Hearing 18th Century Paris

Turgot-Bretez Map, 1739

Paris is one of the settings in Refiner’s Fire, and while researching the city, I came across the fascinating video below that recreates the background sounds of the 18th century city. It was created by French musicologist Mylène Pardoen for the Bretez Project, which was presented at the Cité des Sciences et de l’Industrie in 2015. In addition to recording historically accurate sounds, Pardoen worked with experts to carefully map out the old streets of Paris and combine the audio with the city’s historical context to create a 3-D rendering based on one of the best maps of the day, the Turgot-Bretez Map of 1739. Turgot was the provost of Paris merchants who commissioned the map, and Bretez was the engineer who directed the survey of the city.

Pardoen explains that they chose the Grand Châtelet district between the Pont au Change and Pont Notre Dame bridges because in the 18^th century 80% of Paris’ background noise was concentrated there. Since there was no gas or electricity available back then, many artisans of luxury items, such as jewelers, engravers, and furriers established shops in this district to take advantage of the greater natural light along the river. The tall houses and narrow streets on either side of the bridges captured the sounds, creating a dense sound environment.

The soundscape is based on documents such as Le Tableau de Paris, published in 1781 by Louis-Sebastien Mercier and on works like those of Arlette Farge, who specialized on the history of the 18th century; Alain Corbin, who researched the history of the senses; and Youri Carbonnier, a recognized authority on houses built on bridges.

Joust of Mariners in Front of the Pont,
Nicolas-Jean-Baptiste Raguenet

In the video you’ll hear 70 sonic tableaux, many created by trades such as shopkeepers, craftsmen, and boatmen. You’ll recognize the rhythmic whoosh of air as a blacksmith in his shop in a Paris alleyway stokes his fire with a bellows; roosters crowing in the distance and pigs squealing as they’re driven to market; the babble of conversation at the street markets; carriages rolling along cobbled streets, punctuated by the clopping of the horses’ hooves; the rush of the Seine, and the washerwomen working under the arches of the bridge; the hum of flies at the fishmongers’ stalls; the noise of the loom in the woolen mill that stood at one end of the Pont au Change; the scraping of hides in the tanneries on Rue de la Pelleterie; and type being set at the print shop on Rue de Gesvres. Overhead are the cries of the seagulls drawn to the city’s waste heaps. You’ll also be able to discern how sounds echo beneath bridges and in covered passageways and the effect produced by the varying heights and construction materials of the buildings.

View of Paris from the Pont Neuf,
Nicolas-Jean-Baptiste Raguenet

According to Pardoen, most of the sounds are natural, with machine noises, for example, being recorded using authentic antique devices. However, the sound of the Notre Dame pump, which drew water from the Seine, had to be artificially recreated. Pardoen recorded an old-fashioned water mill and reworked the sound based on the estimated size of the pump’s vanes. “It is a research project that will continue to evolve,” Pardoen says. “The next step will be to include the machines and devices that are now missing from the image, and allow the ‘audience’ to stroll freely through the streets of the neighborhood.”

One thing I’d really love to have is a version that has English captions. That would really help non-French speakers like me in doing research.

I’d love to hear your reaction. What did you like best about the video, and what do you think of the sounds, the changing scenes? Did it help you to visualize a distant time and place in a new way? Please share your feedback!

Gearing Up for Reenacting

I was really excited this week when my order from Jas. Townsend & Son showed up in my mailbox way ahead of schedule. I settled on a bedgown and petticoat, and I’m very pleased with how they turned out. As you can see in the picture, the petticoat is the same fabric as the gown I would have loved to get, but can’t afford. But this is almost as good, and won’t require those really expensive stays. I still have to wash them to remove any sizing and to soften the fabric, then hem the petticoat. I ordered it unfinished so I could adjust the length to the shoes I purchase.

I’d already bought the shift, which goes under everything—with nothing beneath except stockings! A bit breezy, I’d think, but that was the custom. I also already purchased the nice white, fashionably clocked, thigh-length stockings shown to the right, and now just need the slippers to match. I’m lusting after the lovely ones from Burnley & Trowbridge shown below, and joy of all joys, they do come in red! Which, of course, is what I’ll order as soon as I’ve saved up my pennies.

I had decided on the lappet cap, shown next. I like it fairly well, but I’m thinking I may substitute the country cap below, instead. Thankfully they’re not expensive. I was going to buy a straw hat to go on top when outdoors, but I’m going to save the money and not worry about it. My friend who invited me to the event told me that her costume is a work in progress, which makes me feel better. I can always add accessories if I end up doing this on a somewhat regular basis. Adding a shortgown a different color that coordinates with my petticoat would be a lovely choice, too, for multi-day events, and then maybe a second petticoat in a solid color to layer underneath with the print petticoat looped up over it for a nice contrasting effect. And a fichu around the neck . . . Well, nobody ever accused me of not being obsessive!

Next week I’m going to order a set of replica silver pins to close my bedgown down the front for a slightly more formal look, instead of tying it shut with an apron, as was common. And I’ve also decided to buy a set of pockets, which are tied on beneath the petticoat and reached through the petticoat’s side slits. That way I won’t need a reticule for essentials, which could be a pain to carry around at events. Thankfully these pieces are all inexpensive. I might need to make another field trip down to Pierceton, where the shop is located, just to pick through what they have. They’re only about an hour away from where I’m spending the summer in northern Indiana.

Thankfully this outfit will allow me to go without stays, although I’d like to try them at some point as I’ve heard are actually comfortable when properly fitted. That is, as long as you don’t lace them to the point of misery to make your waist smaller. Unlike Civil War days, that wasn’t the idea in the 18^th century. They were to provide support for the back and bosom and to create the conical shape, pointed in the front, that was the height of fashion at the time. Very sensible, I say.

Once I have all the pieces ready, I’ll have my husband take a picture of me all geared up. I’ve tried everything on, of course, but I can’t wait to see the full effect when everything is in place as it should be! What fun!!!