L’Ermitage

Hidden in plain sight at 19 Rue de l’Ermitage, L’Ermitage stands as a testament to a bygone era. This neo-Gothic gem whispers tales of 19th-century Paris. It seems out of place amidst the modest faubouriennes constructions and contemporary architecture of Ménilmontant. L’Ermitage has a sibling not too far away, at 70 Rue des Cascades. This hints at the neo-Gothic style’s prevalence in the eastern Parisian neighborhoods. These areas, like Plaine Monceau, Auteuil, and Passy, were urbanized later. They became home to the nouveau riche of the 19th century. These individuals, with their newfound wealth from industry and banking, indulged in fanciful architectural expressions. L’Ermitage and its kin reflect the tastes of this eclectic mix. Artists, painters, sculptors, actresses, singers, and even courtesans embraced the Troubadour style. It was a manifestation of a renewed interest in a romanticized medieval era. The Troubadour style itself emerged during the Empire period as a reaction against neoclassical austerity. Beginning as a pictorial movement, it translated history into anecdotes and striking symbolism. It served as a precursor to the national novel, with Troubadour painters depicting figures whose romantic and exemplary destinies embodied the nation. The Revolution had shaken the old order. Historicism offered a form of tradition, an unbroken thread to the past. Figures like Joan of Arc, Heloise, and Abelard became muses. Archaeological excavations and endangered heritage sparked renewed interest. The English neo-Gothic and German styles influenced decorative arts and architecture. This burgeoning aesthetic, with its eclectic mix, blended Renaissance references with medieval motifs. By the 1820s, Romanticism embraced Troubadour codes. Think Victor Hugo and Viollet-le-Duc, who appropriated a romanticized medieval imagery. This translated into hybrid architectural characteristics. The use of brick brought color back to facades. Ornamentation flourished, with turrets, sculpted balustrades, ogival doors, and grotesque figures adding complexity to decorative schemes. Neo-Gothic reached its peak during the Restoration, continuing under Louis-Philippe. Later Parisian examples like L’Ermitage reveal a resurgence at the end of the 19th century under the Third Republic. Haussmann’s urban regulations, aimed at homogenizing buildings, relaxed. At the turn of the century, patrons indulged their desires for theatrical atmospheres, foreshadowing the advent of Art Nouveau. L’Ermitage’s presence in Ménilmontant adds a unique layer to the neighborhood’s story. It is a whisper of a different time, a different class, in this now vibrant and diverse corner of Paris.