第十五章 艺术（第15/15页）

[11] Mulhall, op. cit.; article: Libraries. A special note should be made of the British publiclibrary movement. Nineteen cities installed such free libraries in the 1850s, eleven in the 1860s, fifty-one in the 1870s (W. A. Munford,Edward Edwards [London 1963]).

[12] T. Zeldin, France 1848-1945 (Oxford 1974), I, p.310.

[13] G. Grundmann, ‘Schlösser und Villen des 19. Jahrhunderts von Unternehmem in Schlesien’, Tradition, 10, 4 (August 1965), pp.149-62.

[14] R. Wischnitzer, The Architecture of the European Synagogue (Philadelphia 1964), chapter X, especially pp.196 and 202-6.

[15] Gisèle Freund, Photographic und bürgerliche Gesellschaft (Munich 1968), p.92.

[16] Freund, op. cit., pp.94-6.

[17] Cited in Linda Nochlin (ed.), Realism and Tradition in Art (Englewood Cliffs 1966), pp.71 and 74.

[18] Gisèle Freund, Photographie et Société (Paris 1974), p.77.

[19] Freund, op. cit. (1968), p.111.

[20] Freund, op. cit. (1968), pp.112-13.

[21] For the question of artists and revolution in this period, see T. J. Clark, The Absolute Bourgeois (London 1973) and Image of the People:Gustave Courbet (London 1973).

[22] Nochlin, op. cit.., p.77.

[23] Nochlin, op. cit.., p.77.

[24] Nochlin, op. cit., p.53.

[25] Even in that lesser centre of Bohemia, Munich, the Münchner Kunstverein had about 4,500 members in the mid-1870s. P. Drey, Die wirtschaftlichen Grundlagen der Malkunst. Versuch einer Kunstökonomie (Stuttgart and Berlin 1910).

[26] ‘In art the handicraft is almost everything. Inspiration-yes, inspiration is a very pretty thing, but a little banale; it is so universal. Every bourgeois is more or less affected by a sunrise or sunset. He has a measure of inspiration.’Cited in Dowden, op. cit., p.405.