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The 2024 Paris Olympic and Paralympic Cauldron

2024 Paris Olympics

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The Olympic flame for the Paris 2024 Summer Olympics was suspended from a 30-meter-tall (98 feet) helium-filled balloon, capable of pulling 5 tonnes,[1] during the opening ceremonies on July 26. It soared 1,000 metres (3,300 feet) in the Parisian sky as beacon of enduring peace and unity, embodying the spirit of the Olympics. The balloon itself added several dimensions to this symbolism. It not only extended the flame’s reach but also commemorated the "Montgolfière," the first-ever manned hot air balloon flight on November 21, 1783—an innovation that took place in the same region by the Montgolfier brothers, Joseph-Michel Montgolfier (1740–1810) and Jacques-Étienne Montgolfier (1745–1799). Their achievement marked a transformative milestone in aeronautical science, with pioneering pilots Jean-François Pilâtre de Rozier (1754–1785) and the François Laurent d'Arlandes (1742–1809) making this historic flight possible.

For the remainder of the Games, the Olympic balloon floated aloft 60 metres (200 feet) over the Tuileries Garden. The designer, Mathieu Lehanneur (fr) (born 1974),[2] drew inspiration from a composite of historic illustrations. He wanted to create "something spectacular" that paid homage to the Scientific Revolution and the French Enlightenment of the 17th and 18th centuries. The flame, the first in Olympic history not from fossil fuels, was an eco-friendly illumination emitting from 40 LED lights magnified by a cloud of aerosol produced by 200 high-pressure misting water jets.[3] The cauldron was a 7-metre (23-foot) diameter ring of fire – a tribute to hope, progress, and the ambitions for a low-carbon Olympics, for all to see.

Lehanneur, in collaboration with EDF, a Paris 2024 Olympics Partner and France's renewable electricity provider for the Games, developed and produced the cauldron and flame.

Historic artists depictions of the balloon

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  • Etienne Chevalier de Lorimier (1759–1813)
The Montgolfier brothers launched a large, unmanned paper balloon in the countryside near Annonay, France, in June 1783. Then they sent a wicker-basket cage of the animals up over Versailles in September 1783. A few months later, the first balloon rose over the rooftops of Paris. After these initial balloons went aloft, everyone “just went crazy,” Crouch said.
“People waited and waited for a millennia for flight to arrive,” Crouch said. “And suddenly, just overnight, there is the first little balloon on June 4, 1783, and then human beings are flying by the fall. People just become wildly excited.”
The show features dozens of wonderful pieces depicting the early efforts in the air. The oldest painting in the show, “Le Suffren” by Etienne Chevalier de Lorimier, illustrates a large balloon taking off from the city of Nantes in 1784. The oil painting dazzles in its opulent frame, highlighting the flight of the hydrogen balloon along with another treat for viewers.
“If you know what you’re looking at, and I hope we tell visitors enough so they can see all this, you can see the equipment for inflating the balloon in the painting,” Crouch pointed out. “It’s really lovely.”
In one fantastic print that shows the first free flight by humans made on Nov. 21, 1783, museumgoers should take a moment to read the writing on the piece. It notes that it’s an etching of the view of the Montgolfier balloon as it goes by none other than Benjamin Franklin’s terrace in Paris.
  • Weinger, Mackenzie (May 8, 2017). "'Clouds in a Bag' Captures Excitement of First Hot Air Balloons". Washington Diplomat, The. Victor Shiblie, founder, publisher, editor-in-chief. ISSN 0508-0673; OCLC 62468759 (all editions).

Selected drawings

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  • Expérience faite à Ver saille en présence de leurs Majestés et de la famille royale, par M. Montgolfier, le 19. Sept. 1783. La machine aérostatique avait de haut sur 41 de diamètre [Experiment conducted at Versailles in the presence of Their Majesties and the royal family, by Mr. Montgolfier, on September 19, 1783. The aerostatic machine rises to a height of 41 meters in diameter].

Artists and engravers

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Twenty-four-year-old Etienne Chevalier de Lorimier (1759–1813) designed all nine of the prints. The engravers were Francois Noël Sellier (1737–1782), Pierre-Gabriel Berthault (fr) (1737–1831) (1748– ca1918) , Nicolas de Launay (fr) (1739–1792).

LCCN 2005-684858
LCCN.
LCCN obj0-9

"Supplement".



Volume 2

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Part of series of 10 collectible cards published between 1890 and 1900.
  • Premier voyage aérien exécuté dans une Montgolfier, Par Pilâtre de Rozier et d'Arlandes le, 21 Nov. 1783 [First Aerial Journey Made in a Montgolfier, by Pilâtre de Rozier and D'Arlandes on November 21, 1783]. 1re Sérre [1st Series (No. 4).] LCCN 2002-736265.
    Premier voyage aérien exécuté dans une Montgolfier, Par Pilâtre de Rozier et d'Arlandes le, 21 Nov. 1783 [First Aerial Journey Made in a Montgolfier, by Pilâtre de Rozier and D'Arlandes on November 21, 1783]. 1re Sérre [1st Series (No. 4).] LCCN 2002-736265.
  • Early Flight
    Early Flight
Collection 476. 1re Série. Romanet & Compagnie. Imprimerie Équitable, Paris. [Collection 476. 1st Series. Paris: Romanet & Company.] LCCN 2002-717348.



  • À monsieur de Faujas de St. Fond, de plusieurs accadémies. Expérience aërostatique faite à Versailles le 19 septembre 1783 en présence de leurs Majestés, de la famille royale et de plus de 130 milles spectateurs par Mrs. de Montgolfier avec un ballon de 57 pieds de hauteur, sur 41 de diamêtre [To Mr. De Faujas de St. Fond, of Several Academies. Aerostatic Experiment Carried Out at Versailles on September 19, 1783 in the Presence of Their Majesties, the Royal Family and More Than 130,000 Spectators by Mrs. De Montgolfier With a Balloon 57 Feet High and 41 Feet in Diameter].
    À monsieur de Faujas de St. Fond, de plusieurs accadémies. Expérience aërostatique faite à Versailles le 19 septembre 1783 en présence de leurs Majestés, de la famille royale et de plus de 130 milles spectateurs par Mrs. de Montgolfier avec un ballon de 57 pieds de hauteur, sur 41 de diamêtre [To Mr. De Faujas de St. Fond, of Several Academies. Aerostatic Experiment Carried Out at Versailles on September 19, 1783 in the Presence of Their Majesties, the Royal Family and More Than 130,000 Spectators by Mrs. De Montgolfier With a Balloon 57 Feet High and 41 Feet in Diameter].
À monsieur de Faujas de St. Fond, de plusieurs académies. Expérience aërostatique faite à Versailles le 19 septembre 1783 en présence de leurs Majestés, de la famille royale et de plus de 130 milles spectateurs par Mrs. de Montgolfier avec un ballon de 57 pieds de hauteur, sur 41 de diamêtre [To Mr. De Faujas de St. Fond, of Several Academies. Aerostatic Experiment Carried Out at Versailles on September 19, 1783 in the Presence of Their Majesties, the Royal Family and More Than 130,000 Spectators by Mrs. De Montgolfier With a Balloon 57 Feet High and 41 Feet in Diameter]. Published by Le Noir. LCCN 2002-721989; doi:10.7890/ethz-a-000517585.


Voyages dans les airs [Travels in the Air]

Three symbols

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  • Torch relay cauldrons, donning a wave and ripple design, represents water texture of the River Seine, which runs through Paris.

Article

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PinoyParis Jacob Tundagui
The inspiration behind the cauldron’s design is both innovative and deeply rooted in history. Designed by French artist Mathieu Lehanneur, the cauldron is a 7-meter diameter ring of fire supported by a giant air balloon. This unique design was inspired by the ancient Greek Olympic flame ceremony and represents freedom, one of the three words in the French national motto: “Liberté, Egalité, Fraternité”. The cauldron’s floating design also pays homage to France’s aviation history, particularly the first hot air balloon flight by the Montgolfier brothers in 1783.In line with the Paris Olympics’ commitment to sustainability, the cauldron is an eco-friendly marvel. Instead of traditional flames, it uses a combination of mist and light to create the illusion of fire. This innovative approach eliminates the need for fossil fuels, significantly reducing the carbon footprint of the Games. The cauldron employs 40 LED spotlights and around 200 high-pressure misting nozzles to produce a radiant effect that mimics flickering flames .As the cauldron rises each afternoon, it serves as a reminder of the unity and excitement that the Olympics bring to the world. The Paris 2024 Olympics are not just a sporting event; they are a celebration of human achievement, cultural exchange, and the timeless values of the Olympic spirit.

Symbolism

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Olympian symbolism for humanity and culture

  1. Sustainable Torch Designs: Incorporating 100% recycled scrap steel in torch designs offers a pathway for future Olympic and Paralympic torches to embrace more sustainable production methods.
  2. Unified Torch Designs: Choosing, for the first time, identical torch designs for both the Olympic and Paralympic Games was done in the spirit of promoting equality and inclusivity in other global events. Lehanneur thoughtfully kept the designs identical. The Paralympic agitos symbol is the only difference.
  3. Culturally Symbolic Torch Elements: Including symbolic features like the rippled texture inspired by the River Seine provides an opportunity to create torches that reflect the culture and heritage of the host country.

Olympian symbolism for innovation and sustainability

  1. Sports Equipment Manufacturing: Innovating torch designs for global sporting events offers sports equipment manufacturers a platform to demonstrate their design and manufacturing capabilities.
  2. Recycling Sector: The use of 100% recycled steel underscores the role of sustainable practices, presenting collaboration opportunities for the recycling industry with event organizers and designers.
  3. Event Management: Designing inclusive and distinctive torches for events like the Olympics and Paralympics requires event management professionals to ensure flawless execution and an unforgettable experience for all involved.

Bibliography

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Annotations

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Notes

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  1. ^ Katsikopoulou, August 29, 2024.
  2. ^ Castañeda, July 29, 2024.
  3. ^ Vasavda, July 28, 2024.
  4. ^ Saint-Fond, Vol. 2, 1783–1784, p. 67.

References

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  • Bruel, Charles. Les Graveurs du dix-huitième siècle [The Engravers of the Eighteenth Century].


  • Jenkins, Richard (August 28, 2024). "Paralympic Torch Makes History With Intentions to 'Push Equality to the Limit'" (SWNS Media Group). Retrieved September 13, 2024.
    1. Via New York Post. Free access icon
    2. Via Daily Express US. Free access icon
Le même jour à trois heures trois quarts après midi, la Machine Aërostatique est descendue dans une prairie entre Nesle et Hédouville, à 9 lieues de Paris. Le Procès Verbal en a été fait dans la Machine par M. Charles, et signé par MM. Charles, Robert, Jean Burgaret Curé de Nesle, Charles Philippet Curé de Frenay, Thomas Hutin Syndic de cette Paroisse et L'Heuraux Curé d'Hédouville. Msr. le Duc de Chartres et M. de Fitz James qui sont arrivés un quart d'heure après ont honoré ce Procès Verbal de leur Signature, A quatre heures un quart Mr. Charles a remonté dans la Machine et a continue seul sa route environ une lieue et demie dans l'espace de 35 minutes : il est descendu dans des friches d'où ayant été apperçu par un Gentilhomme Anglais, il l'engagea à passer la nuit chez lui; il revint le lendemain à Paris. Il a rapporté que la Machine Aérostatique n'avait souffert aucun accident.
The same day at three quarters past three in the afternoon, the Aerostatic Machine descended in a field between Nesle and Hédouville, 9 leagues (approximately 43.45 kilometers or 27 miles) [north-north-west] from Paris. The official report was drawn up in the Machine by Mr. Charles and signed by Messrs. Charles, Robert, Jean Burgot, Priest of Nesle, Charles Philippet, Priest of Frenay, Thomas Hutin, Syndic of this Parish, and Heuraux, Priest of Hédouville. Monsieur the Duke of Chartres and Monsieur Fitz-James, who arrived a quarter of an hour later, honored this official report with their signatures. At a quarter past four, Mr. Charles ascended again in the Machine and continued his journey alone for about a league and a half (approximately 7.24 kilometers or 4.5 miles) over 35 minutes. He descended in some scrublands, where he was spotted by an English gentleman, who invited him to spend the night at his house. He returned to Paris the next day. He reported that the Aerostatic Machine had not suffered any damage.
The Publisher, Esnauts and Rapilly (fl. c. 1775–1811) were Paris based print sellers and publishers active in the latter part of the 18th century. The firm was founded by Jacques Esnauts (1739–1812) (wikidata Q106291900) and Michel Rapilly (1740–1797?) (wikidata Q55339444). Esnauts and Rapilly were known not only for their cartographic works, but also, and more prominently, for their fashion prints. The publication La Galerie des Modes highlighted the fashions of the French aristocracy, leading up to the French Revolution and is regarded as the first fashion magazine. Paris, during the 18th century, was the center of the fashion world and Esnauts and Rapilly's plates were globally distributed to fashion enthusiasts. With respect to its cartographic works, Esnauts and Rapilly published important maps, notably several charting key milestones in the American Revolutionary War. Not wanting to miss out on potential customers, Esnauts and Rapilly gave exact directions to their bookshop on many of their publications: "at the Baker's shop, opposite the Cutler."
The use of the diaeresis (¨), or umlaut, over the letter "e" in words like "Aërostatique" during the 18th century in French served a specific linguistic purpose: to indicate that two adjacent vowels should be pronounced separately, rather than as a diphthong (a combined sound).
Jacques Alexandre César Charles and Marie-Noël Robert riding in the gondola of a balloon ascending from the Tuileries Garden, Paris, France, December 1, 1783 in the first hydrogen balloon flight





















    1. Via Blog. Free access icon
    2. Via Online. Free access icon


    1. Via The Local (The Local).
    2. Via France 24 (France 24). Free access icon


    1. Vol 1. – via Internet Archive (Smithsonian Libraries). Free access icon
    2. Vol 1. – via Google Books (Austrian National Library). Free access icon
    3. Vol 2: Première Suite de la Description des Expériences Aérostatiques [First Continuation of the Description of Aerostatic Experiments] – via Google Books (Bavarian State Library). Free access icon
    Etienne Chevalier de Lorimier (1759–1813) is an artist in Saint-Fond's book.
    1. TIE Blog. Free access icon
    2. TIE Blog Archive. Free access icon
    3. WaybackMachine. Free access icon
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