Imminent opening of a new, completely free place in Paris... And what a place! The School of Jewelry Arts offers itself a new setting by inaugurating this confidential address located in one of the oldest private residences on the Grands Boulevards: the sublime Hôtel de Mercy-Argenteau.

Behind its discreet freestone façade, this elegant private mansion which belonged to a relative of Marie-Antoinette hides a luxurious state lounge punctuated by Corinthian porticos and decorated with splendid gilded woodwork. This sumptuous setting is not, however, the only treasure to discover. The new Maison des Arts Joailliers honors the theater district with this extravagant inaugural exhibition dedicated to the stage jewelry of the Comédie-Française.

Between crowns and tiaras, brooches and combs, a rich collection of 120 fake accessories is revealed here, transformed into true works of art thanks to the know-how of artisans who are masters in the art of illusion. The fake glass pearls and shell cameos therefore interact with the stage costumes and silhouettes of Belle Époque stars such as Mademoiselle Bartet and Sarah Bernhardt. Take the time to linger on Talma's golden metal laurel wreath offered by Napoleon, on Rachel's jeweled tiaras, the tunic that dressed Mounet-Sully in Racine's Athalie or even the brooch by Sarah Bernhardt directed by René Lalique... Finally, let the show begin!

We saw, we tell you!

Talma, Rachel, Sarah Bernhardt, it is through the jewelry that adorned them that the School of Jewelry Arts invites us to rediscover the greatest performers of the French repertoire. This treasure, which until then lay dormant in the archives of the Comédie Française, is revealed to daylight during an exhibition that is as sparkling as it is theatrical. Plunged into darkness, the first piece gives the impression of entering the backstage, like an anxious actor, preparing to reveal himself to the public. With manuscripts of plays, portraits of actors and legendary stage sketches, this entry serves as a discreet initiation, a studious preparation for a sequel which will not lack brilliance. It is also dedicated to Napoleon's favorite actor, the master of tragedy in the First Empire, the great Talma. We discover some of his stage accessories, such as imposing inlaid swords, which he wore, and above all, the famous golden laurel wreath offered by the emperor himself. Between the velvet curtain, the projected shadows of the actors' silhouettes, and the multitude of antique-style jewels, the following piece immerses the spectator in the heart of a tragic scene. With an extract from Ruy Blas in the background, the visitor finds himself surrounded by the mythical jewels of Rachel, the tragic heroine par excellence of the nineteenth century, and many others. First associated with antique pieces, jewelry and ornaments quickly became the prerogative of orientalist pieces from the 17th century. It is also this particular period that the exhibition invites us to discover through inlaid knives, the tunic that dressed Mounet-Sully in Athalie, or the dazzling tiara worn by Véronique Vella in the role of Esther. As an epilogue, a series of photos reveal some of the greatest actors of the Belle Époque, such as Sarah Bernhardt and Mademoiselle Bartet, posing in stage costume, adorned with their most beautiful jewelry.

Did you know?
The Hôtel de Mercy-Argenteau was the residence of the composers Boieldieu and Rossini

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