"The library's growth essentially was due to fourteen great donations given during the 19th century. In 1965, Frédéric Sabatier d'Espeyran left to the library 668 books of artists and about 200 bound editions signed by the most important binders of the era. In 1992 the city acquired an important collection of manuscripts of the writer Joseph Delteil. The two last patrimonial collections complemented the riches of the fonds régional. The library also receives the copyright deposit copies of printers and publishers (books only) of the Languedoc-Roussillon region.
"A new central library of 15,000m2 was opened on October 28, 2000, providing a resource center for youth literature, a forum for meetings, a library of music and dance, a library of sciences and of leisure, a department of patrimony and reseach, a service for the visually handicapped, and a department of image and movement at the Médiathèque Fellini (2300m2).
"The system is completed by the Médiathèques Victor Hugo, Jean-Jacques Rousseau et Federico Garcia-Lorca, by the local libraries (Simone de Beauvoir, Paul Langevin et Jean-Paul Sartre) and by two bibliobusses. This organization fills the need for a municipal library which has a regional mission." [tr. JK]
"Aujourd'hui, 15 lieux disséminés dans les différents quartiers de la commune accueillent la lecture publique et proposent, en prêt gratuit, quelques 135.000 volumes pour adultes, 119.000 pour enfants, et en consultation sur place, 5.300 ouvrages adultes et 2.600 enfants.
"Un fonds musical particulièrement important a été constitué et est disponible dans 6 discothèques."
See : Centre de la Mémoire d'Oradour-sur-Glane, Centre de Documentation, Archives, Fonds Ouvert, Études et documentation rassemblées, Depuis 2001, Répertoire numérique détaillé provisoire (Mars 2007) Mise à jour effectuée par Céline Deveaux.
La série FP regroupe tous les fonds privés (dons de particuliers) :
"The collections of the Arsenal originated with the library of the Marquis de Paulmy, installed in 1757 in the residence of the Grands Maîtres de l'Artillerie, in the heart of the old Arsenal de Paris founded by François Ier, rebuilt by Sully, and enlarged during the 18th c. by Boffrand.
"Antoine René d'Argenson, the Marquis de Paulmy (1722-1787), already had assembled a magnificent and encyclopedic collection, one rich in medieval manuscripts and prints. In 1786 he enlarged this with a part of the collection of the Duc de la Vallière, prior to selling the entire library to the Comte d'Artois.
"Nationalized by the Révolution, the collection stayed in its location. Enriched with numerous and often valuable volumes, nationalized from the great abbeys of Paris, and with the archives of the Bastille, the Arsenal was declared a public library on 5 floréal an V (April 28, 1797).
"The library's real fame began with the arrival of the writer Charles Nodier (1824), who presided over a literary salon of high reputation there until his death. Throughout the 19th c., the collections turned increasingly toward literature, particularly the theater, thanks to obtaining the copyright deposit, for plays in 1837, and for history... From 1880 to 1914, the library received a copy of every Parisian periodical...
"Today the Arsenal's acquisitions policy concentrates on,
"The current Arsenal collection is estimated to contain 1 million volumes, over 12,000 manuscripts, 100,000 prints, and 3000 maps and plans."
"The Arsenal" long has been a place for "literary evenings" -- and it seems it still makes those a priority, revolutions and construction projects notwithstanding --
"'From 1819 to 1824, under the double influence of both André Chénier and his 'Méditations', in reaction to the masterpieces of Byron and of Scott, echoing the cries emanating from Greece, fortified by the religious and monarchical illusions of the Restoration, a collection of 'préludes' took form, dominated by a sort of vague melancholy, idealistic, chivalrous in tone and with an often exquisite overlay of precise detail...' [Sainte-Beuve]
"The Toulousains, the tender Soumet, the petulant Guiraud of the red hair and Gascon accent, were the first to establish the tone; Emile Deschamps proposed the creation of a group and the founding of a review. That was 'La Muse française', a reunion of distinguished young men and women, too distinguished, lovers of poetry, royalists by tradition, 'Christians by convenience and vague sentiment' [Sainte-Beuve again].
"Each addressed the other by his or her given name: 'Alfred', 'Emile', 'Gaspard', or 'Victor'... The beautiful Delphine Gay was 'Delphine', to all. But when Jules de Rességuier, the most "troubador" among these "troubadors", buttered up to Victor Hugo for permission to call his wife 'Adèle', 'the young [he was 20] and grave poet refused'. Familiarity was not his forté.
"The true center of the cenacle of 'La Muse française' quickly became the good Nodier, and the meeting place initially his parlor at rue de Provence, then, from January 1 1824, the Bibliothèque de l'Arsenal...
"On Sundays, the salon lit up the Arsenal. One entered a lively working windmill: there was Séverin Taylor, born at Brussels of English parents, a French officer, friend of Vigny and favorite of the powerful; there Sophie and Delphine Gay, the latter radiant as the daylight and baptised 'La Muse française'; and Soumet, enjoying two great triumphs at the theater, 'the two most beautiful tragedies of the era', Hugo called them...; Guiraud, celebrated for his 'Petit Savoyard; Alfred de Vigny and GAspard de Pons, in uniform regal blue; and of course the Deschamps brothers, and the giant Adolphe de Saint-Valry...
"From eight until ten, they chatted. Nodier, standing at the chimney, would begin a recitation: memoirs of youth or a fantasy tale. Growing animated, he would become eloquent. Then a literary discussion would open: 'André Chénier has gone too far,' Victor Hugo would declare, 'his verse, with its interruptions and run-ons, no longer is musical, and poetry above all is song'. Nodier would protest: 'Chénier is romantic in his own way, which isn't so bad... There are no fixed rules in art.' Emile Deschamps, smiling, his fine lips revealing his elegant teeth, would intervene: 'You'll come back to that, Victor...'
"At the stroke of 10, Marie Nodier seating herself at the piano and the conversations ceasing: chairs pushed against the wall, and everyone dancing... Vigny, pale and delicate, waltzing with Delphine Gay. The serious men, among them the young Hugo, continuing the discussion over in a corner in a low voice. Mme. Victor Hugo, her 'spanish eyes' suddenly animated, dancing, and her husband, from time to time, throwing her a troubled look..."
The 19th c. French library: much of the folly and the grandeur, both, of the Grand European Era, all in a single image, with the Bibliothèque de l'Arsenal playing its vital & central part...
Visit the Arsenal: imagine the "intense discussion" -- 20-yr-old Victor Hugo, over in the corner -- and the dancing...
"The library offers wifi, and 5 postes multimédia all equipped with Internet access -- also 2 postes de consultation du catalogue and 17 plugs for you to connect or work in-situ... Special access also is provided for users who are visually or hearing-impaired.
"The collections, as of 2014, included 72 adult-reader subscriptions of which 5 are dailies, and 19 youth-reader subscriptions...
"The library was opened in 1973, was entirely renovated & enlarged & "informatized / computerized" in 1992-3, and currently it occupies 280 square meters on two floors, and offers seating for 50 users.
"The library proposes: Internet classes "for beginners", Thursdays from 12:30 to 2pm -- and cultural events --
Medic@ : Collection de rééditions de textes anciens
"Cette exposition a été réalisée autour d’un manuscrit inédit de Jules Cloquet (1790-1883), relatant son voyage en Italie d’avril à juin 1837.
"Eminent chirurgien et professeur à la Faculté de médecine de Paris, Jules Cloquet entreprit ce voyage dans un but essentiellement touristique, comme le montre le contenu de son journal, très axé sur la description des lieux qu’il visite et sur ses impressions.
"Malgré tout, le regard du médecin reste présent à travers certaines remarques sur la santé et l’hygiène des populations et le récit de visites à des malades. Ce manuscrit est d’autant plus précieux qu’il est abondamment illustré de dessins à la plume aquarellés, qui donnent vie au récit. A présent, suivez le guide…"
"Le mot de " frontispice " s’appliqua d’abord à l’architecture, et sa définition n’est pas facile à établir : façade principale d’un édifice, en particulier religieux, ou certaines des parties de cette façade, voire simple motif de décoration confondu quelquefois encore avec le fronton…
"Aujourd’hui, " frontispice " ne s’emploie plus guère que dans le domaine du livre ancien, où il recouvre là aussi plusieurs réalités différentes :
"Les retards dans les évacuations des blessés, imputables à l'absence d'anticipation, de préparation et d'expérience du Service de Santé face à la guerre moderne, ont pour les blessés au visage de lourdes conséquences. Aux complications immédiates, hémorragies et asphyxie, les blessés maxillo-faciaux se trouvent confrontés à deux types de complications secondaires : les constrictions et les pseudarthroses des mâchoires (consolidation en mauvaise position des fractures). La plupart des blessés au visage présentaient à leur arrivée dans les hôpitaux spécialisés, situés à l'arrière du front, ces types de complications..."
"L’herbier manuscrit de Paolo Boccone est aujourd’hui conservé dans le manuscrit 2039 (olim 27) du fonds ancien de la BIUM. ..."
"The BnF in numbers. The Bibliothèque Nationale de France collects not only books and periodicals but also manuscripts, prints, drawings, photographs, music scores, sound records, cassettes, maps and plans, money, medals, and costumes and theater decor... all of the information relevant to knowledge and all of the media used to store and present it.
"Over 13 million books and other printed items, 250,000 volumes of manuscripts, 350,000 volumes of periodicals, approximately 12 million prints and photographs and posters, over 800,000 maps and plans, 2 million music scores and other music items, 1 million sound documents, tens of thousands of videos and multimedia documents, 530,000 pieces of money and medallions... such are the current totals of the collections of the library." [tr.JK]
Textes numérisés: 100,000 ouvrages
Bibliothèque de l'Arsenal
Arts du spectacle
To connect: from the main catalogs page, above, beneath "BN-Opaline" click on "Consulter" and then select a "Collection" -- shortcuts to both BN-Opale Plus and BN-Opaline also are provided on the BnF home page, http://www.bnf.fr --
|50,118||Arts du spectacle|
|15,514||293,520||Cartes et plans|
|10,666||249,886||Estampes et photographie|
|87,217||Manuscrits littéraires français 20e siècle|
|669||18,871||Monnaies, médailles et antiques|
http://mandragore.bnf.fr/html/accueil.html "Informations sur MANDRAGORE" at the bottom of the frame entry)
"The Western and Eastern collections of the Département des Manuscrits hold several hundreds of thousands of miniatures, making it the best-endowed museum of medieval painting in the world. By virtue of their great variety and their iconographic interest, these images also comprise a veritable visual encyclopedia of their times.
"Mandragore, an iconographic database developed by the Centre de Recherche sur les Manuscrits Enluminés, has undertaken a complete cataloging of the collections. Currently it offers an analysis of 80,000 images indexed according to a thesaurus of 15,000 descriptive terms. For each image it retrieves the caption, category, indexing terms, and inscriptions, as well as the author's name and the title of a manuscript, the place and date of production, and often the name of artist. Simple or multi-criteria interrogation of a standardized index, using criteria lists, offers numerous access points to records for manuscripts and illuminations, of which 7,500 now may be consulted in digital formats." [tr.JK]
"The BnF offers fulltext access to over two thousand ejournals, from all disciplines. These periodicals comprise:
In descending order by year of publication: and very "selected" -- there are so many books and countless articles available, on this magnificent place, that the magnificence tends to get obscured in the paper shuffle. Someone seeking simply an overview is unlikely to obtain that easily from any one source.
A recent problem has been that the BN recently has been changing, radically, transforming itself from a BN into a BNbis and then a TGB and then a BdeF and then a BNdeF with a BFM...: and this particular forest of acronyms spans and to some extent symbolizes a period of great changes in the nature of librarianship, and of information access and behavior -- changes which have transformed the several professions and activities which this ancient institution now tries to serve.
So I have added a few annotations, in an attempt to indicate which resources I have found most useful myself -- nobody has read them all -- and to indicate a "pathfinder" which others might find useful too, in at least dipping into this massive literature, whatever eventual paths each reader then might take after an initial introduction. The intention here is to assist any researcher, French or foreign, interested in the BN either simply as an institution, or as a controversy, or as a representative of unique approaches to the management of print and digital and other forms of information...
There is a lot here. The history of the Bibliothèque Nationale is to some extent a history of France itself, and that is a long and complicated story -- and since its earliest beginnings France has treasured the written word, and the story of that treasuring is in large part the story of the BN.
Among items published recently, it is useful to remember that the great project -- literally so-labeled and grouped among the recent "grands travaux" of central Paris -- to find a new home for the outgrown BN premises at the rue Richelieu, is the central concern of most materials on the BN published during the 1990s...
Locations and call numbers have not been included. Nor have the many fine multimedia presentations which have been produced on the BnF and its history: many of these are cataloged by the BnF itself, at the address shown below. So, "see also", inter much alia --
Bibliographie historique de la Bibliothèque nationale de France
La BNF, un grand projet mitterrandien. La TGB, un projet représentatif jusqu'à la caricature des défauts et du génie français. Prendre du recul, expliquer ce qui marche et ce qui ne marche pas et expliquer pourquoi. Les faits sont sévères. La prétention française, son arrogance mais aussi les coups du sort et les traits de génie sont ici relatés. Le livre fait le récit, précis et dépassionné, de tous les débats et affrontements de cette délicate gestation. Il ne cache rien des aberrations de construction, du flottement architectural, des choix sans réflexion. La nouvelle Bibliothèque nationale de France n'est pas du tout le produit annoncé, elle coûte beaucoup plus cher que ce qui eût été possible... et pourtant elle tourne ! Au-delà des difficultés apparues lors de la période de rodage, on découvre les véritables qualités mais aussi les défauts de cet immense outil culturel. Arrivé au terme de l'histoire, on se pose avec l'auteur l'angoissante question finale : à l'heure de la révolution numérique, était-ce bien cette bibliothèque-là qu'il fallait réaliser ?
[tr. JK] "The BNF, a 'Grand Project' of President Mitterand... La TGB / Très Grande Bibliothèque / 'Very Big Library, irony intended', a project representing to the point of caricature both the failings and the genius of the French... Looking back, explaining what happened and what didn't, and explaining why... Extraordinary events. French pretensions, their arrogance but also their successes and their trace of genius, are related here. The book tells the story, precisely and dispassionately, of all the debates and confrontations of this delicate negotiation. It hides none of the construction aberrations, of the architectural flux, of the decisions made without thinking. The new Bibliothèque Nationale de France is nowhere near what the original idea was, as-announced, she costs far more than anyone thought possible... and, yet, she works! In spite of the birth-pains, now one sees both the great qualities and also the faults of this immense cultural tool. Arriving at the end of the story, one asks along with the author the anxious final question: in this hour of the Digital Revolution, is this the library which should have been built?"
Institution vieille de plus de cinq siècles, la Bibliothèque nationale de France a vécu ces dernières années une véritable révolution. La décision prise en 1998 par François Mitterrand d'édifier une bibliothèque « ouverte à tous » l'a conduite à élargir ses missions et à ne plus réserver ses collections au seul public de chercheurs. Le site Richelieu, déjà trop à l'étroit, ne pouvait plus répondre à cette demande. Il fallait un bâtiment nouveau. Le site de Tolbiac est choisi, ouvrant un énorme chantier qui bouleverse l'Est de Paris. rarement construction de bibliothèque aura fait couler autant d'encre. Les polémiques sont nombreuses, le coût et l'ampleur des travaux font peur, les tours de verre étonnent. Mais la construction est menée tambour battant et le déménagement de plus de 10 millions de livres s'effectue dans l'ordre le plus parfait. Aujourd'hui la BNF après avoir réparti ses extraordinaires collections sur deux grands sites, a trouvé un nouvel équilibre.
[tr. JK]"The institution is over 500 years old: the Bibliothèque nationale de France in its most recent years has achieved a veritable revolution. The decision made in 1998 by François Mitterrand to build a library 'open to all' led to an enlarging of its mission and the end of reserving its collections only to specialized researchers. The Richelieu site, already too crowded, could not respond to such demands. A new building was needed. The Tolbiac site was chosen, creating a new project which threw open the entire eastern quarter of Paris. Rarely has so much ink been spilled over the construction of a library. The polemics were many, the cost and great size of the project created fears, the glass towers gave delight. But the construction work kept on, and the move of over 10 million books was accomplished in perfect order. Today the BNF, after dividing its extraordinary collections between two grand sites, has achieved a new equilibrium."
This is a "tirade", in typical Parisian fashion -- think of the wonderful "tirade du nez" which Cyrano launches upon the snooty but ultimately hapless nobleman in Rostand's play --
Ah ! non ! c'est un peu court, jeune homme !
On pouvait dire... Oh ! Dieu !... bien des choses en somme...
En variant le ton, -par exemple, tenez:
Agressif : "Moi, monsieur, si j'avais un tel nez,
Il faudrait sur-le-champs que je me l'amputasse !"
Amical : "Mais il doit tremper dans votre tasse
Pour boire, faites-vous fabriquer un hanap !"
Descriptif : "C'est un roc !... c'est un pic !... c'est un cap !
Que dis-je, c'est un cap ?... C'est une péninsule !"
Ah ! non ! c'est un peu court, jeune homme !
In the present case the tirade is launched upon the initially-dodgy but ultimately completed, and I myself believe highly successful, Bibliothèque Nationale de France and particularly its Bibliothèque François Mitterrand at Tolbiac. Still, the book makes very useful reading, for anyone wishing to evoke the temper of the times, and the controversies and passions, which surrounded the Great Change of transforming the old BN into the new BNdeF. Other documents attest as well -- there were many such "tirades" -- I will try to locate, and include here, the wonderful accounts in Le Débat (see next entry, below, and PNora) of the "revolt of the historians", no less, who in a concerted campaign and single session at the Opéra Bastille succeeded in lopping off a few floors of the new project's tall towers. Historians are revered, in France.
And I love the name of this guy's publisher... "Encyclopédie des nuisances"...
Fascinating subject, for anyone interested in the history of the BN, or of French reading, or of reading generally, or of books generally, or of censorship or of society or of many other things... The famous "enfer" was where, for a long time, the BN held its "dirty books": the much-lampooned procedure being that, if you wanted to read them, you had to make the request of a be-spectacled librarian who then would announce your intention, precisely and loudly, to the assembled throng -- your plea having been, "Please, madame, may I see the dirty books?..." -- also, per a Supreme Court decision rendered only recently [US v. ALA, 539 U.S. ___, (2003)], the procedure now apparently for all Internet access in US libraries, as well... see,
A problem well worth intensive study by all concerned... particularly the pictures... At least, in the US, national Supreme Court dicta has settled once and for all the thorny question of what is and what is not to be consigned to Index Librorum Prohibitorum status: Justice Potter Stewart's famous statement, "I can't define pornography, but I know it when I see it"... [Jacobellis v. Ohio, 378 U.S. 184 (1964) (Stewart, J., concurring)].
An exhibition catalog: not normally included in a history bibliography, but in this case a beautifully-done catalog describing the greatest treasures of the BN collections -- useful sometimes, in researching the detailed history of an institution, to remember why they bothered...
-- reviewed in my FYI France ejournal, January 15 1996 issue:
Excellent architectural descriptions, in French, of 15 of the leading "grand library" construction projects taking place throughout the world -- Alexandria, Copenhagen, London, New York, Beijing, San Francisco, etc. -- including a very good piece on the Bibliothèque François Mitterrand, by Jacqueline Leroy (see next entry, below). The volume is particularly distinguished by an erudite article by Michel Melot -- former conservateur of the BN's cabinet des estampes, first director of the Centre Pompidou's Publique d'Information, and former president of the Conseil Supérieur des Bibliothèques -- asking several of the difficult questions, some of them unasked by those involved in projects, concerning the continuing construction of large buildings in an age of online digital information.
The problem of information access by the "general public": a central problem of the BFM's development debates, and the looming central issue -- along with "international" users' access -- of the Internet. The "information systems" which have been and will be said not to need homes such as the BFM.
Analysis of a unique and early French approach to the problem of "general public" information access -- the Minitel -- an approach which the Internet in fact is beginning to take. Also, the entire question of who -- which nation, which culture -- will dominate "information", as it frees itself from "location".
The looming problem, so feared by Umberto Eco among others, of what to do about preserving information as the books disappear, also what "digitisation" really means -- facts and figures -- in a library context.
Online publication -- by publishing firms themselves -- and what this might mean for libraries, publishers, and readers, particularly in the French libraries case: libraries as information systems.
Overview of the BNF / BFM project, posing the question of what happens when the money runs out -- as it was, then -- and worrying, back before Marne la Vallée was being taken all that seriously, that the budget for "informatisation" might be come to be sacrificed and that all that might happen would be the transfer of the books to Tolbiac... J. Attali worried publicly about this a lot, too...
The Paris journalists were not kind to the President about the BFM.
The idea for "what to do about the old BN at rue Richelieu after the books have moved": now on hold, like so much else in France these days (1997), "until we get the money".
Dimensions of the greatest problem facing library print collections today, at the BNF as elsewhere.
Glossy brochure showing several of the major changes made to the BFM as the initial development stages proceeded.
One of the original pro-BFM glossy brochures.
A very helpful and well-illustrated series of brochures on the BFM.
A full press package, containing an impressive array of materials displaying the original aspirations of the project's architect and proponents.
One of the original anti-BFM Paris journalistic broadsides.
Thoughtful observations on both the management and the difficulties of management of any BFM-like project.
Thoughtful observations on the management of such a large and revolutionary library undertaking, by one who was involved early in the process at the BFM.
Journalistic account of the UC Berkeley colloquium. Initial issue of FYI France, in four installments.
A charming and highly-recommended introduction both to the personality of Le Roy Ladurie, and to the entire BN => BNdeF project and controversy. Le Roy Ladurie is an eminent French historian, and he was the "administrateur" and thus chief shepherd of the BN during the critical BFM development process. Reproduced as "My Everydays" in Bloch and Hesse eds. Future Libraries. (Berkeley : University of California Press, 1995) ISBN 0520088107, 0520088115. p. 116 (cit. above).
A good example of a well-done presentation of the project by a foreigner, to a foreign audience: there has been much foreign interest in this French national library project.
An early take on the severely difficult, and rapidly increasing, preservation problem which is building to a critical mass inside the BNF collections, as it is now in most paper materials libraries.
A fine, small book giving an excellent and concise BN history, projecting this smoothly into the future BNF which its authors hope will be realized. Jacqueline Melet-Sanson, a BN librarian, has been one of the principal leaders in the BFM project.
An important document: the original report ordered by President Mitterrand which analyzed the need for a new BN and laid the groundwork for what was to become both the BNF and the BFM.
An early version by Le Roy Ladurie of his adventures as BN administrateur, perhaps to be read together with his 1992 presentation described above.
These four magisterial volumes offer (nearly) all that anyone could ask for by way of an introduction to the history of libraries in France. Fascinating and detailed articles by a variety of experts, with good bibliographies. See also Histoire de l'édition française, published by the same house beginning in 1983 (below).
A study of these four volumes, combined with same of the four published by this same house beginning in 1988 on Histoire des bibliothèques françaises (above), will give anyone interested a superb overview and starting-point, for a full appreciation of the historical significance of the Bibliothèque Nationale.
See annotation above, for the 1998 edition.
*** This book I would recommend personally, as one of the fundamental analyses necessary for the understanding of the BN's history -- in this case the transition from 19th century conceptions of libraries and librarianship, which rarely involved the "grand public", to 20th century ideas, which always have. Many of the greatest battles over the conception of the BN itself -- whether to restrict access or to allow the general public in, what to collect and where and how to collect it, whether to preserve a library "of last resort" and if so how to provide student and public information access in central Paris, and recently whether to create a BNbis or to create something entirely new and different -- can most easily be understood, in their historical and developmental contexts, by a reading of Hassenforder's elegant and lucid little book.
Julien Cain has become one of the famous figures of the BN's history: "administrateur" of the BN at the end of the 1930s, he was deposed by the Nazis for his "Jewish origins", and reinstated after the war.
Mandatory reading for anyone interested in Paris, France, decentralization, telework and telecommuting, suburbs, an architectural "sense of place", and the notion that in France "all roads lead to Rome / Paris". Locus classicus for much of French city and regional planning thinking and decentralization policy, including much which affected the Bibliothèque Nationale -- ever since the book first appeared, although often more for its title than for its contents...
Interesting perhaps as much for its timing as for its subject -- an indication of French attitudes, perhaps, on the thorny questions of "Empire", at a time of turmoil in 1930s France and in the rest of Europe.
A wonderful little book, beautifully-produced -- a pleasure to read as much for its interesting content as for the tender loving care with which 19th c. antiquarians produced their objects.
Cornerstone of librarianship... the beginnings, in the printed text's version of librarianship, anyway...
Exposition from April 9 to July 19, 2015
(tr. JK) "Major Italian film-maker, hero of the Modern Cinema, Antonioni profoundly influenced the visual arts from the 20th century to our day. This exposition devoted to him was born at Ferrara, his native city. His archives are there, they permitted Dominique Païni to envisage a beautiful exposition developing little-known aspects, and others already well-known, of a life consecrated to the cinematographic art, the ensemble representing an impressive trajectory... The exposition is mounted at the Cinémathèque, accompanied by a catalog containing texts, documents, and testimonials." --
-- worth a visit / worth a journey... even from Beverly Hills, gasp!... see ourselves as others have seen & now see us, maybe even see the others...
"En 1816, L'Ecole emménage définitivement en l'Hôtel de Vendôme à Paris et la bibliothèque prend possession de salles au rez-de-chaussée Nord qu'elle occupe encore actuellement. Elle s'étend progressivement dans l'aile édifiée en 1840; enfin en 1926, la grande salle de lecture, édifiée sur une partie de la cour, est inaugurée par le maréchal Foch, lors de la remise de la Croix de Guerre à l'Ecole."
"Durant le 19ème siècle se constitue, par l'achat systématique des grandes collections de périodiques et des ouvrages utiles aux professeurs comme aux élèves, un fonds technique solide, orienté mines et métallurgie ; le dépôt des oeuvres des professeurs et des ingénieurs des mines, notamment lors de l'élaboration de la première carte géologique de France, l'archivage des travaux d'élèves, principalement des Journaux et Mémoires de Voyage le complètent remarquablement ; il est de plus renforcé par les attributions de l'Etat. La première moitié du XXème siècle le voit s'enrichir aussi d'ouvrages du XVIème et XVIIème siècle de géologie, minéralogie et métallurgie grâce à de beaux legs de bibliophiles anciens élèves."
"The catalog describes only a part of the collections. For now neither the periodicals nor the iconographic documents, nor nearly half the collection of monographs, are included. Subject searching remains problematic as of 2006. We encourage the consultation of the printed catalogs, in the library, for complete research."
The library of the Institut national d'histoire de l'art is to be the result of the fusion of three great art libraries:
Altogether the collection is to represent, at its opening, an impressive total of about 1,340,000 documents.
The collections and the associated services will be offered in the historic premises of the Salle Labrouste of the Bibliothèque nationale de France, and in four nearby shelving areas. A large part of the collections -- about 275,000 documents -- will be available in open stacks to readers.
"Created in 1996, the multimedia library is intended for a specialized population of students, instructors, researchers, scientists, musicians, professionals working in the domain of music, but also welcomes music lovers and those curious to learn more about artistic creation and sciences.
"Books, scores, periodicals, theses, sound recordings, films, and program notes can either be consulted in situ in the reading room or borrowed (how to borrow materials). Our databases provide numerous musical and scientific resources online.
"-- Our collection houses approximately 13,000 books on music from 1945 to the present (theory, aesthetics, composers, instrumental techniques), science and technology for music and sound (sound signal processing, instrumental acoustics, room acoustics, computer music technology, psychoacoustics). The ensemble is contextualized with the presence of works on history, philosophy, linguistics, and sociology.
"-- Over 50 subscriptions to periodicals that cover the domains of musical creation, computer music, acoustics, perception, and technologies for sound.
"-- Over 400 dissertations and theses in musicology and acoustics, signal processing and computer science applied to music.
"-- Nearly 9,000 scores, essentially works from the 20th and 21st centuries, particularly works from the repertoire performed at IRCAM. Approximately 1,000 volumes of critiques from the Baroque to the modern period are also available.
"-- Approximately 1,300 recordings dedicated to the music of the 20th century and today and 200 films (portraits of composers, documentaries, recordings of performances).
"-- Databases accessible online from terminals in the reading room: the Grove (a dictionary of music and musicians), the RILM (International Repertory to Music Literature, from 1967 to present), the IIPA (International Index to Performing Arts), and the IIMP (International Index to Music Periodicals).
"-- An information database on contemporary composers: Brahms. This database was entirely redone in 2007 and has been progressively brought up to date. It offers numerous biographies and catalogs of works (with detailed notices and program notes). Aesthetic texts written by musicologists relating the lives of the great figures of the music world from 1945 on. Detailed research modules on works and composers make very advanced searches possible. Users can search by orchestra size or musical genre, for example.
"The multimedia library collects and conservers the sound and/or visual traces of events organized by IRCAM since its creation in 1977. The archives include over 1,200 concerts, other events (conferences, workshops, debates), and 800 program notes representing the institute's memory. This collection (the Archiprod database) is constantly added to with each new event. The complete sound archives are available only in the reading room at the multimedia library for copyright reasons. Three-minute long excerpts can be heard online. Program notes can be consulted in their entirety online.
"Recently, IRCAM has developed an audiovisual activity based on the elaboration of works created at IRCAM (the series Images of a Work) or on the research carried out in the institute (notably the IRCAM Snapshots series). These films can be seen on the Resources portal and on Dailymotion.
"Work by the IRCAM researchers (articles, reports, dissertations, contributions to a colloquium, etc.) are referenced in the Architexte database. This database functions according to the principle of open archives; the goal of which is to encourage the free dissemination of scientific publications.
"In 2007, IRCAM and other organizations with large collections in the domain of contemporary music came together to create a gateway. This gateway provides a common interface enabling users to peruse a number of catalogues and database, facilitating the localization of resources.
"The founding partners of this project are the IRCAM multimedia library, the Cdmc, the Médiathèque Musicale Mahler, the Conservatoire national supérieur de musique et de danse de Paris, the Cité de la Musique, and the Ensemble intercontemporain. Twenty other institutions have joined the gateway since its inception."
"IRCAM, the Institute for Research and Coordination Acoustic/Music, is one of the world's largest public research centers dedicated to both musical expression and scientific research. IRCAM is a unique location where artistic sensibilities collide with scientific and technological innovation. Frank Madlener has directed the institute since 2006. IRCAM's three principal activities - creation, research, transmission - are manifest in IRCAM's Parisian concert season, in the institute's annual festival, and in productions throughout France and abroad.
"IRCAM is a major center of musical creation as well as being a production location and a unique residence for international composers. The institute's season is full of unique encounters with composers and artists from the contemporary stage and it supports contemporary composition with a commission policy. Numerous artist-in-residence programs result in the creation of multi-disciplinary projects (music, dance, video, theater and film). Finally, the institute's annual festival, AGORA, makes contemporary music creation available to the public.
"In the realm of music and sound, IRCAM is on the cutting edge of scientific and technological innovations. Research, carried out in partnership with several universities and international companies, covers a broad spectrum of scientific disciplines including acoustics, signal processing, computer science (languages, real-time, databases, man-machine interfaces) musicology, and musical cognition. IRCAM's scientific findings are often applied to other artistic domains (multimedia, fine arts, or live performances) as well as to diverse fields in the industrial world such as cultural industries, telecommunications, computer science, and transportation and automotive.
"IRCAM is also a center for computer-music education. The institute is a reference point for professional training thanks to its Cursus program and workshops carried out in collaboration with researchers and composers from different countries. IRCAM's educational activities also include the general public and the institute has developed interactive teaching software programs in collaboration with the French Ministry of Education and music conservatories. IRCAM also offers a university-level program in collaboration with the University Paris VI. This master's program, ATIAM, concentrates on signal processing and information technology applied to music.
"Since 2006, the institute's artistic policy has become the guiding principle for the institute. A series of reforms has invigorated artistic creation and technology as well as their transmission to the public. The concert season has been reformed with numerous co-producers and with new aesthetics. The Performing Arts Technology team has been reformed by moving it from a laboratory to musical and performance stages. The Cursus Program has been reformed by extending it to a two-year program and by working with new partners. The documentation of musical works has been reformed so that the transmission and continuity are assured. The 'Compagnie IRCAM', a company that brings the IRCAM repertoire to stages in France and abroad has been created. Cultural outreach and an journal of the artistic creation carried out at the institute as well as other means of communication with the general public have also been put in place. These changes place IRCAM at the heart of a shared space.
"Founded by Pierre Boulez, IRCAM is an institute under the aegis of the Centre Pompidou and the French Ministry of Culture. Since 1995, IRCAM and the CNRS have come together to form the mixed research laboratory (Sciences et technologies de la musique et du son - UMR 9912)."
"A learned physician, Naudé, famed author of a treatise entitled Advis pour dresser une bibliothèque (1627), took on the task of setting up Mazarin's own library thus making it the most important privately-owned and run library in Europe : by 1652 it contained close to 40,000 items. For the sake of posterity, Mazarin decided that his library would become part of the future Collège to be founded according to his will dated 6 March 1661.
"During the French Revolution, due to its public nature and the strong commitment of its librarian, Abbé Gaspard Michel better known as Leblond, the Bibliothèque Mazarine was the happy recipient of the items confiscated for political reasons from monasteries or from the Émigrés. Since then, the library has not ceased to expand through the acquisition of recent publications, through the legal requirements of registration of copyright (Dépôt légal) and important donations.
"The Bibliothèque Mazarine, which in 1945 was joined to the Institut de France, located since 1805 in the Collège des Quatre-Nations, is dependent on the French Ministry of Education. The Bibliothèque Mazarine's reading room, restored between 1968 and 1974, recreates the surroundings of an important XVIIth century library and, over three hundred and fifty years after its foundation, remains an institution accessible to all, to the merely curious or the learned, nationals and foreigners."
Collections: 37,500 documents -- chiffres 2016
"D'une superficie de 1000 m², la bibliothèque Canopée proposera un modèle d'organisation original avec un espace « chaud », zone conviviale et propice à la détente, et un espace « froid », plus calme et traditionnel.
"Ouverte du mardi au dimanche de 12h à 19h, la bibliothèque aura vocation à accueillir, sans exclusive, aussi bien les familles du quartier avec leurs enfants, que les adolescents et les jeunes adultes ou les publics malentendants, puisqu'elle disposera de collections et services labellisés « pôle sourds ».
"Construite au-dessus de la plus grande station de métro d'Europe, la nouvelle bibliothèque sera un lieu de culture et de vie destiné aux usages traditionnels comme aux pratiques nomades, grâce à un service de prêts de liseuses électroniques favorisant la lecture en mobilité.
"Pensée pour répondre à des besoins d'information et de loisirs, la bibliothèque Canopée offrira un fonds de 35 000 documents multi-supports (livres, CD, DVD). Elle cherchera également à développer la sociabilité et les démarches participatives, dans un cadre contemporain et chaleureux au travers d'ateliers coopératifs numériques.
"Enfin, la bibliothèque sera parfaitement intégrée aux équipements culturels de la Canopée et des Halles, proposant des programmations communes, des actions et des services en synergie, notamment hors les murs. Attenante au centre culturel hip hop, elle sera ainsi pourvue d'un fonds de 3 000 titres dédiés aux cultures urbaines, avec l'ambition de devenir un lieu de référence pour les chercheurs et amateurs de ce mouvement culturel."
L’espace 3C : connecté, créativité, convivialité
"D’une surface de 375 m² il est consacré aux animations, aux ateliers, à l’accueil. Il offre un espace chaleureux de convivialité où l’on peut consommer entre amis ou en famille une boisson chaude ou froide. Il est possible d’y téléphoner, d’y discuter… sans craindre de rompre le silence. Un bar à mangas vient compléter l’accueil dans cette première zone de la bibliothèque. On y organise des projections, débats et spectacles vivants. Dans cet espace sont également organisés des ateliers avec les postes multimédias ou nos machines à commande numérique tels que les imprimantes 3D, legos Mindstorm, jeux vidéo…"
"Cet espace à l’ambiance plus traditionnelle est propice à la lecture dans le calme de la presse ou des livres. D’une surface de 380 m² et doté d’une grande baie vitrée, il offre dans un cadre reposant une vue panoramique sur l’église Saint-Eustache et le jardin Nelson Mandela. L’essentiel des collections ainsi que de nombreuses places assises confortables seront disposées dans cette zone."
"Cet espace pour les enfants de 135 m² rassemble l’essentiel des collections dédiées à la jeunesse dans un cadre permettant la lecture individuelle ou en famille. Il se veut un lieu chaleureux, de vie et d’éveil, développant la créativité des enfants et les rendant acteurs de l’animation et du choix des collections. Il est destiné à accueillir les enfants de la naissance à la préadolescence. L’équipe est formée à l’accueil en langue des signes française et comprend deux agents sourds."
"This institution, named after one of the most universally acclaimed composers of the 20th century, was founded in 1986 by the noted musicologist Henry-Louis de la Grange and the music-critic Maurice Fleuret, who wished to make available to a large public their extensive collections of books, recordings, periodicals, and personal archives related to 19th and 20th century music. Since its opening, the library's collections have been regularly enlarged and updated, and it stands today as one of the most remarkable treasure-troves in the French capital for anyone -- composer or musician, musicologist or music student, orchestra conductor or festival director, radio or television producer -- whose professional activities are linked to the world of classical music.
"International in scope, the Médiathèque Musicale Mahler in Paris receives many visitors from outside France (in particular from Europe, the United States, and the Far East) who value the unique richness and historical significance of its collections. A full third of its users currently come from abroad..."
The Médiathèque Musicale Mahler in Paris offers a truly exceptional series of collections of classical music :
"La Médiathèque Musicale Mahler est connue bien au-delà de nos frontières pour la valeur et l'importance historique de ses collections : un tiers des visiteurs viennent de l'étranger (Allemagne, Grande-Bretagne, Scandinavie, États-Unis, Extrême-Orient...).
"An institution originally dedicated entirely to music, the Médiathèque musicale de Paris, initially called the Discothèque des Halles, was one of the first publicly-accessible municipal services established, in 1986, in the new Forum des Halles by architect Paul Chemetov, following a new idea of creating both a public library and a specialized library.
"From its beginnings the MMP was dedicated to reaching the largest public possible, with the development of a vast lending-library médiathèque, offering the largest choice in Paris of multimedia documents about music -- cds, scores, and books both informational and fiction, also videos, and dvds -- the original plan also foresaw a research purpose, with the establishment of a large bibliothèque d'étude (centre de documentation). For its patrimonial purposes, a collection of sound disks was established (from 78 rpm to compact disc), something which at the time was little-developed in France.
"Built in part upon the famous collection of 40,000 phonograph records of the Discothèque de France, granted it by the City of Paris in 1986, the sound archives represent a veritable catalog of the history of recorded sound publishing. Regularly enriched through its policy of purchases and gifts, the collections, available for listening on the premises, are among the most important held in France. The exceptional diversity, which established the MMP as a pôle associé of the Bibliothèque nationale de France for sound documents, gives the médiathèque a position of national importance.
"Even though the phonograph record still is not considered by many to be a national patrimony item, the collection, which contains 80,000 items today, benefits from regular additions, coming from deaccessioning in other public libraries, as well as from acquisitions and significant gifts, such as the Peroy Collection of movie sound tracks, recently acquired. At the same time, recent document formats such as compact disks, as well, from their introductions have been the target of selective acquisitions, to assure their conservation. And, although they are less prevalent in the collection, currently numbering only 5,000, older formats such as 78 rpm recordings include many rare treasures, such as the exceptional spoken-word collection, Don Poilvé, of which the digitization project now under way is one of the first efforts of its kind in its field.
"The resolutely-patrimonial preoccupations of the sound archive are represented too by its documentation center, where the printed works collection available for consultation on the premises will satisfy the most exacting research needs of a public of specialists, researchers, music experts, and enlightened music-lovers. There one may find, ranged alongside a research collection of 8,000 works covering all forms of music, in French and foreign languages, a collection of over 1,500 reference works in open access: including grand dictionaries and encyclopedias, generalist and specialized, "catalogues raisonnés" of the works of composers such as Bach, Beethoven, Haydn and others, and bibliographies -- and, also for consultation on the premises, a very rich collection of music periodicals, 500 titles held and 180 subscriptions, where may be found the complete series of many reviews such as Jazz Hot, as well as Salut les Copains or the Revue de Musicologie.
"Also of interest are the 10,000 or so music scores, a veritable panorama of the history of French song, from Aristide Bruant to contemporary French-language song, and the collection devoted to dance, and that for fiction with musical themes, both novels and bandes dessinées). Finally, completing the list, there is a collection of scores of the grand classical repertoire, including miniature scores of operas, for singing and piano, and symphony music for four-handed keyboard, and "real books" collections of "standards" of jazz and of American variety-show music."
On their Facebook page:
"The Bibliothèque municipale de Périgueux is a public service charged with providing leisure activities, information, documentary research, continuing education, and cultural activity to the population, in the spirit of the Charte des bibliothèques adopted by the Conseil supérieur des bibliothèques (1991) and the Manifeste de l'UNESCTO sur la bibliothèque publique (1994).
"The Bibliothèque municipale de Périgueux has a double mission --
"In the richness and the diversity of its fonds anciens and fonds patrimoniaux, the Bibliothèque de Périgueux is one of the principal libraries of Aquitaine: 2,300 manuscripts, of which the oldest date to the XIIth century, 62 incunables, about 50,000 books, journals, maps, plans, prints, photographs.
"At the central library and in all the neighborhood libraries, 130,000 books, 286 journals and reviews, 22,000 cassettes and CDs, 1,000 music scores, over 4,000 DVDs, and online resources (reviews, databases, blogs, websites, etc.) are available. In each place librarians are available. 35 multimedia posts provide access to the catalog, to selected digital resources, and to the Internet, in all of the reading rooms and annexes. These posts are freely accessible ; some services such as printing or access to public digital spaces require a library card."
Situated on the Ground Floor of the Médiathèque, the Adults area offers resources which may be borrowed as well as those reserved for use in the médiathèque.
For use in the médiathèque:
"It includes old documents but also recent works of all origins, formats, and medias. This collection is multimedia: monographs, periodicals, academic publications, clippings files, photographs, reprints, prints, maps and plans, audiovisual and sound files... Thematic collections offer information gathered from varieties of documents: for example the Chauvet Grotto, the silk and leather industries, chestnuts...
"The documents come from gifts made by associations, the authors, the inhabitants of Privas, the Amis de la Médiathèque: Georges Charensol, a native of Privas, and his family, have donated to the Médiathèque some 3,000 books from his journalist's collection.
"The Fonds Vivarois also has been assembled from purchases made by local booksellers, rare book dealers, and at auctions.
"The Fonds thus is of interest to a variety of readers: local learned folks, university researchers, students, school children, inhabitants of the commune and the Département, and other interested members of the public."
"The catholic edifice erected in 1686 at the Maison Commune is an outstanding symbol of local history: it was the meeting-place for city councils and the place of worship for Protestants when Privas was a Huguenot stronghold.
"At the Révolution, the confiscations from the libraries of monasteries and convents, as well as those of émigrés nobles of the Ardèche Méridionale fell to the city of Privas which had become a Préfecture in 1791, chosen for its central location in the Département.
"About 1,500 volumes came to us, including seven manuscripts and 6 incunables. One of the manuscripts is notable: that of Caesar Defages, caporal of the huitième escouade des gentilshommes de Besançon, who began his book in 1693 with a Traité de géométrie pratique which was followed by a Traité de fortification. He noted on the endpages the birth and baptism dates of his ten children, events which took place at Aubenas: one of his sons would continue this family register.
"The oldest incunable, printed in 1473 at Strasbourg by J. Mentelin, is Speculum historiale de Vincent de Beauvais, which came from the library of the Couvent des Augustins at La Voulte-sur-Rhône.
"The collection of works is representative of the grand classical disciplines, with a dominant religious orientation, including several controversial works and with a predilection for accounts of voyages.
"It is important to indicate the former-owners, of the most remarkable confiscations -- until recently the location of their works was not known. These are the Cistercian monasteries of Mazan and Chabons, the Chartreuse at Bonnefoy, the convents of the Capucins at Villeneuve-de-Berg, of the Dominicans and Franciscans at Aubenas, of Oratoriens at Joyeuse, Benedictines at Lavilledieu, and Augustinians at la Voulte.
"Among the émigré nobles, there are the names de Joviac, de Vogüé, and de Launay d'Antraigues. From a star pupil of the Lycée Louis-le-Grand, Alexandre de Rochemore, several books of great value were obtained.
"In the 19th century, the growth of the collection continued thanks to the gifts of government ministers, the subsidies provided by the city, and individual gifts which were numerous although in smaller quantities, such as the law books of the lawyer Gleizal. Among the 4,500 volumes and periodicals there is the monumental Description de l'Egypte published on the orders of Napoleon.
"In 1912, the departemental archivist asked the library to accommodate several hundred works coming from the sequestration of the library at the Grand Séminaire de Viviers. Also there is a collection of 19th century works on animal magnetism, from the library of the Chanoine de Contagnet, and a very rare Histoire de Madagascar, by Estienne de Flacourt, published by Peirre Bien-Fait at Paris in 1661.
"The treasures of the library were made accessible by the city through a public reading project launched in 1982. At the same time, there was a great effort made to the restoration of the fonds ancien and to the enrichment of the local history collections. While it undertook this work, the médiathèque also anchored the patrimony in the current literary and artistic Vivarois, with the acquisition of the works of poets Jacques Dupin, a native of Privas, Jean-Pierre Geay and his painter friends, and the painter Roger Dérieux, illustrating his poet friends.
"The gifts of the works of the abbé Jean Charay in 1990, of the Toussaing-Paret collection of the Journal de Privas, and of the mémoires de maîtrise of students who have consulted the collection documents, create yet another dynamic in the enrichment of the patrimony."
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