A Brush with History Our correspondent's personal reflections on visiting Chevalier Conservation, the world's leading specialist in ancient tapestry repair BY BRUCE CRUMLEY/Paris
Some journeys are best measured in centuries, not centimeters. A mere two kilometers (three Metro stops) separates Time's new digs in Neuilly-sur-Seine from the Chevalier Conservation workshop in nearby Courbevoie, but making that trip involves a voyage far, far back in time.
Nestled in an inconspicuous courtyard on busy but unremark
THEO BAULIG
Inside the studios of Chevalier Conservation, leading experts in conservation and restoration.
able Courbevoie Street, the Chevalier Atelier
has become a revolving door for some of the oldest and history-rich tapestries
in the world. With several tapestries and exquisite rugs undergoing cleaning
and repair at any given time, a visitor to Chevalier is offered a rare
opportunity to literally brush up against unique works representing a
physical link extending hundreds of years into the past.
At such close range, these fleecy historical relics lose any of the abstract
nature that a cold and remote museum display often imposes. Instead they
are the vibrant, colorful mementos passed on by the noble families, courts
and forgotten dignitaries who commissioned and owned them so long, long
ago
"The spark of those owners and the people who created these magnificent
works are still evident in these tapestries," Conservation director Pierre
Chevalier notes to marveling guests. "That's one reason why we work so
hard to conserve them. Once these tapestries are gone, those sparks of
our ancestors will be extinguished."
The skilled Chevalier restoration workers clearly share their boss' passion.
Hardly a head is raised from work as strangers enter the workshop and
wander through. A request to photograph a work station gets just a quick
nod, and perhaps the straightening of a blouse. But the artisans otherwise
refuse to be distracted. The mostly female staff realize their work plays
a vital role in conserving the splendid tapestries before them, but it's
a supporting role nevertheless. "This work requires you remain absolutely
humble in relationship to these objects," Chevalier says. "Given their
splendor and age, that's not a difficult thing to do."
Down a flight of steps from the workshop is Chevalier's office, a simple
space decorated with a fragment of a Portuguese tapestry and a monk's
table inherited from his grandfather both dating from the 17th
century.
Down another flight of stairs is the courtyard (and cohabitating motorcycle
shop) and beyond a street clogged with harried motorists caught in mid-morning
traffic jams.
Some distances are better measured in centuries, rather than centimeters.