ABSTRACT

Since the nineteenth century significant attention has been given to the role of architects and sculptors in the modern cemeteries of Paris. This is particularly true of places such as Père-Lachaise where their role in the commemoration of noteworthy individuals has driven tourism as well as scholarship, past and present. Yet the tombs that architects designed were by far the exception to the rule. As the demand for funerary monuments grew in the wake of the 1804 burial reforms, the need for a commercial market for affordable tomb structures supervened. The result of this new demand for grave markers that could appeal to all levels of society was the emergence of a specialized funerary monuments trade. Regulatory changes, popular print media, and architectural discourses of the period all indicate that the rising demand for monuments not only fueled the growth of a popular market, but also led to the stigmatization of marbriers as opportunistic and greedy. Likewise the marbriers’ clients were derided as vain consumers of cheap ‘knock-offs’ that substituted luxuries otherwise inaccessible and inappropriate to their social standing. The present study utilizes a database constructed from the commercial almanacs of Paris (1798–1907) in order to track the development of the marbrerie (stonework) and examine the low end of the funerary monuments market. Although past methods of approaching the cemetery in nineteenth-century Paris, have greatly underestimated the role of marbriers, this article argues for the reconsideration of funerary monuments through the lens of the popular market.

摘要

自 19 世纪以来，建筑师和雕塑家在巴黎现代墓地中的作用受到了极大的关注。对于像拉雪兹神父这样的地方尤其如此，他们在纪念名人方面的作用推动了过去和现在的旅游业和学术。然而，建筑师设计的坟墓到目前为止是规则的例外。随着 1804 年墓葬改革之后对丧葬纪念碑的需求不断增长，出现了对价格合理的墓葬结构的商业市场的需求。这种对可以吸引社会各个阶层的墓碑的新需求的结果是出现了专门的丧葬纪念碑贸易。监管变化、流行的印刷媒体、这一时期的建筑话语和建筑话语都表明，对纪念碑的日益增长的需求不仅推动了一个受欢迎的市场的增长，而且还导致了对机会主义和贪婪的 marbriers 的污名。同样，marbriers 的客户被嘲笑为廉价“山寨货”的虚荣消费者，这些山寨货取代了奢侈品，否则他们无法获得和不适合他们的社会地位。本研究利用从巴黎商业年鉴（1798-1907 年）构建的数据库，以跟踪marbrerie（石雕）并检查丧葬纪念碑市场的低端。尽管过去在 19 世纪巴黎接近墓地的方法大大低估了墓葬师的作用，但本文主张通过流行市场的镜头重新考虑丧葬纪念碑。