Scribd Logo
Upload

Welcome to Scribd!

  • Enlightenment

    Uploaded by

    honar honarmand
    23 views11 pages
    .

    Copyright

    © © All Rights Reserved

    Available Formats

    PDF or read online from Scribd

    Did you find this document useful?

    Is this content inappropriate?

    Report this Document
    .

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    23 views11 pages

    Enlightenment

    Uploaded by

    honar honarmand
    .

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 11
    Introduction: Order, Progress and Protest The eighteenth century, in which Volare wroteon the age of Louis XIV and Gibbon onthe Roman Empire, has ben ceded withthe redcovery of iS- tory. It as albo bee claimed asthe period in which we in the modern age begin to cecogiae ourselves. The French Revolution of 1788, in particule, appears to mask ofan alms objectively distinct past tha we an learn from ut never feel pat of, and open up an exposure tothe incalelabe that as [rept ot busy ever since. Cang swath betwen two sch very diferent ‘worl the enclosed systems ofthe court autocraces of Europe, based onthe ‘Divine Right of Kings, and che fad and open-ended sociey which asserted the natural eights ofall men to feedom aad equality ~ dhe Revolution has ‘understandably acquired the amas of a rurning point. Famliar images have rounded ou this picture the storming ofthe Bastille; the crowds marching on the French king’s palace at Versus; Wordsworth, Jn Paris in 1790, hing che Revlution as 2 new dawa; the Revoltonares reset the calendar in the fst yea ofthe sew Republi (£792) at Year Ones the ulate beheading of Louis XVI in 1793, Not eveything about the French Rerolutionares violent couse of action was new. Events in Pans had been preceded in 1776, scros the Aan, by the American colois’ Declaration ‘of ndependence fom the Besh Crown, and by the winning of that independ fence by force of arms in 1783. Republicanism worked out on the bass of 2 ‘ew socal contac of equality between constiuent states, and freedom ofall Ctrens unde the law, kad then secured signal success. Nonetheless, when the move to ery came in 1789 ie was on the continent of Europe, on the sol of what Louis XIV, who bad died only seventy years before, had built up into the most powesil of nationstaes. The ether monarchies of the old ‘continent, and ll the sorces of authority, secular and ecesiastia, of what historians have termed the ancien régie, were seized at by the shock ever erations ofan earthquake Lr BWL.GMTENMENT AND THE AGE OF REVOLUTION 1700-1850 When the voence and unforesten fects ofthe Revolution are taken into conn however iti ite context ohich provides is greatest terest for the fednt ofthe ert Thit ook is about eemes of cultural contin throw tvolutionay tines, and the ways in which they related 10 new ideas which nla then, before and after the great pla and socal rupare of 1789. The themes willbe oalined later inthis introduction (pp. 26-7; but the funda ‘ental notion which ies bed them underwrtes te esr pti fom 1700 1 1830, of wach the French Revolsin forms « midpoint. This isthe re Sonship of authority to individual feedom of action. “Such 2 concen had been debated in the general context of human afaits for ceatres, not at by the aseient Geek. Bu ce eightenth centry eX perinced ne cenives to dengage from the absolutism of received rules, dst the play of alerts Some ofthese incentives came fom exiting ramples soviet such as those of England and Helland, where individual probleresoving was encourage bythe Protestant ethic The English const on, balanced bervesn King and Parliament afer the country’s Glorious (and bgodls| Revolason of 1688 which ngaled a Dsch-bora king on the hone, confirmed degee of freedom in the dsuibution of power which received close Sxtenton from continental cbserves. The French writes Voie, visting Eng land in 1726-28, praised that wise Goverment where the Price, al-powerts for doing god, ha is hand ed for doing evi. Volta, a convinced amiter ‘of Louis XIV autocratic organization of the French state, devoted to of his Tetes Phidesophuues on Eagiand (pubis in English in 1733, in French in 1738) to the Engh syste of divided power. "Further incentives came from tbe shared exerci, in an age imbued with the iden of press ofthe powers of rational and esenll secular engi. "Ths happened serss the entire Western World nove enlarged to incude St ‘Petes (und 1705) in Ra and Philadephia (1681) in North Arex- ica In wh later age wat call th ‘nlighteamen, cecal evahation was extended al institutions, and all rected dogma - religious and politcal Nas terpered by a probing sorpticsn. Spreading rom England, a form of ‘theological bli known aden scanned 2 God-crested universe with a con- Fence in human feaoa that many advocass no Jonge fel in established ‘churches. Non- Chetan elpins and cues were increasingly sued (not {bY those of India, a the Wess famiarity withthe sub-continent deepened fowatds 1800), even iin general, Farope’'s estimate oft own cultaral super tory rextained intact ang, for maay, Chistian revelation contined 10 inspite. ‘rom the cear's beginning, characteristic natives were being taken in the individaaly fering cutares of England, rence and Germany, which ‘would hasten the sea of the Ealighenmen In England a fee press ad been ‘Mowed in 165 and wae enjoying the fst fries of active ie, Though po~ ‘cal and soci ater than posophial mars absorbed much ofthis, peess Censeship in continental counties made English newspapers and journals the eny of eightened cic n Europe shat were commited to widening the ‘ses of debate, In France, where Lous XIV's lng reign lasted il 1715, the rovelprococol tat had congealed round the courts at Versailles was lea¥ng ars fee not ont consolidate it famous slns where mates ofthe day were dius bt 0 prove he pis! ub forte expression of Fen “onemporaney in hough and eure sto th eviaed world x Genny, fot erasing nation bot a slcson of avo tes mas the unde on by Lbs 1700 the Bein Academy of cece vig prom commis eran ay he Gay wa oar ete ceatury was ot trough own nlighenment, nd old wp 3 Sesame te vail login omy ° ‘Tre fondamenl opi of owt Elgicnens cou at wll with Nisin esrb Gap Tce apa at ope oe an) von (642-1727, oe Chapter Thee), The Eagish post Poe (6861748) fondo amie ppv pert he een tk rd 19, aro the Channel dd the longr‘ned Vole (1694-177) bat beth the erat of he ere thease eine toms intr own si Pope, Ctl vigin Peta nga wet theft two Gees, pried s como lls Engh fa Th condemned a thea oi poets The Duncld (143), n words of wesome Stan She cores she comes she sable done bbe OF Se re af i efx fn lel clo deny, ‘And ai arg ino ia) ‘esha nai momentary Be, “The meteor dopm ad ins Bh epi ‘Aso by on ed Medes stn ‘he ning sade fo chal hin. or pb fame or pv, aso shi, Nor bana sa fe noe gimps ne! Lat thy dead empire, Chav sored Lip deter thy anctesing word ‘ay band gre Ane whe cara al Aad nea ares basa The sh way of ie wo adil by Voi apen his oem in a kind of ee fl, Vosie by coma des absolut Fancy ad ‘esp rity mayo do ih he Cab Chace no habe swan pl dca oye ps bref ovnenap i opr sl oe sls rigs pence Wak ess ee oe Cn 79) ced in ar eon. 8h Rares Sy nupeen cpg fr ey of ees eee ond oan rato daw oath ae rrr nd enc esa Eigheamen case Html econ suet finial human ho at ao ox eli get earn omen 1 Secon toe hn of niger eg Do onthe dts od Scenes, 1709, and late works) a conn, pou “The ENIGHTERMENT AND THE AGE OF REVOLUTION 1700-850, tsa and a mora desopr Hic eis ening eSeation (Emi ME A ofthe nla ean m etn to goverment (The Scie ‘Gna sppene in 172 He war ole Eager ues he Seem bur tc cy of i son bow men sould Re dking enard whe eas thy could wefly develo, bar bo ‘ioe ture! pe om whch sey came made Ren arco fie ‘Seba forthe Elena tor hee Romance whch lowed. Tug says ety comorsin the abe of eng made ait sexdway wih he edt, mdiing sen the Caton of Geneva, Seon yrs wc Ross hd fan Bory abd wre Vliaetane soe he 170s Enigencd thinkers pesto onthe frre of Now ‘Sncrea where yates an gan wt bis ied side ye theune epican hope tthe Amc wh wee fo yelp ska manana een nae heal) ag the od spss SF are pe ahead a the ech Reva. Under ence Jour {i Hosbry Enperor of sen shld sco in his coun ia 178 adnan 74 Rona Catherine he Great feigned 1762-96) ited Pegencs of mojr pena fom a8 sdvcted by fhe Klan eal ons Ace le fea of cnc egal peed by eine as Gide to toon of aman berm wich feo ileal ‘Go0‘nae fmol he Sal wpa of Fecha Bish efor ee aap St Soy tm the movement ent hr oft nero Sines gw in wength and Wier: Wed os Beta been te fl aden non so solshprpaton at 189. ‘aie nactath cour oped rope wa etn cond eran ary pun potaly wea than eve he mana Sage masse Pde RerSconatesn arin 1791 and he Teor of 199-4 ad sec 0 hae Enighteane hope forthe ty of manta snr sees Nipscoferbo ring Vola, expen os dea of ona TAP war at cabled Earp for en ya The Cole Naolon, SENS fevon ofl eqs sarod nso gies ba for maa Sud tew nos mush of Europe Bute Cong of Viana of 1815, afr {Fund the aso the Paton Sed by ston ners an even, See ir eee te pre Revoanary tapings of royal and eur pone hunts cried poner ay aed Pla bea 2 scl of Ras Soong sutnalame wee aoed which would bre ‘df on ty heal Tg wih tad IEG unl arope oe gee i 848, were te wokat one of ows in ree celts Bala novel of Parse ee hs oa amputee ony m whch bounenmen and nda fag 8 Woah ln oscare pot an penal sane Rastan on om SS nD) ofthe cvs OF ence worl in whch aus pent cold be sat sig so nil een and sleet ez mde bern he ely agen hun he nil Reoaon in Waster ar one ea bs tog eset eves fac paral Dt Ws to —— ——— Semi wie anaeem ereeo spucatna erates santo mang 8 pater sou at eam ate een acy ld gc are et tend wes ot perm eacee anes ate meee meter a reece oer inte cerca aed stn hs Seacitvachute pees meres comngy oe etic eeeeent eae em by a Sencar il eens meget een ered eee eter eer ee mee eee eet stale nt any en eer en istry oa eae nee at Sect ze fon pany cea ote SRT stn se mln rare apa cniesl ane Te teens rege anaes teed a at perc ae times SE oe Cicerone Peay ee yen DS att Sinai ayia ammo ea acted ek te Sealer een SEP poche a ema pe Srl See eer age one een ore roach age cane ee Hed rh iether ae ag cea an ee a re Span eine lage praca “Sugctericeremeao deieargoceet tee snd ace ee eee eye zi le Nite Micoregtyeca areata supra senor eee scitanarereens vera tac. Sento Sp Rae Tatts oa ele Bane at ae comet meen teppei ere Set Toe eee hfe omen Go oni dite el eae emma a es Esa fac erp sar fee oo aah Sede ema eb tnee am rtene ot ee fee ate erage re Soe ae incetacreme seg mae meen te Sesame rb arte em Seb SASS ak eas le een We ENLIGHTENNAOT AND THE AGE OF EVOLUTION 1700-1850 cali’ andthe which expense att subjective eling about that worl, $7 lup gives out ih, find support in the broad, gcneralied spectacle of lana cghtenth cary giving way toa "Romantic sinetecnth, Bot ii ‘portant to eeopiae tha changes inthe ats are never. as clear a helpful elo make out, Wordsworth invocation tothe French Revolution, “Biss ‘sit in that dawn tobe alive lf untouched the painter David's assay SHlowed habit of taking node studies ofthe Figures in his modem ebject sires and peng cloths oo them, Beethoven and Schubert, cogether with “Tendelsolns Chopin nd other composes ofthe early nineteenth entry all ited inthe fevival of rpard foe dhe formal musical sructues which JSBach tad een elsboraing to sock gepping effect close co 1750, Turner and Berlin Temales as we shal sex ~comsanly referred back to che ‘lassi designs ‘fae predecessrs, eis indced the diverse ways in which artis combine the ‘eed ofthe present moment with the vied forms of authority ofthe pst, he spontaneous with the strated, the openess of desire with the fabs fds hat make the entueyand--half from 1700 co 1850 so endlessly ‘warding, Sach combining had akays been made: but never before, peth3P5 ‘Netcumstances which as we shall dase Chapter Fou Tet many arcs sith so strong a seme of tele own individuality. Tea petod of such diversity and eraps of sy, label ate inevitable but inadequate Most ofthe were vented ltr than the art which inspired them. ‘tthe general crreneysoday makes i esental that tome attempt be made to site meaning fo them, and expecially 1 the relationships of soch tes as “Csi (as now aid of eightuth-cenary se, in much vial erate, ‘with acpi C) Baroque and “Romani” one another, Baroque to Classical Long before 1700 ‘asia’ ay embodying the vals of Greece and Rome ‘wlth ad been renewed i aly a dhe Renaissance, had come to represent {or edoated opinoa a vesable touchstone of disiaction by which all ther fv was measure. Ie seu thar disputes conducted through de seventeenth Cenry had asked whether the knowledge that man had accumblated since ‘Anguty had put the Modern in postion of superiority. But Greck and Roman att employed eas of symmetry, balsaee, proportion and messue- ‘beat derived from mathemati. These, lesly, ddl aot ‘progress they car Ted, ener, a changeless power to satify- Preach classicism, in particelas, hil recently pur Gown dee inedible foot in both act and poetry. Ta bis Ties Docoque of 1674 Niwas Boileas had sought dfn de qualities that made casa design vo adiable Reason, he thoogt, bad ben ther eide, Cmivaing all ineseetiale and ielevancies and enabling the poet to arrive Sc' precy alleoberene steer, ln the play of Racine, who died in 1699, ‘Arad’ idea ofthe tragic drama as am objectively complete whole was Upheld bythe poets cbseratin ofthe unites of time, place and action (he lan regu tat all characters sbould bebae in manper consistent with ten a ese ong Te hn om by Lint AV wm wach over te fen ar Scud he tie ey ot Lee parang eect ye ee would be established. x seca a a eee ie es bak Pete earecber heer tertse merited Sine are tl ee Te ene nee ee See eg eee ee ca ted Sr Se aca ares ees a er te eee eee mei Srila i eae ap eer eget ates SUS crak oi owes te oat Scam cre ouy ers gran chur aleae ce amet oe wrist ne Dinca oe ne eae Med scence are gy gee also to illustrace a distinctive characteristic of Baroque art; movement ins given sheet bet en ene Fane ere iene een crite ier stoma Sey Deora eye sa caine aan lara wes ma ot Sova ana pp Cae aan a oa epee shin ae, Cho Ro ce ra Soe Tacit ogee ee eigfat even ca eee un te ts Se eee Oe arene i ae umes hl ee eps ST Tenge here mies Ree 771, 00-1850 chachaen o put ove his mastery of human themes in decorative ceilings and stapes But clements which made Rubers's paling Pig. 1) a natural wars iter of Baroque eet expeilly rich colour and rary of brushtoke — were to reasertthemsches consol, not las in the panting of Wareas ae efowe 1720, Bouche inthe 17505, Gaimsborough and Fragonard fom ‘he 1760s and Delacrob (Mae VI) from the 1820s ‘Wile be visual inprinc ofthe Baroque was srongly reinforced by Rabns in France it had to witetnd the authors of the painter Nicolas Poussin 1594-1665), Soch a painng 3s The Testament of Eadaridasc. 150, Fig. 3), 1 forefuness of ligt and shade chat had come to be par ofthe modern fazogue to which Poosin war sense, but is design has 2 concision and sn auerity which proclaim i asa produce of French classicism, Pousi's ‘asic coincided wit dat ofthe playwright Corelle, and wa microred by ae erally important tapic dramas of Racine, which ineladed the most _Srionalyinenseof French pay, Phedre (1677), ln is bok on eagc drama, eee iene sa the seventeenth ceaery a8 the ‘gent divide’ the hi tory of his subjoc the tages of Corneil and Raine, sen inthe main by ‘tivated aadhences familar with der eighy-constrved casia! plots, were, ‘osceoded ia the eighteenth centary by plays which had to arrat 2 bow trois ple with happy endings.” We halle dat the chssica unites of tie, lsc and action in Racine raged had to ve ground a epatd forthe open ‘race of Shakespeae play grew: bute should ako be said that, however Succes ight chang, the Boed-down forme employed by Corneil and Racine aad abo by Poussin (who worked io Rome, home of cascam) pro ded a cove of everest resource forthe French Literary figures in our ‘pei fom Voie to Stendhal wanted to explore in detail how Racin eat {fo Shakespeare, and putes fom David to Delacroix to eefer back to an which contained Poutsin a well as Rube, The contrast between laa-based Baroque and Feench casi, there foce was expressed pearly through visual media: the Baroque through archi rene scp painting and staged per; French casement, *hrough tape drama and punting (and some achiteceue), Bode sought come trolled elect: tows of Baroque, however by te expansive act of aking the spectator oves those of Freeh dasscism, characeristialy, by compresion, by withholding themsehes, ad by making the spectator wish to follow. When cach approach s controled by a fstratepraticone, asin the ease respectively ‘of Rubens an Poussin, a formidable experince is guranteed, The “Baroque Fie fy Pt Pal Rens (1577-1640), The Hemih Keys. O on pe "While Barequ iting soe equi o expe hgh, elevated themes, ould ao pro animate he Ester, Tha he smalls Spe ope ere rsacamlatve mas all sea below th oon, range india tops have a ern charace, The dyassclyblaced couple ote ih of eh trex cag he aenon of Wares (Fg 2} Rober’ ein Faery 68S, sro ence ping of Pr round mbjets by Wats ower rxom experience of a Rubens painting act quickly, by overcoming time; that of Poussin is slower: ‘a Dance tothe Misc of Time isthe dheme of 2 painting by him inow in the Wallace Colleton, London) Each, however, handles large themes: Rubens lve, war, peace; Poussin love, seri, tbe higher good. Tesdes inheriting Ieaanate Baroqie 2nd French classicism, te eighteenth cenaryreneted old controversics onthe ability ofthe ars (0 aflet the emo ‘Sone. The views of Roman thetorciane, Leonardo da Vine whose notes ‘he subject were publised in Ttalian and French it 1651), Descares (Tate des Passions, 1649), all provided the background 1 ths. Specific demonstra ‘om was hardin the case of music, where mates were bound up with what the Kalan called afet (atecsions, emotion) Ie was easier wo make 1ecom- ‘mendations inthe wsul art, How is fear or hope or despair conveyed though ‘human facial expression or in bodily movement? For the painters ofthe le vested classical or religious subjects that the Baroque age esteemed, Chats Lebrun, in hie Méthode pour apprendre 8 dessiner ler Passos (pablihed 1698), codifed the study of physiognomy, of facial strate and he way thot i evealed feeling, ls work, ranslaed into Dutch, German, alan sd English remain in constant demand throughout te eighteenth extay, a5 “high af? came up for fresh srutiny in the ght of such Works as Hogarc's Election, depicting the pasion a he saw them wockig in his conemporsties (Place th, ‘While Enlghteamene Europe was interested in making shysiognomy asc ence att were f0 find that helped co create new markets for them. The ‘dea thatthe face proclaimed a peron’s character, obsessively stated inthe writings of Johann Lavater (1741-1801), was seated by hi i the fem ‘of silowtte pai’ His books qucky arated Goethe, both sent snd frist. From the 1780s, unl the invention of phorogephy sixty years late, short portraits were in popular demand (se also p- 29) And inthe same period parallels drawn by Lebrun and Lavater between human facial expes onan! tat of animals lent themselves entertaining tothe growing amy of caricature (p. 133). “Another ofthe Rds in which che Warogue overlapped powerfully int the eighteenth century was masi and dancing for theatial presentation, an eee sent ingredient of if atthe princely coats, I the opera houses of Vienna, Pragne and Dresden he lalla tradon of spectaclar achitecaal sets wat also putt fall se, and opera st followed Kalan model (ee Chapter TW0) In France the Kalan bor Giovanni Batista Lally (1632-87), himself a dancer, Fras 2 Jaw Antine Waa (168-172, Two dancing ges afer Rube Re 23.3% 147 em. About 1710 Mii der Ars Décor, Fai The prints, drape vigor that was conspicuous inte dance ovens of county dll stated octet sch t Dice and Robene (Fi ho ‘ove torso he fra compl expend by oo aneeringBgue a {tae One of several suber ny anther notherer, Wats fee Rube [Rema se whinge hae, bower th ighenest of the ghey igre 3: Niclas Pun (1594-166). The Testo of Eudes, Oi Mo's tans. Alow 1645-5, Sie More fr Kans, Cope Fh opel simple moval story fake or the Geek writer Loan A dishing man oe Saat ee ew ih ewe te ie Oe rt duet ght end Toe tee of the megs echoed Pana ls pou in Poh bce pr fe ey beck of sek ning ad stent atid the Neoclcal work of Jt David abe 1 eel Fos Fudan mre y Jean Ps ah eeterth ‘lata ead apolon ta tok te emanng on his ay composed hihy etn comida callaboation wth Mo Sivan shoes patton of opery a alo + dar, ad employe Lally vo recs sbomtealy enc peo, feoporatng ved metres in ee ‘Sve (lame sectonshy andthe Kg sonal enhasasm, ballet, Ove “hein formal no and wi classi sbjec, Lali apie rigue wes cared forwards wih dancing a past of by JanPhippe Remess (1683-1768), who slo composed opi ballets (Les Indes goats, 1735 Dancing wero emain a nandard clement of Pech pes ino the nent Ta suena music to the Baogue prove 2 val, The concerto toss, for grouped players again a fll once body, contin From Gorell (1681743) o Vandel 168571759) The pone ofthe concer or = ry Vials 1678-1743), woe shout 230 caamples fois wm arent the vi, many weet nse JSBach 1688-1780) taste tem for harps Lay because of i lea the Earopean cours, morn mush ies se Baroque as sve label forth period extern sae as 1750, Ths Tipo ar polar othe rod change ta ok place sound the mide of the cemry fan eal of slfcontined ruts than expan or cum form became eb, an tea of Handel (i 1759) meng nt ha of Haydn (bom 1732) Indeed, the climax of the Baroque in mae was markedly tne chan nthe vial arte wat podacng some it grande aterent, txpecily inthe work of Bach and Hand, fier 1700 1m cheumstancs {St removed fom those which bad encouraged the style in tbe seventeath century. The fc that the Barogue provided forthe Calica of aly ow tourhed the Lathernis of Bac, snd in England Hands, rained par in Tal and commanding tue Barogue robust ard gai vay, had to tere the Engh taste for huh entems In Franc, frhermore 9 wa desea of Baroque, introduced a nein at Verses bout 1700 sedate to be ld ‘Rococo’ was fo haves highy-tfecve cousterpat in si “The Rococo i the eae ofthe eighth cours “own yes. Chat sera by an cel enc ghey ied in pratesrathr shape grap, wo bilan seed othe nal charles wich gan tobe populc aod where ‘chamber ma sight be played. Thewe were inpere. tat micas Ta muse Baroque pander nd Rococo inimay DOW an parallel he date of Backs S Mathew Pasion 1727, a that ofthe fur kc of Coupes sites for harpichord (ht "Orde 1730 In he Bach, bas ine ie chs rom below, largescle horas in ovelpping cour tepoit one ofthe cra rer of he Bazogpe = pont sp the ial flow Oi thea we have the impression of «eal of clos enstion opening, fd enfling os nthe Couperin we aren the company of inate pra of people ox moods where soppl ines move error! porated ty ram tne deta bas often ben pointed ou that inthe way that Rococo broke Gown te leet force of he Barge ws preparing he ground fo the is steam he case gs of sansa Composon wich lay abe. AS ‘Wate ighteed Rubens Figs 042) 0 Ware's contemporary Coup, in bir shorer pees, paced en dor pefely shaped for hs ge beating tila is omarnenion he snap of sevenetircentory poet, bet il of unpedcblepoesties Inthe val eld where ha originate, Rocco ‘ouced contemporary minds and mods a any pont. Though is name wes fas weed by dep ee ea Ty (1679-1752) The Kali rom Mare 03,724 gs SASRRSE BE Pn ctcion oe Bogen A ibn Dey ena ed ctw sl nancy of nt iors aga he Heh fre vig oT Sr NS Sem key eer te mpd Reece ei sui fearon wee cred om 3 sof Were TRIS athe londow oh women oe Sr ri cml be eo Be en bec vf he hats of «new: inv Aes eco afc fee const resto oper ok proving classics atthe end ofthe entry its derivation from roalle, "ook Mora woed incladed in the French Acadenty's dictionary of 1741, pointed Tpoldestablsed interes n natural and arial eaves or grotoes in gardens. Geological specimens inciding sels and fosis, were looked at afresh 38 the collecting of such item for gardens spit aay from the time-honoured practice of foning indooe “collector eabines® Shell callctors were meet Ing regularly se Dordrecht, Holland in 1720 and shel auctions were soon (0 beg. Besides the promptings of science, the Rococo was nourished till more by’ desires for fantasy and entertainment, by an appresiaon especially well developed inthe French temperament ofthe ierional alongside te rational fof pleaeure together with stration’ While the reports of Jest missionaries Sbout am apparent utopia thie existed in China were impressing Buropean philosopher ineestn the exotic andthe coleting of chintserie objets made fn Europe in what was imagined to e genuine Chinese ase took on special scsctons. As the Hourshing Fast India tade exposed European Rococo t0 the influence of porcelain ~ x longadmized Western impor fom China ~ Europe found the meaos (at Meissen in 1708) of mansfatoring is own The decorative bilance ofthe Rococo, i fat, ocame localized in inne rmerableealte and their materials: wood, meal, porcelain and hss. The chal Tenge to craftmanship ~ notably i dhe making of furniture frit mounts, and sera never bon genter, and never more labour ntensive, Farther note in adition to clas sophistication, sich work drew oma vast reper tory of natura effets tha te Barogue had largely ignored ~ such as coral, ices, lowing and dripping water. ial, most evealing of al, Rococo design took up with that undasial ingredient, asymmetry (Fi. 4). "The Row spread fom France to appear mos capovatingy in the palaces and charces of Bavaria and usta Ay fom its transports of spt e bod ‘ve may fel that atyle which appears to depend o much on small-scale deal, fr which beak the contin ofthe wal with mitts, asin the Amalienbure, ‘Munich (1734-39, Fg. §), bs feted all sense ofthe permanently arch cecal; Ba this wondesfl oom takes the very ides of iamaterialty to a Dich of fantasy that demands fo be evaluated on is owa terms. Clas sel ‘oncunmene would rca feompae Plate I meanwhile the Rococo, a5 a Sole for occasion, yiklded To n0 competitors tix no accident that chats now provid for maxim relaxation (Fig. 4), nd music became domestic, Thus was the petiod of Taflomak, tables’ ~ informal diveriment or setenades which ight be ened too aleraively provide an agreeable back {round to convertion. Quick movements alteated with slower ~ but not ‘ey slow ones. twas frm experience of comporing fr these occasion that musicians sch a4 Mozart developed their familiarity wih the capabilities of As the immediacy brought about by concerted fores in the an of the Bacoque gave way i the Rococo to greater inmacy, there developed an att of private encounter, often enough herween cedinaty people rather than the famous which showed them conversing fae to face, exchanging letters, bis tening co reading oe aus, The painting of Waters (Patel) and De Teoy Fie 5: Fanis Clits 1695-1768). The Mizor Room, Amalsbus, ‘Npnvbeaburg, Much, Stas by Josta Bap Zammesmaan, 1734-39, lca Feo Marte The noece of Lone IVs Verles quickly spend ro the Geman pene in eect coy, ad the Roca se was pated 0 new nee Wane snd eeacy. Cos or in rote oa ined n Pars, arsed ow evan work Npnphsbur for Ka Allee, tr of Bavaria. The Rabenbory a silosoey balding nto gros, rounded shape, ets Tage wales spa adsl the wake Abowe om wong corse, acco wercine soe Tire ge chandler carr Lah A Soe and ‘Sheree scene ed the bral colar ofthe Wiech, the Hers amy) ae the a of shinee saat. Fig. 4), Haydn and Morar’ trios and quartets ~ offen writen for amateur players and the art of the novel remind us of this (se Chapter Two, 83). By mi-centry the cul of sensi" (Fench seni) was highlghe hv iferences in the interpretation of human behaviour how what appeared 1 vellsmcutoned action frm one point of view might look callous from Soother, Novels and plays explored Prodigal Son-type Fly sore of separa ‘lon and reunion which eveald raryag cro-curens of emotion. One of the Iern0s most cemackable of Frenchmen, Denis Diderot (1713-84), who wrote such ‘rams hinself, wanted the zit who sedied ches simations to be Both phi ‘sopher and, be it nord; masician, Mui’ capacity to ‘fe? the emotions ‘was to be loked at afresh? And to developments Bearing om music ill ‘wet significant. Fie the Fench word gulant, connected earn the cetary With Watteau’s paintings of couples enjoying ech ode's company in country puts the ftes plants, had become attached to mosie witha melodic top Tne anthickened ty Bava coanterpoint from below: ia the middle ofthe enrut, this style came to preva throughout Elightenment Europe. Second, in Germany CPE. Bach was simultaneously projecting Frepfindamet, of ‘eosbiy, in deatatic works foe solo keyboard (p95). Te wat in this larfingaemoephere ehst music entered its so-called ‘Clas ical Period, she age of Haydn, Mozart and early Beethoven. Musi infact di fered from llth ther Western aren th ate eigen ceotury in hat works ‘were now written which for posterity became benchmarks by which every thing produced later ~oreaber was 0 be jaded, Thee were a numberof casns fortis. The Germatepeaing part of Prope foe whch this mus ame were fring a new culorl ident os ehe map of Europe: the German Elightnment, diferent fom tat ofthe French, wil need more comment in Chapter Four ip. 183) Ths was agains @ background of much specalation ‘Tp early sas but leo of enorance ast what precisely Grek and Reman tmusc had been like Plenty of guess wee being made i particule about the music hat had ben par ofthe class hente,Aotiguarian inert were bing pursued, and reflected in academies and festival such asin England, the Three Choirs Testval, founded in about 1715. But the cains of vsble, can sible and leamable classical models, of such moment to eightent-cetury architects, sculptors paisters and poets, id not apply to masiians. Despite the surmive and scholarship, music had no undipute,layable antique meds to respect and ceily none to ive upto. Dideot, at lest, saw no probe: the thoughe occured to hit tha the Ancients were Uikelyw have spene more tine inventing because they had no Ancients of thei ow eo imitate® "Morsone, ews presizly now nthe idle of che century, hat the tue tural shape of ‘sonota fora” wat determined. This concep was to darsinate israel musi in Ezope ino the ene cent. "Sonata form is con ered not oaly with stractare but with the unfolding and resoltion of ideas ‘within ith atypia Sst movement 2 fst theme is stated, hen a second, in 2 diferent (rated) ky; there follows a development of one or bot, and & “ecaptulacon’ in wih the second bene ireconled” wth the Se by being brought into the basi Key. There are endless possible of varying such @ base scheme Furthermore, the scheme of four-moverent sonat for one or eo insu imental yoizes (ay piano, oF Pino and violin) could be adapted for combina ‘on of thee, four or Be players or more (ie, quartets, guint and so on fds in the symphony, For lager force orchestae. Lenin eighteenth ‘enury chamber music and symphonies, we Hind content iting into form with the closeness of a hand inside a glove: Listening to alae sonst ‘gare or phony ave may Be aware of conten pushing form to new Eas Burthe port discipline i sl a charge. The principle of const, so fandz etal eo any dramatic argumen, was foe given 2 special porn in the syphony. The origin ofthe word snfnis, dhe overture to an Talis oper. “This was anally in ae pare fst, slow, fst. Transered to the concer hall ic could become + slicontained instrumental entiy. Mozart’ Symphony No 32 sa tensminoteIalianate sro, With the hundred and four Haydn symphonies andthe forty by Mozart the snfonaeracsformed losing ts howe warming thesia origins, investing elf with the formal parpotes of sonata form, and acquiig the subseance and inper resoutce tat placed i, with the sing guar, 2 he heart of mascal achievement i th mneteenth Music inthe cighrenth and eal ninetenth cents, infact, created it modeen made of spesh, hampered by the past i drow upon, In it sry fonories i turned a cores the hespchord, brillant in omamenttion but Wit is sounds produced by quills, as suceeded by hmm directly responsive to fngertouch, and therefore capable of greter,

    You might also like