The central cohesive element of the Axe historique (historic axis, a sequence of monuments and grand thoroughfares on a route running from the courtyard of the Louvre to the Grande Arche de la Défense), the Arc de Triomphe was designed by Jean Chalgrin in 1806; its iconographic programme pits heroically nude French youths against bearded Germanic warriors in chain mail.

Paris's Arc de Triomphe was the tallest triumphal arch until the completion of the Monumento a la Revolución in Mexico City in 1938, which is 67 m (220 ft) high.

Laying the foundations alone took two years and, in 1810, when Napoleon entered Paris from the west with his new bride, Archduchess Marie-Louise of Austria, he had a wooden mock-up of the completed arch constructed.

During the Bourbon Restoration, construction was halted, and it would not be completed until the reign of Louis Philippe I, between 1833 and 1836, by the architects Goust, then Huyot, under the direction of Héricart de Thury.

[7][8] On 15 December 1840, brought back to France from Saint Helena, Napoleon's remains passed under it on their way to the Emperor's final resting place at Les Invalides.

[10] On 7 August 1919 three weeks after the Paris victory parade in 1919 (marking the end of hostilities in World War I), Charles Godefroy flew his Nieuport biplane under the arch's primary vault, with the event captured on newsreel.

A United States postage stamp of 1945 shows the Arc de Triomphe in the background as victorious American troops march down the Champs-Élysées and U.S. airplanes fly overhead on 29 August 1944.

Major academic sculptors of France are represented in the sculpture of the Arc de Triomphe: Jean-Pierre Cortot; François Rude; Antoine Étex; James Pradier and Philippe Joseph Henri Lemaire.

The main sculptures are not integral friezes but are treated as independent trophies applied to the vast ashlar masonry masses, not unlike the gilt-bronze appliqués on Empire furniture.

The four sculptural groups at the base of the Arc are The Triumph of 1810 (Cortot), Resistance and Peace (both by Antoine Étex), and the most renowned of them all, Departure of the Volunteers of 1792 commonly called La Marseillaise (François Rude).

Titled Le triomphe de la Révolution ("The Triumph of the Revolution"), it depicted a chariot drawn by horses preparing "to crush Anarchy and Despotism".

[28] The slab on top bears the inscription: Ici repose un soldat français mort pour la Patrie, 1914–1918 ("Here rests a French soldier who died for the Fatherland, 1914–1918").