It was that period of the eighteenth century before the Revolution when society was at its worst, the paints and powders that covered its face, the scents which over-perfumed its body, its manners artificial as the antics of marionettes, being emblematic of its state of mind. Society was, in short, so corrupt it could not become any more so, and at length, weary of the search for a new sensation, there was nothing for it but a sudden rebound to some sort of morality. Opportunist philosophers appeared quickly on the scene, and began to preach the pleasant doctrine that man was born very good, full of honesty and good feeling, running over with generosity and all the virtues, and if he did not keep so, it was because the miserable conventions of society had drawn him from the original perfection of his state. To find virtue you must look among those of humble estate, the poor who thought of nothing but their work and the bringing up of their large families. Away, then, from social life and its corruptions, return to the simple ways of the lowly and needy--thus and thus only could France be regenerated! The aristocratic victims of their caste drank all this in eagerly, and their exaggerated efforts to follow the new cult of simplicity made the bitter-tongued Voltaire describe them as “mad with the desire to walk on their hands and feet, so as to imitate as nearly as possible their virtuous ancestors of the woods.” Diderot, whose sudden burning enthusiasms and throbbing eloquence would have carried away his hearers in spite of themselves if they had not been only too eager to listen, was the great apostle of the new doctrine, and, always in extremes, he boldly dragged his moral theories into even the realm of art. “To render virtue charming and vice odious ought to be the object of every honest man who wields a pen, a paint-brush, or the sculptor’s chisel,” he declared. The vivid intelligence of Greuze seized the position, and sure of at least attracting attention if nothing else, he set to work to paint some scene which would fall in with the prevalent “debauch of morals,” as some one called it. Thus, “Le Père qui lit la Bible à ses Enfants” appeared at that psychological moment which does so much to ensure success. Further, it came as a refreshing change to a public weary of the pleasant insipidities of Boucher, of a long-continued series of pale pastorals showing the doubtful pleasures of light love. It was, moreover, a novelty, for no one had painted such subjects before in France. [Illustration: PLATE III.--LA MALÉDICTION PATERNELLE “La Malédiction paternelle,” or “The Father’s Curse,” is in the Louvre, and is one of the best known of Greuze’s moral pictures. It is one of his worst productions. Observe the theatrical attitudes and gestures, the too carefully arranged draperies, etc., of the actors in this exaggerated scene, which in real life would pass in formless disorder and rough confusion.]