Page:Victor Hugo - Notre-Dame de Paris (tr. Hapgood, 1888).djvu/158

144 proves that one can be a fine genius, and yet understand nothing of an art to which one does not belong. Did not Moliére imagine that he was doing Raphael and Michael- Angelo a very great honor, by calling them "those Mignards of their age?"

Let us return to Paris and to the fifteenth century.

It was not then merely a handsome city; it was a homogeneous city, an architectural and historical product of the Middle Ages, a chronicle in stone. It was a city formed of two layers only; the Romanesque layer and the Gothic layer; for the Roman layer had disappeared long before, with the exception of the Hot Baths of Julian, where it still pierced through the thick crust of the middle ages. As for the Celtic layer, no specimens were any longer to be found, even when sinking wells.

Fifty years later, when the Renaissance began to mingle with this unity which was so severe and yet so varied, the dazzling luxury of its fantasies and systems, its debasements of Roman round arches, Greek columns, and Gothic bases, its sculpture which was so tender and so ideal, its peculiar taste for arabesques and acanthus leaves, its architectural paganism, contemporary with Luther, Paris, was perhaps, still more beautiful, although less harmonious to the eye, and to the thought.

But this splendid moment lasted only for a short time; the Renaissance was not impartial; it did not content itself with building, it wished to destroy; it is true that it required the room. Thus Gothic Paris was complete only for a moment. Saint-Jacques de la Boucherie had barely been completed when the demolition of the old Louvre was begun.

After that, the great city became more disfigured every day. Gothic Paris, beneath which Roman Paris was effaced, was effaced in its turn; but can any one say what Paris has replaced it?

There is the Paris of Catherine de Medicis at the Tuileries; —the Paris of Henri II., at the Hotel de Ville, two