The Arcades Project - Operi

different parts of the world. But the decisive invention remains the diorama of Da
guerre and Bouton, which was opened in 1822 on the Rue Sanson, near the Boulevard
Saint-Martin, and then installed on the Boulevard de Bonne-Nouvelle. The
pictures were painted on cloth transparencies, which by 1831 were being used with
various lighting effects. TIle installation bUTIled down in 1839, together with the
laboratory where Daguerre and Niepce conducted their first experiments in photography.
[J.L.]
2. See Honore de Balzac, Pere Coriot) trans. Henry Reed (New York: New American
Library, 1962), pp. 53-56 (end of Part One).
3. Andre Breton, Nadja, trans. Richard Howard (New York: Grove Press, 1960), p. 148.
4. The georarna was a large hollow globe or spherical chamber that was lined with a
cloth depicting the geography of the earth's surface, to be viewed by a spectator from
inside.
5. Marcel Proust, Ranembrance rfThings Past, vol. 1, trans. C. K. Scott Moncrieff (New
York: Random House, 1925), p. 709 (Within a Budding Grove).
6. Cha,.]es Dickens, The Old Curiosity Sho1' (London: Heron Books, 1970), p. 267 (ch.
27).
7. Presumably, the picturesque and mechanized theater constructed by M. PielTe on the
Carrefour Gaillon. [J.L.]
8. G. K. Chesterton, Charles Dickens (1906; rpt. New York: Schocken, 1965), pp. 117-
118.
9, Siegfried Kracauer, Orpheus in Paris: Offi nbach and tIle Pans q / His Time, trans,
Gwenda David and Eric Mosbacher (New York: Knopf, 1938), p. 42.
10. Word coined in 1789 by patentee Robert Barker (1739-1806), Scottish portrait
painter and reputed inventor of panoramas. The patent mentioned in the passage
following dates from 1800. (Horeal was the eighth month in the Revolutionary
calendar established in 1793.)
11. Charles Baudelaire, The Mirror q/ Art, trans. Jonathan Mayne (London: Phaidon,
1955), p. 284.
R [Mirrors]
1, "So weiss man weder ein noch aus vor zweifelhafter Helle," The idiom nicht aus noch
ein wissen ('not know which way to turn") is here taken literally ("know neither out'
nor lin''').
2. Louis Aragon, Paris Peasant, trans. Simon Watson Taylor (197l; rpt. Boston: Exact
Change, 1994), p. 14.
3. See note to Mla,3. l'Ambiguity," in the present passage, translates Zweideutigkeit
(zwei-deutig: capable of two interpretations). ;IThe whispering of gazes" is English for
Blickwisj)ern. Compare CO ,3, in "The Arcades of Paris.)'
4. 11leodor W. Adorno, Kierkegaard: Construction rf the Aestlletic) trans. Robert Hullot­
Kentor (Mlimeapolis: University of Milmesota Press, 1989), pp. 41-42. "nie
K.ierkegaard citation is from vol. 1 of Either/Ol trans. David F. Swenson and Lillian
M. Swenson, rev. Howard A.Johnson (1944; rpt. New York: Anchor, 1959), pp. 349-
350.
S [Painting, Juge"dstil, Novelty]
1. Goethe) Faust, trans. Walter Kaufmann (New York: Anchor, 1963), p, 36 (lines
6838-6839).