#if you look at the basilica and the photos of the cript

[lafcadiosadventures]

From the Cathedral, my companion and myself proceeded to the Tower of St. Michael, where there is a vault which possesses the power of mummifying the bodies placed there. The lowest story of the tower is inhabited by the keeper and his family, who cook their victuals at the entrance of the cavern, and live on a footing of the most intimate familiarity with their frightful neighbours. The man took a lantern, and we descended by the worn steps of a winding staircase into the funeral vault. The corpses, about forty in number, are placed around the vault, with their backs against the wall. This upright position, so different from the general horizontal posture of the dead, gives them a horribly phantom-like appearance of life, especially in the yellow and flickering light of the lantern, which oscillates in the hand of the guide, and causes the shadows to change their place every instant. The imagination of poets and painters has never produced a more horrible nightmare; the most monstrous caprices of Goya, the raving productions of Louis Boulanger, the diabolical creations of Callot and of Teniers, are nothing in comparison, and all the most fantastic writers of ballads are here surpassed. Never did more abominable spectres rise from out the night of a German mind. They are worthy of figuring at the midnight orgies of the Brocken with the witches of Faust. Their faces are distorted and grinning; their skulls have half the flesh peeled off; their sides gape open, exposing, through the grating of their ribs, their lungs, dried and shrivelled up like sponge. In one instance the flesh has crumbled into dust, and the bones protrude; in another, the parchment skin, no longer sustained by the fibres of the cellular tissue, floats round the corpse like a second windingsheet. Not one of the heads possesses that impassible calmness which death imparts, as a last seal, to those whom it touches. Their mouths gape frightfully, as if drawn asunder by the immeasurable weariness of eternity, or grin with the sardonic grin of Nothingness which laughs life to scorn. Their jaws are dislocated, and the muscles of the neck swollen. Their fists are furiously clenched, and their spines writhe in the contortions of despair. They appear enraged at being moved from their tombs, and troubled in their sleep by the curiosity of the profane.

Description of the crypt under the tower of the Basilica of Saint-Michel, Bordeaux, from Théophile Gautier’s Travels in Spain.

Edit: here’s Hugo’s version. (could only find it in french) It’s a nice contrast, Hugo explicitly touches on the christian “vanity of human passions” guilt, mentions the contrast of the outward beauty of the façade and the horror of the crypt (which gautier perhaps didn’t notice bc he arrived there at night) and mixes technology (the telegraph (!) in his visionary description of the bodies, and his desire for communication beyond the grave

#tw: corpse #this is damn well written #the description is not even over there but this is my favorite part #what follows is a really curious paragraph where gautier talks about the mummies almost as if they were art #(well he’s doing this here with the comparisons to callot and goya and co. but he gets specific about the different mummies next #if you look at the basilica and the photos of the cript #the contrast between the luminous beauty of the church and the corpses is very violent #the whole chruch works as a memento mori/vanitas situation in a way #and I’m usually touched by that impossibility many romantics have: they can’t look at life as separate from art #they cannot witness an event or see an object or a person and not draw a parallel with a work of art #theophile gautier #french romantics #travels in spain #the grotesque in romanticism #(wikipedia points out hugo visited this too i wonder if he wrote smthing as well)