Les Invalides in Paris: Icon of the French Military and Napoleon’s Final Resting Place

A view of the Les Invalides complex during the opening of the Olympic Games in Paris in 2024. (Reuters)
A view of the Les Invalides complex during the opening of the Olympic Games in Paris in 2024. (Reuters)
TT

Les Invalides in Paris: Icon of the French Military and Napoleon’s Final Resting Place

A view of the Les Invalides complex during the opening of the Olympic Games in Paris in 2024. (Reuters)
A view of the Les Invalides complex during the opening of the Olympic Games in Paris in 2024. (Reuters)

French Prime Minister Sébastien Lecornu will receive on Monday Prince Minister Mohammed bin Salman, Saudi Crown Prince and Prime Minister, in the Cour d’Honneur, or Court of Honor, at the historic Les Invalides complex in Paris, according to a statement from the French PM’s office.

The complex houses the Army Museum and Napoleon Bonaparte’s tomb and is crowned by its famous gilded dome.

Three-and-a-half centuries of history

Les Invalides, officially known as the Hôtel National des Invalides, dates back more than three-and-a-half centuries, to 1670, when King Louis XIV ordered and financed its construction to house sick, wounded and elderly soldiers.

A site was chosen on the Grenelle plain near Paris, on the banks of the Seine. Architect Libéral Bruant carried out the project between 1671 and 1675, designing a quadrangular complex whose buildings stand behind a monumental facade leading to a central courtyard.

The complex welcomed its first residents in 1674, before construction was completed, and later housed more than 4,000 veterans. It included a hospital, care home, barracks, monastery and manufacturing workshops. Some residents made shoes, textiles, clothing and illuminated books under a system combining military discipline with religious life.

In the spring of 1676, architect Jules Hardouin-Mansart replaced Bruant and took charge of building the churches. The soldiers’ church was completed in 1679, while Louis XIV inaugurated the domed royal church in 1706.

According to official French sources, the original plans envisaged a church with a double altar, but the site today comprises two separate buildings: the Saint-Louis Cathedral and Dôme Church.

The dome rises 107 meters and remained the tallest structure in Paris until the Eiffel Tower was built. According to information from the Army Museum, it is covered with around 550,000 sheets of gold leaf weighing a total of 12.6 kilograms.

Cour d’Honneur

Located in Paris’ 7th arrondissement, the complex has a northern facade about 195 meters long, with its buildings arranged around 19 interior courtyards.

The Cour d’Honneur is the largest. It measures 102 meters by 64 meters and is surrounded by four buildings with two levels of arcaded galleries.

Used for military and national ceremonies and events, the courtyard displays a collection of 60 bronze cannons documenting 200 years of French field artillery history.

At the center of the southern gallery stands a statue of Napoleon dressed as a colonel of the Chasseurs à Cheval of the Imperial Guard. It was moved to Les Invalides in 1911 after previously standing atop the Vendôme Column.

The complex also played a role in the French Revolution. In July 1789, revolutionaries seized rifles and cannons from Les Invalides and immediately used them in the storming of the Bastille.

The institution came close to being abolished. Saint-Louis Church was closed to worship and used to display flags seized from France’s enemies, while the Dôme Church was transformed into the Temple of Mars.

In 1800, Napoleon ordered the remains of military commander Turenne transferred there, giving the building a new role as a burial place honoring France’s military figures.

Napoleon’s final resting place

After Napoleon died on the island of Saint Helena in 1821, King Louis-Philippe decided in 1840 to return his remains to Paris.

Architect Louis Visconti carried out extensive excavation work to create a tomb beneath the dome, where the emperor’s remains were placed in April 1861.

At its center stands a red quartzite sarcophagus on a green granite base. The site also contains the tomb of military engineer and commander Sébastien Vauban, as well as the graves of Napoleon II, Joseph and Jérôme Bonaparte, generals Bertrand and Duroc, and marshals Ferdinand Foch and Hubert Lyautey.

The Army Museum was established in 1905 through the merger of the Artillery Museum, which had been housed at the complex since 1871, and the Historical Museum of the Army, founded in 1896.

The museum holds around 500,000 objects, including weapons, armor, uniforms, paintings and documents, covering military history from prehistoric times to the 11th century.

Les Invalides also houses the Museum of Relief Maps and Museum of the Order of Liberation, as well as facilities belonging to the National Institution of Invalides, which continues the complex’s original mission of caring for wounded and disabled military personnel and veterans.



Red Sea Museum Concludes Six-Month 'Sunken Treasures' Exhibition

The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA
The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA
TT

Red Sea Museum Concludes Six-Month 'Sunken Treasures' Exhibition

The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA
The galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets - SPA

The "Sunken Treasures: The Maritime Heritage of the Red Sea" exhibition concluded its six-month run at the Red Sea Museum in Historic Jeddah, offering visitors an educational journey into centuries of maritime trade, navigation, and pilgrimage.

Housed at the historic Bab Al-Bunt building since February 25, the exhibition highlighted the Red Sea's historical role as a vital trade artery connecting the Arabian Peninsula with the Mediterranean, Africa, and Asia.

Structured across four thematic zones, the galleries showcased underwater archaeological discoveries and Saudi Arabia's ongoing efforts to protect and document submerged cultural assets, SPA reported.

Among the exhibition's centerpiece displays was the 18th-century Umluj shipwreck, discovered submerged 20 to 22 meters deep amid coral reefs. Its recovered cargo—including commercial containers, pottery, coins, ceramics, and daily shipboard tools alongside antique navigational instruments and nautical maps—illustrated the vibrant human exchange that traversed regional waters.

Organized in collaboration with the Heritage Commission and the Historic Jeddah Program, the exhibition was also part of the summer season's cultural offerings, combining interactive public programming with scientific research to bolster cultural tourism and raise awareness of the Kingdom's underwater heritage.


Diriyah Art Futures Opens Second Edition of 'CONTINUUM' Exhibition

Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)
Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)
TT

Diriyah Art Futures Opens Second Edition of 'CONTINUUM' Exhibition

Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)
Diriyah Art Futures (DAF) launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors. (SPA)

Diriyah Art Futures (DAF), the first center for New Media Arts in the Middle East and North Africa, launched its latest exhibition CONTINUUM ’26 on Thursday, showcasing the works of its second cohort of emerging artists and the program’s mentors.

Visitors explored a diverse range of cutting-edge technological media, including immersive and multimedia installations, light, sound, moving image, virtual reality, mixed reality, and AI-generated projects, the Saudi Press Agency reported.

CONTINUUM ’26 features artworks produced by 16 emerging artists and two mentors during DAF’s year-long Emerging New Media Artists Program. Curated by Irini Papadimitriou and Bushra Alghamdi, Assistant Curator, the exhibition explores questions surrounding memory, identity, place, belonging, repetition, and interspecies relationships.

Developed under the mentorship of artists Louis-Philippe Demers and Rick Treweek, the artworks explore the boundaries between the real and the artificial, human and artificial intelligence, the organic and synthetic.

Speaking at the exhibition launch, CEO of the Museums Commission Eng. Abdullah bin Abdulaziz Al-Hammad said: “Programs like the Emerging New Media Artists Program represent the long-term, deliberate investment needed to shape the future of the Kingdom's museum sector.

“By providing our artists with world-class facilities, mentorship, and the dedicated time to refine their craft, we are fueling innovation and sparking vital cultural conversations. CONTINUUM 26 brings a full year of that dedication into the public eye.”

The opening program kicked off with a panel conversation between exhibition artists Noel Apitta, Njood Albwardi, Badriya Alsalem, and Harpreet Sareen, in conversation with Bushra Alghamdi about the ideas behind their works in CONTINUUM '26.

The artists discussed the exhibition's themes – the power of artificial intelligence; memory and time; and embodied perception – exploring how each artist navigated their creative process and what questions drove them.

CONTINUUM ’26 is the second installment in a series of exhibitions at DAF, spotlighting diverse voices shaping the future of New Media Art in the region and beyond.

Developed in collaboration with Le Fresnoy – Studio national des arts contemporains in France, the Emerging New Media Artists Program gives emerging artists access to cutting-edge professional equipment and a production budget, as well as a wide range of multidisciplinary learning opportunities.

CONTINUUM ’26 is open to the public at Diriyah Art Futures and runs until November 7. The exhibition is accompanied by a public program of workshops, talks and other activities spanning AI, VR, digital photography, and much more.

Meet the Artists: an invitation to encounter the works of CONTINUUM '26 through the perspectives of the artists who made them. Over the opening weekend, artists will discuss the ideas and processes behind their works with visitors.


US Hands Over Ancient Sarcophagus Fragments to Lebanon

This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)
This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)
TT

US Hands Over Ancient Sarcophagus Fragments to Lebanon

This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)
This New York City Police Department photo shows one of three ancient sarcophagi fragments that the FBI Art Crime Team returned to the government of Lebanon during a September 2, 2026, ceremony in New York. (New York City Police Department)

The United States on Thursday announced the return of Roman-era sarcophagus fragments to Lebanon that were looted from the southern city of Tyre and recovered by an FBI investigation.

The decorative, lead fragments were returned to the Lebanese consulate in New York on Wednesday, ahead of their repatriation, the US embassy in Lebanon said.

The recovery "reflects the strong US-Lebanon partnership in the fight against illicit trafficking of cultural property", the embassy said.

Lebanese Culture Minister Ghassan Salame said the fragments "were unearthed in the Tyre area during illegal excavations".

"The fragments bear distinctive artistic, decorative and technical characteristics typical of workshops that produced lead sarcophagus in Tyre, which were among the city's active and prolific workshops in antiquity."

According to the FBI, the antiquities "were stolen from illicit excavations in or around Tyre and were exported outside of Lebanon's borders".

The trade in looted antiquities is widespread in the Middle East. New York, one of the world's art capitals, is home to many wealthy collectors, galleries, and auction houses.

In December 2017, three ancient artifacts were returned to Lebanon, including a bull's head of Greek origin that had been exhibited at the Met Gala, valued at $1.2 million.

Salame said the Tyre region "is exceptionally rich in archaeological heritage" and "has recently suffered severe destruction" due to heavy Israeli strikes during the latest war between Israel and Iran-backed Hezbollah.

UNESCO, the United Nations cultural agency, added Tyre to its World Heritage in Danger list in July.