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Top Attractions in 6e Arrondissement

Musée Dupuytren

The Musée Dupuytren is a museum of anatomical items illustrating diseases and malformations. It is located at 15, rue de lEcole de Médecine, Les Cordeliers, Paris, France, and open weekdays except holidays and university vacations. The closest métro stations are Cluny – La Sorbonne and Odéon. The museum was established in 1835 by Mathieu Orfila as the Museum of Pathological Anatomy of the Medicine Faculty of the University of Paris, with the request of Baron Guillaume Dupuytren, anatomist and celebrated professor of surgery. The museum was installed in the old refectory of the Cordeliers Convent, gathering collections from throughout the faculty. Its first catalog was compiled between 1836 and 1842, and listed about a thousand specimens. By the late 1870s the museum contained over six thousand pieces. The museum began a slow decline starting in the late 19th century, despite continued acquisition of new collections, and its upkeep became problematic. In 1937 Gustave Roussy ordered the museum shut, with many items subsequently lost or destroyed. However in 1967 Jacques Delarue brought the museum back to life with a general refurbishment. Today it still retains a superb collection, including specimens dating from the 17th century, as well as wax anatomical models, books, and photographs. Among many other notable items, the museum contains brains of aphasic patients, preserved in alcohol by the celebrated anatomist Paul Pierre Broca, and used in his research in the localization of brain functions.

Abbey of Saint-Germain-des-Prés

The Benedictine Abbey of Saint-Germain-des-Prés, just beyond the outskirts of early medieval Paris, was the burial place of Merovingian kings of Neustria. At that time, the Left Bank of Paris was prone to flooding from the Seine, so much of the land could not be built upon and the Abbey stood in the middle of fields, or prés in French, thereby explaining its appellation. The Abbey was founded in the 6th century by the son of Clovis I, Childebert I . Under royal patronage the Abbey became one of the richest in France; it housed an important scriptorium in the eleventh century and remained a center of intellectual life in the French Catholic church until it was disbanded during the French Revolution. An explosion of saltpetre in storage levelled the Abbey and its cloisters, the statues in the portal were removed and some destroyed, and in a fire in 1794 the library vanished in smoke. The abbey church remains as the Église de Saint-Germain-des-Prés, Paris. In 542, while making war in Spain, Childebert raised his siege of Zaragoza when he heard that the inhabitants had placed themselves under the protection of the martyr Saint Vincent. In gratitude the bishop of Zaragoza presented him with the saints stole. When Childebert returned to Paris, he caused a church to be erected to house the relic, dedicated to the Holy Cross and Saint Vincent, placed where he could see it across the fields from the royal palace on the Île de la Cité. In 558, St. Vincents church was completed and dedicated by Germain, Bishop of Paris on 23 December; on the very same day, Childebert died. Close by the church a monastery was erected. Its abbots had both spiritual and temporal jurisdiction over the suburbs of Saint-Germain . The church was frequently plundered and set on fire by the Normans in the ninth century. It was rebuilt in 1014 and rededicated in 1163 by Pope Alexander III to Saint Germain of Paris, the canonized Bishop of Paris and Childerics chief counsellor. The great wall of Paris subsequently built during the reign of Philip II of France did not encompass the abbey, leaving the residents to fend for themselves. This also had the effect of splitting the Abbeys holdings into two. A new refectory was built for the monastery by Peter of Montereau in around 1239 he was later the architect of the Sainte-Chapelle. The abbey churchs west end tower was pierced by a portal, completed in the twelfth century, which collapsed in 1604 and was replaced in 1606 by the present classicising portal, by Marcel Le Roy. Its choir, with its apsidal east end, provides an early example of flying buttresses. It gave its name to the quarter of Saint-Germain-des-Prés that developed around the abbey. This area is also part of the Latin Quarter, because the Abbey donated some of its lands along the Seine—the Pré aux Clercs for the erection of buildings to house the University of Paris, where Latin was the lingua franca among students who arrived from all over Europe and shared no other language. Until the late 17th century, the Abbey owned most of the land in the Left Bank west of the current Boulevard Saint-Michel and had administrative autonomy in it, most clearly for the part outside the walls of Paris. Louis-César de Bourbon, son of Louis XIV and Madame de Montespan, was an abbot here. In the 17th century the district of Saint-Germain was among the most desirable on the Left Bank. Marguerite de Valois pressured the abbot to donate abbey land to her, too. She built a palace on it, and set a fashionable tone for the area that lasted until the Saint-Honoré district north of the Champs-Élysées eclipsed it in the early eighteenth century. Her palace was located at the current numbers 2-10 rue de Seine. The gardens of the estate extended west to the current rue Bellechasse. The tomb of philosopher René Descartes is located in one of the churchs side chapels.

Musée d'Anatomie Delmas-Orfila-Rouvière

The Musée dAnatomie Delmas-Orfila-Rouvière was a museum of anatomy formerly located on the eighth floor of the Faculty of Medicine, Paris V René Descartes University, 45, rue des Saints-Pères, 6th arrondissement of Paris, France. It was the largest anatomy museum in France. It was closed around 2005, with all its exhibits going into indefinite storage. The museum dates from 1794 when Honoré Fragonard, demonstrator and professor of anatomy, collected specimens for the Faculty of Medicine of Pariss new anatomical cabinet. Although the city had contained earlier, amateur collections, including a set of more than 1000 wax anatomical models bequeathed by Jean-Baptiste Sue to the École des Beaux-Arts, these earlier collections were dispersed during the French Revolution. The cabinets anatomical collection was reorganized and vigorously expanded by Mathieu Orfila. Appointed dean of the Faculty of Medicine of Paris in 1832, Orfila visited the Hunterian Museum and was inspired by its collections of comparative anatomy. In 1844 he established a museum, which in 1847 was formally inaugurated and named the Musée Orfila in his honor. By 1881 it contained nearly 4500 items, as documented in the catalog published by its curator, Charles Nicolas Houel. Unfortunately, during the early 20th century, the museum fell into great disrepair. According to the museums web site, precious wax models by Laumonier were consumed for lighting, and only a few hundred of Houels cataloged items still remain. In 1947, however, Prof. André Delmas began an effort to restore and greatly enlarge the Musée Orfila, conjoining it with the Musée Rouvière, the lymphatic collection of Prof. Henri Rouvière . Since 1953 the museum has occupied the vast exhibition halls and galleries of the eighth floor of the Faculty of Medicine. Todays museum contains about 5,800 human and animal anatomical items. It contains a wide range of anatomical specimens, including a small monkey preserved by Fragonard in 1797; Paul Brocas castings brains of birds, mammals, and humans, including the brains of children, criminals, and representatives of various races, as well as his own brain; showcases of comparative anatomy of reptiles and birds; casts of the heads of criminals executed during the 19th century; a collection of skulls from asylums for the mentally ill; major exhibits of different stages of growth of the skeleton, splanchnology, and of the viscera and major vessels of the human body; and displays of malformations of the brain caused in rats, lymph systems, kidney structure, trachea, esophagus, and liver. It also includes the Spitzner collection, a famous set of anatomical wax models dating from the 19th Century.

27 rue de Fleurus

27 rue de Fleurus is the location of the former home of Gertrude Stein and Alice B. Toklas on the Left Bank of Paris. It was also the home of Leo Stein for a time in the early nineteen-hundreds. It was a renowned Saturday evening gathering place for both expatriate American artists and writers and others noteworthy in the world of vanguard arts and letters, most notably Pablo Picasso. In the early decades of the century, hundreds of visitors flocked to the display of vanguard modern art, many came to scoff, but several went away converted. Entrée into the Stein salon was a sought-after validation, and Stein became combination mentor, critic, and guru to those who gathered around her, including Ernest Hemingway, who described the salon in A Moveable Feast. The principal attraction was the collection of Paul Cézanne oils and watercolors and the early pictures by Henri Matisse and Pablo Picasso which Gertrude and Leo had had the funds and the foresight to buy. The walls of their atelier at 27 rue de Fleurus were hung to the ceiling with now-famous paintings, the double doors of the dining room were lined with Picasso sketches. On a typical Saturday evening one would have found Gertrude Stein at her post in the atelier, garbed in brown corduroy, sitting in a high-backed Renaissance chair, her legs dangling, next to the big cast-iron stove that heated the chilly room. A few feet away, Leo Stein would expound to a group of visitors his views on modern art. In 1933, Stein published a kind of memoir of her Paris years, The Autobiography of Alice B. Toklas, written in the voice of Toklas, her life partner. The book became a literary bestseller and vaulted Stein from the relative obscurity of cult literary figure into the light of mainstream attention. The gatherings in the Stein home "brought together confluences of talent and thinking that would help define modernism in literature and art." Dedicated attendees included Pablo Picasso, Ernest Hemingway, F. Scott Fitzgerald, Guillaume Apollinaire, Sinclair Lewis, James Joyce, Ezra Pound, Thornton Wilder, Juan Gris, Sherwood Anderson, Francis Cyril Rose, René Crevel, Élisabeth de Gramont, Francis Picabia, Claribel Cone, Mildred Aldrich, Carl Van Vechten and Henri Matisse. Saturday evenings had been set as the fixed day and time for formal congregation so Stein could work at her writing uninterrupted by impromptu visitors. It was Steins partner Alice who became the de facto hostess for the wives and girlfriends of the artists in attendance, who met in a separate room. Gertrude herself attributed the beginnings of the Saturday evening salons to Matisse, as ore and more frequently, people began visiting to see the Matisse paintings—and the Cézannes: "Matisse brought people, everybody brought somebody, and they came at any time and it began to be a nuisance, and it was in this way that Saturday evenings began." Among Picassos acquaintances who frequented the Saturday evenings were: Fernande Olivier, Georges Braque, André Derain, Max Jacob, Guillaume Apollinaire, Marie Laurencin, Henri Rousseau, and Joseph Stella.

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