From that time it is professional criticism which suggests to the multitude, and imposes on the mighty, its judgment on the artist. But the criticism is disinterested, or at least can be so. It does not expect of the work of art a direct personal advantage, its own glorification, the vindication of its spiritual and material influence. Its measure, therefore, grows larger and broader. It brings to its office philosophical and æsthetic considerations, which the popes and kings could not know when they gave commissions to the artists, their _protégés_. In order to secure success, the artist must now please the critic—many critics—and the latter pass a verdict on him with perceptions, with taste and spiritual prepossessions that very seldom are those of the bishops and great men. And as the artist has got another tribunal, he also comes before the public under other material and spiritual conditions, and seeks in other ways a market for his work. In feudal times, as we have seen, the church and palace were the places for works of art. They were seen there under circumstances little favourable for a purely æsthetic appreciation. In the cathedral people were intimidated by the significance of the vast space, the acts of faith, and the perfume of incense; in the castle, by the magnificent garments of the officials, and the weapons of the guard. It was in 1673 that a “Salon,” _i.e._, a regular art-exhibition, was opened in Paris; and besides the “Salon” public museums were opened everywhere, to which every one had access without invitation or introduction. The artist was now quite independent; he could work without waiting for orders. He no more needed, in order to become known, to crave humbly a visit to his possibly poverty-stricken studio. Here was a definite place where he could exhibit his work to thousands of spectators—connoisseurs, judges, possible buyers. From that time he worked with an eye to the great public which was sure not to be lacking at his regular rendezvous. If the professional critic became his judge, the mass of people became his Mæcenas. Universal suffrage has dethroned Church and royalty, and remains the artist’s only patron.