Sidetracks. Richard Holmes

in the process of capturing and holding the fugitive image.

      Nadar defended the autonomy of his art, with force and pride.

      The theory of photography can be learnt in an hour, and the first practical steps in a day … But what can be learnt far less readily is the moral nature of your subject; it is the rapid reflex which puts you in touch with your model, makes you grasp and judge his habitual style and ideas, and allows you to produce – not some superficial or lucky shot, some indifferent and tasteful reproduction within the range of the meanest laboratory assistant – but the most familiar and the most favourable likeness: la resemblance intime.

      It was an assertion that expressed the effort and experience behind an entire career.

      In 1860 Nadar moved to the address which he consecrated for French photography, on the boulevard des Capucines. He charged 50 francs for a half-plate portrait, and joyfully spread the old ‘bull’s blood’ insignia across his whole decor, even down to the wrapping paper. He always continued to scorn Emperor and Court, leaving royal clientele to the Mediterranean beach-photographer Disderi, in the suitable vulgarity of the boulevard des Italiens. At the grand piano under the open studio windows, Jacques Offenbach was encouraged to play variations on the revolutionary Marseillaise, while the Imperial Guard – martial but tone-deaf–trotted in glittering ranks towards the Place de l’Opéra.

      In 1862 Charles Philipon died, and thereafter Nadar’s energies were increasingly expended in madcap projects. He pioneered flash and aerial photography, and founded a Society for the Promulgation of Heavier Than Air Machines. It was now Daumier’s turn to caricature him, suspended in a balloon with his camera over the Arc de Triomphe, ‘at the height of his art’. He squandered his resources almost to bankruptcy in his own immense scarlet publicity balloon, Le Géant, which the Scientific American stonily reported as capable of carrying eighty persons, a printing press, beds and lavabos, and of course a photographic laboratory. But in a night crash-landing near Hanover, Le Géant nearly killed both him and his faithful, long-suffering wife, and Victor Hugo was moved to propose a relief fund. The Secretary of the Heavier Than Air Society, the young Jules Verne, canonized Nadar as the hero of De la Terre à la Lune – the astronaut Michel Ardan, a final anagrammatic transformation of the fiery nomenclature. ‘He was a dare-devil, a Phaeton driving the Sun’s chariot at break-neck speed, an Icarus with replaceable wings.’

      To the end of his life, Nadar always remained fascinated by the rapport between writers and the photographic image. In calm old age, in 1900, he recalled how Balzac refused to be photographed because he held a Lucretian theory of spectres (like the Sioux Indians), believing that each exposure dissolved some vital layer of life through the malign alchemy of the Dark Room. Nerval and Gautier had proposed a more gothic hypothesis, that each photograph somehow released a fiendish doppelgänger, who might pursue them across the ether until death. Nerval in fact was only ever photographed once, by Nadar in January 1855; it was about a fortnight before the poet committed suicide in the rue de la Vieille-Lanterne.

      But it was Baudelaire who had led the most sustained attack on early photography, in his scathing, salon review of 1859. Pressing home a diatribe against the vapid popular taste for ‘realism’ in art, he thundered prophetically: ‘A revengeful God has answered the supplications of the multitude. His Messiah was Monsieur Daguerre. And the multitude said: “… Art means Photography”. From this moment forth, our vile society, like some Narcissus, rushed to contemplate its own trivial image in the metal plate. A madness, an extraordinary zealotry seized these new worshippers of sunlight. And strange abominations were brought forth.’ It must have seemed ironic in retrospect. For Nadar’s photographic series of Baudelaire between 1854 and 1862 is one of the most expressive documents available about the self-destructive force of the poet’s own life. As it is also one of the triumphs of Nadar’s art.

      Before he died, Baudelaire in turn enshrined Nadar, the photographic witness of the doomed Empire, in one of his own superb images from the late prose poems.

       In a vast plain of glowing embers, he saw Nadar who was collecting salamanders.

      Salamanders: those darting legendary ephemerae, who feed upon a flash of light, and flourish in the fiery heart of destruction.

       GAUTIER IN LONDON

      AS HE WALKED DOWN the Strand one surprisingly sunny morning in March, examining the patriotic engravings of Queen Victoria and Prince Albert smiling domestically from the royal tilbury, Théophile Gautier came upon a barrow boy selling waterproof mackintoshes. It was a matter of generally received knowledge that the imperméable, like those other viscous phenomena, the English glass of stout, the English fog, and the English phlegm, contained something of the philosophical essence of Britain. So Théophile Gautier, poet, litterateur, and – more practically – regular columnist for Paris’s leading daily newspaper La Presse, drew aside to observe.

      It was March 1842. Gautier’s first and most brilliant ballet Giselle had just opened to packed houses in Her Majesty’s Theatre. The manager, Mr Benjamin Lumley, had remarked that the piece was ‘admitted to be vastly pretty’, a judgement which Gautier, who spoke little or no English, received as a generous compliment.

      In the peculiar absence of rain, the barrow boy was obviously anxious to demonstrate that his mackintoshes were genuinely waterproof. To Gautier’s perplexity, he proceeded to nail the circumference of one of the sacred garments to a horizontal wooden frame, suspended alongside the stall. Into the shallow canvas depression thus formed, he emptied a large enamel jug of water. Into the water he tipped a bowl-full of engaging goldfish. He then produced a handful of small fishing lines and, flourishing them, inquired whether any of his customers would care to go fishing.

      Gautier walked on towards Trafalgar Square, where Lord Nelson’s column was gradually arising from a primal chaos of scaffolding and publicity hoardings. He passed the Duke of Northumberland’s house, where a sculpted lion guarded the portal with its tail raised vertically in the air. ‘It is the lion of Percy’, Gautier noted with unaccountable irritation, ‘and never has heraldic lion so grossly abused its right to affect fabulous shapes and forms.’ The English were not only an unreliable and eccentric nation, they were positively bizarre.

      It was Gautier’s first visit to London. He was thirty-one, the esteemed author of an erotic novel Mademoiselle de Maupin, and an arbiter of French literary fashion. In the next twenty years he was to make some five more trips to the British capital, reporting for his newspaper, or simply for his friends, on a variety of national peculiarities, including the Ascot Races, methods of surviving ‘incendiary’ turtle soup, the paintings of Hogarth, the depressions of Sunday afternoon, the camels of Regent’s Park Zoo, Covent Garden, and the Great Apotheosis at the Crystal Palace. Gautier came both as a private citizen of Paris, and as a public representative of civilization, roles that were not easily to be distinguished. Though he could not therefore, on principle, admire – he found himself by rapid turns amused, charmed, distressed, perplexed, outraged. But he never lost that original sense of strangeness, of the obstinate shadows clinging to that metropolis of the northern isles, like the ubiquitous soot which, he recorded with gallic frankness, made one blow black into one’s handkerchief.

      It had struck him, in the larger perspective, even as his steamboat the Harlequin first swung west into the yellow waters of the Thames Estuary at sunset, and a forest of dark chimneys gathered along the low banks, sculpted like colossal towers and obelisks, ‘giving to the horizon an Egyptian air, a vague profile of Thebes or Babylon, of an antediluvian city, a capital of enormities and rebellious pride, something altogether extraordinary’. It was an impression that anticipated another European’s, Joseph Conrad’s in the opening pages of Heart of Darkness, by some fifty years.

      Gautier saw the evidence of Empire in the jostling host of merchant craft, running between the lightships with their great lamps and scarlet paintwork: ships from India, reeking of oriental perfumes and with Lascar crews crowding the rigging, ships from the Baltic and the North