But what are we to do to alter the conditions that everybody is convinced are bad? Patents have been tried, and we know with what results. The inventor sells his patent for a few pounds, and the man who has only lent the capital pockets the enormous profits often resulting from the invention. Besides, patents isolate the inventor. They compel him to keep secret his researches which therefore end in failure; whereas the simplest suggestion, coming from a brain less absorbed in the fundamental idea, sometimes suffices to fertilize the invention and make it practical. Like all State control, patents hamper the progress of industry. Thought being incapable of being patented, patents are a crying injustice in theory, and in practice they result in one of the great obstacles to the rapid development of invention.
What is needed to promote the spirit of invention is, first of all, the awakening of thought, the boldness of conception, which our entire education causes to languish; it is the spreading of a scientific education, which would increase the number of inquirers a hundredfold; it is faith that humanity is going to take a step forward, because it is enthusiasm, the hope of doing good, that has inspired all the great inventors. The Social Revolution alone can give this impulse to thought, this boldness, this knowledge, this conviction of working for all.
Then we shall have vast institutes supplied with motor-power and tools of all sorts, immense industrial laboratories open to all inquirers, where men will be able to work out their dreams, after having acquitted themselves of their duty towards society; machinery palaces where they will spend their five or six hours of leisure; where they will make their experiments; where they will find other comrades, experts in other branches of industry, likewise coming to study some difficult problem, and therefore able to help and enlighten each other,—the encounter of their ideas and experience causing the longed-for solution to be found. And yet again, this is no dream. Solanóy Gorodók, in Petersburg, has already partially realized it as regards technical matters. It is a factory well furnished with tools and free to all; tools and motor-power are supplied gratis, only metals and wood are charged for at cost price. Unfortunately workmen only go there at night when worn out by ten hours' labour in the workshop. Moreover, they carefully hide their inventions from each other, as they are hampered by patents and Capitalism—that bane of present society, that stumbling-block in the path of intellectual and moral progress.
V
And what about art? From all sides we hear lamentations about the decadence of art. We are, indeed, far behind the great masters of the Renaissance. The technicalities of art have recently made great progress; thousands of people gifted with a certain amount of talent cultivate every branch, but art seems to fly from civilization! Technicalities make headway, but inspiration frequents artists' studios less than ever.
Where, indeed, should it come from? Only a grand idea can inspire art. Art is in our ideal synonymous with creation, it must look ahead; but save a few rare, very rare exceptions, the professional artist remains too philistine to perceive new horizons.
Moreover, this inspiration cannot come from books; it must be drawn from life, and present society cannot arouse it.
Raphael and Murillo painted at a time when the search of a new ideal could be pursued while retaining the old religious traditions. They painted to decorate churches which themselves represented the pious work of several generations of a given city. The basilic with its mysterious aspect, its grandeur, was connected with the life itself of the city, and could inspire a painter. He worked for a popular monument; he spoke to his fellow-citizens, and in return he received inspiration; he appealed to the multitude in the same way as did the nave, the pillars, the stained windows, the statues, and the carved doors. Nowadays the greatest honour a painter can aspire to is to see his canvas, framed in gilded wood, hung in a museum, a sort of old curiosity shop, where you see, as in the Prado, Murillo's Ascension next to a beggar of Velasquez and the dogs of Philip II. Poor Velasquez and poor Murillo! Poor Greek statues which lived in the Acropolis of their cities, and are now stifled beneath the red cloth hangings of the Louvre!
When a Greek sculptor chiseled his marble he endeavored to express the spirit and heart of the city. All its passions, all its traditions of glory, were to live again in the work. But to-day the united city has ceased to exist; there is no more communion of ideas. The town is a chance agglomeration of people who do not know one another, who have no common interest, save that of enriching themselves at the expense of one another. The fatherland does not exist.... What fatherland can the international banker and the rag-picker have in common? Only when cities, territories, nations, or groups of nations, will have renewed their harmonious life, will art be able to draw its inspiration from ideals held in common. Then will the architect conceive the city's monument which will no longer be a temple, a prison, or a fortress; then will the painter, the sculptor, the carver, the ornament-worker know where to put their canvases, their statues, and their decoration; deriving their power of execution from the same vital source, and gloriously marching all together towards the future.
But till then art can only vegetate. The best canvases of modern artists are those that represent nature, villages, valleys, the sea with its dangers, the mountain with its splendours. But how can the painter express the poetry of work in the fields if he has only contemplated it, imagined it, if he has never delighted in it himself? If he only knows it as a bird of passage knows the country he soars over in his migrations? If, in the vigour of early youth, he has not followed the plough at dawn, and enjoyed mowing grass with a large sweep of the scythe next to hardy haymakers vying in energy with lively young girls who fill the air with their songs? The love of the soil and of what grows on it is not acquired by sketching with a paint-brush—it is only in its service; and without loving it, how paint it? This is why all that the best painters have produced in this direction is still so imperfect, not true to life, nearly always merely sentimental. There is no strength in it.