Will Durant - The Story of Civilization 10

BY WILL DURANT

The Story of Philosophy
Transition
The Pleasure of Philosophy
Adventures in Genius

BY WILL AND ARIEL DURANT

T HE S TORY OF C IVILIZATION

1. Our Oriental Heritage
2. The Life of Greece
3. Caesar and Christ
4. The Age of Faith
5.The Renaissance
6.The Reformation
7. The Age of Reason Begins
8. The Age of Louis XIV
9. The Age of Voltaire
10. Rousseau and Revolution
11. The Age of Napoleon

The Lessons of History
Interpretation of Life
A Dual Autobiography

COPYRIGHT 1967 BY WILL AND ARIEL DURANT
ALL RIGHTS RESERVED
INCLUDING THE RIGHT OF REPRODUCTION
IN WHOLE OR IN PART IN ANY FORM
PUBLISHED BY SIMON AND SCHUSTER
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SIMON & SCHUSTER BUILDING
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OF SIMON & SCHUSTER

ISBN 0-671-63058-X
eISBN -13 :978-1-45164-767-9
LIBRARY OF CONGRESS CATALOG CARD NUMBER 67-14239
DESIGNED BY EVE METZ
MANUFACTURED IN THE UNITED STATES OF AMERICA

TO OUR BELOVED DAUGHTER
ETHEL BENVENUTA
WHO, THROUGH ALL THESE VOLUMES, HAS BEEN
OUR HELP AND OUR INSPIRATION

Dear Reader:

This is the concluding volume of that Story of Civilization to which we devoted ourselves in 1929, and which has been the daily chore and solace of our lives ever since.

Our aim has been to write integral history: to discover and record the economic, political, spiritual, moral, and cultural activities of each civilization, in each age, as interrelated elements in one whole called life, and to humanize the narrative with studies of the protagonists in each act of the continuing drama. While recognizing the importance of government and statesmanship, we have given the political history of each period and state as the oft-told background, rather than the substance or essence of the tale; our chief interest was in the history of the mind. Hence in matters economic and political we have relied considerably upon secondary sources, while in religion, philosophy, science, literature, music, and art we have tried to go to the sources: to see each faith at work in its own habitat, to study the epochal philosophies in their major productions, to visit the art in its native site or later home, to enjoy the masterpieces of the worlds literature, often in their own language, and to hear the great musical compositions again and again, if only by plucking them out of the miraculous air. For these purposes we have traveled around the world twice, and through Europe unnumbered times from 1912 to 1966. The humane reader will understand that it would have been impossible, in our one lifetime, to go to the original sources in economics and politics as well, through the sixty centuries and twenty civilizations of history. We have had to accept limits, and acknowledge our limitations.

We regret that we allowed our fascination with each canto of mans epic to hold us too willingly, with the result that we find ourselves exhausted on reaching the French Revolution. We know that this event did not end history, but it ends us. Unquestionably our integral and inclusive method has led us to give to most of these volumes a burdensome length. If we had written shredded historythe account of one nation or period or subjectwe might have spared the readers time and arms; but to visualize all phases in one narrative for several nations in a given period required space for the details needed to bring the events and the personalities to life. Each reader will feel that the book is too long, and that the treatment of his own nation or specialty is too brief.

French and English readers may wish to confine their first perusal of this volume to vision Europe as a whole in those thirty-three eventful years from the Seven Years War to the French Revolution.

We shall not sin at such length again; but if we manage to elude the Reaper for another year or two we hope to offer a summarizing essay on The Lessons of History.

W ILL AND A RIEL D URANT

Los Angeles
May 1, 1967

We are grateful to Yale University and the McGraw-Hill Book Company for permission to quote from Boswell on the Grand Tour: Germany and Switzerland, and from Boswell in Holland. It would be difficult to write about Boswell without nibbling at the feast offered by the Yale Editions of the Private Papers of James Boswell, so carefully edited and so handsomely published.

We are indebted also to the author and to W. W. Norton & Company for permission to quote a letter from Marc Pincherles excellent Vivaldi.

Our warm appreciation to Sarah and Harry Kaufman for their long and patient help in classifying the material, and to our daughter Ethel for not only typing the manuscript immaculately, but for improving the text in many ways. Our thanks to Mrs. Vera Schneider for her scholarly editing of the manuscript.

NOTES ON THE USE OF THIS BOOK

1. Dates of birth and death are in the Index.

2. Italics in excerpts are never ours unless so stated.

3. We suggest the following rough equivalents, in terms of United States dollars of 1965, for the currencies mentioned in this book:

carolin, $22.50
ciguato, $6.25
crown, $6.25
doppio, $25.00
ducat, $6.25
cu, $3.75
florin. $6.25
franc, $1.25
groschen, $1.25

guilder, $5.25
guinea, $26.25
gulden, $5.25
kreutzer, $2.50
lira, $1.25
livre, $1.25
louis dor, $25.00
mark, $1.25
penny, $.10

pistole, $12.50
pound, $25.00
reale, $.25
ruble, $10.00
rupee, $4.00
shilling, $1.25
sol, $1.25
sou, $.05
thaler, $5.00

4. The location of works of art, when not indicated in the text, will be found in the Notes. In allocating such works the name of the city will imply its leading gallery, as follows:

AmsterdamRijksmuseum

BerlinStaatsmuseum

BolognaAccademia di Belle Arti

BudapestMuseum of Fine Arts

ChicagoArt Institute

CincinnatiArt Institute

ClevelandMuseum of Art

DetroitInstitute of Art

DresdenGemlde-Galerie

DulwichCollege Gallery

EdinburghNational Gallery

FrankfurtStdelsches Kunstinstitut

GenevaMuse dArt et dHistoire

The HagueMauritshuis

Kansas CityNelson Gallery

LeningradHermitage

LondonNational Gallery

MadridPrado

MilanBrera

NaplesMuseo Nazionale

New YorkMetropolitan Museum of Art

San Marino, CaliforniaHuntington Art Gallery

ViennaKunsthistorisches Museum

WashingtonNational Gallery

T HE page number in the captions refers to a discussion in the text of the subject or the artist, and sometimes both.

Part I. This section follows

Part II. This section follows

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