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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one of the most popular monuments in the world, as we

know it today.

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Bibliography

“Blueprints of Eiffel’s Tower.” Posted by Chris Wild. Retronaut: a warehouse for time capsules. Obtained Nov. 18 2012. http://www.howtobearetronaut.com/2010/11/blueprints-to-the-eiffel-tower/

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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