The Arcades Project - Operi
The Arcades Project - Operi The Arcades Project - Operi
How the interior defended itself against gaslight: "Almost all new houses have gas today; it bums in the inner courtyards and on the stairs, though it does not yet have free admission to the apartments. It has been allowed into the antecham ber and sometimes even into the dining room, but it is not welcome in the drawing room. Why not? It fades the wallpaper. That is the only reason I have run across, and it carries no weight at all;' Du Camp, Paris, vol. 5, p. 309. [!l,S] Hessel speaks of the "dreamy epoch of bad taste;' Ye s, this epoch was wholly adapted to the dream, was fumished in dreams. 'The altemation in styles Gothic, Persian, Renaissance, and so on-signified: that over the interior of the middle-class dining room spreads a banquet room of Cesare Borgia's, or that out of the boudoir of the mistress a Gothic chapel arises, or that the master's study, in its iridescence, is transformed into the chamber of a Persian prince. The photo montage that fixes such images for us corresponds to the most primitive percep tual tendency of these generations. Only gradually have the images anlong which they lived detached themselves and settled on sigos, labels, posters, as the figures of advertising. [11,6] A series of lithographs from 18 showed women reclining voluptuously on ottomans in a draperied, crepuscular boudoir, and these prints bore inscriptions: On the Banks of the Tagus, On the Banks 'if the Neva, On the Banks of the Seine, and so forth. The Guadalquivir, the Rhone, the Rhine, the Aar, the Tamis-all had their tum. That a national costume might have distinguished these female figures one from another may be safely doubted. It was up to the legende, the caption inscribed beneath them, to conjure a fantasy landscape over the represented interiors. [11,7] To render the image of those salons where the gaze was enveloped in billowing curtains and swollen cushions, where, before the eyes of the guests, full-length mirrors disclosed church doors and settees were gondolas upon which gaslight from a vitreous globe shone down like the moon. [11,8] ·'We have witnessed the unprecedented-murriages hetween styles that one would have believed eternally incompatihle: hats of the First Empire or the Restorat.ion worn with Louis XV jackets, Directory-style gowns paired with high-heeled ankle hoots-and, still better, low-waisted coats worn over high-waisted dresses." John Grand-Carteret, Les Ewgances de la toilette (Paris), p. xvi. [Ila,!] Names of different t.ypes of traveling car from the early years of the railroad: berlin (closed and open), diligence, furnished coach, unfurnished coach. 0 Iron Construction D [Ila,2] '"This year, too, spring arrived earlier and more heaut.iful than ever, so that, to tell t.he truth, we could not rightly rememher the existence of winter in these parts, nor ..
.. whether the fireplace was there for any purpose other than supporting on its mantel the timepieces and candelabra that are known to ornament every room here; for the true Parisian would rather eat one course less per day than forgo his "mantelpiece arrangement. , Lebende Bilder au.s dem modernen Pa,ris, 4 vols. (Cologne, 1863-1866), vol. 2, p. 369 ("Ein kaisel'liches Familienhilcl"). [l1a,3] TIrreshold magic. At the entrance to the skating rink, to the pub, to the tennis court, to resort locations : penates. The hen that lays the golden praline-eggs, the machine that stamps our names on nameplates, slot machines, fortunetelling devices, and above all weighing devices (the Delphic gMthi seauton' of our day)these guard the threshold. Oddly, such machines don't flourish in the city, but rather are a component of excursion sites, of beer gardens in the suburbs. And when, in search of a little greenery, one heads for these places on a Sunday afternoon, one is turning as well to the mysterious thresholds. Of course, this same magic prevails more covertly in the interior of the bourgeois dwelling. Chairs beside an entrance, photographs flanking a doorway, are fallen household deities, and the violence they must appease grips our hearts even today at each ringing of the doorbell. Tr y, though, to withstand the violence. Alone in an apartment, try not to bend to the insistent ringing. You will find it as difficult as an exorcism. Like all magic substance, this too is once again reduced at some point to sex-in pornography. Around 1830, Paris amused itself with obscene lithos that featured sliding doors and windows. These were the Images dites it portes et itfineires, by Numa Bassajet. [l1a,4] Concerning the dreamy and, if possible, oriental interior: "'Everyone here dreams of instant fortune; everyone aims to have, at one stroke, what in peaceful and industrious times would cost a lifetime of effort. The creations of the poets are full of sudden metamorphoses in domestic existence; they all rave about marquises and princesses, about the prodigies of the Thou.sand and One Nights. It is an opium trance that has overspread the whole population, and industry is more to blame for this than poetry. Industry was responsible for the swindle in the Stoek Exehange, the exploitation of all things made to serve artificial needs, and the . .. dividends." Gutzkow, Briefe au.s Paris , vol. 1, p. 93. (Ila,S] While art seeks ont the intimate view, . . . industry marches to the fore.' Octave Mirbeau, in Le Figaro (1889). (See Encyclopedie rl'architectu.re [1889] p. 92.) [l1a,6] On the exhibition of 1867. "These high galleries, kilometers in length, were of an nndeniable grandeur. The noise of machinery filled them. And it should not be forgotten that, when this exhibition held its famous galas, guests still drove up to the festivities in a coach-and-eight. As was usual with rooms at this period, attempts were made-through furniture-like installations-to prettify these twentyfive-meter-high galleries and to relieve the austerity of their design. One stood in fear of one's own magnitude." Sigfried Giedion, Bauen in Frankreich , p. 43. [lla,7]
- Page 178 and 179: like the tops of Boucher s gates."
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- Page 188 and 189: course, in the end, the law accordi
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- Page 252 and 253: "Madame Bovary, in what is most for
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- Page 260 and 261: heaven;' Baudelaire, OeuvreJ, vo!'
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How the interior defended itself against gaslight: "Almost all new houses have<br />
gas today; it bums in the inner courtyards and on the stairs, though it does not<br />
yet have free admission to the apartments. It has been allowed into the antecham<br />
ber and sometimes even into the dining room, but it is not welcome in the<br />
drawing room. Why not? It fades the wallpaper. That is the only reason I have<br />
run across, and it carries no weight at all;' Du Camp, Paris, vol. 5, p. 309.<br />
[!l,S]<br />
Hessel speaks of the "dreamy epoch of bad taste;' Ye s, this epoch was wholly<br />
adapted to the dream, was fumished in dreams. '<strong>The</strong> altemation in styles<br />
Gothic, Persian, Renaissance, and so on-signified: that over the interior of the<br />
middle-class dining room spreads a banquet room of Cesare Borgia's, or that out<br />
of the boudoir of the mistress a Gothic chapel arises, or that the master's study, in<br />
its iridescence, is transformed into the chamber of a Persian prince. <strong>The</strong> photo<br />
montage that fixes such images for us corresponds to the most primitive percep<br />
tual tendency of these generations. Only gradually have the images anlong<br />
which they lived detached themselves and settled on sigos, labels, posters, as the<br />
figures of advertising. [11,6]<br />
A series of lithographs from 18 showed women reclining voluptuously on<br />
ottomans in a draperied, crepuscular boudoir, and these prints bore inscriptions:<br />
On the Banks of the Tagus, On the Banks 'if the Neva, On the Banks of the Seine, and<br />
so forth. <strong>The</strong> Guadalquivir, the Rhone, the Rhine, the Aar, the Tamis-all had<br />
their tum. That a national costume might have distinguished these female figures<br />
one from another may be safely doubted. It was up to the legende, the caption<br />
inscribed beneath them, to conjure a fantasy landscape over the represented<br />
interiors. [11,7]<br />
To render the image of those salons where the gaze was enveloped in billowing<br />
curtains and swollen cushions, where, before the eyes of the guests, full-length<br />
mirrors disclosed church doors and settees were gondolas upon which gaslight<br />
from a vitreous globe shone down like the moon. [11,8]<br />
·'We have witnessed the unprecedented-murriages hetween styles that one would<br />
have believed eternally incompatihle: hats of the First Empire or the Restorat.ion<br />
worn with Louis XV jackets, Directory-style gowns paired with high-heeled ankle<br />
hoots-and, still better, low-waisted coats worn over high-waisted dresses." John<br />
Grand-Carteret, Les Ewgances de la toilette (Paris), p. xvi. [Ila,!]<br />
Names of different t.ypes of traveling car from the early years of the railroad:<br />
berlin (closed and open), diligence, furnished coach, unfurnished coach. 0 Iron<br />
Construction D [Ila,2]<br />
'"This year, too, spring arrived earlier and more heaut.iful than ever, so that, to tell<br />
t.he truth, we could not rightly rememher the existence of winter in these parts, nor<br />
..