Showing posts with label park. Show all posts
Showing posts with label park. Show all posts

28 May 2014



Fountain in the Plaza 25 de Agosto, Colonia del Sacramento

25 of August 1825

Declaration of Independence in Uruguay.

Colonia del Sacramento

Colonia del Sacramento (formerly the Portuguese Colónia do Sacramento) is a city in southwestern Uruguay, by the Río de la Plata, facing Buenos Aires, Argentina. It is one of the oldest towns in Uruguay and capital of the Colonia Department. It has a population of around 27,000.

It is renowned for its historic quarter, a World Heritage Site. Modern Colonia del Sacramento produces textiles and has a free trade zone, in addition to a polytechnic centre and various government buildings.

History

Founded in 1680 by Portugal as Colónia do Sacramento, the colony was later disputed by the Spanish who settled on the opposite bank of the river at Buenos Aires. The colony was conquered by José de Garro in 1680, but returned to Portugal the next year. It was conquered again by the Spanish in March 1705 after a siege of five months, but given back in the Treaty of Utrecht. Another attack during the Spanish-Portuguese War, 1735-1737, failed.

It kept changing hands from crown to crown due to treaties such as the Treaty of Madrid in 1750 and the Treaty of San Ildefonso in 1777, until it remained with the Spanish. It then transferred to Portuguese control again, being later incorporated into Brazil after 1816, when the entire Banda Oriental (Uruguay) was seized by the government of the United Kingdom of Portugal, Brazil and the Algarves and renamed the Cisplatina province.

On 10 January 1809, before the independence of Uruguay, it was designated as a "Villa" (town) and has since been elevated to the status of "Ciudad" (city).

Since independence Colonia del Sacramento has expanded to the north and east, but the original Barrio Histórico (historic quarter) retains its irregular, terrain-fitting street plan built by the Portuguese, contrasting with the wider, orthogonal calles in the newer Spanish area.

See: wikipedia


19 May 2014



Panorama of Mural on Praça Rio Iguaçu, Curitiba
Mural on Praça Rio Iguaçu
Mural on Praça Rio Iguaçu
Mural on Praça Rio Iguaçu

Praça Rio Iguaçu

Since December 1994, when it was inaugurated, the Praça Rio Iguaçu, which is situated in the Civic Centre, has its petit pavé pavement with a green lawn, and a murAL. Homage to the city of Curitiba by the artist Rogério Dias was inaugurated in December 1996. Engravings depict those that populated hinterlands of Paraná near the Iguaçu River, since 1935. Tributary of the river is the largest in the state of Paraná that since 1891, carrying wood and yerba mate.

See: lucianoramos




Oscar Niemeyer Museum, Curitiba
Oscar Niemeyer Museum, Curitiba
Panorama of Oscar Niemeyer Museum, Curitiba
Oscar Niemeyer Museum, Curitiba
Oscar Niemeyer Museum, Curitiba
Panorama of Oscar Niemeyer Museum, Curitiba

Oscar Niemeyer Museum

The Oscar Niemeyer Museum is located in the city of Curitiba, in the state of Paraná, in Brazil. It was inaugurated in 2002 with the name Novo Museu or New Museum. With the conclusion of remodeling and the construction of a new annex, it was reinaugurated on July 8, 2003, with the current denomination to honor its famous architect who completed this project at 95 years of age. It is also known as Museu do Olho or Museum of the Eye, due to the design of the building.

The museum focuses on the visual arts, architecture and design. For its magnificence, beauty and for the importance of the collection, it represents a cultural institution of international significance. The complex of two buildings, installed in an area of 35 thousand square meters (of which 19 thousand are dedicated to exhibition space), it is a true example of architecture allied with art. The first building was designed by Oscar Niemeyer in 1967, faithful to the style of the time, and conceived as an educational institute. It was remodeled and adapted to function as a museum, for which Niemeyer designed the annex, reminiscent of an eye, imprinting it with a new characteristic identity.

The museum features many of Niemeyer's signature elements: bold geometric forms, sculptural curved volumes placed prominently to contrast with rectangular volumes, sinuous ramps for pedestrians, large areas of white painted concrete, and areas with vivid murals or paintings. A collaborator previously on Ibirapuera Park with landscape architect Roberto Burle Marx, Niemeyer's namesake museum is also within a garden designed by Burle Marx, and that within 144 thousand square meters of woodland. Though rooted in modern architecture since his involvement in the international style, Niemeyer's designs have much in common with postmodern architecture as well and this is as contemporary a building as the artwork it displays.

See: wikipedia




Giant chair - Oscar Niemeyer Museum, Curitiba
Knitted eyes - Oscar Niemeyer Museum, Curitiba

Oscar Niemeyer Museum

The Oscar Niemeyer Museum is located in the city of Curitiba, in the state of Paraná, in Brazil. It was inaugurated in 2002 with the name Novo Museu or New Museum. With the conclusion of remodeling and the construction of a new annex, it was reinaugurated on July 8, 2003, with the current denomination to honor its famous architect who completed this project at 95 years of age. It is also known as Museu do Olho or Museum of the Eye, due to the design of the building.

The museum focuses on the visual arts, architecture and design. For its magnificence, beauty and for the importance of the collection, it represents a cultural institution of international significance. The complex of two buildings, installed in an area of 35 thousand square meters (of which 19 thousand are dedicated to exhibition space), it is a true example of architecture allied with art. The first building was designed by Oscar Niemeyer in 1967, faithful to the style of the time, and conceived as an educational institute. It was remodeled and adapted to function as a museum, for which Niemeyer designed the annex, reminiscent of an eye, imprinting it with a new characteristic identity.

The museum features many of Niemeyer's signature elements: bold geometric forms, sculptural curved volumes placed prominently to contrast with rectangular volumes, sinuous ramps for pedestrians, large areas of white painted concrete, and areas with vivid murals or paintings. A collaborator previously on Ibirapuera Park with landscape architect Roberto Burle Marx, Niemeyer's namesake museum is also within a garden designed by Burle Marx, and that within 144 thousand square meters of woodland. Though rooted in modern architecture since his involvement in the international style, Niemeyer's designs have much in common with postmodern architecture as well and this is as contemporary a building as the artwork it displays.

See: wikipedia


16 May 2014



Panorama of Universidade de Paraná, Curitiba

Federal University of Paraná

The Federal University of Paraná is a public university headquartered in Curitiba, Paraná, Brazil.

Nowadays, its facilities are scattered over the capital Curitiba and other cities of the State of Paraná. It offers 124 undergraduate degree courses, 44 doctorate, 66 masters and 5 professional masters programs, apart from a number of lato sensu programs (mostly paid one-year specializations) - see Higher-ed degrees in Brazil. Since 2004, the University has been adopting in its vestibular a program in which twenty percent of the spots offered are destined to students coming from public schools and another twenty percent are reserved for Afro-Brazilians.

UFPR ranks among the 651-700 best universities in the world and 37th best in Latin-America, according to QS World University Rankings. It is placed as the 9th best in the country in the latest "Ranking Universitário Folha (RUF)", published by the nation's largest newspaper.

History

In 1892, José Francisco da Rocha Pombo, an intellectual of the state of Paraná would have initiated the construction of the University, but his project was frustrated by the Federalist Movement.

Twenty years later, Paraná had a reduced number of intellectuals (nine doctors and four engineers), but it was in true development because of the production of the yerba mate.

Moreover, at this time, the Contestado War appeared as an incentive to the efforts of political leaderships concerning the creation of a university. In this context, Victor Ferreira do Amaral, deputy and director of public instruction of Paraná, started the effective creation of the University.

On December 19, 1912 the University was established and, in 1913, it has initiated its activities as a private institution in an old building situated on Comendador Araújo street. The first courses offered were Juridical and Social Sciences, Engineering, Medicine and Surgery, Commerce, Dentistry, Pharmacy and Obstetrics. After the establishment of the University, Victor Ferreira do Amaral, who was also its first president, initiated the construction of a central building in a land donated by the municipal government.

Due to the economic recession caused by the World War I, difficulties started to appear. In 1920, a federal law determined the closing of all universities. In a contradictory measure, the federal government created the Universidade do Rio de Janeiro, currently Universidade Federal do Rio de Janeiro (Federal University of Rio de Janeiro). The alternative to this law was to split the UFPR in several colleges.

Throughout several years, efforts in order to restore the university took place. Only in the beginning of the fifties the colleges were reunited once again in the University of Paraná, its federalization happening just after that, in 1951, when the university became a public and free-of-charge institution.

After its federalization, a process of expansion began with the construction of the Clinic's Hospital (Portuguese: Hospital de Clínicas da Universidade Federal do Paraná) in 1953, the Reitoria Campus in 1958 and the Polytechnic Center in 1961.

Historical Building

The construction placed in the Santos Andrade Square began to be built in 1913, being a project of the military engineer Baeta de Faria. Its inauguration occurred in 1915.

Seven years later, in 1923, two lateral parts were added, according to the original project. The building of the right sector was ended in 1925 and was designated to the Engineering graduation course. In the following year, the left sector had been finalized and it passed to serve the Dentistry course. Other additions were made to the right side of the building and it has received in its totality new paint in 1940. The building was extended towards XV de Novembro Street and, in 1952, new works in the right section led to the demolition of part of the lateral façade built in 1940.

In 1954, the building occupied a whole block between the Santos Andrade Square, XV de Novembro Street, Presidente Faria Street and Alfredo Bufren Lane. The last modifications were made: a new façade with several columns and a wide set of staircases were projected and the covered dome was eliminated. The inauguration of the neoclassical, 17,000 square meter building, took place in 1955.

In the year on 1999, the mayor of Curitiba signed a law that made this building the official symbol of the city.

See: wikipedia


22 April 2014



Monumento a los Caídos en el Mar
Monumento a los Caídos en el Mar
Monumento a los Caídos en el Mar

Monumento a los Caídos en el Mar

Monumento a los Caídos en el Mar (War Memorial at Sea) is an enigmatic sculpture by Spanish Uruguayan artist Eduardo Yepes Diaz. The monument-sculpture in honor of the fallen in Acts of Service of the Navy, is a large bronze abstract conception, which represents the poignant moment of death. In this work are represented marine animals and hands of a man clinging to the shapeless mass.

Eduardo Diaz Yepes

This artist was born in Madrid, Uruguayan citizen since 1956, along with other sculptors start the path to a new figuration, culminating in the abstraction of forms, beginning the period of modern sculpture. It will be a hollow sculpture and conquer interior spaces will use new materials: stone, wood and clay. He taught at the National School of Fine Arts and the Art Institute of San Francisco de Asis. He is well known his "War Memorial at Sea" (1960) located in the Plaza Virgilio in Punta Gorda. In Uruguay his work is in the National Museum of Visual Arts, Municipal Museum of Fine Arts "Juan Manuel Blanes", Engelman Ost Collection, Faculty of Engineering, Faculty of Humanities and Education, la Pinacoteca del Banco República, Building "Palace of Light" of UTE, Instituto Clemente Estable, Church of Barrio Obrero de Atlántida y en Paysandú.

See: uruguaynatural, wikipedia




Plaza de la Armada

Plaza de la Armada

The Plaza de la Armada (Navy Square) located in a wide tip of the coast, joined the group of public spaces curious conformation. It has more features at a nearby park than a Plaza. The limits are low walls, belts of trees or inaccurate ravines, some soft, others more dramatic cuts. At the same canyon south rim stands the enigmatic sculpture by Spanish Uruguayan artist Eduardo Yepes Diaz. The monument-sculpture in honor of the fallen in Acts of Service of the Navy, is a large bronze abstract conception, which represents the poignant moment of death. In this work are represented marine animals and hands of a man clinging to the shapeless mass.

See: wikipedia


21 April 2014



Monumento La Carreta
In front of Monumento La Carreta
Monumento La Carreta Panorama
Ox head
Ox head
Panorama Monumento La Carreta
Gaucho
Cart with ox
Other side of Monumento La Carreta

La Carreta Monument

Sculptor: José Belloni (1882-1965)

Inauguration: October 14, 1934

Location: Parque Batlle y Ordoñez, on Avenida Dr. Lorenzo Merola

Material: Bronze

Base material: Bronze and pink granite

Description: It consists of a cart, three yoke of pulling oxen and two on the back. In front of the latter, to the right of the vehicle, a gaucho on horseback wielding the baton. The whole in the top of a grass covered slope, overlooking a pond in the growing "wild straw."
La Carreta Monument recalls the classic means of transport and loading, used by country people of our country, before the introduction of railways and motor. It is one of the most admired works of its kind, having achieved international fame.
José Belloni, son of European immigrants (1882-1965) settled with his family in Switzerland in 1890, where he studied and began his artistic career.
Years later, settled again in Uruguay, he worked as a professor in the Faculty of Architecture, keeping it parallel to the front of his shop with an amazing artistic production.
His works, located in preferential public places, part of Montevideo idiosyncrasy: Ansina, José Enrique Rodó, La Diligencia, Juan Manuel de Blanes, Dr. Luis Morquio, El Aguatero, El Entrevero or decorative figures and bas-reliefs in the Legislative Palace, among others.
Belloni monuments are an essential part of Uruguayan culture.

See: montevideo

Parque Batlle

Parque Batlle (formerly: Parque de los Aliados) is a barrio (neighbourhood or district) and a major public central park in Montevideo, Uruguay. It is named in honour of José Batlle y Ordóñez, President of Uruguay from 1911–1915.

Location

The barrio is located south of Italia Avenue and north of Rivera Avenue and includes the districts Belgrano, Italiano, Villa Dolores and the park area. It borders the barrios Tres Cruces to the west and north, La Blanqueada and Unión to the north, Buceo to the east and Pocitos to the south.

The park covers an area of 60 hectares and is considered the "lung" of Montevideo owing to the large variety of trees planted here. It is home to the Estadio Centenario national football stadium, as well as the national monument "La Carreta".

History

In 1907, Pablo Nereo Gabriel Antonio Pereira (1838–1906) donated eleven acres of his land, which was then named after him as "Campo Pereira," for a building a park, to the Economic Management Board, and the idea of a park was created by an Act of March 1907 which also projected wide boulevards and avenues. The project's landscape French architect, Carlos Thays, began the plantings in 1911 and completed it with all the attendant embellishments required for a park. In 1918, the park was named "Allied Park," following the allied Army winning the World War I thus honouring the heroes of the Allied Forces. The park was further expanded to the present status, which covers an area of 60 hectares (150 acres). This extension was made possible owing to an estate that Antonio Pereira in his "Will" had bequeathed partly to the municipality in May 1930. The Board then further acquired more land and created the Great Park Pereira seen in its present status. May 5, 1930, it was again renamed as Parque Batlle y Ordóñez, in memory of the prominent Politician and President of Uruguay, who had died in 1929. In the same year, the Estadio Centenario was opened. Between 1935 and 1938, the athletics track and the municipal velodrome were completed. It was designated a National Historic Monument Park in 1975.

See: wikipedia


14 March 2014



Panorama of Kunstberg, Brussels
Kunstberg

Mont des Arts

The Kunstberg (Dutch) or Mont des Arts (French), meaning "hill/mount of the arts", is a historic site in the center of Brussels, Belgium.

History

The area of the Mont des Arts used to be a densely populated district, the Sint-Rochuswijk/Quartier Saint Roches. By the end of the 19th century, King Leopold II had the idea to convert the hill into a Mont des Arts and bought the whole neighbourhood. After the demolition of the old buildings, the site turned into an ugly urban void because the project lacked sufficient finance. To give the area, situated between the Royal Palace and the Grand Place, a better look during the Universal Exposition held in Brussels in 1910, the king ordered the landscape architect Pierre Vacherot to design a 'temporary' garden on the hill. It featured a park and a monumental staircase with cascading fountains descending the gentle slope from Place Royale down to Boulevard de l'Empereur/Keizerslaan.

Although the garden was conceived as temporary, it became a well-appreciated green area in the heart of the capital. But when the plans for the Mont des Arts came back by the end of the 1930s, this park had to be demolished to create a new square as the centre of the urban renewal project. Between 1956 and 1958 the park and its surroundings gave way to massive, severe geometric structures such as the Royal Library of Belgium and the Congress Palace. The new geometric garden on the square was designed by landscape architect René Péchère.

Present day

The Mont des Arts offers one of Brussels' finest views. From the elevated vantage point, the famous tower of the Brussels Town Hall in the Grand Place is clearly visible. On a sunny day, the Koekelberg Basilica and even the Atomium can be seen.

Major tourist attractions are located within walking distance of the Kunstberg: the Musical Instrument Museum, the Royal Museums of Fine Arts, the Royal Palace, and the city's cathedral.

See: wikipedia


19 February 2014



Minderbroeders monastry

Minderbroederskerk

Old Minderbroederskerk, also called First Franciscan Church, is a former Franciscan church in the Jekerkwartier in Maastricht. The aisled marl stone monastery in early Maas Gothic style dates from the late 13th, early 14th century.

History

The Franciscans have a checkered history in Maastricht. The oldest existing church was already built at the end of the 13th century, just inside the former city wall. A wing of the 14th- century monastery has been preserved. Around 1470 donated the nobleman Nicolaus van Harlaer at its entrance a statue of Mary, which quickly called Star of the Sea had a great appeal to Mary-worshipers.

After Betrayal of Maastricht in 1638, which include the Franciscan Father Vink was involved, the Minderbroeders had to leave the city. Some monks settled in the monastery of the Observers on the Sint-Pietersberg, just outside the city. The image of the Star of the Sea moved along. The church and monastery in the city were put to use by the Maastricht garrison as barracks and military depot.

After the Siege of Maastricht (1673), the French occupiers allowed the Franciscans to re-establish in the city.The monks were not allowed to retrun to the old monastery. On Minderbroedersberg a new monastery was established. The old church and monastery steyed in use by the garrison, a situation that persisted after the French Time (1795-1814).

In 1884, church and monastery were restored and furnished as State Archives of Limburg. From 1939 to 1942 a major restoration took place again, where the dilapidated monastery was demolished. A monastery wing was rebuilt in historical style. In 1995 the building commissioned by the Government Buildings Agency was to a design by architect M. van Roosmalen again substantially restored, which include an underground repository was achieved. During the work remains of the first medieval city wall from ± 1230 were excavated and made visible. The church now serves as a reading room and exhibition area of the Regional Historic Centre Limburg (RHCL).

See: wikipedia


18 February 2014



Pesthuys

The Pest Huys

The Pest Huys is the common name for the water mill The Ancker, a former paper mill on the river Jeker in Maastricht, located on Vijf Koppen in the front of the Helpoort. The building, constructed mainly of brick, limestone blocks and Namur stone is whitened on the north and east facade. The west facade is situated on the river Jeker. The name 'Pest Huys' is actually incorrect, since the building was never the function of plague house had. The proximity of barracks for plague sufferors before the 18th century has probably led to this misnomer.

History

The Pest Huys was originally a by Mr. Willem Frederik Jacobi, deputy high bailiff at Maastricht in 1775 built paper mill that made use of hydropower. This factory, erected on the remains of an exploded 16th century gunpowder mill and the former city warehouse, originally had two waterwheels. Mid 19th century, after the construction of the canal Maastricht-Liege, the mill came through siltation of Jeker in disuse and in 1876 it was dismantled. The complex is registered in the register of national monuments. Nowadays it is in use as a house and theater.

See: wikipedia




Pater Vincktoren
Pater Vincktoren

Pater Vincktoren

The Father Vinck Tower is a 14th century tower that was part of the so-called second wall of the city.

During the 13th century Maastricht expanded rapidly and there was a need for a new, larger defense network. After an initial earthwork followed a stone wall with gates and towers built during the 14th century.

The tower was part of the junction where the first and second walls of Maastricht joined together. During the 19th century, the walls of the city were demolished. The tower, meanwhile in dilapidated state, was restored. He also got a new name. The Father Vinck Tower was formerly called simply Toren achter de Faliezusters, to the monastery that once was close. Nowadays the Father Vinck tower is a picturesque part of the city park.

See: ifthenisnow




Panorama of Faliezusterspark

Faliezusterpark

The Faliezusterpark owes its name to the historic building called Faliezusterklooster. This monastery is named after the black piece of fabric that the sisters carry over their head and shoulders. The monastery was founded in 1674. In the convent the nuns were mainly concerned with the care and nursing of the sick. Over a hundred years later, the monastery was closed. Today, the surrounding park is a place where you can walk or relax under one of the trees in the grass. From the park you have a beautiful view of this historic building.

See: maastrichttoer

Pater Vincktoren

The Father Vinck Tower is a 14th century tower that was part of the so-called second wall of the city.

During the 13th century Maastricht expanded rapidly and there was a need for a new, larger defense network. After an initial earthwork followed a stone wall with gates and towers built during the 14th century.

The tower was part of the junction where the first and second walls of Maastricht joined together. During the 19th century, the walls of the city were demolished. The tower, meanwhile in dilapidated state, was restored. He also got a new name. The Father Vinck Tower was formerly called simply Toren achter de Faliezusters, to the monastery that once was close. Nowadays the Father Vinck tower is a picturesque part of the city park.

See: ifthenisnow


12 February 2014



Jardin du Luxembourg

Jardin du Luxembourg

The Jardin du Luxembourg, or the Luxembourg Gardens, is the second largest public park in Paris (22.5 hectares) located in the 6th arrondissement of Paris, France. The park is the garden of the French Senate, which is itself housed in the Luxembourg Palace.

History

In 1611, Marie de Medicis, the widow of Henry IV and the regent for the King Louis XIII decided to build a palace in imitation of the Pitti Palace in her native Florence. She purchased the hotel du Luxembourg (today the Petit-Luxembourg palace) and began construction of the new palace. She commissioned Salomon de Brosse to build the palace and a fountain, which still exists. In 1612 she planted 2,000 elm trees, and directed a series of gardeners, most notably Tommaso Francini, to build a park in the style she had known as a child in Florence. Francini planned two terraces with balustrades and parterres laid out along the axis of the chateau, aligned around a circular basin. He also built the Medici Fountain to the east of the palace as a nympheum, an artificial grotto and fountain, without its present pond and statuary. The original garden was just eight hectares in size.

In 1630 she bought additional land and enlarged the garden to thirty hectares, and entrusted the work to Jacques Boyceau de la Barauderie, the indendant of the royal gardens of Tuileries and the early garden of Versailles. He was one of the early theorists of the new and more formal garden à la française, and he laid out a series of squares along an east-west alley closed at the east end by the Medici Fountain, and a rectangle of parterres with broderies of flowers and hedges in front of the palace. In the center he placed an octagonal basin with a fountain, with a perspective toward what is now the Paris observatory.

Later monarchs largely neglected the garden. In 1780, the Comte de Provence, the future Louis XVIII, sold the eastern part of the garden for real estate development. Following the French Revolution, however, the leaders of the French Directory expanded the garden to forty hectares by confiscating the land of the neighboring religious order of the Carthusian monks. The architect Jean Chalgrin, the architect of the Arc de Triomphe, took on the task of restoring the garden. He remade the Medici Fountain and laid out a long perspective from the palace to the observatory. He preserved the famous pepiniere, or nursery garden of the Carthusian order, and the old vineyards, and kept the garden in a formal French style.

During and after the July Monarchy of 1848, the park became the home of a large population of statues; first the Queens and famous women of France, lined along the terraces; then, in 1880s and 1890s, monuments to writers and artists, a small-scale model by Bartholdi of his Statue of Liberty and one modern sculpture by Zadkine.

In 1865, during the reconstruction of Paris by Louis Napoleon, the rue de l'Abbé de l'Épée, (now rue Auguste-Comte) was extended into the park, cutting off about fifteen hectares, including the old nursery garden. The building of new boulevards also required moving and rebuilding the Medici Fountain to its present location.

During this reconstruction, the director of parks and promenades of Paris, Gabriel Davioud, built new ornamental gates and fences around the park, and polychrome brick garden houses. He also transformed what remained of the old Chartreux nursery garden, at the south end of the park, into an English garden with winding paths, and planted a fruit garden in the southwest corner. He kept the regular geometric pattern of the paths and alleys, but did create one diagonal alley near the Medici fountain which opened a view of the Pantheon.

The garden in the late nineteenth century contained a marionette theater, a music kiosk. greenhouses, an apiary or bee-house; an orangerie also used for displaying sculpture and modern art (used until the 1930s); a rose garden, the fruit orchard, and about seventy works of sculpture.

Features

The garden is largely devoted to a green parterre of gravel and lawn populated with statues and centred on a large octagonal basin of water, with a central jet of water; in it children sail model boats. The garden is famed for its calm atmosphere. Surrounding the bassin on the raised balustraded terraces are a series of statues of former French queens, saints and copies after the Antique. In the southwest corner, there is an orchard of apple and pear trees and the théâtre des marionnettes (puppet theatre). The gardens include a large fenced-in playground for young children and their parents and a vintage carousel. In addition, free musical performances are presented in a gazebo on the grounds and there is a small cafe restaurant nearby, under the trees, with both indoor and outdoor seating from which many people enjoy the music over a glass of wine. The orangerie displays art, photography and sculptures.

The central axis of the garden is extended, beyond its wrought iron grill and gates opening to rue Auguste Comte, by the central esplanade of the rue de l'Observatoire, officially the Jardin Marco Polo, where sculptures of the four Times of Day alternate with columns and culminate at the southern end with the 1874 "Fountain of the Observatory", also known as the "Fontaine des Quatre-Parties-du-Monde" or the "Carpeaux Fountain", for its sculptures by Jean-Baptiste Carpeaux. It was installed as part of the development of the avenue de l'Observatoire by Gabriel Davioud in 1867.

The bronze fountain represents the work of four sculptors: Louis Vuillemot carved the garlands and festoons around the pedestal, Pierre Legrain carved the armillary with interior globe and zodiac band; the animalier Emmanuel Fremiet designed the eight horses, marine turtles and spouting fish. Most importantly Jean-Baptiste Carpeaux sculpted the four nude women supporting the globe, representing the Four Continents of classical iconography.

Open hours for the Luxembourg Garden depend on the month: opening between 7:30 and 8:15 am; closing at dusk between 4:45 and 9:45 pm.

See: wikipedia