The Principles of Aesthetics Part 13

When, on the other hand, an inclosure is small, as in the case of a cell, and especially when the ceiling or vault is low, as in a crypt, it feels cabined and confined, because our own possibilities of movement are restricted. In order to avoid this feeling, if a s.p.a.ce is limited in one direction, it must be free in another; if narrow, it must be long; if small in plan, it must be high, as in a tower.

The form of an inclosed s.p.a.ce is also expressive. There are two chief types, the longitudinal and the radial; but since these may exist either in plan or in elevation, four possibilities result: the longitudinal-horizontal, as in an aisle; the longitudinal-vertical, as in a tower; the radial-horizontal, ill.u.s.trated by every equilateral plan--triangle, square, regular polygon, and above all, the most perfect form of this type, the circle; and finally, the radial-vertical, of which domed s.p.a.ces, like the Pantheon or St. Paul's, are examples. The terms used to designate them, together with the examples, afford a good idea of what these s.p.a.ce forms are, making further description unnecessary. It is interesting to observe how different the expression of the square and the triangle is when they determine the plan of an inclosed s.p.a.ce from what it is when they are the shapes of walls.

[Footnote: Compare Fritz Hoeber: _Systematik der Architekturproportionen_, II, B, a. ] In the case of the latter, according to the a.n.a.lysis which we have given of them, the figures represent an interplay of antagonistic horizontal and vertical forces, about an axis drawn perpendicular to the midpoint of the base line; while as plans they express forces h.o.m.ogeneous in kind radiating from their centers. The feeling of longitudinal forms is one of continued movement, forward or upward as the case may be; when the distance is very great, the feeling is of infinity, either of vista, as in an aisle, or of height, as in a tower, for even when the point at the end is clearly seen and known, we continue it in the imagination. The radial forms, on the other hand, even when the axes are very long, express completeness and security, for no matter how far we go in any one direction, we have to proceed along a line which brings us back to our starting point; in following to the top the movement of the curved line of a dome or an apse, the continuation of the same line carries us down on the other side to a point corresponding to the one from which we set out; if we wander, we return home.

With reference to the division of interiors into parts, the same two types are exemplified which we found in studying the visual and the dynamic aspects of buildings. Either the parts of the interior s.p.a.ce are clearly marked off from each other, and the perception of the whole which they const.i.tute is reached by a process of summation; or else, to one standing within, the s.p.a.ce is first perceived as a whole, and its parts, lacking clear definition, are perceived subsequently. In the former type, the parts are of p.r.o.nounced individuality, and the whole is their free and joint work; in the latter, the parts are merged, and tend to be lost in the whole. These two possibilities exist whether the s.p.a.ce be of radial or longitudinal form. In general, the cla.s.sical styles lend themselves to the coordinate type of division of the interior, while the later styles favor the subordination of the parts to the whole.

The other factors in the beauty of architecture, besides the expression of the forces resident in its forms, can receive only scant notice from us. Among these is light--its admission, exclusion, and diffusion.

A house with ample windows flooded with suns.h.i.+ne shares the feeling of an open day; a cathedral, dimly lighted, stimulates a mood of brooding mystery and meditation, like some dark forest. Another factor is color. Color plays a double part in architecture: first, to enliven the neutral tones of certain materials; and second, to impart specific moods. It was no barbaric taste, but a keen feeling for life and warmth that induced the Greeks to paint their temples; and without their rose windows, Gothic cathedrals are like faces from which the glow of life is departing. The different colors have the same feelings in architecture that they have in painting. The reds and purples of ecclesiastical stained gla.s.s stimulate the pa.s.sion of adoration, the blues deepen it, and the yellows seem to offer a glimpse of heavenly bliss. Sound, its presence or its absence, is another factor in architectural expression: the quiet of the church in contrast with the noise of the busy street outside, the peal of the organ, or the chorus of young voices. Although architecture is a spatial art and music a temporal art, they nevertheless go well together because the emotions aroused by both are vague and voluminous, and the sounds, reverberating from the walls and filling the inclosed s.p.a.ces, seem to fuse with them.

Ornamental carving performs a diversifying and enlivening function similar to that of color. So long as its lines follow those of the architectural forms, it may well be rich and elaborate. It is fitting, moreover, that buildings designed to be houses of the G.o.ds should contain their images, and that the same spirit that expresses itself in playful lines should become embodied in griffin and gargoyle.

Finally, erected in the open, with no shelter or enframement, a building is, in large measure, a part of nature and possesses something of the beauty of nature. Rooted to one place like a tree, it shares the beauty of its site, and responds to the ever varying effects of light and shadow, rain and mist and snow.

The abstract beauty of architecture can be understood without any knowledge of the purposes of buildings. A Hindu who knows nothing of our civilization cannot fail to be responsive to Notre Dame, any more than we can fail to admire the beauty of Taj Mahal. The very simplest architectural forms, like the pyramids or the Was.h.i.+ngton monument, provided they are of sufficient size and ma.s.s, speak an eloquent language which is immediately understood. And the content of their speech is not so abstract as might be judged from our previous studies of it; for in architecture, as in music, concrete emotions and sentiments flow into the channel cut by the form. Longing, aspiration, and mystery have universally been felt into a form pointing skyward; and the feeling of incompleteness has been lost, and security regained, in an overarching dome.

There is, however, this difference between architecture and music. In music, the emotional content is purely personal; while in architecture, it may become social and historical. Architectural purposes are all social: the purposes of a family, a nation, a cult. And the purposes of the greatest of buildings--of those which serve the nation and religion--are also historical; about them gather the traditions of a community. Centers of the life of a people, created by it and enduring with it, they become its symbols; or outlasting it, memorials and witnesses to it. The vague emotions aroused by the architectural forms are pointed and enriched by this spirit: the vastness, seclusion, magnificence, mystery, and aspiration of the Gothic cathedral become a.s.sociated with the life of the medieval Catholic church; the fine balance, clarity, and simplicity of the Greek temple with the best in Greek culture. This interpretation of a building in terms of its purpose and history is necessary to a complete aesthetic appreciation. Without it, a building may have many beauties, all the beauties which we have a.n.a.lyzed; but they are all separate, and there is no beauty of the whole. It is the life which the many parts and aspects serve that makes them into one.

I shall close this chapter with a brief discussion of architectural composition. The unity of a building is const.i.tuted primarily by the necessary adjustment of part to part which makes possible the life that it incloses. How the parts serve this purpose is not immediately evident to intuition; nor can it be; yet it should be intelligible to a thoughtful study. The knowledge thus gained may then enter into an imaginative vision, for which the building will seem like an organism pulsing with life.

This purposive unity cannot well be secured without spatial contiguity; here, as in sculpture, a unified life demands a unified material. Yet sometimes detached structures belong together functionally, and may be felt as one aesthetically, provided they are similar in design and some one of them is dominant; otherwise, each claims to be a distinct individual, and aesthetic rivalry is the result.

Functional unity, although necessary, is not sufficient for aesthetic unity; in addition, there must be formal unity--design, composition.

To study this adequately would require a separate treatise, which has not yet been written, so far as I know, with anything approaching philosophical depth and completeness; but for our plan it will be sufficient to show how the general principles of aesthetic form are ill.u.s.trated in architecture; and because of the perspicuity of things spatial, these principles are nowhere else so lucidly manifest.

Since architecture is a spatial art, unity in variety is chiefly a matter of harmony and balance rather than of evolution, and of these harmony is perhaps the most conspicuous. Harmony is secured in many ways.

First, by giving the whole building or parts of the building a simple geometrical form readily perceived,--for example, the cruciform plan of many Gothic cathedrals, the oblong plan and oblong surmounted by a triangle in the facade of the Greek temple, the octagonal shape of a Renaissance chapel. A higher degree of harmony is obtained when the same shape is repeated throughout the various parts of the building,--the cylinder in the columns, the triangle or semicircle in the arches and gables. A step further is taken in the same direction when the different similar parts are all of the same size, as in the Greek temple, where the columns are all of one size, and similar parts of columns of equal size, and the metopes and triglyphs likewise.

A more complex type of harmony, since it admits of greater variety, is proportionality. Proportionality may be of various kinds. It may be merely the existence of a definite numerical relation between the dimensions of single parts, or the areas of various parts, of a building. This, in turn, may be either a simple arithmetical relation, such as exists between the parts of a Greek facade, each being some simple multiple of the unit or module; or a more complex relation like the Golden Section, where the smaller is to the larger dimension as the larger is to the sum of both; or like that which obtains when different parts form a geometrical series, where each is smaller or larger than the preceding by some fraction of the latter. The relation between the length and breadth of the facade of the Ducal Palace in Florence ill.u.s.trates the Golden Section; the heights of the stories of the Peller House in Nuremberg form a geometrical series. This type of harmony is most complete when the proportion between the dimensions of the different parts is the same as that of the whole building,--by the ancients called _concinnitas_ because it produces a feeling akin to that of musical harmony. Dominance of a particular kind of line, horizontal or vertical, also gives harmony. Finally, harmony is secured by sameness of direction of line: the alignment of windows or parallelism between moldings dividing the surfaces of walls, for example.

The relations, so seemingly mathematical, upon which architectural harmony is based, need not be exact, for two reasons: minor deviations are not perceptible, and even when perceptible, they give to the whole a feeling of life. Our experience with living things has taught us that, despite their orderliness, there is no exact mathematical regularity in their proportions; hence forms which cannot be precisely formulated are better fitted to symbolize life to us than the rigidly geometrical. The same experience has taught us that the curvilinear forms are closer to life than the angular; hence again the tendency, for aesthetic purposes, to introduce minute departures from the plumb-line and rule. There is, however, a type of life specifically human, the life of reason, which is best symbolized by mathematical relations; hence the Greeks, and all those who have followed the cla.s.sical ideal, all who have had a pa.s.sion for reason, have felt the circle and the square, and every other exact embodiment of clarity and intelligence, to be beautiful. In no other art has the pa.s.sion for the intelligible been so perfectly expressed as in cla.s.sical architecture.

Next in importance to harmony as a mode of unity in variety in architecture is balance. Balance implies emphatic variety, or contrast.

One mode of balance, that between the upward and the downward tendencies, we have already discussed. There is another mode, similar to that which exists in painting and sculpture, the balance between the right and left members of a building. In order that this type of balance may be appreciated, there must be some axis or line of mediation between the parts, from which the opposing tendencies take their start; otherwise we view the parts together, instead of in opposition. For example, there is balance between two wings of a building which are separated by some central member or link; balance between the aisles of a church on either side of the nave; balance between the sets of three columns right and left of the door in the Greek hexastyle temple.

Such cases of symmetry between equal right and left parts are the simplest examples of balance; but there are other, more complex types.

For example, the parts may be unequal, yet balance nevertheless, provided their inequality is compensated for by some enrichment of design or ornament in the lesser part. Or again, there may be a balance between contrasting shapes, such as the square and the triangle, when they make an equal claim upon the attention.

Although, since architecture is a static art, evolution is not so important as harmony and balance, it exists nevertheless. In a colonnade, as you look down it, with the height of the columns diminis.h.i.+ng in perspective, there is a rhythmical movement of eye and attention toward the last column as a goal. There is the same rhythmical movement in following the arches on either side of the nave of a church leading to the apse.

There is a rhythmical movement in the progressive diminution of the height of the stories of a building, going towards the top. In such spatio-temporal rhythms, the proportional equality between the members corresponds to the equal intervals in temporal rhythms, and the alternation between member and intervening s.p.a.ce, or between member and line of division, corresponds to the alternation between heavy and light accents. Last, evolution is present in architecture, whenever, often without rhythmical divisions, the attention is impelled to move along lines that meet at a point which serves as a climax, as in all triangular forms where the lines lead up to the apex,--pointed windows or arches, towers ending in belfries or pinnacles.

Dominance, with its correlative, subordination, are everywhere present in architecture. In general, size and a central position, which usually go together, determine preeminence. The largest ma.s.ses and those which occupy a central position inevitably rule the others. The towers and the facade dominate the exterior of a Gothic cathedral, the middle doorway is superior to those which flank it, and within, the central and larger nave dominates the smaller aisles on either side. When there are many dominant elements, as is necessarily the case in a large building, they must be unified by balance, if there are two, or by subordination to one of them, if three or more; otherwise, each claims to be the whole and the building falls apart into its members. There cannot well be three vertical dominant parts, because the central one makes a claim to preeminence which cannot be satisfied without superiority in size. A central member should, therefore, either be made larger than those flanking it, or else should be reduced to the status of a mere subordinate link between the others.

In the horizontal division of a building into stories--as, for example, in the Palazzo Farnese near Rome--it is easier for the prominent parts to be equal, because they are better united by the evident contiguity of their ma.s.ses, by their inclosure in a simple geometrical shape, and enframement between base and overhanging cornice. Yet here also we observe the tendency to make the middle larger or otherwise dominant, exemplified even in the building cited, where the central part is distinguished by the ornamental s.h.i.+eld, upon which the attention is focused. When there are four horizontal divisions, our tendency is to divide them into groups of two; but unless this grouping is clearly marked by a molding or other such device, our purpose is defeated because each of the two can itself be divided into two parts, whence we get the four parts again, among which there is not sufficient unity.

When, however, there are more than four stories, they cease to function as individuals and become members of a series, the rhythm of which creates the necessary unity. Even in this case, however, the tendency toward grouping into three with the middle dominant persists; for, as a rule, the stories are divided by moldings into three parts, of which the central part is the largest. Four equal stories are difficult because they at once resist an arrangement into threes and yet fall short of being the series which they suggest. When a series of stories is divided into three parts, a superior aesthetic effect is gained if the height of each story diminishes in some regular ratio from the bottom to the top, thus expressing the gradual overcoming of the downward force by the upward,--the rhythm becomes dynamical as well as kinematical.

All good architectural styles ill.u.s.trate the principle of impartiality, which demands the careful elaboration of parts. Yet, as we have indicated, there are two possibilities: some styles are founded on the idea of the subordination of the parts to the whole, and so permit of a less elaborate execution of details, while others are based on the idea of coordination among the parts within the whole, and so require that each part be vividly clear, distinct from the others, and possessed of a p.r.o.nounced individual beauty. These two types are exemplified in each of the three aspects of a building--the visual, the dynamic, and the voluminal. For the Greek and Roman architecture and for that of the Renaissance, the former was the ideal; while the latter is clearly characteristic of the more modern forms; between these stand the Byzantine, Romanesque, and Gothic, in which a union of the two types, in what has well been called an organic type, was attempted, and perhaps achieved in the last. The former has the feeling of the mechanical, rational view of life, which is the cla.s.sical; the latter has the feeling of the mystical and organic view, which is modern.[Footnote: See P. Frankl, _Die Entwieklungsphasen der neueren Baukunst_, 1914.]

CHAPTER XIV

THE FUNCTION OF ART: ART AND MORALITY

That an interest is innocent and pleasure giving is no longer considered sufficient to justify its existence; it must also, in order to be sanctioned in our jealous and economical world, prove itself a beneficent influence upon the total man and the group. For the time being at least, the day of _laissez-faire_ is done; men can no longer appeal to their personal needs, their inner necessities, or even their consciences, in defense of their activities. Public opinion, and sometimes reason, are the only arbiters of right. It may well happen that, in a new age, men will be more generous and less exacting, once again recognizing inherent rights in spontaneous activities; but that age is not ours. Not even art can claim privilege; in vain will the artist boast of his genius or the art-lover of his delights, if he can exhibit no pervasive good. It is not enough, therefore, that we should have described the peculiar, inward value of art; we must further establish that it has a function in the general life.

Three cla.s.ses of people, the puritans, the philistines, and the proletarians, question the value of art in this sense. These cla.s.ses are, of course, not new to our civilization, but are rather perennial types of human nature, appearing under one or another name and guise in every age. To the puritan, art is immoral; to the philistine, it is useless; to the proletarian, it is a cruel waste.

One ill.u.s.tration of the complexity of human culture is the fact that art has now been regarded as the symbol and ally of goodness, and now as its enemy. This paradox can, I think, be partly explained by making a distinction between the ethical and the moral point of view regarding conduct. From the one point of view, the good belongs to all free, creative acts that look toward the growth and happiness of individuals; from the other point of view, it consists in conformity to law, convention, and custom. It is evident that these two att.i.tudes must sometimes come into open or secret conflict. For law and convention represent either an effort to fix and stabilize modes of conduct that have proved themselves to be good under certain conditions; or else, as is more often true than is admitted, an attempt to generalize the good of some special cla.s.s or type of men and impose it as a norm for all; and obviously these efforts will, from time to time, be opposed either to the freedom of individuals, or to their growth, under changing conditions.

Now in the sense defined, the spirit of art is fundamentally ethical and, at the same time, fundamentally non-moral. It is fundamentally ethical, for art is itself a freely creative and happy activity, and tends to propagate itself in spontaneity in other fields; it is an inspiration in every struggle for liberty and the remolding of the world. The artist and art lover, who value the expression of individuality in art, cannot fail to appreciate it outside of art. On the other hand, the spirit of art is fundamentally non-moral, for the sthetic att.i.tude is one of sympathy--an attempt at once to express life and to feel at one with it; it demands of us that we take the point of view of the life expressed and, for the moment at any rate, refrain from a merely external judgment. Through art we are compelled to sympathize with the aspiration towards growth, towards happiness, even when it leads to rebellion against our own standards and towards what we call sin. The sympathy, realism, and imagination of art are antagonistic to conformist morality. By making us intimately acquainted with individuals, art leads to skepticism of all general rules.

The puritan, therefore, who is an exponent of the extremest and narrowest conformist morality, is more nearly right in his interpretation of the relation between art and morality than more liberal people who, because of their love of art, seek to ignore or palliate the facts. Hence, in order to defend art, one must reckon seriously with the puritan.

The puritan is fearful, above all, of works of art that represent moral evil. The method of artistic representation, which aims at awakening sympathy for the life portrayed, is bound, he thinks, to demoralize both the artist and the spectator. But art is something more than sympathy, and there are other aspects of the aesthetic experience which tend to render that sympathy innocuous, even from the standpoint of the puritan. In the first place, the sympathy is usually with an imagined life that has no direct relation to the will and gives the spectator no opportunity to enter into and share it--he partic.i.p.ates through the imagination, not through the senses. Moreover, neither the mind nor the will is a _tabula rasa_; no mature person comes to a work of art without certain habits and preferences already predetermined, which no mere imagination can destroy, but only, if at all, some concrete opportunity and temptation. Hence men can lead a manifold life, partly in the imagination and partly in action, without any corruption of heart or paralysis of will. In real conduct, to lead a double life is demoralizing because there choices are exclusive and each of the two lives tends to interfere with and spoil the other; but imagination does not conflict with reality, for they have no point of contact and do not belong to the same world.

In the second place, a work of art is an appeal to mind as well as to sympathetic feeling. It is no mere stirring of emotion and pa.s.sion, but a means to insight into them. The att.i.tude of reflection which it engenders is unfavorable to impetuous action. Providing no immediate stimulus to action, it allows time for a better second thought to intervene. Even when it offers suggestions for unwonted acts, it furnishes the spirit and the knowledge requisite for determining whether they will fit into the scheme of life of the spectator. It is characteristic of the puritanic critics of art, in their eagerness to find motives for condemnation, to overlook this element of reflection.

It is forgotten, finally, that by providing an imaginative experience of pa.s.sion and adventure, art often becomes rather a subst.i.tute for than an incentive to them. The perfection of form, the deep repose and circle-like completeness of the work of art, tend to prevent one from seeking a corresponding real experience, which would have none of these qualities, but perhaps only misery and wear and tear instead. Thus the work of art may propagate itself in a search for new aesthetic experiences rather than in a.n.a.logous conduct.

To the artist who is living the evil life which he expresses, there can be even less danger in expression, than to the spectator. For the expression is not the cause of his life, but only its efflorescence.

The roots of evil lie deep below in the subsoil of instinct. Without expression, life would be much the same, only secret instead of articulate. The puritan shows a shocking naivete in thinking that he can reform life by destroying its utterance. Moreover, to express life implies a certain mastery over it, a power of detachment and reflection, which are fundamentally ethical and may lead to a new way of living.

Every form of life has an inalienable right to expression. In order to be judged fairly, it must be allowed to plead for itself, and art is its best spokesman. And that we should know life sympathetically is of practical importance; for otherwise we shall not know how to change it or indeed that it ought to be changed at all. Only by knowing other ways of life can we be certain of the relative worth of our own way; knowledge alone gives cert.i.tude. Without knowledge we run the risk of becoming ruthless destroyers of things which an intelligent sympathy might well preserve and find a place for in the world.

To all these considerations the puritan will doubtless oppose a truth impossible to deny. Experience, he will say, is one, not many; imagination and action are not separated by an impa.s.sable wall; things merely imagined or dreamed, even when they do not directly issue in action, may nevertheless influence conduct through a slow and subtle transforming effect upon the sentiments and valuations which make up its background. Character can be maintained only by a vigilant and steady control over impulses which are always threatening rebellion; purity of mind only through the rigid exclusion of the sensual, luxurious, and ign.o.ble; imaginative sympathy with evil, even when sublimated in art, must necessarily undermine the one and becloud the other. "If thine eye offend thee, cut it out and cast it from thee."

The truth which the puritan announces does not, I think, warrant the inference which he draws from it or alter the situation as I have described it. For morality, to be genuine, must be a choice; the good must know its alternative or it is not good. Only those who already have a penchant for sin will be corrupted by imaginative sympathy with pa.s.sion; a character that cannot resist such an influence is already undermined. Life itself is the great temptation; how can one who cannot look with equanimity upon statues and pictures fail to be seduced by live men and women? If men can resist the suggestions that emanate from life they can surely withstand those that come from art. And mere purity of mind is not equal in value to that insight into the whole of life which a freely creative art provides. We wish to penetrate sympathetically all of our existence; nothing human shall remain foreign to us; we would enter into it all; there is no region of the grotesque, the infernal, or the sinful from which we would be shut out. In comparison with the sublimity of this demand for the complete appreciation of life, the warnings of a rigorous moralism seem timorous, and the sanctuary of purity in which it would have us take refuge, a prison.

Whatever conflict there may be between the spirit of art and conformist morality, there is none with a genuine and rational ethics. For the latter would formulate ways of living suited to the diversity of individuals and sympathetic with their every impulse and fancy. It would impose external constraint only where necessary for the existence and perpetuation of social life, leaving to personal tact, good will, and temperance the finer adjustments of strain. But apart from aesthetic culture, there can be no rational morality, for that alone engenders the imaginative sympathy with individual diversity upon which the latter rests. Without imaginative sympathy morality will always be coa.r.s.e, ruthless, and expressive of the needs and sentiments of some special type which sets out to reform or govern the world. Under such a regimen, which is actual in every community devoid of imagination, virtue must always remain suspect and vice tolerable; the one a hypocrisy, the other a secret and venial indulgence, and nature will take its revenge upon the law in violent or perverse compensations.

Hence, instead of being a hindrance, art ought to be a help to a rational morality: its realism should foster sincerity, its imagination, sympathy and justice. The moralist inspired by art would seek to impose upon men only that kind of form and order which is characteristic of art--one which respects the peculiarities of the material with which it works, and issues in a system in which all elements freely partic.i.p.ate. [Footnote: Compare Schiller, _On the Aesthetic Education of Man_, Fourth Letter: "The civilized man makes nature his friend, and honors her freedom, while he merely fetters her caprice."]

The philistine's objection to art is that it is useless. And if we only knew what was really useful, this would be a d.a.m.ning indictment.

But, not being much given to abstract reflection, the philistine is usually at a loss to inform us. However, by talking with him, we can eventually divine what he thinks the useful to be. Useful is what contributes to the procurement of those things which he and his congeners value--material wealth, power, and sensual enjoyment. Art is useless because it will not prepare a banquet, build a bridge, or help to run a business corporation. The artist is a contemptible fellow because he cares more for his art than for the things of the world; for whatever the worldling values he thinks every one else should value.

To the artist, criticism of this kind seems to betray the most shameless arrogance, and he meets contempt with contempt. Who is he that would be the judge between worldly goods and beauty? Surely the philistine is no competent judge; for he only can judge fairly between two values who appreciates both, and, by his own confession, the philistine does not appreciate art. Hence the claim of the philistine seems not to merit consideration. Through his lack of sympathy for art, he puts himself beyond the possibility of fruitful debate. In this he is unlike the puritan, who is often all too sensitive to beauty for his own good--hence his alarms.

If the objection of the philistine were the same as the proletarian's, that art is a luxury, a waste of the energies of the community, which might better be employed in feeding the hungry and saving sinners, it would be more worthy of a hearing; and so he often represents it. But in this he is hardly sincere; and the appropriate answer is a _tu quoque_, the fitting reply to every piece of insincere criticism.

Does the philistine feed the poor and save the sinners? Who is commonly more careless of the workers' needs and more cruel to the fallen in his self-righteous probity? For the philistine is often a puritan.

And who is more luxurious than he? Who consumes more in his own person of the energies of the toilers? It costs little to maintain an artist, but it taxes thousands to support the philistine and his wife. Of course, in return, the worldling performs a service to the community in the organization of industries, but many of these do not sustain the needs of the ma.s.ses and are devoted to the manufacture of luxuries for the well-to-do.

The insincerity of the philistine's att.i.tude is disclosed by his changed att.i.tude towards the artist who acquires fame and wealth through his art. For now that the artist shows himself capable of getting the things the philistine values, the latter accords him esteem. Or let an interest in art become fas.h.i.+onable, and once again the philistine is won over.

The traditional hostility between the philistine and the artist is offensive to reason, which would discover points of contact and reconciliation between all att.i.tudes. One apparent place of meeting might seem to be just the worldling's love of luxury itself. Luxury is a development of pleasure of sense beyond the necessary, paralleling the freedom and refinement of sensation in art. There is, moreover, a certain imaginative quality in reputation and glory, so well-prized by the worldling, which, as we shall see, is akin to the ideality of art. And yet both the imagination and the luxury of the worldling are usually lacking in one element essential to real kins.h.i.+p with the spirit of art--disinterestedness. The worldling's dreams of glory are projections of ambition, his luxuries subtle stimulations of appet.i.te or instruments of display, her self-adornment a fine self-exhibition or coquetry. The love of insight, the free emotion, the enjoyment of sensuous harmonies for their own sake, are lacking or subordinate.

Glory and luxury are too often mere masks of ambition and appet.i.te, and at best counterfeits of beauty. Nevertheless, the luxurious developments of ambition and appet.i.te are ever on the verge of tending toward the aesthetic. For when ambition has no longer to struggle against the world and is satisfied, the imagination that served it may become free; and when appet.i.te is cloyed, the instrumentalities of sensuous pleasure can find a new meaning as beautiful. Then the worldling becomes the patron of the artist and the two are reconciled. And all along this result was preparing. For instinct seldom completely dominates imagination and sensation; there is always some aesthetic freedom in the self-adornment and display of the wealthy. The absence of anxiety may release aesthetic interests that would have died in the struggle for existence; prosperity is often the herald of beauty.

The proletarian's criticism of art is of unimpeachable sincerity, for when he talks of art as a luxury he speaks from the heart and in answer to bitter experience of want. There is a genuine element of moral indignation in his feeling that there must be something wrong with a public conscience that countenances, even glorifies extravagance, all the while that women slave and children die of underfeeding and neglect.

This feeling is intensified when he compares the thousands paid for a single hour of a prima donna's song or a playwright's wit with his own yearly wage laboriously earned. What supreme worth does art possess that it should be valued so disproportionately?