The Hunchback of Notre-Dame

by Victor Hugo

  When at length, after close study of the University, the spectator turned towards the right bank of the river, towards the Town, the character of the view changed abruptly. The Town, in fact, though much larger than the University, was less of a unity. At the first glance it seemed to be divided into several strangely distinct masses. First, to the east, in that part of the town which still retains the name of the Marais, derived from the marsh in which Camulo genes mired Caesar, there were a number of palaces. The buildings extended to the water's edge. Four mansions, so close together as to be almost connected,--the homes of the Jouy, Sens, Barbeau families, and the queen's residence,--mirrored their slated roofs, broken by slender turrets, in the Seine. These four buildings occupied the region between the Rue des Nonaindieres and the Celestine Abbey, whose spire formed a graceful contrast to their line of battlements and gables. Certain moss-grown structures, overhanging the water in front of these sumptuous mansions, did not hide the fine outlines of their facades, their broad square windows with stone casements, their porches with pointed arches overloaded with statues, the sharp clear-cut edges of their walls, and all those dainty architectural accidents which make Gothic art seem as if it began a fresh series of combinations with every new building. Behind these palaces, stretched on every hand, here broken, palisaded, and crenelated like a citadel, here concealed amid tall trees like a monastery, the vast and varied wall around that marvelous Hotel Saint-Pol, where the king had sufficient space to lodge luxuriously twenty-two princes of the rank of the Dauphin and the Duke of Burgundy, with their servants and suites, to say nothing of great lords, and the Emperor himself when he visited Paris, and the lions, which had a separate residence in the royal establishment. Let us say here that the apartment of a prince at this period comprised no less than eleven rooms, from the audience chamber to the oratory, not to mention the galleries, baths, stove-rooms, and other "superfluous places" with which each apartment was provided; not to mention the private gardens for each guest of the king; not to mention the kitchens, cellars, offices, and general refectories of the house; the servants' quarters, where there were twenty-two offices, from the bakehouse to the wine-cellars; the games of various sorts, mall, tennis, riding at the ring, etc.; aviaries, fish-ponds, poultry-yards, stables, cow-houses, libraries, arsenals, and foundries. Such was a royal palace of that period, a Louvre, a Hotel Saint-Pol, --a city within a city.

  From the tower where in fancy we stand, the Hotel Saint-Pol, almost half concealed by the four great mansions just mentioned, was yet very vast and very wonderful to behold. Although skilfully joined to the main building by long glazed and columned galleries, the three residences which Charles V had added to his palace were readily to be distinguished: the Hotel du Petit-Muce, with the openwork balustrade so gracefully bordering its roof; the house of the Abbot of St. Maur, having the aspect of a stronghold, a great tower, bastions, loopholes, iron cowls, and over the wide Saxon gateway, the abbot's escutcheon between the two grooves for the drawbridge; the residence of the Count d'Etampes, whose donjon-keep, in ruins at the top, was round and notched like a cock's comb; here and there three or four low bushy old oak-trees grew close together, looking like huge cauliflowers; swans sported in the clear waters of the fish-ponds, rippled with light and shade; numerous courtyards afforded picturesque glimpses; the Hotel des Lions, with its low pointed arches resting upon short Saxon pillars, its iron portcullises and its never-ending roar; rising above all this, the scaly spire of the Ave-Maria; to the left, the house of the provost of Paris, flanked by four delicately designed turrets; in the center, in the background, the Hotel Saint-Pol itself, properly so called, with its multiplicity of facades, its successive embellishments from Charles V's day down, the hybrid excrescences with which the caprice of architects had loaded it during the lapse of two centuries, with all the chancels of its chapels, all the gables of its galleries, its endless weathercocks, and its two tall adjacent towers, whose conical roofs, bordered with battlements at their base, looked like cocked hats.

  Still climbing the various stages of this amphitheater of palaces rising in the distance, after crossing a deep ravine cut through the house-roofs of the Town, which marked the passage of the Rue Saint-Antoine, the eye fell upon the D'Angouleme mansion, a vast structure built at different periods, and containing very new and shining portions, which harmonized with the general effect no better than a red patch with a blue doublet. Still, the oddly steep, high roof of the modern palace, bristling with carved gutters, covered with sheets of lead over which rolled sparkling incrustations of gilded copper in a thousand fanciful arabesques,--the curiously damascened roof soared airily and gracefully aloft in the midst of the dark ruins of the ancient edifice, whose antique towers, bulging like casks, from old age, were bowed down by the weight of years and sinking from top to bottom. Behind them rose the forest of spires of the Palace of the Tournelles. No view in the world, not even from Chambord or the Alhambra, could be more magical, more airy, more enchanting than this wilderness of spires, steeples, chimneys, vanes, winding staircases, wrought lanterns which looked as if struck out with a die, pavilions and spindle-shaped turrets, or tournelles, all varying in form, height, and position. It might well be compared to a gigantic stone chess-board.

  That group of enormous inky-black towers, one melting into the other, and as it were bound together by a circular moat; that donjon-keep more thickly pierced with loopholes than with windows; that drawbridge forever raised and that portcullis forever down, to the right of the Tournelles, is the Bastille. Those black muzzles peering from the battlements, and which from this distance might pass for gutter-spouts, are cannon.

  Within gunshot, below the terrible edifice, is the Porte Saint-Antoine, quite hidden between its two towers.

  Beyond the Tournelles, as far as the wall of Charles V, stretched an expanse of beds of shrubs and flowers, and velvety lawns, the royal parks, amidst which the Daedalus garden, given by Louis XI to Coictier, was easily to be distinguished by its labyrinth of trees and winding walks. The doctor's laboratory rose from the maze like a great solitary column with a tiny house for capital. In this small dwelling dread predictions of astrology were concocted.

  The Place Royale now stands upon this spot.

  As we have just observed, the region of the Palace--some idea of which we have striven to give the reader, although alluding to its principal features only--filled up the angle formed on the east by the Seine and the boundary wall of Charles V. The heart of the Town was occupied by a group of common houses. There the three bridges leading from the City discharged themselves upon the right bank; and bridges lead to the building of houses rather than of palaces. This collection of ordinary houses, crowded together like cells in a hive, was not without a beauty of its own. The roofs of a great city have a certain grandeur, like the waves of the sea. In the first place, the streets, crossed and intertangled, formed a hundred droll figures; around the markets, they looked like a myriad-rayed star. The Rues Saint-Denis and Saint-Martin, with their endless ramifications, climbed the hill side by side, like two great trees with intermingling branches; and then crooked lines, like the Rues de la Platrerie, de la Verrerie, de la Tixeranderie, etc., twisted and wound in and out among the whole. There were also fine structures piercing through the fixed swell of this sea of gables. At the end of the Pont-aux-Changeurs, behind which the Seine foamed beneath the wheels of the Pont-aux-Meuniers, there was the Chatelet, no longer a Roman tower, as in the days of Julian the Apostate, but a feudal tower of the thirteenth century, and constructed of a stone so hard that three hours' work with the pick would not remove a piece the size of a man's fist; there was the superb square bell-tower of Saint-Jacques de la Boucherie, all its angles softened by sculptures, even then worthy of admiration, although it was not finished in the fifteenth century. (It lacked particularly those four monsters which even yet, perched on the corners of its roof, look like four sphinxes giving modern Paris the riddle of the ancient Paris to solve. Rault the sculptor put t
hem up in 1526, and he was paid only twenty francs for his pains!) There was the Maison-aux-Piliers, opening on the Place de Greve, of which we have already given the reader some idea; there was Saint-Gervais, which a porch "in good taste" has since spoiled; Saint-Mery, whose old pointed arches were a close approach to the semicircular; Saint-Jean, whose magnificent spire had passed into a proverb; there were at least twenty other edifices, which did not disdain to bury their marvels in this wilderness of deep, dark, and narrow streets. Add to this the carved stone crosses, even more abundant at cross-roads than gibbets; the Cemetery of the Innocents, whose wall, a fine specimen of architecture, was visible from a distance, over the house-tops; the pillory of les Halles, the top of which peeped between two chimneys in the Rue de la Cossonnerie; the "ladder" of the Croix-du-Trahoir at the cross-roads, always black with people; the circular booths of the Corn-market; the remains of the ancient wall of Philip Augustus, visible here and there, lost among the houses, towers overgrown with ivy, ruined gates, crumbling, shapeless fragments of masonry; the quay with its countless shops and its bloody knackers' yards; the Seine, covered with boats, from the Port au Foin to For-l'Eveque,--and you will have a dim idea of what the central portion of the town was in 1482.

  Together with these two quarters,--the one of princely mansions, the other of ordinary houses,--the third element in the view of the Town was a long belt of abbeys bordering almost its entire circumference from east to west, and forming a second inner circle of convents and chapels in addition to the circle of fortifications enclosing Paris. Thus, close beside the Tournelles Park, between the Rue Saint-Antoine and the old Rue du Temple, there was Sainte-Catherine with its immense grounds, bounded only by the city walls. Between the old and the new Rue du Temple there was the Temple,--a gloomy group of towers, tall, straight, lonely in the midst of a vast battlemented enclosure. Between the Rue Neuve du Temple and the Rue Saint-Martin there was the Abbey of Saint-Martin, in its gardens, a superb fortified church, whose engirdling towers, whose coronet of spires, only yielded in strength and splendor to those of Saint-Germain-des-Pres. Between the Rues Saint-Martin and Saint-Denis were the precincts of the Convent of the Trinity. Lastly, between the Rue Saint-Denis and the Rue Montorgueil was the Convent of the Daughters of God. Close by might be seen the rotting roofs and unpaved district of the Court of Miracles. This was the only profane link in this pious chain of convents.

  Lastly, the fourth division clearly outlined in the conglomeration of house-tops on the right bank of the river, and occupying the western angle formed by the boundary wall and the shore down stream, was still another cluster of palaces, and elegant residences, nestling in the shadow of the Louvre. The old Louvre of Philip Augustus, that overgrown structure around whose great tower were grouped twenty-three towers almost as large, to say nothing of smaller turrets, seemed from a distance to be framed in the Gothic summits of the Hotel d'Alencon and of the Petit-Bourbon. This hydra of towers, the giant guardian of Paris, with its twenty-four heads always reared aloft, with its monstrous cruppers covered with lead or scaly with slates, all dimpling and rippling with metallic reflections, made a surprising finish to the outline of the Town on the west.

  An immense mass, therefore,--what the Romans called an insula,--of plain, homely houses, flanked on either hand by blocks of palaces, crowned, the one by the Louvre, the other by the Tournelles, bounded on the north by a long line of abbeys and cultivated fields, blending and mingling together as one gazed at them; above these countless buildings, whose tiled and slated roofs stood out in such strange outlines one against the other, the crimped, twisted, ornamented steeples the forty-four churches of the right bank of the river; myriads of crooked streets, bounded on one side by a line of high walls with square towers (that of the University had round towers), on the other by the Seine intersected by bridges, and bearing along a wilderness of boats,--such was the Town in the fifteenth century.

  Outside the walls, some few suburbs crowded to the gates; but there were not so many houses, nor were they so close together, as in the University quarter. There were, behind the Bastille, some twenty huts, built close around the Cross of Faubin with its curious carvings, and the Abbey of Saint-Antoine des Champs with its buttresses; then came Popincourt, hidden in wheat-fields; then Courtille, a jolly village of taverns; the borough of Saint-Laurent, with its church, whose steeple at a distance seemed to be a part of the pointed towers of the Porte Saint-Martin; the Faubourg Saint-Denis, with the vast enclosure of Saint-Ladre; outside the Porte Montmartre, Grange-Bateliere, surrounded by white walls; behind it, with its chalky slopes, Montmartre, which then held almost as many churches as windmills, and which has kept only the mills,--for society now prefers material to spiritual bread. Lastly, beyond the Louvre the Faubourg Saint-Honore, even then of considerable extent, stretched away into the fields, and Little Britain looked green in the distance, and the Pig-market was plainly visible, in the midst of it the horrible caldron for boiling alive coiners of counterfeit money. Between Courtille and Saint-Laurent the eye noted, on the summit of a height situated in the midst of bare plains, a sort of structure looking from a distance like a ruined colonnade standing upon bare foundations. It was neither a Parthenon nor a temple to Olympian Jove; it was Montfaucon. ay

  Now, if the list of so many buildings, brief as we have tried to make it, has not destroyed, as fast as we constructed it, in the reader's mind the general outlines of old Paris, we will sum up our description in a few words. In the center, the island of the City, shaped like a huge turtle, and protruding its bridges, scaly with tiles, like feet, from under its grey shell of roofs. To the left, the close, compact, crowded, monolithic trapezium of the University; to the right, the vast semicircle of the Town, where houses and gardens were much more mingled,--the three districts, City, University, and Town, veined with countless streets. In and out, through the whole, ran the Seine,--"the nourishing Seine," as Father du Breuil calls it,--obstructed with islands, bridges, and boats; all around an immense plain, green with a thousand different crops, and sprinkled with lovely villages: to the left, Issy, Vanvres, Vaugirard, Mon trouge, Gentilly with its round tower and its square tower, etc.; to the right, a score of others, from Conflans to Ville-l'Eveque; on the horizon, a line of hills arranged in a circle like the rim of the basin. Finally, in the distance, to the eastward, Vincennes and its seven quadrangular towers; to the south, Bicetre, and its pointed turrets; to the north, Saint-Denis and its spire; to the west, Saint-Cloud and its donjon. Such was Paris as seen from the top of the towers of Notre-Dame by the ravens who lived in 1482.

  And yet it was of this city that Voltaire said that "before the time of Louis XIV it possessed but four handsome public buildings": the dome of the Sorbonne, the Val-de-Grace, the modern Louvre, and the fourth I have forgotten,--possibly the Luxembourg. Fortunately, Voltaire wrote "Candide" all the same, and is still, in spite of this criticism, of all men who have succeeded one another in the long series of humanity, the one who was most perfect master of sardonic laughter. This proves, moreover, that one may be a great genius and yet understand nothing of other people's art. Did not Moliere think he honored Raphael and Michael Angelo when he called them "those Mignards of their age"?az

  Let us return to Paris and the fifteenth century.

  It was not only a beautiful city; it was a uniform, consistent city, an architectural and historic product of the Middle Ages, a chronicle in stone. It was a city formed of two strata only,--the bastard Roman and the Gothic; for the pure Roman stratum had long since disappeared, except in the Baths of Julian, where it still broke through the thick crust of the Middle Ages. As for the Celtic stratum, no specimen was to be found even in the digging of wells.

  Fifty years later, when the Renaissance added to this severe and yet varied unity the dazzling luxury of its fantasy and its systems, its riotous wealth of Roman semicircular arches, Greek columns, and Gothic foundations, its tender and ideal sculpture, its peculiar taste for arabesques and acanthus-leaves, its archi
tectural paganism, contemporary with Luther, Paris was perhaps still more beautiful, although less harmonious to the eye and intellect. But this splendid moment was of brief duration, the Renaissance was not impartial; not content with building up, it desired to pull down: true, it needed space. Thus Gothic Paris was complete for an instant only. Saint-Jacques de la Boucherie was scarcely finished when the destruction of the old Louvre began.