Part of the Louvre Inverted PyramidView of the square base of the Louvre's Inverted Pyramid, located in the middle of the roundabout of the Place du Carrousel
The Louvre Inverted Pyramid (French: Pyramide inversée du Louvre)[1] is a skylight constructed in the Carrousel du Louvre, an underground shopping mall in front of the Louvre Museum in France. It may be thought of as a smaller sibling of the more famous Louvre Pyramid proper, yet turned upside down: its upturned base is easily seen from outside.
Design
The inverted pyramid marks the intersection of two main underground walkways beneath the Place du Carrousel and orients visitors towards the museum entrance under the Cour Napoléon. Tensioned against a 30-tonne (33-short-ton), 13.3-metre (44 ft) square steel caisson frame, the inverted pyramidal shape in laminated glass points downward towards the floor. The glass of the pyramid itself is 10 millimetres (0.39 in) thick, while the glass above the pyramid at courtyard (ground) level, which must be able to support the weight of pedestrians, is 30 millimetres (1.2 in) thick.[2] The tip of the pyramid is suspended 1.4 metres (4.6 ft) above floor level. Individual glass panes in the pyramid are connected by stainless-steel crosses 381 millimetres (15.0 in) in length. After dark, the structure is illuminated by a frieze of spotlights.
Directly below the tip of the downwards-pointing glass pyramid, a small stone pyramid (about 1 m, 3.3 ft) is stationed on the floor, as if mirroring the larger structure above: The tips of the two pyramids almost touch.[3]
The Pyramide Inversée was designed by architect I.M. Pei, and installed as part of the Phase II government renovation of the Louvre Museum, known as the Grand Louvre project. It was completed in 1993.[1] In 1995, it was a finalist in the Benedictus Awards, described by the jury as "a remarkable anti-structure ... a symbolic use of technology ... a piece of sculpture. It was meant as an object but it is an object to transmit light."[4]
The Da Vinci Code
The Inverted Pyramid figures prominently on the concluding pages of Dan Brown's 2003 international bestseller The Da Vinci Code. The protagonist of the novel, Robert Langdon, reads esoteric symbolism into the two pyramids: The Inverted Pyramid is perceived as a Chalice, a feminine symbol, whereas the stone pyramid below is interpreted as a Blade, a masculine symbol: the whole structure could thus express the union of the sexes. Moreover, Brown's protagonist concludes that the tiny stone pyramid is actually only the apex of a larger pyramid (possibly the same size as the inverted pyramid above), embedded in the floor as a secret chamber. This chamber is implied to enclose the body of Mary Magdalene.
At the climax of the 2006 film adaptation, the camera elaborately moves through the entire glass pyramid from above and then descends beneath the floor below to reveal the supposed hidden chamber under the tiny stone pyramid, containing the sarcophagus with the remains of Mary Magdalene.
In reality, the smaller stone pyramid does not form the tip of a larger pyramid. In fact, it can be pushed aside to facilitate maintenance and cleaning of the glass pyramid above.
^"The inverted pyramid", p. 177, in The Grand Louvre: History of a Project, under the direction of Dominique Bezombes. Paris: Moniteur, 1994. ISBN 9782281190793.
Chardin: The Attributes of Civilian and Military Music; The Attributes of Music, the Arts and the Sciences; Boy with a Spinning-Top; The Buffet; The Ray; Saying Grace
La Tour: The Adoration of the Shepherds; The Card Sharp with the Ace of Diamonds; Joseph the Carpenter; Magdalene with the Smoking Flame; Saint Sebastian Tended by Saint Irene
Poussin: Camillus Handing the Falerian Schoolmaster over to his Pupils; Et in Arcadia ego; The Four Seasons; The Funeral of Phocion; The Inspiration of the Poet; Landscape with Orpheus and Eurydice
Quarton: Pietà of Villeneuve-lès-Avignon
Robert: Principal Monuments of France; Project for the Transformation of the Grande Galerie du Louvre
Scheffer: Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil
Vernet C.: A Mediterranean Port
Vernet H.Raphael at the Vatican
Vigée Le Brun: Peace Bringing Back Abundance; Portrait of Joseph Vernet; Self-Portrait with Julie (Self-Portrait à la Grecque); Self-Portrait with Julie (Maternal Tenderness)
Bellini: Christ Blessing; Madonna and Child with Saint Peter and Saint Sebastian; Portrait of a Young Man
Botticelli: Three Scenes from the Life of Esther; Venus and the Three Graces Presenting Gifts to a Young Woman; A Young Man Being Introduced to the Seven Liberal Arts
Perugino: Apollo and Daphnis; The Battle Between Love and Chastity; Madonna and Child with St John the Baptist and St Catherine of Alexandria; Madonna and Child with St Rose and St Catherine (with Ingegno); St Sebastian; Young Saint with a Sword
Piero della Francesca: Portrait of Sigismondo Pandolfo Malatesta
Romano: Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola (with Raphael)
Salviati: The Incredulity of Saint Thomas
Savoldo: Portrait of a Clad Warrior
Signorelli: Adoration of the Magi; Birth of John the Baptist
Tintoretto: Self Portrait
Titian: Allegory of Marriage; The Crowning with Thorns; The Entombment of Christ; Madonna of the Rabbit; Man with a Glove; Pardo Venus; Pastoral Concert (also attributed to Giorgione); Pilgrims at Emmaus; Saint Jerome in Penitence; Virgin and Child with Saints Stephen, Jerome and Maurice; Woman with a Mirror
Rembrandt: The Archangel Raphael Leaving Tobias' Family; Bathsheba at Her Bath; Landscape with a Castle; Pendant portraits of Marten Soolmans and Oopjen Coppit; Philosopher in Meditation; Saint Matthew and the Angel; Self-Portrait; Slaughtered Ox
Rubens: Helena Fourment with a Carriage; Helena Fourment with Children; Hercules and Omphale; Ixion, King of the Lapiths, Deceived by Juno, Who He Wished to Seduce; Marie de' Medici cycle; The Village Fête; The Virgin and Child Surrounded by the Holy Innocents
Ruisdael: Dune Landscape near Haarlem; The Ray of Light; Storm Off a Sea Coast
Scheffer: Francesca da Rimini and Paolo Malatesta Appraised by Dante and Virgil