The Palais Bourbon is the seat of the French National Assembly, the lower legislative chamber of the French government. The palace was originally built for the legitimised daughter of Louis XIV and Françoise-Athénaïs, marquise de Montespan - Louise-Françoise de Bourbon, duchesse de Bourbon, to a design by the Italian architect Lorenzo Giardini, approved by Jules Hardouin-Mansart. Giardini oversaw the actual construction from 1722 until his death in 1724, after which Jacques Gabriel took over, assisted by L'Assurance and other designers, until its completion in 1728.
Rather than a palace, for it was not a royal seat of power, the French termed it a maison de plaisance overlooking the Seine, facing the Tuileries to the east and the developing Champs-Élysées on the west. At the start it was composed of a principal block with simple wings ending in matching pavilions. Bosquets of trees—planted in orderly rank and file—and parterres separated it from the nearby Hôtel de Lassay. In 1756 Louis XV bought it for the Crown, then sold it to the grandson of the Duchess, Louis Joseph, Prince of Condé, for whom Jacques-Germain Soufflot directed an enlargement in 1765.
During the French Revolution the Palais Bourbon was nationalized, and the Council of the Five Hundred met in the palace from 1798. Then, as part of Napoleon's plans for a more monumental Paris, Fontanes, the president of the Corps législatif as it was now called, commissioned the magnificent pedimented portico by architect Bernard Poyet, added to the front of the Palais that faces the Place de la Concorde from the south. It mirrors the similar classicizing portico of the Madeleine, visible at the far end of the rue Royale.
In a symptom of the political tone of the Bourbon Restoration, the returning exile, the prince de Condé took possession, and rented to the Chamber of Deputies a large part of the palace. The palace was bought outright from his heir in 1827, for 5,250,000 francs. The Chamber of Deputies was then able to undertake major work, better suiting the chamber, rearrangement of access corridors and adjoining rooms, installation of the library in a suitable setting, where the decoration and one of the salons were entrusted to Delacroix, later a Deputy himself. The pediment was re-sculpted by French artist Jean-Pierre Cortot.
Delacroix, with the help of some assistants, painted the entire vault of the long gallery which was to house the library. His work there was completed by the end of 1847 and immediately hailed as a masterpiece by the critic.
References:The Pilgrimage Church of Wies (Wieskirche) is an oval rococo church, designed in the late 1740s by Dominikus Zimmermann. It is located in the foothills of the Alps in the municipality of Steingaden.
The sanctuary of Wies is a pilgrimage church extraordinarily well-preserved in the beautiful setting of an Alpine valley, and is a perfect masterpiece of Rococo art and creative genius, as well as an exceptional testimony to a civilization that has disappeared.
The hamlet of Wies, in 1738, is said to have been the setting of a miracle in which tears were seen on a simple wooden figure of Christ mounted on a column that was no longer venerated by the Premonstratensian monks of the Abbey. A wooden chapel constructed in the fields housed the miraculous statue for some time. However, pilgrims from Germany, Austria, Bohemia, and even Italy became so numerous that the Abbot of the Premonstratensians of Steingaden decided to construct a splendid sanctuary.