The conditions favourable to Art have never yet been combined
These brief remarks will illustrate the method adopted by the new philosophy in investigating a systematic theory of Art under all its statical aspects. We have now to speak of its action upon social life, whether in the final state of Humanity, or in the transitional movement through which that state is to be reached.
The Positive theory of history shows us at once, in spite of strong prejudices to the contrary, that up to the present time the progress achieved by Art has been, like that of Science and Industry, only preparatory; the conditions essential to its full development never having yet been combined.
Neither in Polytheism
Too much has been made of the esthetic tendencies of the nations of antiquity, owing to the free scope that was given to Imagination in constructing their doctrines. In fact Polytheism, now that the belief in its principles exists no longer, has been regarded as simply a work of art. But the long duration of its principles would be sufficient proof that they were not created by the poets, but that they emanated from the philosophic genius of Humanity working spontaneously, as explained in my theory of human development, in the only way that was then possible. All that Art did for Polytheism was to perform its proper function of clothing it in a more poetic form. It is quite true that the peculiar character of Polytheistic philosophy gave greater scope for the development of Art than has been afforded by any subsequent system. It is to this portion of the theological period that we must attribute the first steps of esthetic development, whether in society or in the individual. Yet Art was never really incorporated into the ancient order. Its free growth was impossible so long as it remained under the control of Theocracy, which made use of it as an instrument, but which, from the stationary character of its dogmas, shackled its operations. Moreover, the social life of antiquity was highly unfavourable to Art. The sphere of personal feelings and domestic affections was hardly open to it. Public life in ancient times had certainly more vigorous and more permanent features, and here there was a wider field. Yet even in such a case as that of Homer, we feel that he would hardly have spent his extraordinary powers upon descriptions of military life, had there been nobler subjects for his genius. The only grand aspect, viewed socially, that war could offer, the system of incorporation instituted by Rome after a succession of conquests, could not then be foreseen. When that period arrived, ancient history was drawing to a close, and the only poetical tribute to this nobler policy was contained in a few beautiful lines of Virgil’s Æneid, ending with the remarkable expression,
Pacisque imponere morem,
(Impose the law of peace.)
Nor under the Mediaeval system
Mediaeval society, notwithstanding irrational prejudices to the contrary, would have been far more favourable to the fine arts, could it have continued longer. I do not speak, indeed, of its dogmas; which were so incompatible with Art, as to lead to the strange inconsistency of giving a factitious sanction to Paganism in the midst of Christianity. By holding personal and chimerical objects before us as the end of life, Monotheism discouraged all poetry, except so far as it related to our individual existence. This, however, was idealized by the mystics, whose beautiful compositions penetrated into our inmost emotions, and wanted nothing but greater perfection of form. All that Catholicism effected for Art in other respects was to secure a better position for it, as soon as the priesthood became strong enough to counteract the intellectual and moral defects of Christian doctrine. But the social life of the Middle Ages was far more esthetic than that of antiquity. War was still the prevailing occupation; but by assuming a defensive character, it had become far more moral, and therefore more poetic. Woman had acquired a due measure of freedom; and the free development of home affections were thus no longer restricted. There was a consciousness of personal dignity hitherto unknown, and yet quite compatible with social devotion, which elevated individual life in all its aspects. All these qualities were summed up in the noble institution of Chivalry; which gave a strong stimulus to Art throughout Western Europe, and diffused it more largely than in any former period. This movement was in reality, though the fact is not recognized as it should be, the source of modern Art. The reason for its short duration is to be found in the essentially transient and provisional character of mediaeval society under all its aspects. By the time that its language and habits had become sufficiently stable for the esthetic spirit to produce works of permanent value, Catholic Feudalism was already undermined by the growing force of the negative movement. The beliefs and modes of life offered for idealization were seen to be declining: and neither the poet nor his readers could feel those deep convictions which the highest purposes of Art require.
Much less in modern times