There's something almost magical about entering a Parisian arcade. The light filtering through the glass ceiling, the muted hustle and bustle of the street left outside, and the immediate feeling of time travel, to another era, more elegant, slower. I admit, I have a weakness for covered arcades, those hidden arteries that dissect the vast blocks of Paris and offer a glimpse into a world that has disappeared.
If you ask me which one is the most important to me, the answer will always be Passage des Panoramas. True, it wasn't the first by any means. It was preceded by Passage de l'Ancre, a charming 17th-century relic but not covered, and also Passage du Caire, which opened in 1798, about two years before it, and now looks like some forgotten passage in Bat Yam (although it has recently undergone renovation and a facelift).
But it was the Passage de Panorama, inaugurated in 1800, that defined the genre. It was not just a covered passage; it was a destination. It combined commerce with revolutionary entertainment and innovative technology, becoming the first public space in Paris to be lit by gaslight. It created the template upon which all other arcades were built, and became the prototype of the modern shopping center.
The fascinating history of Passage de Panorama
Revolution, Real Estate, and Two Bold Americans: The Birth of the Passage
The story of the passage begins, like many Parisian stories, with the Revolution. Before 1789, the magnificent Hôtel de Montmorency-Luxembourg stood on the site, a symbol of aristocratic wealth. French Revolution It became a “national asset” (bien national), and it was put up for auction.
This is where two American entrepreneurs come into the picture. The first was William Thayer, a seaman and shrewd businessman. The government France One of his ships was confiscated, and as compensation, he received a large sum of money. On the advice of his acquaintances, he used the money to purchase the luxurious mansion, turning an international complaint into a lucrative real estate opportunity.
His partner in the venture was none other than Robert Fulton (1765-1815), an inventor and multi-disciplinary genius. Fulton came to Paris with the aim of selling Napoleon his latest inventions: a submarine called the “Nautilus” and a torpedo. While he waited (in vain) for the French government's response, he had to make a living.
Fulton's solution was an innovative attraction called “Panorama.” He built two large rotundas (circular buildings) at the entrance to the passage, and inside they displayed giant 360-degree panoramic paintings of famous cities such as Paris, Rome, and Jerusalem. Viewers stood in the center and felt as if they were right inside the scenery. It was a revolutionary experience, a kind of cinema before the age of cinema.
To create the perfect illusion, the painter Pierre Prévost (1764-1823), who specialized in these hyper-realistic paintings, was hired. The passage itself was built to serve the huge crowds of visitors who flocked to the attraction, and was named after it. Thus, ironically, one of the most defining symbols of Parisian culture was born of American opportunism and military technology that Napoleon rejected.
Luxury and authenticity in a historic building. Quiet, elegant and within walking distance of the main attractions.
A real treat: two full bathrooms (a rare commodity in the city). 2nd floor with elevator.
In the heart of the vibrant Jewish Quarter (and the falafel!), a studio equipped down to the last detail.
We have carefully filtered and selected dozens of additional recommended apartments in all the equal districts of Paris.
We have collected for you the most recommended hotels in Paris – from intimate boutiques to absolute luxury.
Lights, Operettas and Scandals: The Golden Age of the Passage
The dizzying success of the passage reached its peak with the opening of the Théâtre des Variétés adjacent to it in 1807. Behind the theater stood a legendary figure in her own right: Mademoiselle Montansier (Marguerite Brunet, dite Mademoiselle Montansier 1730-1820), a 77-year-old businesswoman and entrepreneur, who, after being fired from the theater at the Palais Royal (the one that today hosts the Comédie Française), managed to convince Napoleon himself to authorize her to build a new hall.
During the 1860s, the theater became the place to be in Paris, thanks to one musical genius: composer Jacques Offenbach (1819-1880). His witty, satirical, and daring operettas, such as “The Beautiful Helena” and “The Grand Duchess of Grolstein,” took the city by storm and defined the spirit of the Second Empire.
Offenbach's main star, and the woman all of Paris was talking about, was Hortense Schneider (1833-1920). She was a true diva, with immense talent and an even bigger ego. She was known not only for her voice, but also for a long line of influential lovers, including the Duc de Garmont-Cedros, with whom she had a child.
Her dressing room at the theatre became a place of pilgrimage. Every king, tsar or prince visiting Paris considered it a must to pass through her dressing room after a performance. The list included Tsar Alexander II, Emperor Franz Joseph of Austria, and the Prince of Wales (later King Edward VII). It was nicknamed “The Necessary Passage” (Le Passage Obligé), a play on words for its proximity to the Passage de Panorama.
The arcade and the theater were not just neighbors, they were an entire ecosystem. The arcade served as the theater's lobby, dining room, and market. Wealthy and fashionable spectators would come to the arcade before the performance for dinner, and then return to shop and see and be seen. The connection was so close that in the 1834 renovation, the Galerie des Variétés was created, which physically connected the two and included a dedicated entrance for the artists.
Luxury, expansion and stores that entered the pages of history
The continued success led to a significant expansion in 1834. The architect Jean-Louis Victor Grisart (1797-1877) added four new galleries: Saint-Marc, Varieté, Pédoux and Montmartre, creating the charming labyrinth we know today. This expansion was a direct response to competition from newer, more luxurious arcades, such as the Vivienne Gallery (Vivienne Gallery).
Over the years, the passage has become home to some of the most prestigious artists and shops in Paris. Two shops stand out in particular: The Graveur Stern at 47, a printing and engraving house founded by Isidore Aumoitte (1797-1846) and which achieved international fame under the management of Moïse Stern (1826-1915). Their client list reads like a who’s who of world history: from European royalty to Lenin and Charles de Gaulle.
At number 57 was the chocolatier of François Marquis, which opened in 1818 and became a legend. The Goncourt brothers and Sarah Bernard praised his chocolates, and the original design of the store, including the carved wooden ceiling, has been preserved to this day.
This unique atmosphere, of luxury, theater, art and the good life, was immortalized forever by the writer Emile Zola (Émile Zola 1840-1902). His famous novel “Nana” from 1880 is set largely in the Théâtre de Variété, and the passage serves as the setting for the heroine’s rise and fall.
From stamps to bistros: the passage in the 21st century
Like Paris itself, the Passage de Panorama knew how to adapt to the times. After the golden age of theater faded, it found a new identity in the 20th century and became one of the world's most important centers for philately - collecting stamps and postcards. To this day, you can find many shops dedicated to this hobby.
In recent decades, the passage has undergone another revolution, transforming into a gastronomic paradise. The historic Stern and Marky stores have been transformed into renowned restaurants: the Italian Caffè Stern and the French Canard & Champagne. Alongside them, dozens of small restaurants, bistros and bars have sprung up, offering everything from classic French cuisine to Japanese gyoza.
This ability to reinvent itself over and over again is the secret of the passage's survival for more than 220 years. It was an entertainment center, then an annex to a theater, became a haven for collectors, and today is a food capital. It is a living organism that changes its face, but retains its architectural skeleton and historical soul.
Useful information for visitors to Passage de Panorama
How to get there?
- Addresses: The passage has several entrances, making it particularly accessible:
- 11 Boulevard Montmartre
- 10 Rue Saint-Marc
- 38 Rue Vivienne
- 151 Rue Montmartre
- Metro: The closest stations are Grands Boulevards (lines 8 and 9) and Bourse (line 3).
- Buses: Many lines stop at Grands Boulevards station, including 20, 39, 48, 74, 85.
When to come?
- שעות פתיחה: The passage is open to the general public daily from 6:00 a.m. to midnight.
- The Francophile's tip: Let me give you a little advice from a friend. I highly recommend visiting the Passage twice. Once during the day, to take in the small shops, the natural light that comes through the glass ceiling, and the bustling atmosphere. And a second time in the evening, when the restaurants are full, the artificial lights create an intimate and romantic atmosphere, and the place feels like a magical Parisian secret.
Want to discover more charming passages in Paris?
That's exactly why I created this for you. The itinerary following the arcades of ParisThis route will pass through the most important passages of city of Lights And will allow you to discover the unique charm of each and every one of them, at your own pace and for free.