Abstract

By the start of the 1860s, architecture and the materials, processes, and cultures of emerging modernity were combining in Paris, above all other cities, with unprecedented consequences. Georges-Éugene Haussmann, Emperor Napoléon III’s Prefect of the Seine, had in 1853 been tasked with modernizing the city. His principle strategy was to demolish entire quarters of ramshackle medieval fabric for the creation of pristine, arrow-straight boulevards and sparkling squares, all of which were lined by luxurious standardized buildings, serviced by underground sewers, and brilliantly lit by gas lamps.1 As the city heaved in every quarter, a group of Parisian authors stepped forward to respond to the literal.