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Within existing literature, scholars have most often examined Denis Diderot’s Salons in the contexts of art exhibitions and discourse. While the art world is an apt place to examine his works, this essay intends to broaden the scope of historical inquiry by situating his writing in the context of natural disasters. By approaching his Salons from outside the artistic milieu, I do not intend to imply that the circumstances of the eighteenth-century Parisian art world did not play a major role in Diderot’s work. It did, perhaps first and foremost. I am merely offering the idea that art criticism in France—and especially Diderot’s Salons—developed alongside a cultural consciousness of material durability. Writing about art offered a supplementary type of sustainability. It could conserve not only a literary description of the artwork but also the author’s distinctive experience of it. Diderot’s Salons make for an interesting case study, because his descriptions of art on display at the salon exhibitions are lengthier than any other art critical text written at the time and may lend insight, more broadly, into the power of writing as a tool for art conservation.