Lycée Jules-Ferry (Paris)

Maison Souquet is a 5-star hotel, part of Maisons Particulieres Collection (hotel group), located at 10, rue de Bruxelles in Paris, on the outskirts of Montmartre. The hotel is inspired by the Parisian brothels from the Belle Époque period. Maison Souquet is decorated by the French designer Jacques Garcia.

The Sainte-Rita Chapel is a Roman Catholic chapel located at 65 Boulevard de Clichy in the 9th arrondissement of Paris opposite the Moulin Rouge. Dedicated to Saint Rita of Cascia, the patron saint of lost causes, the chapel was inaugurated in 1956 to serve the prostitutes of the Pigalle, then a busy red-light district. It is affiliated with the nearby Église de la Sainte-Trinité.

Moulin Rouge (, French: [mulɛ̃ ʁuʒ]; lit. '"Red Mill"') is a cabaret in Paris, France. The original house, which burned down in 1915, was co-founded in 1889 by Charles Zidler and Joseph Oller, who also owned the Paris Olympia. Close to Montmartre in the Paris district of Pigalle on Boulevard de Clichy in the 18th arrondissement, it is marked by the red windmill on its roof. The closest métro station is Blanche. Moulin Rouge is best known as the birthplace of the modern form of the can-can dance. Originally introduced as a seductive dance by the courtesans who operated from the site, the can-can dance revue evolved into a form of entertainment of its own and led to the introduction of cabarets across Europe. Today, the Moulin Rouge is a tourist attraction, offering musical dance entertainment for visitors from around the world. The club's decor still contains much of the romance of fin de siècle France.

Place de Clichy (French pronunciation: ​[plas də kliʃi]) is a station of the Paris Métro, serving Paris Metro Line 2 and Line 13 at the junction of the 8th and 17th arrondissement of Paris.

Place Blanche in Paris, France is one of the small plazas along the Boulevard de Clichy, which runs between the 9th and 18th arrondissements (Parisian districts) and leads into Montmartre. It is near Pigalle. On 23 May 1871, during the Bloody Week at the end of the Paris Commune, when Versailles troops entered Paris to retake it for the French Third Republic, the Place Blanche was defended by 120 communard women. Among them were Béatrix Excoffon, Elisabeth Dmitrieff, Nathalie Lemel, Blanche Lefebvre, and Malvina Poulain. They held back General Clinchant's troops at a barricade before retreating, exhausted and out of ammunition, to Place Pigalle. Those who could not retreat were executed on the spot, among them Blanche Lefebvre.The famous cabaret Moulin Rouge stands on the Place Blanche. During the 1950s, the Place Blanche was a centre of Paris' transsexual community, documented in Christer Strömholm's book Les amies de Place Blanche.

The Place de Clichy, also known as "Place Clichy", is situated in the northwestern quadrant of Paris. It is formed by the intersection of the Boulevard de Clichy, the Avenue Clichy, the Rue Clichy, the Boulevard des Batignolles, and the Rue d'Amsterdam. It lies at the former site of the barrière de Clichy, an ancient portal in the Wall of the Farmers-General, leading to the village of Clichy, outside the wall.

Café Guerbois, on Avenue de Clichy in Paris, was the site of late 19th-century discussions and planning amongst artists, writers and art lovers – the bohèmes (bohemians), in contrast to the bourgeois. Centered on Édouard Manet, the group gathered at the café usually on Sundays and Thursdays. Émile Zola, Frédéric Bazille, Louis Edmond Duranty, Henri Fantin-Latour, Emmanuel Chabrier, Edgar Degas, Claude Monet, Pierre-Auguste Renoir and Alfred Sisley regularly joined in the discussions. Sometimes Paul Cézanne and Camille Pissarro also joined them. The group is sometimes called the Batignolles Group and many of the members are associated with Impressionism. Conversations there were often heated. On one evening in February 1870, things became so heated that Manet, insulted by a review that Duranty wrote, wounded Duranty in a duel. The injury was not fatal, and the two remained friends.

Cabaret de l'Enfer (The Cabaret of Hell) was a famous cabaret in Montmartre, founded in November 1892 by Antonin Alexander and demolished in 1950 to allow for the expansion of a Monoprix supermarket. The Cabaret de L'Enfer was the counterpart to The Cabaret du Ciel (The Cabaret of Sky), another cabaret which shared the same address on the Boulevard de Clichy. Antonin Alexander was the creator, director, and host of the twin ventures. Jules Claretie, who wrote that future historians of the mores of the Belle Epoque "could not silently pass by these cabarets", described them as "putting Dante's poem within walking distance". For Georges Renault and Henri Château, "Le Ciel and L'Enfer, gaping wide-open all in a row" was worthy of the label "spectacular". The flâneurs of Paris entered through the monumental jaws of Leviathan, devourer of the damned. The intimidating façade was "a stucco ode to female nudity being devoured by infernal flames".

The Théâtre de l'Œuvre is a Paris theatre on the Right Bank, located at 3, Cité Monthiers, entrance 55, rue de Clichy, in the 9° arrondissement. It is commonly conflated and confused with the late-nineteenth-century theater company named Théâtre de l'Œuvre (or simply, L'Œuvre), founded by actor-director-producer Aurélien Lugné-Poe, who would not take control of this performance space until 1919. His company is best known for its earlier phase of existence, before it acquired this theatre venue. From 1893 to 1899, in various Parisian theatres, Lugné-Poe premiered modernist plays by foreign dramatists (Ibsen, Strindberg, Hauptmann, Bjørnson, Wilde), as well as new work by French Symbolists, most notoriously Alfred Jarry’s nihilistic farce Ubu Roi, which opened in 1896 at Nouveau-Théâtre (today, Théâtre de Paris, 15, rue Blanche). It is best to discuss the surviving theater building and Lugné-Poe's several-phase theater production company separately, though they share much of their history.

The Cabaret du Ciel (Cabaret of Heaven) was a well-known cabaret in the Montmartre district of Paris. The Cabaret du Ciel was an early version of modern theme restaurants, with a theme centered around celestial concepts connected to the afterlife in Paradise. The cabaret was located next to the Cabaret de L'Enfer (Cabaret of Hell) at the same address at 53 Boulevard de Clichy.The Cabaret du Ciel, along with the Cabaret de L'Enfer (Cabaret of Hell), and the Cabaret du Néant (Cabaret of Nothingness), was part of a trio of themed restaurants established at around the same time in Montmartre in the 1890s. The Cabaret du Ciel and the Cabaret de L'Enfer took advantage of their proximity and enhanced it further by taking radically different approaches on their exterior design, which led prospective patrons to want to visit both during an outing.

The Cemetery of Montmartre (French: Cimetière de Montmartre) is a cemetery in the 18th arrondissement of Paris, France, that dates to the early 19th century. Officially known as the Cimetière du Nord, it is the third largest necropolis in Paris, after the Père Lachaise Cemetery and the Montparnasse Cemetery.

The Café des 2 Moulins (French for "Two Windmills") is a café in the Montmartre area of Paris, located at the junction of Rue Lepic and Rue Cauchois (the address is 15, rue Lepic, 75018 Paris). It takes its name from the two nearby historical windmills, Moulin Rouge and Moulin de la Galette. The interior consists of a bar area and multiple small tables. The café has gained considerable fame since its appearance in the 2001 film Amélie, in which it is the workplace of the title character. It has since become a popular tourist destination. Another location from the film, the convenience store of Collignon, is located nearby, on the rue des Trois-Frères. The tobacco counter, tended in the film by Georgette (Isabelle Nanty), was removed in 2002 when the cafe changed ownership.The cafe was listed in the Registre du commerce et des sociétés in 1964. According to Marc Fougedoire, the current owner, the establishment opened its doors at the beginning of the 20th century, but did not take its current name until the 1950s. It had already been used for two other films before it was in Amélie.