Protecting the past
Identifieur interne : 000528 ( Istex/Corpus ); précédent : 000527; suivant : 000529Protecting the past
Auteurs : Elizabeth EmerySource :
- Journal of European Studies [ 0047-2441 ] ; 2005-03.
English descriptors
- Teeft :
- Amis, Annales politiques, Architectural heritage, Auguste rodin, Charles normand, Conservation movement, Designer albert robida, Elizabeth emery, Elizabeth emery emery, Emery, European studies, European studies figure, Exposition universelle, Figaro illustr, French history, Grande salle, Historical figures, Librairie robida, Middle ages, Miniature city, Montclair state university, Monuments historiques, National heritage, National interest, National treasures, Nineteenth century, Paris exposition, Parisian, Parisian history, Pierre nora, Revue, Revue artistique, Robida, Successful attractions, Such battles, Vieille france, Vieilles, Vieilles villes, Vieux, Vieux montmartre, Vieux paris, Vieux paris display, Vieux paris exhibit.
Abstract
The 1900 Paris World’s Fair prided itself on the modernity of its exhibits. Paradoxically, however, one of its most successful attractions proved to be Le Vieux Paris, a picturesque model city built along the Seine to ‘bring Old Paris back to life’. Designer Albert Robida chose not only to create a picturesque and entertaining model of life in old France, but to construct the exhibit as a locus of cultural memory. In it he glorified French accomplishments, while attempting to redress his contemporaries’ neglect of their shared architectural and literary heritage. Using the popular exhibit as a device for celebrating national achievement, he inspired widespread appreciation of French heritage, thereby invigorating a nascent conservation moment.
Url:
DOI: 10.1177/0047244105051155
Links to Exploration step
ISTEX:B1CBC711001082DAD52C0CDDA60EDD5B3CD62D46Le document en format XML
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Using the popular exhibit as a device for celebrating national achievement, he inspired widespread appreciation of French heritage, thereby invigorating a nascent conservation moment.</p></abstract><textClass><keywords scheme="keyword"><list><head>keywords</head><item><term>conservation</term></item><item><term>Exposition universelle</term></item><item><term>living museum</term></item><item><term>nationalism</term></item><item><term>Old Paris</term></item></list></keywords></textClass></profileDesc><revisionDesc><change when="2005-03">Published</change></revisionDesc></teiHeader></istex:fulltextTEI><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/ark:/67375/M70-B7BDP2QF-X/fulltext.txt</uri></json:item></fulltext><metadata><istex:metadataXml wicri:clean="corpus sage not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.3 20070202//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.3" xml:lang="EN"><front><journal-meta><journal-id journal-id-type="hwp">spjes</journal-id><journal-id journal-id-type="publisher-id">JES</journal-id><journal-title>Journal of European Studies</journal-title><issn pub-type="ppub">0047-2441</issn><publisher>
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<contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Emery</surname><given-names>Elizabeth</given-names></name><aff>Montclair State University, <email xlink:type="simple">emerye@montclair.edu</email>
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<pub-date pub-type="ppub"><month>03</month><year>2005</year></pub-date><volume>35</volume><issue>1</issue><issue-title>Cultural Memory in France: Margins and Centres, part 1</issue-title><fpage>065</fpage><lpage>085</lpage><abstract>
<p>
<italic>The 1900 Paris World’s Fair prided itself on the modernity of its exhibits. Paradoxically, however, one of its most successful attractions proved to be</italic> Le Vieux Paris, <italic>a picturesque model city built along the Seine to ‘bring Old Paris back to life’. Designer Albert Robida chose not only to create a picturesque and entertaining model of life in old France, but to construct the exhibit as a locus of cultural memory. In it he glorified French accomplishments, while attempting to redress his contemporaries’ neglect of their shared architectural and literary heritage. Using the popular exhibit as a device for celebrating national achievement, he inspired widespread appreciation of French heritage, thereby invigorating a nascent conservation moment</italic>.</p>
</abstract><kwd-group>
<kwd>conservation</kwd>
<kwd>Exposition universelle</kwd>
<kwd>living museum</kwd>
<kwd>nationalism</kwd>
<kwd>Old Paris</kwd>
</kwd-group><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> Protecting the past Albert Robida and the Vieux Paris exhibit at the 1900 World's Fair ELIZABETH EMERY Montclair State University The 1900 Paris World's Fair prided itself on the modernity of its exhibits. Paradoxically, however, one of its most successful attractions proved to be Le Vieux Paris, a picturesque model city built along the Seine to 'bring Old Paris back to life'. Designer Albert Robida chose not only to create a picturesque and entertaining model of life in old France, but to construct the exhibit as a locus of cultural memory. In it he glorified French accomplishments, while attempting to redress his contemporaries' neglect of their shared architectural and literary heritage. Using the popular exhibit as a device for celebrating national achievement, he inspired widespread appreciation of French heritage, thereby invigorating a nascent conservation moment. Keywords: conservation, Exposition universelle, living museum, nationalism, Old Paris The Paris World's Fair of 1900 drew nearly 51 million visitors from around the world; they came to admire the city, its culture and the technology on display.1 Organizers described it as 'the résumé of the work of this century that towers above all by the enormous progress realized in the domain of industry'.2 Paradoxically, however, one of the Fair's most successful attractions and third top-grossing display appeared to be as far removed from modern innovation as possible: it was a miniature city Le Vieux Paris built along the right bank Journal of European Studies 35(1): 065085 Copyright © SAGE Publications (London, Thousand Oaks, CA and New Delhi) www.sagepublications.com [200503] 0047-2441/10.1177/0047244105051155 Journal of European Studies 66 JOURNAL OF EUROPEAN STUDIES 35(1) of the Seine.3 Its objective was to bring the Paris of the past back to life. Promoted as a 'picturesque' and 'quaint' exhibit, the Fair's organizers intended Le Vieux Paris primarily as a commercial attraction (Mandell, 1967: 54). The city's designer Albert Robida went beyond this initial conception, however, turning the exhibit into a tribute to French architecture of the past; he cleverly used his popular display to validate old monuments in the public eye. This essay argues that the scholarship implicit in the creation of this exhibit, combined with aggressive marketing, reflected a turning point in the French nation's under- standing and representation of its architectural heritage. There are innumerable guidebooks, photos and travel accounts of visits to the 1900 World's Fair. Nearly every one of them recommends the Vieux Paris exhibit, labelling it one of the most 'curious' and 'successful' attractions of the Fair.4 Indeed, Robida satisfied both organizers and public with the sheer entertainment value of the exhibit. First of all, it was astonishingly picturesque (Figure 1). Rising above the Seine on the right bank at the Alma Bridge, the largely medieval aspects of the city towers, turrets, and quaint half-timbered Figure 1. 'Le Vieux Paris'. Le Figaro illustré, June 1900. EMERY: PROTECTING THE PAST 67 buildings appealed to a fin-de-siècle vogue for the Middle Ages, while providing a popular subject for photos, especially at night, illuminated by electricity.5 Although most visitors described the attraction as medieval, it was actually divided into three distinct quartiers from the fifteenth, the sixteenth, and the eighteenth centuries (Figure 2). Each of these neighbourhoods was interspersed with medieval architecture to show how Paris had changed over time.6 Second, it was full of diversions. Inside the walls of Le Vieux Paris, visitors could stop for an elegant meal in the courtyard of Le Pré aux Figure 2. Maps of Le Vieux Paris, from Robida (1900a: 89) 68 JOURNAL OF EUROPEAN STUDIES 35(1) Clercs in the shadow of the tower of the old Louvre, or wander down one of the two principal streets, la rue des Remparts or la rue des Vieilles Écoles, lined by old Parisian houses (Figure 3). Each of the seventy shops in the display like 'A Margot Bon-Bec' or 'Au puissant vin' featured a sign bearing its name, and each was run by shopkeepers in period costume, selling a variety of products from cakes and stationery to leather goods and jewellery.7 In exploring the streets of Le Vieux Paris, one saw printing presses hand-cranked, washerwomen, people turning meats on spits, waffle makers, and, as American visitor James Campbell put it, 'vendors of countless articles, flowers, fruits and fans, whose picturesque costumes add to the spectacle' (1900: 59). In addition to the shops, Le Vieux Paris included three restaurants Figure 3. 'Le Vieux Paris. La Rue des Vieilles Écoles'. Postcard EMERY: PROTECTING THE PAST 69 and a variety of amusements. A functioning chapel Saint-Julien-des- Ménétriers could hold 200 people and featured concerts of old music by the Chanteurs de Saint-Gervais and the Schola Cantorum (Figure 4).8 La Grande Salle de Paris held an enormous theatre, while the 1700-seat Grand Théâtre of Les Halles hosted Les Concerts Colonne, in which a 150-piece ensemble performed a selection of French and international music. Le Cabaret de la pomme de pin was run by popular singers Polin and Eugénie Buffet and offered chansons, poetry readings and satirical sketches, while the Auberge des nations staged La Bodinière's performances.9 In the street, the Prévost des marchands performed pantomimes, monologues and parodies; minstrels strolled the streets with their guitars. Even a giant stopped to be photographed.10 Despite the obvious anachronisms, spectators were enraptured by what they felt was a real trip to the past, where they could forget their everyday troubles by plunging into the 'brave old days of old', to 'relive ... the ... fifteenth century ... again'.11 Figure 4. 'Vieux Paris street view with the church of St Julien on the right'. The Paris Exhibition. Special extra numers of The Art Journal (London: H. Virtue & Company Ltd, May 1900), p. 26. 70 JOURNAL OF EUROPEAN STUDIES 35(1) At first glance, Le Vieux Paris may seem a kind of Disneyland avant la lettre, a pasteboard Paris with electric lights and activities designed primarily to attract consumers. In fact, this was its primary goal. In envisaging the display, the Fair's organizers sought no more than to create a parallel to the 'Old Brussels' attraction created in 1897, a hugely successful commercial enterprise and a decorative foil to the modern inventions of the Exposition (Mandell, 1967: 54). Yet, thanks to Albert Robida, it went much further. He painstakingly constructed the exhibit to help contemporaries enjoy themselves while learning about the architectural heritage they had previously taken for granted. First of all, unlike earlier 'recreated cities' of World's Fairs in Antwerp, Brussels, Stockholm, Rouen or Geneva, in which characters stood in front of painted facades and sold their wares (Figure 5), Le Vieux Paris included real wooden and stone buildings inhabitable from the ground floor up.12 They were designed to support thousands of Figure 5. 'Une boutique de barbier (vieil Anvers)'. La Revue Encyclopédique, 1 September 1894, p. 274. EMERY: PROTECTING THE PAST 71 visitors, who could use these vantage points to study the rest of the World's Fair. Indeed, these buildings were so solid that one of them the chapel was given to a poor parish in the Ile-de-France area after the Exposition ended.13 Second, although the city was built to be picturesque, little was left to fancy. Every structure within the display was a replica of an original Parisian structure that had been destroyed or neglected. The chapel, Saint-Julien-des-Ménétriers, for example, was built in the fourteenth century by a troupe of minstrels and demolished in the eighteenth century (see Figure 4). Similarly, the Porte Saint-Michel, which served as the main entrance to the exhibit, was one of the access points to the wall surrounding the city in the time of Philippe- Auguste (Figure 6). By 1900, the recently constructed Boulevard Saint-Michel ran over where it had stood. Figure 6. 'Le Vieux Paris. La Porte Saint-Michel'. Postcard 72 JOURNAL OF EUROPEAN STUDIES 35(1) Robida had spent a full year in libraries, collecting documentation and selecting the structures that would comprise Le Vieux Paris. He worked closely with architects from Les Monuments historiques to reconstruct them within the display.14 This scholarship is particularly impressive considering that Robida was a pure amateur whose formal schooling had ended at the age of twelve (Brun, 1984: 10). Not only did he select the monuments, design them and choose their position within the recreated city, he orchestrated everything to do with the exhibit, from banners, costumes and actors, to restaurant menus, silverware and souvenirs.15 Third, Robida did everything in his power to turn the display into an educational venture. He tirelessly publicized its content, notably through copious advance marketing. It is nearly impossible to pick up a newspaper or magazine from 1900 without finding a lengthy article describing the history of the various monuments: a tower from the old Louvre, the first Parisian town hall, the Châtelet prison, the Pont au Change with its double row of houses lining the bridge, the Grande Salle du Palais immortalized in Hugo's Notre-Dame de Paris, and others (see Figure 2). Several of these abundantly illustrated articles, which appeared in major media outlets of the time Le Temps, Le Figaro illustré, La Revue illustrée, to name but a few were made up of new material, but most were excerpts from the two guidebooks Robida published to accompany the display. One of these, Le Vieux Paris: études et projets was a deluxe edition (10 francs), containing forty-eight of the detailed drawings for his exhibit (Figure 7). The other, Le Vieux Paris: guide historique, pittoresque et anecdotique, was a 200-page illustrated text that led visitors through the attraction and explained the historical or aesthetic significance of each structure. It sold for 50 centimes. Because of such publications, most visitors did not wander through the old city; they were guided.16 Robida's Vieux Paris handbook escorts readers through the attraction, step by step, monument by monument (Figure 8). Strolling along la rue des Vieilles Écoles, for example, they are encouraged to stop and examine details, such as the corner-post on the fifteenth- century house where Molière was born. This building featured a tree on which ten monkeys gambolled, picking fruit. Robida mentions that Alexandre Lenoir recognized the unique value of this post in the early nineteenth century and dismantled it for display in his Musée des monuments historiques. After the museum was closed in 1816, however, the piece disappeared; it was probably used as firewood (Robida, 1900b: 48). Such stories encouraged readers to appreciate the structures they were seeing and to lament their senseless destruction. EMERY: PROTECTING THE PAST 73 The book was extremely rich in this regard: Robida drew attention to the iniquities of the past, warning his contemporaries about the consequences of their behaviour. By helping them recall previously demolished structures while pointing out still extant ones, he reactivated their meaning for a new generation. The house built by Nicolas Flamel, now considered 'Paris's oldest house', is such an example (see Figures 3 and 7). It stands in the rue de Montmorency today, as it did in 1900, but 'horribly disfigured', as Robida put it, by a fly-by-night eighteenth- century 'philanthropist' who offered to repair the structure, but nearly destroyed it while fulfilling his true agenda: seeking Flamel's legendary treasure. By giving details about Flamel, the development of legends about him, and the story of the house itself, Robida returns this structure to its 'once splendid' state (based on eighteenth-century drawings). His criticism of renovation underlines his contemporaries' 'poor treatment' of this national art; they had transformed master-pieces into 'miserable' and 'leprous' eyesores (1900b: 42). Robida's display struck a chord with visitors and his efforts were resoundingly praised Figure 7. 'La Rue des Vieilles Écoles'. Le Vieux Paris (1900a) 74 JOURNAL OF EUROPEAN STUDIES 35(1) by members of conservation groups, who enjoyed special visits before the official opening.17 But why would Robida have dedicated himself heart and soul to a didactic project that so far escaped the bounds of his original mandate? To understand the subversive agenda of the seemingly innocuous Le Vieux Paris display, we must examine Robida's earlier work and its role within the fledgling French conservation movement. The techniques he used to organize Le Vieux Paris fusing popular entertainment with scholarship and messages about conservation were also evident on a smaller scale in his earlier works. Robida has been all but forgotten in mainstream France, except as Jules Verne's competitor as a science fiction writer (he wrote a number of futuristic novels, including La Vie électrique and La Guerre au vingtième siècle), yet he was well known in his time, particularly as Figure 8. Pp. 423 of Le Vieux Paris guidebook (1900b) EMERY: PROTECTING THE PAST 75 editor of the journal La Caricature.18 He authored or illustrated more than 200 books and it is estimated that he made over 60,000 drawings during his career.19 These often lavish works, which were directed to both ends of the book market luxury editions for collectors and inexpensive popular editions for children and adults allowed Robida to reach a wide audience. His blend of text and drawings appealed to literate and illiterate alike. One of his most influential early works was a cover for La Caricature, published on 19 June 1886. In it Robida mocked a contemporary plan to build the not-yet-constructed Paris Métro above ground. His drawing depicts the city three years into the future, scarred by tracks and trains that run through and around the best-known Parisian monuments. His sketch was accompanied by the following caption: The attached view of Paris, supposedly taken during the World's Fair of 1889, shows what elements of beauty a well-conceived Metropolitan can add to panoramas of big cities, what admirable transformations it can bring, and finally, how it ingeniously and picturesquely uses monuments, which, until today, have served no purpose. (my emphasis) This shocking image, as well as others of the same kind, stunned contemporaries, who began to think harder about monuments, insisting that the Métro run underground. It has also been credited with mobilizing support for the newly created Société des amis des monuments parisiens.20 The year 1886 may seem late for the creation of organizations dedicated to preserving national heritage, but the first official French conservation law the basis of today's text dates only from 1887. It accorded for the first time legal protection under the Ministry of Fine Arts to public monuments deemed of 'national interest'. This was a step in the right direction; however, these laws did not yet encompass privately owned structures, nor did they assess criminal charges for the modification, destruction or exportation of monuments, which was occurring at an alarming rate.21 As Françoise Choay has convincingly argued, conservationism was a mentality slow to develop in France; it was not truly institutionalized until the 1913 laws that form the back- bone of today's policies (1999: 93129). Parisians had to wait until December 1897 before the prefecture would appoint the Commission du Vieux Paris, an official organization tasked with finding information about Old Paris, evaluating structures and conserving them. The last decades of the nineteenth century were thus marked by heated public debate about conservation.22 Robida played an active part in such battles. 76 JOURNAL OF EUROPEAN STUDIES 35(1) Among his first book-length publications were Les Vieilles Villes d'Italie (1878) and Les Vieilles Villes de Suisse (1879), idiosyncratic travel guides that mix personal commentary about architectural structures with drawings of them. The success of these first attempts spawned subsequent volumes in the same vein: Les Vieilles Villes d'Espagne (1880), La Vieille France (four volumes dedicated to Normandy, Brittany, Provence and the Loire Valley, 18903), Paris de siècle en siècle (1895a), Le Coeur de Paris (1896), and Paris à travers l'histoire (1898).23 In these books, Robida was responsible for both text and images: often more than 200 drawings and forty lithographs per volume. While the first were largely descriptive, those written in the 1890s grew increasingly nationalistic and militant: Long live Mont-Saint-Michel, the crown jewel of Old France, long live the cathedrals, magnificent and isolated vessels towering over the rectilinear cubes of humdrum cities, long live old hotels hidden by straight-arrow boulevards, long live all the old castles and monuments, the ruins of the past, escaped from the hatred and ferocity of unintelligent pickaxes. (1890: 39) In the 1890s, Robida recognized that his contemporaries were at a turning point for understanding their past. Fascinated with progress, the French risked plunging headlong into the future like the protagonists of his science fiction novels, without stopping to recognize the national treasures they destroyed in their path.24 Robida's commitment to changing such attitudes is clear in the dedication of Paris de siècle en siècle: 'Always hard at work defending the ever-endangered artistic interests of Paris' (Robida, 1895a). The remark was addressed to Charles Normand, the head of the Amis des monuments parisiens.25 Like earlier conservationists such as Prosper Mérimée and Ludovic Vitet, Robida seems to have understood that the appreciation of architecture had to be taught.26 Le Vieux Paris provided a wonderful way to accomplish this: it attracted visitors interested in pleasure, while educating them about their national heritage. First, he knew that his contemporaries many of them products of the Republican schools of the fin de siècle were familiar with the major figures of French history, the discipline reine of the nineteenth century.27 As a result, they would appreciate the monuments he had chosen for Le Vieux Paris because of their association with the historical figures they already knew so well Philippe-Auguste, Villon, Molière and others (1901b: 65). The numerous references to important historical, literary and artistic figures of Parisian history valorized unfamiliar structures EMERY: PROTECTING THE PAST 77 by framing them within established lieux de mémoire.28 Each building was thus attached to a famous person or a street, itself attached to a section of Paris and its stories. In addition to dropping names within the guidebooks, Le Vieux Paris also disseminated two publications that popularized Parisian history. The first, La Nef de Lutèce, imitated a medieval illuminated manuscript, while illustrating the defining events of early Paris (Figure 9). The second, La Gazette du Vieux Paris, was a collaboration between Robida and writers from Les Annales politiques et littéraires, among them Jules Lemaître, Ferdinand Brunetière, Anatole France and Maurice Barrès (Figure 10).29 The fourteen issues evoked the history of Paris from the Gauls to the Third Republic. Each contained articles, stories and poems featuring characters and episodes of French history. They imitate the language and manuscript layout of the century treated, while discussing famous figures mentioned in the Vieux Paris display and advertising events taking place within the city. The souvenirs on sale in Le Vieux Paris guidebooks, drawings, the Gazette du Vieux Paris and La Nef de Lutèce, postcards and other items Figure 9. La Nef de Lutèce pour tous pérégrins et gentilhommes voyageans ès rues du moult viel quartier du Vieulx Paris, inclyte et Joyeuse Cité (Paris: Menard et Chafour, 1900) 78 JOURNAL OF EUROPEAN STUDIES 35(1) all focused on Parisian history and, by extension, on the monuments still standing in the city in 1900. As Robida pointed out, the old buildings of Paris had become so dilapidated that they were either ignored or condemned: 'Because our time has only known these old streets as aged and maltreated by men, these ramshackle and dilapidated houses as fallen on miserable hard times, it has maligned the cities and life of the past, and national art' (1900b: 42). His exhibit, like the numerous recently opened Parisian museums dedicated to the past, sought to modify such negative attitudes.30 But in contrast to institutions like the Musée de sculpture comparée, which showcased individual monuments (as Lenoir had done with the monkey sculpture on Molière's house), Robida featured them in an urban context. Such contextualization was unusual for the time. As William Clark has shown in a study of the period's photography, late nineteenth-century aesthetics increasingly favoured separating monuments from the surrounding city.31 Robida, on the other hand, was fascinated by context: the people, events and landscape surrounding monuments. He did not simply rebuild individual buildings in Le Vieux Paris; his goal was to bring Old Paris back to life: It was never a question, of course, of being purely and severely Figure 10. Covers from La Gazette du Vieux Paris, 1900 EMERY: PROTECTING THE PAST 79 archaeological, of sacrificing everything for a momentary exactness ... Above all, it was necessary to be living, to make choices and to take, here and there, the most curious bits of vanished monuments, of homes of particular interest, or famous for historical reasons, and to make an amalgam, a single work that would be picturesque for the eye, teeming with enough life and movement to represent truthfully curious and characteristic aspects of life in the past. (1901b: 65) For Robida the 'use value' of these monuments their function within the city was critical to understanding them as more than mere fragments of the past like those isolated items in museums. The buildings of Old Paris were still alive, full of the national spirit l'esprit gaulois that linked modern Paris to the likes of Villon and Rabelais.32 Destroying parts of this urban fabric would destroy the whole. Moreover, unlike museums, which often featured valuable relics or national treasures associated with king or church, Robida's Le Vieux Paris focused on the people. The display presented a particularly democratic vision of French history, its streets filled with shopkeepers, students and musicians. When working-class visitors commented that they had 'stepped into the past to rejoin their ancestors', they meant it. This was an inherently popular and secular Paris.33 Robida took discarded, destroyed and forgotten monuments that the public had not found useful and repackaged them in Le Vieux Paris, emphasizing those qualities contemporaries did value, particularly historicity and nationalism.34 Indeed, by giving physical incarnation to lovely examples of destroyed buildings, then explaining their historical relevance, Robida returned Paris's old buildings to a 'useful' function; he reactivated them as crucial markers of national identity what Pierre Nora would call lieux de mémoire. He transformed 'decrepit' architecture into a secular national treasure, a celebration of the Parisians who had previously occupied these city streets. In the importance he attached to storytelling in his display, Robida anticipated the writings of scholars such as Hayden White, Victor Turner and Pierre Nora, who identify narrative as a critical element in interpreting historical events and symbolic figures. In Robida's case, he used Republican history to create a new narrative framework with which he would support the various pieces of his exhibit. These were not merely temporary structures, he told his contemporaries, but integral players in the drama of Paris through the ages. Le Vieux Paris thus transformed neglected buildings into monuments, reminders as their etymology suggests of life in the past.35 By rebuilding them and re-enacting past ways, Robida inseparably linked Old Paris to 1900. He reinforced, for France and the world, the importance of 80 JOURNAL OF EUROPEAN STUDIES 35(1) historical figures for French national identity, while underlining the inseparability of urban space, historical narrative and architecture. Although Robida's display invited visitors to relive the past, Le Vieux Paris really championed the present it drew attention to Paris in 1900. Robida telescoped 700 years of history, compacting it in the narrow passage along the Quai de Billy. This is one of the dangers of creating sites of memory; recreated displays of the past are inherently artificial and, as Pierre Nora has pointed out, new versions of the past often replace the 'true' ones, located in 'milieux de mémoire' (Nora 1989: 725). This was certainly the case with Le Vieux Paris. The dilapidated buildings still standing in 1900 lost their 'true' history as they were conflated with the reconstructed models of Robida's exhibit. Yet the picturesque and entertaining consumer spectacle nonetheless served a valuable function. The new site of memory 'Le Vieux Paris' brought needed attention to the 'milieux de mémoire' the old neighbourhoods of Paris where life continued as it had for centuries. Robida was not alone in creating techniques to encourage the French public to appreciate its heritage. The nationalism that followed the Franco-Prussian War had prompted the French to reconsider their history in nearly every sphere from the Senate to primary schools. Rewriting history became a national pastime. Patriotic scholars downplayed the influence of both Germany and the aristocracy in French history and reconfigured their descriptions of canonical literary texts, art and architectural styles in order to emphasize the French people and their national achievements. Old figures, from Charlemagne and Clovis to the ancien régime itself, were called into question once again and reinterpreted to legitimize the fledgling Republic.36 As 'national heritage' and 'national utility' developed into widely accepted Third Republic values, writers and artists such as Robida championed neglected monuments, wrapping them in rhetoric echoing these ideals. 'La Mort des cathédrales', Marcel Proust's 1904 defence of French cathedrals, for example, was influential in persuading Republican deputies of the national interest of religious services: 'It can be said that a performance of Wagner at Bayreuth is little compared with high mass in the cathedral of Chartres.'37 This argument cleverly portrayed Catholic mass in terms of the aesthetic and nationalist values the Republic held dear, particularly by appealing to anti-German sentiment. Others, including Maurice Barrès, André Hallays, Paul Morice and Auguste Rodin, similarly marketed old or unique structures in terms of their 'national utility'.38 Marketing may seem an inappropriate term to describe such EMERY: PROTECTING THE PAST 81 tactics, but it is not. Much like fin-de-siècle department stores, whose advertisements led customers to spend money by creating new needs, artists and writers too wrote 'texts' that played to contem- poraries' sense of longing.39 Robida was, perhaps, the ultimate example of this trend. A tireless publicist of Old Paris, he showered visitors not only with information about the past, but also with souvenir stamps, fans and postcards, available in Le Vieux Paris or given away by department stores.40 His relentless promotion of Old Paris brought it to the attention of the 51 million consumers who visited the 1900 World's Fair. Such enterprising efforts on the part of the friends of French monuments led to the widespread calls for reform that prompted the 1913 re-evaluation of conservation laws, a landmark in the development of French consciousness about conservation. Le Vieux Paris display, however, was not protected, and it is ironic that Robida's miniature city would meet the fate of so many of the Parisian buildings he had defended. It was dismantled after the Fair and subsequently forgotten. In its place today stand the eminently modern avenue de New York and the Musée d'art moderne. Acknowledgements Archival research for this article was funded by grants from the National Endowment for the Humanities and Montclair State University. Notes 1. For information about the Fair, see Mandell (1967) and the numerous international magazines and guides dedicated to this event: Le Figaro illustré, Le Monde illustré, Illustration, and The Parisian Dream World are a few such titles. 2. Frederic Mayer, editor of the French Official Organ of the Exposition (Mayer, 1900: n.p.). 3. This seeming throwback to the past was itself a technological marvel. The 6000-square-metre attraction was built on a specially constructed platform over the Seine (Robida, 1901a: 57; 1900b: 610). Le Vieux Paris took in 1,036,000 francs in receipts. The two top-grossing attractions were the Swiss Village and the Palais du Costume (Rearick, 1985: 139). 4. See Campbell (1900), Tozier (1900) and Wailly (1900), among others. 5. Nearly every publication about the Exposition contains a picture of the city seen from the Seine; both Thomas Edison and the Lumière brothers filmed it from boats. For more about the vogue for the Middle Ages, see Emery and Morowitz (2003). 6. See the detailed descriptions of each quartier in Robida (1900b). 82 JOURNAL OF EUROPEAN STUDIES 35(1) 7. For a list of these shops and the products they sold, see Robida (1900b). 8. Sixty thousand people are said to have attended these 'spiritual concerts', which were organized by composer Charles Bordes, who also gave organ recitals. See Demuth (1974: 1415). For more details about the programmes, see 1900 issues of La Tribune, the Schola Cantorum's official journal. 9. The Arsenal branch of the Bibliothèque nationale contains a number of souvenir programmes for these events in Ms RT12713. They are interspersed with material from Paris en 1400: La Cour des miracles, a competing display. For more about this exhibit, see Emery and Morowitz (2003: 171208). 10. A list of such diversions appears on the back of Robida's guide (1900b) and in advertisements related to the attraction. See also Revue artistique (1899: 40). Many of these activities were photographed in guidebooks to the exhibit. 11. Caption under photo of Old Paris, Paris Exposition Reproduced (1901). 12. As Robida pointed out, his was the first functional city (1901b: 65). 13. Robida described his building practices in every article about the display, as did contemporaries such as G. Moynet: 'the construction in no way resembles the hasty work of machinists and set decorators. These houses are solid and resistant; moreover, they will be inhabited from top to bottom and subject to intense traffic' (1900: 298). Robida's son discusses the chapel donation, though he cannot remember the name of the parish (Robida, 1966: 9). 14. Tozier (1900: 292). Robida's son says that he worked on the exhibit for at least two years and probably much longer (1966: 8). For a list of the employees of Les Monuments historiques who participated, see Robida (1900b: xiiixvi). Sources cited in the guide to Le Vieux Paris include Guillot's thirteenth- century Le dit des rues de Paris, the Bourgeois de Paris and Maurice de Sully. Robida also made liberal use of nineteenth-century sources. 15. Robida involved his entire family in making sculptures, sewing banners and illustrating manuscripts (Robida, 1966: 1011). For details about the shops and items displayed, see Robida (1900b: vvi, xiiixvi, 1915). 16. Robida may also have trained Old-French-speaking guides, as G. de Wailly's fictional description of his tour leader, Guillemette, 'haulte dame de Lutèce' suggests (1900: 1718). 17. President Loubet and the Société des gens de lettres enjoyed a special sneak preview on 7 April 1900, while the Société des amis des monuments parisiens received guided tours from Robida, including one on 21 June 1899 (Robida, 1966: 11). For a description of this visit and another by engineers and journalists, see L'Ami des monuments et des arts (1900: 21118, 292308). This article clearly reveals Robida's debt to Charles Normand and the Société. 18. The Société des amis d'Albert Robida, begun in 1997, has been working valiantly to sponsor exhibits and colloquia to make him better known. The December 2002 issue of Le Téléphonoscope, a yearly publication, was devoted to Le Vieux Paris. 19. For a complete list of his works, see Brun's 177-page bibliography. Titles he authored include Les Voyages très extraordinaires de Saturnin Farandoul, Le Trésor de Carcassonne and Le Roi des jongleurs. 20. Robida became a member of this society in 1886 and published articles and EMERY: PROTECTING THE PAST 83 illustrations in the society's tri-monthly publication, L'Ami des monuments. Its membership form carried one of his illustrations (Brun, 1984: 24). 21. Much of the conservation movement developed in the years following Haussmann's reforms, as broad swathes of 'Old Paris' vanished for ever. For a discussion of the debates leading up to the 1887 law and its mutation into the 1913 version that constitutes current French conservation law see Grosjean (1910), Dussaule (1974), Réau (1994). 22. For descriptions of such battles see Grosjean (1910) and Morice (1914: especially 1089). A variety of associations and commissions sprang up to defend 'Le Vieux Paris': the Musée Carnavalet (museum of the history of Paris), which opened in 1880, La Société d'histoire et d'archéologie 'le vieux Montmartre', which began in 1886, Les Amis de Paris and Les Amis du vieux Montmartre. Such associations often published periodicals dedicated to their work. 23. This is not an exhaustive list. See Brun (1984) for a complete inventory. 24. Despite the many celebratory images he created of future life in his books, they too provide cautionary tales about unthinking progress. See, for example, his horrifying scenes of the aerial bombing of cities in La Guerre au vingtième siècle; they eerily foreshadow those of World War II. 25. Later examples of Robida's active lobbying to stop the destruction of historical monuments include a scathing article about vandalism for La Revue encyclopédique (Robida, 1897) and an advertisement, in a supplement to the same publication (Robida, 1895b), calling on contemporaries to prevent the 'mutilation' of the Invalides Esplanade by the construction of a train station. 26. Both Mérimée and Vitet served as Inspecteur général des monuments français in the early part of the nineteenth century. For a summary of early efforts in France to foster appreciation of old architecture, see Choay (1999: 93114). 27. On school reform, see Ozouf (1982). 28. In his introduction to Les Lieux de mémoire, Pierre Nora defines a site or realm of memory as people, places, things or events that have been 'consecrated' as part of the national heritage. 29. Les Annales politiques et littéraires was founded by Jules and Adolphe Brisson in 1883 and served a largely bourgeois audience. 30. The Musée Carnavalet, dedicated to the history of Paris, had opened in 1880, the Musée de sculpture comparée in 1884, and the new wing of the Louvre in 1893. 31. William W. Clark, 'The Gothic Cathedral Transformed in French Photography, 185060', paper presented at the College Art Association Conference, Philadelphia, February 2002. 32. L'esprit gaulois was all the rage in Parisian taverns. For more about this concept, see Emery and Morowitz (2003: 171208). 33. An article for Le Monde moderne drives home this point. Its author calls out to historical figures of the past, reminding them that this is 'Your Old Paris ... we are giving [it] back to you and, for the months of the Fair, resuscitating it for the amazement [esbaudissement] of your grand-nephews' (Le Monde moderne, 1900: 63). 34. Françoise Choay has identified these two values as those predominant in nineteenth-century French conservation (1999: 103). 84 JOURNAL OF EUROPEAN STUDIES 35(1) 35. Monument comes from monere or 'reminder'. 36. For the intersection between scholars, nationalism and new claims on the past, see Amalvi (1988) and the numerous entries in Nora's Les Lieux de mémoire. Such constructions create a common sense of identity, as Anne Thiesse has proposed: 'An assumption and an invention give birth to the nation. But it lives only from collective adherence to this fiction' (1999: 1112). 37. Proust (1971:1467) . For more about Proust's role as a conservationist, see Emery (2001). Proust's article was published in Le Figaro on 16 August 1904. Pierre Clarac's notes to the Pléiade edition of Contre Sainte-Beuve describe its impact (Proust, 1971: 7702). 38. Barrès' La Grande Pitié des églises de France (1913) and Rodin's Les Cathédrales de France (1914) would provide a valuable defence of religious architecture as critical parts of French identity. See Grosjean (1910) and Emery (2001). 39. Emery and Morowitz (2003) discuss the use of marketing to bring the public's attention to works of the past. 40. See Jean-Claude Viche (2002: 911). References Amalvi, Christian (1988) De l'art et de la manière d'accommoder les héros de l'histoire de France: essais de mythologie nationale. Paris: Albin Michel. L'Ami des monuments et des arts (1900) 'Visite des amis des monuments aux chantiers de la reconstitution du "Vieux Paris" par Robida', XIII: 21118, 292308. Brun, Philippe (1984) Albert Robida (18481926). Paris: Editions Promodis. Campbell, James B. (1900) Illustrated History of the Paris International Exposition Universelle of 1900. Chicago: Chicago and Omaha Publishing Co. Choay, Françoise (1999) L'Allégorie du patrimoine. Paris: Éditions du Seuil. Demuth, Norman (1974) Vincent d'Indy: Champion of Classicism. Westport, CT: Greenwood Press. Dussaule, Pierre (1974) La Loi et le service des monuments historiques français. Paris: La Documentation française. Emery, Elizabeth (2001) Romancing the Cathedral: Gothic Architecture in Fin-de-siècle French Culture. Albany: State University of New York Press. Emery, Elizabeth and Morowitz, Laura (2003) Consuming the Past: The Medieval Revival in Fin-de-siècle France. London: Ashgate Press. Grosjean, Georges (1910) Pour l'art contre les vandales. Paris: Jouve. Mandell, Richard (1967) Paris 1900: The Greatest World's Fair. Toronto: University of Toronto Press. Mayer, Frederic (1900) 'Paris and the Exposition', The Parisian Dream City XIII (70): n.p. Le Monde moderne (1900) 'Le Vieux Paris', JanuaryJune: 63. Morice, Charles (1914) 'Introduction', in Auguste Rodin, Les Cathédrales de France. Paris: Librairie Armand Colin. Moynet, G. (1900) 'La Construction du Vieux-Paris', in L'Encyclopédie du siècle (2 vols), vol. II, pp. 2989. Paris: Montgrédien et Cie. EMERY: PROTECTING THE PAST 85 Nora, Pierre (1989) 'Between Memory and History: Les Lieux de mémoire', Representations 26 (Spring): 725. Old Paris, Paris Exposition Reproduced (1901) New York: The R. S. Peale Company. Ozouf, Mona (1982) L'École, l'église et la République (18711914). Paris: Cana/Jean Offredo. Proust, Marcel (1971) Contre Sainte-Beuve. Paris: Gallimard. Rearick, Charles (1985) Pleasures of the Belle Epoque: Entertainment in Turn-of-the- Century France. New Haven, CT: Yale University Press. Réau, Louis (1994) Histoire du vandalisme. Paris: Éditions Robert Laffont. Revue artistique (1899) 'A travers l'Exposition de 1900', July: n.p. Robida, Albert (1890) La Vieille France. Normandie. Paris. La Librairie illustrée. Robida, Albert (1895a) Paris de siècle en siècle. Paris: La Librairie illustrée. Robida, Albert (1895b) 'Protestations contre la mutilation de l'Esplanade des Invalides', La Revue encyclopédique 104: 125. Robida, Albert (1897) 'L'Oeuvre d'enlaidissement du XIXe siècle', La Revue encyclopédique 221: 98992. Robida, Albert (1900a) Le Vieux Paris études et projets. Paris: Ménard et Chaufour. Robida, Albert (1900b) Le Vieux Paris guide historique, pittoresque, et anecdoctique. Paris: Ménard et Chaufour. Robida, Albert (1901a) 'Les Travaux en Seine du "Vieux Paris"', in L'Encyclopédie du siècle (2 vols), vol. II, p. 57. Paris: Montgrédien et Cie. Robida, Albert (1901b) 'Le Vieux Paris à l'Exposition de 1900', in L'Encyclopédie du siècle (2 vols), vol. II, pp. 656, 7880, 88, 958. Paris: Montgrédien et Cie. Robida, Frédéric (1966) 'Quelques souvenirs sur le Vieux Paris à l'Exposition universelle de 1900', talk presented to the Commission du Vieux Paris, 4 July. Reprinted 2002 in Le Téléphonoscope 9 (December): 811. Thiesse, Anne (1999) La Création des identités nationales. Europe XVIIIeXXe siècles. Paris: Seuil. Tozier, Josephine (1900) 'Bits of Antiquity at the Paris Exposition', Overland Monthly 35 (April): 2927. Viche, Jean-Claude (2002) 'Le Vieux Paris dans les cartes postales de Robida', Le Téléphonoscope 9 (December): 911. Wailly, G. de (1900) A Travers l'Exposition de 1900. Paris: Fayard Frères. Elizabeth Emery is Associate Professor of French at Montclair State University. Address for correspondence: Department of French, German, and Russian, Montclair State University, Montclair, NJ 07043, USA [email: emerye@montclair.edu]</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><notes>
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<p>1. For information about the Fair, see Mandell (1967) and the numerous international magazines and guides dedicated to this event: <italic>Le Figaro illustré, Le Monde illustré, Illustration</italic>, and <italic>The Parisian Dream World</italic> are a few such titles.</p>
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<p>2. Frederic Mayer, editor of the <italic>French Official Organ of the Exposition</italic> (Mayer, 1900: n.p.).</p>
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<p>3. This seeming throwback to the past was itself a technological marvel. The 6000-square-metre attraction was built on a specially constructed platform over the Seine (Robida, 1901a: 57; 1900b: 6-10). <italic>Le Vieux Paris</italic> took in 1,036,000 francs in receipts. The two top-grossing attractions were the Swiss Village and the Palais du Costume (Rearick, 1985: 139).</p>
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<p>4. See Campbell (1900), Tozier (1900) and Wailly (1900), among others.</p>
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<p>5. Nearly every publication about the Exposition contains a picture of the city seen from the Seine; both Thomas Edison and the Lumière brothers filmed it from boats. For more about the vogue for the Middle Ages, see Emery and Morowitz (2003).</p>
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<p>6. See the detailed descriptions of each <italic>quartier</italic> in Robida (1900b).</p>
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<p>7. For a list of these shops and the products they sold, see Robida (1900b).</p>
</list-item>
<list-item>
<p>8. Sixty thousand people are said to have attended these ‘spiritual concerts’, which were organized by composer Charles Bordes, who also gave organ recitals. See Demuth (1974: 14-15). For more details about the programmes, see 1900 issues of <italic>La Tribune</italic>, the Schola Cantorum’s official journal.</p>
</list-item>
<list-item>
<p>9. The Arsenal branch of the Bibliothèque nationale contains a number of souvenir programmes for these events in Ms RT12713. They are interspersed with material from <italic>Paris en 1400: La Cour des miracles</italic>, a competing display. For more about this exhibit, see Emery and Morowitz (2003: 171-208).</p>
</list-item>
<list-item>
<p>10. A list of such diversions appears on the back of Robida’s guide (1900b) and in advertisements related to the attraction. See also <italic>Revue artistique</italic> (1899: 40). Many of these activities were photographed in guidebooks to the exhibit.</p>
</list-item>
<list-item>
<p>11. Caption under photo of <italic>Old Paris, Paris Exposition Reproduced</italic> (1901).</p>
</list-item>
<list-item>
<p>12. As Robida pointed out, his was the first functional city (1901b: 65).</p>
</list-item>
<list-item>
<p>13. Robida described his building practices in every article about the display, as did contemporaries such as G. Moynet: ‘the construction in no way resembles the hasty work of machinists and set decorators. These houses are solid and resistant; moreover, they will be inhabited from top to bottom and subject to intense traffic’ (1900: 298). Robida’s son discusses the chapel donation, though he cannot remember the name of the parish (Robida, 1966: 9).</p>
</list-item>
<list-item>
<p>14. Tozier (1900: 292). Robida’s son says that he worked on the exhibit for at least two years and probably much longer (1966: 8). For a list of the employees of Les Monuments historiques who participated, see Robida (1900b: xiii-xvi). Sources cited in the guide to <italic>Le Vieux Paris</italic> include Guillot’s thirteenth-century <italic>Le dit des rues de Paris</italic>, the Bourgeois de Paris and Maurice de Sully. Robida also made liberal use of nineteenth-century sources.</p>
</list-item>
<list-item>
<p>15. Robida involved his entire family in making sculptures, sewing banners and illustrating manuscripts (Robida, 1966: 10-11). For details about the shops and items displayed, see Robida (1900b: v-vi, xiii-xvi, 191-5).</p>
</list-item>
<list-item>
<p>16. Robida may also have trained Old-French-speaking guides, as G. de Wailly’s fictional description of his tour leader, Guillemette, ‘haulte dame de Lutèce’ suggests (1900: 17-18).</p>
</list-item>
<list-item>
<p>17. President Loubet and the Société des gens de lettres enjoyed a special sneak preview on 7 April 1900, while the Société des amis des monuments parisiens received guided tours from Robida, including one on 21 June 1899 (Robida, 1966: 11). For a description of this visit and another by engineers and journalists, see <italic>L’Ami des monuments et des arts</italic> (1900: 211-18, 292-308). This article clearly reveals Robida’s debt to Charles Normand and the Société.</p>
</list-item>
<list-item>
<p>18. The Société des amis d’Albert Robida, begun in 1997, has been working valiantly to sponsor exhibits and colloquia to make him better known. The December 2002 issue of <italic>Le Téléphonoscope</italic>, a yearly publication, was devoted to <italic>Le Vieux Paris</italic>.</p>
</list-item>
<list-item>
<p>19. For a complete list of his works, see Brun’s 177-page bibliography. Titles he authored include <italic>Les Voyages très extraordinaires de Saturnin Farandoul, Le Trésor de Carcassonne</italic> and <italic>Le Roi des jongleurs</italic>.</p>
</list-item>
<list-item>
<p>20. Robida became a member of this society in 1886 and published articles and illustrations in the society’s tri-monthly publication, <italic>L’Ami des monuments</italic>. Its membership form carried one of his illustrations (Brun, 1984: 24).</p>
</list-item>
<list-item>
<p>21. Much of the conservation movement developed in the years following Haussmann’s reforms, as broad swathes of ‘Old Paris’ vanished for ever. For a discussion of the debates leading up to the 1887 law and its mutation into the 1913 version that constitutes current French conservation law see Grosjean (1910), Dussaule (1974), Réau (1994).</p>
</list-item>
<list-item>
<p>22. For descriptions of such battles see Grosjean (1910) and Morice (1914: especially 108-9). A variety of associations and commissions sprang up to defend ‘Le Vieux Paris’: the Musée Carnavalet (museum of the history of Paris), which opened in 1880, La Société d’histoire et d’archéologie ‘le vieux Montmartre’, which began in 1886, Les Amis de Paris and Les Amis du vieux Montmartre. Such associations often published periodicals dedicated to their work.</p>
</list-item>
<list-item>
<p>23. This is not an exhaustive list. See Brun (1984) for a complete inventory.</p>
</list-item>
<list-item>
<p>24. Despite the many celebratory images he created of future life in his books, they too provide cautionary tales about unthinking progress. See, for example, his horrifying scenes of the aerial bombing of cities in <italic>La Guerre au vingtième siècle</italic>; they eerily foreshadow those of World War II.</p>
</list-item>
<list-item>
<p>25. Later examples of Robida’s active lobbying to stop the destruction of historical monuments include a scathing article about vandalism for <italic>La Revue encyclopédique</italic> (Robida, 1897) and an advertisement, in a supplement to the same publication (Robida, 1895b), calling on contemporaries to prevent the ‘mutilation’ of the Invalides Esplanade by the construction of a train station.</p>
</list-item>
<list-item>
<p>26. Both Mérimée and Vitet served as Inspecteur général des monuments français in the early part of the nineteenth century. For a summary of early efforts in France to foster appreciation of old architecture, see Choay (1999: 93-114).</p>
</list-item>
<list-item>
<p>27. On school reform, see Ozouf (1982).</p>
</list-item>
<list-item>
<p>28. In his introduction to <italic>Les Lieux de mémoire</italic>, Pierre Nora defines a site or realm of memory as people, places, things or events that have been ‘consecrated’ as part of the national heritage.</p>
</list-item>
<list-item>
<p>29. <italic>Les Annales politiques et littéraires</italic> was founded by Jules and Adolphe Brisson in 1883 and served a largely bourgeois audience.</p>
</list-item>
<list-item>
<p>30. The Musée Carnavalet, dedicated to the history of Paris, had opened in 1880, the Musée de sculpture comparée in 1884, and the new wing of the Louvre in 1893.</p>
</list-item>
<list-item>
<p>31. William W. Clark, ‘The Gothic Cathedral Transformed in French Photography, 1850-60’, paper presented at the College Art Association Conference, Philadelphia, February 2002.</p>
</list-item>
<list-item>
<p>32. <italic>L’esprit gaulois</italic> was all the rage in Parisian taverns. For more about this concept, see Emery and Morowitz (2003: 171-208).</p>
</list-item>
<list-item>
<p>33. An article for <italic>Le Monde moderne</italic> drives home this point. Its author calls out to historical figures of the past, reminding them that this is ‘Your Old Paris … we are giving [it] back to you and, for the months of the Fair, resuscitating it for the amazement [esbaudissement] of your grand-nephews’ (<italic>Le Monde moderne</italic>, 1900: 63).</p>
</list-item>
<list-item>
<p>34. Françoise Choay has identified these two values as those predominant in nineteenth-century French conservation (1999: 103).</p>
</list-item>
<list-item>
<p>35. Monument comes from <italic>monere</italic> or ‘reminder’.</p>
</list-item>
<list-item>
<p>36. For the intersection between scholars, nationalism and new claims on the past, see Amalvi (1988) and the numerous entries in Nora’s <italic>Les Lieux de mémoire</italic>. Such constructions create a common sense of identity, as Anne Thiesse has proposed: ‘An assumption and an invention give birth to the nation. But it lives only from collective adherence to this fiction’ (1999: 11-12).</p>
</list-item>
<list-item>
<p>37. Proust (1971:146-7). For more about Proust’s role as a conservationist, see Emery (2001). Proust’s article was published in <italic>Le Figaro</italic> on 16 August 1904. Pierre Clarac’s notes to the Pléiade edition of <italic>Contre Sainte-Beuve</italic> describe its impact (Proust, 1971: 770-2).</p>
</list-item>
<list-item>
<p>38. Barrès’ <italic>La Grande Pitié des églises de France</italic> (1913) and Rodin’s <italic>Les Cathédrales de France</italic> (1914) would provide a valuable defence of religious architecture as critical parts of French identity. See Grosjean (1910) and Emery (2001).</p>
</list-item>
<list-item>
<p>39. Emery and Morowitz (2003) discuss the use of marketing to bring the public’s attention to works of the past.</p>
</list-item>
<list-item>
<p>40. See Jean-Claude Viche (2002: 9-11).</p>
</list-item>
</list>
</p>
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<italic>Le Monde moderne</italic> (1900) ‘Le Vieux Paris’, January-June: 63.</citation>
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<name name-style="western"><surname>Morice, Charles</surname></name> (<year>1914</year>) <article-title>‘Introduction’</article-title>, in Auguste Rodin, <source>Les Cathédrales de France</source>. <publisher-loc>Paris</publisher-loc>: <publisher-name>Librairie Armand Colin</publisher-name> .</citation>
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<citation citation-type="other" xlink:type="simple">Moynet, G. (1900) ‘La Construction du Vieux-Paris’, in <italic>L’Encyclopédie du siècle</italic> (2 vols), vol. II, pp. 298-9. Paris: Montgrédien et Cie.</citation>
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</ref-list></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Protecting the past</title><subTitle>Albert Robida and the Vieux Paris exhibit at the 1900 World’s Fair</subTitle></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Protecting the past</title><subTitle>Albert Robida and the Vieux Paris exhibit at the 1900 World’s Fair</subTitle></titleInfo><name type="personal"><namePart type="given">Elizabeth</namePart><namePart type="family">Emery</namePart><affiliation>Montclair State University,</affiliation><affiliation>E-mail: emerye@montclair.edu</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Sage Publications</publisher><place><placeTerm type="text">Sage CA: Thousand Oaks, CA</placeTerm></place><dateIssued encoding="w3cdtf">2005-03</dateIssued><copyrightDate encoding="w3cdtf">2005</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract lang="en">The 1900 Paris World’s Fair prided itself on the modernity of its exhibits. Paradoxically, however, one of its most successful attractions proved to be Le Vieux Paris, a picturesque model city built along the Seine to ‘bring Old Paris back to life’. Designer Albert Robida chose not only to create a picturesque and entertaining model of life in old France, but to construct the exhibit as a locus of cultural memory. In it he glorified French accomplishments, while attempting to redress his contemporaries’ neglect of their shared architectural and literary heritage. Using the popular exhibit as a device for celebrating national achievement, he inspired widespread appreciation of French heritage, thereby invigorating a nascent conservation moment.</abstract><subject><genre>keywords</genre><topic>conservation</topic><topic>Exposition universelle</topic><topic>living museum</topic><topic>nationalism</topic><topic>Old Paris</topic></subject><relatedItem type="host"><titleInfo><title>Journal of European Studies</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0047-2441</identifier><identifier type="eISSN">1740-2379</identifier><identifier type="PublisherID">JES</identifier><identifier type="PublisherID-hwp">spjes</identifier><part><date>2005</date><detail type="title"><title>Cultural Memory in France: Margins and Centres, part 1</title></detail><detail type="volume"><caption>vol.</caption><number>35</number></detail><detail type="issue"><caption>no.</caption><number>1</number></detail><extent unit="pages"><start>065</start><end>085</end></extent></part></relatedItem><identifier type="istex">B1CBC711001082DAD52C0CDDA60EDD5B3CD62D46</identifier><identifier type="ark">ark:/67375/M70-B7BDP2QF-X</identifier><identifier type="DOI">10.1177/0047244105051155</identifier><identifier type="ArticleID">10.1177_0047244105051155</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/M70-B7BDP2QF-X/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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