Rue des Chantres

Etching on laid paper, with an unrecognized scrolly coat of arms watermark.

Reference: Schneiderman 85 v/vi. Fifth state, with letters. This state is the published one, by Rochoux, Paris. Printed by Pierron, Paris. The printer's initials "J.B." (for Jean Baptiste), can be seen at the top, flanked by two bells from the Notre-Dame carillon.

NOTE: The spire in the background was installed as part of Viollet-le-Duc's restoration of the Notre-Dame cathedral, which was started in 1831. The spire itself, however, was only placed in 1859-1860. When Meryon drew this view, it was brand new. Rue des Chantres still exists today and this medieval view onto the spire is unchanged. Meryon was enamored with old Paris, which was being destroyed in part to make way for boulevards, during Hausmann's reshaping of the capital. Many medieval streets were lost, and Meryon keenly depicted those that spoke to him. In this one, the joy of contrast of sharply vertical streets, accentuated by the restoration of the medieval wooden spire by Violet-le-Duc, is fully articulated. There is mess of life at the dark street level, with sailors seemingly arguing with gendarmes, and assorted figures coming and going, including an ominous dark figure leaning against the wall on the left. Looking down the street, the sun shines onto a focal façade, leading the eye up to the rooftops, the spire, and the circling birds in the sky. Meryon could see the irony of his love for the old city darkness and muck, and winks at us with the sign, on the right wall, that reads "bains de mer" (sea baths). As if one could escape the fetid city and, in an instant, enjoy an invigorating dip in the sea, staring at a wide horizon.

A very fine impression, with crips lines on a beautiful sheet of laid paper. The sheet was trimmed inside the plate mark, likely by a collector who liked the "old master" look. Very faint foxing, hardly noticeable in the small margins (not on the verso). One faint small gray stain on the verso, left sheet edge; not showing through to the front. Otherwise in perfect condition. This is one of Meryon's most successful compositions, in our opinion. Showing the Paris he cherished.