December 12, 2011
When it is time to discuss of what makes a “Grand Boulevard”, it is interesting to get the view of the impressionists, contemporaries of the Parisian Haussmann period, which is traditionally attached to the notion of Boulevard.
I have always loved the immense streets of Paris, shimmering in the sun, the crowds of all colours, those beautiful linear and aerial perspectives, those eccentric fashions, etc. But how to do it? To install oneself in the middle of the street is impossible in Paris.
Pissarro, was lucky enough to have a room with view on the Boulevard Montmartre, allowing him to epitomize the qualities of the “Grand boulevard”:
This 35 meters wide boulevard opened in 1763, pre-date the Hausmann’s work in Paris, but carries most of the features usually attributed to the typical Haussmannian boulevard. It pertains to the orthodox Parisian definition of the Grand Boulevards :
- The boulevards are linear and offer an open perspective (like the one opened by Haussmann), changing direction only at major intersections
- Notice the intense level of traffic and how the lamppost are sitting in the carriage way, to not use the pedestrian realm
- …and how wide is the pedestrian space
Usually sidewalks use around half of a typical Parisian boulevard width, This has not varied since the French second empire (1852-1870). Below is a compared cross section of Boulevard Montmartre in Paris and Broadway Street (at Cambie) in Vancouver .
Quality of the Urban furnitures is important and got noticed (many of them has been designed by Gabriel Jean Antoine Davioud):
…But one of the main feature of the Parisian boulevards, is the buzz/energy surrounding them: the gentle crowd, the trees, the play of light, is why people will like to mingle here (last picture in the post also gives a strong incentive to do so!)
The above and ample sidewalks provide a fertile ground for the development of coffee patio, in adition of the Boulevard theatres.
The formal avenue de l’Opéra opened in time for the Universal exposition of 1878, is an exception. It is bereft of trees (and the sidewalk could have been reduced accordingly) on the insistence of the Opera’s architect, Charles Garnier, this to preserve the perspective onto its masterpiece . The move has been appreciated enough to keep this avenue bereft of trees up to today . Another architect request- to have the street free of urban furniture- has been lost in time…
In the Pissarro and others impressionists paintings, ornamental and architectural details of the buildings lining the boulevards are basically absent.
Haussmann designed the Avenue of the Opéra, but it has been built after his 1870’s “resignation”, (associated to the fall of the Napoleon III regime), this between 1876 and 1878. When Haussmann was providing architectural template to the properties developers, the new regime, pressed by the deadline of the 1878’s exposition, had been far less stringent in their building request:
- They have divided the area in 55 lots, sold in 1876, to almost as many different landowners, required to build in a 2 years time frame to the maximum height authorized by the by-laws, and that all principal horizontal lines in each block should coincide, which ensured that all the windows would be at the same level. Balconies were obligatory . Other pre-existing regulation ensured the aesthetic unity of the avenue.
That is what Pissarro expresses in his canvas, where the militaristic rigor of the buildings is gently counter balanced by the chimneys disorder on their roofs, and colorful shopkeeper awnings at their feet.
The traffic on the Grand Boulevards (boulevard des Italiens, des Capucines et Montmartre) is qualified of “intensive” by the Paris Prefecture in 1904, while the one on the 30 meters wide Boulevard Haussmann, (depicted by Raffaelli below), is qualified of “active” by the same source . This, in addition to the facts that it is in the immediate vicinity of the most used -by far- railway station of the time- Gare Saint Lazare-, and nearby department stores, are the reasons why we see a street much more dominated by pedestrian activities.
Most of the carriages seen in this picture and others are fiacres, (carriage for hire which has been replaced by taxis), and “omnibuses” (which has been replaced by buses). Private carriage was a rarity so street parking was not a problem. In those days (1891), it was counted 45,085 vehicles of all sorts in Paris but number was growing much faster than the population and was reaching 65,543 in 1906 (automobile accouting for a mere 4,077) …The Prefecture of Paris was numbering fiacres at 15,775 (today, there is roughly the same number of taxi!) and 2,572 tramways and “omnibus” , the equivalent of bus, already carrying in the vicinity of 220 millions passenger circa 1865 …The 3 horses omnibuses seen in the Pissarro painting are the largest of the days (2.45m by 8 meter long including horses: they are considered “monsters” by the witnesses of the days . Capacity number are, of course, irrelevant.
The other Boulevards
The impressionists like Degas, Monet, Gauguin, Renoir…, dedicated numerous painting to the Grands Boulevards in the immediate vicinity of gare Saint Lazare (all the canvas presented so far has been drawn in a 10-15mn walk from gare Saint Lazare, which itself has also been the attention of Monet among other). This railway station was also the termini of train from the Vexin français -area around Pontoise- where most of the French impressionists have elected residence at one moment of their life, and this fact can explain why this little area of Paris got far most attention than others…
Nowadays, the probably most photographied avenue is the Champs Elysees. in the XIX, it is pretty much out of reach to most of the people. Even the fiacres are rare, and traffic seems dominated by the much more exclusive landau transportation mode. Notice how the horses manures are speedily removed in the Jean Béraud‘s canvas below:
The Parisian lower class can be found around the Boulevards exterieurs (around 40 to 45 meters wide). Boulevard Clichy is one of them. Edgar Degas lived and died there but this boulevard didn’t inspired him, at the difference of Paul Signac, Vincent van Gogh and Pierre Bonnard, which we choose, for its naturalist qualities, to illustrate this boulevard:
The Boulevard exterieurs, marked the limit of Paris before its amalgamation with neighbor suburbs in 1860 at the initative of Haussmann, and have been opened in 1864. They eventually were synonym of life condition that the Haussmann contemporaries were trying to escape (Signac, Vuillard will paint the Boulevard exterieurs under snow, which, by its rarity, in some sort represent an escape of the usual condition).
The large boulevard median was not to separate traffic directions, The 2 ways seen in the painting was existing on both side of the Wall of the Farmers general which has been destroyed in 1860: A canvas of Pissarro better illustrates that fact (the street on side of the median will be converted to one way traffic much later)
The circulation on the Boulevards exterieurs was considered as active in 1904. As the canvas represents, the type of circulation is much more different than the one seen on the Grand Boulevards, and if there is nowadays no more cabs in Paris than it was fiacres more than a century ago, those are now more evenly spread on the whole Paris area, making them looking rarer.
Life outside the Boulevards
We couldn’t close this chapter, without mentioning what was the life condition outside the Boulevards in the Haussmann century. Charles marville‘s photographies illustrate what Paris was looking before Haussmann:
 Mon cher Pissarro – Lettres de Ludovic Piette à Camille Pissarro, Ludovic Piette, Paris 1985
 Broadway Street, Vancouver: cross section from beyond the B line, City of Vancouver 1999. Notice it is not the worst configuration found but the existing one…the proposed introduction of a LRT makes things worse with proposed sidewalk as narrow as 2.70m in the 1999 study. Currently Boulevard Montmartre, Paris, has been one way since 1951 but is considered to be reversed back two ways, and it is this configuration which is presented here. You will notice the bus getting out of its lane to avoid a cyclist – that is per design: Bus+bike lanes is the modus operandi in France, wholly supported by the Green councilors of Paris, at the very much difference of Adriane Carr in Vancouver (her position on the topic being summarized here)
 Etudes sur les transformations de Paris et autres écrits sur l’urbanisme, Eugène Hénard, 1903-1909. as reedited by éd. L’Équerre, 1982.
 The longest carriage is 20 meters, it is used for beam transportation by carpenter: it s then considered as an exceptional convoy
 There are several Boulevard denominations in Paris, the grand boulevards being the ones built in replacement of Louis XIII city’s wall, according to the 1676 Pierre Bullet’s plan under the Louis XIV reign)
 The perspective has also been obtained by the leveling of an hill, the buttes des Moulins, which will have provided a convenient pretext to a slum cleansing operation in the whole Opera area.
 The autumn of Central Paris: the defeat of town planning 1850-1970, Anthony Sutcliffe, MacGill-Queens’university press, 1971
 It didn’t, and remarkably enough, Louis Dausset, on budget Committee was stating as soon as 1909
- “When we built the Metropolitan and encourage the development of trams, we gave our citizens and visitors a test for moving about…So underground transport does nothing to reduce surface movement in Paris; on the contrary, it multiply it” ( citing C.M. report no 128, 1909).
Among Haussmann’s achievement was also the reorganization of the Public transit services, with the creation of the Compagnie Generale d’Omnibus created at the occasion of the universal exposition of 1855, this on a model not much different of the one used by Seoul, Korea.
 To give some substance on the level of Traffic, around 10,750 horses drawing vehicle/day has been counted on the Boulevard des Italiens in 1840 ( citing L’œuvre du baron Haussmann, Louis Reau, 1954)
 the Compagnie de l’Ouest very quickly developed suburban services from gare Saint Lazare. In 1869, It was by far the busiest railway station of Paris, handling 13,254,000 a year-more than 80% of them being commuters. The other 6 Paris termini together handled no more than 21,417,000 ( citing La gare du Nord, René Clozier, (a priori a PhD thesis of 1940))
 In his book, “L’assassinat de Paris” (1977), Louis Chevalier mentions that trees has been removed of Avenue de l’Opéra in 1955. Archive photography doesn’t confirm that. What is more probably is that the sidewalk has been reduced in 1955.