Exclusive Highlights of Paris

The driver and guide will pick up clients from their hotel or residence.

The guide will greet the client as they exit their private car in front of the Arc de Triomphe. The guide will begin with illustrating the heritage and history which build the image of the Arc de Triomphe and everything that it’s been through. This will be followed by a climb to the top where the clients will be able to view magnificent scenes of the Champs-Élysées and the road which leads to the Eiffel Tower. l’Arc de Triomphe - Standing at the western end of the Champs-Élysées at the centre of Place Charles de Gaulle, formerly named Place de l'Étoile—the étoile or "star" of the juncture formed by its twelve radiating avenues. The location of the arc and the plaza is shared between three arrondissements, 16th (south and west), 17th (north), and 8th (east). The Arc de Triomphe honours those who fought and died for France in the French Revolutionary and Napoleonic Wars, with the names of all French victories and generals inscribed on its inner and outer surfaces. Beneath its vault lies the Tomb of the Unknown Soldier from World War I.

As the central cohesive element of the Axe historique (historic axis, a sequence of monuments and grand thoroughfares on a route running from the courtyard of the Louvre to the Grande Arche de la Défense), the Arc de Triomphe was designed by Jean Chalgrin in 1806; its iconographic programme pits heroically nude French youths against bearded Germanic warriors in chain mail. It set the tone for public monuments with triumphant patriotic messages. Inspired by the Arch of Titus in Rome, Italy, the Arc de Triomphe has an overall height of 50 metres (164 ft), width of 45 m (148 ft) and depth of 22 m (72 ft), while its large vault is 29.19 m (95.8 ft) high and 14.62 m (48.0 ft) wide. The smaller transverse vaults are 18.68 m (61.3 ft) high and 8.44 m (27.7 ft) wide. Three weeks after the Paris victory parade in 1919 (marking the end of hostilities in World War I), Charles Godefroy flew his Nieuport biplane under the arch's primary vault, with the event captured on newsreel. Paris's Arc de Triomphe was the tallest triumphal arch until the completion of the Monumento a la Revolución in Mexico City in 1938, which is 67 metres (220 ft) high.

The Arch of Triumph in Pyongyang, completed in 1982, is modelled on the Arc de Triomphe and is slightly taller at 60 m (197 ft). La Grande Arche in La Défense near Paris is 110 metres high. Although it is not named an Arc de Triomphe, it has been designed on the same model and in the perspective of the Arc de Triomphe. It qualifies as the world's tallest arch. The sword carried by the Republic in the Marseillaise relief broke off on the day, it is said, that the Battle of Verdun began in 1916. The relief was immediately hidden by tarpaulins to conceal the accident and avoid any undesired ominous interpretations. On 7 August 1919, Charles Godefroy successfully flew his biplane under the Arc. Jean Navarre was the pilot who was tasked to make the flight, but he died on 10 July 1919 when he crashed near Villacoublay while training for the flight. Following its construction, the Arc de Triomphe became the rallying point of French troops parading after successful military campaigns and for the annual Bastille Day military parade. Famous victory marches around or under the Arc have included the Germans in 1871, the French in 1919, the Germans in 1940, and the French and Allies in 1944 and 1945.

A United States postage stamp of 1945 shows the Arc de Triomphe in the background as victorious American troops march down the Champs-Élysées and U.S. airplanes fly overhead on 29 August 1944. After the interment of the Unknown Soldier, however, all military parades (including the aforementioned post-1919) have avoided marching through the actual arch. The route taken is up to the arch and then around its side, out of respect for the tomb and its symbolism. Both Hitler in 1940 and de Gaulle in 1944 observed this custom. By the early 1960s, the monument had grown very blackened from coal soot and automobile exhaust, and during 1965–1966 it was cleaned through bleaching. In the prolongation of the Avenue des Champs-Élysées, a new arch, the Grande Arche de la Défense, was built in 1982, completing the line of monuments that forms Paris's Axe historique. After the Arc de Triomphe du Carrousel and the Arc de Triomphe de l'Étoile, the Grande Arche is the third arch built on the same perspective.

Continuing onto Place du Trocadero, the clients will stop for some memorable pictures. The guide will also provide a glimpse of heritage and significance of the famous Place. Place du Trocadero - The place was named in honour of the Battle of Trocadero, in which the fortified Isla del Trocadero, in southern Spain, was captured by French forces led by the Duc d'Angoulême, son of the future King of France, Charles X, on August 31, 1823. France had intervened on behalf of King Ferdinand VII of Spain, whose rule was contested by a liberal rebellion. After the battle, the autocratic Spanish Bourbon Ferdinand VII was restored to the throne of Spain. François-René de Chateaubriand said "To stride across the lands of Spain at one go, to succeed there, where Bonaparte had failed, to triumph on that same soil where the arms of the fantastic man suffered reverses, to do in six months what he couldn't do in seven years, that was truly prodigious!” Nowadays the square is officially named Place du Trocadéro et (and) du 11 Novembre (for the WWI armistice), although it is usually simply called the Place du Trocadéro.

The clients will make a short stop closer to the Eiffel Tower for some magnificent picture before heading to their Third Discovery. The guide will in the meantime indulge the clients with the history which defined the Eiffel Tower. Eiffel Tower - Constructed from 1887 to 1889 as the entrance to the 1889 World's Fair, it was initially criticised by some of France's leading artists and intellectuals for its design, but it has become a global cultural icon of France and one of the most recognisable structures in the world. The Eiffel Tower is the most-visited paid monument in the world; 6.91 million people ascended it in 2015. The tower is 324 metres (1,063 ft) tall, about the same height as an 81-storey building, and the tallest structure in Paris. Its base is square, measuring 125 metres (410 ft) on each side. During its construction, the Eiffel Tower surpassed the Washington Monument to become the tallest man-made structure in the world, a title it held for 41 years until the Chrysler Building in New York City was finished in 1930. It was the first structure to reach a height of 300 metres. Due to the addition of a broadcasting aerial at the top of the tower in 1957, it is now taller than the Chrysler Building by 5.2 metres (17 ft).

Excluding transmitters, the Eiffel Tower is the second tallest free-standing structure in France after the Millau Viaduct. The design of the Eiffel Tower is attributed to Maurice Koechlin and Émile Nouguier, two senior engineers working for the Compagnie des Établissements Eiffel. It was envisioned after discussion about a suitable centrepiece for the proposed 1889 Exposition Universelle, a world's fair to celebrate the centennial of the French Revolution. Eiffel openly acknowledged that inspiration for a tower came from the Latting Observatory built in New York City in 1853. In May 1884, working at home, Koechlin made a sketch of their idea, described by him as "a great pylon, consisting of four lattice girders standing apart at the base and coming together at the top, joined together by metal trusses at regular intervals”.

Eiffel initially showed little enthusiasm, but he did approve further study, and the two engineers then asked Stephen Sauvestre, the head of company's architectural department, to contribute to the design. Sauvestre added decorative arches to the base of the tower, a glass pavilion to the first level, and other embellishments. The new version gained Eiffel's support: he bought the rights to the patent on the design which Koechlin, Nougier, and Sauvestre had taken out, and the design was exhibited at the Exhibition of Decorative Arts in the autumn of 1884 under the company name. On 30 March 1885, Eiffel presented his plans to the Société des Ingénieurs Civils; after discussing the technical problems and emphasising the practical uses of the tower, he finished his talk by saying the tower would symbolise - not only the art of the modern engineer, but also the century of Industrand Science in which we are living, and for which the way was prepared by the great scientific movement of the eighteenth century and by the Revolution of 1789, to which this monument will be built as an expression of France's gratitude. Little progress was made until 1886, when Jules Grévy was re-elected as president of France and Édouard Lockroy was appointed as minister for trade.

A budget for the exposition was passed and, on 1 May, Lockroy announced an alteration to the terms of the open competition being held for a centrepiece to the exposition, which effectively made the selection of Eiffel's design a foregone conclusion, as entries had to include a study for a 300 m (980 ft) four-sided metal tower on the Champ de Mars. (A 300-meter tower was then considered a herculean engineering effort). On 12 May, a commission was set up to examine Eiffel's scheme and its rivals, which, a month later, decided that all the proposals except Eiffel's were either impractical or lacking in details. After some debate about the exact location of the tower, a contract was signed on 8 January 1887. This was signed by Eiffel acting in his own capacity rather than as the representative of his company, and granted him 1.5 million francs toward the construction costs: less than a quarter of the estimated 6.5 million francs. Eiffel was to receive all income from the commercial exploitation of the tower during the exhibition and for the next 20 years. He later established a separate company to manage the tower, putting up half the necessary capital himself.

The client will stop at the Cathédral Notre Dame de Paris for a short insight on one of the greatest whilst historical cathedral’s in the world. At the same, it will allow the clients to take picturesque photos up close. Cathédral Notre Dame de Paris - The cathedral was consecrated to the Virgin Mary and considered to be one of the finest examples of French Gothic architecture. Its pioneering use of the rib vault and flying buttress, its enormous and colourful rose windows, as well as the naturalism and abundance of its sculptural decoration set it apart from the earlier Romanesque style. Major components that make Notre Dame stand out include its large historic organ and its immense church bells. The cathedral's construction began in 1160 under Bishop Maurice de Sully and was largely complete by 1260, though it was modified frequently in the following centuries. In the 1790s, Notre-Dame suffered desecration during the French Revolution; much of its religious imagery was damaged or destroyed.

In the 19th century, the cathedral was the site of the coronation of Napoleon I and the funerals of many Presidents of the French Republic. Popular interest in the cathedral blossomed soon after the publication, in 1831, of Victor Hugo's novel Notre-Dame de Paris (better known in English as The Hunchback of Notre-Dame). This led to a major restoration project between 1844 and 1864, supervised by Eugène Viollet-le-Duc. The Allied liberation of Paris in 1944 was celebrated within Notre-Dame with the singing of the Magnificat. Beginning in 1963, the cathedral's façade was cleaned of centuries of soot and grime. Another cleaning and restoration project was carried out between 1991 and 2000. The cathedral is one of the most widely recognized symbols of the city of Paris and the French nation. As the cathedral of the Archdiocese of Paris, Notre-Dame contains the cathedra of the Archbishop of Paris (Michel Aupetit). In 1805, Notre-Dame was given the honorary status of a minor basilica.

Approximately 12 million people visit Notre-Dame annually, making it the most visited monument in Paris. The cathedral was renowned for its Lent sermons, founded by the Dominican Jean-Baptiste Henri Lacordaire in the 1830s. In recent years, an increasing number have been given by leading public figures and state-employed academics. The cathedral has been progressively stripped of its original decoration and works of art. Several noteworthy examples of Gothic, Baroque, and 19th-century sculptures and a group of 17th- and early 18th-century altarpieces remain in the cathedral's collection. Some of the most important relics in Christendom, including the Crown of Thorns, a sliver of the true cross and a nail from the true cross, are preserved at Notre-Dame. On 11 February 1931, Antonieta Rivas Mercado died at the altar of Notre-Dame after shooting herself in the heart with a pistol stolen from her lover, Jose Vasconcelos. It is believed that before the arrival of Christianity in France, a Gallo-Roman temple dedicated to Jupiter stood on the site of Notre-Dame. Evidence for this is the Pillar of the Boatmen, discovered in 1710. This building was replaced with an Early Christian basilica. It is unknown whether this church, dedicated to Saint Stephen, was constructed in the late 4th century and remodelled later, or if it was built in the 7th century from an older church, possibly the cathedral of Childebert I.

The basilica, later Cathedral of Saint-Étienne was situated about 40 metres (130 ft) west of Notre-Dame's location and was wider and lower and roughly half its size. For its time, it was very large—70 metres (230 ft) long—and separated into nave and four aisles by marble columns, then decorated with mosaics. Four churches succeeded the Roman temple before Notre-Dame. The first was the 4th-century basilica of Saint-Étienne, then the Merovingian renovation of that church which was in turn remodeled into a cathedral in 857 under the Carolingians. The last church before the cathedral of Notre-Dame was a Romanesque remodeling of the prior structures that, although enlarged and remodeled, was found to be unfit for the growing population of Paris. A baptistery, the Church of John the Baptist, built before 452, was located on the north side of the church of Saint-Étienne until the work of Jacques-Germain Soufflot in the 18th century. In 1160, the Bishop of Paris, Maurice de Sully, decided to build a new and much larger church. He summarily demolished the Romanesque cathedral and chose to recycle its materials. Sully decided that the new church should be built in the Gothic style, which had been inaugurated at the royal abbey of Saint Denis in the late 1130s.

As they approach the Louvre Museum, the guide will begin illustrating the history of what used to be a palace and how it became one of the most famous museum in the world. Entering the louvre, the guide will continue through a path of heritage, history, unique creativity and past empires. The Louvre Museum - The museum is housed in the Louvre Palace, originally built as the Louvre castle in the late 12th to 13th century under Philip II. Remnants of the fortress are visible in the basement of the museum. Due to urban expansion, the fortress eventually lost its defensive function, and in 1546 Francis I converted it into the primary residence of the French Kings. The building was extended many times to form the present Louvre Palace. In 1682, Louis XIV chose the Palace of Versailles for his household, leaving the Louvre primarily as a place to display the royal collection, including, from 1692, a collection of ancient Greek and Roman sculpture. In 1692, the building was occupied by the Académie des Inscriptions et Belles-Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years. During the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nation's masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, the majority of the works being royal and confiscated church property. Because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum was renamed Musée Napoléon, but after Napoleon's abdication, many works seized by his armies were returned to their original owners.

The collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic. The collection is divided among eight curatorial departments: Egyptian Antiquities; Near Eastern Antiquities; Greek, Etruscan and Roman Antiquities; Islamic Art; Sculpture; Decorative Arts; Paintings; Prints and Drawings. The Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis I renovated the site in French Renaissance style. Francis acquired what would become the nucleus of the Louvre's holdings, his acquisitions including Leonardo da Vinci's Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed; however, the move permitted the Louvre to be used as a residence for artists, under Royal patronage. Four generations of Boulle were granted Royal patronage and resided in the Louvre in the following order: Pierre Boulle, Jean Boulle, Andre-Charles Boulle and his four sons (Jean-Philippe, Pierre-Benoît (c. 1683–1741), Charles-André (1685–1749) and Charles-Joseph (1688–1754)), after him.

André-Charles Boulle (1642–1732) is the most famous French cabinetmaker and the preeminent artist in the field of marquetry, also known as "Inlay". Boulle was "the most remarkable of all French cabinetmakers”. He was commended to Louis XIV of France, the "Sun King", by Jean-Baptiste Colbert (1619–1683) as being "the most skilled craftsman in his profession". Before the fire of 1720 destroyed them, André-Charles Boulle held priceless works of art in the Louvre, including forty-eight drawings by Raphael. By the mid-18th century there were an increasing number of proposals to create a public gallery, with the art critic La Font de Saint-Yenne publishing, in 1747, a call for a display of the royal collection. On 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. A hall was opened by Le Normant de Tournehem and the Marquis de Marigny for public viewing of the Tableaux du Roy on Wednesdays and Saturdays, and contained Andrea del Sarto's Charity and works by Raphael; Titian; Veronese; Rembrandt; Poussin or Van Dyck, until its closing in 1780 as a result of the gift of the palace to the Count of Provence (the future king, Louis XVIII) by the king in 1778. Under Louis XVI, the royal museum idea became policy. The comte d'Angiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the "French Museum". Many proposals were offered for the Louvre's renovation into a museum; however, none was agreed on. Hence the museum remained incomplete until the French Revolution.

"As they approach the Musée d’Orsay, the guide will begin with illustrating the history of what used to be a train station turned in one of the most famous museum housing some of the historic painters such as Van Gogh, Monet, Paul Cézanne and much more. As they enter the Musée d’Orsay, the guide will continue through a path of heritage, history, unique creativity and past empires. The Musée d’Orsay - It is housed in the former Gare d'Orsay, a Beaux-Arts railway station built between 1898 and 1900. The museum holds mainly French art dating from 1848 to 1914, including paintings, sculptures, furniture, and photography. It houses the largest collection of Impressionist and post-Impressionist masterpieces in the world, by painters including Monet, Manet, Degas, Renoir, Cézanne, Seurat, Sisley, Gauguin, and Van Gogh. Many of these works were held at the Galerie nationale du Jeu de Paume prior to the museum's opening in 1986. It is one of the largest art museums in Europe. The museum building was originally a railway station, Gare d'Orsay, constructed for the Chemin de Fer de Paris à Orléans and finished in time for the 1900 Exposition Universelle to the design of three architects: Lucien Magne, Émile Bénard and Victor Laloux. It was the terminus for the railways of southwestern France until 1939.

By 1939 the station's short platforms had become unsuitable for the longer trains that had come to be used for mainline services. After 1939 it was used for suburban services and part of it became a mailing centre during World War II. It was then used as a set for several films, such as Kafka's The Trial adapted by Orson Welles, and as a haven for the Renaud–Barrault Theatre Company and for auctioneers, while the Hôtel Drouot was being rebuilt. In 1970, permission was granted to demolish the station but Jacques Duhamel, Minister for Cultural Affairs, ruled against plans to build a new hotel in its stead. The station was put on the supplementary list of Historic Monuments and finally listed in 1978. The suggestion to turn the station into a museum came from the Directorate of the Museum of France. The idea was to build a museum that would bridge the gap between the Louvre and the National Museum of Modern Art at the Georges Pompidou Centre. The plan was accepted by Georges Pompidou and a study was commissioned in 1974. In 1978, a competition was organized to design the new museum. ACT Architecture, a team of three young architects (Pierre Colboc, Renaud Bardon and Jean-Paul Philippon), were awarded the contract which involved creating 20,000 square metres (220,000 sq ft) of new floorspace on four floors. The construction work was carried out by Bouygues. In 1981, the Italian architect Gae Aulenti was chosen to design the interior including the internal arrangement, decoration, furniture and fittings of the museum. Finally in July 1986, the museum was ready to receive its exhibits. It took 6 months to install the 2000 or so paintings, 600 sculptures and other works. The museum officially opened in December 1986 by then-president François Mitterrand."

As the client head outside, they will stroll through the beautiful what used to be a royal garden heading towards Place Vendome while the guide elaborates on the Renaissance and French Revolution. The walk will follow through the famous Place Vendome as the guide describes its hieratic Column build to celebrate the victory of Austerlitz before arriving at the Palais Garnier. Tuileries Garden - Created by Catherine de' Medici as the garden of the Tuileries Palace in 1564, it was eventually opened to the public in 1667 and became a public park after the French Revolution. In the 19th, 20th and 21st centuries, it was a place where Parisians celebrated, met, strolled and relaxed. On October 6, 1789, as the French Revolution began, King Louis XVI was brought against his will to the Tuileries Palace. The garden was closed to the public except in the afternoon. Queen Marie Antoinette and the Dauphin were given a part of the garden for her private use, first at the west end of the Promenade Bord d'eaux, then at the edge of the Place Louis XV. After the king's failed attempt to escape France, the surveillance of the family was increased. The royal family was allowed to walk in the park on the evening of September 18, 1791, during the festival organized to celebrate the new French Constitution, when the alleys of the park were illuminated with pyramids and rows of lanterns. On August 10, 1792, a mob stormed the Palace, and the king's Swiss guards were chased through the gardens and massacred. After the king's removal from power and execution, the Tuileries became the National Garden (Jardin National) of the new French Republic. In 1794 the new government assigned the renewal of the gardens to the painter Jacques-Louis David, and to his brother in law, the architect August Cheval de Saint-Hubert. They conceived a garden decorated with Roman porticos, monumental porches, columns, and other classical decoration.

The project of David and Saint-Hubert was never completed. All that remains today are the two exedres, semicircular low walls crowned with statues by the two ponds in the centre of the garden. While David's project was not finished, large numbers of statues from royal residences were brought to the gardens for display. The garden was also used for revolutionary holidays and festivals. On June 8, 1794, a ceremony in honor of the Cult of the Supreme Being was organized in the Tuileries by Robespierre, with sets and costumes designed by Jacques-Louis David. After a hymn written for the occasion, Robespierre set fire to mannequins representing Atheism, Ambition, Egoism and False Simplicity, revealing a statue of Wisdom. Place Vendome - Place Vendôme was laid out in 1702 as a monument to the glory of the armies of Louis XIV, the Grand Monarque and called place des Conquêtes, to be renamed place Louis le Grand, when the conquests proved temporary; an over life-size equestrian statue of the king was set up in its centre, donated by the city authorities; this was by François Girardon (1699) and is supposed to have been the first large modern equestrian statue to be cast in a single piece. It was destroyed in the French Revolution; however, there is a small version in the Louvre. This led to the popular joke that while Henri IV dwelled among the people by the pont Neuf, and Louis XIII among the aristocrats of the place des Vosges, Louis XIV preferred the company of the tax farmers in the place Vendôme; each reflecting the group they had favoured in life. The site of the square was formerly the hôtel of César de Bourbon, Duke of Vendôme, the illegitimate son of Henry IV and his mistress Gabrielle d'Estrées. Hardouin-Mansart bought the building and its gardens, with the idea of converting it into building lots as a profitable speculation.

The plan did not materialize, and Louis XIV's Minister of Finance, Louvois, purchased the piece of ground, with the object of building a square, modelled on the successful place des Vosges of the previous century. Louvois came into financial difficulties and nothing came of his project, either. After his death, the king purchased the plot and commissioned Hardouin-Mansart to design a housefront that the buyers of plots round the square would agree to adhere to. When the state finances ran low, the financier John Law took on the project, built himself a residence behind one of the façades, and the square was complete by 1720, just as his paper-money Mississippi bubble burst. Law suffered a major blow when he was forced to pay back taxes amounting to some tens of millions of dollars. With no way to pay such an amount, he was forced to sell the property he owned on the square. The buyers were members of the exiled Condé branch of the House of Bourbon who later returned to the country to reclaim their land in the town of Vendôme itself. Between 1720 and 1797, they acquired much of the square, including a freehold to parts of the site on which the Hôtel Ritz Paris now stands and in which they still maintain apartments. Their intention to restore a family palace on the site is dependent on the possible intentions of the adjacent Justice Ministry to expand its premises. The Foire Saint-Ovide settled in 1764 on the place until 1771. When France established diplomatic relations with the short-lived Republic of Texas, the Texan legation was housed at Hôtel Bataille de Francès in 1 Place Vendôme.

Leading to the Palais Garnier the guide will begin with describing the vast history of the famous opera. As the clients enter, the guide will promenade through the magnificent architecture and glamour which Palais Garnier holds as the guide unravel the deepest secrects. Opéra Garnier - The Palais Garnier is a 1,979-seat opera house at the Place de l'Opéra in the 9th arrondissement of Paris, France. It was built for the Paris Opera from 1861 to 1875 at the behest of Emperor Napoleon III. Initially referred to as "le nouvel Opéra de Paris" (the new Paris Opera), it soon became known as the Palais Garnier,"in acknowledgment of its extraordinary opulence" and the architect Charles Garnier's plans and designs, which are representative of the Napoleon III style. It was the primary theatre of the Paris Opera and its associated Paris Opera Ballet until 1989, when a new opera house, the Opéra Bastille, opened at the Place de la Bastille. The company now uses the Palais Garnier mainly for ballet. The theatre has been a monument historique of France since 1923. The Palais Garnier has been called "probably the most famous opera house in the world, a symbol of Paris like Notre Dame Cathedral, the Louvre, or the Sacré Coeur Basilica." This is at least partly due to its use as the setting for Gaston Leroux's 1910 novel The Phantom of the Opera and, especially, the novel's subsequent adaptations in films and the popular 1986 musical.

Another contributing factor is that among the buildings constructed in Paris during the Second Empire, besides being the most expensive, it has been described as the only one that is "unquestionably a masterpiece of the first rank.” This opinion is far from unanimous however: the 20th-century French architect Le Corbusier once described it as "a lying art" and contended that the "Garnier movement is a décor of the grave”. The Palais Garnier also houses the Bibliothèque-Musée de l'Opéra de Paris (Paris Opera Library-Museum), which is managed by the Bibliothèque Nationale de France.

In 1821 the Opéra de Paris had moved into the temporary building known as the Salle Le Peletier on the rue Le Peletier. Since then a new permanent building had been desired. Charles Rohault de Fleury, who was appointed the opera's official architect in 1846, undertook various studies in suitable sites and designs. By 1847, the Prefect of the Seine, Claude-Philibert de Rambuteau, had selected a site on the east side of the Place du Palais-Royal as part of an extension of the Rue de Rivoli. However, with the Revolution of 1848, Rambuteau was dismissed, and interest in the construction of a new opera house waned. The site was later used for the Grand Hôtel du Louvre (designed in part by Charles Rohault de Fleury). With the establishment of the Second Empire in 1852 and Georges-Eugène Haussmann's appointment as Prefect of the Seine in June 1853, interest in a new opera house revived. There was an attempted assassination of Emperor Napoleon III at the entrance to the Salle Le Peletier on 14 January 1858.

The Salle Le Peletier's constricted street access highlighted the need for a separate, more secure entrance for the head of state. This concern and the inadequate facilities and temporary nature of the theatre gave added urgency to the building of a new state-funded opera house. By March, Haussmann settled on Rohault de Fleury's proposed site off the Boulevard des Capucines, although this decision was not announced publicly until 1860. A new building would help resolve the awkward convergence of streets at this location, and the site was economical in terms of the cost of land. On 29 September 1860 an Imperial Decree officially designated the site for the new Opéra, which would eventually occupy 12,000 square metres (1.2 ha; 130,000 sq ft). By November 1860 Rohault de Fleury had completed the design for what he thought would be the crowning work of his career and was also working on a commission from the city to design the façades of the other buildings lining the new square to ensure they were in harmony. However, that same month Achille Fould was replaced as Minister of State by Count Alexandre Colonna-Walewski. His wife Marie Anne de Ricci Poniatowska had used her position as mistress of Napoleon III to obtain her husband's appointment. Aware of competing designs and under pressure to give the commission to Viollet-le-Duc, who had the support of Empress Eugénie, Walewski escaped the need to make a decision by proposing to mount an architectural design competition to select the architect.

"The guide will begin with illustrating the history of Notre Dame de Lorette as they enter Rue de Martyrs the guide will continue through a path of heritage and take them to some delightful tastings of french specialities such as one of the best Croissant in Paris, Homemade French jam and Local Cheese shop. The clients will continue with the clients and head towards the narrow streets of Montmartre. As they make their way to where the Artist retreat and create some of the most fascinating art, the guide will indulge the culture and heritage of this area of Paris whilst learning how it became the lively and artistic part of Paris along with the Sacré Coeur. Rue de Martyre - The Rue de Martyrs is a street that passes through the 9th and 18th arrondissements of Paris The street is an old historic route in Pigalle leading up to the village of Montmartre, linking the church of Notre-Dame-de-Lorette with Sacré-Cœur. It is lined with around 200 shops and restaurants. The name derives from the first bishop of Paris and patron saint of Paris, Saint Denis, who was decapitated during the time of the Roman Empire in the 3rd century. He travelled on this road and died close to where the Basilica of Saint-Denis was founded subsequently.

The Circus Medrano (originally called Cirque Fernando) was a circus located at 63 Boulevard de Rochechouart, at the corner with rue des Martyrs in the 18th arrondissement at the edge of Montmartre. Montmartre - The historic district established by the City of Paris in 1995 is bordered by rue Caulaincourt and rue Custine on the north, rue de Clignancourt on the east, and boulevard de Clichy and boulevard de Rochechouart to the south,[4] containing 60 ha (150 acres). Montmartre is primarily known for its artistic history, the white-domed Basilica of the Sacré-Cœur on its summit, and as a nightclub district. The other church on the hill, Saint Pierre de Montmartre, built in 1147, was the church of the prestigious Montmartre Abbey. On August 15, 1534, Saint Ignatius of Loyola, Saint Francis Xavier and five other companions bound themselves by vows in the Martyrium of Saint Denis, 11 rue Yvonne Le Tac, the first step in the creation of the Jesuits.

Near the end of the 19th century and at the beginning of the twentieth, during the Belle Époque, many artists lived in, had studios, or worked in or around Montmartre, including Amedeo Modigliani, Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Henri de Toulouse-Lautrec, Suzanne Valadon, Piet Mondrian, Pablo Picasso, Camille Pissarro, and Vincent van Gogh. Montmartre is also the setting for several hit films. During the Belle Époque from 1872 to 1914, many notable artists lived and worked in Montmartre, where the rents were low and the atmosphere congenial. Pierre-Auguste Renoir rented space at 12 rue Cortot in 1876 to paint Bal du moulin de la Galette, showing a dance at Montmartre on a Sunday afternoon. Maurice Utrillo lived at the same address from 1906 to 1914, and Raoul Dufy shared an atelier there from 1901 to 1911. The building is now the Musée de Montmartre. Pablo Picasso, Amedeo Modigliani and other artists lived and worked in a building called Le Bateau-Lavoir during the years 1904–1909, where Picasso painted one of his most important masterpieces, Les Demoiselles d'Avignon. Several noted composers, including Erik Satie, lived in the neighbourhood. Most of the artists left after the outbreak of World War I, the majority of them going to the Montparnasse quarter.

Artists' associations such as Les Nabis and the Incohérents were formed and individuals including Vincent van Gogh, Pierre Brissaud, Alfred Jarry, Jacques Villon, Raymond Duchamp-Villon, Henri Matisse, André Derain, Suzanne Valadon, Edgar Degas, Henri de Toulouse-Lautrec, Théophile Steinlen, and African-American expatriates such as Langston Hughes worked in Montmartre and drew some of their inspiration from the area.

The last of the bohemian Montmartre artists was Gen Paul (1895–1975), born in Montmartre and a friend of Utrillo. Paul's calligraphic expressionist lithographs, sometimes memorializing picturesque Montmartre itself, owe a lot to Raoul Dufy.

Among the last of the neighborhood's bohemian gathering places was R-26, an artistic salon frequented by Josephine Baker, Le Corbusier and Django Reinhardt. Its name was immortalized by Reinhardt in his 1947 tribute song ""R. vingt-six"". Sacré Coeur - The Basilica of the Sacred Heart of Paris, is a Roman Catholic church and minor basilica, dedicated to the Sacred Heart of Jesus. A popular landmark and the second most visited monument in Paris, the basilica stands at the summit of the butte Montmartre, the highest point in the city. Sacré-Cœur Basilica is above all a religious (Catholic) building, shown by its perpetual adoration of the Holy Eucharist since 1885, and is also seen as a double monument, political and cultural, both a national penance for the defeat of France in the 1870 Franco-Prussian War and for the socialist Paris Commune of 1871 crowning its most rebellious neighborhood, and an embodiment of conservative moral order, publicly dedicated to the Sacred Heart of Jesus, which was an increasingly popular devotion since the visions of Saint Margaret Mary Alacoque in Paray-le-Monial.

The basilica was designed by Paul Abadie. Construction began in 1875 and was completed in 1914. The basilica was consecrated after the end of World War I in 1919. The inspiration for Sacré-Cœur's design originated on 4 September 1870, the day of the proclamation of the Third Republic, with a speech by Bishop Fournier attributing the defeat of French troops during the Franco-Prussian War to a divine punishment after ""a century of moral decline"" since the French Revolution, in the wake of the division in French society that arose in the decades following that revolution, between devout Catholics and legitimist royalists on one side, and democrats, secularists, socialists, and radicals on the other. This schism in the French social order became particularly pronounced after the 1870 withdrawal of the French military garrison protecting the Vatican in Rome to the front of the Franco-Prussian War by Napoleon III, the secular uprising of the Paris Commune of 1870-1871, and the subsequent 1871 defeat of France in the Franco-Prussian War.

Though today the basilica is asserted to be dedicated in honor of the 58,000 who lost their lives during the war, the decree of the Assemblée nationale 24 July 1873, responding to a request by the archbishop of Paris and voting its construction, specifies that it is to ""expiate the crimes of the Commune.” Montmartre had been the site of the Commune's first insurrection, and the Communards had executed Georges Darboy, Archbishop of Paris, who became a martyr for the resurgent Catholic Church. His successor Guibert, climbing the Butte Montmartre in October 1872, was reported to have had a vision as clouds dispersed over the panorama: ""It is here, it is here where the martyrs are, it is here that the Sacred Heart must reign so that it can beckon all to come.""

In the moment of inertia following the resignation of the government of Adolphe Thiers, 24 May 1873, François Pie, bishop of Poitiers, expressed the national yearning for spiritual renewal— ""the hour of the Church has come”— that would be expressed through the ""Government of Moral Order"" of the Third Republic, which linked Catholic institutions with secular ones, in ""a project of religious and national renewal, the main features of which were the restoration of monarchy and the defense of Rome within a cultural framework of official piety,” of which Sacré-Cœur is the chief lasting, triumphalist monument.

The 24 July decree voting its construction as a ""matter of public utility"" followed close on Thiers' resignation. The project was expressed by the Church as a National Vow (Vœu national) and financial support came from parishes throughout France. The dedicatory inscription records the basilica as the accomplishment of a vow by Alexandre Legentil and Hubert Rohault de Fleury, ratified by Joseph-Hippolyte Guibert, Archbishop of Paris. The project took many years to complete.

The driver will bring the clients back to the hotel or residence.