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Posts Tagged ‘19th century France’

André-Adolphe-Eugène Disdéri (1819 -1899)

André-Adolphe-Eugène Disdéri (1819 -1899)

Photographic portraiture in the mid 19th century was a slow and expensive process until a clever man invented the carte de visite format. The inventor, André-Adolphe-Eugène Disdéri, juxtaposed multiple shots on the same negative, forming a mosaic comparable to that of the photo booth camera. The process, patented in 1854, reduced the cost of production of each photograph and made this kind of portraiture more popular. The visit card took its final shape when each image was pasted on a slightly larger rigid cardboard bearing the name and address of the photographer.

A plate with eight portraits of Princess Lizaveta Trubetzkaya with different fashion accessories, 1858

A plate with eight portraits of Princess Lizaveta Trubetzkaya posing with different fashion accessories, 1858

At first, the portrait card was limited to the narrow circle of the aristocracy and the business in the studio was slow. Then, in 1858, the emperor Napoleon III dropped in on his way to a military campaign in Italy. His portrait was immediately sold by the hundreds throughout Paris. The celebrities, who instantly understood the value of the process, wanted in turn to see their image immortalized in the form of a portrait-card and displayed behind the windows of the souvenir shops on the main boulevards. Political leaders, men of letters, stars of the theater and opera, clowns and acrobats, dancers and women of the demimonde, all joined in. The phenomenon, far from being confined to the capital, quickly won major provincial cities. It spread throughout France, Europe, and later the United States. The images of Queen Victoria, President Lincoln, or Sarah Bernhardt were sold by hundreds of thousands. Following the lead, the bourgeois, too, got on board. Smaller studios opened their doors to produce family portraits.

The emperor became a loyal customer along with his son, wife, and numerous mistresses

The emperor became a  loyal customer along with his son, wife, and numerous mistresses

Queen Victoria, too, sat for several portraits

Queen Victoria, too, posed for several portraits

So did Cora Pearl, the most rapacious of all leading courtesans

So did Cora Pearl, one of the most rapacious of all leading courtesans

Monsieur Léotard with his trapeze, checking his plimsole, c.1865

Performers considered the visit card an essential self-promoting tool. Here is Monsieur Léotard with his trapeze c.1865

The evolution of photography brought social changes. The living room now contained a heavy album with portraits of family members, to which were added others containing collections of now immediately identifiable celebrities, of art, curiosities, and faraway places.  Hidden in secret drawers were new gentlemen’s treasures: the first pornographic photographs.

Was it Disdéri;s assistant or the Master himself who spent considerable time creating this photomontage of ballerina's legs?

Was it Disdéri’s assistant or the Master himself who spent considerable time creating this photo montage of ballerinas’ legs? It was, no doubt, a bestseller. A woman’s ankle was rarely seen, let alone a knee!

 

Emilie Ellis showing almost all. As you have noticed on the previous photos, fashionable ballerina's legs were eather on the heavy side. Thin wasn't in

Emilie Ellis showing almost all. Fashionable legs were rather on the heavy side. Thin wasn’t in

Disdéri’s carte de visite offered a direct view of society, of its rulers, artists, and other personalities of the Second Empire. It helped to forge new connections between people and enriched the social and cultural knowledge.

To visit a 19th century photography studio, click on the image below. It will take you to the Camera Museum.

Related posts:

Mark Twain on Napoleon III

Cocottes and Cocodettes: Two faces of the same morality

maquette

 

 

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Apaches at Work

Encounter of the Apaches with the police on the Place de la Bastille

 

Tourist traps were not invented yesterday. The Parisians have got the hang of it very early on. One of the tourist attractions in the past was the glimpse of the redoubtable Apaches, the vicious gangs that terrorized Paris. (More about them in The Gangs of Paris.) Like other tourists, the American author and humorist Irvin S. Cobb followed this fashion of playing with the fire. We first came in contact with his caustic humor in Jacques Takes a Bath where he questions the local hygiene. In the following text, Cobb explores the Paris underground hoping for an adrenaline high in mingling with the Apaches:

Knowing from experience that every other American who lands in Paris will crave to observe the Apache while the Apache is in the act of Apaching round, the canny Parisians have provided a line of up-to-date Apache dens within easy walking distance of Montmartre; and hither the guides lead the round-eyed tourist and there introduce him to well-drilled, carefully made-up Apaches and Apachesses engaged in their customary sports and pastimes for as long as he is willing to pay out money for the privilege.

Being forewarned of this I naturally desired to see the genuine article. I took steps to achieve that end. Suitably chaperoned by a trio of transplanted Americans who knew a good bit about the Paris underworld I rode over miles of bumpy cobblestones until, about four o’clock in the morning, our taxicab turned into a dim back street opening off one of the big public markets and drew up in front of a grimy establishment rejoicing in the happy and well-chosen name of the Cave of the Innocents.

Alighting we passed through a small boozing ken, where a frowzy woman presided over a bar, serving drinks to smocked marketmen, and at the rear descended a steep flight of stone steps. At the foot of the stairs we came on two gendarmes who sat side by side on a wooden bench, having apparently nothing else to do except to caress their goatees and finger their swords. Whether the gendarmes were stationed here to keep the Apaches from preying on the marketmen or the marketmen preying on the Apaches I know not; but having subsequently purchased some fresh fruit in that selfsame market I should say now that if anybody about the premises needed police protection it was the Apaches. My money would be on the marketmen every time.

Beyond the couchant gendarmes we traversed a low, winding passage cut out of stone and so came at length to what seemingly had originally been a wine vault, hollowed out far down beneath the foundations of the building. The ceiling was so low that a tall man must stoop to avoid knocking his head off. The place was full of smells that crawled in a couple of hundred years before and had died without the benefit of clergy, and had remained there ever since. For its chief item of furniture the cavern had a wicked old piano, with its lid missing, so that its yellowed teeth showed in a perpetual snarl. I judged some of its important vital organs were missing too – after I heard it played. On the walls were inscribed such words as naughty little boys write on schoolhouse fences in this country, and more examples of this pleasing brand of literature were carved on the white oak benches and the rickety wooden stools. So much for the physical furbishing.

By rights—by all the hallowed rules and precedents of the American vaudeville stage!—the denizens of this cozy retreat in the bowels of the earth should have been wearing high-waisted baggy velvet trousers and drinking absinthe out of large flagons, and stabbing one another between the shoulder blades, and ever and anon, in the mystic mazes of dance, playing crack-the-whip with the necks and heels of their adoring lady friends; but such was not found to be the case. In all these essential and traditional regards the assembled Innocents were as poignantly disappointing as the costers of London had proved themselves.

According to all the printed information on the subject the London coster wears clothes covered up with pearl buttons and spends his time swapping ready repartee with his Donah or his Dinah. The costers I saw were barren of pearl buttons and silent of speech; and almost invariably they had left their Donahs at home. Similarly, these gentlemen habitués of the Cave of the Innocents wore few or no velvet pants, and guzzled none of the absinthe. Their favorite tipple appeared to be beer; and their female companions snuggled closely beside them.

apache 1

We stayed among them fully twenty minutes, but not a single person was stabbed while we were there. It must have been an off-night for stabbings. Still I judged them to have been genuine exhibits because here, for the first, last and only time in Paris, I found a shop where a stranger ready to spend a little money was not welcomed with vociferous enthusiasm. The paired-off cave-dwellers merely scowled on us as we scourged past them to a vacant bench in a far corner. […]

For the sake of the conventions I tried to feel apprehensive of grave peril. It was no use. I felt safe – not exactly comfortable, but perfectly safe. I could not even muster up a spasm of the spine when a member of our party leaned over and whispered in my ear that any one of these gentry roundabout us would cheerfully cut a man’s throat for twenty-five cents. I was surprised though at the moderation of the cost; this was the only cheap thing I had struck in Paris. It was cheaper even than the same job is supposed to be in the district round Chatham Square, on the East Side of New York, where the credulous stranger so frequently is told that he can have a plain murder done for five dollars – or a fancy murder with trimmings, for ten; rate card covering other jobs on application. In America, however, it has been my misfortune that I did not have the right amount handy; and here in Paris I was handicapped by my inability to make change correctly. By now I would not have trusted anyone in Paris to make change for me – not even an Apache. I was sorry for this, for at a quarter a head I should have been glad to engage a troupe of Apaches to kill me about two dollars’ worth of cabdrivers and waiters. For one of the waiters at our hotel I would have been willing to pay as much as fifty cents, provided they killed him very slowly. Because of the reasons named, however, I had to come away without making any deal, and I have always regretted it.

Related posts:

Jacques Takes a Bath

The Gags of Paris: Les Apaches

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100

A milestone like the hundredth post naturally calls for a pause, for a look back at what has been achieved. These days VP posts are read around the world, even in countries I never knew existed.  It was not so at the very beginning.  Buried deep in the archives are posts that few eyes have seen recently. Yet given the small readership at the time, they gathered exceptional attention either for their content, or for the quality of the writing. Victorian Paris, it should be known, is history written by the people who lived it. From time to time, I contribute by writing a post, but usually I limit myself to finding a catchy title. After all, the texts published here don’t need more than a short introduction. Even though they were written more than a hundred years ago, they are rich in content and very often full of sparkling wit. Let’s revisit three of them:

 

La Grisette

Homage to the grisette. Statue erected in 1830

 

 

Living Vertically: Parisian Housing in 1850 / Part 1

Parisian house, January 1st, 1843

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Paris Morgue in Emile Zola’s Words (warning – gruesome!)

The Morgue at Paris. The Last Scene of a Tragedy.

 

 

 

 

 

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1858 Italian gownThe previous post dealt with the duel – a very masculine endeavor of two men killing each other for the sake of honor. Unlike the male population, women did not carry swords or pistols to assert themselves. They used fashion to that end. The 1850’s  and 60’s was the era of expansion in every way including the fashion. Railways expanded around the world, an undersea cable was laid and the telegraph carried instant news across the Atlantic. Machines and bridges were built that required chains of links the size of a human body. International expositions united goods and people from every corner of the globe. Women in their ever-increasing skirts took more and more room at such gatherings. A dress made of 15 to 20 yards of fabric covered with an ample mantle in the winter made women look like moving pyramids. Fortunately, the sewing machine was invented just then to help with assembling the abundant material.

Although I published a few posts on the 19th century fashion, especially on the infamous 1850-60’s crinoline, none of them can compete with Mimi Matthews’ meticulous work The 1850s in Fashionable Gowns: A Visual Guide to the Decade. Mimi is working her way through the century post by post, each decade a careful assemblage of museum collections photos: a visual feast not to be missed. You’ll find some fashion atrocities like the Queen Victoria’s Great Exhibition gown with cancerous satin growths, but also things of stunning beauty, of rich materials and clever use of sewing skills. The winning entry is the orange Italian court gown. Do click on the photo to enlarge the gorgeous gold embroidery. You will be taken directly to the Metropolitan Museum fashion collection. But do come back to read Mimi Matthews’ remarkable post!

Related post:

The Hoop Crinoline: Dying for fashion

 

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cassagnac2

 

In the A Tramp Abroad, published in 1880, Mark Twain mocked the French practice of dueling:

“Much as the modern French duel is ridiculed by certain smart people, it is in reality one of the most dangerous institutions of our day. Since it is always fought in the open air, the combatants are nearly sure to catch cold. M. Paul de Cassagnac, the most inveterate of the French duelists, had suffered so often in this way that he is at last a confirmed invalid; and the best physician in Paris has expressed the opinion that if he goes on dueling for fifteen or twenty years more—unless he forms the habit of fighting in a comfortable room where damps and droughts cannot intrude—he will eventually endanger his life.”

Paul de Cassagnac, who fought twenty-two duels, will be mentioned again in this post and in the embedded video you will be able to see his son follow the family’s dueling tradition.

Whatever Mark Twain might have said with his customary sarcasm, the duel was no laughing matter. In the Middle Ages it was a legitimate procedure to settle a personal dispute. Yet as time went by, an excess of testosterone combined with personal pride made it the prime cause of death among young nobles, who felt obliged to fight for the slightest personal offence. At the rate of 500 deaths a year, France was in danger of losing all of her nobility to trivial disputes. Duels were outlawed by a royal edict. However, the social pressure remained strong and the image of a hero executing a mortal dance to avenge an insult had an irresistible pull. From public places, the duels merely moved to private enclosures or to forest clearings.

After the Revolution, all the royal edicts were abolished including those banning duels. All citizens were allowed to carry arms which led to the democratization of duel: now men of all classes could kill each other just as stupidly as the nobles had done for centuries. Fortunately, most of the duels fought by now ended with the first appearance of blood and a mere scratch was often good enough to satisfy the offended honor. Even so, 200 deaths in duels were registered between 1826 and 1834.

cassagnac3Although in the 19th century a duel kill could be punished as a murder, the authorities were generally indulgent if the result was a mere injury. For instance, in 1868, Paul de Cassagnac was condemned by the Sixth Chamber of the Criminal Court of the Seine to six days in jail and 200 francs fine after his victorious duel with his cousin Prosper-Olivier Lissagaray. The four witnesses were sentenced to 50 francs fine each. The victim was left off to lick his wounds. (Lissagaray was put to bed for a month. Barely recovered, he sent his witnesses to Cassagnac to continue the duel. Cassagnac replied: “No, sir. I left you on the ground riddled like a sieve. I could consent to be your opponent, it disgusts me to become your butcher.”)

Now we have heard enough about Paul de Cassagnac to be curious. Who was this duelist extraordinaire? A French Casanova?  Most would think that duels were fought mainly over a lady’s honor, especially in France, but that would be an error. Journalists and politicians were called out more often than wife’s lovers. De Cassagnac, both a journalist and a deputy at the National Assembly, made numerous enemies with his radical views. His son, Paul de Cassagnac Jr., inherited both his father’s dangerous occupations and his fiery temperament. You can see him fighting in the following video clip (second duel).

 

By the beginning of the 20th century, the duel was the thing of the past in all countries except in France, where it was still going strong until the killing fields of WWI took away the lives of an entire generation. There were a few duels afterwards, all duly caught on film, but one would believe that even the French would be entirely done with dueling after the horrors of WWII. Right?

The last duel in Paris (Ribière left, Deferre in the center)

The last duel in Paris (Ribière left, Deferre in the center)

Wrong! The last duel in Paris was fought  April 21st 1967. Again, the point of contention was not an affair of the heart fought over by two young bucks. The participants were two staid politicians in the French hotbed of disagreement: the National Assembly. Deferre, the mayor of Marseille was constantly interrupted in his speech by the deputy of Val d’Oise, René Ribière. “Mais taissez-vous donc, abruti!” (Shut up, asshole!), shouted Deferre. Refusing to apologize for the insult, he was challenged to a duel. President Charles de Gaulle sent emissaries to cancel the duel, but without success. The participants avoided the police and organized a secret encounter on a private property. The duel lasted four minutes and the referee put an end to it after the second scratch.  Just as well because Ribière, the loser, was getting married the next day. And so, after all the politics, we can finally mention l’amour.

Related post:

Events in the Street: Female duel with sand-filled socks

 

 

 

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The Café-Concert at “The Ambassadeurs”

The Café-Concert at “Les Ambassadeurs”

Jean Béraud 1848 - 1935

Jean Béraud 1848 – 1935

Jean Béraud was born in Saint-Petersburg, Russia, where his father worked as a sculptor.  In 1853, after Jean Béraud Senior died, his wife Eugénie took Jean and his three siblings back to France. Jean studied at the Lycée Bonaparte then became a pupil of Léon Bonnat at the School of Fine Arts in Paris. He started at the Salon of 1872 and in 1876 he enjoyed success with his painting After the Funeral.

He became one of the leading painters of Parisian life. From the sweeping views of the boulevards to the intimate twosome at a bistro table, Béraud knows his Parisians. He paints with acuity and often with humor the scenes of daily life in every social setting.

After the Funeral

After the Funeral

A Windy Day at the Pont-des-Arts

A Windy Day at the Pont-des-Arts

Children with a Toy Seller on the Quai du Louvre

Children with a Toy Seller on the Quai du Louvre

Boulevard Poisonière in the Rain

Boulevard Poissonière in the Rain

An Argument in the Corridors of the Opera

An Argument in the Corridors of the Opera

La Marseillaise

La Marseillaise

First Communion

First Communion

The Boulevard

The Boulevard

The Garden of Paris

The Garden of Paris

In a Café

In a Café

Related post:

Paris Boulevards

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Jean-Georges Béraud: Street Scene

Jean Béraud: Street Scene

“One of the characteristics of the people of Paris, for which they are known the world over, is their politeness,” wrote David W. Bartlett, an American author, who visited Paris during the Second Empire (1852-1870). Reading this, the immediate reaction of today’s visitors would be an utter disbelief since Parisians are known world-wide for their unpleasant behavior. The only consolation for the foreigner is that they don’t treat each other any better. During my last visit, my Parisian friend was called “une conne” (and a few more choice words) because of a tiny parking mistake she had made. The aggressor was a middle-class, middle-aged man. Things are looking up though. Well-aware of their bad reputation, Parisians are trying to soften their manners. In my experience (compared to ten, twenty years ago) there is a noticeable improvement.

David W. Bartlett

David W. Bartlett

Yet if we are to believe Mr. Bartlett, present-day Parisians come nowhere close to their ancestors’ civility. “I noticed this politeness in all circles and in all places,” he writes, and goes on: “In England John Bull stares at your dress if it differs from his own, and hunts you to the wall. Or if anything in your speech or manners pleases him, he laughs in your face. But in Paris, the Frenchman never is guilty of so ill-bred an action as to laugh at anybody in his presence, however provoking the occasion. If you are lost and inquire the way, he will run half a mile to show you, and will not even hear of thanks. The only time that I ever experienced anything but politeness in Paris, was when in a great hurry I chanced to hit a workman with a basket upon his head. The concussion was so great that the basket was dashed to the pavement. He turned round very slowly, and with a grin upon his countenance said, “Thank you, sir!” This was politeness with a little too much sarcasm. It was spoken so finely that I burst into a laugh, and the Frenchman joined me in it.”

Lucky Mr. Bartlett!

Related posts:

Mending Their Manners

Events in the Street: Female duel with sand-filled socks

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