Abstract
Documents preserved in the National Archives in Paris permit a new perspective on Viollet-le-Duc. Called in to adjudicate a dispute that arose over the character of one of the glass restorations at Troyes Cathedral in 1851, he was forced to choose between his consummate practical knowledge of glassmaking and his theories about the medium. The judgment he renders in these documents, in conjunction with his article of 1868 on stained glass in the Dictionnaire, shows how selective Viollet-le-Duc's approach to medieval art could be. Underlying this study is the conviction that medievalists must study the nineteenth-century material more carefully in order to understand how the Gothic Revival and its values have affected their views of the Middle Ages.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
