The style of Villa Léandre was once more exemplary of the Montmartre around it, a veritable village some years ago. Indeed, Montmartre was known for its scenic views, vineyards, wineries, small communities, and windmills. Montmartre and Villa Léandre evoked an escape from the city sprawl to something more familiar, more comfortable. Villa Léandre stands as a singular gem maintaining such simultaneous vibrant and sleepy atmospheres, all thanks to the art deco style that characterizes the street.

Art Deco, not to be confused with Art Nouveau, is a French artistic and architectural style that founds its roots in a France fresh off the first World War. It is defined by moderated ornamentation, luxurious materials and craftsmanship, and modern design standards. The brickwork facades and individualized gardens of each house embody the Art Deco style, setting Villa Léandre apart as a representation of the city’s history that has been altogether left behind.

Due to urbanization and modernization, this rich history and these picturesque scenes were lost, replaced by smog and steel, but also by museums and boutiques. While Montmartre has much to offer– the strange cemetery that contains the tomb of famous authors and French figures such as Emile Zola, La Maison Rose, Le Clos de Montmartre which is the one vineyard left within the quartier– there is a certain palpable mystique to the Paris of the past that is preserved within the Villa Léandre Road.

Although the antiquated Art Deco architecture of Villa Léandre embodies some aspects of what one might consider quintessential French style, there is another key aspect of the road that contradicts its French nature. Though Art Deco is French in origin, all the houses lining Villa Léandre are inspired by English themes. Thus, the street is a pastiche of French and English styles, giving it a dual nature. Villa Léandre is at once both French and not French, at the heart of Paris while altogether removed from what Paris has become in the modern day. Villa Léandre occupies a unique place in the French Capital, as it constitutes a rather unknown piece of a Parisian history worth learning.

References

Solosophie. “Villa Léandre: An English-Inspired Art-Deco Street Montmartre.” Solosophie, 2 May 2019, www.solosophie.com/villa-leandre/.

Young, Michelle. “Villa Léandre: An English-Inspired Street in the Heart of Montmartre, Paris.” Untapped New York, 12 July 2013, untappedcities.com/2013/07/12/villa-leandre-english-inspired-street-montmartre-paris/.

“Paris Guide Paristep.” Čeština, www.paristep.com/en/.

“La Villa Léandre, Une Impasse Pittoresque Aux Faux-Airs Britanniques.” Paris ZigZag | Insolite & Secret, www.pariszigzag.fr/balades-excursions/balade-paris/la-villa-leandre-une-impasse-pittoresque-aux-faux-airs-britanniques.

Chriswac. “La Villa Léandre. Montmartre.” Montmartre Secret, Montmartre Secret, 6 Apr. 2017, www.montmartre-secret.com/2017/03/la-villa-leandre.montmartre.html.

Larbordière Jean-Marc. Paris Art déco: L’architecture Des années 20. Massin, 2008.