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National Museum of Natural History, France

1793 establishments in France5th arrondissement of ParisGrands établissementsHerbariaMuseums established in 1793
Museums in ParisNational museums of FranceNatural history museums in France
Paris 75005 Grande Galerie de l'Evolution 20070804
Paris 75005 Grande Galerie de l'Evolution 20070804

The French National Museum of Natural History, known in French as the Muséum national d'histoire naturelle (abbreviation MNHN), is the national natural history museum of France and a grand établissement of higher education part of Sorbonne Universities. The main museum, with four galleries, is located in Paris, France, within the Jardin des Plantes on the left bank of the River Seine. It was formally founded in 1793 during the French Revolution, but was begun even earlier in 1635 as the royal garden of medicinal plants. The museum now has 14 sites throughout France.

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National Museum of Natural History, France
Rue Geoffroy Saint-Hilaire, Paris 5th Arrondissement (Paris)

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N 48.842109 ° E 2.356286 °
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Grande Galerie de l'Évolution

Rue Geoffroy Saint-Hilaire
75005 Paris, 5th Arrondissement (Paris)
Ile-de-France, France
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Muséum National d'Histoire Naturelle

call+33140795601

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grandegaleriedelevolution.fr

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Paris 75005 Grande Galerie de l'Evolution 20070804
Paris 75005 Grande Galerie de l'Evolution 20070804
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Abbey of Saint-Victor, Paris
Abbey of Saint-Victor, Paris

The Abbey of Saint Victor, Paris, also known as Royal Abbey and School of Saint Victor, was an abbey near Paris, France. Its origins are connected to the decision of William of Champeaux, the Archdeacon of Paris, to retire to a small hermitage near Paris in 1108. He took on the life, vocation and observances of the Canons Regular, and his new community followed the Augustinian Rule. William was famed for his teaching, and was followed to his hermitage by many of his disciples, including Peter Abelard, and was convinced by them to take up his lecturing again. William was made Bishop of Châlons-sur-Marne in 1113, and was succeeded in his hermitage at St. Victor's by Gilduin, who promoted the canonical order and its new abbey vigorously. Through generous gifts from popes, kings, queens, and nobles, the Abbey of St. Victor was soon richly endowed. Many houses of canons regular came under its influence and were reformed through its leadership, including the Abbey of Ste Geneviève (Paris), Wigmore Abbey in Wales, St. Augustine's (Bristol), St. Catherine's (Waterford), St. Thomas's (Dublin), and San Pietro ad Aram (Naples). King Louis VIII mentioned no less than forty abbeys of the Order of St. Victor in his last will and testament, and he left 4,000 pounds to be equally divided among them, and all his jewels for the building of the abbey church in Paris. Before the abbey was 160 years old, several cardinals and at least eight significant abbots had been produced from among its members. The traditions of William of Champeaux were handed on, and the abbey became a center of piety and learning, attracting famous students, scholars and intellectuals including Hugh of St. Victor, Peter Lombard and Thomas Becket. In fact, the school of Saint Victor, with the schools of Ste Geneviève and Notre-Dame de Paris, was the cradle of the University of Paris.

Arènes de Lutèce
Arènes de Lutèce

The Arènes de Lutèce ([a.ʁɛn də ly.tɛs], "Arenas of Lutetia") are among the most important ancient Roman remains from the era in Paris (known in antiquity as Lutetia), together with the Thermes de Cluny. Constructed in the 1st century AD, this theatre could once seat 15,000 people and was used also as an amphitheatre to show gladiatorial combats. The terraced seating surrounded more than half of the arena's circumference, more typical of an ancient Greek theatre rather than a Roman one which was semi-circular. The orchestra was surrounded by the wall of a podium 2.5 m (8.2 feet) high, surmounted by a parapet. The stage was 41m long. A series of nine niches were most likely used for statues. Five small rooms were situated beneath the lower terraces, some of which appear to have been animal cages that opened directly into the arena. Slaves, the poor, and women were relegated to the higher tiers — while the lower seating areas were reserved for Roman male citizens. For comfort, a linen awning sheltered spectators from the hot sun. From its vantage point, the theatre also afforded views of the rivers Bièvre and Seine. When Lutèce was sacked during the barbarian raids of AD 275, some of the structure's stone work was used to reinforce the city's defences around the Île de la Cité. However, Chilperic I had it repaired in 577 and gave performances there. Subsequently, the theatre became a cemetery, and was filled in completely following the construction of wall of Philippe Auguste (ca. 1210). Centuries later, even though the surrounding neighbourhood (quartier) had retained the name les Arènes, the exact location was lost. It was discovered by Théodore Vaquer during the building of the Rue Monge between 1860–1869, when the Compagnie Générale des Omnibus sought to build a tramway depot on the site. Spearheaded by the author Victor Hugo (1802–1885) and a few other intellectuals, a preservation committee called la Société des Amis des Arènes undertook to save the archaeological treasure. After the demolition of the Couvent des Filles de Jésus-Christ in 1883, one-third of the arena was uncovered. The Municipal Council dedicated funds to restoring the arena and establishing it as a public square, which was opened in 1896. After the tramway lines and depot were dismantled in 1916 and line 10 of the Paris Métro was constructed, the doctor and anthropologist Jean-Louis Capitan (1854–1929) continued with additional excavation and restoration of the arena toward the end of World War I. The neighbouring Square Capitan, built on the site of the old Saint-Victor reservoir, is dedicated to his memory. However, a portion of the original arena — opposite the stage — was lost to buildings which line rue Monge. Standing in the centre of the arena one can still observe significant remnants of the stage and its nine niches, as well as the grilled cages in the wall. The stepped terraces are not original, but historians believe that 41 arched openings punctuated the façade.