Preferred Citation: Metzner, Paul. Crescendo of the Virtuoso: Spectacle, Skill, and Self-Promotion in Paris during the Age of Revolution. Berkeley:  University of California Press,  c1998 1998. http://ark.cdlib.org/ark:/13030/ft438nb2b6/

 
Conclusion

Notes

All translations of quotations from other languages into English are the author’s unless otherwise noted.

1. This interpretation derives from Wilson, Diderot, p. 420.

2. Mercier, Picture of Paris, p. 177.

3. Chevalier de Jaucourt, “Spectacles” and [Diderot], “Art,” in Encyclopédie, vol. 15, pp. 446–47, and vol. 1, pp. 713–17, respectively; Charles Batteux, Les Beaux arts réduits à un même principe (New York: Johnson Reprints, 1970; reprint of 2d ed., Paris, 1747; first published in Paris, 1746). Jaucourt, “Spectacles,” says explicitly that his exposition is based on Batteux.

4. Batteux, Beaux arts réduits, p. 6.

5. Schonberg, Great Pianists, p. 132.

6. Burke, Popular Culture in Early Modern Europe, p. 63; Dwight Macdonald, “Masscult and Midcult,” in Against the American Grain (New York: Random House, 1962), pp. 27–75; Geneviève Bollème, “Littérature populaire et littérature de colportage au 18e siècle,” in Bollème, Ehrard, Furet et al., Livre et société dans la France du XVIIIe siècle, 2 vols. (Paris: Mouton, 1965–70), vol. 1, pp. 66–69; Root-Bernstein, Boulevard Theater and Revolution, p. 34.

7. Dale, Early Flying Machines, p. 25.

Conclusion
 

Preferred Citation: Metzner, Paul. Crescendo of the Virtuoso: Spectacle, Skill, and Self-Promotion in Paris during the Age of Revolution. Berkeley:  University of California Press,  c1998 1998. http://ark.cdlib.org/ark:/13030/ft438nb2b6/