Rémy Gilbert Saisselin - The Enlightenment against the Baroque: economics and aesthetics in the eighteenth century

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Page ii ABOUT QUANTUM BOOKS QUANTUM, THE UNIT OF EMITTED ENERGY. A QUANTUM BOOK IS A SHORT STUDY DISTINCTIVE FOR THE AUTHOR'S ABILITY TO OFFER A RICHNESS OF DETAIL AND INSIGHT WITHIN ABOUT ONE HUNDRED PAGES OF PRINT. SHORT ENOUGH TO BE READ IN AN EVENING AND SIGNIFICANT ENOUGH TO BE A BOOK.

Page iii The Enlightenment against the Baroque

Page iv Jean-Baptiste Pigalle, Funerary Monument of Marchal de Saxe, engraving by Cochin the younger and N. Dupuis. (liothque nationale, Paris.)

Page v The Enlightenment against the Baroque Economics and Aesthetics in the Eighteenth Century Rmy G. Saisselin University of California Press Berkeley Los Angeles Oxford

Page vi University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. Oxford, England 1992 by The Regents of the University of California Library of Congress Cataloging-in-Publication Data Saisselin, Rmy G. (Rmy Gilbert), 1925 The Enlightenment against the Baroque: economics and aesthetics in the eighteenth century / Rmy Saisselin. p. cm. (Quantum books) Includes bibliographical references and index. ISBN 0-520-07295-2 (alk. paper) 1. EuropeCivilization18th century. 2. Civilization, Baroque. 3. Enlightenment. I. Title. CB411.S23 1992 940.2'53dc20 91-24107 Printed in the United States of America 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements of American National Standard for Information SciencesPermanence of Paper for Printed Library Materials, ANSI Z39.48-1984.

Page vii Contents Introduction 1 1. Pascal's Room, Mandeville's Bees, and Baroque Spending 7 Art or Luxury? 14 Luxury as Disease 24 2. "Doing In" the Baroque 42 Were the Court and the Parisian Social Elite of the Eighteenth Century a Consumer Society? 59 Redesigning the Ancien Rgime 69 The Earthly City of the Eighteenth-Century Philosophes 84 3. True Taste Recovered and the Baroque Transfigured 101 Changing Appearances: From Court to Beau Monde 118 Conclusion: The End of the Baroque and the Invention of Aesthetic Art 132 Bibliography 143 Index 149

Page 1 Introduction In his Art as Experience, John Dewey calls Dr. Johnson a philistine and questions the sacrosanct aesthetics of Kant. This assessment makes it possible for us to see the Enlightenment and the eighteenth century in terms other than those which have long prevailed in aesthetics, in art history, and in literary history. In aesthetics, on the standard view, everything led to Kant; in art history, everything presumably moved from the Rococo to the French Revolution; in literature, everything moved from French classicism or English neoclassicism to romanticism. Everything, as the politicians so often say, was thus moving forward. Likewise in economics: everything moved toward Adam Smith and free trade. Significantly, too, it was during the eighteenth century that aesthetics, art history, and economics became autonomous disciplines, while in literature the canons of the nineteenth century were coming into being. Is it possible that this nearly parallel rise of aesthetics and economics was not pure chance but somehow represents a linked development, the result of some cause external to both aesthetics and economics? Perhaps Kant was not the last word in aesthetics, and art historians have been as much bewitched by language as have philosophers. Take the preposition to when put between the two terms

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