Texte remanié de: Th.--Art et archéologie--Strasbourg 2, 1992. Titre de soutenance : Viollet-le-Duc, sources d'une pensée architecturale, genèse d'un imaginaire scientifique. / Bibliogr. p. 287-288.

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Dans une démarche scientifique liant la tradition et l'innovation, cette recherche s'inscrit dans la continuité historique, tout d'abord celle de l'histoire culturelle, du patrimoine, initiée par les premiers travaux portant sur les politiques patrimoniales et les administrations responsables: le Conseil supérieur des Beaux-arts et la thèse de Marie-Claude Genet-Delacroix, l'institution des musées et la patrimonialisation étudiées par Dominique Poulot, puis dans la continuité de l'histoire générale de la restauration, avec les travaux de Jean-Michel Léniaud portant sur le service des Edifices diocésains et des cathédrales, et l'ouvrage de Françoise Bercé traitant des Monuments historiques; et l'innovation en abordant dans ces travaux la question de la restauration à l'œuvre dans une étude comparée des trois chantiers des cathédrales gothiques Notre-Dame de Reims, Notre-Dame de Laon et Notre-Dame de Paris de 1789 à 1914. Au carrefour entre de l'histoire religieuse, de l'histoire de l'art et de l'histoire politique, cette thèse porte sur la restauration monumentale en tant que concept politique, administratif, technique et esthétique, appliqué à tous les monuments anciens, dont les cathédrales gothiques : mais du concept à sa réalisation concrète s'interposent nombre d'actions, de professionnels (maîtres d'œuvres et maîtres d'ouvrages) et interviennent nombre d'obstacles et de facteurs qui en diversifient l'application et la mise en œuvre. Cette étude est une analyse comparée des conditions, des programmes, des modalités et des techniques déployés au XIXe siècle dans les chantiers de ces trois cathédrales. / The scientific approach conducting the present piece of research combines both tradition and innovation; historical continuity on one hand – first of heritage and cultural history – initiated by the first studies on heritage policies and responsible administrations: the “Conseil supérieur des Beaux-arts” and Marie-Claude Genet-Delacroix's thesis, the early museums and the associated heritage effect studied by Dominique Poulot, then continuity of a general history of restoration and the Jean-Michel Léniaud's papers on the “service des Edifices diocésains” and cathedrals, and Françoise Bercé's book on the “Monuments historiques”; innovation on the other hand by focusing here on the question of restoration at work in a comparative study of three gothic cathedrals work sites – Our Lady of Rheims, Our Lady of Laon and Our Lady of Paris – from 1789 to 1914. Intersecting religious history, art history and political history, this research deals with monumental restoration as a political, administrative, technical and aesthetical concept and its application to every ancient monument including gothic cathedrals: but from a concept to its tangible realisation lie numerous actions and professionals (contractors and owners) as well as numerous hindrances and factors that diversify its application and implementation. This study is a comparative analysis of the conditions, programs, modes and technics employed during the 19th century on the three restoration sites.

This thesis examines French architect Eugene-Emmanuel Viollet-le-Duc (1814-1879), who combined eighteenth-century Rationalism with the historicist, anti-academic message of Romanticism, which was impelling the nineteenth-century architectural reform movement into the industrial age. Sources used include Viollet-le-Duc's architectural drawings and published works, particularly volume one of his Entretiens sur l'Architecture. The study is arranged chronologically, and it discusses his career, his restoration work, and his demands for reform of architectural education. One chapter contains a detailed analysis of his Entretiens. This thesis concludes that Viollet-le-Duc was as much a historian as he was an architect, and it notes that his hopes for reform were realized in the twentieth century.

The numerous illustrations--or better yet demonstrations--in Viollet-le-Duc's Dictionnaire Raisonne of Gothic architecture were the most powerful means of implementing biological metaphors in order to transfer or situate the discourse of architecture within the realm of nineteenth century positivistic science. Viollet-le-Duc borrowed dissective strategies of representation from the field of anatomy to implement his alternate 'vision' for appropriating architectural knowledge. By inscribing anatomical metaphors within his architectural drawings, Viollet-le-Duc could filter the viewer's conception of architecture through his own appropriation of anatomy's critical and selective methods of representation. This scientific approach to architectural drawing was in perfect harmony with Viollet-le-Duc's textual and conceptual mission in the Dictionnaire to not only demystify architectural knowledge as practiced at the Ecole des Beaux-Arts, but also to critically reconfigure the reader's relationship to it according to his own system. Through this process, it was his intent to change the public's way of thinking and seeing architecture.

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De retour de ses voyages en Ethiopie, l’explorateur scientifique basco-irlandais, Antoine d’Abbadie, fit appel, en 1864, à l’architecte Eugène-E. Viollet-le-Duc pour édifier sa demeure. Le restaurateur de Notre-Dame de Paris et son collaborateur, Edmond Duthoit, qui fut en charge du suivi du chantier et de la décoration, proposèrent une œuvre originale, voire délirante, rare par son homogénéité stylistique et à l’image des goûts éclectiques de son commanditaire et de son épouse. Pour la construction du château d’Abbadia, ils puisèrent dans des sources d’inspiration associant le Moyen Age, la science, la religion, l’Orient et l’Ethiopie, composant dès lors un véritable métissage artistique. Cette thèse s’intéresse non seulement aux modes d’expression de ces influences, mais elle tente également d’explorer les motivations, les significations et la raison d’être d’une telle mixité sur le plan historique et social. La masse des archives permit, enfin, de mettre en lumière l’important réseau des acteurs, notamment des artistes et artisans renommés, qui participèrent à la construction d’Abbadia. L’étude de cette singulière demeure s’articule donc autour des personnalités affirmées de ses commanditaires tout en resituant le château au sein de l’histoire de l’art et de l’architecture du XIXe siècle. / When he came back from his travel in Ethiopia, the bask-irish scientist explorer, Antoine d’Abbadie, appealed in the architect Eugène-E. Viollet-le-Duc in 1864 in order to build his castle. Notre-Dame de Paris’ restaurator and his associate, Edmond Duthoit, in charge of the construction site and decoration, proponed an original and delirious work, rare from its stylistic homogeneity and in the image of its owner’s and his wife’s eclectic tastes. As for the château d’Abbadia’s building, they drew in several inspirations which associated Middle Ages, science, religion, Orient and Ethiopia, which therefore composed a true artistic interbreeding. This thesis consists in studying these influences’ modes of expression, and besides, it tries to explore the motivations and the meanings of such a mixity on historical and social viewpoint. At last, the massive archives permitted to highlight the important web of the actors, in particular well-known craftsmen and artists, who participated to Abbadia’s building. So the study of this singular home is built around its owner’s assertive personalities while setting the castle in 19th century’s history of art and architecture.