The Arcades Project - Operi

ers except the one for whom it waits, according to a destination which is its destiny."
Correspondance generale de Marcel Proust, vol. 1, Lettres it Robert de
Montesquiou, (Paris, 1930), pp, 73-74.'" [N19,2]
The pathological element in the notion of "culture" comes vividly to light in the
effect produced on Raphael, the hero of The Wild Ass's Skin, by the enormous
stock of merchandise in the four-story antique shop into which he ventures. "To
begin with, the stranger compared , . , three showrooms-crammed with the
relics of civilizations and religions, deities, royalties, masterpieces of art, the prod­
ucts of debauchery, reason and unreason-to a minor of many facets , each one
representing a whole world. , , . The young man's senses ended by being
numbed at the sight of so many national and individual existences, their authen­
ticity guaranteed by the human pledges which had survived them, , , . For him
this ocean of furnishings, inventions, fashions, works of art, and relics made up
an endless poem. , , , He clutched at every joy, grasped at every grief, made all
the formulas of existence his own, and . . . generously dispersed his life and
feelings over the images of that empty, plastic nature, . , , He felt smothered
under the debris of fifty vanished centuries, nauseated with this surfeit of human
thought, crushed under the weight of luxury and art, , . , Alike in its caprices to
our modern chemistry, which would reduce creation to one single gas, does not
the soul distill fearful poisons in the rapid concentration of its pleasures , , . or its
ideas? Do not many men perish through the lightning action of some moral acid
or other, suddenly injected into their innermost being?" Balzac, La Peau de chagrin,
ed, Flammarion (paris) , pp, 19, 21-22, 24, 61 [N19,3]
Some theses by Focillon which have appearances on their side, Of course, the
materialist theory of art is interested in dispelling such appearance, "We have no
right to confuse the state of the life of forms with the state of social life, The time
that gives support to a work of art does not give definition either to its principle
or to its specific form" (p, 93). "The combined activity of the Capetian monar­
chy, the episcopacy, and the townspeople in the development of Gothic cathe­
drals shows what a decisive influence may be exercised by the alliance of social
forces, Ye t no matter how powerful this activity may be, it is still by no means
qualified to solve problems in pure statics, to combine relationships of values.
'TI,e various masons who bonded two ribs of stone crossing at right 31lgles
beneath the north tower of Bayeux .. ' , the creator of the choir at Saint-Denis,
were geometers working on solids, and not historians interpreting time. [Ill The
most attentive study of the most homogeneous milieu, of the most closely woven
concatenation of circumstances, will not serve to give us the design of the towers
of Laon" (p, 89), It would be necessary to follow up on these reflections in order
to show, first, the difference between the theory of milieu and the theory of the
forces of production, and, second, the difference between a "reconstruction" and
a historical interpretation of works, Henri Focillon, Vie des jOrmes ( p aris, 1934),"'
[N19a,1]