Post on 30-Jan-2023
Tyler Manuel
Box #1744
Dr. Smidt
“The Second Tower of Babel!”: the history of Gustave
Eiffel, the Tower and the Parisians in 19th Century Paris
As time goes on, history continues to unfold and
constantly gets created. It gets created through many
different things, such as events, inventions, and ideas,
but all of this comes from people. People are the focus
of history and in its making, so as a person or a
historian studies history, he or she is studying the
story of the human past. The human past can be studied
any time and any place. The public sphere is the space
where a person or a group is allowed to exchange
information to other people through the public functions,
such as books and newspapers. The human past also affects
the structure of the public sphere by changing it in any
shape or form through the changing of cultural norms, or
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the change in communication of information, such as
newspapers and the Internet, for example.
Out of the many sections of the human past, the
focus is the human story of Paris in the late 19th Century
during the announcement and the construction of the
Eiffel Tower, one of Paris’s most popular monuments to
this day. The construction of the Eiffel Tower caused a
shift in the Parisian cultural values from a traditional
view to a more modernist view; leading to the final
acceptance of the Tower after spending a couple of years
going against the idea of the Eiffel Tower. For an
insight into the Parisian mind during the time of the
Eiffel Tower, Le Temps, a French newspaper, will allow for
more insight into the traditional aspect of their
cultural value norms, while Fred C. Lynde’s illustrated
guide will show the impact of the Eiffel Tower on the
Parisians and the rest of the world. To give the full
picture of the human story surrounding the Eiffel Tower,
several of secondary sources will provide the background,
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the history and the perspective of the authors of the
sources on the period of late 19th Century Paris, which
will help to gain a better understanding of what was
going on during that time in the Parisians’ minds as well
as the progress of the shift of the cultural value norms
through the construction of the Eiffel Tower.
One point that has to be stated is the limitations
of the research. The topic is about an area that is
currently unreachable due to the lack of ability to
travel to Paris to gain better resources that could give
a greater insight into the topic of the research. Another
limitation to the research was the lack of author
information to the articles of the newspaper. In the
research, the reasoning of no author mention lies in the
fact that the authors did not care about gaining glory in
their writing, but only was concerned that the
information was given to the masses, as stated in the
various newpapers, such as Le Temps and Les Chantiers.
Another limitation that has to be stated is the fact that
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the newspaper articles are solely written in French, the
home and local language of the newspapers themselves.
However, even with the limitations in place, research
could be successfully achieved through the archives of
the newspaper and a careful attempt of translation from
French to English as well as the allowance of the study
on the subject through different secondary sources. An
honest attempt was done to provide the fullest picture of
the human story of the Parisians of the late 19th Century
and their lives as they watched Gustave Eiffel build his
“Tour de Fer,” or “the Tower of Iron.”
Before the Parisian mind can be explored, some
background should be established. During this time
period, France was under the world’s critical eye as
Louis Napoleon III rose in power and pushed for the
second empire. France was already in the bad tastes of
the world after the ambitious attempt of European
unification under the Empire of Napoleon Bonaparte. Other
countries were cautious when it came to France,
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especially the British, when Napoleon III pushed for a
second empire due to the “bad memories” from Napoleon’s
regime. In Napoleon III’s regime, his empire was
liberalized among the working class through policies and
unions; thus showing a different turn from the previous
empire of Napoleon Bonaparte as well as a resurgence of
nationalism in the French peoples.1 However, Napoleon III
and France became a part of a power system in Europe
around the outbreak of the Crimean war. The Crimean war
was between Russia and the dying Ottoman Empire and as
the war continued, Britain and France declared war on
Russia due to the possibility of upsetting the balance of
power and restoring France’s rule as “the protector of
the Christians of Europe.”2 Another war also enveloped
France, delivering a blow to Napoleon III’s empire: the
Franco-Prussian War.
France did not like the fact that Germany was
gaining power and was also faced with a Prussian king in 1 Jackson Spielvogal, Western Civilization: Volume C: From 1789. (Boston: WadsworthPublishing, 2009), 672.2 Spielvogal, 674.
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Spain after the revolt against Queen Isabella. They
pressured that William I should not ever place Leopold,
the Prussian prince who has candidacy to the throne of
Spain, in power of Spain.3 Rather, France wanted to be a
bigger power than Germany under Bismarck. However,
Bismarck found out about this and turned the situation
against France; thus resulting in France declaring a war
on Prussia.4 As the war escalated, the Prussians finally
captured Napoleon III and the French army; Paris was also
captured and the second empire fell. However, a peace
treaty was reached, giving Germany more power as well as
paying 5 billion francs; resulting in the French desire
for revenge and wanting a better standing in the world
stage.5
Since Napoleon III came to power and during the
Franco-Prussian War, Napoleon II was dealing with
domestic issues and wanted the foreign wars to help make
him look better in the eyes of the French. However, with 3 Spielvogal, 676.4 Spielvogal, 677.5 Spielvogal, 678.
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the results of the Franco-Prussian War, it does not end
up that way. On the other hand, Napoleon III and a close
associate, Baron Haussman began to restructure the
capital of France itself, Paris. They created a pleasant
atmosphere for the Parisians to give comfort to them as
well as give them a boost in their nationalistic self-
identity. Napoleon III and Haussman created a pathway of
boulevards and avenues; giving the city a better
organization of the roads and a neater structure.
Haussman also added in greenery to the streets, such as
trees and bushes, and formed parks to ensure a better
environment.6 The actions of the two men were caused by
their desire to put Paris back on the map after the fall
of the second empire and reclaim the glory of France once
again. However, they needed something bigger than a
citywide restructuring and decided that the upcoming 1889
World Exposition would be the event to redeem Paris and
France in entirety. Now the question became what can make6 Patrick Young. “From the Eiffel Tower to the Javanese Dancer: Envisioning Cultural Globalization at the 1889 Paris Exposition,” (History Teacher, 2001), 339-340.
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the 1889 World Fair extravagant, and the two men agreed
on one idea: a new monument.
With the idea of a new monument to represent the
entirety of what the 1889 World Exposition represented,
which was the idea of innovation and progress, Napoleon
III and Baron Haussman had to figure out a way to get the
monument that they wanted and as soon as possible. In
1887, a contest was declared and many Parisians, common
or famous, flocked to participate in it. Many different
designs were submitted, judged by prominent architects,
such as Charles Garnier, the designer of the famous
L’Opera Garnier.7 One out of 5300 designs stood out from
the rest of them, and that was the design of Alexandre
Gustave Eiffel and his company, including Maurice
Koechlin, who aided in the design, and his iron tower.8 He
proposed a tower that was 324 meters tall, or 984 feet,
7 Jill Jonnes. Eiffel's Tower and the World's Fair where Buffalo Bill Beguiled Paris, The Artists Quarreled, and Thomas Edison Become a Count. (New York: Viking, 2009),20-22.
8 Jonnes, 22.
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that was divided into three sections.9 The first section
would be reached through an elevator from the legs of the
tower, a new idea at the time because elevators on
locations like that usually went straight up and straight
down.10 However in the Eiffel Tower, the elevator was to
follow the form of the legs, leading to a phenomenal
achievement in progress. On that first section, there was
to be a viewing station and a sophisticated restaurant
(now known as the Jules Verne) as well.11 The next section
was to be even higher to gain a better view and finally,
the last section was to be at the point of the Eiffel
Tower, which later on is used as a radio tower. Parisians
and visitors from other countries and cities were to be
able to go up in this tower to examine the beauty of the
city of Paris itself. The tower would need 9441 tons of
iron and steel and Gustave Eiffel had 18038 pieces
individually designed in order to ensure the stability
and the success of the tower as well as making it unique 9 Blueprints of the Eiffel Tower, 1886.10 Blueprints, 1886.11 Blueprints, 1886.
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compared to other iron structures. Eiffel himself
believed that this tower was going to be a success and
will make Paris recognized worldwide; thus representing
the idea of the World Exposition.
The contest was finally closed, and a winner was
chosen: Gustave Eiffel and his design of the “Tour de
Fer.” Both Napoleon III and Haussman loved the design and
the idea of Eiffel’s tower, and approved the proposal.
Not only was the tower accepted, it was to be the focus
of the World Exposition and to be representative of the
celebration of the French Revolution as well as progress.
In 1887, a contract was established with Eiffel and his
company, stating that Eiffel will be granted one and half
million francs towards the construction and that the
Tower will stay in place for twenty years at minimum, and
Eiffel was only given until 1889, when the World
Exposition was to be opened, which meant that Eiffel had
two years to fully gather materials for the tower, start
construction and finish the tower before the commencement
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of the World Fair.12 The announcement of the soon to be
famous tower was published in many newspapers in Paris
and around the world.
The description of the Eiffel Tower was published
and the Parisians already had an issue with it. The first
initial reaction of the Parisian was one of disgust and
dislike of the Eiffel Tower, because they believed that
it would ruin the traditional look of the city, which
meant that the basis of the Tower was more likely
compared to the other famous structures in Paris, such as
the Arc de Triomphe and the Musee de Louvre.13 Due to this
comparison, the Parisians were appalled at the new
“modern” look of the Eiffel Tower, which was not
consistent with the rest of the monuments in Paris. In
the publications of Les Chantiers, the personal newspaper
solely for the news for the World Exposition of 1889,
there is a section of the newspaper that was only on the
topic of the Eiffel Tower and its designer, Gustave
12 Jonnes, 22.13 Jonnes, 46.
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Eiffel. However, in the January 15th of 1887 publication,
the author stated that the tower was to “attract amateurs
due to its bizarre and incompetent nature”.14 He continued
to state that it would not be a grand exhibit or a
success in Paris because only the “the mind of the
crazies” will be the only thing attracted to the Tower.15
From this publication, it can be noted that the citizens
of Paris hate the idea of the Tower because it will only
attract trouble to the city and possibly cause ruin;
reminiscent of the imagery of the Prussians marching into
Paris and taking over the capital during the Franco-
Prussian War, which left the French angry and resentful
and would like to avoid another confrontation like that.
Le Temps, another prominent newspaper of Paris during
the time, also provided similar opinions against the
Tower. However, it seems that this publication is geared
towards the middle and upper classes because the people
who comment in this newspaper had some sort of fame or
14 Les Chantiers, Jan 15th 1887, 146.15 Les Chantiers, 148.
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wealth, such as Alexandre Dumas Pére, a prominent author
of the famous Three Musketeers and The Count of Monte Cristo. After
the announcement and the commencement of the construction
of the Eiffel Tower on the Champs de Mars, a group of
Parisians, common and famous, formed a Committee of the
Three Hundred, with the three hundred symbolizing a
member for each meter of the Tower. Some of the people
who were a part of this society included Charles Garnier,
Guy Maupassant, Charles Gounod, and Jules Massenet. The
committee formulized a petition against the construction
of the Tower and it was sent to the Minister of Works,
Charles Alphand, as well as to the newspaper, Le Temps.
The newspaper published the petition and it stated:
"We, writers, painters, sculptors, architects and
passionate devotees of the hitherto untouched beauty
of Paris, protest with all our strength, with all
our indignation in the name of slighted French
taste, against the erection…of this useless and
monstrous Eiffel Tower … To bring our arguments
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home, imagine for a moment a giddy, ridiculous tower
dominating Paris like a gigantic black smokestack,
crushing under its barbaric bulk Notre Dame, the
Tour Saint-Jacques, the Louvre, the Dome of les
Invalides, the Arc de Triomphe, all of our
humiliated monuments will disappear in this ghastly
dream. And for twenty years … we shall see
stretching like a blot of ink the hateful shadow of
the hateful column of bolted sheet metal" (Le Temps,
February 14th 1887).
Eiffel noted the petition and chose to respond to it as
well as the criticisms of Parisians stating that Eiffel
was just trying to create an “ugly form of the famous
Egyptian Pyramids through the construction of the second
tower of Babel.” Published in the issue of Le Temps, Eiffel
stated, "His tower will be the tallest edifice ever
erected by man. Will it not also be grandiose in its
way and why would something admirable in Egypt become
hideous and ridiculous in Paris?" Eiffel was also
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commented in saying that “something that is beautiful
does not need to be only richly decorated, but within the
symbol that that art represents is what was beautiful.”16
It needs to be stated that all of these reactions were
based off of the design blueprints published in the
newspaper before the Tower was fully completed to show
the future look of the Eiffel Tower. Once the Tower was
fully constructed and the uprising shift in the cultural
value norms take its place, all Parisians would come to
finally accept the Eiffel Tower as something beautiful
within the realm of modernist thought.
To allow the Parisians to fully accept the Eiffel
Tower, they underwent the shift from traditional
Romanticist view to a Modernist view as the culture began
to change within the city as well as the world. To be
able to explore the shift intellectually and deeper, one
must know the meaning of Romanticism and modernism.
Romanticism was the movement that rebelled against the
16 Mary McAuliffe, Dawn of Belle Epoque. (Toronto: Rowman and Littlefield Publishers, 2011), 188.
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scientific rationalization of nature and mostly was
focused on the emphasis on the emotions as well as the
past customs and folk art.17 The Romanticism view was
emergent from the French Revolution, which means that all
of the Parisians were surrounded and grew up with the
Romanticism view as their own personal traditional view.
The past was to be emphasized, explaining the reasoning
against the new look of Iron structures compared to the
older Ancien Regime look that Paris already has obtained
over the times. The Tower had no physical resemblance to
the past whatsoever, other than the fact that it was
contributed to the glory of the French Revolution. As
Eiffel even stated, the Tower was also to represent the
new state that culture and society was starting to adapt
to and that was a scientific nature of society, which the
Romanticist view fought and rebelled against; thus giving
the reasoning of the first gut reaction of distaste for
the Eiffel Tower.
17 Spielvogal, 657-658.
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On the other hand, Modernism was the movement or the
view that states that anything that is “traditional” is
outdated in the current state of society or culture;
therefore people should adapt to their new state of
culture through their idea of self-consciousness, or in
other words, a more individualistic approach to the
world.18 Modernism also tends to be more abstract than
concrete, connecting to the idea that an iron tower is
representative of the French Revolution, rather than a
physical representation of the French Revolution.
With the foundations laid down with Romanticism and
Modernism, the shift can be explored and it is
represented by the growth of the two ideals of humor and
reality. Humor is the sense of comedy and the use of
satire within society to show the norms of society. The
two main forms of humor that was used during the times
were irony and pantomime buffoonery (slapstick humor).19
18 Spielvogal, 737.19 Julian Brigstocke. “Defiant Laughter: Humour, and the Aesthetics of Place in Late 19th Century Montmartre,”(Cultural Geographies, 2011), 217-218.
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Humor was used to be able to reach the people on a
different note and to show that norms allowed for comedy
to critique society, such as government and politics
through slapstick humor or even political cartoons. Irony
was even used because it can get personal and show
contradictions within society to challenge and to fix
them.20 Humor was not an ordinary part of the everyday
Parisian life because it was viewed as “satanical”
previously as stated by Charles Baudelaire, which would
show the Church’s view on humor.21 As Modernist thinkers
refused religious thought, in their case, humor has every
right to become a part of everyday life. As humor rose,
people began to drop their Romanticist views and started
to move towards the Modernistic track of thought due to
the lack of restriction. With the less restrictions and
confinements within Modernism, the Parisians can start to
see the Eiffel Tower as something “abstract and
20 Brigstocke, 224.21 Phillip Dennis Cate and Mary Shaw. The Spirit of Montemartre: Cabarets, Humor, and the Avant-Garde, 1875-1905 (New Brunswick: Rutgers University, 1996), 200-203.
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beautiful” rather than to view it in the strict confines
of thought that Romanticism had.
The other factor that added to the shift of views
within the Parisians’ minds was the idea of “reality.”
Reality is the idea of what is real and not fictional or
“fantasy like.” According to Schwartz, reality has been
everywhere and has existed since the beginning of time,
such as the bible for example. However, it is not until
later that it becomes more obvious or recognizable and it
is around this time when fantasy elements or myth like
elements begin to disappear or become more of symbolic
rather than something that is “real.”22 Reality became a
concept that attracted all classes, thus sparking a rise
in interest of morgues and wax museums in Paris, because
they represent the element of reality in everyday
Parisian’s life.23 Reality becomes a concept that united
the city as one since all classes were connected on this
22 Vanessa R. Schwartz. “The Morgue and the Musee Grevin: Understanding the Public Taste for Reality in Fin-de-Siecle Paris,” (The Yale Journal of Criticism, 1994), 151-152.23 Schwartz, 153-159.
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concept through the exploration of morgues. It gave them
a sense of duty in the fact that seeing bodies or
“reality,” because it gave them the job to be able to
give back to society through memories of the bodies; thus
adding to the acceptance of the reality factor.24 The
Eiffel Tower was to be representative of what the World
Exposition was stating and that was the idea of the
reality of the world brought to the backyard of the
Parisians so they could explore the different parts of
the world, such as the island of Java or the French
colonies within Africa.25 The Parisians started to have
their minds opened to different concepts of the world
through exploration of their own culture through the
examination of others; thus opening their minds to the
idea of the differently style of reality that is
represented within the shape of the Eiffel Tower.
A question one may have within the research is where
did the concepts of humor and reality gain a stable focus
24 Schwartz, 158.25 Young, 341-345.
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from the Parisians? The answer is simple, but yet
complex. The rise of humor and reality came from the
Bohemian neighborhood of Montmartre, where artists and
different concepts of culture flourished. Montmartre
started as a little community of Parisians who wanted to
be able to express themselves freely and then eventually
grew into a bigger district of people from all over the
globe that have come to share ideas and reveal new style
of arts and lifestyles.26 The Bohemians were always the
focus of the Parisians because the Parisians always
scorned the Bohemians for being too loose and lazy, but
they still would go to Montmartre to enjoy a show at the
cabaret, such as Le Chat Noir or the Moulin Rouge.27
However, after seeing the Bohemians shift through ideals,
such as realism into Impressionism by visiting the
various cabarets and clubs, the Parisians began to like
their ideals or views on certain subjects.28 When the
26 David Sweetman. Explosive Acts.( New York: Simon and Schuster, 1999), 60-70.27 Jonnes, 106.28 Jonnes, 106.
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Parisians like an idea, it spreads like wildfire
throughout the city and it started to adapt as a norm.
However, the views of humor and reality became a focus of
the Bohemian subculture and it flourished greatly;
Parisians began to take notice of the success of those
ideas and began to adapt them into their “traditional”
views of Romanticism. The problem came in when the
“Bohemian” view clashed with the Romanticist view; thus
leading into the decision of either breaking down the
Romanticist view or to make a compromise between views,
which then turns into the Modernist thought later on. The
resolution of the clash is physically shown through the
shifting of views on the acceptance of the Eiffel Tower
as the symbolic object of the shifting views from
Romanticism to the Modernist thought; the result from
accepting the Montmartre neighborhood as the cradle of
Parisian culture.29
29 Andrew Hussy. Paris, a Secret History, (New York: Bloomsbury, 2006) 300-302.
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After over two years and a series of lawsuits
preventing the building of the Eiffel Tower as well as
other projects that needed help, such as the Panama Canal
and the Statue of Liberty, Gustave Eiffel finally
overcame all of the perils and finished the construction
of the Eiffel Tower on March 28 of 1889, barely just in
time for the World Exposition to open.30 Within the World
Exposition, the nature of the Eiffel Tower was revealed
to the world as the marker of France’s progress through
the achievement of establishing the tallest structure in
the world at the time. It can be pointed out that the
Eiffel Tower was also the marker of France’s step away
from heavy Catholic influence on the culture as the Tower
has no religious connotations, unlike the Notre Dame
before it.31 Could this mean that France was moving into a
secular society as shown in the United States? It also
raises another question and it is does progress cause
secularism to flourish?
30 Jonnes, 85.31 Young, 347.
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The 1889 World Expositions was filled with objects
and sections of life portrayals of the world outside of
Paris and the Parisians got to enjoy seeing what the
reality of the world was.32 In order for France to
reestablish its place in the world stage, this exposition
and the Eiffel Tower was the key and as planned, the
people of the world and other countries were invited to
attend to the World Exposition. However, many countries,
including Britain, Italy and even Romania, refused to go
due to their “bad taste” from the actions of Napoleon
Bonaparte and Napoleon III and their attempts at forming
Empires through European unification, but millions of
Americans flocked to Paris, such as Thomas Edison to show
off his inventions and Annie Oakley to present her Wild
West show that she was famed for with Buffalo Bill Cody.33
The Americans embraced what the French were trying to do:
accept and to work with progress as the Americans are
famed for doing throughout their histories.
32 Young, 340.33 Jonnes, 49.
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However, even if the majority of the world did not
come, the success of the World Exposition and the Eiffel
Tower greatly impacted the other countries. For example,
Fred Lynde, the owner of the Tower Company of London,
attempted to formulate ideas and gather designs to build
a Great Tower of London. When one looks at the beginning
of the guide, Lynde discussed on how the Eiffel Tower has
become the landmark for the next generation of monuments
and will revitalize the way cities will look.34 As the
reader continued to read the guide, he or she will find
that majority of the designs are some kind of variation
of the Eiffel Tower, which is being used as a prototype.
The Eiffel Tower has impacted not just the lives of the
Parisians, but also the world, which reveals that the
world is setting up to move towards a Modernist ideal
system rather than the traditional Romanticist view.
Alexandre Gustave Eiffel proposed a design for an
“Iron Tower,” one that symbolized progress and industry
34 Fred C. Lynde. Illustrated Catalogue for the 68 Competitive Designs for the Great Tower for London. (London: The Tower Company Limited, 1890).
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as well as a marker for the French Revolution, and was
given the time and the money to build the Tower that will
put Paris on the map again. It is the same Tower that the
Parisians, common and famous, rallied against because it
conflicted with their Romanticist view and the Tower also
would go against the cultural norm of the city. However,
with the help of the Bohemians of Montmartre through the
framework of humor and the sense of reality, the
Parisians began to view the Eiffel Tower differently and
began to accept it for what it represented; their
triumphs and progress, an abstract thought. Abstract
thoughts are a hallmark point for the views of Modernism.
The cultural shift of the norms also showed the changing
within the public sphere of the Parisians through their
change of the way their culture works and how and what
information was spread to all classes of Parisians. The
Eiffel Tower pushed onward through all the criticisms and
managed to establish itself into the lifestyle and the
culture of the Parisians while working its way up to the
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Bibliography
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Brigstocke, Julian. “Defiant Laughter: Humour, and the Aesthetics of Place in Late 19th Century Montmartre.” Cultural Geographies, 2011, 217-235.
Cate, Phillip Dennis and Mary Shaw. The Spirit of Montemartre: Cabarets, Humor, and the Avant-Garde, 1875-1905. New Brunswick: Rutgers University, 1996.
Conrad III, Barnaby. “From Paris with Love:a New Palace for Art Now Shines on the Seine.” Smithsonian, 1987, 82-93.
Hussy, Andrew. Paris, a Secret History. New York: Bloomsbury, 2006.
Jackson, Jeffrey H. “Artistic Community and Urban Development in 1920s Montmartre.” French Politics, Culture and Society, 2003,1-25.
Jonnes, Jill. Eiffel's Tower and the World's Fair where Buffalo Bill Beguiled Paris, The Artists Quarreled, and Thomas Edison Become a Count. New York: Viking, 2009.
Le Temps. "Tribune du Jour." Paris: Le Temps, Feb. 14 1887.Obtained from gallica.bnf.fr
Les Chantiers. "Tout Autour de la Tour." Paris: Les Chantiers, Jan. 15 1887. Obtained from gallica.bnf.fr
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Lynde, Fred C. Illustrated Catalogue for the 68 Competitive Designs for the Great Tower for London. London: The Tower Company Limited, 1890.
McAuliffe, Mary. Dawn of Belle Epoque. Toronto: Rowman and Littlefield Publishers, 2011.
Schwartz, Vanessa R. “The Morgue and the Musee Grevin: Understanding the Public Taste for Reality in Fin-de-Siecle Paris.” The Yale Journal of Criticism, 1994, 151-173.
Spielvogal, Jackson. Western Civilization: Volume C: From 1789. Boston: Wadsworth Publishing, 2009.
Sweetman, David. Explosive Acts. New York: Simon and Schuster,1999.
Young, Patrick. “From the Eiffel Tower to the Javanese Dancer: Envisioning Cultural Globalization at the 1889 Paris Exposition.” History Teacher, 2001, 339-362.
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