Category:Economic history of the Ancien Régime
- Feudalism in France (1 C, 7 P)
Pages in category "Economic history of the Ancien Régime"
The following 27 pages are in this category, out of 27 total. This list may not reflect recent changes.
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https://en.wikipedia.org/wiki/Category:Economic_history_of_the_Ancien_R%C3%A9gime
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La Paulette (French pronunciation: [la polɛt]; after the financier Charles Paulet, who proposed it) was the name commonly given to the "annual right" (droit annuel), a special tax levied by the French Crown under the Ancien Régime. It was first instituted on December 12, 1604 by King Henry IV's minister Maximilien de Béthune, duc de Sully.
The paulette was a tax on the holders of various government and judicial offices, paid to the Crown, and initially set at an annual payment of one-sixtieth of the value of each office. Paying the paulette secured the right of the officeholder to transfer his office at will.
The transmission of judicial offices had been a common practice in France since the late Middle Ages. By the beginning of the sixteenth century the practice had extended to almost all levels of the ever-increasing Renaissance state administration (such as seats in the Parlements), and played an important role in state finances. Custom had permitted an officer to transfer his office to his heir (résignation) with royal permission in return for the payment of a fee. Before it was made illegal in 1521, it had been possible to leave open-ended the date that the transfer was to take effect. In 1534, the "forty days rule" was instituted (adapted from church practice), which made the successor's right void if the preceding office holder died within forty days of the transfer (in which case the office reverted to the state); however, a new fee, called the survivance jouissante, protected against the forty days rule.[1] Still, the new office holder had to meet the minimum qualifications needed for the office or else the office went back to the crown. The paulette was a modification of this rule, which substituted an annual tax as protection against the "forty days rule".
The paulette provided the Crown with a steady source of revenue while consolidating the practice of hereditary government offices. This left the administration of justice in France in the hands of a new and increasingly powerful hereditary class of magistrates, which came to be known as the noblesse de robe ("nobility of the gown"), in contrast with the traditional aristocracy, known as the noblesse d'épée ("nobility of the sword", whose position derived from feudal military service). This system was abolished after the French Revolution.
While the paulette provided revenue for the Crown, the salaries of government officials stressed the royal funds and forced the Crown to tax the lower classes heavily. During the rule of Louis XIV, his minister of finance Jean Baptiste Colbert expanded the creation and sale of offices to raise money without new taxation.[2]
Notes and references
- Peter Robert Campbell, Louis XIV, p. 99
References
- Salmon, John Hearsey McMillan (1979), Society in crisis: France in the sixteenth century, London, England: Taylor & Francis, ISBN 0-416-73050-7
- History of taxation
- Political history of the Ancien Régime
- Economic history of the Ancien Régime
- 1604 establishments in France
https://en.wikipedia.org/wiki/Paulette_(tax)
The ferme générale (French pronunciation: [fɛʁm ʒeneʁal], "general farm") was, in ancien régime France, essentially an outsourced customs, excise and indirect tax operation. It collected duties on behalf of the King (plus hefty bonus fees for themselves), under renewable six-year contracts. The major tax collectors in that highly unpopular tax farming system were known as the fermiers généraux (singular fermier général), which would be tax farmers-general[a] in English.[1]
In the 17th and 18th centuries the fermiers généraux became immensely rich and figure prominently in the history of cultural patronage, as supporters of French music, major collectors of paintings and sculpture, patrons of the marchands-merciers and consumers of the luxury arts in the vanguard of Parisian fashions. In his 1833 novel Ferragus, writer Honoré de Balzac attributes the sad air that hangs about the Île Saint-Louis in central Paris to the many houses there owned by fermiers généraux. Their sons or grandsons purchased patents of nobility and their daughters often married into the aristocracy. Especially members of impoverished aristocratic families were eager to marry daughters of the fermiers généraux in order to restore the wealth they had prior to their ruin. This was called in popular French redorer son blason (literally "to re-gild one's coat of arms").[2]
History
Before the French Revolution in 1789, the public revenue was based largely on the following taxes:
- The Taille – Direct land tax imposed on French peasant and non-noble households, based on how much land they held. In some provinces, the principle of taille réelle was used, which meant that the tax was based on the actual market value of the real estate. In a majority of provinces the taille personnelle was applied: the tax level was the result of an arbitrary and gross estimation of the real estate value. Noblemen, public office holders and the inhabitants of the large cities were exempt from the taille.
- The Taillon – Tax for military expenditure.
- The Vingtième (one-twentieth) – Based solely on revenue (5 percent of net earnings from land, property, commerce, industry and from official offices).
- The Gabelle – A very complicated system of taxes and outsourced regional monopolies on salt, with enormous price disparities between the different provinces (e.g. the salt price in Paris was thirty times higher than in Brittany) that were a strong enticement to smuggling.
- The Aides – National tariffs on various products, including wine and tobacco.
- The Traites – Custom duties for either the import or export of goods to and from France, or for the transport of goods from one French province to the neighbouring one (internal customs).
- The Octroi – A local tariff levied on products entering the cities, especially Paris.
- The Droits féodaux (feudal rights), a long list of petty duties for every possible event or activity in a peasant's life (the right to marry, to inherit, to use the mill, to use the roads of the local aristocrat, to be exempt from doing mandatory chores for the local lord, etc.), to be paid to the local lord, the King or both and generally considered by the peasant to be arbitrary and humiliating.
- The Dîme ("the tenth [part]) – A mandatory tithe to support the state church and its clergy, collected by the local vicars, monks or bishops (and so, not a tax in the legal sense). The Dîme had to be paid either in legal tender (money) or in material assets by all residents regardless of their religion.
Tax farming before Colbert
The Ferme générale developed at a time when the monarchy suffered from chronic financial difficulties. The Affermage (leasing, outsourcing) of the collection of the traite (customs duties and taxes) had the advantage of guaranteeing the Treasury foreseeable and regular receipts, while reducing the perception of its role in tax-collection. The rights were initially contracted separately to various tax farmers, who were named traitants (who had the right to collect the traite) or partisans (who had a share (partie) in the collection of the traite). They were obliged to pay to the Royal Treasury the sum stipulated in their lease, and they received a share of the income and a share of any "unexpected" surplus. Each right was leased separately, which caused great administrative complexity: the taking of goods out of bond could involve several tax farms. Prior to 1598, this system had developed so that the tax farms were allocated among five pays (parts of France).
In 1598 the Superintendent of Finances, the Duke of Sully, entrusted tax collection to one farm instead of five separate ones, and subjected the collection of duties raised in the provinces to the rights of the King. The single tax farm was called the Cinq Grosses Fermes (five large farms). In 1607, he issued new rules (Règlement Général sur les Traites) on the collection of duties in an attempt to harmonize procedures. He also attempted to constitute the whole of France into a single customs area, but was without success, as the provinces "considered foreign" (i.e. which became part of France after the foundation of the Kingdom; especially the south and Brittany) refused to merge with the zone covered by the Cinq Grosses Fermes. By the middle of the 17th century, France was divided for tax purposes into three principal zones:
- Provinces of the Cinq Grosses Fermes without any internal customs duties (since 1664 by decision of Colbert)
- Provinces "considered foreign" and therefore had negotiated lower rates on some taxes
- Provinces "effectively following the example of the provinces considered foreign" (i.e. the last to become part of France; especially Lorraine and Alsatia) which formed tax-free zones when doing trade with the neighbouring foreign countries.
Not all fermiers-généraux constrained their viewpoint to their own enrichment: Pierre-Paul Riquet, appointed collector in Languedoc-Roussillon in 1630,[3] used his fortune to build the Canal du Midi that links the Mediterranean coast of France to Toulouse and then on to the system of canals and rivers that ran across to the Bay of Biscay on the Atlantic coast, considered to be one of the great engineering feats of the 17th century.
The farm under Colbert: traitants and partisans
The process was further developed under the aegis of Jean-Baptiste Colbert, Minister of Finance to King Louis XIV. To reduce the number of these farmers and to increase the share of the collection transferred to the Royal Treasury, Colbert sought to gather a great number of rights together in fermes générales (general farms). The first fermes générales was instituted in 1680 to collect gabelles, aides, taille and douane .
Although sometimes of obscure origin, the financiers which took these rights often quickly accumulated immense fortunes which enabled them to play a significant political and social role. Their greed and excesses shocked the public and were often turned into objects of ridicule in literature, for example by playwright Alain-René Lesage in his 1709 comedy Turcaret, which was inspired by financier Paul Poisson de Bourvallais.
The Ferme générale (1726–90)
In 1726, all the existing farms were gathered in a single lease. The forty farmers-general, who held guarantees as contractors of the lease, became powerful and fabulously rich. Examples of the first generation of these tax farmers include Antoine Crozat, the first private owner of French Louisiana, the four Pâris brothers, and Alexandre Le Riche de La Poupelinière.
Increased criticism of the Ferme générale system led the government to introduce new regulations in 1769, which turned the collection of taxes and the administration of the service to which taxation was entrusted to public organisations, with their managers receiving a fixed remuneration. The public career of the reforming economist Anne-Robert-Jacques Turgot began with his appointment in 1761 as intendant of the généralité of Limoges.
In 1780, at the initiative of Jacques Necker, finance minister to Louis XVI, indirect taxes were distributed between three tax farm companies: the Ferme générale (for customs duties), the Ligue générale (for taxes on alcohol) and the Administration générale des domaines et des droits domaniaux (for land taxes and fees for land registration).
By the end of the 18th century, the Ferme générale system became a symbol of an unequal society. The Ferme générale, and the great wealth of its proprietors, was seen as encapsulating all the perversions of the political and social system. People blamed the injustices and annoyances – which actually arose from the complexity of the tax system – on the company itself, including the brutality of tax collecting troops and the brutal repression of smuggling. The gabelle (tax on salt) was the most unpopular of all the taxes.
The Ferme générale was thus one of the institutions of the Ancien Régime which was most criticised during the 1789 French Revolution. It was depicted as a group of predatory tyrants; the Girondist politician Antoine Français de Nantes, made an early reputation for himself attacking this prominent target. The Ferme générale was then suppressed in 1790, with farmers-general paying the price at the scaffold: 28 former members of the consortium were guillotined on 8 May 1794. Among them was Antoine Lavoisier, the father of modern chemistry, whose laboratory had been supported by income from his administration of the Ferme générale. His wife, the chemist Marie-Anne Pierrette Paulze, who escaped the guillotine, was herself the daughter of another farmer-general, Jacques Paulze.
Organisation
The lease of the Ferme générale was regulated by six-year contracts between the King and an individual who acted as a figurehead for the company. The Ferme générale held guarantee for the contractor. The number of partners was fixed at 40, after having reached nearly 90 earlier. The contractor committed himself to paying the Royal Treasury the amount of the lease and received in return any surplus. In 1780 an upper limit was set for this remuneration.
The Ferme générale had its headquarters in Paris. In its central offices it employed nearly 700 people, including two chaplains. Its local operations included up to 42 provincial offices and nearly 25,000 agents distributed in two branches of activity; that of the offices which checked, liquidated and charged the fees and that of the guards' brigades which sought and suppressed smuggling with very severe punishments (such as hard labour or hanging).
The employees of the Ferme générale were not royal civil servants but they acted in the name of the king, and therefore benefited from particular privileges and the protection of the law. In addition, members of the guards' brigades had the right to bear weapons. The managing of the company was handled collectively by the Ferme générale. They met as committees of experts and had control of the company's external services.
The day before the French Revolution in 1789, almost all the rights of indirect drafts and rights (like the gabelle, the tax on tobacco, and a number of local taxes) were awarded. On the other hand, the Royal Treasury's income from the Ferme générale represented more than half of the total public revenue. The company had also built the 24-kilometre Wall of the Farmers-General between 1784 and 1791 in Paris to ensure the payment of taxes on goods entering the city.
Criticism of tax collection methods
The Ferme générale was one of the most hated components of the Ancien Régime because of the profits it took at the expense of the state, the secrecy of the terms of its contracts, and the violence of its armed agents.[4] Criticism of the Ferme générale also include:
- Public bodies were deprived of a resource
- Service rendered was not always better in the long term
- The cost could be higher for the taxpayer, who paid his taxes plus the margin taken by the Ferme générale
- The recovery of debts (of tax arrears) by the Ferme générale could be brutal
- Depriving itself of a resource, the community became involved in debt, and had to find new taxes to obtain additional money
Therefore, at the end of the 18th century, the French state had become involved in considerable debt, which factored among the causes of the French Revolution.
Cultural role of farmers-general
The farmers-general of the Ancien Régime figure prominently in the history of cultural patronage in France. The enlightened farmer-general Le Normant de Tournehem was the legal guardian of Madame de Pompadour, responsible for her education - in turn, thanks to her influence, he was made director-general of the Bâtiments du Roi in December 1745, and held the post, overseeing royal building works at the King's residences in and around Paris, until his death in 1751. As American architect Fiske Kimball observed, “Without artistic prejudices, he was a man of ability, honesty and simplicity, who devoted himself to efficient administration".[5]
Farmers-general also figured among prominent supporters of French music and collectors of paintings and sculpture, such as Pierre Grimod du Fort, and as patrons of the marchands-mercier, a type of merchants who dealt with decorative art objects.
As consumers of luxurious art the farmers-general were at the vanguard of Parisian fashion, like Ange Laurent Lalive de Jully, a patron of arts who embraced the early form of neoclassicist style in decorative arts called the goût grec (lit. "Greek taste"). Others merely made themselves notorious for their squander, like Ange Laurent's brother Denis Joseph de La Live d'Épinay, the estranged husband of the writer and saloniste Louise d'Épinay. The gourmand Alexandre Balthazar Laurent Grimod de La Reynière was the son of the farmer-general Laurent Grimod de La Reynière.
Sons or grandsons of farmer-generals often purchased patents of nobility, with their daughters marrying into aristocracy.[6]
Voltaire and the fermiers
In his Voltaire, A Life[7] (pp. 427–31), Ian Davidson describes events on Voltaire's estate at Ferney, north of Geneva, in the 1770s.
In 1770, hundreds of watchmakers fled the political ructions in Geneva and went to make a new life at Ferney. Voltaire helped them to set up a new watchmaking business. He negotiated a tax exemption for the watchmakers with the duc de Choiseul, Prime Minister of France. But by 1774, the business was prospering and the tax farmers started to take an interest. Three-way negotiations between the tax farmers, Voltaire and Turgot ensued. In December 1775, Turgot confirmed the watchmakers' exemption from the salt tax (gabelle) and from road maintenance duties (corvée) and a figure was agreed to compensate the tax farmers for loss of revenue. Voltaire addressed a public meeting on 12 December and the watchmakers accepted the settlement.
Two days later, Voltaire wrote to his friend Mme de Saint-Julien:
... while we were gently passing our time in thanking M. Turgot, and while the whole province was busy drinking, the gendarmes of the tax farmers, whose time runs out on 1 January, had orders to sabotage us. They marched about in groups of fifty, stopped all the vehicles, searched all the pockets, forced their way into all the houses and made every kind of damage there in the name of the king, and made the peasants buy them off with money. I cannot conceive why the people did not ring the tocsin against them in all the villages, and why they were not exterminated. It is very strange that the ferme générale, with only another fortnight left for them to keep their troops here in winter quarters, should have permitted or even encouraged them in such criminal excesses. The decent people were very wise and held back the ordinary folk, who wanted to throw themselves on these brigands, as if on mad wolves.
According to Davidson, good sense prevailed despite this violence, Voltaire was appointed a tax commissioner, profits peaked in 1776 and the watchmaking business survived the revolution and continued "well into the nineteenth century".
Notes
- The English word "farmer" in the sense of "agricultural producer" is derived from the French word fermier which means "leaseholder" (of an agricultural business or any other thing). Initially the word "farmer" designated in England only those agricultural producers who were not the owners of the land they were cultivating. Subsequently "farmer" became the generic term of all agricultural entrepreneurs, whether they owned the cultivated soil or not.
References
- Davidson, Ian, 2010, Voltaire, A Life, London: Profile Books
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https://en.wikipedia.org/wiki/Ferme_g%C3%A9n%C3%A9rale
| Royal Saltworks at Arc-et-Senans | |
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Saline royale d'Arc-et-Senans | |
 Main façade of the Royal Saltworks | |
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| General information | |
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| Location | Arc-et-Senans, Doubs |
| Country | France |
| Coordinates | 47.033°N 5.778°E |
| Construction started | 1775[1] |
| Design and construction | |
| Architect(s) | Claude-Nicolas Ledoux[2] |
| Official name | From the Great Saltworks of Salins-les-Bains to the Royal Saltworks of Arc-et-Senans, the Production of Open-pan Salt |
| Type | Cultural |
| Criteria | i, ii, iv |
| Designated | 1982 (6th session) |
| Reference no. | 203bis-001 |
| Region | Europe and North America |
| Extension | 2009 |
The Saline Royale (Royal Saltworks) is a historical building at Arc-et-Senans in the department of Doubs, Eastern France. It is next to the Forest of Chaux and 29.2 kilometres (18.1 miles) to the southwest of Besançon. The architect was Claude-Nicolas Ledoux (1736–1806), a prominent Parisian architect of the time. The work is an important example of an early Enlightenment project in which the architect based his design on a philosophy that favored arranging buildings according to a rational geometry and a hierarchical relation between the parts of the project.
The Institut Claude-Nicolas Ledoux has taken on the task of conservator and is managing the site as a monument. In 1982, UNESCO added the "Salines Royales" to its list of World Heritage Sites, along with the older saltworks at nearby Salins-les-Bains, for their outstanding architecture and testimony to the history of open-pan salt making.[3] The Royal Saltworks is the first architectural complex of this scale to be used for commercial purposes.[3]
Today, the site is mostly open to the public. It includes, in the building the coopers used, displays by the Ledoux Museum of other futuristic projects that were never built. Also, the salt production buildings house temporary exhibitions.
The train line from Besançon to Bourg-en-Bresse passes just next to the salt works. The station for Arc-et-Senans is only a few dozen meters from the site.
Background
In the 18th century salt was an essential and valuable commodity. At the time, salt was widely used for the preservation of foods such as meat or fish. The ubiquity of salt use caused the French government to impose the gabelle, a tax on salt consumption. The government mandated that all people over the age of 8 years buy an amount of salt per year at a price that the government had set. The Ferme Générale was responsible for collecting the gabelle.
As a region, Franche-Comté was relatively well-endowed with salt springs due to subterranean seams of halite. Consequently, there were a number of small salt works, such as those at Salins-les-Bains and Montmorot, that extracted salt by boiling water over wood fires. The salt works stood close to the springs and drew on wood brought from nearby forests. After many years of exploitation, the forests were becoming more and more rapidly denuded, with the result that wood had to be brought from farther and farther away, at greater and greater cost. Furthermore, over time the salt content of the brine was dropping. This led the experts of the Ferme Générale to consider exploiting even small springs, an initiative that the King's council stopped in April 1773. Part of the problem was that it was impossible to build evaporation buildings because Salins-les-Bains sat in a small valley.
The Fermiers Généraux decided to explore a more mechanised and efficient method of extraction. The concept was to construct a purpose-built factory near the forest of Chaux in the Val d'Amour, i.e., with the brine was to be brought to the factory by a newly constructed canal.
Claude Nicolas Ledoux
On September 20, 1771, Louis XV appointed Ledoux Commissioner of the Salt Works of Lorraine and Franché-Comté. As Commissioner, Ledoux was responsible for inspecting the different saltworks in eastern France. This gave him an opportunity to see many different saltworks, including those at Salins-les-Bains and Lons-le-Saunier, and to learn from them what one might want if designing a factory from scratch.
Two years later, Madame du Barry supported Ledoux's nomination to membership in the Royal Academie of Architecture. This permitted him to style himself as Royal Architect. (He was already the architect for the Ferme générale, the private customs and excise operation that collected many taxes on behalf of the king, under 6-year contracts.) It was on the basis of his positions as Inspector of the Saltworks and as Royal Architect that he received the commission to design the Royal Saltworks at Arc-et-Senans.
The first plan
Without even having received any request from the king, Ledoux decided to design a saltworks. The project was something of an abstraction as he had no site in mind. He presented the resulting project in April 1774 to Louis XV.
Unconstrained by any practical considerations, the project was ambitious, innovative, and a break with traditional approaches. What Ledoux did was to impose a rigid geometry on the overall design. The buildings were placed around the edges of an immense square, and linked to each other by porticoes; no building stood in isolation. To speed connections between buildings, Ledoux introduced covered arcades that linked the midpoints of adjacent sides, forming a square within the square. Columns abounded. The buildings themselves were replete with them, and 144 Doric columns supported the covered arcades.
Ledoux's plan envisaged that the central square courtyard would be where the factory would keep its firewood. At each corner of the square, and at the midpoints of each side stood two-story, square buildings that would house the various parts of the operation. In front were the quarters for the guards, a chapel, and a bakery. On the sides were workshops for the coopers and other workmen. At the base was the factory itself. Gardens were to surround the site to provide the workers with a supplement to their income. Lastly, a wall would surround the entire complex to protect it from theft.
It was the project's grandiose vision that blocked its realization. No industrial building of the period was equally imposing. The king rejected the project. He particularly objected to the extensive use of columns, features that he felt were more appropriate for churches and palaces. He also objected to the chapel being relegated to a corner.
In his own critical review of the project, Ledoux stated that he had put too much weight on the conventions of a factory to the neglect of symbolic aspects. The result was a flat, uniform design based on bi-lateral symmetry, rather than one that would have a marked center of gravity. The design also recalled the traditional communal buildings of the time such as convents, monasteries, hospitals, large farms, and the like. Furthermore, since ancient times, architects had recognized that plans such as Ledoux's were vulnerable to the spread of fire and not very hygienic, with throughout the day some part of the site being in the shade. Lastly, critics pointed out that the project did not take into account the geographic or geological constraints.
The second plan
Ledoux designed the semicircular complex to reflect a hierarchical organization of work. The complete plan included the building of an ideal city forming a perfect circle, like that of the sun. Louis XV had signed the edict authorizing the construction of the saltworks on 29 April 1773, and after approval of Ledoux' second design, construction began in 1775.[4] The city was never started, however. All that was completed was the diameter and a semicircle of buildings of the saltworks.
In the second design, the entrance building sits at the midpoint of the semicircle and contains on one side guardrooms and on the other a prison and a forge. Other buildings on the semicircle include on the left, as one faces the entrance, quarters for carpenters and laborers, and on the right, marshals and coopers. At the center of the circle is the house of the Director, which has a belvedere on top. A monumental staircase led to a chapel that was destroyed by fire in 1918, following a lightning strike. On either side of the Director's house are the saltworks themselves. These two buildings are 80 meters long, 28 meters wide, and 20 meters high. They contain the drying ovens, the heating pots, the "Sales des Bosses", and the salt stores. At each intersection of the diameter and the semicircle sit buildings that housed the works' clerks. Behind the Director's house there is an elegant, small stables for the Director's horses.
The support of salt works by a state monopoly probably explains why this building is so grand. The gabelle was very unpopular and was one of the complaints that led to the French Revolution. The Revolution itself probably curtailed the building of the ideal city.
Since the end of salt production
The salt works produced 40,000 quintals of salt per year at its peak, all of which was exported to Switzerland. All production ceased in 1895 following a lawsuit that the inhabitants of Arc-and-Senans initiated, protesting the pollution of nearby wells. At the same time, the salt works was having difficulty in the face of competition from sea salt brought by rail.
As mentioned above, a lightning bolt in 1918 destroyed the chapel. In April 1926, some of the buildings were dynamited, and many of the trees on the site were cut down. Still, on November 30, 1926, after a review that began in 1923, the Commission for Monuments declared the central pavilion and the entryway historical monuments.[5] The Society for the Eastern Saltworks, still the owner of the Arc-et-Senans site, was not pleased with the decision. On 10 June 1927 the department of Doubs acquired the salt works and commenced restoration work in 1930.
During 1938, the site housed a camp for Spanish Republican refugees. Then, during October 1939, at the outbreak of World War II, the French military installed an anti-aircraft battery in the courtyard area. Also, a unit of engineers occupied some of the buildings. Still, February 20, 1940, saw the publication of the official announcement of the classification of the salt works and its surrounding wall as historical monuments.
In June 1940, German troops took up residence. From May 1941 to September 1943, the French authorities established an internment camp to hold the area's gypsies and others with no fixed address (Centre de Rassemblement des tziganes et nomades).
After the war, there was an extensive public campaign by artists, journalists and writers from the region to encourage the authorities to protect the site.[6]
The Saltworks were a primary location in the 1961 film by Pierre Kast La Morte-Saison des amours AKA The Season for Love.
In 1965, Marcel Bluwal used the director's house for the tomb of the Commander in his television adaptation of Molière's Dom Juan.
Since 1973, the royal salt works and the Institut Claude-Nicolas Ledoux have been members of the European network of cultural sites. Then in 1982, UNESCO listed the salt works as a World Heritage Site.[3]
In the new millennium
Since June 29, 2009, the salt works at Salins-les-Bains has been added to the listing for Arc-et-Senans in the World Heritage list. It has been the venue for several cultural events and exhibitions in recent years.
References
- "De l'utopie à la réalité", in La fabuleuse histoire du sel, André Besson, Collection Archives vivantes, Cabédita, 1998.
External links
- Lien vers les Salines de Salins-les-Bains
- Saline Royale. Official site from Institut Claude-Nicolas Ledoux
- Royal Saltworks of Arc-et-Senans at UNESCO.org
- Royal Saltworks at Arc-et-Senans at archINFORM
- Buildings and structures in Doubs
- Ferme générale
- Food museums in France
- Museums in Doubs
- Salt museums
- Saltworks
- Architecture related to utopias
- World Heritage Sites in France
- Mining museums in France
https://en.wikipedia.org/wiki/Royal_Saltworks_at_Arc-et-Senans
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