FOOTNOTE:
Table of Contents [A] Kitchin: "History of France," vol. I.
III TASTE
Table of Contents I
Table of Contents French taste? Why, of course-everybody knows all about that! It's the way the women put on their hats, and the upholsterers drape their curtains.
Certainly-why not?
The artistic integrity of the French has led them to feel from the beginning that there is no difference in kind between the curve of a woman's hat-brim and the curve of a Rodin marble, or between the droop of an upholsterer's curtain and that of the branches along a great avenue laid out by Le Nôtre.
It was the Puritan races-every one of them non-creative in the plastic arts-who decided that "Art" (that is, plastic art) was something apart from life, as dangerous to it as Plato thought Poets in a Republic, and to be tolerated only when it was so lofty, unapproachable and remote from any appeal to average humanity that it bored people to death, and they locked it up in Museums to get rid of it.
But this article is headed "Taste," and taste, whatever it may be, is not, after all, the same thing as art. No; it is not art-but it is the atmosphere in which art lives, and outside of which it cannot live. It is the regulating principle of all art, of the art of dress and of manners, and of living in general, as well as of sculpture or music. It is because the French have always been so innately sure of this, that, without burdening themselves with formulas, they have instinctively applied to living the same rules that they applied to artistic creation.
II
Table of Contents I remember being told when I was a young girl: "If you want to interest the person you are talking to, pitch your voice so that only that one person will hear you."
That small axiom, apart from its obvious application, contains nearly all there is to say about Taste.
That a thing should be in scale-should be proportioned to its purpose-is one of the first requirements of beauty, in whatever order. No shouting where an undertone will do; and no gigantic Statue of Liberty in butter for a World's Fair, when the little Wingless Victory, tying on her sandal on the Acropolis, holds the whole horizon in the curve of her slim arm.
The essence of taste is suitability. Divest the word of its prim and priggish implications, and see how it expresses the mysterious demand of eye and mind for symmetry, harmony and order.
Suitability-fitness-is, and always has been, the very foundation of French standards. Fitness is only a contraction of fittingness; and if any of our American soldiers in France should pause to look up at the narrow niches in the portal of a French cathedral, or at the group of holy figures in the triangle or half-circle above, they are likely to be struck first of all by the way in which the attitude of each figure or group is adapted to the space it fills.
If the figure is cramped and uncomfortable-if the saint or angel seems to be in a straitjacket or a padded cell-then the sculptor has failed, and taste is offended. It is essential that there should be perfect harmony between the natural attitude of the figure and the space it lives in-that a square saint should not be put in a round hole. Range through plastic art, from Chaldæa to France, and you will see how this principle of adaptation has always ruled composition.
III
Table of Contents It is the sense of its universal applicability that makes taste so living an influence in France. French people "have taste" as naturally as they breathe: it is not regarded as an accomplishment, like playing the flute.
The universal existence of taste, and of the standard it creates-it insists on-explains many of the things that strike Americans on first arriving in France.
It is the reason, for instance, why the French have beautiful stone quays along the great rivers on which their cities are built, and why noble monuments of architecture, and gardens and terraces, have been built along these quays. The French have always felt and reverenced the beauty of their rivers, and known the value, artistic and hygienic, of a beautiful and well-kept river-front in the heart of a crowded city.
When industrialism began its work of disfigurement in the great cities of the world, long reaches of the Thames were seized upon by the factory-builder, and London has only by a recent effort saved a short stretch of her river front; even so, from the Embankment, whether at Westminster or Chelsea, one looks across at ugliness, untidiness and squalor.
When industrialism came to the wise old Latin cities-Paris, Lyons, Bordeaux, Florence-their river banks were already firmly and beautifully built up, and the factory chimneys had to find a footing in the outskirts. Any American with eyes to see, who compares the architectural use to which Paris has put the Seine with the wasteful degradation of the unrivalled twin river-fronts of New York, may draw his own conclusions as to the sheer material advantage of taste in the creation of a great city.
Perhaps the most curious instance of taste-blindness in dealing with such an opportunity is to be found in Boston, where Beacon Street calmly turned its wealthy back to the bay, and fringed with clothes-lines the shores that might have made of Boston one of the most beautifully situated cities in the world. In this case, industry did not encroach or slums degrade. The Boston aristocracy appropriated the shore of the bay for its own residential uses, but apparently failed to notice that the bay was there.
Taste, also-the recognition of a standard-explains the existence of such really national institutions as the French Academy, and the French national theatre, the Théâtre Français. The history of the former, in particular, throws a light on much that is most distinctively French in the French character.
It would be difficult for any one walking along the Quai Malaquais, and not totally blind to architectural beauty, not to be charmed by the harmony of proportion and beauty of composition of a certain building with curved wings and a small central dome that looks across the Seine at the gardens of the Louvre and the spires of Saint Germain l'Auxerrois.
That building, all elegance, measure and balance, from its graceful cupola to the stately stone vases surmounting the lateral colonnades-that building is the old "Collège des Quatre Nations," the Institute of France, and the home of the French Academy.
In 1635, at a time when France was still struggling with the heavy inheritance of feudalism, a bad man and great statesman, the mighty Cardinal Richelieu, paused in his long fight with the rebellious vassals of the crown to create a standard of French speech: "To establish the rules of the language, and make French not only elegant, but capable of dealing with the arts and sciences."
Think of the significance of such an act at such a moment! France was a welter of political and religious dissension; everything in the monarchy, and the monarchy itself, was in a state of instability. Austria and Spain menaced it from without, the great vassals tore it asunder from within. During the Great Assizes of Auvergne some of the most powerful of these nobles were tried, punished and stripped of their monstrous privileges; and the record of their misdeeds reads like a tale of Sicilian brigandage and Corsican vendetta.
Gradually the iron hand of Richelieu drew order-a grim pitiless order-out of this uninhabitable chaos. But it was in the very thick of the conflict that he seemed to feel the need of creating, then and there, some fixed principle of civilised life, some kind of ark in which thought and taste and "civility" could take shelter. It was as if, in the general upheaval, he wished to give stability to the things which humanise and unite society. And he chose "taste"-taste in speech, in culture, in manners-as the fusing principle of his new Academy.
The traditional point of view of its founder has been faithfully observed for nearly three hundred years by the so-called "Forty Immortals," the Academicians who throne under the famous cupola. The Academy has never shrunk into a mere retreat for lettered pedantry: as M. Saillens says in his admirable little book, "Facts about France": "The great object of Richelieu was national unity," and "The Forty do not believe that they can keep the language under discipline by merely publishing a Dictionary now and then (the first edition came out in 1694). They believe that a standard must be set, and that it is for them to set it. Therefore the Academy does not simply call to its ranks famous or careful writers, but soldiers as well, bishops, scientists, men of the world, men of social rank, so as to maintain from generation to generation a national conservatory of good manners and good speech."
For this reason, though Frenchmen have always laughed at their Academy, they have always respected it, and aspired to the distinction of membership. Even the rebellious spirits who satirise it in their youth usually become, in maturity, almost too eager for its recognition; and, though the fact of being an Academician gives social importance, it would be absurd to pretend that such men as Pasteur, Henri Poincaré, Marshal Joffre, sought the distinction for that reason, or that France would have thought it worthy of their seeking if the institution had not preserved its original significance.
That significance was simply...
