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28-33. F°r tr"s century, see Adrian Rifkin, Street Noises: Parisian pleasure, 1900-40 (Manchester: Manchester University Press, 1993). S I G N S OF THE CITY 70. Choay, "Urbanism and Semiology," p. 170. 71. Molly Nesbit, Mget's Seven Albums (New Haven and London: Yale University Press, 1992), pp. 382-96. 72. Willibald Sauerlander, "Medieval Paris, Center of European taste: Fame and Realities" in Paris: Center of Artistic Enlightenment, Papers in Art History from the Pennyslvania State University, IV (1989), pp.
Vie de Saint Denis, Paris, BN fr, 2090-92; Egbert, Bridges of Medieval Paris. 59. Henry Martin, Les Principaux Manuscrits a peintures de la Bibliotheque de I'Arsenal (Paris: Imprimerie Nationale 1929), plate LXXXV, p. 61. 60. R. de Lespinasse and F. Bonnardot, Les Metiers et corporations de la ville de Paris, XUIe sleek: 'Le Livre de metiers' d'Etienne Boileau (Paris: Imprimerie Nationale, 1879), LXI61. , planche II (Facsimile du BN fr. 24069 fol. i), p. 232; Elizabeth Sears, "Metiers and Merchandise in the Margins of Parisian Manuscripts," paper delivered at the International Congress of Medieval Art, Kalamazoo, Michigan, 1994.
36 Part of this difference can be seen in nomenclature itself. The Maison du sabot or the Maison du cheval blanc—both examples from the seventy-six known house names on three city blocks of the He de la Cite—make a direct association with a visual sign. But religious designations like the Maison de 1'ymage Notre Dame or the Maison de I'ymaige Saint-Kristophe cannot directly designate site and saint. The house of Our Lady would be a church dedicated to the Virgin Mary, so that the phrase "image of played a crucial role in drawing attention to the sign itself as representation of that saint.