This now, is his entire work, such as he dreamed it, such as he made it, good or bad, durable or fragile, but such as he wishes it.

These recovered chapters will possess no doubt, but little value in the eyes of persons, otherwise very judicious, who have sought in "Notre-Dame-de-Paris" only the drama, the romance. But there are perchance, other readers, who have not found it useless to study the aesthetic and philosophic thought concealed in this book, and who have taken pleasure, while reading "Notre-Dame-de-Paris," in unravelling beneath the romance something else than the romance, and in following (may we be pardoned these rather ambitious expressions), the system of the historian and the aim of the artist through the creation of the poet.

For such people especially, the chapters added to this edition will complete "Notre-Dame-de-Paris," if we admit that "Notre-Dame-de-Paris"

was worth the trouble of completing.

In one of these chapters on the present decadence of architecture, and on the death (in his mind almost inevitable) of that king of arts, the author expresses and develops an opinion unfortunately well rooted in him, and well thought out. But he feels it necessary to say here that he earnestly desires that the future may, some day, put him in the wrong.

He knows that art in all its forms has everything to hope from the new generations whose genius, still in the germ, can be heard gushing forth in our studios. The grain is in the furrow, the harvest will certainly be fine. He merely fears, and the reason may be seen in the second volume of this edition, that the sap may have been withdrawn from that ancient soil of architecture which has been for so many centuries the best field for art.

Nevertheless, there are to-day in the artistic youth so much life, power, and, so to speak, predestination, that in our schools of architecture in particular, at the present time, the professors, who are detestable, produce, not only unconsciously but even in spite of themselves, excellent pupils; quite the reverse of that potter mentioned by Horace, who dreamed amphorae and produced pots. _Currit rota, urcens exit_.

But, in any case, whatever may be the future of architecture, in whatever manner our young architects may one day solve the question of their art, let us, while waiting for new monument, preserve the ancient monuments. Let us, if possible, inspire the nation with a love for national architecture. That, the author declares, is one of the princ.i.p.al aims of this book; it is one of the princ.i.p.al aims of his life.

"Notre-Dame-de-Paris" has, perhaps opened some true perspectives on the art of the Middle Ages, on that marvellous art which up to the present time has been unknown to some, and, what is worse, misknown by others.

But the author is far from regarding as accomplished, the task which he has voluntarily imposed on himself. He has already pleaded on more than one occasion, the cause of our ancient architecture, he has already loudly denounced many profanations, many demolitions, many impieties. He will not grow weary. He has promised himself to recur frequently to this subject. He will return to it. He will be as indefatigable in defending our historical edifices as our iconoclasts of the schools and academies are eager in attacking them; for it is a grievous thing to see into what hands the architecture of the Middle Ages has fallen, and in what a manner the botchers of plaster of the present day treat the ruin of this grand art, it is even a shame for us intelligent men who see them at work and content ourselves with hooting them. And we are not speaking here merely of what goes on in the provinces, but of what is done in Paris at our very doors, beneath our windows, in the great city, in the lettered city, in the city of the press, of word, of thought. We cannot resist the impulse to point out, in concluding this note, some of the acts of vandalism which are every day planned, debated, begun, continued, and successfully completed under the eyes of the artistic public of Paris, face to face with criticism, which is disconcerted by so much audacity. An archbishop's palace has just been demolished, an edifice in poor taste, no great harm is done; but in a block with the archiepiscopal palace a bishop's palace has been demolished, a rare fragment of the fourteenth century, which the demolishing architect could not distinguish from the rest. He has torn up the wheat with the tares; 'tis all the same. They are talking of razing the admirable chapel of Vincennes, in order to make, with its stones, some fortification, which Daumesnil did not need, however. While the Palais Bourbon, that wretched edifice, is being repaired at great expense, gusts of wind and equinoctial storms are allowed to destroy the magnificent painted windows of the Sainte-Chapelle. For the last few days there has been a scaffolding on the tower of Saint Jacques de la Boucherie; and one of these mornings the pick will be laid to it. A mason has been found to build a little white house between the venerable towers of the Palais de-Justice. Another has been found willing to prune away Saint-Germain-des-Pres, the feudal abbey with three bell towers.

Another will be found, no doubt, capable of pulling down Saint-Germain l'Auxerrois. All these masons claim to be architects, are paid by the prefecture or from the petty budget, and wear green coats. All the harm which false taste can inflict on good taste, they accomplish. While we write, deplorable spectacle! one of them holds possession of the Tuileries, one of them is giving Philibert Delorme a scar across the middle of his face; and it is not, a.s.suredly, one of the least of the scandals of our time to see with what effrontery the heavy architecture of this gentleman is being flattened over one of the most delicate facades of the Renaissance!

PARIS, October 20, 1832.