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RE? 720 V7vo
Viollet-Le-Duc, Eugaene
Emiaanu
On restoration
ON RESTORATION
The Arts never

time, because
die.
Their principles remain true for

is
all
its
humanity
always the same.

be modified,
However
customs and institutions
may
its intellectual
con-
stitution is unchanged :~its of reasoning, its instincts faculty and sensations proceed from the same source now as they did
twenty centuries ago.
It
is
moved by
the
same
it
desires
and
the same passions, while the various languages
employs do
but enable
it
to
express in every age the same ideas, and to
call for the
satisfaction o
the same wants,
Duo.
ON
R
BY
E.
VIOLLET-LE-i)W
A NOTICE OF HIS WORKS

IN"
CONNECTION WITH
THE HISTORICAL MONUMENTS

OF FRANCE
BY CHAELES WETHEKED
LONDON:
SAMPSON LOW, MARSTON, LOW, AND SEAKLB,
CROWN
BUILDINGS,
188,
FLEET STREBT.
1875.
All rights reserved.
CH1SWICK PRESS :
PRINTED BY WHITTINGHAM AND WILKIN5,
TOOKS COURT, CHANCERY LANE.
'40
PEEFATOEY NOTE.
English version of the
article
"
Restauration," in that valuable
treasury of architectural art and

erudition, Viollet-le-Duc's
tionnaire
" DicFran-
Raisonne
de
V Architecture
qaise"
readers.
will,
I trust, be acceptable to
many
In
this philosophic Essay, the author has
concisely laid
down
the
essential principles
and expedients which should guide the

tect
archi-
when
dealing
with the
time-honoured
structures of his predecessors.
We know how
grievously
many
buildings strong enough to
survive the lapse of ages suffer through neglect,
ignorance,
or cupidity.
Here and
there,
CH1SW1CK PRESS
PRINTED BY WHITTINGHAM AND W1LKINS,
PREFATORY NOTE.
N"
ee
English version of the article Mestauration" in that valuable
treasury of architectural art and

erudition, Viollet-le- Due's
" DieFran-
tionnaire
Raisonne
de
Architecture
qaise"
readers.
will,
I trust, be acceptable to
many
In
this philosophic Essay, the author has
concisely laid
down the
essential principles
and expedients which should guide the

tect
archi-
when
dealing
with the
time-honoured
structures of his predecessors.
We know how
grievously many buildings strong enough to survive the lapse of ages suffer through neglect,
ignorance, or cupidity.
Here and
there,
PREFATORY NOTE.
some
as, for
<c
however., remain the relics of
glorious
work of
fine intelligence^
example,
those of our
own
Tintern, Furness, and Mel-
which we would ever willingly rose abbeys a noble wrecks in ruinous perfecretain as
tion/'
Most
of our ancient cathedrals
and
still
churches, baronial-halls and manor-houses,
continue to be used because admirably adapted

for their several
purposes
assuredly, then,
it
should be the earnest care of our generation

to
hand on these heirlooms in stone
to after-
times, in a state of comeliness
and integrity
left
not inferior to that in which they were

their earlier possessors.
by
By
the kind permission of the publishing
firm of Morel and Co., of Paris, I have prefixed
pages the portrait of M. Viollet-le-Dtic, from the " Dictionnaire" engraved on steel by Massard.
to these
My notice
the
of his works in connection with " Historical Monuments of France/' in the

at-
" Times" of August 24th, 1874, having

tracted the attention of
many whose
critical
PEEFATORY NOTE.
opinion
I value, I have,, at the instance of

friends,
some of my
it
thought well to re-present in a somewhat more extended form.
The
translations of Viollet-le-Duc, so earn-
estly undertaken
by Mr. Bucknall, will,

mind
it
may
be confidently hoped, do much to bring the

influence of his fruitful
to bear
upon
which
English thought and
taste in fields in
he has attained unquestionable greatness.
a
WEST
OEANG-KJ STROUD,
w.
May,
1875.
ON EESTOEATION. HE
term [Restoration and the thing itself are both modern. To restore
a building
is
not to preserve
it,
to
repair, or rebuild it; it is to re-
instate it in a condition of completeness
which
could never have existed at any given time.

It is only since the first quarter of the prese'nt
century that the idea of restoring buildings of
another age has been entertain'ed ; and we are not aware that a clear definition of architectural
restoration has as yet been given.
it
Perhaps
may be
as well to endeavour at the outset
to gain an exact notion of
what we under-
stand, or ought to understand,
by a restoration ;
10
ON RESTORATION.
ambiguity
for it is evident that considerable
has insensibly gathered about the meaning

attach, or
we
ought
to attach,, to this operation.
We have
thing
itself
said that both the
word and the

no
civil-
are
modern ; and,
in fact,
ization,
no people of bygone ages, has conceived
the idea of
making
restorations in the sense in
which we comprehend them.
In Asia, both in ancient and modern times, when a temple or a palace has become dilapidated, another has been, or
is
now, erected
beside
it.
Its
decay
is
not regarded as a
it is
reason for destroying the anciont edifice ;

left to
the action of time, which
lays-
hold of it
as its rightful possessor,
sumes
it.
;
and gradually conThe Romans replaced, but did not

is,
restore
a proof of which
that there is no
<f
Latin word corresponding with our term

storation
reficere,
re-
"
in its
modern
sense.
Instaurare,
renovare, do not mean to restore, but to

to
reinstate
make anew. When the Emperor

to rehabilitate
Hadrian undertook
several
public buildings in Ancient Greece and Asia
ON RESTORATION.
Minor, he proceeded after a fashion against
which
all
the archseological societies of Europe,,

:
had they then existed, would have protested though he made some claim to antiquarian
knowledge.
tion of the
We
cannot consider the renovaat Baalbec as a
Temple of the Sun
restoration, but as a rebuilding, in the style
then prevailing.
The Ptolemies themselves,
who
affected archaism, did not altogether re-
spect the forms of the buildings of the old

dynasties of Egypt, but replaced
them accordtime.
ing to the fashion of their
own
As
is
to
to
the Greeks, so far from restoring,
that
say, from reproducing exactly the forms of the edifices which had suffered decay, they evi-
dently believed
it
better to give the stamp of
the day to repairs that had become necessary.
Building a triumphal arch like that of Constantine, at
Rome, with fragments torn from

is
the Arch of Trajan,

a reconstruction ;
neither a restoration nor
it is
an act of vandalism
barbarian pilfering.
Nor can
the covering
with stucco of the architecture of the Temple
12
ON RESTORATION.
Fortuna
Virilis, at
it is
to
Rome, be considered
as
a restoration
a mutilation.
The middle ages had no more of the sentiment of Restoration than the ancients far from
:
it.
If
it
capital
became necessary to replace a broken, in an edifice of the twelfth century, it

was substituted
was a
or capital of the thirteenth, fourteenth,

for
it.
fifteenth century that
If on a long frieze of crockets of the thirteenth
century, a portion, or a single one, should be
wanting,
it
was an ornament
in the taste of
it
the day that was inserted.
Thus
often hap-
pened that before an extremely careful study had been devoted to the styles of various
periods, archaeologists were led to regard these
modifications as anomalies, and to give a
wrong
date to fragments which should have been
regarded as interpolations in a text.
We
restore
might say that
it is
as unadvisable to
by reproducing
a>fac-simile of all that
we
find in a building, as
stitute for later
by presuming to subforms those which must have

In the
first case,
existed originally.
the good
ON RESTORATION.
faith
13
and sincerity of the
artist
may
lead to
the gravest errors, by consecrating what
may
be called an interpolation
in the second, the
substitution of a primary form for an existing
one of a later period, also obliterates the traces
known, would rendered have evident the existence perhaps of an exceptional arrangement. We shall
if
of a reparation, whose cause,
explain this presently.
Our age has adopted an

the past in which
historical ages.
it
attitude towards
stands quite alone
among
It has undertaken to analyze
the past, to compare and classifyits phenomena,
and to construct
its
veritable history,
by
fol-
lowing step by step the march, the progress, So rethe successive phases of humanity.
markable a fact cannot be, as some superficial

thinkers suppose, a mere fashion, a caprice, or
a weakness, for the phenomenon
by and by anatomy,
Cuvier,
one.
his
is a complex works on comparative
his
geological researches,
unveiled
all
at once to the eyes of his conr
temporaries the hiatory of the^ world
14
ON RESTORATION,
Imagination follows
the reign of man.
Mm
with eagerness along this novel path.
Next
comes the
philologist,
who
discovers the origin

issuing from the
of European languages,
all
same
source.
The
ethnologist extends his
labours to the study of races and their aptitudes.
Lastly, comes the archaeologist,
who
investigating
the
productions
of art from
India to Egypt and Europe, compares, discusses,

their
and discriminates them, unmasking and by the origins and their affiliations
;
analytical method succeeds gradually in coordinating them according to certain laws.
To
see in this process a mere caprice, a fashion
of the hour, or a state of moral distemper, is

to
judge hastily of a
fact of considerable
it
im-
portance.
all
As
well might
be asserted that
since Newton's
the facts revealed
by science
time, are the result of a caprice of the
human
mind.
If the fact
it
is
considerable as a whole,
its
how
can
be destitute of importance in
details?
All the labours above referred to
are linked together, and co-operate with each
ON RESTOEAIION.
other.
15
If
the
European has reached
this
in-
phase in the development of the human
tellect, that while advancing with redoubled
speed towards the destinies of the future, and
perhaps even because he advances thus rapidly,
he
feels
the necessity of collecting

just as
all
that
belongs to his past,
we
collect a large
is it
library to prepare for future labours,

rational to accuse
him of being led by a
caprice,
an ephemeral phantasy? On the other hand, are not the backward and the blind the
very persons
who
disdain these studies, pre?
tending to regard them as useless rubbish
Is not, on the contrary, the dispelling of prejudices

truths
and
the
disinterment of forgotten
efficient
one of the most

?
means
of
furthering progress
Should our time have nothing to transmit

to future ages but this
new method of studying

it
the monuments of the past -whether in the

material or the moral sph'ere
will
have
deserved the gratitude of posterity.
But w&
know
also that our age is not satisfied with
16
ON RESTORATION.
it
;
casting a scrutinizing glance behind
this
work
of retrospection cannot
fail
to develop
the problems presented

facilitate their solution.
by the
future and to
Synthesis follows in
the wake of analysis.
These
investigators
of
the
past
these
archaeologists
who
patiently
disinter
those
fragmentary remains of the arts which had
been supposed to be
lost,
have to conquer
prejudices studiously fostered

class of persons for
by the numerous
whom
every discovery
each
is
new horizon
is
the loss of tradition, that
to say, of a conveniently tranquil state of
mind.
all
The story of
Galileo is applicable to
times.
It presents itself one or

it
two steps
higher, but
always reappears on the ladder

is
which humanity
ascending.
We
may
re-
mark, in passing, that the periods marked by a great movement in advance have always been
distinguished
past.
by at least a partial study of the In the "West, the twelfth century was
political, social,
a veritable renaissance,
philosophic, of art
and
and of
literature;
at the
ON RESTORATION.
same time some men* aided
researches into the past.
this
17
movement by
sixteenth cen-
The
tury presented the same phenomena.

ologists therefore
Archae-
need not
at the charge of retardation
feel very uneasy which some have
presumed
to bring against
them ;
for not only
in France, but throughout Europe their labours
are appreciated by a public eager to penetrate
with them into the recesses of anterior ages*
And
if
these archaeologists occasionally leave
the dust of the past to throw themselves into

polemics,
it
is
not time lost; for polemics
engender
ideas,
and induce a more attentive

doubtful problems;
contra-
examination of
diction helps to solve them*
Let us not then
bring accusations against those whose intellects

riveted to the contemplation of the present, or
attached to prejudices dignified with the

of
tradition,
name
the
close
their
eyes
against
treasures disinterred from the past, and pre-
sume
to
make
the date of their
own
and
birth that
of humanity ; for
we
are thus forced to

to
make
show
up
for
their short-sightedness,
18
ON RESTORATION.
distinctly the result of our
them more
searches.
re-
But what
shall
we say of those
fanatics
who
are the seekers of treasures of a certain kind,
who do not
allow us to delve in a ground
which they have neglected, but regard the past as a material to be worked by a monopoly,
and loudly assert that humanity has produced results worth collecting only during certain
historical periods defined
by themselves ; who
presume
history of
selves
to tear out
entire chapters of the
human achievements; who sot themclass of

ee
up as censors of the whole

:
archaeologists, saying
is
it
Such or such a vein
it ; if you bring denounce you to your con" This was the temporaries as corrupters
insalubrious, do not disturb

to light
we
will
treatment experienced a few years ago by men
who passed
arts, the
their lives in bringing to light the
costumes, and the literature of the
middle ages. If these fanatics have diminished

in number, those
who
persist are
only the
more violent in
their attacks,
and have adopted
ON RESTORATION.
19
a line of tactics capable of deceiving people
who
are
little
inclined to look deeply into

t(
:
things.
selves
They reason thus and you undertake
You study
to
yourac;
make us
quainted with the arts of the middle ages

therefore
you wish to make us return to the

ytfu prohibit
if
middle ages, and
the study of
classical antiquity;
you could have your

every prison,
to courts of justice*
way, there would be
oubliettes in
and a torture-room attached
You talk
to us about the labours of the
monks
therefore you
want
to take us
back to the
monastic regime, to
into
tithes,
to bring us again
subjection to an enervating asceticism.

tell
You
you must be opposed to the principles of 89, and if you had your way, forced labour would be
;
us about feudal castles
therefore
;
restored."
The amusing part

fanatics
of the matter is that these
(we keep to the word) lavish on us
the epithet exclusive, probably because
we do
and
not exclude the study of mediaeval
art,
even venture* to recommend
it.
20
ON RESTORATION.
"We
shall
be asked, perhaps, what relation these wranglings can have with the subject
of this article
:
we
will
answer the question.
Architects in France are in no hurry.
To-
wards the end of the
first
quarter of the pre-
sent century mediaeval studies
had already
been earnestly taken up; but architects still saw in Gothic vaulting only the imitation of Ger(was a consecrated phrase), and in the pointed arch only diseased art. The
it
man forests
pointed arch
is
a broken curve, therefore

:
it is
in a state of disease
that
is
conclusive-
The
churches of the middle ages, despoiled during the Revolution, deserted, darkened by time
and decayed by damp, presented only the

aspect of large
empty tombs.
Hence the
funereal phrases of Kotzebue, which have been
repeated after him.
The
interior of Gothic
buildings inspired only gloom (which
may be
spires
readily conceived in the state to which they
had been reduced).

sions
The open-work
looming in the haze called forth romantic effdj
descriptions of the lace-w$rJc of stone,
ON RESTORATION.
21
the pinnacles raised aloft upon buttresses, the

elegant clustered columns sustaining fretted
ceilings at fearful heights.
These witnesses
to the piety (others say the fanaticism) of our

forefathers, only reflected a
kind of mental con-
dition, half mystical, half barbarous, in which
caprice reigned paramount.
It
is
needless to
enlarge here on these high-sounding
common-
places which were in vogue in 1825, but which
are no longer found except in the* pages of

journals that are behind the times.
Be
that
as
it may, these empty phrases, aided by the Mus&e des Monuments Frangais and a few col-
lections like those of
Du
Somrnerard, became
the means of inducing several architects to ex-
amine with interest these remnants of the ages of ignorance and barbarism. Somewhat superficial
and timid
less
at first, this
examination did
not the
provoke some sharp remonstrances.
The
delineation of these buildings, erected
by
was
the Goths, as some- sage persons used to say,
had to be secretly accomplished.
Then
it
that cerfaiik individuals who, not bîng
22
ON RESTORATION.
were beyond the reach of the academical last, opened the campaign by labours which were
very remarkable
for the
time at which they
were undertaken.
In 1830, M. Vitet was appointed Inspector
General of Historical Monuments.
That ac-
complished writer was able to bring to bear on these novel functions, not great archaeological
knowledge
pected
to*
which no one could then be exbut a

spirit of criticism
possess
and
of analysis which
first
threw light on the history
of our ancient buildings* In 1831
M. Vitet
ad-
dressed to the Minister of the Interior a vivid
and methodical report on the inspection to which he had devoted himself in the northern
departements, and which suddenly disclosed
to enlightened
minds treasures
till
then un-
known ; a
day
is
report which even at the present

its
regarded as a masterpiece of
kind.
it
:
We
f(
shall venture to cite a
few extracts from
am
" that in the aware/' says the author,
estimation, of
many who
are authorities,
it is
strangely paradoxical to
speak seriously of
ON RESTORATION.
the sculpture of the middle ages.
to believe them, there has
23
If
we
are
been no such thing
as sculpture in Europe from the time of the
Antonines to that of Francis the First ; and

statuaries
have been nothing more than rude and uncultivated masons. It is sufficient,
little
however, to have eyes and a
candour of
judgment
to see the
erroneous character of
this prejudice,
and
to elicit the
acknowledge
ment
that at the close of the age of pure bar-
barism there arose in mediaeval times a noble

school of sculpture characterised by grandeur
and beauty>
inheriting
the procedures and
even the style of ancient art, although quite modern in its spirit and its e ffects ; and which,
like every other school,
its
had
say
*
4 *
its its
*
phases and
infancy, its
changes, that
is
to
maturity, and its decline

therefore,
We
should,
esteem ourselves fortunate
when
chance discovers
nook, which the
to us in a well-sheltered
hammer
could not reach,
some fragment of
scnlptnre/'
this noble
and
beautifel
And
further on, as if to eonfea-
24
ON RESTORATION.
vene the influence of the sepulchral phraseology made use of in the description of mediaeval buildings,
self
M.
Vitet thus expresses him-
apropos of colouring as applied to archi:
tecture
" In
fact,
recent travels and incon-
testable proofs have
now removed
all
doubt
for
that ancient Greece extended the
taste
colour so far as to have covered with painting
even the exterior of its buildings ; our savants,however, on the strength of a few bits of
untinted marble have for three centuries led
us to imagine
coloured.
its
architecture as cold and un-
Much
the same has been done

It
with regard to the middle ages.
happened
that at the end of the sixteenth century, thanks

to Protestantism, pedantry,
and many other
causes, our imagination becoming every day

less lively, less natural,
and more
dull
if
we
may
so call it
people set to work to white-
wash the
beautifully
decorated
churches
naked walls and wadnscotings became the fashion, and if a few internal painted decorations were
still
allowed,
it
was only as
it
were
ON RESTORATION.
in miniature.
25
Because this has been the
state of things for
two or three hundred years,

it
we
are in the habit of concluding that
was
always so,
and that these unfortunate buildings
appeared from time immemorial pale and bare as they are now. But if you observe them
attentively,
you will very soon discover some remnants of their old dress wherever the
:
whitewash has scaled "

painting
off
you
find the original
In concluding
him, M.
pressed
his report
on the ancient
buildings of the northern provinces visited
by
Vitet, having been remarkably im-
by the imposing
aspect of the ruins the
of the Chateau de Coucy, addresses to
minister this request, which has at the present
day a
significance of extreme interest
'e
:
In
concluding here what concerns the monu-
ments and their preservation, allow me, Monsieur le Ministre, to add a few words respecting
a monument more wonderful and valuable
perhaps than any of which I have been speaking,
and whose
restoration
propose' to
26
ON RESTORATION.
It is indeed a restoration
attempt.
which
will
require neither stones nor cement, but only a
few sheets of paper.
The
reconstruction, or
rather the reinstating in its entirety and in

its
minutest details, of a fortress of the middle

its interior
;
ages, the reproduction of

tion,
decora-
even to
its
its
furniture
its
in a
word giving
if
back
form,
colour, and
its
may
is
venture to say so
former life; such

itself to
the
undertaking which suggested
me im*
mediately on entering the enclosure of the
Chateau de Coucy.
that colossal keep,
as if built
Those enormous towers,
seem
under some aspects
but yesterday.
And
in their
what interesting vestiges of painting, of sculpture, and of interior ardilapidated portions
rangements
nation
!
What
subjects for the imagi-
How many
trustworthy landmarks
j
to guide us in the discovery of the past
to
say nothing of the ancient plans of Cerceau,
which, though incorrect,

portant aid
!
may
also give im-
" Hitherto
this species of labour has
been
ON RESTORATION.
devoted to the buildings of
alone.
it
27
classical antiquity
I believe that in the mediaeval domain

to results still
might lead
more
satisfactory ;
for the indications
we
follow,
having as their
more recent and buildings more complete, what is often only conjecture with regard to antiquity would become almost cerbasis facts
tainty if the middle ages were in question
the restorations I have been speaking
of,
for
example, confronted with the Chateau such as

it
exists
now, would encounter, I venture to
say, very
few incredulous
critics."
The programme
so vigorously sketched
by
the illustrious critic thirty-four years ago,
we
now
on paper, not in perishable drawings, but in stone, wood, and iron in

see realized, not
a castle not less interesting, that of Pierrefonds.
Many
events have occurred since the presenta-
tion of the Inspector General's Report on the
Historical
sions'
first
Monuments
in 1831
many
still
discus-
on art have been raised
the seed
its .fruit.
sown by M. Vitet has borne

Vitet was the
first
M.
to interest .himself
28
ON RESTORATION.
tlie
seriously in
restoration of
tike
our ancient
to
buildings;
lie
was
on
first
:
enunciate the
first to
practical views
this subject
bring criticism to bear
on work of this kind.

other critics and other
The way was opened
men
of learning have entered
upon
it,
and
artists
have followed in their track.

later, the
Fourteen years
ful to
same
writer, faith-
the
work he had
so well begun, wrote

;
Noyon Cathedral and in that remarkable work he thus bears witness to the
the history of
stages
artists
passed through by the
savants and
:
devoted to the same studies

fact, to
" In
know
the history of an art
it is
not enough to determine the different periods
through which
place;
it
it
has passed in any given

its
is
necessary to trace
it
progress
in
all
the localities in which
has appeared,
it
to indicate the varieties of
form
has success-
ively assumed,
and
to present a comparative
sketch of
having regard not only to each nation but to each province of a

all its varieties,
country.
...
It
is
with this double view and
ON RESTORATION.
in this spirit that almost
all
29
the researches
undertaken among us in reference to mediaeval

buildings during the last twenty years have
About the beginning of the present century some English and German savants had already set us the example, by
been conducted.
essays specially devoted to the edifices of these
two countries.
Their works had no sooner
found their way into France

particular
tion there.
Normandy,
in
than they excited a lively emula-
and Poitou
In Alsace, Lorraine, Languedoc, in fact in all our provinces the

j,
love for studies of this kind rapidly extended
and in every quarter we are working, investigating, preparing and collecting materials.
Unhappily fashion, which creeps in and mixes itself up with everything new, very frequently
to spoil
it,
has not respected this infant science,
and has perhaps somewhat endangered its progress. The world is in a hurry to enjoy; they
have asked for easy methods of learning, which
would enable them

building they saw.
to give a date to every-
On
the pther hand, a, few
30
ON RESTORATION.
away by excess of
zeal,
studious men, carried
have been betrayed into a dogmatism not sustained by proof, and bristling with trenchant
assertions, calculated to produce
incredulity
among
those
whom
they undertake to convert.
But despite these drawbacks, which are inseparable from every new intellectual pursuit,
the real workers continue their labours with
patience and moderation.
truths are ascertained
;
The fundamental
;
the science exists
it
only remains to consolidate and to extend
it,
by
getting rid of notions that
impede
it,
and by
completing incomplete demonstrations.

remains to be done
;
Much
but the results obtained

it
are such as to render
certain that the object

satisfactorily ac-
aimed at
will
some day be
complished."
We
should have to cite the greater part of
the text to
show how
far its
author had ad-
vanced in the study and appreciation of the arts of the middle ages, and how light dawned
in the midst of the darkness that overspread
them.
"It
is/
says
M.
Vitet, after
having
ON RESTORATION.
clearly
31
demonstrated that the architecture of

is
those times
a complete art, with
new laws
and a
rational procedure of its
" own, from not
having our eyes open that we treat all these truths as chimeras, and shut ourselves up in a
contemptuous incredulity." At that time M. Yitet had given up the Inspector Generalship of Historical
since 1835 its functions
Monuments
had been entrusted to

intellects of our
one of the most distinguished time M, Merimê.

It
was under these two sponsors that a
first
nucleus of artists
was
formed, of
young men
their wise
desirous of gaining an intimate knowledge of
these forgotten arts
it
was under
inspiration, guided always
by
severe criticism,
first
that restorations were undertaken, at
with
great reserve, but soon more boldly and on a
more extensive
scale.
From 1835
to 1848,
M,
Yitet presided over the Commission des
Monuments Sistoriques j and during this period & great Dumber of buildings, of the .Roman
and mediaeval periods in France, were studied
32
ON RESTORATION.
also preserved
and
from ruin.
It mtist
be
observed that the idea of restoration was' then

quite novel.
tions
made
in previous ages,
Leaving out of view the restoraand which were
only substitutions, attempts had indeed been
made
since the beginning of the century to
give an idea of the arts of elder times by compositions,
which though somewhat
fanciful,
aimed at reproducing ancient forms. M. Lenoir, in the Musee des Momvments Ifyan$ai& formed by him, had tried to arrange IB. chronological order
destruction.
all
the fragments saved from

it
But
must be confessed that
the imagination of the celebrated conservator

was, more conspicuous in ihis
ing,
work than
learn-
and
criticism]
It
was tlm&y fo
tomb of Heloisa and Aboard, transferred to the Eastern cemetery, was

that tte
posed;
with arcades and colonnettes from
the aisle of the abbey church "of St. Denis and

bas-reliefs
from the tombs of Philip and Louis
(brother and son of St. Louis), heads from th
Lady Chapel
of St.
Germain des Pres, and
ON RESTORATION.
33
statues of the beginning of the fourteenth century.
It
was thus that the statues of Charles V.

St.
and Jeanne de Bourbon from the tomb of
Denis were placed on wainscoting of the sixteenth century, taken from the chapel of the
Chateau de Gaillon and surmounted by a canopy
of the close of the thirteenth century; that the so-called hall of the fourteenth century
was decorated with arcading from the roodscreen of the Sainte OJiapelle^ and the thirteenth-century statues
placed
against
the
columns of the same

Louis IS. and
a,
edifice; that for
want of a
Marguerite de Provence, the
statues of Charles V.
and of Jeanne de Bour-
bon, which formerly decorated the portal of the Celestins at Paris, had been christened by
the
1 king and his wife, The Musee des Monuments Frangais haying been
name
of the sainted
It has happened, as a result of this substitution,
that nearly every painter
and
sculptor, since that
been commissioned to represent these time, lias personages, given to Saint Louis the head of
lias
who
34
ON RESTORATION.
destroyed in 1816, the confusion was only increased

which,
among
this collection of
were transferred
for
monuments, the most part to
St. Denis.
By
the desire of the
Emperor Napoleon L,
rein-
who was
in everything in advance of his times,
and who comprehended the importance of storations, this church of St. Denis was
tended not only to serve as a place of sepulture

for the
new dynasty but
to present a
kind of
specimen of the development of art in France from the thirteenth to the sixteenth century.
Funds were appropriated by the emperor

this restoration;
to
but from the beginning of

so
little
the works the
effect
answered his
expectations that the architect to
whom
the
commission had been given was reproached
somewhat severely by the emperor, and,

said,
it is
took this treatment so
much
to heart that
he died of chagrin.
This unfortunate church of St. Denis was a
sort of anatomical subject
first
on which
artists
who
entered on the path of restoration
made
ON BESTORATION.
their first essays in restoration.
35
During
thirty
years
it
suffered every possible mutilation ; to

fact that its stability
being endangered, after considerable outlay and when

its
such a degree in
ancient dispositions had been altered, and
all
the fine
it
monuments
it
contained tumbled
to conclude this
about,
became necessary
laid
costly series of experiments,
and to revert
to
the
programme
down with
respect to re-
storation
by the Commission
des
Monuments
Sistoriques.
We proceed, then, to explain the*programme

now adopted
in
England and in Germany^

a
which have preceded us in the path of the

theoretical study of ancient art,
programme
accepted also in Italy and Spain, which seek

in their turn to bring criticism to bear on the
preservation of their ancient buildings.
This
programme
lays
down at the
outset the general
principle that every building
and every part
of a building should be restored in its own style, not only as regards appearance J>ut
There have been few buildings^
36
ON RESTORATION.
particularly during the middle ages, built all
at one
time;
or
if so
built, that
have not
undergone some considerable modifications,

either
by additions, transformations, or
It is
partial
changes.
to every
therefore essential, previous

repair, to ascertain exactly
work of
the age and character of each part,
to
form
a kind of specification based on trustworthy
by written description or by graphical representation. Moreover in France each province has its own style, a school whose
records, either
principles
and
practical
methods should be
as-
certained. Data derived from a building of the Ile-de- France cannot therefore serve as a guide
to restoration in an edifice of
Champagne
or
Burgundy,
These
diversities -of schools exist

:
to a rather late period
they follow a law to
which there are many exceptions.
Thus, for
example, while the fourteenth century art of
Sequanian Normandy bears a great similarity

to that of the Ile-de-France at the
the
Norman renaissance
differs
same epoch) essentially from

environs.
Ill
the renaissance of Paris and
its
ON EESTOEATION.
some southern provinces the
37
architecture called
Gothic was at no time anything other than an

importation:
a Gothic building at Clermont,
be the product of one school, and at the same epoch a building at Carcasfor instance, might
sonne of another.
The
architect
entrusted
with a restoration should therefore be exactly

acquainted, not only with the style appertaining
to each period of art, but also with the styles
belonging to each school.
It is not in the
middle ages alone that these diversities are
phenomenon presents itself in the buildings of Greek and Roman antiquity.
met
with, the same
The Roman buildings
of the Antonine period,

differ in
which cover the south of France,
many
respects from the buildings in
Rome
of
the same period.
The Roman
of the eastern
shores of the Adriatic cannot be confounded
with the
Roman
of Central Italy, of Provence,
or of Syria*
B&i
ages :
$o
confine ourselves to
the middle
;re^
difficulties
multiply in problems of
storation*
It ha$ frequently
happened that
38
ON RESTORATION
buildings of a certain period, or of a certain

School,
have been repaired again and again,
and that by artists who do not belong to the province where the edifice is found. This has
been an occasion of considerable embarrassment.
If both the original
and the altered

be
parts are to be restored, should the latter
disregarded, and the unity of style, which has
been disturbed, be re-established ;

the whole with the
exactly reproduced
?
or,
should
later
modifications be
In such a case the abso-
lute adoption of one of the
two alternatives
may be objectionable ; and it may be necessary, on the contrary, to admit neither of the two
principles absolutely,
but to proceed accord-
ing to the special circumstances of the case.
What
are these
special circumstances?
all
:
It
will
would be impossible to indicate

suffice to call attention to
it
some
of the
most
important, so as to exemplify the critical side

of the work.
In preference
to the possession
of every other accomplishment

skill
archaeological
among
the rest
the architect entrusted
ON RESTORATION.
39
with a restoration should be a clever and experienced builder, not only in a general but
special sense
that
is
to say, he should be
acquainted -with the methods of construction
employed
at different periods of our art
and in
the various schools.
These methods have a
comparative value; they are not equally good.
Some, indeed, had

an
to
be abandoned because of
Thus, for example,
century, and
their defective character.
edifice built in the twelfth
which had no gutters under the eaves of the roofs, had to be restored in the thirteenth century and furnished with gutters
combined
with escapes.
is
The whole of the crown work

state
;
in a
bad
and an entire renewal
is
contemplated.
Should the thirteenth-century
gutters be done away with in order to replace
the ancient twelfth-century cornice, of which

traces are also found
?
Certainly not
the
cornice-gutter of the thirteenth century should
be replaced, retaining the form of this period, sine there is no such thing as a cornicegutter: of the twelfth century
i
and
tor
put a
40
.ON RESTORATION.
it
hypothetical one, pretending to give
the
character of the architecture of that period,
would be
to
commit an anachronism
.of
in stone.
Again
the vaulting
a nave of the twelfth
century had by some accident been partially

destroyed, and rebuilt at a later period, not in
its
primitive form, but according to the
mode
then in vogue.
This latter vaulting, threat-
ening in
its
turn to give way, has to be reShall

it
constructed.
be restored in
its later
form, or shall the primitive vaulting be re-
placed
Yes ; because there
is
no advantage
is
in doing otherwise,
and there
a considerto
able advantage in restoring

edifice.
unity
the
The question here
is not, as
in the
previous example, that of preserving an im-
provement made on a defective system, but one in which we have to bear in mind that
the later restoration was
made according
to
the ancient method
which consisted in adopt-
ing the forms in vogue at the time,

edifice
when an
whereas
that of
had
to
be renewed or restored
contrary principle
we proceed on a
ON HESTOEATION.
restoring
41
every
building in
its
own
style.
But
vaulting, which is of a character foreign to the first, and which has to be rethis
built, is
remarkably beautiful.
It has given
occasion to the opening of
windows adorned
It has been
with
fine
painted glass.
con-
trived in
harmony with a system
of external
construction of great value.
Shall all this be
destroyed for the mere sake of an absolute restoration of the primitive nave
?
Shall this
painted glass be consigned to the
lumber
room
Shall exterior buttresses
and flying
buttresses,
which no longer have anything to

left purposeless ?
]STo,
support, be
certainly.
We see, therefore, that in solving problems of

this
kind,
absolute principles
may
lead to
absurdities.
Suppose it were required to replace the detached pillars of a hall which are giving way
tinder the weight they support, because the
materials employed are
too fragile, and in
courses that are not thick enough.

different periods
At
several
some of these
pillars
have
42
ON BESTOBATIOX.
been replaced, and sections given them which differ from the form originally traced. Shall
renewing these pillars reproduce those various sections, and preserve the heights of the old courses which are weak ? No we
in
!
we
shall
reproduce
the
original
section in
all
the
pillars,
and erect them with large blocks

recurrence of the accidents
to prevent the
which have necessitated our operation. But some of these pillars have had their sections
altered in consequence of changes
which
it
was desired the building should undergo, changes which in respect of the progress of
art, are of
great importance, such, for instance,
as occurred at Notre
Dame
in Paris, in the
fourteenth century.
Shall we, in rebuilding
them, destroy that so interesting trace of a

project which
was not
entirely carried out,
but which indicates the tendencies of a school ?
No we
;
shall
reproduce them in their altered

alterations
form,
since
these
may
serve to
throw light upon a point in the history of art. In an edifice of the thirteenth century, where
ON RESTORATION.
the water ran off by means of drips
cathedral of
Chartres, for instance
43
as in the
it
was
thought necessary dnring the fifteenth century to add gargoyles to the gutters, for
the better regulation of the escape.
These
gargoyles are in a
replaced.
bad
state
and have to be
Shall
we on
the pretext of unity
substitute gargoyles of the thirteenth century

for
them ?
No
for
we should we
thus destroy
the traces of an interesting primitive arrange-
ment.
On
the contrary,
later
shall persist in
ollowing
style.
the
work, adhering
to
its
Between the buttresses of a nave, chapels have been afterwards added. The walls beneath the windows of these chapels and the
jambs of the windows do not in any way tie into the more ancient buttresses; but show
clearly
enough that these constructions are of

It is found necessary to rebuild of these buttresses/
enclosing**
later date.
both, the exterior faces
which are decayed by time, and the

walls of the chapels.
Should we
tuiite
these
44
Oft"
RESTORATION.
different periods,
?
:
two constructions of
and
which we at the same time restore
No we
so that it
shall carefully preserve the distinct jointing
of the two parts
the unbondings
may
always be apparent that the chapels were
afterwards
added
between
the
buttresses.
Similarly, in the
unseen parts of buildings we
any trace that may be seen to give evidence of additions and

should scrupulously respect
modifications.
Among
the French cathedrals rebuilt at the
close of the twelfth century, there are
some
which have no transepts ; such,

are the cathedrals of Sens,
for example,
Meaux, and 'Senlis.
In the fourteenth and
fifteenth centuries tran-
septs were added to the naves, of their bays.
by taking two
These modifications were more
or less skilfully
made but
;
to experienced eyes
they leave traces of the original dispositions,
In such cases the restorer ought to be scrupulous even to excess, and should bring these
modifications into relief rather than disguise
them.
But
if
portions of buildings of which
ON EJESTORATION.
no traces remain have to be renewed,
45
either
on
account of necessities of construction or
to complete a mutilated work, the architect
should thoroughly imbue himself with the

style proper to the building with
whose
resto-
ration he
is
entrusted.
pinnacle of the
thirteenth century, copied from a building of
the same date, will be unsightly if you transfer

it
to another.
A moulding taken from a small

if
building will look out of place

large one.
It
is,
applied to a
moreover, a gross mistake

architectural
to suppose that an
member
of
the mediaeval period can be enlarged or diminished, at pleasure.
In medieval architecture,
every member
is
adapted to the scale of the

it is
building for which
the scale
is to
To change deform the member. And in

designed.
reference to this subject
we
shall
remark, that
most
of the Gothic buildings in our days are
reproductions on another scale of well-known

'
feuflditiga.
One church
is
a miniature of
f
Ohartres -Cathedral, another of the Ohtueli

St.
Ouen
at Koiien,
This
ia starting -taoa
46
ON BESTORATION.
contrary principle to that admitted with such
good reason by the masters of the middle But if these defects are jarring in new ages.
buildings,
and deprive them of
all
excellence,
they are monstrous

question*
when
restoration is in
its
Every mediaeval building has

though that
scale relative to the whole,
scale
always bears a relation to the

is
human
size.
It
necessary, therefore, to be extremely careful

deficient parts in a mediaeval building
when
have to be supplied, and to appreciate exactly

the scale adopted by the original builder.
In restorations there
tion which
is,
is
an
essential condi-
that
must always be kept in mind. every portion removed should be
It
re-
placed with better materials, and in a stronger
and more perfect way. As a result of the operation to which it has been subjected, the restored edifice should have a renewed lease
of existence, longer than that which has already
elapsed.
It cannot
is,
be denied that a process
of restoration
in every case, a
somewhat
êvere
trial for
a building,
The
scaffolding,
ON RESTORATION.
the
shores,,
47
the necessary -wrenching away, and
the partial removal of masonry, shake the
work, so as sometimes
accidents.
to occasion
very serious
It
is
reasonable, therefore, to ex-
pect that every building thus treated will lose
something of
this shaking
;
its
strength in consequence of
this diminution of solidity
and
ought
to
be counteracted by increasing the
strength of the parts renewed,
by improve-
ments in the system of construction, by wellcontrived tie-rods, and by providing better

appliances for resistance*
need scarcely be observed, that the choice of materials is a most

It
important consideration in a work of restoration.
Many
buildings are threatened with
ruin solely through the weakness or inferior

quality of the materials employed.
Each stone
that
is
taken out ought, therefore, to be re-
placed by one of better quality. Every system

of cramping that had to be replaced should be
exchanged for a continuous tie-rod in the same

position
;
for it is not possible to
change the
conditions of equilibrium in
]btujdiag that
48
ON RESTORATION.
has lasted six or seven centuries "without risk.

Buildings, like individuals, acquire idiosyncrasies,
which must be taken into account.

peculiar to them;
They have a temperament

selves, if
we may
so term it
and which must
be studied and intimately known before a

regular course of treatment*
The nature of
the materials, the quality of the mortars, the
ground, the general structural system, whether
by
vertical points o
support or by horizontal
bindings, the weight and greater or less concreteness of the vaultings, and the comparative
elasticity
of the
structure
constitute
different
temperaments.
In a building in
as in Bur-
wnich the vertical points of support are strongly

stiffened
by edge-bedded columns
v
gundy, for instance
constructions deport
themselves quite differently from what they do

in a building in
Normandy
is
or Picardy, where
the whole structure

courses.
composed of small thin The means adopted for underbuild-
ing and shoring, which succeed here, would

cause accidents elsewhere,
Though we can
ON RESTORATION.
underbuild
a
49
portion entirely composed of
thin courses with impunity, the same
work
executed behind edge-bedded columns would

cause fractures.
to
In
this case., it is necessary
ram the mortar
joints with jointing tools
and the hammer,

ever slight
;
to avoid
and, in certain cases, to
any sinking, howremove
the monostyles during the underpinning of the

courses,
and replace them

is
after all the
work
of underpinning to settle.
finished
and has had time
While the
architect entrusted with the re-
storation of an edifice ought to be acquainted
with the forms and styles belonging to that

edifice,
and the school

if
to
which
it
owed
its
origin, he should,
possible, be
still
better
its
acquainted with
its structure, its
anatomy,
temperament; for it is essential above all things that he should make it live. He pught to have mastered every detail of that structure,
just as
if
;
he himself had directed the original
knowledge, he should have at command means of more

building
and having acquired

D
this
50
ON RESTORATION.
than one order for undertaking the work of

renewal.
If one of these
fails,
a second and a
third should be in readiness.
We must
the middle
not forget that the buildings of
ages do not resemble those of
Roman
forces.
is
antiquity,
which were constructed on
the plan of opposing inert resistance to active
In mediaeval buildings every member

If the vaulting thrusts, the fly-
in action.
ing buttress or the buttress counter-thrusts.

not enough to must be made for vertically; provision stay the various pressures which act upon it in
If a springer is crushed,
it
it is
contrary directions.
If an arch gets out of

it
shape,
it
is
not enough to support
with
centering, for it serves to counter-thrust other
arches which have an oblique action.
If on
a pier you remove a weight of any kind, that
weight has an action of pressure which must
be compensated
for.
In a word, you have to

all
maintain forces which

direction, to establish
act in a contrary
;
an equilibrium
the re-
moval of any part tends, therefore, to derange
ON RESTORATION.
that equilibrium.
51
While these problems that
present themselves in the process of restoration

incessantly puzzle and embarrass the builder
who has not

to
exactly appreciated those condi-
tions of equilibrium, they
become a stimulus
him who
is
thoroughly acquainted with the

It is a
edifice to
be repaired.
war that has
to
be carried on
a series of manoeuvres which
must be modified every day by a constant observation of the effects that may occur. For
instance,
we have seen
towers and belfries
resting on four points of support, bear their weight, now on one point, now on another, in
consequence of works of underpinning, and
whose centre changed its point of horizontal projection an inch or two during the twentyfour hours.
These are
effects of a
kind with which the
experienced architect can play: but only on

the condition of having always an abundance
of appliances for preventing an accident, and
of being able to inspire the
workmen with
sufficient confidence, so that panics
may
not
52
ON RESTORATION.
him
of the
deprive
means of meeting every contingency without delay or hesitation, and

without showing fear as to the issue.
difficult cases
In those
which often present themselves
during processes of restoration, the architect
ought to have anticipated every chance, even of the unlikeliest kind, and should have in
reserve, without having to hurry or agitate
himself, the
means of preventing any

that might
dis-
astrous consequences
ensue.
may add
that in undertakings of this kind the
workmen who in our country thoroughly understand the measures they are required to
carry out
exhibit as
much
confidence and
readiness
sight
when they have witnessed the foreand presence of mind of their chief, as
become aware of an
of mistrust when, they
appearance of hesitation in the orders given.
The works of restoration of an earnest and

practical character
will
be an honour to
which belong to our time, it. They have obliged

knowledge; to
dis-
architects to extend their
cover
vigorous
expedients
and
reliable
ON RESTORATION.
53
methods; to form close relations with the

builders'
to
workmen
to instruct
them
also,
and
Paris
form nucleuses in the provinces and in which, on the whole, furnish the best
in the great building yards.
to these enterprises in restora-
workmen
It is
owing
tion that important branches of industry have
been revived/ that the execution of mason's
work has become more
careful,
and
that
materials have been procured
&om
a wider
area
since architects entrusted with
works
or
of restoration, often
1
in
remote
towns
It is in the
workshops connected with restora-
tions that such branches of industry as finely forged
smiths' work, wrought plumbers' work, properly constructed joiners' work, painted glass work, and mural decoration have been raised from the debased
condition into which they had fallen at the beginning It would be interesting to give a of the century.
list
of all the ateliers that have been formed as the
result of
works of restoration, and
to
which the
warmest opponents of undertakings of this kind have come in search of workmen and of methods.
The motive which prevents our furnishing such

a
list will
be readily understood,
54
ON RESTORATION.
having
villages,
no
other
resource,
have
been obliged to find ont quarries, or in case of need, to have old ones re-opened, and to
form workshops.
So
far
from finding the
resources furnished in the great centres, they
have been obliged to create them
to educate
workmen, and
establish orderly methods, in
economical administration and in the direction

of the works.
Thus materials which had not
been worked have been brought into use ; orderly methods have been introduced into
departments which did
not
possess
them
centres of properly instructed
workmen have
supplied good hands throughout an extensive
and the habit of solving problems in construction has been introduced among
circle
;
populations that
erecting
were
scarcely
capable
of
the simplest houses.
The system
centralization
of French administration
and
has merits and advantages which

dispute;
it
we do not
has cemented political unity; but

disguise from ourselves its in-
we must not
conveniences.
To
confine ourselves here to
ON BESTOBATION.
architecture,
centralization
55
has
not
only
deprived the provinces of their schools, and
with them, of their special methods of procedure and local industries, but of the capable
workmen, who all become absorbed in Paris, or in two or three great centres, to such a
degree that in the chief towns of the depart-
ments
thirty years ago there
was not
to
be
found either an architect or builder or fore-
man
or
workman
capable of directing and
executing works of any importance.
To prove
our assertion
glance
at
it is
enough
to cast a passing
the
churches,
mayoralty-houses,
markets, hospitals, &c., built between 1815
vincial towns,
and 1835, which remain standing in our profor many had only an ephemeral existence.
tions
Nine-tenths of these erecof their style
we say nothing
exhibit
a deplorable ignorance of the most elemenIn architecture tary principles of building.

centralization
was
leading
us
to
barbar-
ism.
Knowledge, traditions, methods, material execution, were withdrawing more and more
56
ON RESTORATION.
If,
from the extremities of the country.
however, at Paris, a school (of architecture)

pursuing a useful and practical aim had been
able to give
back
to the distant
members
of
the state artists capable of directing constructive works, the provincial schools
would indeed
have been
lost,
but there would thus have
been sent through the land

the Service des ponts
tain at an
et
men who
the
as in
chaussees
all
could mainconstructive
equal level
work undertaken
in the departments.
But
the school of architecture established in Paris,
and in Paris alone, had in view something

very different
:
it
trained laureats for the
French Academy at Rome, who were good draughtsmen, but who, fed ,on chimeras,
were very unfit to direct practical building operations in the France of the nineteenth
century.
Those who belonged to
this select
body, returning to their native soil after

exile of five
an
years, during which they had sketched and measured a few ancient buildings,
preferred remaining
at
Paris
in
the
ON RESTORATION.
57
expectation of being commissioned with some
work worthy
of their talents, to the toilsome

If
labour which the provinces offered them.
a few of them went back to the departments
occupy superior positions in Those of secondary imour largest towns. remained altogether outside the portance thus
it
was only
to
pale of progress in art and knowledge, and
were obliged to intrust the direction of municipal works to road, land, or town surveyors
even to schoolmasters who had a
ledge of geometry.
slight
know-
Certainly the
first
who
conceived the idea of saving from ruin the

finest buildings in the
country that had been
bequeathed by the past, and who organized the Service des monuments Mstoriques, acted
under an inspiration simply
artistic.
They
were shocked
ened
all
at the destruction that threat-
these so remarkable remains, and
by
the acts of vandalism perpetrate^ every day
with the blindest indifference ; but they could

not foresee from the
of their
first
the important results
work
in a purely utilitarian respect.
58
ON RESTORATION.
They were not long, however,, in recognizing that the more isolated the localities in which
the works they executed were carried on, the
larger was the radiation
it
if
we may
so call
of the
beneficial influence
which those
In a few years* time, loworks produced. calities where fine quarries had ceased to be
worked, and where there was not to be found
a mason or a carpenter, or a blacksmith capable
of making anything but horse-shoes
plied
lent
all
sup-
the neighbouring districts with excelreliable
workmen and economical and
me-
thods; and had seen good builders and skilful foremen arise among them, and principles
of order
and regularity inaugurated in the
conduct of the works.
Some
of these build-
ing establishments saw the greater part of

their stone-cutters furnish foremen to a large
number
of workshops.
Happily,
if
routine
sometimes reigns permanently in the high

places of our country,
it is
easy to conquer
it
in lower stations
tency.
by
dint of care and persisintel-
Our workmen, because they are
ON RESTORATION.
ligent, scarcely recognize
59
that of intelligence.
any other power but In the same proportion
as they are negligent and inactive in establish-
ments where wages are the sole recompense and discipline the only impulsive force, are
they active and careful where they become aware of a direction which is methodical and
steadily consistent in its course of action,
and
where pains are taken
to explain the advan-
tage or inconvenience of the processes adopted.
Amour propre
is
the
most
is
efficient
stimulus to
men whose
by
occupation
manual labour ; and

and their
appealing to their intelligence
reason their most zealous co-operation

secured.
may be
And
with what interest did the architects

this
engaged in
of these
for
work of restoring our ancient
monuments observe, week by week, the progress

workmen, gradually acquiring a love the work in which they were co-operating
!
It would be ungrateful on our part not to

testify in these
pages to the disinterestedness

resto-
and devotion which the craftsmen of our
60
ON RESTORATION.
works have often manifested
;
ration
the readi-
ness with, which, they helped us to overcome

difficulties that
seemed insurmountable; the
perils which they cheerfully confronted when once they had perceived the object to be at-
tained.
soldiers
;
We find
is it
?
these noble qualities in our
surprising that they exist
among
our craftsmen
The works of restoration undertaken in

France, at
first
under the direction of the
later
Commission des monuments historigues, and on by the body engaged in the interest
of what are called diocesan buildings, have

therefore not only saved from ruin
works of
incontestable value, but have rendered direct

practical service.
The work undertaken by

counteracted to a
the commission has thus
certain extent the dangers of administrative

centralization, as affecting public
works;
it
has restored to the provinces what the Ecole

des Beaux Arts was incapable of imparting to
them.
If,
confronted by such results, whose
importance we by no means exaggerate, some
ON EE8TORATION.
of those doctors
61
who
lay claim to a dictator-
ship
in
architecture
without
having
ever
superintended the laying of a brick, decree

in the recesses of their studies that these
artists
who have devoted
a not inconsiderable
perilous
portion of their
life to this
and trying
are not
labour
from which for the most part neither

profit is derived
great honour nor

architects
;
if
they seek to condemn them to
a kind of ostracism and to exclude them from
works that bring more honour and .advantage, and which are, be it remarked, less difficult ;
their manifestoes
will
and expressions of contempt at no distant future have fallen into obbut these edifices
livion;
which contribute
preserved by
to the glory of our country
them from ruin, will remain standing for ages, to testify to the devotion of a few men who
have been more anxious to perpetuate that glory
than to promote their individual interests.
We have given
difficulties
only a general idea of the

to, the
;
which present themselves

is
architect
who
entrusted with a restoration
62
ON RESTORATION.
as
stated above
critical
only indicated
a general
intellects.
programme
These
laid
down by
difficulties,
however, are not limited to

Since
all
purely material considerations.

edifices
the
whose restoration
is
undertaken, have
the
a special destination
role of restorer of
a particular use
antique arrangements,
now
The
obsolete, cannot
be assumed to the utter ex-
clusion of the question of actual utility.

edifice
ought not to be less convenient

it
when it
leaves the architect's hands than
was before
the
restoration.
Speculative
archaeologists
very often disregard
present requirements,
and severely censure the architect for having made concessions to them as if the building
;
confided to his treatment were his own, and as

if
he were not pledged

given him.
it
to carry out the pro-
gramme
But
is
in these
circumstances,
which
frequently present themselves,
that the in-
telligence of the architect is called into play.
He
the means of reconciling always possesses A 3

t/
his role as restorer with that of artist
com-
ON EESTOEATION.
63
missioned to meet unforeseen requirements.
Moreover the best means of preserving a building is to find a use for it, and to satisfy
its
requirements
so
completely that
there
It
shall be
is
no occasion to make any changes.

it
evident, for example,, that
was the duty
of the architect commissioned to adapt the

beautiful refectory of St. Martin des
Champs
to the purposes of a library for the I/cole des
Arts
et
Metiers ;
whilst respecting the edifice,

it,
and even restoring

bookcases that
it
so to contrive for the
should never be necessary to
make
serious alterations in the arrangements
of the hall.
In such circumstances the best plan

suppose one's
architect,
is
to
self in the position of the original
and
to
imagine what he would do
if
he came back to the world and had the programme with which we have to deal laid before
him.
Fortunately, that mediaeval art which
to those
who
are unacquainted with
it
seems
itself,
limited to a few narrow formulas, shows
on the contrary
when thoroughly mastered
64
ON JRESTOBATION.
supple, so subtle, so compreliensive
so
and
is
liberal in its
means of execution, that there
no programme whose requirements it cannot It rests on principles, not on a formumeet.

lary
all
;
it "will
serve for any age, and can satisfy
architectural needs; in the
same way as
a competent language can express any idea
without sacrificing grammatical consistency.

It
is
its
grammar,
therefore, with
which we
should
make
ourselves acquainted
and tho-
roughly acquainted.
We
must admit that we are on slippery
ground as soon as we deviate from literal reproduction ; and that the adoption of such
deviation should be reserved for extreme cases;
but
it
must be allowed that
it is
sometimes
commanded by imperious
necessities,
which
That
we
cannot evade with a non possumus.
an architect should refuse to introduce gaspipes into a church, in order to avoid mutilations
edifice
and accidents,
is
intelligible,
for the
can be lighted by other means; Jbut
that he should refuse to lend himself to the
ON RESTORATION.
,^5
formation of a heating apparatus, for instance,
under the pretest that the middle ages did

tical buildings
not employ this system of warming ecclesias; and that he should thus expose
the faithful to the risk of catching cold for the
sake of archaeology
lous.
is>
to say the least, ridicu* of
As
this
means
warming
necessitates
as a master
if
chimney
stacks,
we should proceed
of the middle ages would have done
he had
all,
been obliged
to contrive
them ; and above
not try to hide this novel feature; since the

ancient masters, so far from dissembling a
necessity, sought on the contrary to invest
it
with a becoming form, even making decorative

features of such- material requirements.
architect,
An
who having
to
renew the roof of a
building, should reject ironwork construction,
because the medieval masters did not

iron framing^
is
make
by
in our opinion
wrong }
since
so doing he would -obviate the terrible con-
tingency of
fire,
which has so
often,
proved
destructive to
then,
our ancient buildings.
But
must he not consider the
disposition of
66
ON RESTORATION.
?
the points of support
Ought
?
lie
to alter the
conditions of equilibrium
If
the timber
framing weighted the walls equally, ought he not to seek a structural system in iron which
Cerwould present the same advantages ? tainly and he will make it a matter of special attention that the iron roof be no heavier than
:
the wooden one.
This
is
a consideration of
often
:
the greatest moment.
We have too
had
the
to regret the overweighting of old
work
restoration of the upper parts of edifices with
materials heavier
than those originally em-
These oversights and negligences ployed. have caused more than one catastrophe. We
cannot repeat
it
too
often:
The mediaeval
buildings are planned with deliberate skill;

their organism is delicate.
We
find in
them
nothing more than
is
required, nothing use-
less in their composition; if
you change one

all
of the conditions of the organism, you alter
the rest.
Many
point to this as a defect
in
our judgment
it is
an excellence which we are
too apt -to disregard in our

tions,
modern construc-
from which we might remove more than
ON RESTORATION.
67
one member without endangering their existence. For what in fact is the use of science
and
calculation in construction if it does not
enable us to accomplish the work with no more
than the necessary appliances ? Why those columns, if we can remove them without compromising the strength of the work ? build expensive walls two yards thick,
Why
if
walls
of half a yard, strengthened at intervals

buttresses a
by
yard square in
section,
afford
sufficient stability ?
In mediaeval construction
fulfils
every portion of the work
a function and
has an action.
The
architect should
make a
point "of ascertaining the value of both before
commencing his undertaking.
He
should pro-
ceed like the skilful and experienced operator,
who
does not touch an organ until he has
acquired a thorough acquaintance with its function, and provided for the immediate and
remote consequences of his operation. Rather than proceed at hazard he should not undertake
him.
it*
Ratjier let the patient die than kill
Photography, which assumes every day a
68
ON RESTORATION.
in
scientific
tlie
more important phase
studies,
seems to have appeared for
very purpose
of aiding this grand "work of restoration of
ancient buildings, in
which
the
whole of
Europe has begun to take an interest. In fact, while architects possessed only the
ordinary means of sketching, even the most
exact
the camera lucida for example

difficult
it
was
Very
for
them not
to
make some
omissions
not to overlook
certain scarcely
apparent traces.
of restoration
possible
to
Moreover, when the work

it
was completed,
of
was always
the
dispute the
correctness of
is called
graphical reports
what
the exist-
ing state.
But photography presents the ad-
vantage of supplying indisputable reports
documents which can be permanently consulted

left
when the
ruin.
restorations
mask
the traces
by the
led architects
Photography has naturally to be still more scrupulous than
before in their respect for the slightest vestiges of
an ancient arrangement, and
to take"
more accurate observations
of the construe-
ON RESTORATION.
tion
;
69
while
it
provides them with, the permatheir
nent means of justifying
operations;
Photography cannot be too sedulously used in

restorations;
for very frequently
a photo-
graph discovers what had not been perceived

in the building
itself.
An all-important
in restoration,
principle to be observed
and one which should not be

is
departed from on any pretext whatever,
to
pay regard
to every vestige indicating
an archi-
tectural arrangement.
The
architect should
not be thoroughly
satisfied,,
nor set his
men
to
work
until
he has discovered the combination
which best and most simply accords with the to decide on an vestiges of ancient work
:
arrangement a priori, without having gained

all
the information that should regulate

;
it, is
to fall into hypothesis
and in works of
re-
dangerous as hypothesis. If at any point you have unfortunately adopted an arrangement which is at variance
storation
nothing
is so
with the right one
with that originally follogical
lowed
you are led by a course of
70
ON RESTORATION.
path,,
deduction into a -wrong

will
from winch
:
it
be no longer possible to escape
and in
such a case the better you reason, the farther
you
are from
the truth.
Hence, when for
example,, the completion of a building partly
in ruin
is
in question ; before beginning

for
it will
be necessary to search
that remains
;
and examine
all
to
collect the
smallest frag-
ments
taking care to note the point where

;
begin the work until their place and use have been assigned
they were found
and not
to
to
all
these remains, as with the pieces of a

If these precautions are neglected,
puzzle.
the most annoying misconceptions
may
result,
and a fragment discovered

pletion of a restoration that you were mistaken.
after the
comprove
may
clearly
It is necessary to
examine the beds, joints, and dressing of the

fragments collected in the clearing ; for some
kinds of tooling could only have been adopted
with the view of producing a particular effect
at a certain height.
The
slightest indications,
even the way in which these fragments have
ON RESTORATION.
behaved
in
falling,
71
may
not unfrequently
show the
place they occupied.
In these
diffi-
cult cases of rebuilding the
demolished parts
of an edifice, the architect ought, therefore,

to
it
be present during the clearing and entrust to intelligent excavators. In erecting the
constructions he should as far as possible
:
new
replace these old remains even if injured
this
will furnish a guarantee for the sincerity and
exactitude of his investigations.
We have said
ties
enough to show the difficulwhich the architect commissioned with a
restoration
must encounter
if
he
is
in earnest
if
in the performance of his duties,

sires,
he de-
not merely to appear truthful, but to
carry through his work with the consciousness

of having left nothing to chance and of never
having sought to practice a deception upon

himself.
RESTOBATION OP HISTORICAL
MONUMENTS IN
FKANCE.
THE RESTORATION OF HISTORICAL
MONUMENTS
"
IN FRANCE.
It is impossible to follow out to their utmost extent, or to appreciate too highly, the ennobling, liberalizing, humanizing, Christianizing effects of church architecture during the middle
ages."
ch.
viii.
Dean Milman, History of Latin
Christianity, b. xv.
S*
one of his
brilliant
romances,
literary
where the genius of the

artist is
used to help the cause of
the social reformer,
Mr.
Disraeli
has
coloured with
some warm,
thoughtful
touches the solemn and stately forms of beautiful
buildings which have remained for cen-
wonder of passing peasants and the* In onr day, the glory of county histories.
turies the
76
RESTORATION OF HISTORICAL
monu-
preservation and restoration of historical
ments^ now so justly valued as lasting memorials

of the
social
skill,
the
faith,,
the patriotism, and the

is
customs of our forefathers,
a labour
of love which has been undertaken, not only
with enthusiasm, but with an archaeological

erudition no other time has displayed.
Within
the last quarter of a century
much has been
done, successfully just so far, as earnest and

intelligent
men have
followed the methods
and motives of the old workers, and shown

a reverential regard for every fragment of
ancient handicraft structurally or artistically
good.
It
may
not be uninteresting to take a brief
glance at what our art-loving neighbours the

^French are doing in this respect.
as
*
Prance,
most readers know,
is
even richer in hisour
torical
monuments
than,
own
country.
Her
in
ancient fabrics are

instances of
more numerous, and

a modest appear-?
many York Minster would present

ance beside the
loftier
more imposing grandeur.

towers and pinnacles
MONUMENTS
and more
IN FRANCE.
77
richly- sculptured
facades of such
cathedrals as Amiens, Chartres, or Kheims,
even with their

only
half-,built.
six,
eight, or nine steeples
partly rebuilt
The proud keep of Windsor, and modernized early in the
present century, would look thin and unsubstantial
compared with the weight and vigour
of mass of the
1
CMteau of Pierrefonds
or
Coucy.
vivid description of the towering mins of the once gorgeous Palace of Coney, with an ideal restoration, will be found in the gre&tDictionnaireEaisonn^de
I'
Architecture, by the hand of him to whom we may well
apply Johnson's classic phrase
"Nullum
tetigit
quod
non ornavit"
But
for Yiollet-le-Duc's
authority, the rapidity of its

to ns almost incredible.
acknowledged erection would appear

:
tract
from
it
in his
own words
I prefer giving a short ex" Le Chateau de

ainsi
Coucy dnt
1'
etre
eleve tres-rapidement,
que
enceinte de la ville qui 1'avoisine, de 1225 k 1230.

caractere de la scnlpture, les profils, ainsi qne la
Le
construction, ne permettent pas de lui as signer une C'est un date plus ancienne ni plus recente. .
. .
Edifice vaste, cone/a d' ensemble et elev
d'un seul jet,
sous
immenses.
une volontl puiss^tateet au moyen de ressources Son ass^Je est admirablenient choiîe,
7S
Having heard much
of the extensive restora-
which have been in progress for some years past in France, and of M. Viollet-le-Duc, under whose directorship most of these works
tions
were being carried out, I resolved to accept the offer of an architectural friend familiar
with the ground to act as
visit to
my
cicerone on a
a few of the structures in question, and
to judge as far as I could for myself whether
the best efforts of the French in this direction
deserve the laudations bestowed upon them
by some
critics in their
current art literature.
cumstances.
My excursion was made under favourable cirMy companion was personally

to the architect just mentioned,
known
who,
with the utmost courtesy, facilitated our examiet ses defenses sont disposers avec
nn
art dont la
description ne donne qu'une faible ide*e."
The very motto inscribed on the banner of the old Ooucy was the literal assertion of a feudal and power authority which claimed all the privileges
lords of of sovereignty within their
own
territory
Hoi ne
le
suis, ne prince, ne due, ne conite aussi, mats je suis Sire de Gouaij.
MONUMENTS IN
FRANCE.
79
nation in detail of the buildings

to visit
we proposed
by giving us
letters to his various in-
spectors.
The
following remarks, made, I would fain
hope, with the diffidence becoming an outsider,
are the
result
of
this
ramble, and
though referring especially
to
such famous
examples as the cathedral of

Paris, the
Notre-Dame in
the
Abbey Church of St. Denis, and CMteau of Pierrefonds, have also a general
and connection with the sound prinViollet-
affinity
ciples and practice of art followed by le-Duc in his works elsewhere.
Standing in the midst of once the most

picturesque and
still
the brightest of inland
" the old cities, Notre-Dame, queen of French at the cost of a has restored been cathedrals/'
quarter of a million sterling, in the most conscientious
out.
and conservative manner throughScrupulous care has been taken not to
interfere with anything of real worth belong-
ing to Itpgone^tges. Here there has been no scraping of the .surfaces of old stones in all
!
80
cases wherever unmutilated they have been left
.untouched.
The new
fleche, or spire,
which
of every beholder, springs delights the eye from the intersection of the cross, and pierces
the sky two hundred feet with
its
crockets
and
finial.
This masterpiece of scientific con-
struction is formed of oak covered with lead,
and
is
of the preentirely original, every trace
been long destroyed. existing feature having

Statues of the Apostles, twelve feet high, of
hammered copper, stand
in gradated rows of
three at each angle of its base.
And here,
in
accordance with the express wish of the late
.Emperor, at the foot of
Ms
chef d'oeuvre is
placed the statue of the architect.

ness and gesture are excellent.
The
like-
The right
is
hand clasps a measuring rule, the left

to the
held
brow
to shade
from the sun the upward
gaze at the structure.
The execution
of the
new
leadwork of the roof is
deserving of
notice for its artistic quality

finish.
and perfection of
and
The stone
statues of the Apostles
Saints which guard the three deeply-embayed
MONUMENTS IN FRANCE.
western front, portals of the
81
and those of the
the Kings of Judah, ranged in niches along not a vestige of which regallery above mained a few years ago are reproductions
of the middle ages for rivalling the best statuary

of drapery. gravity of mien and arrangement the granall The interior has now resumed
deur and solemnity of its ancient proportions
and the
talent of its restorer is evidenced,
not only in the renewal of construction and but also in the very sculptured ornamentation,
carpets,
tapestries,
vestments,
&c.,
the
sacred
vessels, reliquaries,
furniture.
It
is
which compose the a typical instance of what

as
the
French understand by restoration

possible
as complete a re- establishment
of
everything
of
its
known
to
have existed in the days
fullest
splendour.
aisles
In the nave, the

the natural tint of
choir,
and double
is
the stone
which,,
itself
is
by
simply relieved by dark jointing, of expressing the masonry, forms

It
a sufficiently effective decoration.
the opinion of Viollet-le-Duc that larg#
82
some measure of
internal areas like these lose

their
the general grandeur and serenity by

of
rich
application
surface
ornamentation.
the chapels Glimpses of exquisite colour in in all around, however., win and charm the eye
In these the mural paintings are remarkable alike for originality of design and
directions.
for the
soft
and
subtle
harmony of
their
colouring.
They
all
are executed without shad-
the tints being ing or attempt at perspective,

separated in
In this
by dark outlines. nobly-ordered scheme of architectonic

instances
is
decoration gold
used sparsely, to bring
out
or give
value to the colours.

;
Here,
as elsewhere, Yiollet-le-Duc s figure-subjects
combine a certain Hellenic grace of contour with Christian spirituality of sentiment.
In truth, his
pictorial,
like
his
sculptural
ideals of things
sacred are
all instinct
with
that breath of inspiration -which
comes from
artist
the
highly-gifted
mind
of
an
own-
ing God, and with reverence and faith taking

delight in His works.
For union of
refine-
ment
tions
with,
&
strength, the
graceful combina-
of the lines
and curves in the metal
screens of the choir and chapels cannot be
surpassed.
The same merit belongs
to the
elaborate foliated hinges that
now
of
embellish
the outer doors.
The ironwork
of the latter
has occupied the deft hands
the ablest
smith in France upwards of twenty years.
" storied windows Judging from the richly

"
dight
at Chartres
the precious relics of that
superb art of the twelfth and three following

centuries which there tells the whole tale of the
Bible
by the
light of colour
nings
we may infer
and quaint imagihow much and how ruthat Paris has
lessly the maternal
Church
been
" Shorn of her glass of thousand colourings,
Through which the deepen' d

enter,
glories once could
Streaming from
off
the sun like seraphs' wings."
the poetry and tradition and harmonies still linger

windows, shining
of
its
magic hues
crown in
loss of
in the larger rose
like the jewels of a
their rich setting of tracery.
For the
84:
make
full
the rest, of course no renovation can
amends.
Time and storm alone may be

whilst spreading over
it
said to liave
dealt gently with this master-work of
man,
that hoary veil which
seems to invest
it
with a deeper mystery.
Few
on
monuments
of antiquity, indeed, have been

to the fury of the iconoclast
more exposed
the one hand, and to the meddlesome freaks of

fashion on the other.
Obtrusive classicism of
the Bernini school, and other engraftings of the bad taste of the Renaissance, desecrated
this
pure example of the wondrous masonries
of the middle ages.

less offensive of these,
The more valuable and

from their historic in;
terest,
have been retained
the rest have been
rightly relegated to the region of lumber.
As restored within and
without, in
all
other
beauty of imagery and symbolism, by the most

accomplished architect of modern times,
well merits the chapter of eulogy devoted to
:
it
it
" by Victor Hugo, where he writes Assuredly the Church of Our Lady at Paris is still, at
this day, a majestic
85,
and sublime
edifice
....
human
a vast symphony in stone

of a
the colossal work
man and
of a nation
a sort of
mighty and prolific as the Divine creation, of which it seems to have caught the double character variety and eternity."
creation,,
"We happened to be in Notre-Dame during one of the full choral services, when the vast and " interior was flooded with
music,
every
stone was kissed

of
by sound,"
rolling in waves
melody from organs which responded in unison in nave and choir, and these again
blending with the Gregorian singing of
many
men and
boys.
From
its
surroundings and
associations, perhaps there is
no spot in Chrisfelt
tendom where music
is
more impressively
Thence
as a language of the soul.
for the last
thousand years the same strains have ascended
heavenward, laden with the supplications and

breathing the aspirations of hoping, fearing,
suffering humanity.
In that venerable temple
the
first
stone of which, was laid

voices of
by
Charleas
magne
the
such
preachers
86
Bossuet, Fenelon, and Lacordaire have stirred

the hearts of listening thousands
;
and in or
still
near
it,
within the lifetime of
men
among
us, three successive archbishops belonging to
the noble
army
of martyrs have shed their last
"blood fighting the
good
fight.
The
lettered
home, Englishman, leaving his polemics and meditating there on the old faith of Europe
and the religion of his fathers, can hardly fail to recall the tone and spirit of Wordsworth's
ecclesiastical
at
sonnets,
or,
ce
perchance, to re-
member the
lines in the
Penseroso," written
by Milton in the bright fulness of his young genius^ when, merging the Puritan in the
poet, he could find
" sermons
in stones and
good
in everything," and mingle in immortal
verse the solemn concords of Gothic architecture, painting,
and music.
The Abbey of St. Denis is undergoing the same process of thorough restoration, guided by the same laudable desire to conserve the
valuable remains of old days and things.
few years ago the mutilated and forlorn aspect
of everything within its walls only
feelings
87
awakened
of sadness in the mind
of the spectator.
In a short
time,, in place of this scene of sacriit
lege and ruin,
will
1
have regained
roof,
its
primal
and august beauty.
The outer
destroyed
by the shot and
shell of the Prussians, has
been renewed in the most permanent manner with wrought iron framework and sheet copper
covering.
The
floor,
which had been raised
several feet to the injury of the general scale
of the interior, has been lowered to its ancient

level*
The pavement is noticeable
for its quiet
but
fitting sobriety of appearance.
The
slabs
of hard whitish stone are incised with emblematical figures, or other patterns,
filled in
with
dark-coloured mastics. This method of paving

looks equally well in domestic and civic buildings,
1
and
is
soothing to the eye after the blaze
"I
am
disposed to consider the main idea of the
design of the nave and transepts of this church, as presented in a single compartment of these members of the cross, as
amongst the very finest, if not the very finest example, of Grothic work in
Europe."
EDMUND
88
commonly met with
in
of encaustic tiling so
this country.
From the fragments

in various
th^t existed
as well as
in the crypt
and
museums,
from other data carefully gathered, the architect has reconstructed

all
with the utmost fidelity
the tombs which were broken and scattered
in the First Revolution.

effigies
This fine collection of
of the long line of French kings and

is
queens, from Dagobert to Marie Antoinette,
one which affords the highest interest to the

historian
and the archaeologist.
These sem-
blances of the once

earth also
mighty princes of the suggest a pregnant theme for the

*
musings of the moralist.
Embodied
in stone,
and lying there side by
side, that still,
dreamy,
peaceful look of rest of theirs
inclines the
mind
to
that vein
of reflection which the
World's Poet has illustrated with so

pathos
:
much
" After
life's fitful
fever
lie
sleeps well
:
Treason has done his worst
nor
steel,
nor poison,
Malice domestic, foreign levy, nothing Can touch him further."
MONUMENTS IN FEANCE.
The Chateau
89
of Pierrefonds, built originally
by Louis, Duke
of Orleans,, one of the
most
powerful nobles in Europe at the close of the

fourteenth century, is a faithful reproduction
of one of the finest mediaeval structures in the
world.
It is a majestic feudal castle without)
and a magnificent palace within.
know
of
nothing that conforms better to Buskin's cardinal principle of breadth in well-building
breadth of everything
"
solid
stone, broad
sunshine, starless shade ."

it,
on the alignment of ployed a thousand men

whereas
it
The rebuilding of the old walls, has emfor
twelve years
was
originally completed
from
its
foundations in eight.
this palace of art
In roaming through
its
in exploring
maze
of
towers, halls, staircases, corridors, and chambers, so seemingly intricate
and yet so
intel-
ligently arranged in view of their
various
purposes
we seemed
Grande
to
be carried back from
our colder era to the days of old romance.
From
230
the"
Salle
or
Salle
d'Arnies,
fire-
feet in length,
with
its
huge double
90
BESTOEATION OF HISTORICAL
surmounted at one end by the lovely
places,
statues of the
Nine Preuses,
or feminine types
of chivalry
its
vaulted ceilings, stately winwalls, the lofty
dows, and painted
and richly
carved chapel, the chemin de ronde, and range
above range of defences which crown the seven
round towers, each from two to three hundred

feet high, to the vast subterranean vaults, fearful
dungeons, and
oubliettes
reaching to an im-
mensity of depth below the level of the court

the wonder of the beholder is everywhere excited, and alasting impression is left
on his mind
of the restorer's genius in revivifying the past.
At
almost every
step,
that suggests a tale

transcript from the
we meet with something of human exploit, or some
page of Nature.
Among
is
the statues of historical personages there

exquisite one of
an
Joan of Arc, placed over the
entrance to the great hall of reception from

the courtyard.
Near
that
of the inspired
*
maiden
is
the chosen spot for the bronze eques-
trian statue of the ducal founder, but
met with some mishap
in returning
having from the
Vienna Exhibition, the hero
has
91
not
yet
mounted
his pedestal.
reduced copy by
Barbedienne in the authors studio enabled us

to form an accurate notion of the perfect model-
ling and statuesque feeling of the original.
The
valiant knight, equipped in his panoply
of war, with vizor
up and lance in
rest, looks
""incorpsed and demi-natured with the brave beast/' and ready to do his devoir before all
men.
on jutting frieze or other coigne of vantage, the same master-hand

there,
Here and
has rendered the grotesque in almost endless

fantasy of bird and beast.
There are many
happy adaptations, too, of effective types of leaves and flowers, with other imitations from
the living world of vegetation in the woods
and
fields
around.
All these interpretations of natural objects

display a knowledge of organic structure only
to be obtained
by
careful study of the
anatomy
life.
of manifold forms of animal and vegetable
Practically their treatment is abstract, conventional, or imitative in greater or less
degree,
92
according to material, position, and service.
One prime
detail of
rule invariably obtains
the nobler
the object the
closer the imitation.

lifts
Every
adornment
us out of the region
mechanism and mere commonplace, and brings us into sympathy with some touch of
of dry
poetry or stroke of humour
some thought or
thing visibly expressed in language which he
who runs may read and
feel.
In short, everything at Pierrefonds attests

the power of one re-creative mind to set before
us, with
an added
lustre of
'its
own,
all
that
was grand in ornamentation and truthful in construction of the churches and palaces of
those middle ages
,from sheer love of their handiwork,
when men wrought nobly and thus

their hearts
stamped the impress of
and souls
as
upon
it
those Gothic times" when,

ec
Mr.
Buskin forcibly reminds

ing, carving, casting
it
us,
writing, paint-
mattered not what

;
were
done by thoughtful and happy men and the illumination of the volume and the
all
carving and casting of wall and gate employed
MONUMENTS IN
FEANCE.
93
not thousands but millions of true and noble

artists over all Christian lands.
"
pleasant
While
at Pierrefonds
we spent some
hours in wandering through, the hunting forest

of Compiegne, a rich woodland tract stretching
many
miles around, and far enough from the

to suit the philosophic Jaques.
madding crowd
and then we were gratified by catching sight of the chateau under changing aspects of light and shadow. Nothing could be finer
than the picturesque grouping of
its
Now
soaring
towers and battlements as seen by us in the serene glow of a June evening,, from the rising
ground which commands the great portal of

the donjon or keep, defended as in olden times
barbican, drawbridge, and ponderous port-
by
cullis.
The
lordly pile, flushed with red gleams
from the setting sun, projected in bold massive

relief against the clear blue
depths of heaven.
Highest above
Caesar's
all
in his pride of place on

princely
Tower was pinnacled the
eagle; but perhaps the most striking object
was a winged statue of
St. Michael, of heroic
94
surmounting the chapel
the
roof.
size in copper,
Trampling
down
wicked
dragon,,
and
brandishing his cross of fire, the radiant angel, to the eye of fancy, looked in the glittering sunlight like a swift spirit descending
from on
high to destroy
glorious.
evil
and make day upon earth

hour and scene aided the
The
spell of the
with the imagination to re-people the spot now no world a of breathing, moving beings
more; where once upon a time the grand seigneur and the chatelaine held their court and lived in
royal state;
fought,
" where
princes feasted and heroes
now in the bloody earnest of storm and of chivalry, where siege, and now in the games won " beauty dealt the prize which valour
!
to bring our thoughts in with closer relation things of the past came of the vesper-bell and' sounds of from
More solemn helps
tellings
air from even-song borne softly upwards on the the old church in the village below, telling of
religion
the daily renewed and long cherished rites of a still unchanged in the midst of cease-
less change.
MONUMENTS
IN FRANCE.
95
Viollet-le-Duc's pen has been as prolific as Ms

pencil. Inhis published works we find a masterly
and comprehensive survey of various provinces

of art not obtainable elsewhere.
With
a rare
capacity for acquiring and assimilating a know-
ledge of the history of
all
nations and epochs,
he has shown, along with other searchers in the
same wide
field of inquiry, that
the most au-
thentic evidence of the religious, social, and political
condition of countries
is
that reflected in
their arts,
and above
all
in the
"
magnificently
human
art of architecture."
These manifesta-
tions endure, while other indications of men's
material and spiritual lives pass away.
In
tt
There are but two strong conquerors of the
Poetry and Architecture ; and forgetfulness of men the latter in some sort includes the former, and is
mightier in
its reality.
It is well to
have not only
what men have thought and felt, but what' their hands have handled, and their strength wrought, and their eyes beheld all the days of their life. The
age of Homer
is
surrounded with darkness, his very
Hot so that of Pericles ; personality with doubt. and the day is coming when we shall confess that
96
the case of France they form an unbroken chain

of historical landmarks,
whose links connect
the
ancient
world
with the
modern
the
abiding witnesses of the triumphs and tragedies of a great
and
gifted people,
who have
in-
exercised a mightier and
more continuous
fluence over the affairs of
other nation since the

pire.
fall
of the
Europe than any Roman em-
Her ample
go
series of
documents in stone
in themselves
tion
(f
far to ratify the recent asser-
of an able Edinburgh
reviewer,
is
that
the grandest of all national histories
that
of France."
Individually, Viollet-le-Duc is an intellectual
king among men, with personal attractions of

dignity and grace befitting a descendant of
the old noblesse*
I have never seen a nobler

expressive of
head or a countenance more

mental power.
seriousness
He
comprises in himself the
and
solidity of the
English cha-
we have
learned more of Greece out of the crumbled
fragments of her sculpture than even from her sweet

singers or soldier historians."
JOHN EUSKIN.
racter with the verve
97
and
esprit of the
French
temperament.
Most of
us, I suppose,, accept
to the full Carlyle's helpful doctrine of hero
worship
chiefs
of loyal recognition of
honoured
of
in
every leading
sphere
human
thought and action
and here we have a

artist,
notable living example of the hero as

as poet, or seer,
who speaks
still
to us for our in-
struction
and
delight, not only in the printed
volume, but in the
more
fascinating lan-
guage of form and

truth on
colour.
He
approaches
its aesthetic side,

its
and
his doings are
the record of
perception and embodiment
in outward visible shape.
He
is
not less suc-
cessful in the representation of ideal thought and sentiment than in the rendering of direct He never repeats himself, and specific fact.
nothing can stale his

delicate aerial lines,
infinite variety
from the
work,
woven
as if
by
fairy
$f the aspiring fleche which so gracefully crowns

the cathedral of Notre- Dame, to the grand
simplicity
and aptness of every detail in his own house at Parjis. In him we see the gifted
a
98
EESTOEATION OF HISTORICAL
graced with
all
artificer,
filled
modem
culture,
and
with
spirit of the fervent
"
The
days of
old,
When
words were
jbhings that
came
to pass,
and thought
Flash' d o'er the future, bidding
men behold"
what could be achieved in ages of faith. His mission has been to make the world
more
found
beautiful,
it.
and therefore better than he

better in the large sense conff
:
mean
veyed by Goethe's well-known dictum
The
beautiful is higher than the good, because it
includes the
It is the
good and adds something
to
it.
good made perfect/' In his numerous executed works

art,
in
the
department of representative
we
discern
not merely the abstractions and isolated studies

of "the idealist, but actual or traditional personalities
vital
subjects with
fit
meaning and
purpose, which
in expressly with their surall
roundings y imparting to
of
he does that sense

feel
charm and
satisfaction
which we
when
contemplating the higher results of artistic
MONUMENTS
IN FRANCE,
99
unity and completeness.

artistically realized are
His women thus
draped with a virginal
or matronly modesty, in costumes of gracefullyfalling folds,
and present a refreshing contrast to the mythological and other nudities that
stare one in the face at almost every turn in
the buildings of Paris, dating from the reign

of Louis Treize downwards.
1
The endeavour of
France
is
;
European
artists
art
admittedly at the head of modern which makes a mere observer from
without, like myself, apt to think that some of her
might more worthily employ their genius on greater and graver work than the fleshly productions
incidentally alluded to here.

it is
On
the other hand,
but fair to acknowledge that her best painters and
sculptors have not failed to invest the unclothed

figure with those loftier qualities to
which the words
of our
own Laureate
are quite applicable
" To look on noble forms Makes noble through the sensuous organism
That which
is
higher."
In Christian
cast
art, the
old masters seem to have

stains of earthiness in their
away
all
dregs and
interpretations of
many subjects connected with the " t( lofty dialect of history of our Faith through the
undraped humanity*
100
under Renaissance influences, has
later times,
been
to retain the
pagan sentiment
for display
of the
human
it
figure; but the results for the
most
that
must be confessed, lack much of part, dignity of attitude and calm majesty of
expression so conspicuous in the sculptures of

the Greek school preserved in the Louvre and
in our
ISTo
own Museum.
writer, as far
as I
am
aware, has so
and philosophically explained the true origin and nature of art as an instinctive,
clearly
emotional force of the mind striving to express

itself
outwardly in some one of
its
modes
or
other
lated
as a product of the imagination regu-
by the reasoning
its
faculty
or defined with
greater precision
distinctive unity.
its
How-
ever varied the language of

is indivisibly one,
expression, art
capable of exciting the same
feelings
in
the soul of every well-endowed
individual, whether bodied forth in the garb of
poetry, music, architecture, painting, or sculpture.
Art, as he
tells us, is
of noble birth,
but
it is easily
debased.
"With the insight of
MONUMENTS
IN FRANCE.
101
the philologist he has criticized the perverted
use of the term when applied, as

it
we
often see
applied, to subjects
it.
which are quite foreign
to
The
art of surgery, of husbandry, the
farrier's art, &c., are familiar
examples of such
perversion of meaning
professions and occu-
pations of the utmost utility and importance,
know, but without a single spark of the right Promethean fire whose light and
as
all
we
warmth can
create, quicken,
and animate
can
even give to airy nothing a
local habitation
and a name which
shall outlast the centuries.
In the course of our

'friend
trip I learnt
from
my
life
something of the daily routine of

this
and study by which
eminent
fine
man has been

and enduring
able to accomplish so
much
work ; which perhaps may not be unprofitably

recounted in an age of self-indulgence as a
pattern for the guidance and well-doing of
others.
He
enters his studio at seven in the

is
morning, where he
engaged
till
nine in
getting in readiness the work that will be called

for,
and preparing
for his visitors,
whom he
102
till
receives from nine
ten,,
during which
lie
takes his frugal breakfast standing.
At
this
hour
will
be found lying ready the manuscript
for the publisher,, a pile of
wood blocks
to follow
for the
engraver
who
has only
and cut
between the sharp lines of the finished drawings which cover them plans for the builder,
designs for the sculptor and blacksmith,, and
cartoons for the decorator or glass painter
every one of which

hand.
is
the product of his

his staff as
own
and
For each of
Cf
he
arrives,
after his
Voila, monsieur , votre affaire
"
verbal instructions, he has a kind

friendly inquiry, .encouragement,
word of
advice.
or
At ten
hour at
his studio is closed,
and ho works at his
drawings without interruption until his dinner

six.
is
At seven he
engaged with
retires to his library,
where he
till
his literary pursuits

life
midnight.
little
This, his daily
at
home,
is
but
varied
when away.
for
is
He
generally
travels
by
night, often taking
journeys of
visits
several
hundred miles;
he
every
building
upon which he
engaged once a
MONUMENTS
;
IN FRANCE.
103
making any
spot.
special
drawing required
instructions per-
on the
sonally
He
gives
Ms
to
the workmen, each of
whom
he
notices in
making
his
round of inspection.
Though he has himself a perfect acquaintance with the technicalities of every craft, he does
not disdain to consult their opinion,, and he
can, so
we were
assured by the
men themselves,
always teach something worth knowing be-
longing to the practical department of each.
He
will take the
hammer and
pincers of the
plumber and show him how to beat or twist

his lead to the required form, or the chisel
from the sculptor, and with a few strokes

gain for him the desired expression.
a perspective detail of every
small,
He gives
and gold-
drawing, however
and
his designs for sculpture
smiths'
work
accuracy.
drawn with photographic His most accomplished sculptors

are
say that
it is
impossible for them to render
all
And these the finesse of his delineations. beautiful sketches come from his hand by
thousands
;
those forming the exquisite
illus-
104
BESTOBATION OF HISTORICAL
which adorn his
published
trations
works
life
would of themselves bear testimony to a

rare industry and
skill.
of
But the most
sur-
prising thing of
alone, unaided
all is
that he works entirely
by
clerks or assistants of
any
kind.
The thousands who work under him may

well look
up with
sincere
admiration and
so
respect to a master
who has done
much
to
extend the beneficent scope of art by bringing

it
home
to the daily lives
and aptitudes of a
most intelligent
class of handicraftsmen.
One
from
of his principal employes said to us with hearty
enthusiasm,
"He
like
knows
everything,
astronomy and geology down to cookery, and

it all
comes
music from his
cc
lips/''
C'est
un homme universal" was the exclamation of

a scholarly friend capable of appreciating the
many-sidedness of his genius

in arts, in literature,
his greatness
and in practical science.
As proof
again, is
of his remarkable powers, here,
an instance, the truth of which I can
vouch
for.
By
the cession of Iftce and Savoy,
105
France got possession of a considerable portion

of the Alpine region.
!N"o
maps other than

of the Trench
the vaguest and most inaccurate existed of this
new
territory.
At the request
Government,, Viollet-le-Duc undertook to sur-
vey and map it. For this purpose he spent the months of July and August of last year
among
of time,
the mountains, and there, unaccom-
panied and unaided, during that short space
by means
of his observations, sketches,
and wonderful memory, he made himself so

perfectly acquainted with the topography of
the whole district, that, to use his
he knew the ground as well as if it. Within another two months,
own words, he had made

after his
return home, he had drawn to a large scale

three accurate and beautiful
maps of the French
Alps
a carte a vue d'oiseau, which shows the
mountains, the snows, the glaciers, the rocks,
and the very moraines,
as they
;
would appear
to the eye from a balloon
a carte geologique,
hills,
;
which exhibits the 'formation of the
even
to the very crystallization of the rocks
and a
106
on which
is faithfully
carte routiere,
delineated
every track, stream, crevasse, chalet, or other

object which can guide the tourist,
this
who with
alone
map
won
in
hand may
find
his
way
throughout the mountains. These maps, which
have
the warm" praise of
members of the
will
French Academy and other savants,
occupy
two of the most expert engravers of Paris at

least a score of
months
to execute in a
form
This
for
is
publication worthy of the originals.
not
all.
During the evenings of those two
months passed in the mountains, he wrote and

illustrated
one of his smaller books, Histoire
d'une Maison, in which, under the guise of a

story, the architectural student is
taught
how
to build
a house solidly and well,
at once
delightful to look
upon and comfortable to

all
dwell
in.
Like
his
writings,
it is
re-
plete with
human
interest
and earnestness of
thought.
He
is
regarded as a high authority on the

as well as of feudal
mili-
subject of modern
tary engineering
;
107
and a
treatise of his,
now
in the press,, Histoire d'une Forteresse, which
describes
how
a fort should
be
built,
will
doubtless contain
tical
much
1
theoretical
and prac-
information on that important branch of
the science of war.
During the siege of

and
Translations of these works, by
my
friend
fellow-traveller,
Mr. Bucknall, are now published,
under the respective titles of "How to Build a House," and " Annals of a Fortress."
In his preface to the
latter
he writes
"It may
not be out of place to notice here that he was frequently consulted by the late emperor respecting the permanent defences of the country. It is not too much to assert that if his recommendations
had been
carried out, the investment of Paris
would have been rendered impossible, whilst the progress of the German invasion elsewhere would have
been attended with greater
difficulties.
As
colonel
of Engineers, no officer displayed greater energy, skill, or bravery, in the defence of the city and every
;
operation planned and directed by

siege
him during the
was
successful.
after the signing of the armistice, the
Within two or three days Germans had

all
done their utmost to destroy
evidences of their
108
was more
Paris no officer of the Engineers

actively engaged, or
more
skilfully contributed
to the defence of the city.
In his construction generally Yiollet-le-Duc
employs and combines the various modern

materials
with a
scientific
knowledge
and
artistic feeling
unapproached by any one en-
gineer or architect of our
own
day.
He
is
be-
coming in France the veritable founder of a new
the vigilant eye of M. Yiolletle-Duc.

these works of investment, plans
works of investment. Nothing, however, had escaped In that brief
space of time he had surveyed and accurately noted

all
and descriptions
which are given in his interesting memoir of the siege. Upon the outbreak of the Commune, he was
of
solicited by its chiefs to take the military command, and had he not made a timely escape, would probably
have paid the penalty of his

questionable honour.
life
for refusing that
From
his retreat at Pierrefonds
he was recalled by General HacMahon

Versailles troops in re-entering Paris,
to assist the
It is
de-
serving of mention that in his absence a devoted
band
of craftsmen thrice
gallantly defended
his
house from being burnt and pillaged."
MONUMENTS IN
FRANCE.
109
school of architecture, which,
though based
on careful
study and
analysis of the ancient
schools, aims not merely at a revival or copy of
what has been
before, but at a faithful expres-
sion of our present requirements and means.
He
brings into harmonious conjunction those
vital
elements and immutable principles of art
which guided alike the Greeks of the time of Pericles and the masters of the middle ages.
The more they

vinced
it will
are studied the

felt
more I am con-
be seen and
that the achievein the
ments
of this
celebrated
Frenchman
associated arts of architecture, sculpture,
and
painting are not less remarkable for their

catholicity of
range than for the beauty of
their design
and mastery of execution.
Hav-
ing myself derived mental health, pleasure,
and
profit
from devoting a country doctor's
short holiday to their inspection,
my
object in
making these notes

should in any
will
be
fully served if they
way
be the means of prompting
others to more thoroughly investigate works
110
MONUMENTS
will
IN FRANCE.
with the
whose fame
be
for ever identified
historic buildings it has
been their restorer's

to posterity in a
happy fortune
to
hand over
state of renovated completeness, not
unworthy
of their original nobleness and grace.
CHISWICK PRESS
PRINTED BY WHITTINGHAM AND U'lLKINS,
Works
by E. Viollet-le-Duc.
DICTIONNAIRE RAISONNE DE L'ARCHITECTURE. DICTIONNAIRE RAISONNE DU MOBILLIER.
MEMOIRE SUR LA DEFENSE DE

January, 1871.)
PARIS, (Septembre,
1870
ESSAI SUR L'ARCHITECTURE MILITAIRE.
DESCRIPTION DU CHATEAU DE PIERREFONDS. DESCRIPTION DU CHATEAU DE COUCY.
CHAPELLES DE NOTRE-DAME. PEINTURES MURALES
MOREL ET
CIE PARIS.
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SAMPSON LOW, MARSTON, LOW, AND SEARLE,
Crown
Buildings, 188, Fleet Street,
London^ February\ 1875
Hist of IBoofes
PUBLISHING BY
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The Arts never

Their principles remain true for

always the same.

customs and institutions

twenty centuries ago.

the same passions, while the various languages

express in every age the same ideas, and to

call for the

the same wants,

A NOTICE OF HIS WORKS

THE HISTORICAL MONUMENTS

All rights reserved.

PRINTED BY WHITTINGHAM AND WILKIN5,

TOOKS COURT, CHANCERY LANE.

Restauration," in that valuable

treasury of architectural art and

this philosophic Essay, the author has

and expedients which should guide the

structures of his predecessors.

buildings strong enough to

survive the lapse of ages suffer through neglect,

PRINTED BY WHITTINGHAM AND W1LKINS,

TOOKS COURT, CHANCERY LANE.

English version of the article Mestauration" in that valuable

treasury of architectural art and

this philosophic Essay, the author has

and expedients which should guide the

structures of his predecessors.

however., remain the relics of

Tintern, Furness, and Mel-

of our ancient cathedrals

churches, baronial-halls and manor-houses,

continue to be used because admirably adapted

should be the earnest care of our generation

hand on these heirlooms in stone

times, in a state of comeliness

not inferior to that in which they were

the kind permission of the publishing

firm of Morel and Co., of Paris, I have prefixed

of his works in connection with " Historical Monuments of France/' in the

" Times" of August 24th, 1874, having

I value, I have,, at the instance of

thought well to re-present in a somewhat more extended form.

translations of Viollet-le-Duc, so earn-

by Mr. Bucknall, will,

be confidently hoped, do much to bring the

English thought and

he has attained unquestionable greatness.

repair, or rebuild it; it is to re-

instate it in a condition of completeness

could never have existed at any given time.

century that the idea of restoring buildings of

as well to endeavour at the outset

to gain an exact notion of

stand, or ought to understand,