Quai d’Orsay

At the request of the Foreign Minister, François Guizot, the building’s design was entrusted to the architect Lacornée, who had designed the Palais d’Orsay, today demolished.
The first stone was laid in November 1845 in the presence of Guizot, Lacornée and Dumon, Minister of Public Works.

The external decoration was entrusted to sculptors, most of whom had already been involved in building or restoring churches (Notre-Dame de Paris, Saint-Vincent de Paul, etc.) and châteaux (Blois, Saint-Cloud, etc.). Briefly held up by the 1848 revolution, building works resumed at the request of Emperor Napoleon III. Once the structural works had been completed in 1853, some of the most renowned artists of the time – including Séchan, Nolau and Rubé, Molknecht, Lavigne, Liénard, Hippolyte Adam and the Huber brothers – were enlisted for the interior design. Since the building would receive foreign sovereigns and diplomats, it was essential that they would be welcomed with all the splendour befitting their rank.

Ever since the mid-19th century, these premises have housed the Ministry of Foreign Affairs, and this hasn’t changed for almost a century and a half – which explains why “Quai d’Orsay” is the name often used to refer to France’s Ministry for Europe and Foreign Affairs.

The North Façade

As the building was to face the river, the architect decided to break with established practice and ensure a pleasant view over the Seine from the great reception rooms, by placing the entrances at the side, with the main one on the right. In fact, although the left-hand one can be used as an exit, its main purpose is to establish the symmetry of the façade.

The façade itself has two orders one above the other: the Doric order at ground-floor level and the Ionic order at first and second floor level.The wooden bas-reliefs on the tympana of the entrance doors are by Hubert Lavigne. They depict the spirits of war and peace bearing an imperial crown.

The statues in the niches are by Triqueti and represent the four continents. Commissioned at the time of the building’s construction, they were not installed until 1870. 

Over the first floor windows are marble medallions depicting the coats of arms of the various powers. A balustrade in the Italian style crowns the edifice.

The West Hall

The West Entrance Hall forms the main entrance.

Upon your arrival, your attention will immediately be attracted, on your left, by a full-length portrait of Richelieu by the Minister Michel Debré.

To reach the first floor, you take the main staircase.

After passing the two columns in the entrance hall, you will note at the bottom of the staircase two children each bearing an oxidised bronze candelabra. These are the work of Victor Paillard, as are the stair knobs.

On the middle landing is a hanging, The History of Scipio, the Conference, in the style of Jules Romain. Woven at the Gobelins Factory, it is based on a sixteenth-century Brussels hanging, formerly the property of the French crown.

Looking even higher, hanging from the cove of the ceiling, are eight plaster caryatids sculpted in 1852 by Dominique Molknecht. The rest of the sculpture is by the Huber brothers.