The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 1 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
And, in the midst of all this contradiction, there exists that
simple, virtuous middle class which is preparing to make the ascent
which will lead it to power.
One may imagine oneself in a salon of the _ancien régime_, in which wit
is lord, and laughter and merriment reign. Into that salon enters
abruptly a rough plebeian, with none of the fine tact of that company,
yet a great, aristocratic spirit, a man who despised such a society and
would make the world anew. Such is one's impression of the effect
produced at the time by the appearance of Jean Jacques Rousseau.
Voltaire was the first on the Continent to break through social
barriers, but none the less he coined his heart for gold in society.
Rousseau signifies a great advance: he gave up his place, laid aside
rapier, silk stockings, and perruque, and clothed himself after the
manner of a common man in order to earn his bread as a copier of music.
He is, as Weigandt has called him, the first man of the _bourgeois_
century, the first pioneer of the new age. Against the traditions
bequeathed by the past, which in the course of time had become
over-refined and corrupt, he set up the natural conditions demanded by
reason. His fight against inequalities of rank is, as it were, a
foretaste of the revolution. "What hellish monsters are these
prejudices. I know no dishonourable inferiority other than that of
character or education. A man who is trained to an honourable mind is
the equal of the world; there is no rank in which he would not be in his
place. It is better to look down upon nobility than upon virtue, and the
wife of a charcoal-burner is worthy of more respect than the mistress of
a prince." Those were words in which the coming revolution was presaged.
[Illustration: PORTRAIT OF GOYA. BY HIMSELF.
_From: "Los Capriccios."_]
The _Nouvelle Heloise_ appeared in 1761. Thirteen years later followed
Goethe's _Werther_, that history of a young Titan whose zeal for liberty
felt all the partition walls of Society to be prison walls, and who rose
against everything that was ceremonial, against all the subordinations
of the social hierarchy, against all trivial and rigid rules of prudent
everyday life. Werther abhorred rules in every sphere. "One can say much
in favour of rules, about as much as one can say in praise of
_bourgeois_ society." He scoffed at the Philistines, who daily went
along the same measured way. He saw in "Society," having hitherto moved
in the simple world of the _bourgeois_, "the most sacred and the most
pitiful emotions wholly without clothing." And this Society outraged
him, and sent him with contumely from its midst. "Working folk carried
him to the grave, and no minister of religion followed him."
Public-domain text, read in full here on John Shaqi.
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