Historical Reprints Utopia of Usurers and other Essays

Utopia of Usurers and other Essays

Utopia of Usurers and other Essays
Catalog # SKU1049
Publisher TGS Publishing
Weight 1.00 lbs
Author Name Gilbert K. Chesterton
 
$12.95
Quantity

Description

Utopia
of
Usurers
and other Essays



by
Gilbert Keith Chesterton


I propose, subject to the patience of the reader, to devote two or three articles to prophecy. Like all healthy-minded prophets, sacred and profane, I can only prophesy when I am in a rage and think things look ugly for everybody. And like all healthy-minded prophets, I prophesy in the hope that my prophecy may not come true. For the prediction made by the true soothsayer is like the warning given by a good doctor. And the doctor has really triumphed when the patient he condemned to death has revived to life. The threat is justified at the very moment when it is falsified.

Excerpt:

Most people have seen a picture called "Bubbles," which is used for the advertisement of a celebrated soap, a small cake of which is introduced into the pictorial design. And anybody with an instinct for design (the caricaturist of the Daily Herald, for instance), will guess that it was not originally a part of the design. He will see that the cake of soap destroys the picture as a picture; as much as if the cake of soap had been used to Scrub off the paint. Small as it is, it breaks and confuses the whole balance of objects in the composition. I offer no judgment here upon Millais's action in the matter; in fact, I do not know what it was. The important point for me at the moment is that the picture was not painted for the soap, but the soap added to the picture. And the spirit of the corrupting change which has separated us from that Victorian epoch can be best seen in this: that the Victorian atmosphere, with all its faults, did not permit such a style of patronage to pass as a matter of course.

Michael Angelo may have been proud to have helped an emperor or a pope; though, indeed, I think he was prouder than they were on his own account. I do not believe Sir John Millais was proud of having helped a soap-boiler. I do not say he thought it wrong; but he was not proud of it. And that marks precisely the change from his time to our own. Our merchants have really adopted the style of merchant princes. They have begun openly to dominate the civilisation of the State, as the emperors and popes openly dominated in Italy. In Millais's time, broadly speaking, art was supposed to mean good art; advertisement was supposed to mean inferior art. The head of a black man, painted to advertise somebody's blacking, could be a rough symbol, like an inn sign. The black man had only to be black enough. An artist exhibiting the picture of a negro was expected to know that a black man is not so black as he is painted. He was expected to render a thousand tints of grey and brown and violet: for there is no such thing as a black man just as there is no such thing as a white man. A fairly clear line separated advertisement from art.

I should say the first effect of the triumph of the capitalist (if we allow him to triumph) will be that that line of demarcation will entirely disappear. There will be no art that might not just as well be advertisement. I do not necessarily mean that there will be no good art; much of it might be, much of it already is, very good art. You may put it, if you please, in the form that there has been a vast improvement in advertisements. Certainly there would be nothing surprising if the head of a negro advertising Somebody's Blacking now adays were finished with as careful and subtle colours as one of the old and superstitious painters would have wasted on the negro king who brought gifts to Christ. But the improvement of advertisements is the degradation of artists. It is their degradation for this clear and vital reason: that the artist will work, not only to please the rich, but only to increase their riches; which is a considerable step lower. After all, it was as a human being that a pope took pleasure in a cartoon of Raphael or a prince took pleasure in a statuette of Cellini.

The prince paid for the statuette; but he did not expect the statuette to pay him. It is my impression that no cake of soap can be found anywhere in the cartoons which the Pope ordered of Raphael. And no one who knows the small-minded cynicism of our plutocracy, its secrecy, its gambling spirit, its contempt of conscience, can doubt that the artist-advertiser will often be assisting enterprises over which he will have no moral control, and of which he could feel no moral approval. He will be working to spread quack medicines, queer investments; and will work for Marconi instead of Medici. And to this base ingenuity he will have to bend the proudest and purest of the virtues of the intellect, the power to attract his brethren, and the noble duty of praise. For that picture by Millais is a very allegorical picture. It is almost a prophecy of what uses are awaiting the beauty of the child unborn. The praise will be of a kind that may correctly be called soap; and the enterprises of a kind that may truly be described as Bubbles.


Softcover, 5 x 8, 130+ pages

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