For over 170 years, the Cirque d’Hiver, Paris’s oldest circus, has captivated audiences with breathtaking performances. Now, a new spectacle is unfolding – not in the ring, but on the walls. The discovery of hidden painted canvas panels, concealed for over seven decades, has spurred a comprehensive restoration project, promising to return the iconic venue to its original 19th-century glory. This ambitious undertaking will preserve a vital piece of Parisian cultural heritage and ensure the continuation of a beloved tradition.
The Cirque d’Hiver, meaning “Winter Circus,” boasts a rich history intertwined with the evolution of performance art. It was in this very space, in 1859, that gymnast Jules Léotard first captivated the public with his daring trapeze act, launching himself from one swinging bar to another without a safety net – a feat that would inspire the popular song “The Daring Young Man on the Flying Trapeze” three years before his death in 1870, at the age of 32, according to Wikipedia. The circus has also served as a backdrop for cinematic moments, most notably the 1955 film Trapeze starring Burt Lancaster, Gina Lollobrigida, and Tony Curtis.
The current restoration project began with the unexpected uncovering of the painted canvases. Louis-Sampion Bouglione, whose family has owned the Cirque d’Hiver since 1934, described the moment as “marvellous,” adding, “It’s an key part of our history.” He explained that his father remembered the panels, and the family had long hoped for their rediscovery, but feared their condition. The panels, depicting warriors on horseback and scenes dedicated to equestrian arts, were created by Nicolas Gosse and Félix-Joseph Barrias, highly sought-after painters of the era, and mirror the bas-reliefs on the building’s exterior, which were renovated in 2007.
The Cirque d’Hiver, initially known as the Cirque Napoléon, was constructed in just eight months under the direction of architect Jacques Hittorff, who also designed the Gare du Nord. Opened on December 11, 1852, by Napoléon III, the original structure featured a 42-meter diameter, 40 stained-glass windows, and a wooden roof designed to resemble a tent, complete with decorative poles and gold-painted ropes, as detailed in the Cirque d’Hiver’s official history.
A Family Legacy and a Changing Circus
The Bouglione family’s connection to the Cirque d’Hiver runs deep. A particularly poignant moment in the circus’s history occurred in 1928 when Rosa Van Been, a circus artist, married animal trainer Joseph Bouglione, with their wedding blessing taking place inside the lion’s cage, as recounted by the Bibliothèque nationale de France (BnF) in a profile of Rosa Bouglione. The family’s commitment extends through generations; even today, 20 family members are involved in the circus’s operations, ranging in age from 91 to just three years old.
The circus has also evolved with the times. In 2017, the Cirque d’Hiver discontinued performances featuring wild animals, reflecting a growing societal shift towards animal welfare. Despite this change, the circus remains immensely popular with Parisians, continuing to host its winter spectacular, accompanied by a nine-musician orchestra, and serving as a venue for private events and political rallies.
Restoration Details and Timeline
Architect Stéphane Millet, who is also overseeing renovations at the Opéra Garnier, spearheaded the ambitious restoration plan after initially being tasked with simply replacing the seats. Millet successfully convinced the Bouglione family to pursue a more comprehensive project, securing funding from the culture ministry and other authorities. The renovation is expected to cost “several million euros.”
The initial phase involves carefully removing the 20 paintings, each measuring 6 meters wide and almost 2 meters high, for restoration. These canvases were covered with blue-painted wooden boards in the 1950s after being dulled by smoke from the original oil lamps and further damaged by leaking windows and successive layers of decoration. Millet explained, “It’s like wallpaper in old houses. Until we remove everything we won’t know exactly what is there and how much damage there is.”
The renovation, slated to begin in July, is expected to take four years, with function scheduled during the circus’s two-month summer break to ensure performances can continue uninterrupted. Bouglione expressed confidence in their ability to manage the project, stating, “We will do the work during what we call the dead season… It will take longer but we can’t close down. It’s a business and so it has to work.”
As the Cirque d’Hiver prepares for this significant chapter in its history, the restoration promises not only to preserve a landmark building but also to honor the legacy of generations of performers and the enduring magic of the circus. The project will ensure that this Parisian institution continues to inspire wonder and delight for years to come.
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