The Arcades Project - Operi

Have pity on them! Pity!
When on the corner you should knock against them,
Their angelic faces bathed in the glow of good recalled.
Olinde Rodrigues, Poesies sociales des ouvriers (Paris, 1841), pp. 201, 203.
[JI,4]
Dates. Baudelaire's first letter to Wagner: February 17, 1860. Wagner's concerts
in Paris: February 1 and 8, 1860. Paris premiere of Tannhii,user: March 13, 1861.
When was Baudelaire's article in La Revue europeenne?4 (Jl,5]
Baudelaire planned "an enormous work on the peintres des moeurs ." Crepet, in this connection, cites his statement: 'Images-my great, my
primitive passion."5 Jacques Crepet, "Miettes baudelairiennes," Mercure de
France, 46th year, vol. 262, no. 894, pp. 531-532. [JI,6]
"'Baudelaire . .. can still write, in 1852, in the preface to Dupont's Chansons: 'Art
was thereafter inseparable from morality and utility. ' And he speaks there of the
'puerile Utopia of the school of art for art's sake.'6 . . . Nevertheless, he changes
his mind soon after 1852. This conception of social art may perhaps be explained
by his youthful relations. Dupont was his friend at the moment when Baudelaire,
'almost fanatically republican under the monarchy,' was meditating a realistic
and communicatory poetry." C. L. de Liefde, I.e Saint-Simonisme dans la poesie
franqaise entre 1825 et 1865 , p. 115. [J1a,l]
Baudelaire soon forgot the February Revolution.7 Telling evidence of this fact has
heen published hy Jacques Crepet, in "Miettes baudelairiennes" (Mercure de France, vol. 262, no. 894" p. 525), in the form of a review of'
the Histoire de Neuilly et de ses chateaux, by the abbe Bellanger, a review which
Baudelaire probably composed at the request of his friend the lawyer Ancelle, and
which at the time presumably appeared in the press. There Baudelaire speaks of
the history of the place " from Roman times to the terrible days of February, when
the chateau was the theater and spoil of the most ignoble passions, of orgy and
destruction." [JI a,2]
Nadal' describes the outfit worn by Baudelaire, who is encountered in the vicinity
of his residence , the Hotel Pimodan. " Black trousers drawn well
above his polished hoots; a hlue workman's blouse, stiff in its new folds; his hlack
hail', naturally curly, worn long-his only coiffure; bright linen, strictly without
starch; a faint moustache under his nose and a bit of beard on his chin; rose-colored
gloves, quite new . ... Thus arrayed and hatless, Baudelaire walked ahout.
his quartier of the city at an nneven pace, hoth nervous and languid, like a cat,
choosing each stone of the pavement as if he had to avoid crushing an egg." Cited
in Firmin Maillard, La Cite des intellect"el, (Paris