By Christian Blondeau
Справочник по головным уборам французской армии времен Первой Империи. С большим количеством иллюстрации.
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The guidebook, ordinarily, makes few claims to greatness. Its great strength, but also its great limitation, is topicality. If customs change almost weekly, as these works often claim, then they are outdated as soon as they are published. The only answer possible is to put together another guidebook (which, indeed, seems to have been the strategy of choice in the 1830s and 1840s). The novel, on the other hand, proclaims its ambition to understand not the day or the week or the year but the century.
2). The mirror image of the aerial panorama is the labyrinth in Hugo's celebrated presentation of the sewers in Les Misérables, the one and the other not the "real" city but a projection of that city.  These scenes—Jules Desmarets' meditations at the burial of his wife in Ferragus and Eu- ― 68 ― gène de Rastignac's defiant challenge at the very end of Le Père Goriot —elaborate the topographical contrast between the subterranean and the aerial city into an analogy between the city of the living and the city of the dead (complicated by the location of the cemetery above the city).
The first, one-volume edition of the Tableau de Paris, which appeared in 1781, contains 105 short, definitely quirky sketches that explore Paris and examine the mores of Parisians.  Mercier does not address foreigners who seek their way around Paris so much as he tells Parisians about themselves and their neighbors, about people and places, which they may not know at all and which, in Mercier's view, they ought to know. "Many of its inhabitants are like foreigners in their own city; this book will perhaps teach them something" ("Préface").