The Hunchback of Notre Dame - Victor Hugo [262]
Notre-Dame de Paris has perhaps opened some true perspectives in the art of the Middle Ages, in that marvelous art not as yet understood by some, and, what is worse, misunderstood by others. But the author is far from considering as accomplished the task which he voluntarily assumed; he has already pleaded, upon more than one occasion, for our ancient architecture; he has already denounced loudly many of the profanations, many of the destructions, many of the impious alterations. He will never cease to do so. He has pledged himself to return often to this subject. He will re turn to it. He will be as indefatigable in defending our historic buildings as our iconoclasts of the schools and the academies are in attacking them; for it is a sad thing to see into what hands the architecture of the Middle Ages has fallen, and in what way the bungling plasterers of the present day treat the ruins of that great art. It is even a shame for us, intelligent men who see it done, and who content ourselves in crying out against it. And I am not speaking here only of what goes on in the provinces, but of what is done in Paris, at our gates, under our windows, in the great city,—this city of letters, of the press, of free speech, and of thought. We cannot resist pointing out as they deserve,—to end this note,—a few acts of vandalism which are every day projected, debated, begun, continued, and carried out peaceably under our very eyes, under the eyes of the artistic public of Paris, in face of criticism that is disconcerted by so much audacity. They have just pulled down the archbishop’s palace,—a building in poor taste, and the evil is not great; but at one blow with the archbishop’s palace they have demolished the bishop‘s, a rare ruin of the fourteenth century, which the demolishing architect could not distinguish from the rest. He has rooted up the wheat with the tares; it is all the same to him. They are talking of tearing down the admirable Chapelle de Vincennes, to make from its stones some sort of a fortification, I know not what, of which Daumesniled has no need whatever. While they repair at great expense the Bourbon Palace,—that hovel,—they allow the magnificent windows of the Sainte-Chapelle to fall in before the force of the equinoctial gales. There has been for some days past a scaffolding around the tower of Saint-Jacques de la Boucherie, and one of these days the pickaxe will be applied to it. There has been found a mason to build a small white house between the venerable towers of the Palace of Justice; another has been found to maim Saint Germain-des-Prés, the feudal abbey with the three bell-towers. There will be found, no doubt, another to lay low Saint-Germain-l’Auxerrois. All these masons pretend to be architects, are paid by the prefecture, or from the royal treasury, and wear green coats. All the evil that bad taste can inflict upon good taste they have done. At the moment we are writing,—deplorable sight!—one of them has possession of the Tuileries, another has made a deep gash directly across the beautiful face of Philibert Delorme; and it certainly is not one of the least scandals of our time to see with what effrontery the clumsy architecture of this gentleman has sprawled across one of the most delicate façades of the Renaissance.28
PARIS, October 20, 1832.
THE END.
Endnotes
1 (p. 3) book is based: In drawing attention to anankè, this “absent” word, Hugo inscribes two themes that are central to The Hunchback of Notre Dame and that will be central to his subsequent novels: the potentially destructive effects of the passage of time and the weight of fatality.
2 (p. 9) Epiphany ... Feast of Fools: Emphasis on the convergence of these two feasts, one religious and one popular, falls perfectly in line with the principle of totality—that is to say, the coexistence of the sublime and the grotesque—which Hugo outlined in the preface to his play Cromwell (1827).
3 (p. 26)