Village d’Auteuil

The village of Auteuil is not an abstract concept!

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It all starts with an idea…

The idea of ​​a visit to Paris and more specifically the Folies Bergères, Montmartre, the Opéra Garnier, Pigalle, the Eiffel Tower, the repliqua of the Statue of Liberty, shopping in department stores (Printemps, Galeries Lafayette, Le Bon Marché) , a visit to the Musée d'Orsay, the Louvre, the Musée Picasso, Marmottan, visit the latest art exhibition of the moment or attend an auction in an auction room at the Galerie Drouot or simply take a romantic walk along the right or left banks of the Seine, or board a river boat. In Paris ! Yes !

For a weekend, a vacation or a business trip, I am sure you will choose a chic and comfortable place in a refined atmosphere.

Everything is possible in the Maison des Chaumes-Paris…. Just ask us

History of the village of Auteuil

Before being a village, Auteuil was a seigneury. The abbots of Sainte Geneviève, on the mountain of the same name, became its lords at the start of the 12th century and until the Revolution. Then in 1790, the town of Auteuil replaced the seigneury, the limits were wider than today and extend in part to Boulogne Billancourt ! Auteuil quickly attracted lovers of the great outdoors and the countryside. In 1685, the famous Boileau bought a small house with a garden there, in which he lived for 25 years. Today, a hamlet of the same name pays homage to him. But he's not the only celebrity in the area. Racine also settled in rue d'Auteuil, as did Molière who, when he separated from Armande Béjart, took refuge in his house in Auteuil.

At the beginning of the 19th century, the craze grew. The mineral waters of Auteuil are renowned, and hydrotherapy is practiced there, and the care of certain practitioners has gained ground throughout Europe. The calm and rural charm seduce the wealthy Parisians who have houses built there. From 1839, the architect Théodore Charpentier built the famous Boileau hamlet and did it again 10 years later, when he joined forces with Emile Pereire to create the Villa Montmorency. The development of Auteuil's destiny changed even more radically after its annexation to Paris in 1860. Associated with Passy, ​​it then formed the 16th arrondissement of Paris. Haussmann's urban policy then tended to make the west of the capital a residential era, and to regroup the popular districts in the east. The notion of "beautiful neighborhoods" then asserted itself, and the real estate boom triumphed. The urbanization of the Auteuil district is going well, and necessarily changing its appearance. Nevertheless, the idea that Auteuil is a village remains firmly anchored in mentalities. And rightly…. Let's find out why together! In an opulent but charming atmosphere, discover the atmosphere of this small Parisian village, its green spaces, its calm and flowery streets, its private villas, and its exceptional Art Nouveau architecture.

The Ballad…..

The walk through the village of Auteuil begins with Notre-Dame d'Auteuil, a Romano-Byzantine style building according to plans by Joseph Vaudremer, built from 1870. It was completed in 1884 and is intended to replace an old church from the 14th century, which has become too cramped. In the small square, in front of the church, there is also a red breach marble obelisk which rises through the foliage of the trees which surround it. Dedicated "to the spirits of Aguesseau", it was erected in 1753. Henri-François d'Aguesseau was a French magistrate who combined egalitarianism, rationalism and moral rigor in a philosophical and political system. He greatly influenced the magistrates of his time and his work was considered the origin of the Napoleon code… On the base of the obelisk, we can read this inscription: "Nature only lends Great Men to the Earth. rise, shine, disappear - their example and their works remain ".

Then take the charming rue du Buis. At number 4 of this street lived Olympe de Gouges, a great feminist figure of the French revolution. Rue d'Auteuil, at number 4, is the Sainte-Bernadette chapel. Wedged between two buildings, its entrance, a monumental brick portico surrounded by neighboring buildings, stands out with its radically asserted geometry. Built in 1936 by Paul Hulot, the chapel is made of Burgundy brick. The interior is also surprising, it evokes an overturned boat hull. Very sober, it highlights the fresco enhanced with mosaics of the choir, also signed Mauméjean, representing the Virgin and Bernadette during an apparition. Further down the street, we stop in front of the Lycée Jean-Baptiste Say, which is located in a former mansion. From 1872, the former Ternaux mansion was bought by the City of Paris to set up a school. Nicolas Ternaux, manufacturer, had acquired and fitted out in 1804 an old castle from the end of the 17th century and had woolen washhouses installed for the manufacture of cashmere shawls. A monumental wrought iron gate closes the main courtyard. The portal, the courtyard and the central element of the building with its triangular pediment are the only remains of the original castle. The facade is listed as a Historic Monument. The building became the Lycée Jean-Baptiste Say in 1953. At 19, notice this pretty old house topped with an overflowing skylight! It belongs to a group of houses representative of what the rue d'Auteuil must have been when it was still only a village. We continue on rue Boileau, which crosses Auteuil from north to south. It is a not really straight street, with various habitats, from small houses to mansions rescued from the past. At n ° 34, we find the Roszé hotel buried under the vegetation, it is difficult to guess its silhouette. At n ° 38 of the street is the superb hamlet Boileau. It is on this site that Boileau bought his house in 1685. His garden is famous there and Boileau himself praised the merits of his gardener, Antoine, in an ode! 25 years later, the author of the famous Art Poétique sells the house to a renowned doctor and author of a treatise on cancer, Claude Deshais-Gendron, who becomes the Regent's doctor. The estate then welcomed the painter Hubert Robert, particularly famous for his paintings of ruins and his views of the Louvre, then it was sold in 1835 to a printer, Rose-Joseph Lemercier. Calling on Charpentier, the estate is subdivided. The first houses were delivered in 1842, they are still summer houses. The vast English-style park is crossed by five avenues and dead ends along which the houses line up. And what houses! Norman half-timbered houses, chalets or Gothic manor houses line the avenues Molière and Despréaux and the impasses Racine, Corneille and Voltaire. Five original pavilions are still in place, including a Gothic mansion by architect Jean-Charles Danjoy, one of the first architects attached to Historic Monuments. Among the more recent houses, we can mention a neoclassical pavilion built by Hittorff, official architect of the Second Empire, and another by Guimard, who worked extensively at Auteuil. The entire hamlet is listed as a historic monument, but it remains, like many others, closed to the public.

Next to the hamlet of Boileau, we now stop in front of the surprising Danish hotel. Its radically 1900 aesthetic harmoniously blends Arab influences with Italian reminiscences. Built in 1908 for a certain G. Danois by Henri Audiger and Joachim Richard, a tandem of architects in sight at the turn of the 20th century. The painter Lucien Simon, the "painter of the Bigouden country" lived there in particular. Today, the Danish hotel is inhabited by an annex of the Algerian embassy. At n ° 67, we then find Gustave Eiffel's aerodynamics laboratory, installed in 1912, the Laboratory was first taken over by GIFAS (Groupement des industries française Aéronautiques et Spatiales), which opens it to the automotive industry. , then by CSTB, (Scientific and Technical Center for Building). Also classified as a Historic Monument, the Laboratory is not open to the public. Then at n ° 84 are the Cheysson villa and the Mulhouse villa. This same entity belongs to a set of 3 small streets, called villas. It was built from 1860 on the initiative of Emile Cheysson and completed in 1892, and includes 67 pavilions. Cheysson was a promoter of institutional statistics, as well as a reformer and an advocate of social housing. It is modeled on the working-class city of Jean Dollfus, spinner in Mulhouse. Today accessible only to residents, the Mulhouse villa no longer has much of a working-class city ... Houses are in great demand there, and the days when Auteuil welcomed workers from neighboring factories are definitely over.

Along the Villa Mulhouse is avenue de la Frillière, where a few individual houses evoke what it once was. But the treasure that conceals the avenue is the school of Guimard. Built by Hector Guimard, the Sacré-Coeur school was sponsored by Catholic associations from the parish of Notre-Dame d'Auteuil. Inspired by the Viollet-le-Duc project of which Guimard is a fervent admirer, the building nevertheless heralds Art Nouveau. Built in 1895, the building is placed on tilted cast iron columns arranged in a V, giving access to a courtyard under the building itself. Continue your road then turn left, rue Jouvenet, and stop in front of 41 rue Chardon Lagache. Along with the Castel Béranger, the Hôtel Jassedé is arguably the architect's most remarkable construction. Its facades have been recently restored. Here, no symmetry is applied and the diversity of materials (bricks, stones, terracotta, glazed stoneware) produces a dazzling result. The name of Hector Guimard is therefore deeply linked to that of Auteuil. We also notice within the very private Villa de la Réunion, at 47 rue Chardon-Lagache, another house built by Guimard in 1905. The large Avenue de la Villa-de-la-Réunion is a private road located in the 16th arrondissement. district of Paris. It starts at 122, avenue de Versailles and ends at 47, rue Chardon-Lagache. This way is the vestige of the old main road of the villa of Reunion created in 1804 and disappeared in 1899. Art Nouveau, Modern style or noodle style is an artistic movement from the end of the 19th and the beginning of the 20th century which is based on the aesthetics of curved lines.

Born in reaction against the drifts of excessive industrialization and the sclerosing reproduction of old styles, it is a sudden, rapid movement which is experiencing international development: Tiffany (after Louis Comfort Tiffany in the United States), JugendstilNote 1 (in Germany), Sezessionstil (Austria), Nieuwe Kunst (Netherlands), Stile Liberty (in Italy), Modernismo (in Spain), fir style (in Switzerland), Modern (in Russia). The French term "Art Nouveau" took hold in the UK, at the same time as Anglomania in France spread the term Modern Style at the beginning of the 20th century. If it has nuances depending on the country, its criteria are common: Art Nouveau is characterized by inventiveness, the presence of rhythms, colors, ornamentations inspired by trees, flowers, insects, animals, and which introduce of the sensitive in the daily decoration. It is also a total art in the sense that it occupies all the space available to set up a personal universe considered favorable to the development of modern man at the dawn of the twentieth century. In France, Art Nouveau was called “noodle style” by its detractors, because of its characteristic arabesque shapes, or even “Guimard style”, because of the Parisian metro entrances made in 1900 by Hector Guimard. Appeared in the early 1890s, we can consider that from 1905, Art Nouveau had already given the best of itself and that its peak was reached before the First World War, this movement evolved towards a more geometric style, characteristic of the artistic movement which will take over: Art Deco (1910-1940).

Another Guimard walk

Start your walk at 14 rue Jean de la Fontaine in the 16th arrondissement, in front of Castel Béranger. It was he who launched Hector Guimard's career in 1898 after being awarded in the 1st facade competition of the City of Paris. You will discover several characteristic elements of the architect's work: bow windows, loggias, bricks and ornate ironwork. The joinery, the locksmith, the stained glass windows and the interior furniture were also designed by Hector Guimard. A little further on, at the corner of rue Agar, the building at 17-19-21 rue Jean de La Fontaine is also a creation of the architect. More sober and monochrome, the building does not lack charm, however, and has many ornamental details of great beauty. The ensemble is monumental and consists of seven six-storey buildings. Continuing on rue Jean de la Fontaine, don't miss rue François Millet on your left. At number 11, the Trémois building has a very narrow facade on which the bow windows have given way to a discreet projection of the central windows. Once again, the ironwork intertwines with great grace in front of the openings. At 60 rue Jean de La Fontaine, the Mezzara hotel has resisted real estate speculation. Built for a Venetian industrialist who created lace and textiles, it is now the annex of Lycée Jean-Zay. Stephen Frears and decorator Alan Mac Donald recreated the atmosphere of Colette's novel in Chéri through a meticulous recreation of 1910s Paris using period photographs. They installed Léa, the courtesan embodied by Michelle Pfeiffer, in this modern, bright and elegant residence in the image of her character. (We can show you photos from the shooting of this film) Continue on rue Jean de la Fontaine then turn right onto avenue Mozart. At n ° 122, a private mansion bears the name of the architect. The Hôtel Guimard was designed in 1909, for his wife, down to the smallest detail: Hector designed all of the furniture to adapt to the ovoid rooms he had imagined. Continue on Avenue Mozart, then take Rue Henri Heine. At n ° 18, Art Nouveau style ornaments are rare and foreshadow the end of this artistic movement. Hector Guimard lived there for a while before flying to New York in 1938.

Retrace your steps to take rue Jasmin. At 3 square Jasmin, a small white house is the last witness of a housing estate that never came out of the ground. Most of the building elements were prefabricated before being assembled on site. We are in 1922, it is the end of the First World War, we have to build quickly and cheaply. The ride is not over yet. Hector Guimard’s constructions really spread throughout the borough. Head south of the neighborhood! The nearby Jasmin metro will take you to the Michel-Ange Molitor stop on line 9. In 1891, Hector Guimard was only 24 years old when he designed this private mansion for Charles-Camille Roszé, representing a family of gloves and corsets. Fresh out of the School of Fine Arts, Guimard is inspired for this house by Italian architecture, in particular Tuscan. He takes care of the main part of the project: architecture, gardens and some elements of interior decoration. The ceramics on the facade that he designs are made by Emile Muller.

Other Great Architects Mallet Stevens / Le Corbusier / Now let's go to rue du Docteur-Blanche, which in the past was a simple path on the edge of the village, the Fontis path. The street takes this name later, in homage to the alienist doctor Esprit Blanche Who lived there. There are old mansions there that give an idea of ​​what the street could have been like before the real estate boom of the 1950s and 1960s. At n ° 9 of the street is the short rue Mallet-Stevens, which was inaugurated in 1927. It was built on land belonging to the future Marie-Laure de Noailles, 5 mansions were built there in 1936. The architecture is homogeneous, characteristic of the modernist preoccupations of Mallet-Stevens with its clearly displayed cubist volumes. Two buildings are remarkable there at numbers 10 and 12 of the street. At number 10, the hotel-workshop of the Martel brothers, twins who collaborated with Mallet-Stevens in making the famous concrete trees for the Tourist Pavilion at the 1925 Exhibition. The hotel is striking here with its geometry. It is articulated on three levels around a spectacular spiral staircase. A sculpture by Mallet-Stevens takes up this theme outside the house. At number 12, the Mallet-Stevens Hotel, designed for personal use, impresses. The architect had also planned offices there: there are therefore two entrances, one private, the other professional. The volumes in successive advances give the whole a certain dynamism. At the level of the Docteur-Blanche square, you can see the two villas built by Le Corbusier in the 1920s. The first is the Jeanneret villa, built by Charles-Edouard Jeanneret, known as Le Corbusier, for his brother. If the house is more sober and family-oriented, it remains characteristic with its long horizontal windows. Today it houses the archives and the library of the Le Corbusier Foundation. Just next door, at 10 square du Docteur Blanche, the famous Villa La Roche was designed by Le Corbusier for the banker Raoul Laroche and is, with its curved facade, very representative of the work of the architect. It was especially designed to accommodate the huge collection of paintings of the banker. Headquarters of the Le Corbusier Foundation, now open to the public !
We end the stroll on rue Berton, which is probably the only truly rural street in the 16th arrondissement. It is even almost a path that weaves between the walls! On one side is the house where Balzac lived, on the other the wall of the enclosure of the Hôtel de Lamballe, and in the middle, a boundary stone dating from 1731 indicates the border between the Seigneuries of Passy and that of Auteuil. At number 24 therefore appears the house of Balzac, where the writer lived between 1840 and 1847. The main entrance was on rue Raynouard, but a "secret" door opened on rue Berton three floors below, and the story goes that this is how Balzac sneaked off when his creditors arrived! Today, the house is transformed into a museum conserving the author's manuscripts. The walk continues at Porte de Saint-Cloud, in the south of the 16th arrondissement (metro line 9 or bus line n ° 72). Notice in the center of the square 2 large columns whose bas-relief decorations were made by Paul Landowski. The Water Pavilion, a former hall for lifting water from the Seine, presents a permanent exhibition on the water supply to Paris. From the Roman aqueduct of the 2nd century AD to the great works of Belgrand in the 19th century, discovering the water supply of the capital is taking a journey through the centuries. While the water in Paris today is of excellent quality, it has not always been so. The Water Pavilion recounts the major works undertaken to build the Parisian water network and the projects developed by Eau de Paris to preserve the heritage that has been passed on to it.

Where to find self-service mineral water ? …the sources of Passy.

The waters of Auteuil, Chaillot and Passy (by Hubert DEMORY) The presence of water sources in the Sixteenth Arrondissement plays an important role in our local history. Already around the year 250, the Romans built an aqueduct to bring water from the sources of Passy to the thermal baths installed on the site of the gardens of the current Palais-Royal. But this aqueduct was destroyed in 886 by the Normans, during the siege of Paris, and rediscovered during the preparatory work for the construction of the King of Rome's palace planned at the Trocadero.

In Auteuil, a very old spring was located in a meadow between the current rue de la Source and rue de la Fontaine, near rue Ribéra. This water fed a fountain then streamed into the meadow, flooding the rue de la Fontaine and the place Jean Lorrain. Part of this water was also used by the tile factory located near rue Ribéra. It was only in 1621 that François Cocquet, owner of the Hôtel du Parc, now Villa Montmorency, created a pipe that carried water to this square, at the entrance to his property, and installed a large fountain there. Intended for its consumption and that of Auteuillois. However, water continued to flow in the path of the fountain; It was around 1809 that Napoleon I, who used this street to visit the Countess of Brienne in her castle at La Tuilerie, had this path stoned. Since its name evolved; First rue de la fontaine, it became over the years: rue de la Fontaine, today rue Jean de La Fontaine, french fabulist and one of the most widely read French poets of the 17th century.. So local history had, once again, to give way to a personality with the official excuse that this street should not be confused with the rue Fontaine located in the 9th arrondissement.

Another source was discovered, around 1622, in a vineyard belonging to President Broé who wanted to create a fishpond near the house he owned in Auteuil. An account from 1628 goes: "But it is noteworthy that bringing water from this source to said pond through pipes and stone sinks, it killed most of the fish that were there. " He had the water analyzed, which revealed a high content of lime sulfate and iron salts. There were many sources at Auteuil, as soon as we dug a little. This is how, in 1820, Doctor Dardonville founded, at 16 rue Boileau, a hydrotherapy establishment which will welcome many artists and writers including Maupassant, Gavarni, Carpeaux, les Goncourt, Gounod ... Finally, another source of Auteuil which had its heyday, that of Quicherat. Jules Quicherat, archaeologist, discovered in 1842 a source in his property located at 4 rue de la Cure. He had the water analyzed and in 1851 obtained authorization to create a mineral water establishment where he welcomed spa guests (hence the name of rue de la Cure), and also sold his bottled water. In his advertisement he writes: "The water from the Quicherat spring is essentially digestive, tonic and restorative. Its usual use, given its composition, is a safe preservative against any epidemic disease and also against appendicitis in both adults and children. It is also, because of its diuretic qualities, ideal for people with gravel, gout or arthritis. It does not break down wine. " This water had a certain fame thanks to a pharmacist who made lozenges, (as in Vichy), and received gold medals in Paris in 1902 and in 1924.

The most famous source of the Sixteenth arrondissement is that of the mineral waters of Passy. Around 1657, by opening the passage des Eaux which climbs up the hill, we discovered a source. Analyzed in 1667 by M. Duclos, of the Academy of Sciences, this water was declared good for the hot weather of the viscera, then recommended as a remedy for sterility in women. Being free, it had little success. In 1720, Abbé Le Ragois, who was chaplain to the Marquise de Maintenon (who died in 1719), settled near the Passage des Eaux and discovered several sources in its park. After analysis, it is found that these waters "contain iron, a little catartic salt & absorbent soil." A treatise on mineral waters published in 1775 states: “Eaux de Passy are tonic, incisive, diuretic, laxative: they remove obstructions, cure the hemorrhages which depend on them, as well as those which come from the relaxation of the vessels. These Waters are specific to inappetences, to disgust: they remedy the slowness of digestion, absurd & irregular appetites, pale colors, & c. "

Father Le Ragois quickly understood the benefits he could derive from the creation of a spa. But his neighbor situated lower down, the Sieur Guichou, a silk fabric merchant on the rue Saint-Honoré, found a way to attract these waters to his home; following a trial he was condemned to sell his land to the abbot who thus had a large land to create a large establishment with games rooms, ballroom, theater, gardens, and even a restaurant where doctors were served free of charge. . It’s a great success; bourgeois of Paris and aristocrats rush. We will see Rousseau, Benjamin Franklin,… We play, we sing, we attend shows and we sometimes discuss very late after supper, as Lasolle tells it in his Amusements des Eaux de Passy published in 1787. By inheritance successively the establishment belongs to Madame de Pouilly, niece of the abbot, then to M. Belamy, the latter's uncle, who transmits it to his son-in-law Guillaume Le Veillard, friend of Franklin, finally passes into the hands of the Delessert family . At the end of the 19th century, Baroness Bartholdi, heir to the Delessert family, generously decided not to charge for this precious water for curists.

Rue Théophile Gautier

Historical

This street was opened in two phases: · Between rue François-Gérard and rue du Père-Brottier and rue d'Auteuil by a decree of January 27, 1876 on the right-of-way of part of rue de la Municipalité; it was then called “rue de la Mire” then became “rue du Point-du-Jour” and finally “rue Théophile-Gautier”; · By decree of July 10, 1882, it was extended between rue François-Gérard and rue du Père-Brottier and rue Gros.

On August 6, 1918, during the First World War, a shell launched by Grosse Bertha ( a famous german canon) exploded at No. 10 “rue Théophile-Gautier” 1. It takes its current name, and its status as an avenue, by a decree of March 17, 1933.

Remarkable buildings and places of memory :

Nos 18-20: building with a facade of red and beige bricks, decorated with white bow windows, built by the architect Charles Blanche in 1899.

Nos 21-23: buildings built by the architect Deneu de Montbrun in 1907.

Nos 28-30: building at the corner of Avenue de l'Abbé-Roussel, with a facade adorned with red and beige bricks and equipped with white bow windows, built by architect Charles Blanche in 1905.

No 38: the writer François Mauriac lived in this issue from 1931 until his death in 1970. A plaque pays homage to him. Nos 46-50: headquarters of NRJ 12.

Nos 55-57: building built by architect Henry Auffret from Saint-Malo, overlooking 31, rue de Rémusat, with eight floors and 27 meters high.

No 57 was previously the address of a private mansion acquired in 1786 by Antoine-César de Choiseul-Praslin and buried in the Panthéon.

Who was Theophile Gautier ?

Look at the leaves, How white they are. It's snowing acorns laughing in the snow, The sun wipes The weeping willows, And the sky reflects In the violet Its pure colors. The fly opens the wing, And the young lady With silver eyes In the wasp corset, Unfolding his pancake, Has resumed the boom. Water babbles happily The stud wriggles: No more spring

Théophile Gautier

Who was Théophile Gautier?
Sep 24


Théophile Gautier, born August 30, 1811 in Tarbes and died October 23, 1872 in Neuilly-sur-Seine (at the age of 61), is a French poet, painter, writer and art critic.

He is notably the author of the collection of poems Enamels and cameos (1852), and of the novels Le Roman de la momie (1858) and Le Capitaine Fracasse (1863), his most famous work.

He is the contemporary of the writers Victor Hugo, Honoré de Balzac (whose biography he wrote in 1859), Gustave Flaubert and Prosper Mérimée.

His formula of art for art was taken up by the poets of contemporary Parnassus.

Biography
Théophile Gautier's family was well-off and well-educated.

In 1822, he left for Paris to begin his studies. In 1829, he met Victor Hugo, who liked him and respected him a lot.

In 1830 Gautier took an interest in painting and poetry and published his Poésies during the same year. In February 1830, with Gérard de Nerval, he was one of the main actors in the battle of Hernani which, by defending the dramatic play by Victor Hugo, caused a theatrical scandal. But in 1830 during the July Revolution, he was forced to earn a living after his father's bankruptcy.

In 1836, Théophile Gautier became a journalist for the review “La Presse”. He writes over 1,200 articles and works tirelessly, like a convict.

A great traveler, he has visited Belgium, Spain, England, Algeria, Italy, Constantinople and Russia. He has drawn inspiration from his many travels to write short stories, poems and travelogues.

In 1836, Théophile Gautier became a journalist for the review “La Presse”. He writes over 1,200 articles and works tirelessly, like a convict.

A great traveler, he has visited Belgium, Spain, England, Algeria, Italy, Constantinople and Russia. He has drawn inspiration from his many travels to write short stories, poems and travelogues.

Théophile Gautier is a very complete author passionate about the arts. He has written novels, short stories, essays, poems, plays, ballets, travelogues as well as musical, dramatic, literary and artistic reviews. But he was also a painter and designer.

His son, Théophile Charles Marie Gautier (1836-1904) participated in his father's articles and translated from German the Adventures of Baron de Münchausen nicknamed Baron de Crac or The Flower of German Gasconnades, with illustrations by Gustave Doré, in 1857

 

Théophile Gautier shines in the genres:

Poetic: The Comedy of Death (1838), Enamels and cameos (1852) ...

Epistolary: Mademoiselle de Maupin (1835) ...

Theatrical: A Devil's Tear (1839) ...

Narrative: La Cafetière (1831), Omphale (1834), Le Chevalier Double (1840), Le Roman de la Momie (1858), Le Capitaine Fracasse (1863) ...

· He participated in the writing of the libretto of Giselle (1841), the first romantic ballet.