The Life of the Fields/The Plainest City in Europe
THE PLAINEST CITY IN EUROPE.
The fixed perspective of Paris neither elongates nor contracts with any change of atmosphere, so that the apparent distance from one point to another remains always the same. Reduced to the simplest elements the street architecture of Paris consists of two parallel lines, which to the eye appear to gradually converge. In sunshine and shade the sides of the street approach in an unvarying ratio; a cloud goes over, and the lines do not soften; brilliant light succeeds, and is merely light—no effect accompanies it. The architecture conquers, and is always architecture; it resists the sun, the air, the rain, being without expression. The geometry of the street can never be forgotten. Moving along it you have merely advanced so far along a perspective, between the two lines which tutors rule to teach drawing. By-and-by, when you reach the other end and look back, the perspective is accurately reversed. This is now the large end of the street, and that which has been left the small. The houses seen from this end present precisely the same façade as they did at starting, so that were it not for the sense of weariness from walking it would be easy to imagine that no movement had taken place. Each house is exactly the same height as the next, the windows are of the same pattern, the wooden outer blinds the same shape; the line of the level roof runs along straight and unbroken, the chimneys are either invisible or insignificant. Nothing projects, no bow window, balcony, or gable; the surface is as flat as well can be. From parapet to pavement the wall descends plumb, and the glance slips along it unchecked. Each house is exactly the same colour as the next, white; the wooden outer blinds are all the same colour, a dull grey; in the windows there are no visible red, or green, or tapestry curtains, mere sashes. There are no flowers in the windows to catch the sunlight. The upper stories have the air of being uninhabited, as the windows have no curtains whatever, and the wooden blinds are frequently closed. Two flat vertical surfaces, one on each side of the street, each white and grey, extend onwards and approach in mathematical ratio. That is a Parisian street.
Go on now to the next street, and you find precisely the same conditions repeated—the streets that cross are similar, those that radiate the same. Some are short, others long, some wide, some narrow; they are all geometry and white paint. The vast avenues, a rifle-shot across, such as the Avenue de I'Opéra, differ only in width and in the height of the houses. The monotony of these gigantic houses is too great to be expressed. Then across the end of the avenue they throw some immense façade—some public building, an opera-house, a palace, a ministry, anything will do—in order that you shall see nothing but Paris. Weary of the gigantic monotony of the gigantic houses, exactly alike, your eye shall not catch a glimpse of some distant cloud rising like a snowy mountain (as Japanese artists show the top of Fusiyama); you shall not see the breadth of the sky, nor even any steeple, tower, dome, or gable; you shall see nothing but Paris; the avenue is wide enough for the Grand Army to march down, but the exit to the eye is blocked by this immense meaningless facade drawn across it. No doubt it is executed in the "highest style;" in effect it appears a repetition of windows, columns, and doorways exactly alike, all quite meaningless, for the columns support nothing, like the fronts sold in boxes of children's toy bricks. Perhaps on the roof there is some gilding, and you ask yourself the question why it is there. These façades, of which there are so many, vary in detail; in effect they are all the same, an utter weariness to the eye. Every fresh day's research into the city brings increasing disappointment, a sense of the childish, of feebleness, and weakness exhibited in public, as if they had built in sugar for the top of a cake. The level ground will not permit of any advantage of view; there are none of those sudden views so common and so striking in English towns. Everything is planed, smoothed, and set to an oppressive regularity.
Turning round a corner one comes suddenly on a pillar of a dingy, dull hue, whose outline bulges unpleasantly. In London you would shrug your shoulders, mutter "hideous!" and pass on. This is the famous Vendome Column. As for the Column of July, it is so insignificant, so silly (no other word expresses it so well), that a second glance is carefully avoided. The Hotel de Ville, a vast white building, is past description, it is so plain and so repellent in its naked glaring assertion. From about old Notre Dame they have removed every mediseval outwork which had grown up around and rendered it lifelike; it now rises perpendicular and abrupt from the white surface of the square. Unless you had been told that it was the Notre Dame of Victor Hugo you would not look at its exterior twice. The interior is another matter. In external form Notre Dame cannot enter into competition with Canterbury. The barrack-like Hotel des Invalides, the tomb of Napoleon—was ever a tomb so miserably lacking in all that should inspire a reverential feeling?
The marble tub in which the urn is sunk, the gilded chapel, and the yellow windows—could anything be more artificial and less appropriate? They jar on the senses, they insult the torn flags which were carried by the veterans at Austerlitz, and which now droop, never again to be unfurled to the wind of battle. The tiny Seine might as well flow in a tunnel, being bridged so much. There remains but the Arc de Triomphe, the only piece of architecture in all modern Paris worth a second look. Even this is spoiled by the same intolerable artificiality. The ridiculous sculpture on the face, the figures blowing trumpets, and, above all, the group on the summit, which the tongue of man cannot describe, so utterly hideous is it, destroy the noble lines of the arch, if any one is so imprudent as to approach near it. Receding down the Avenue Friedland—somewhat aslant—the chestnut trees presently conceal the side sculpture; and then by tilting one's hat so that the brim shall hide the group on the summit, it is possible to admire the proportions of the Arc. In the Tuileries gardens there is a spot where distance obliterates the sculpture, and the projecting bough of an elm conceals the group on the top. Here the arch appears noble; but it is no longer French; it is now merely a copy of a Roman original, which any of our own architects could erect for us in Hyde Park. For the most part the vaunted Boulevards are but planted with planes, the least pleasing of trees, whose leaves present an unvarying green, till they drop a dead brown; and the horse-chestnuts in the Champs Elysées are set in straight lines to repeat the geometry of the streets.
Thus central Paris has no character. It is without individuality and expressionless. Suppose you said, "The human face is really very irregular; it requires shaping. This nose projects; here, let us flatten it to the level of the cheek. This mouth curves at the corners; let us cut it straight. These eyebrows arch; make them straight. This colour is too flesh-like; bring white paint. Besides, the features move, they laugh, they assume sadness; this is wrong. Here, divide the muscles, that they may henceforth remain in unvarying rigidity." That is what has been done to Paris. It is made straight; it is idealized after Euclid; it is stiff, wearisome, and feeble. Lastly, it has no expression. The distances as observed at the commencement remain always the same, partly because of the obtrusive geometry and the monotony, partly because of the whiteness, and partly because of the peculiarity of the atmosphere, for which of course the Parisian is not responsible, but should have remembered in building. Advantage might surely have been taken of so clear an air in some manner. The colour and tone, the light and shade, the change and variety of London are entirely wanting; in short, Paris is the plainest city in Europe.
PRINTED BY WILLIAM CLOWES AND SONS, LIMITED, LONDON AND BECCLES.
