The Revolt of Man

by Walter Besant

‘Why do you not teach them, then, Professor?’ asked Lord Chester.

‘I will tell you why, my lord, in a few weeks,—perhaps.’

There were a great many altar-pieces in the Sacred Department. In these the Perfect Woman was depicted in every attitude and occupation by which perfection may best be represented. It might have been objected, had any one so far ventured outside the beaten path of criticism, that the Perfect Woman’s dress, her mode of dressing her hair, and her ornaments were all of the present year’s fashion. ‘As if,’ said the Professor, the only one who did venture, ‘as if no one had any conception of beauty and grace except what fashion orders. Sheep! sheep! we follow like a flock.’

The pictures were mostly allegorical: the Perfect Woman directed Labour—represented by twenty or thirty burly young men with implements of various kinds; this was a very favourite subject. Or she led Man upwards. This was a series of pictures: in the first, Man was a rough rude creature, carrying a club with which he banged something—presumably Brother Man; he gradually improved, until at the end he was depicted as laying at the altar of womanhood flowers, fruit, and wine, from his own husbandry. By this time he had got his beard cut off, and was smooth shaven, save for a pair of curly moustaches; his dress was in the fashion of the day; his eyes were down-dropped in reverential awe; and his expression was delightfully submissive, pious, and béate. ‘Is it,’ asked Lord Chester, ‘impossible to be religious without becoming such a creature as that?’

Again, the Perfect Woman sat alone, thinking for the good of the world. She had a star above her head; she tried, in the picture, not to look as if she were proud of that star. Or the Perfect Woman sat watching, in the dead of night, in the moonlight, for the good of the world; or the Perfect Woman was revealed to enraptured man rising from the waves, not at all wet, and clothed in the most beautifully-fashioned and most expensive modern garments. These two rooms, the Sacred and the Ancient History Departments, were mostly deserted. The principal interest of the Exhibition was in the remaining three-and-twenty, which were devoted to general subjects. Here were sweetnesses of flower and fruit, here were lovely creamy faces of male youth, here were full length figures of athletes, runners, wrestlers, jumpers, rowers, cricket-players, and others, treated with delicate conventionality, so that the most successful pictures represented man with no more expression in his face than a barber’s block, and the strongest young Hercules was figured with tiny hands or fingers like a girl’s for slimness, for transparency, and for whiteness, and beautifully small feet; on the other hand, his calves were prodigious. In fact, as was always maintained at the Academy dinner, the Exhibition was the great educator of the people in the sense of beauty. To know the beautiful, to recognise what should be delightful, and then take joy in it, was given, it was said, only to those women of culture who had been trained by a course of Academy exhibitions. Here men, for their part, who would never otherwise rise beyond the phenomenal to the ideal, learned what was the Perfect Man—the Man of woman’s imagination. Having learned, he might go away and try to resemble him. Women who could not feel, unhappily, the full sense of the beautiful, might learn from these models into what kind of man they should shape their husbands.

‘The drawing of this picture,’ said the Professor aloud, before a picture round which were gathered a throng of worshippers—for it was painted by a Royal Academician of great repute—‘is inaccurate. Did one ever see a man with such shoulders, and yet with such a waist and such a hand? As for the colouring, it is as false as it is conventional; and look at the peach-like cheek and the feeble chin! It is the flesh of a weakly baby, not of a grown man and an athlete.’

There were murmurs of dissent, but no one ventured to dispute the Professor’s opinion; and indeed most of the bystanders had already recognised Lord Chester, and were staring at the hero of so much talk.

‘He is better-looking,’ he overheard one schoolgirl whispering to another, ‘than the fellow on the canvas, isn’t he?’

The ‘fellow on the canvas’ was, in fact, the Ideal Man. He was meant by the artist to represent the noblest, tallest, strongest, straightest, and most dexterous of men. He carried a cricket-bat. It would have been foolish to figure him with book, pencil, or paper. Art, literature, science, politics, all belonged to the other sex. Only his strength was left to man, and that was to be expended by the orders of the superior sex, who were quite competent to exercise the functions for which they were born—namely, to think for the world.

Of course, all the artists were women. Once there was a man who, assuming a female name, actually got a picture exhibited in the Academy. He was a self-taught man it was afterwards discovered; he had never been in a studio; he had never seen a Royal Academy. He painted an Old Man from nature. There was a faithful ruggedness about his work which made artists scoff, and yet brought tears to the eyes of country girls who knew no better. When the trick was discovered, the picture was taken down and burnt, and the wretched man—who was discovered in a little country cottage, painting two or three more in the same style—went mad, and was locked up for the rest of his days. Presently Lord Chester grew tired of the pictures and of the staring crowd. ‘I have seen enough, Professor, if you have. They are all exactly like those of last year—the gladiators, and the runners, and all. Are we always to go on producing the same pictures?’