ELYSEE PALACE PARIS

Because it is the entryway to the Élysée Palace visible from the courtyard, the French are familiar with the Grand Entrance Hall. There is one standout feature among the restrained decor: a massive white marble sculpture by French artist Arman, named Hommage à la Révolution de 1789. It was ordered by President François Mitterrand in 1984, and was erected to commemorate the Revolution's influence in the French political system on the second centenary of the event.

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Interlacing greenery and quadrilateral gravel paths divide the gardens, which were originally created in the form of a French countryside park, and were a lot bigger back then. A cave, a waterfall, a maze, and animals were all added by the Marquise de Pompadour. An English-style garden was created there by The Duchess of Bourbon in the late 18th century. Lawns were installed in place of the previous walkways and flowerbeds. A pond with an irregular shape was added, as well as new paths that wound their way through the new vegetation. Attractions like ring jousting and swings were also added to open the grounds to the general public commercially.

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Back in the gardens, an elegant wrought-iron gate was erected in 1905, opening onto the Champs-Élysées. In honour of France's national bird, a gold-plated rooster stands atop the gate's railing

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To everyone's surprise, there aren't any tapestries in this room today. During his tenure as President of the Third Republic (1895-1899), Félix Faure began the process of putting up the first tapestries.

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When the Murats came into the palace in 1807, they completely remodelled this reception room. Five paintings in the Empire style adorn the large lounge, which was created by combining two rooms into a single space. There are still three of them hanging out there. During the Italian campaign, Murat and his cavalry crossed the Tiber on one of the canvases. One depicts the Rhine, which overlooks Murat's castle house, Schloss Benrath. The room was supposed to be completed by two more paintings, but they were stolen in the nineteenth century. A painted Vendôme column, topped by a statue of Napoleon I, the brother-in-law of Joachim Murat, stands between the two windows overlooking the gardens.

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The walls of the Élysée Palace bear the seals of the people who have lived there over the course of its three-hundred-year existence. Salon Napoleon III has a rich history, with imperial eagles on the ceiling and the "RF" (French Republic) monogram framed by olive and oak branches. The sign of the Republic was included into the Empire's logo without removing it. The crimson drapes in Salon Napoleon III were recently removed and restored, and 21st century decor was installed in their place, marking the beginning of a new era. The room has changed through time, but the memories of our ancestors are still there in it.

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The Jardin d'Hiver glass canopy serves as a reminder of its former life as a greenhouse, where rare plants were housed before they were used to host news conferences and parties. On Jules Grévy's idea, it was constructed in 1881 to serve as a link between the Hôtel d'Évreux and the gardens of the Third Republic.

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For the 1889 Universal Exposition, the Salle des Fêtes, also referred to as the ballroom was built by architect Eugène Debressenne and opened by President Sadi Carnot, making it suitable for the largest banquets, from presidential ceremonies to conferrals of the Legion of Honour. As time goes on, the Salle des Fêtes keeps developing. Ten new French windows, located on the garden side, were installed in 1984 to increase the amount of natural light. As a salute to science, it features a wealth of stucco imagery.

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The President of the Republic's office is located in the Salon Doré, which is situated in the heart of the Palace. President Giscard d'Estaing, for example, used the Fifth-Republic Presidents' Office as a ceremonial one while working in a more austere space a few metres away. This apartment retains the original 1861 design for Napoleon III's wife, Empress Eugénie. The Imperial couple "NE" ( Vapolean and Eugénie) is evident above the doors as a remembrance of its past occupants. Decorated with contemporary art and contemporary furnishings, the room's vivid colours are highlighted by the heavy use of black.

The President of the Republic's office is located in the Salon Doré, which is situated in the heart of the Palace. President Giscard d'Estaing, for example, used the Fifth-Republic Presidents' Office as a ceremonial one while working in a more austere space a few metres away. This apartment retains the original 1861 design for Napoleon III's wife, Empress Eugénie. The Imperial couple "NE" ( Vapolean and Eugénie) is evident above the doors as a remembrance of its past occupants. Decorated with contemporary art and contemporary furnishings, the room's vivid colours are highlighted by the heavy use of black.

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An Antony and Cleopatra tapestry by Charles Natoire, which was on display at the Salon Cléopatre until 2019, is the inspiration for its name. As a replacement for the romantic Roman Triumvir and Egyptian Queen, tourists can see a 173-color tapestry created by Yves Oppenheim in its place. The Marquise de Pompadour's dressing room also lingers in this space, evoking memories of another great woman. As with the Salon des Portraits, this space was completely renovated in the fall of 2019.

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When President Obama's wife was elected in 2008, this room was designated as her official residence. Madame Macron's current residence, this office's design is an attractive mix of traditional and modern elements. The room's name comes from the wall hangings, which are based on lamps made by silk craftsman Camille Pernon in 1785 for the bedroom of King Louis XVI in Compiegne. The desk, created by Matali Crasset, is part of the contemporary décor in the room. For focus and thought, the desk features a minimalist leather section in the middle. The wooden drawers that contain computer equipment and paperwork serve to mould and materialise thoughts.

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The sole chamber in the Élysée Palace that retains its 1970s interior style is the former bedroom of Napoleon III. Claude and Georges Pompidou worked together to contract Pierre Paulin to develop a freestanding wall structure in 1972 so that it could subsequently be dismantled. There are novel materials used in the room's walls and ceiling, as well as a unique design that incorporates the furnishings. Molded polyester panels make up the mural's framework. The furniture is composed of cast aluminium and plastic, like the Apollo spacecraft cabins. Glass stems and balls in pink anodized aluminium cover the entire ceiling, creating a magnificent chandelier that stretches across the exposed area of the reflective surface.

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The mauve tones and silver-colored wood panelling, coated with white gold, of this boudoir's interior design broke new ground in 1807, when it was created by Caroline Murat, the wife of Joachim Murat and the sister of Napoleon I. Despite its modest size, this boudoir is steeped in tradition for instance, following the fall at Waterloo, here Emperor Napoleon I signed his abdication, and a reproduction of this document is displayed on the desk. Here, President Napoleon Bonaparte plotted his December 2, 1851, takeover of the country. In 1899, President Félix Faure suffered a fatal seizure while on a date with his mistress Marguerite Steinheil in this boudoir.

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After Napoleon III, the eight paintings of the royal household painted by Joachim Murat were replaced by pictures of Napoleon III's major European benefactors such Pope Pius IX, Austrian Emperor Franz Joseph, Italian King Victor Emmanuel. Napoleon III requested this decoration be completed so that he may use the space for his Council of Ministers meetings. Ministers gather in a larger and more centrally located room nowadays, while smaller official meals are conducted in the Salon des Portraits for those who want a more intimate atmosphere.

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In 1753, the Marquise de Pompadour, Louis XV's mistress, purchased the Hôtel d'Évreux with her own money and used it as a "parade room," a reception area different from the more private bedchamber. Meetings and dinners with the President of the Republic are still held in Salon Pompadour. In contrast to the Second-Empire interiors, the woodwork decoration stems from the 18th century construction of the Hôtel d'Évreux. This old woodwork is complemented by contemporary works of art that reinterpret the room's design. A tapestry by Juan Miró and two Picasso sculptures are currently on display in the National Museum of Modern Art.

Salon des Ambassadors hosts the weekly meeting of the Council of Ministers. A meeting of the government is scheduled for 10:00 a.m. on Wednesday, with the President and Prime Minister hosting the event. In order of rank, the ministers are seated around them at a huge oval table. To give this room its name, foreign ambassadors used to present their credentials here before it was transformed into the Council of Ministers. The abstract artwork Atlantique (Atlantic), by Breton-born artist Geneviève Asse, uses 18th-century woodwork as a backdrop to depict the light on sea in her abstract painting, Atlantique (Atlantic).

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As its name suggests, this room was formerly used by the aides de camp, who were young officers assigned to one particular general and responsible for relaying orders to him on the battlefield. This palace was owned by Napoleon Bonaparte's sister Caroline before Joachim Murat, Napoleon's aide-de-camp, married her and bought it from her. The guest room is presently being used. However, despite its 19th-century restoration, the room's original 1720s décor, which includes woodwork carved with feminine-masked masks and mirrors, is still visible. Only Emperor Napoleon III's 1859 appointment of painter Charles Landelle added the overdoors. Water, earth, fire, and air are depicted as allegories for peace and conflict in these paintings.

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