then asked Stephen Sauvestre to add architectural embellishments. Sauvestre added the decorative
arches to the base, a glass pavilion to the first level and the cupola at the top. The enhanced idea
gained Eiffel's support for the project, and he bought the rights to the patent on the design which
Koechlin, Nougier and Sauvestre had taken out. The design was exhibited at the Exhibition of
Decorative Arts in the autumn of 1884, and on 30 March 1885 Eiffel read a paper on the project to
the Société des Ingénieurs Civils. After discussing the technical problems and emphasising the
practical uses of the tower, he finished his talk by saying that the tower would symbolise. The tower
had been a subject of some controversy, attracting criticism both from those who did not believe it
feasible and from those who objected on artistic grounds. Just as work began at the Champ de Mars,
the "Committee of Three Hundred" (one member for each metre of the tower's height) was formed,
led by Charles Garnier and including some of the most important figures of the French arts
establishment, including Adolphe Bouguereau, Guy de Maupassant, Charles Gounod and Jules
Massenet: a petition was sent to Jean-Charles Alphand, the Minister of Works, and was published
by Le Temps.
Works
Some exemples :
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Synagogue in Rue de Pasarelles, Paris (1867)
Théâtre les Folies, Paris (1868)
Church of San Marcos, Arica, Chile (1875)
Budapest Nyugati Pályaudvar (Western railway station), Budapest, Hungary (1877)
Ruhnu L