Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
Facades and roofs (Case AV 113): inscription by order of 21 September 1982; Room with its decor (cad. AV 113): classification by decree of 21 September 1982
Key figures
Gabriel Davioud - Architect
Designer of the theatre, first production.
Élias Robert - Sculptor
Author of cariatids and angels.
Jean-Léon Gérôme - Painter
Director of ceiling paintings.
Boileau - Architect
Reconstructed the façade in 1927.
Origin and history
The Municipal Theatre of Etampes, located in the Essonne department in Île-de-France, is an emblematic building built between 1851 and 1852 thanks to a public subscription. It is distinguished by its Art Deco façade, rebuilt in 1927 by architect Boileau, while its interior, unchanged, retains a sumptuous decor of the second half of the nineteenth century. The building is the work of architect Gabriel Davioud, for whom this project marked his first realization, and of sculptor Elias Robert, author of the cariatids and angelots adorning the hall.
The facade and roof of the theatre were inscribed in the historical monuments by decree of 21 September 1982, while the hall, with its decoration, was classified on the same day. This double status protects an exceptional artistic heritage, including paintings with a ceiling signed by Jean-Léon Gérôme. The monument is part of an urban context marked by Geoffroy-Saint-Hilaire Square, where since 1859 the Monument to Étienne Geoffroy Saint-Hilaire, also made by Élias Robert, has been throned.
Originally, the theatre was built on the site of a house, then bought by the municipality in 1865. Subsequent developments, such as the secondary stairs built in 1876 and 1888 by the municipal architects Letavernier and Anjubert, testify to its functional evolution. Today, the municipal theatre of Etampes remains a symbol of local cultural life, combining historical heritage and architectural modernity.
The building also illustrates the artistic dynamics of the 19th century in Île-de-France, where public and private sponsors worked together to build accessible venues. Its interior decoration, preserved despite the external transformations, offers a rare testimony of the decorative arts of the period, mixing sculpture, painting and architecture in a coherent set.
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