In Notre Dame de Paris, Hugo used a whole chapter to describe the building of Notre Dame de Paris and the scene of standing on the roof of Notre Dame de Paris overlooking Paris. For such a spectacular building, I extracted the wonderful language in the book as follows:
Notre Dame frontispiece, there is no more magnificent chapter in architectural history. There are three pointed arches on the front, carved with serrated cornices, and 28 shrines dedicated to the statue of the king. There are two side windows on both sides of the central giant petal lattice window. The tall plum arcade supports the heavy platform with small columns, and the two stalwart dark bell towers and their stone eaves overlap into six magnificent floors, forming a harmonious and grand whole.
Notre Dame de Paris cannot be called a building with complete form, definite form and clear classification. It is no longer a Roman church, but it is not a Gothic church. Notre Dame de Paris is a transitional building. At the beginning of the construction, the Saxons erected the first pillars of the nave of Notre Dame, which was a colonnade composed of an open dome and Greek columns. The pointed arch style brought by the Crusades occupied the wide bucket arch of Romanesque architecture, and from then on, the pointed arch style prevailed to form the rest of the main church. However, at first, it was untested and timid. This style sometimes dodges, sometimes expands, and sometimes converges, as if feeling the thick Roman architectural columns in front of you.
The architectural art of Christian Europe is a huge growth layer, which is divided into three independent and overlapping crystal areas: romantic area, Gothic area and Renaissance area (or Greek-Roman area). The romantic zone is the oldest and deepest, which is occupied by the open dome and continues to the top-level Renaissance modern layer in the form of Greek columns. The pointed arch is in between. Buildings that only belong to any one of the three floors are completely independent, unified and complete. That's Youmir Abbey, Lance Cathedral and Holy Cross Church in Orleans. However, the edges of these three regions blend with each other, just like the colors of the solar spectrum. As a result, there are composite buildings and subtle transitional buildings. One of them, Romanesque and Gothic, was the first of its kind in Greece and Rome. This is because it took 600 years to build, and the main tower of the pawnshop castle is a sample. However, it is more common to have a two-story mixed building. That's Notre Dame de Paris.
This mixed structure makes us feel that the greatest product of architectural art is not the creation of individuals, but the creation of society, which is not so much the work of genius as the crystallization of people's labor; It is the deposit left by a nation, the accumulation formed in various centuries, and the crystallization produced by the successive sublimation of human society. In short, it is the generation layer of various forms. The flood of each era has increased the deposited soil, and each race has deposited its own layer on historical relics, and everyone has provided a brick and a stone.
After stopping to admire the magnificent architectural appearance of Notre Dame de Paris, Hugo boarded the roof of Notre Dame de Paris and unfolded the picture of the city of Paris. Notre Dame de Paris took place in the fifteenth century, and the description of cities and buildings was mainly Paris in the fifteenth century. This book was written in 183 1 year, 20 years earlier than 1853 when Osman, the chief executive of Paris, carried out a large-scale transformation of Paris, so I think the so-called15th century Paris in the book is basically not much different from the scene at the time of writing. However, the city image of Paris has changed a lot when Les Miserables was written. We will talk about this topic later.
Below I have extracted the following descriptions about the city of Paris:
Paris in the fifteenth century was already a huge city. The city of Paris consists of three parts: the inner city, the outer city and the university city. The inner city is a river continent in the middle of the Seine River, the birthplace of Paris and the mother of two other cities. Almost all the inner cities are churches, and this is the smallest one. The university town is located on the left bank of the Seine River, where there are various colleges. The outer city is the largest of the three blocks in Paris, located on the right bank of the Seine River, and most of them are palaces.
Standing around Notre Dame de Paris with a bird's eye view, the streets between the three parts are intertwined and inextricably linked. There are two parallel long streets, extending from south to north, perpendicular to the Seine River and running through three cities. There is a street in the outer city and a street in the university town, which runs through their respective areas, runs parallel to the Seine River and winds away. These two streets intersect with the above two main lines, forming a general vein. The streets of Paris are intricate and intertwined in all directions, and the whole network is laid on this big vein.
The inner city is also called the city island, just like a big ship in the middle of the downstream Seine River, stuck in the sand and stranded. The stern faces east and the bow faces west. Notre Dame de Paris is the bell tower of 2 1 churches in the inner city, with different times, styles and sizes. Among them, Notre Dame bell tower is the boldest, the most exquisite carving and exquisite workmanship. Through its embroidered cone, the blue sky is unobstructed, which is beyond the reach of all bell towers.
The university town as a whole is presented to us. It is a unified and complete whole from beginning to end. Forty-two colleges are evenly distributed everywhere. Countless roofs are thick, sharp and dense. The interesting roofs of these beautiful buildings are almost all composed of the same geometric factor. Between colleges, there are many beautiful buildings, public bathhouses with domes and magnificent temples. There are many churches, which are above everything else, as if adding a harmony to many harmonious tones. They break through the complicated overlapping images of gables at any time, showing the style that the pen tip is like an arrow, penetrates the bell tower and the needle tip protrudes into the sky.
Turning to the right bank, the scene of the outer city suddenly changed its characteristics. The outer town is much bigger than the university town, but the style is not uniform. At first glance, it can be seen that it is divided into several large blocks, which are very different from each other. There are many east palaces, and the four houses are almost the same. There is a pointed turret between their slate roofs, which is reflected in the Seine. Behind the four buildings is the palace of St. Bohr, and several corridors with stained glass windows and small columns are skillfully connected with the main building. There are a large number of houses in the center of the outer city, which are crowded, like small holes in the honeycomb, and the big roof is spectacular like waves in the ocean. Streets crisscross, centering on the vegetable market, dotted with thousands of roads. Shining St. Denis Street and St. Martin Street are connected with their numerous branches and intertwined, just like two branches of a big tree, winding in the whole area. Outside the palace area and residential area, from east to west, there is a long temple, which runs through almost the whole country and is the edge of the outer city. There is a vast and lush countryside, and its border is the wall of Paris. There is also a striking fourth area in the dense roof on the right bank, which is a new area composed of palaces and mansions crowded at the foot of the Louvre. The main tower of the Louvre and the 23 pagodas around it are like the patron saint of Paris, with 24 heads standing upright forever and huge bodies shining with metal light.
Paris in the fifteenth century is not only a beautiful city, but also a city with a single structure. It is the product of medieval architectural art and medieval history, and it is a chronicle condensed into stone.
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