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Origin and history

The building located in 11 Cité Malesherbes, in the 9th arrondissement of Paris, dates from the 3rd quarter of the 19th century. This building, typical of Haussmannian and post-Hhaussmannian architecture, is part of the urban transformation movement of Paris under the Second Empire and the first decades of the Third Republic. Its style reflects the aesthetic and functional norms of the time, marked by the alignment of the facades, the use of the cut stone and a neat ornament, characteristic of Parisian bourgeois buildings.

The protection of this building was formalized by a decree of 30 December 1977, which included its façade and roof on street in the inventory of Historic Monuments. This heritage recognition underscores its architectural interest and its role in the urban landscape of the neighbourhood. The building is the work of Anatole Jal, identified as a masterpiece in the archives. This type of building, often intended for an affluent clientele, illustrates the development of private cities in Paris, designed to offer an elegant and secure residential setting.

The Cité Malesherbes, where this building is located, is an example of these closed buildings, which appeared in the 19th century to meet the growing demand for luxury housing in an expanding capital. These cities, often organized around inner courtyards or gardens, offered an alternative to large noisy boulevards, while perpetuating a bourgeois lifestyle centered on discretion and comfort. Today, these ensembles reflect the social and urban evolution of Paris, between Haussmannian heritage and subsequent adaptations.

Available data from sources such as Monumentum and the Mérimée database confirm the precise address of the monument (11 city Malesherbes, 75009 Paris) and its administrative connection to the Île-de-France region, although the department is not explicitly mentioned beyond the Insee code (75). The GPS location and street view complement the information, but its accuracy is considered satisfactory a priori (note 6/10), reflecting the limitations sometimes encountered in the documentation of urban monuments.

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