The Hunchback of Notre Dame (26 page)

Whether he be known as Brahmin, Magian, or Pope, we are always conscious of the priest, nothing but the priest, in Hindu, Egyptian, or Roman structures. It is not so with the architecture of the people; their work is richer and less saintly. In the Phœnician school we are conscious of the tradesman; in the Grecian, of the republican; in the Gothic, of the burgess.

The general characteristics of all theocratic architecture are immutability, a horror of progress, a retention of traditional lines, a consecration of primitive types, a constant tendency of all human and natural forms towards the incomprehensible caprices of symbolism. These are obscure books, which only the initiated can decipher. Moreover, in them every form, every deformity even, has a meaning which makes it inviolable. Do not ask the Hindu, Egyptian, or Roman edifices to change their design or correct their statues. All perfection is to them impious. In these pieces of architecture the rigor of the dogma seems to overlie the stone like a second petrifaction. The general characteristics of popular edifices, on the contrary, should be variety, progress, originality, opulence, perpetual motion. They are sufficiently removed from religion to think of their beauty, to care for it, continually to alter and improve their adornment of statues or arabesques. They belong to this age. They have a human quality which they perpetually mingle with the divine symbolism under whose inspiration they are still produced. Hence edifices pervious to every soul, every intellect, and every imagination, still symbolical, but as easy to understand as Nature herself. Between theocratic architecture and this there is the difference that there is between a sacred language and a profane one, between hieroglyphics and art, between Solomon and Phidias.

If we sum up what we have thus far very hastily shown, omitting countless minor evidences and objections, we are led to these conclusions, —that architecture was, up to the fifteenth century, the chief register of humanity; that during this space of time no idea of any elaboration appeared in the world without being built into masonry; that every popular idea as well as every religious law has had its monument in fact, that the human race has never had an important thought which it has not written in stone. And why? It is because every thought, whether religious or philosophic, is interested in its own perpetuation; because an idea which has stirred one generation desires to stir others, and to leave its trace. Now, what a precarious immortality is that of the manuscript! How far more solid, lasting, and enduring a book is a building! A torch and a Turk are enough to destroy the written words; it takes a social or a terrestrial revolution to destroy the constructed word. The barbarians passed over the Coliseum, the Deluge perhaps over the Pyramids.

In the fifteenth century everything changed.

Human thought discovered a means of perpetuation, not only more durable and more resisting than architecture, but also simpler and easier. Architecture was dethroned. To the stone letters of Orpheus succeeded the leaden letters of Gutenberg.

“The book will destroy the building.”

The invention of printing was the greatest event in history. It was the primal revolution. It was the renewed and renovated form of expression of humanity; it is human thought laying off one form and assuming another; it is the entire and final changing of the skin of that symbolic serpent which ever since Adam has represented intellect.

Under the form of printing, thought is more imperishable than ever; it is volatile, intangible, indestructible. It is mingled with the air. In the day of architecture it became a mountain, and took armed possession of a century and a place. Now it becomes a flock of birds, is scattered to the four winds, and occupies at once all points of the horizon and all space.

We repeat it; who does not see that in this way it is far more indelible than before? From being solid, it has become perennial. It has passed from duration to immortality. A great body may be demolished, but how can ubiquity be rooted out? Had a flood come, the mountain would have disappeared beneath the waves long before the birds ceased to fly above it; and if but a single ark should float on the surface of the cataclysm, they would rest upon it, survive with it, watch with it the going down of the waters; and the new world which rose from that chaos would, on awakening, behold hovering aloft, winged and living, the thought of the world which had been swallowed up.

And when we see that this mode of expression is not only the most preservative, but also the simplest, most convenient, and most practicable of all; when we consider that it entails no great amount of luggage, and requires no cumbrous apparatus; when we compare a thought obliged, in order to translate itself into an edifice, to set in motion four or five other arts, tons of gold, a whole mountain of stone, a whole forest of timber, a whole nation of workmen,—when we compare this with the thought which is made into a book, and which needs nothing but a little paper, a little ink, and a pen, why should we wonder that the human intellect gave up architecture for printing? Cross the original bed of a stream by a canal dug below its level, the stream will forsake its bed.

So, too, see how from the time of the discovery of printing, architecture gradually decayed, withered, and dried away. How plainly we can see the water sinking, the sap drying up, the thought of the time and of the people withdrawing from it! The sense of chill is almost imperceptible in the fifteenth century; the press was still too weak, and could only draw off somewhat of the superabundant life of mighty architecture. But with the dawn of the sixteenth century the disease of architecture becomes apparent; it has ceased to be the essential expression of society; in distress, it becomes classic art; from being Gallican, European, indigenous, it becomes Greek and Roman; from being real and modern, it becomes pseudo-antique. It is this decline which is known as the Renaissance, or revival. And yet it is a magnificent decline; for the old Gothic genius, that sun which is setting behind the gigantic press of Mayence, for some time longer pierces with its last rays all this hybrid heap of Latin arcades and Corinthian columns.

It is this setting sun which we take for the light of dawn. And yet, from the moment that architecture becomes an art, like any other art, that it ceases to be the sum total of art, the supreme, the tyrant art, it loses the power to hold the other arts. They therefore gain their liberty, break the yoke of the architect, and go each its own way. Each of them gains by this divorce. Isolation enlarges everything. Carving becomes sculpture, picture-making becomes painting, the canon becomes music. It might be compared to an empire torn limb from limb at the death of its Alexander, whose provinces become kingdoms.

Hence Raphael, Michael Angelo, Jean Goujon, Palestrina,—those splendors of the dazzling sixteenth century.

At the same time with the arts, thought gained freedom in all directions. The heresiarchs of the Middle Ages had already made large inroads upon Catholicism. The sixteenth century destroyed religious unity. Before the invention of printing, the Reformation would have been but a schism; the invention of printing made it a revolution. Take away the press, and heresy is unnerved. Whether it be due to Providence or to fate, Gutenberg was the precursor of Luther.

But when the sun of the Middle Ages had wholly set, when Gothic genius had forever faded from the horizon of art, architecture grew daily dimmer, duller, and fainter. The printed book, that undying worm of the great edifice, sucked its life-blood and devoured it. It grew visibly thinner, barer, and poorer. It was commonplace, it was paltry, it was null. It ceased to express anything, even the memory of the art of former ages. Reduced to itself, abandoned by the other arts because human thought has abandoned it, it calls in journeymen for lack of artists; plain glass takes the place of painted windows; the stonecutter succeeds the sculptor. Farewell to all vigor, originality, life, and intellect. Architecture now crawled, like a pitiful beggar of the studios, from copy to copy. Michael Angelo, who had doubtless foreseen its death from the dawn of the sixteenth century, had a last inspiration,—the inspiration of despair. That Titan of art piled the Pantheon upon the Parthenon, and created St. Peter’s Church at Rome. It is a great work, which deserved to remain unique,—the last original creation of architecture, the signature of a colossal artist at the foot of the vast registry of stone which it closed. Michael Angelo dead, what did this wretched architecture do, which survived itself in a spectral, ghost-like state? It took St. Peter’s at Rome, copied it, and parodied it. It was mere mania. It was pitiable. Every century had its St. Peter’s; in the seventeenth century it was the Val-de-Grâce, in the eighteenth, Sainte-Geneviève. Every country had its St. Peter’s; London had its own; St. Petersburg had its own; Paris had two or three,—a worthless legacy, the last unmeaning drivel of a great art grown old and reduced to dotage before it died!

If in place of characteristic monuments, such as those to which we have just referred, we examine the general aspect of art from the sixteenth to the eighteenth centuries, we observe the same phenomena of decline and decay. From Francis II down, the architectural form of the edifice becomes less and less apparent, the geometric form growing more and more prominent, like the skeleton of an emaciated invalid. The beautiful lines of art give way to the cold and inexorable lines of geometry. A building ceases to be a building: it is a polyhedron. Architecture, however, struggles to disguise this nakedness. We have the Greek pediment put down upon the Roman pediment, and vice
versa.
We still have the Pantheon within the Parthenon; we still have St. Peter’s. We have the brick houses of the reign of Henry IV with brick corners, as in the Place Royale and Place Dauphine. We have the churches of the reign of Louis XIII, heavy, clumsy, surbased, short, and broad, loaded with a dome as with a hump. We have the Mazarin architecture, —the wretched Italian Pasticcio of the “Four Nations.” We have the palaces of the reign of Louis XIV,—long barracks built for courtiers, stiff, cold, and stupid. Lastly, we have the style of Louis XV, with its chiccory and vermicelli, and all the warts and fungi which disfigure that decrepit, toothless, coquettish old architecture. From the days of Francis II to those of Louis XIV the evil increased in geometrical ratio. Art was nothing but skin and bones. It was dying a wretched, lingering death.

But what was printing doing? All the life which architecture lost, flushed its veins. In proportion as architecture degenerated, printing throve and flourished. The capital of forces which human thought had expended in building, it henceforth expended in books. So from the dawn of the sixteenth century onward, the press, grown to the level of the declining architecture, wrestled with it and slew it. In the seventeenth century it was already sufficiently supreme, sufficiently triumphant, sufficiently sure of victory, to give the world the spectacle of a great literary age. In the eighteenth century, after a long interval of rest at the court of Louis XIV, it once more grasped the old sword of Luther, armed Voltaire with it, and hastened tumultuously forth to attack that ancient Europe whose architectural expression it had already destroyed. When the eighteenth century closed, it had uprooted everything. In the nineteenth, it will reconstruct.

Now, we ask which of the two arts has really represented human thought for three centuries past? Which translates it? Which expresses, not only its literary and scholastic fancies, but its vast, profound, universal movement? Which constantly superposes itself, without rupture or void, upon mankind, which moves apace, a thousand-footed monster,—Architecture, or Printing?

Printing. Let no one be deceived: architecture is dead, irrevocably dead; killed by the printed book; killed because it was less enduring; killed because it was more costly. Every cathedral represents a thousand million francs. Think, then, of the sum required to rewrite the architectural book; to make thousands of structures once more cover the earth as thick as ant-hills; to bring back the days when the number of monumental works was such that, in the words of an eye-witness, “You would have thought that the world had shaken off her old garments, to clothe herself in a white array of churches,”
“Erat enim ut si mundus, ipse excutiendo semet, rejecta vetustate,
candidam
ecclesiarum
vestem
indueret.”—
GLABER RADULPHUS.

A book is so soon made, costs so little, and may go so far! Why should we be surprised that all human thought flows that way? We do not mean to say that architecture may not yet produce a fine specimen here and there, a single masterpiece. We may still, I suppose, have from time to time, under the reign of printing, a column made by an entire army, of molten cannon, as during the reign of architecture we had Iliads and Romanceros, Mahabharatas, and Nibelungen-Lieds made by a whole nation, out of collected and blended rhapsodies.

The great accident of an architect of genius may occur in the twentieth century, as that of Dante did in the thirteenth; but architecture will never again be the social art, the collective art, the dominant art. The great poem, the great edifice, the great work of humanity, will no longer be built; it will be printed.

And in the future, should architecture accidentally revive, it will never again be supreme. It must bow to the sway of literature, formerly subject to it. The respective positions of the two arts will be reversed. It is certain that the rare poems to be found during the architectural period are like monuments. In India, Vyâsa was as manifold, strange, and impenetrable as a pagoda. In Egypt, poetry had, like the buildings, a grandeur and quietness of outline; in ancient Greece, beauty, serenity, and calm; in Christian Europe, the Catholic majesty, popular simplicity, the rich and luxuriant vegetation of a period of renewal. The Bible is like the Pyramids, the Iliad like the Parthenon, Homer like Phidias. Dante in the thirteenth century is the last Roman church; Shakespeare in the sixteenth the last Gothic cathedral.

Thus, to sum up what we have so far said in a manner necessarily brief and imperfect, mankind has two books, two registers, two testaments: architecture and printing,—the Bible of stone and the Bible of paper. Undoubtedly, when we examine these two Bibles, so widely opened during the lapse of centuries, we may be permitted to regret the visible majesty of the granite writing, of those gigantic alphabets formed into colonnades, pylons, and obelisks, of those human mountains which covered the world of the past, from the pyramid to the belfry, from Cheops to Strasburg. We should reread the past upon those marble pages. We should admire and unceasingly re-turn the leaves of the book written by architecture; but we should not deny the grandeur of the structure reared by printing in its turn.