In 1734 Turgot spoke to Louis Bretez to raise and draw the plan of the capital city and its suburbs, work which he performed between 1734 and 1736. Bretez, member of the Academy of Painting and Sculpture and professor of perspective, opted for the system of "cavalier perspective without perspective or distance point." The accuracy was part of the contract. An act of requisition had been expected, allowing Bretez to enter hotels and homes. The artist even had represented to the trees.

The special feature of this plan is that reconciles a complete and accurate representation of the city and suburbs with a drawing of a beautiful bill. The plan is applauded as much for its beauty as for accuracy, and it is all the more valuable today than a beautiful book fair representation of Paris in the eighteenth century, long before the transformations that completely renewed the capital.

When the drawing of the plan was completed, Claude Lucas, writer of the Academy of Sciences was commissioned to engrave etching and engraving the 21 planks of the plan called "Turgot." The plan did not appear until 1739, a first printing of 20 boards to 2600 copies was made by the usual printer of the City. The prints were bound into volumes that were offered to members of the Academy, the municipality and the king, but also French representations abroad: Constantinople up in China.

Source: Chalcographie du Louvre