IF YOU’VE READ Victor Hugo’s novel Les Misérables you will have read Hugo’s fictional account of the June Rebellion or the Paris Uprising of 1832, the last outbreak of violence linked with the July Revolution of 1830.
Général Jean Maximilien Lamarque had been a French commander during the Napoleonic Wars and had served with distinction in many of Napoleon’s campaigns. But following the July Revolution of 1830 he had become a leading critic of the new constitutional monarchy of Louis Philippe. In Les Misérables, Victor Hugo views Lamarque as the government’s champion of the poor. He says that Lamarque was “loved by the people because he accepted the chances the future offered, loved by the mob because he served the emperor well”. Hugo portrays Lamarque as an emblem of French pride and honour.
In 1832, a cholera epidemic spread across France and Lamarque fell victim to it. He died on 1st June. Because of his status as a Republican and Napoleonic war hero, his death provided the spark that led the revolutionaries to take to their barricades.
On the 5th and 6th June 1832, Paris saw two bloody days of rioting with the Société des amis du peuple, la Société des droits de l’homme, students, craftsmen and labourers playing a principal part. But as early as the evening of 5th the Army and the National Guard had begun to suppress the uprising. By the following day fierce fighting centered on the last remaining pocket of resistance in the Rue du Cloitre-Saint-Merri beside the Église Saint-Merri, but this too was finally suppressed.
Over the two days of the uprising some 800 people were killed or wounded.
Rue du Cloitre-Saint-Merri
The rue du Cloitre-Saint-Merri dates from the 12th century. It was originally called Rue de la Porte Saint-Merri, because it was next to l’Arche Saint-Merri, a 10th century gate through the second wall to encircle Paris.
By the 14th century, the street had become one of many streets in Paris noted for its prostitutes; at least it was until the parish priests of Saint-Merri demanded, not altogether successfully, that they be expelled.
Today, rue du Cloitre-Saint-Merri runs for 132 metres from rue du Renard to rue Saint-Martin. For much of its length it runs alongside the northern side of the Église Saint-Merri.
At its junction with rue Saint-Martin, the rue du Cloitre-Saint-Merri ends with a small square noted for its ever-changing street art.
It was around this small square that some of the bloodiest fighting of the Paris uprising took place, and it was here that I chose to sit on a bench partly to reflect on the events of 1832 and partly to absorb the elaborate 16th century gothic architecture of the Église Saint-Merri standing next to me.
For someone wired up like me it’s impossible not to contemplate history without conjuring up images of the sounds associated with that history. What would this place have sounded like I wondered in June 1832, or when the Église Saint-Merri was in its Middle-Ages pomp, or even when rue du Cloitre-Saint-Merri was a 14th century rue aux ribaudes?
Unfortunately, from my Parisian green bench my imagined historical sounds were overwhelmed by the contemporary sounds around me – 16th century stonemasons replaced by 21st century Chinese building contractors.
Sounds around l’ Église Saint-Merri:
If you make it to the end of this sound piece you will discover that at least a flicker of the Parisian revolutionary spirit still survives: a lone voice of protest is heard as the whining of the weapon of mass construction reappears.
Although the Église Saint-Merri we see today dates from the mid-16th century, its roots go much further back.
Tradition has it that Medericus, abbot of the Abbey of Saint-Martin d’Autun, came to live as a hermit in a hut near the Saint-Pierre-des-Bois oratory which stood on the site of the present church. He is said to have died in August 700 and was buried there. He was later canonised and renamed Saint-Médéric.
In 884, Goslin, the bishop of Paris, had Médéric’s remains exhumed and laid to rest in the Saint-Pierre-des-Bois oratory, which now became the Saint-Médéric chapel. It was at this time that Saint-Médéric became the patron saint of the Right Bank.
Over time, the name Médéric was contracted to Merri, which is why the Église Saint-Merri and the rue du Cloitre-Saint-Merri are so named.
Today, the remains of Saint-Médéric still rest in the crypt of the church.
In the early 10th century, a new church, Saint-Pierre-Saint-Merri, was built at the instigation of Eudes Le Fauconnier. Styled as a ‘Royal Officer’, it is possible that this was the same Eudes Le Fauconnier who took part in the defence Paris during the Viking siege in 885-86.
During the rebuilding of the church in the sixteenth century, the skeleton of a warrior was discovered together with boots of gilded leather and the inscription:
“Hic jacet vir bonæ memoriæ Odo Falconarius fundator hujus ecclesiæ”.
Which, based upon my schoolboy Latin, means something like:
“Here lies Eudes Le Fauconnier, of fond memory, founder of this church”.
The present day Église Saint-Merri was built between 1515 and 1612. The crypt, the nave and the aisles date from 1515-1520, the transept crossing from 1526-1530 and the choir and the apse were completed in 1552.
Some restoration work was carried out in the 18th century; some of the broken arches were repaired, the floor was covered with marble and the stained-glass windows were partly replaced by white glass.
During the French Revolution the church was closed for worship and was used to make saltpetre, one of the constituents of gunpowder. From 1797 to 1801, Theophilanthropists made it a “Temple of Commerce”. Theophilanthropists were a deistic society established in Paris during the period of the Directory aiming to institute in place of Christianity, which had been officially abolished, a new religion affirming belief in the existence of God, in the immortality of the soul, and in virtue.
The church was returned to the Catholic worship in 1803.
Sounds inside the Église Saint-Merri:
The northern aspect of the Église Saint-Merri and the bell tower
Image par Mbzt — Travail personnel, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=13660170
The bell-tower was built with three floors in 1612 but, following a fire in 1871, it was reduced to two floors. This bell tower houses the oldest bell in Paris dating from 1331.
The Choir Organ
The Église Saint-Merri has two organs, a choir organ and a grand orgue de tribune.
The grand orgue de tribune
François de Heman built the tribune organ with its five turrets between 1647 and 1650 and the master carpenter Germain Pilon crafted the turret buffet in 1647.
The instrument was enlarged by François-Henri Clicquot in 1779, and then rebuilt from 1855 to 1857 by Aristide Cavaillé-Coll. Further work was carried out in 1947 by Victor Gonzalez.
Camille Saint-Saëns was the organist at the Église Saint-Merri from 1853 to1857.
My exploration of the sounds in and around the Église Saint-Merri took me from Medericus, a hermit living in a hut and subsequently canonised, to Eudes Le Fauconnier and the 9th century Viking siege of Paris, to the craftsmen of the 16th and 17th century, to the oldest bell in Paris, to a church used for making gunpowder and the bloody events of the Paris Uprising of 1832. And let’s not forget the medieval Parisian street with its ‘ladies of the night’ and the modern day Chinese builders.
Which goes to show that following contemporary sounds can lead in many different directions.
BECAUSE IT’S NEVER HAD a roof, the Passage Molière doesn’t qualify as one of the surviving Parisian passages couverts, the covered passageways built mainly in the first half of the nineteenth century. What the Passage Molière can claim though is that it predates all the one hundred and fifty original passages couverts.
Passage Molière from rue Quincampoix
The oldest Parisian passage couvert, the Passage des Panoramas, opened in 1799 whereas the Passage Molière dates back to 1791.
The Passage des Panoramas and the Passage Molière do have something in common though: both house a theatre. The Passage des Panoramas is one of the twenty surviving passages couverts and it is still home to the Théâtre des Variétés, while the Passage Molière is home to the Théâtre Molière from which the passage takes its name.
The Théâtre Molière was founded by the French actor, playwright, theatre director, businessman and revolutionary, Jean François Boursault-Malherbe. It opened on 18th June 1791 with a performance of Molière’s The Misanthrope, a satire about the hypocrisies of French aristocratic society and the flaws that all humans possess.
Unfortunately, the theatre was not a resounding success. It closed in August 1792 and then underwent several changes of management and several changes of name, although Boursault retained the ownership. The theatre became variously known as the Théâtre des Sans-culottes, Théâtre de la rue Saint-Martin, Théâtre des Artistes en société, Théâtre des Amis des arts et de l’Opéra-Comique and Théâtre des Variétés nationales et étrangères.
The theatre’s fortunes recovered a little at the turn of the century thanks to several notable actors being persuaded to perform there including Thomas Sheridan, but in 1807 it was closed again and became a hall for concerts, banquets and balls.
The theatre opened yet again in 1831 but in the revolutionary climate of 1848 it was occupied by the Club patriotique du 7e arrondissement for political meetings and thereafter was abandoned and fell into oblivion for more than a century.
Eventually, the City of Paris authorities stepped in and restored the theatre back to its original eighteenth century architecture. Today, the theatre forms part of the Maison de la Poésie – Scène littéraire in the Passage Molière.
Founded in 1983, La Maison de la Poésie was created for the creation and dissemination of, and events about, contemporary poetry.
Sounds in the Passage Molière:
Maison de la Poésie – Scène litteraire
The Passage Molière runs in an east – west direction from 157 rue Saint-Martin to 82 rue Quincampoix. At fifty metres long it cuts through blocks of buildings with each end covered where it passes under the buildings.
Like the Théâtre Molière, the passage has had several names. During the French Revolution it became the Passage des Sans-Culottes and then the Passage des Nourrices before reverting back to Passage Molière.
I recorded the sounds in the Passage Molière from outside the Maison de la Poésie and the restored Théâtre Molière with rue Saint-Martin to my left and rue Quincampoix to my right. The passage is a relatively quiet oasis amidst the more strident sounds of the surrounding neighbourhood so all I had to do was to give the sounds time to speak and tell their own story.
Walking through the Passage Molière, the attentive observer may notice that the building numbers do not follow the Parisian street numbering convention of even numbers on one side and odd numbers on the other with the lower numbers progressing to the higher numbers in the same direction.
In the Passage Molière, the numbers progress in an anti-clockwise direction. Starting on the right side of the passage at its eastern end, the numbers increase sequentially heading west and then from the western end, the numbers continue sequentially heading east.
Passage Molière from rue Saint-Martin
AS PART OF THE Greater Paris Project, the plan to create a sustainable and creative metropolis by absorbing the suburbs and redeveloping the city centre, RATP, the Paris mass transit authority, is gradually extending the Métro lines further out into the Parisian suburbs.
This development has prompted me to create a new strand in my Paris Soundscapes Archive, which I’ve called the ‘End of the Line’. The idea is that I will visit the end of each Métro line and collect sounds not only from within the last station on each line but also from the surrounding area outside each station.
Since most Paris Métro lines begin and end at the periphery of the city this will not only be a fascinating way to discover new places but also new sounds. In my experience, the sounds at the periphery of the city often differ markedly from those at the centre so my ‘End of the Line’ strand seems a good way to explore more of these peripheral sounds.
From time to time I will share some of these ‘End of the Line’ explorations on this blog beginning with: ‘End of the Line – Les Courtilles’
The Métro station Les Courtilles, or to give it it’s proper name, Asnières – Gennevilliers – Les Courtilles, is the terminus of the north-western branch of Métro Line 13, the longest line on the Paris Métro network. Situated under the Avenue de la Redoute on the border of the communes of Asnières-sur-Seine and Gennevilliers, the station was opened in 2008 upon completion of the extension of Line 13 from the previous terminus, Gabriel Péri.
In November 2012, Tramway T1 was extended to terminate at Les Courtilles. Between the Métro station and the Tramway, an impromptu African market appears each day together with its characteristic sounds.
As I said, the Métro station Les Courtilles is on the border of the communes of Asnières-sur-Seine and Gennevilliers, with Gennevilliers being to the north-east of the station. Looking out over Gennevilliers from the Métro station, the view is dominated by the tourist-free zone, Le Luth, a huge social housing complex.
Shortly after I arrived at Les Courtilles so did the rain so, although Le Luth is well within walking distance from the station, I took the tram and travelled one stop to the heart of the complex.
Designed by the architects Auzolle and Zavaroni and completed in 1978, Le Luth is typical of many major residential projects built between the 1950s and the 1970s.
An aerial view of Le Luth via Wikipedia
Le Luth was built both to replace existing sub-standard housing and to provide accommodation for an expanding population and when it was completed it was considered a success.
But with the deindustrialisation of the 1980s and 1990s, companies in the area like Chausson, Carbone Lorraine and General Motors began to shed workers and the area began to decline.
“General Motors France se prépare à supprimer 280 postes de travail d’ici à juillet en raison de l’arrêt de la fabrication d’un système de freinage dans son unité de Gennevilliers.
GM France emploie environ 2.000 personnes à Gennevilliers (sur 5.200 en France) réparties dans trois unités spécialisées dans les freins, les systèmes électriques et les pots catalytiques.
LES ECHOS | LE 05/03/1993
Since 2006, Gennevilliers and Le Luth have been undergoing redevelopment. Efforts have been made to attract new economic activity and public spaces are being re-imagined. Roads have been cut through the undulating housing blocks, old buildings are being renovated or in some cases replaced with smaller housing units, and the extensions to Métro Line 13 and Tram Line T1 are part of this process.
Sounds of Métro station Les Courtilles, the tramway and Le Luth:
The ‘End of the Line’ strand in my Paris Soundscapes Archive is designed to capture the atmosphere in and around the terminus stations on the Paris Métro.
I collected over three hours of sound in and around Les Courtilles Métro station and Le Luth housing complex all of which has been consigned to my archive. For this post though I have distilled those sounds down to a fifteen-minute sonic snapshot, which I hope you find still gives a sense of the atmosphere of these places on a wet Tuesday afternoon.
This sound piece begins with my arrival at Les Courtilles Métro station and the ride up the escalator out onto the street. Then come the African voices in the market outside the station and on the tram ride to Le Luth and finally some sounds I discovered around L’espace Aimé Césaire, the cultural and social centre at the heart of Le Luth.
And what about the name ‘Le Luth’, where does that come from?
One explanation might be that the name derives from the Celtic root, luto- or luteuo-, which means ‘marsh’ or ‘swamp’. After all, Julius Caesar named the predecessor of present-day Paris ‘Lutetia’.
A more simple explanation though might be that, when viewed from the air, the housing complex has a shape similar to the musical instrument, the lute: ‘Luth’ is the French word for ‘lute’.
For me, the most interesting thing about listening to and studying urban soundscapes is not simply listening to the sounds themselves, fascinating as they often are, but rather it is going to new places to find new sounds and then discovering and understanding the historical, social, cultural and political context that surrounds the sounds.
Exploring the ‘End of the Line’ at Asnières – Gennevilliers – Les Courtilles has taken me to a place that I would probably never have visited had I not been hunting for new sounds for my archive. And although I haven’t written about it in great depth here, I am richer for having explored the context in which those sounds occur.
IT WAS IN APRIL 2011 when I last visited the Jardin d’Agronomie Tropicale in the Bois de Vincennes at Nogent-sur-Marne on the eastern edge of Paris. Then, I went there several times to record sounds for the 2011 Paris Obscura Day event organised by Adam, curator of Invisible Paris.
Recently, I decided it was time to return to Nogent-sur-Marne and explore a little more.
Jardin d’Agronomie Tropicale
I am fascinated by industrial archaeology and particularly by the mid-nineteenth century iron and glass structures to be found in Paris – structures like la Grande Halle de la Villette or Henri Labrouste’s sumptuous reading room at the Bibliothèque Sainte-Geneviève.
Sadly, I was never able to see the eight Victor Baltard iron and glass pavilions at Les Halles, the traditional central market in Paris founded in 1183.
Les Halles, the former central market in Paris. Photograph: Sophie Boegly/Musée d’Orsay
Unable to compete in the new market economy and in need of massive repairs, the central market was relocated to Rungis, south of Paris, in 1971 and all but two of Baltard’s iron and glass pavilions were destroyed. The two that survived were dismantled and then re-erected, one in Yokohama, Japan and the other in Nogent-sur-Marne.
When I went back to Nogent-sur-Marne recently I sought out this surviving Baltard pavilion.
The Pavillon Baltard, Nogent-sur-Marne
This pavilion was used originally for selling eggs and poultry at the Les Halles market. Today it’s surround by iron gates – the original gates from Les Halles – and it’s used for a variety of events including concerts, exhibitions and corporate functions.
Unfortunately, I was not able to gain entry to the pavilion, which was a shame because as well seeing the pavilion itself I particularly wanted to see something housed inside.
As well as acquiring the Baltard pavilion, Nogent-sur-Marne also managed to acquire the four manual, sixteen rank, Christie cinema organ once housed in the massive 5,500 seat Gaumont Palace cinema in Paris. Built in 1931 by the English organ builders, Hill Norman and Beard, the organ now resides in the Baltard pavilion.
The art-deco Gaumont Palace cinema in Paris
This famous theatre organ will always be linked with the organist, Tommy Desserre, who played the instrument until the Gaumont Palace closed in 1972.
The Christie organ console in the Pavilion Baltard
Although I wasn’t able to go in and see the organ, I have found this 1988 recording of John Mann playing an Hommage to Edith Piaf on the organ in the Baltard pavilion so you can hear what it sounds like.
Having seen the Baltard pavilion, if only from the outside, I took myself off to a nearby bistro for lunch where I found this lady posing for me.
After lunch I decided to make a return visit to the Jardin d’Agronomie Tropicale at the eastern edge of the Bois de Vincennes. The last time I was here I spent four days recording sounds for Adam’s Paris Obscura Day event so I was anxious to see what sounds I might capture on this summer’s day.
I settled myself down beside the Indochinese temple and began to record the wildlife, the rustle of the bamboo trees and the ever-present man-made sounds around me.
Summer sounds in the Jardin d’Agronomie Tropicale:
The Jardin d’Agronomie Tropicale was created in 1899 as a ‘jardin d’essai colonial’, a research garden, with the aim of coordinating agricultural experiments that would lead to the introduction or reintroduction of exotic plants like coffee, bananas, rubber trees, cocoa and vanilla across the French colonies.
During the summer of 1907 the garden became the site of a Colonial exhibition organised by the French Colonisation Society.
The exhibition was designed not only to show off exotic plants, animals, and other products of the French empire but also to show off people from the colonies who lived in five different villages on the site recreating their ‘typical’ environments. There were villages for people representing the Congo, Indochina, Madagascar, Sudan, and New Caledonia as well as a camp for the Tuaregs from the Sahara.
This ‘human zoo’ proved to be very popular attracting around one and a half million visitors.
The Tuareg camp at the 1907 exhibition
At the end of the summer of 1907 the exhibition closed, the residents returned home and the exhibition site was left abandoned. During World War II, the site was used as a hospital for colonial troops and in the post-war years part of it housed the École d’agronomie tropicale and the Centre technique forestier tropical. The remnants of the Colonial villages though were left to decay.
In 2003, the city of Paris acquired the site and began a development programme and the garden was opened to the public in 2006.
Jardin d’Agronomie Tropicale – The Colonial Bridge
Even though I didn’t get to see the Christie cinema organ, I enjoyed my day in Nogent-sur-Marne. Seeing the Pavillon Baltard has been on my ‘to do’ list for a long time and sitting in the Jardin d’Agronomie Tropicale listening to its sounds was a delightful way to spend a summer afternoon.
Jardin d’Agronomie Tropicale – The Indochina War Memorial
OF ALL THE PARISIAN passages couverts that sprang up mainly in the first half of the nineteenth century, the Galerie Vivienne was perhaps the most fashionable.
The passages couverts, or covered passages, were an early form of shopping arcade concentrated either in the fashionable area around the Palais Royal, the Boulevard des Italiens and the Boulevard Montmartre, or around the less fashionable rue Saint-Denis.
Of the one hundred and fifty original passages couverts, only twenty now remain and I’ve been to all of them to record and archive their contemporary soundscapes for my Paris Soundscapes Archive.
The Galerie Vivienne was built in 1823 by the Président de la chamber des Notaires, maître Marchoux. Marchoux lived at N°6 rue Vivienne and he built the Galerie Vivienne around his house and three adjoining properties he acquired, including the former stables of the duc d’Orléans, and a terraced house and garden overlooking the rue des Petits-Champs.
The French architect, and winner of the prix de Rome in 1778, François-Jean Delannoy was commissioned to design and build the passage. His design successfully turned an irregular ‘L’ shaped, slightly inclined passage into a remarkably attractive shopping arcade while integrating the existing buildings.
Galerie Vivienne in the 1820s
The Galerie Vivienne was opened for business in 1826. It boasted seventy boutiques including a tailor, a boot-maker, a wine merchant, a restaurant, a haberdashery, a confectioner, an engravings dealer, a hosier and a glassblower. The gallery also hosted the Cosorama, where one could view scenes of distant lands and exotic subjects through optical devices that magnified the pictures and the Unanorama, where you could observe the stars.
The Empire style decoration inside the galerie combines arches, pilasters and cornices. The high glass ceilings are embellished with friezes representing the symbols of success (crowns of laurels, sheaves of corn and palms), of wealth (horns of plenty) and commerce (the caduceus of Mercury).
The Italian mosaic artist, Giandomenico Facchina, created the mosaic floor.
Sounds inside the Galerie Vivienne:
These are the contemporary sounds inside the Galerie Vivienne, recorded a few days ago. But we do have a record of the impression the nineteenth century sounds of the galerie made on one person: the composer, Hector Berlioz.
In 1830, a few days after the July Revolution, Berlioz went out into the streets of Paris and was mixed up with a crowd filling the Galerie Vivienne and the neighbouring Galerie Colbert. He writes in his Memoirs:
“It must be imagined that the gallery which terminated at the Rue Vivienne was full, that the one into the Rue Neuve des Petits-Champs was full, that the middle rotunda was full, that these four or five thousand voices were piled up in a sound-room closed to the right and left (…) at the top by stained-glass windows, at the bottom by resounding slabs (…), and one may imagine the effect of this fiery refrain (…) I fell to the ground, and our little company, terrified at the explosion, was struck with absolute silence, like the birds after a thunderclap.”
With the coming of the retail revolution in the mid-nineteenth century, the new department stores springing up across the city signaled the demise of all of the Parisian passage couverts.
When Hermance Marchoux, daughter of maître Marchoux, died in 1870 the Galerie Vivienne was bequeathed to the Institut de France, but by 1897 the gallery was deserted and in 1903 it faced the prospect of demolition.
It did manage to survive though although it wasn’t until the 1970s and the revival of interest in the architectural heritage of the passages couverts, that it gradually returned to life.
Kenzo held a fashion show in the galerie in 1970 and then, a little later, more fashion shops began to appear. It was the arrival of Jean-Paul Gaultier in 1986, which established the Galerie Vivienne once again as a place of Parisian high fashion. The lustre of the Galerie Vivienne had returned.
Two of the boutiques in today’s Galerie Vivienne have a long pedigree.
The wine merchant, arguably one of the best in Paris, Lucien Legrand Filles & Fils is one of the longest established boutiques in the galerie, still occupying its original position.
The oldest surviving boutique can be found at N° 45 Galerie Vivienne: the Librairie Jousseaume. Established in 1826, some say this is the oldest surviving bookshop in Paris.
The bookshop was bought in 1900 by M. Petit-Siroux who then bought the boutique opposite, at N° 46.
Located between the Palais Royal, the Paris Bourse and the Grands Boulevards, the Galerie Vivienne lies at the heart of fashionable Paris. Despite coming close to destruction at the turn of the nineteenth century, the galerie now boasts prestigious labels and quality artisans that link both past and present. The sumptuous architecture, delicate mosaics and grand statues have been wonderfully preserved, and the shops and restaurants are seriously chic and expensive!