Located in a magnificent green setting in the heart of the city, the Massey Museum was born out of the dreams and desires of a man from Tarbes, Placide Massey. Placide Massey was the manager of the Le Trianon tree nursery and the vegetable garden of the Queen at Versailles. On his retirement he decided to build a villa on land purchased in Tarbes, where he had already created a park planted with rare species. On his death in1853, he bequeathed some of his properties to the city of Tarbes: a remarkable garden and an unfinished project for a museum, an oriental style building, dominated by an observation tower looking on to the Pyrenees, the work of the architect Jean- Jacques Latour. The town has since fulfilled the gardener's dream: the rare species garden has now been given the label of "remarkable garden" and is open for everyone to enjoy and the museum has been given the label "Museum of France".

The Massey Museum is closed to the public as the building and its collections are currently undergoing a large-scale phase of reconstruction and renovation.
In 2005 the works were entrusted to the Parisian architectural firm Dubois et Associés, who have outstanding references testifying to their sound experience in redeveloping museums: the Museum of Fine Arts in Caen, Museum of Fine Arts in Lyon and the Toulouse Lautrec Museum in Albi. In 2009 the Massey Museum's collections were transferred to modern and practical stores installed on the site of the former weapons store, the 103. This completely renovated former tobacco factory is now a "centre for conservation and heritage studies" and is also home to the city's archives. Now emptied of all its objects, the Museum can at last undergo a face lift. The work that started in June 2009 will be finished at the end of 2011. The façade already offers a glimpse of the quality of the restoration work in anticipation of the interior renovations. The public will be able to visit a modern building designed to respond to the requirements for conservation of the public collections, as a record of society and respond to the expectations of as wide an audience as possible. Everyone, whether or not they are an expert, should be able to experience a moment of pleasure, conviviality or culture in this magnificent setting.
The tour covers the first two floors where the museum's two largest collections are to be displayed: the historical collection of the Hussars and the fine arts collection. The ground floor and some of the first floor will be devoted to the history of the hussars. The two large rooms on the first floor have been reserved for displaying the fine arts collections. 1 - The international Hussars collection: The Hussars collection was built up from 1955 onwards by Marcel Boulin, who was then the museum curator. This collection, which is now of international importance, links the breeding of Anglo-Arab horses with the presence of the regiments of Hussars in garrisons in Tarbes. The public displays in the new museum will present the chronological history of the Hussars from 1545 to 1945.
The major stages in the museum tour will put the emphasis on the tactical originality which gave birth to the "hussar phenomenon", to its expansion across the world from the 16th to the 20th centuries and to the continuity of its Hungarian origins in the identity and the role of Tarbes as a place where this is preserved for France. Two hundred full-sized models and busts, six hundred weapons and a hundred paintings by artists such as Horace Vernet, Ernest Meissonnier and Edouard Detaille will tell the eventful history of the hussars from thirty different countries. Epic events as well as more personal ones will be recalled through accurate text, original exhibits, specially selected illustrations and the use of new multimedia technology.
2 - The fine arts collection Achille Jubinal, a lover of art and Member of Parliament for the Hautes-Pyrénées département, was the founder in the 19th century of the Massey Museum's fine arts collection. He formed his collection of major works from the Italian school of the 16th and 17th centuries, the Dutch and Flemish schools of the 16th and 17th centuries and the French schools of the 18th and 19th centuries through an intermediary network of friends and political connections. His initiative led to further donations, such as those from the Fould family and the Academic Society of the Hautes-Pyrénées. Other important works granted by the State came to further enrich the collections. In the new rooms on the first floor the Massey Museum will display a selection of the most distinctive works. The setting up of temporary exhibitions will provide a greater insight into the works held in the stores. The public will thus be invited to discover and enjoy the masterpieces displayed on a themed tour, where mythology and the religious arts have an important place.
Massey Museum Mairie de Tarbes Massey Museum- BP 1329 65013 TARBES cedex 09 Tel.: + 33 (0)5.62.44.36.90 E-mail: musee@mairie-tarbes.fr

The Franco-Swiss Museum in Rueil-Malmaison is in the former guardhouse of the Swiss barracks in Rueil-Malmaison. On its two floors it presents the history of this elite regiment that became permanent in 1616. History of the Swiss Guards The place where this brand new Franco-Swiss Museum was created is the most appropriate that could ever be imagined, for not only is it in Rueil which was once one of the most Swiss areas of France, but it is in the very place occupied by the famous regiment of Swiss Guards created by Louis XIII in 1616. For decades the population of Rueil lived in close contact with the Swiss Guards, who became an integral part of their daily lives, to the point of becoming integrated into the families of Rueil. In 1755, Louis XV had a barracks built in Rueil by Charles Axel Guillaumo to house 800 guards from the 2nd battalion of the Swiss Guards regiments, who had formerly lodged with local families. The destruction of the regiment would not mark the definitive end of a Swiss presence in Rueil. Under the Restoration, between 1816 and 1830, the barracks was to welcome back two battalions of Swiss Guards.

The museum Of the three barracks required under Louis XV to house the Swiss Guards, the only one that survives is the one in Rueil. The Courbevoie barracks was destroyed in 1962 and the one in Saint-Denis demolished in 1969. Shortly afterwards, on 28th August 1974, the façades and roofs of the main building and the four houses on the barracks road in Rueil became listed as historic monuments. The museum is in the former guardhouse of this barracks, the only one to survive of the three that were built at the same time. On its two floors it presents the history of this elite regiment that became permanent in 1616.
Franco-Swiss Museum Guardhouse of the Swiss Barracks (Guynemer Barracks) 5, place du général Leclerc 92501 Rueil-Malmaison Tel.: 01.47.32.66.50 Fax: 01.47.32.12.58 Opening Times Every Thursday from 2.30 pm until 6 pm By appointment Closed for annual holidays in July and August Charges Entrance charge: 2 €

Housed in a former school since 1890, the current town museum of Châteaudun was set up in 1864 by the local archaeological society, to conserve local archaeological finds. Over time, the collections have been added to by Egyptian and African objects and, in particular, pieces connected to local history during the Franco-Prussian War.

History of the museum and collections The Musée des Beaux-Arts et d’Histoire Naturelle de Châteaudun was founded in 1864 by the Société Dunoise d’Archéologie, with the goal of preserving local heritage. From the beginning, the archaeological society received many donations from scholars, collectors and scientists.

Among them was the archaeologist Émile Amélineau (1850-1915), who discovered the royal tombs of Abydos in Upper Egypt (1st and 2nd Thinite dynasties). Archaeology and Egyptology
therefore form the cornerstones of today’s collections.

During the course of the 20th century, the museum of the Société Dunoise grew, as paintings, art objects and birds were added to its collections. Meanwhile, the town of Châteaudun received donations and bequests, as well as public loans: the Campana collection, 19th-century paintings, etc. The original museum, housed in the town hall, was transferred for a time to the Chateau of Châteaudun. Then, on 19 August 1890, the town council and the Société Dunoise signed an agreement for the museum to be installed in a former school. In 1897, the size of Marquis Léonce de Tarragon’s bequest to the town meant that an extension to the building was required, with a gallery containing 3 000 specimens of birds and mammals, which are still the making of the museum’s natural history collection today.

In 1952, the Société Dunoise d’Archéologie entrusted the collections to the municipality, while maintaining ownership. The museum therefore came under municipal control. Since then, many new acquisitions have added to the collections, not least the Wahl-Offroy donation in 1971, of art objects from the Near and Far East: ceramics, miniatures, weapons, etc. With a room devoted to the Franco-Prussian War of 1870-71 and a reproduction of a Beauce interior from the early 20th century, Châteaudun’s town museum presents a diverse selection of objects that show the tastes of collectors and donors past and present.

The Franco-Prussian War room Overlooking Rue Louis Baudet, the museum’s second room commemorates Châteaudun’s resistance when it was besieged by the Prussians in 1870. On 18 October that year, the town was attacked by a 12 000-strong German infantry division. A group of 1500 francs-tireurs from Paris, national guards and firemen put up a brave defence. At their head was the Count of Lipowski, a graduate of Saint-Cyr military academy, decorated with the Légion d’Honneur. After the siege, General Von Wittich’s victorious troops set fire to the town, and its motto became Extincta revivisco, meaning “I am born again from my ashes”.

Paintings, engravings, objects, weapons and headdresses present this dark chapter of local and national history. Moullin’s oils and gouaches and Montarlot’s engravings depicting the barricades complement the series of photographs showing the destruction. The display pays tribute to the key figures of Laurentine Proust, Captain Ledeuil and General Lipowski. In the display cases, military paraphernalia is presented alongside mementos gathered from the rubble of the houses. Finally, at the back of the room is the bell from the town hall belltower, dated 1588, damaged by shellfire.
 

Musée Municipal des Beaux-Arts et d’Histoire Naturelle

3, rue Toufaire - 28200 Châteaudun - Tel.: +33 (0)2 37 45 55 36 Fax: +33 (0)2 37 45 54 46 (town hall – specify “Service Musée”)

Email: musee@mairie-chateaudun.fr

Opening hours:

Open daily (except Tuesdays, 25 December, 1 January and 1 May), 10 am to 12.30 pm
/ 1.30 pm to 6.30 pm, from 1 April to 30 September, and 10 am to 12 noon / 2 pm to 5 pm, from 1 October
to 31 March. Open Monday to Sunday, non-stop from 10 am to 6.30 pm, in July and August.

Group bookings for adults or children can be made on any
day except Tuesday.

Learning materials available on request.

Admission:

Adults: € 3.32 Under 18s: Free Guided tours (for groups of
more than 20 people only): € 2.99 School parties Châteaudun school: Free Others: € 1.29

Cycle of four themed conferences: € 43.85

Combo ticket: Museum and Chateau of Châteadun: € 7

Town of Châteaudun

The Saint-Denis art and history museum is housed in the town’s former Carmelite convent. Founded in 1625, the convent was enlarged by Louis XV’s daughter, Madame Louise of France, following her time there from 1770 to 1787.

The building was bought by the town council in 1972 and has been used as a museum since 1981. The archaeology collections in the old refectory display the results of digs carried out since 1973 by the Saint-Denis Archaeology Unit. Between 1973 and 1992, 33 000 objects were unearthed, added to which are millions of potsherds, animal bones and building materials.

They constitute an important documentary record of everyday life in the Middle Ages, from various angles: home and crafts, music and games, cooking and diet, clothes and jewellery, etc.

The former sacristy, converted into a parlour in the 18th century, houses the collections from the old hospital: paintings, sculptures, decorative ironwork and many documents on hospital life under the Ancien Régime.

An adjoining room known as the “Apothecary’s Room”, presents a remarkable series of pharmaceutical ceramics produced in the workshops of Rouen, Never and Saint-Cloud. Restored cells on the first floor give an insight into the workings and everyday life of the convent.

A reconstruction of Louise of France’s cell adjoins a display of liturgical ornaments, monastic artworks, Guillot canvases, and masterpieces like Laurent de la Hyre’s triptych Mary Magdalen at the Foot of the Cross or François Perrier’s St Augustine offering his heart to the Baby Jesus.

Split between two floors of the Louis XV pavilion, the Paul Éluard collection sheds light on the private life and political engagement of the poet and co-founder of the Surrealist movement, through original documents (manuscripts, letters, photographs), original editions, personal belongings and books from his own library.

Still on the second floor, in the 350 sqm of apartments where Louis XV’s daughters stayed when visiting the convent, is an important collection on the Commune and Sieges of Paris.

The collection, begun in 1930, comprises over 10 000 pieces, including weapons and a wealth of images: Épinal prints, portraits and caricatures of generals, letters, posters, lithographs, photographs, paintings and sculptures by artists of the time: André Gill, André Lançon, Draner, Klenck and Jules Girardet.

Thus, alongside the red flag of the church of Saint-Leu on Boulevard de Sébastopol are Georges Salendre’s bust of Gustave Courbet, Philippoteaux’s Fighting in Père-Lachaise, caricatures by Daumier, Cham and Le Petit, Appert’s photographic portraits of Communards, military illustrations by Bertrall, and anti-Communard photomontages by Bruno Braquehais.

Political posters and periodicals such as L’Île des Pins, a newspaper of Communards deported to New Caledonia, round off the political presentation of events. Objects from everyday life tell of the struggle for survival during the siege.

A collection of old books, historical research by pioneers (Camille Pelletan, Louis Veuillot, Henri Monin), monographs and memoirs of Communards, military surveys (Pichon), books on the caricatures and writings about the provincial communes (Lyon, Bordeaux, Marseille) are all available for researchers to complement their visit to the museum.

Other services

The Cultural and Educational Outreach Service invites the public of all ages to explore the collections through guided tours, activities and workshops.

Meanwhile, researchers can consult the works and documents in the drawing collection, housed in the former convent printing house.

The book and gift shop sells a wide variety of reproductions and postcards in connection with the museum’s collections.

Musée d’Art et d’Histoire de Saint-Denis 
22 bis avenue Gabriel Péri - 93200 Saint-Denis
Tel.: +33 (0)1 42 43 05 10 - Bookings: +33 (0)1 42 43 37 57
Email: musee@ville-saint-denis.fr

Getting there

Metro (Line 13) - Station: Saint-Denis Porte de Paris (exit 4)
Bus: 154, 254, 177, 255, 170
Car: A1 and A86 - exit Saint-Denis Porte de Paris
Parking: Porte de Paris and Basilique

The Naval School of Medicine still looks the same today as it did in the middle of the 19th Century. The objects, works and the way the information is displayed, categorised and staged are just as scholars and doctors 150 years ago wanted. For 20th century visitors, the School of Medicine is primarily a place where they can experience a tangible contact with an exceptionally well preserved scientific imagination. It is a strong, emotional place, opening the doors to a dense history where science, technology, politics and society merge. It provides a glimpse of a state of knowledge that we have inherited. They are the footprints of human endeavour, through which sailors and navy surgeons contributed to breaking down taboos in order to unlock the secrets of the human body and grasp the living world in all its diversity. The history of the place The former School of Naval Medicine is located in a wing of the second Naval Hospital, which opened in Rochefort in 1788. Through its architecture, the building exhibits the latest developments in medicine with regard to the spread of diseases. In this respect it constitutes the first French attempt at multi-wing hospital architecture. It also demonstrates urban concerns in opening up a broad perspective that still influences the development of the town today.

The first naval hospital was opened in 1683, close to the naval shipyard and near the food store. It was inside its walls that Jean Cochon-Dupuy's School of Surgery was established in 1722. The building, still known today as the Charente Hospital, was gradually incorporated into the town. As it became surrounded by houses, it was the cause of numerous problems with epidemics. Typhoid and other fevers that the sailors brought back from their expeditions were transmitted to other patients and regularly spread to the general public. In the 1770's, medicine became concerned about air quality, its chemical composition and its role in spreading diseases. Too cramped and exposed to the unhealthy air from the marshland on which Rochefort is built, the hospital also presented a major fire hazard in the town centre: the destruction of the Hôtel-Dieu de Paris in 1772 stuck in people's minds. As a result, in 1781 the king decided to build a new hospital. Pierre Toufaire, the engineer in charge of works on the port, designed a large scale project, on an enormous H-shaped blueprint comprising a central main building flanked by four wings, with the façade completed by two other wings. These wings were designed to contain patients with the same diseases in order to prevent their transmission. In addition, the skylight above the main building and the wide windows and dormers that let in sunlight created the circulation of air that was vital for the hygienists of the day. In terms of departments, Toufaire planned a rational organisation of the areas allocated to offices, doctors' bedrooms, chapels, treatment rooms and patient reception, as well as areas for training the sea-faring surgeons, who had the use of a theatre, an anatomy laboratory and a library. The Hospital was eventually supplied with running water via a fire hydrant and a system of waste water drainage. It was thus a model Hospital and the most modern in the Kingdom. Topographically, the Hospital is located outside the town centre on a small promontory that looks out over the flat Rochefort countryside. For this reason, it was known for a time as the Hôpital de la Butte (Hospital on the Mound). Toufaire included the building in a plan that linked it with the church of Notre-Dame, also called the Vieille Paroisse (currently the Archaeological Museum), thus opening up an enormous urban swathe that would become the Cours d'Ablois. Even today, after the demolition of the ramparts, this urban programme still influences the development of Rochefort. In use until 1983, the Naval Hospital was privatised in 1989. Only the Wing of the Former School of Medicine is now open to the public.
The school: a historical place Throughout the 17th Century, at the same time as a permanent navy was created in France, it was standard practice to have a surgeon on board warships. Surgeon, a manual profession, was therefore strongly distinct from doctor, an intellectual profession. This sector often included former barbers who knew how to use a few cutting tools and whose expertise was more than cursory. However, the emerging Navy had serious sanitary problems: the living conditions, poor diet and contagious tropical diseases caused a very high mortality rate in the crews. Up until the beginning of the 19th century, sailors were more likely to die from disease than from the after effects of combat. The increased length of campaigns along with the shifting of conflicts to the other side of the Atlantic increased the problems and led to the appearance of a disease that was to become the symbol of naval morbidity: scurvy. For the Navy, preserving the lives of its marines was a major strategic issue. Curing, understanding and transmitting became a matter of State, which was necessary for the very existence of a war fleet, such was the recurrent difficulty to recruit competent marines. In 1704, Jean-Cochon Dupuy, Doctor of Medicine at the faculty of Toulouse and a doctor at the military hospital of La Rochelle, arrived in Rochefort as deputy doctor. He became head doctor in 1712. In 1715, he demonstrated the need to establish a training centre for the surgeons of the Navy. The naval school of anatomy and surgery was inaugurated in 1722. It was the first in the world. Based on this model, the navy opened two other establishments, in Toulon in 1725 and in Brest in 1731. Jean-Cochon Dupuy worked as a teacher and organiser. He wrote anatomy and surgery manuals and set up the every day operation of the School. Requirements for admission were to be over 14 years old, be able to write, shave and bleed and have healthy hands without any deformities. Boys from poor families could therefore be accepted and in this respect the School played an important social role. Students visited patients in the hospital, watched dissections, took apothecary training and followed internal medicine, surgery and botany lessons, which were essential at a time when pharmaceutical drugs came almost exclusively from plants. The degree course was 4 years. Within the school, progression was through passing examinations, a measure of the seriousness of the courses. On the death of Jean-Cochon Dupuy in 1757, his son Gaspard succeeded him and continued his organisational work. At sea, surgeons trained by the School had to fulfil a threefold role, as surgeon, doctor and pharmacist and the course developed accordingly. Above all, the School confirmed its role in caring for patients in the hospital, in training and in research, three functions that are similar to the missions of modern day University Hospitals. Pierre Cochon-Duvivier, the School's third Director from 1788 to 1814, was subject to the upheavals of the Revolution and the Empire. A health council, a sort of Naval Hospital Administration Council, was set up. The completely restructured School reaffirmed its fundamental missions of treatment, training and research. In 1798, it took the name of the School of Naval Medicine and the apothecaries became pharmacists. In 1803, former students of the schools of naval medicine were allowed to adopt the title of Doctor of Medicine by studying for a thesis at the faculty, an essential stage in the promotion of surgery. The curriculum followed that of the civilian schools.
In 1836, new regulations put the emphasis on exotic diseases, anatomy, surgery and naval hygiene in the study programme. Botany was also a speciality of Rochefort. In fact, the training programme was quite broad-based and endeavoured to turn health officials into professionals, whose knowledge lay somewhere between that of the encyclopaedic scientist of the Enlightenment and the highly specialised practices of today. The School was thus far more than just a medical arena, operating as a regional intellectual centre and a place where knowledge was gathered and disseminated. The works in the library and the ethnographic collections bear witness to this. The School was in contact with the whole of the European medical and scientific milieu. Understanding diseases, unlocking the secrets of the human body and improving operating techniques were all amongst its objectives when it was created: dissections, experiments and discussion were the driving forces of the continual quest for cures. It was in Rochefort in 1818 that the first French vaccine was administered, a few months after its development by Jenner; it was one of the School's directors, Amédé Lefebvre, who discovered the causes of lead poisoning in 1818; less dramatic but just as significant, several surgical instruments were designed or improved by doctors at the School. In 1890 the Bordeaux School for the Health Service was founded, close to a civilian faculty. The schools of Brest, Rochefort and Toulon became associated establishments where students completed their first year before transferring to Bordeaux. Between 1890 and 1963, the subsidiary schools operated with a certain uniformity. In 1964, the Rochefort School of Naval Medicine held its final course.
The Wing of the Former School of Medicine: a historical site The building, its library and its collections were managed by the Navy until the closure of the naval hospital in 1983. The Wing of the Former School of Medicine was donated to the Public Administrative Department of the National Navy Museum in 1986, who undertook its renovation. The School of Medicine opened to the public in 1998, entering a new phase in its history. The School of Naval Medicine is a unique place in France, with its library and anatomical, zoological, botanical and ethnological collections that were assembled in the 18th century to be used in training the surgeons on board ships. It is both a museum (its collections are of primary importance), a historic monument (today it is the only part of the former Naval Hospital of 1788 open to the public), a scientific library (its 25,000 works, of which many were printed before 1500, are available to everyone by appointment) and a place of remembrance (an area of discovery, learning and healing, engraved deeply in the history of the people of Rochefort and of the Navy). For the Navy, the fight against the diseases that ravaged its crews, of which scurvy is only the best known, was one major strategic issue. The voyages of discovery and their batches of samples bear witness to a slow learning process about other populations.
Former School of Naval Medicine of Rochefort 25, rue de l'Amiral Meyer 17300 Rochefort Tel.: + 33 (0) 5 46 99 59 57 E-mail: d.roland@musee-marine.fr [list]Guided tours, every day at 10:30 - Duration: 1:15 Adult: € 8 Reduced price: € 7 Under 26: 3 € [list]Guided discovery, daily at 14:00, 15:00 and 16:00 Adult: € 5 Reduced: € 4 Free for children under 26. [list]Closed annually on the 1st May, 25th December and the 1st and 31st January Getting there Rochefort-Saint Agnant Airport Rochefort Railway Station TGV to Surgères and SNCF bus service or change at La Rochelle A10 Motorway from Paris to Bordeaux, taking the Surgères or Saint-Jean-d'Angély Rochefort exit: follow signs for town centre

In 1967, the French government acquired the collections of Raoul et Jean Brunon through an intermediary of the Military Museum of Paris.

The collection were transferred to Salon-de-Provence, where they were used to build a municipal museum before being moved to the château of Empéri, which dominates the city centre.

The entrance to the museum is in the ancient chapel that leads to the reception hall of the château.

The collections occupy around 30 of the rooms currently renovated.

The various pieces are displayed in 160 vitrines or hung on walls or ceilings.

The collections of the museum contain 10,000 authentic objects :

personal firearms and slashers, cannons, headgear, uniform helmets, flags and emblems, decorations, equipment, trappings, personal items, reduced-scale models, etc.

The scenography draws a distintion between seven periods: The Ancien Regime, the First Republic, Empire,

the Restoration, the African Army, the Second Empire and World War I.

The finial of the museum consists of halls from the Napoleonic period. The most impressive visual elements are the 130 mannequins, around 15 of which are on horseback.

Their faces have been crafted by Raoul Brunon using illustrations pf famous military figures.

♦ The entrance hall has an armaments and armour collection dating back to the XIV and XVII centuries, as well

as the history of the château. ♦ One hall is dedicated to the history of the Brunon collection : images of Epinal, uniforms and childrens' toys, etc. ♦ Another piece demonstrates the development of uniforms since the reign of Louis XIV. ♦ Two halls dedicated to the training of the French army from the reign of Louis XIV to the Revolution.

♦ Four halls on the army of the First Republic. ♦ There is an exhibit on the First Empire that takes in five halls: Campaigns, marshalls, the Legion of Honour, exile. ♦ The exhibit on the army of the Second Republic takes up

two halls. ♦ Six halls are dedicated to an exhibition on the Second Empire, from Magenta to Sedan, through the Crimean War. ♦ French and German armies echo in the part of the museum dedicated to World War I, from the Champagne fronts to the Chemin des Dames and Taxis de la Marne to victory. This collection was originally brought together by Jean Brunon in memory of his brother, who died at the front. ♦ Firearms and their history since Louis XIII are displayed in the display cabinets in two halls that can be accessed from the entrance hall. ♦ Two other rooms, accessible from the main hall. The first room is reserved for temporary exhibits.

The second, created using collections 14-18 and objects from the Ecole de l'Air, gives an insight into the history of military aeronautics. The collection begins with the period 1970-1980

This library is the second-largest store of military archives in France, after that of the history service of the department of defence. It has 24 000 volumes, 20 000 periodicals, 15 000 paintings, cartoons, etchings, autographs, official and personal documents, photographs, 5 000 maps, designs, letters and ship monographs.

Château de l'Empéri

Montée du Puech - 13300 Salon-de-Provence

Tel. : 04.90.56.22.36 - Fax : 04.90.56.90.84

Opening hours

October 1 to April 15: open daily except Mondays from 13h30 to 18h
From 16 April to 30 September: open every day except Mondays from 9.30am to 12pm and 14pm to 18pm.

The museum gift shop is located in the entrance hall

Association "Les Amis du Musée de l'Empéri"

Maison de la Manufacture d'Armes Blanches 2, rue de l'École 67530 Klingenthal Tel.: +33 3 88 95 93 23 e-mail : Adolf.Marc@wanadoo.fr

It is both a traditional museum of the French army and a representative collection of the past and present of the French airborne units. Guardian of the identity of all airborne troops, its goal is to present their history, traditions, spirit and current developments.

Its collections and displays comprising many lifelike scenes are accessible to all and are of interest to both the public and the troops themselves. Temporary exhibitions make it a regional centre for disseminating the spirit of defence. The museum is thus intended as a place where the memory of contemporary conflicts can be studied and passed on, with a variety of information sources available to teachers, university students and visitors.

The museum charts the history of the French paratroopers, from their origins to the present. The exhibition comprises five displays preceded by explanatory videos.

Each display consists of scenes containing mannequins in full battle dress, weaponry and vehicles, against a poster backdrop:

- The period of the pioneers, the emergence of parachute technology and the use of parachutists: First World War balloonists, the first specific equipment, German, Soviet and French parachutists. The creation of the French airborne troops dates back to 1 April 1937, when two Air Infantry Groups (GIAs) were set up: the 601st GIA in Reims and the 602nd GIA in Baraki (Algeria). Their doctrine and inspiration were Soviet, brought back by Colonel Geille from his training visit to the USSR and based on what was learned from the large-scale manoeuvres in Kiev in 1935.

- The Second World War and the creation of the major British and American units: French soldiers of the Free French Forces (FFL) in the Special Air Service (SAS) and in North Africa, equipped by the Americans. In 1940, an air infantry company was founded within the Free French Air Force, which would be incorporated in the Special Air Service as the “French Squadron”. The 3rd and 4th SAS were subsequently formed from escapees from France and the remnants of General Giraud’s army, which would go on to become the 3rd and 4th Chasseurs Parachute Regiments (RCP). They were dropped over Brittany on the eve of the D-Day landings, tasked with destroying a series of targets with the aim of stalling the enemy on the Breton peninsula. The 1st RCP, entirely equipped by the Americans, formed part of the US 82nd Airborne Division, before being deployed in the Vosges in 1944. The Shock Battalion, trained in jumping by the Americans and in combat by the British, was deployed in the liberation of Corsica and the island of Elba, then in metropolitan France. The African Commandos, the Shock Battalion’s sister regiment, specialising in amphibious operations and carrying heavier equipment, followed the 1st Army right up until the armistice. The Commandos of France, founded in 1944, joined the fighting with the 1st Army.

- The First Indochina War, a period in which the legend of the French paras was born and the major French units, variously equipped, were founded. 

- The Algerian War, urban guerrilla warfare and helicopter transport over the vast desert. The collections stress the wide variety of uniforms and equipment used.

- The contemporary world, overseas operations and peacekeeping (Bizerte, Kolwezi, etc.). The exhibition presents the technical know-how and current equipment used by the units, by means of illustrations and videos (Special Forces, frogmen, equipment drops, demining, the Gendarmerie Nationale Task Force (GIGN), etc.), and stresses the key role of the École des Troupes Aéroportées (ETAP).

The museum’s collections are enriched by a permanent exhibition of works by army artists, including Brayer, Le Zachmeur, Sollier and Rosenberg. - The museum has a study room open to researchers; documents must be consulted on site.

Founded in February 2013, the Society of Friends of the Musée des Parachutistes (SAMParas) is officially recognised as the museum’s only support organisation. Since 16 July 2018, it has been a registered charity and can therefore issue tax receipts.

Its object is to contribute to the preservation, development and promotion of the historic and cultural heritage of the Musée des Parachutistes. It is in charge of collecting material and financial donations and taking museum tours.

Thanks to its volunteers, the museum is open 360 days a year and visitors have enthusiastic guides to take them round.

For further information or if you would like to make a donation, please phone SAMParas on +33 (0)5 59 40 49 19 or email them at samparas@orange.fr

In 1935, military members of the gendarme movement and public figures came together to study and propose plans to commission a monument. After gathering the required funds and obtaining free land in the commune of Versailles, a competition was held to determine the design of the monument and was won by Mr. Charles Nicod and Mr. Robert Auzelle. The monument, which was built by Mr. Rispal, was completed in November 1941; however, due to circumstances it was not officially inaugurated until 1946.

The monument erected in Versailles in honour of the gendarmerie was recently completed. It consists of a majestic central statue flanked by two massive pylons, 12 metres high and 3 metres wide, some distance from the statue so as to not block the view of the façade of Saint Antoine de Padoue church, which dominates the horizon. Around the pylons are groups of sculptures that have been harmoniously arranged and which provide a brief history of the gendarme movement. The magnificent four-metre high statue symbolises the force at the service of the Law. The statue's right hand leans on a shield, which symbolises the protection that the Gendarmerie offers the country and its citizens in serving the interests of Order and Justice. The other arm is making a powerful gesture, symbolising the energy with which the courageous soldiers of the elite armed forces carry out their mission. Each group of sculptures represents modern-day gendarmes, accompanied by their military ancestors who have played a role in other events in French history: Louis XV, The French Revolution, the First Empire, the conquest of Algeria, the Great War, tanks, gendarmes and modern-day guards. On the left, there is a statue of a gendarme on horseback, dated 1880, while to the right there is a statue of a Republican guard, also on horseback, dated 1936.
The uniforms have been recreated in extremely accurate detail and inspired by uniforms from the military museum and by information supplied by the head of the Bucquoy Company, a PhD in social sciences, the director of the magazine "Le Passepoil" and an expert in European military uniforms. At the foot of the statue, a hypogeum crowned with a bronze shield holds the ashes of Le Gallois de Fougières, the provost marshal of France killed in the battle of Azincourt (or Agincourt) in 1415 and buried close to the scene of the battle on the grounds of the Auchy-Ies-Hesdin church (Pas-de-Calais).
The monument is located in Versailles Saint-Antoine junction At the end of Boulevard du Roi