Lionel recalled Dean Lichtenfels's views from earlier.
He knew that from an artistic perspective, controversy could never be eliminated—after all, aesthetics are a highly subjective product.
But Lionel possessed the accumulated wisdom of art historical common sense, 150 years ahead of his time.
Many changes overlooked in this era would only be re-evaluated for their value after the passage of time.
Lionel first affirmed the dean:
"Regarding the development path of literature, I'd like to offer a perhaps more realistic perspective.
Why is it that in our era, ordinary farmers like Père Milon, and marginalized women like Boule de Suif, are increasingly becoming protagonists in literary works?
You know, in classical times, the protagonists of literary works were mostly the gods of Mount Olympus, heroes of epics, or nobles in the court?"
He paused, his gaze sweeping over the young students below:
"One crucial reason, perhaps surprisingly simple—
The cost of writing has drastically decreased since the 17th century!"
The classroom fell silent, and even Dean Lichtenfels showed an interested expression.
Lionel's voice echoed under the dome of the tiered classroom:
"Imagine in the Middle Ages or even earlier Greek and Roman times, parchment was extremely expensive, and scribes were also costly.
Even human life itself was incredibly short.
In that era, if someone expended such precious resources and time not to record the great deeds of heroes or the legends of gods, but instead to describe why an old farmer hated Prussians, or how a prostitute was isolated in a carriage…
Everyone would probably think he was mad."
His words drew a ripple of laughter.
After the laughter subsided, Lionel's tone became slightly more elevated:
"However, with the arrival of papermaking from China and the popularization of printing, paper became cheap, and books could be mass-produced.
Writing and reading were no longer solely the privilege of the church and nobility. More importantly, the 'consumers' of literature changed.
The emerging consumer class longed to see reflections of their own lives in literature. This is when the power of the market began to take effect."
Some students in the audience showed signs of agreement.
Among artists, painters and musicians were a more financially constrained group than writers and poets, relying more heavily on generous patrons.
But the wall space in castles and mansions was limited, and once grand masterpieces were hung, there wasn't much room left for young artists.
It wasn't until the 19th century, with the rise of the bourgeoisie and ordinary citizens buying a few paintings to decorate their monotonous walls, that painters transitioned from a craftsman-like master-apprentice tradition to academic, mass production.
Lionel knew his strategy was working:
"Thus, the subject matter of literature inevitably shifted. From praising gods and heroes, to depicting knights and nobles, and then to portraying ordinary, even humble, common people.
The stories of these common people could be written, disseminated, and read primarily because the material cost of writing and reading them had become affordable.
It was technological progress that opened a window for literature to a wider, more real human world."
Dean Lichtenfels's brows began to furrow.
He felt that Lionel's speech seemed to be heading in a direction he did not wish to see.
But he couldn't interrupt, so he could only patiently listen to what the young man had to say.
Lionel paused here, then humbly said:
"I was just wondering if the development of painting might also hide similar patterns?"
Everyone's attention was captured by this sentence.
"While the masterpieces of Renaissance masters are indeed eternal, their creation often depended on the patronage of the church or nobility. The themes naturally had to meet the patrons' requirements—
Religion, mythology, history, aristocratic portraits... This kind of art was not only 'sublime' but also 'expensive'."
Lionel's voice grew more sincere, but the persuasive undertones in his words also intensified.
"So, is there a possibility that with the development of painting materials themselves—for example, in the past, 'ultramarine' could only be obtained by grinding lapis lazuli, costing the equivalent of its weight in gold;
1 gram of 'Tyrian purple' required extraction from 20,000 murex snails, making it even more expensive than gold.
And now? These pigments can be chemically synthesized, then filled into lead tubes in factories, and finally carried in everyone's pockets."
Some students below nodded subconsciously.
They, too, were aware of the high cost of pigments in the past and knew that without the popularization of chemical pigments, most of them here would not have been qualified to study painting.
Lionel's voice didn't stop:
"Also, aren't canvas and drawing boards becoming cheaper and more durable year by year?
Railways have appeared, making it easier for painters to leave their studios and go outdoors, to the countryside, to the bustling streets..."
He saw some students' eyes begin to light up.
"When painting tools and materials become as relatively convenient and ubiquitous as paper and ink, will this also liberate painters?
Allowing them to some extent to break free from reliance on large commissions, on specific patrons?
Will they also begin to focus on more everyday, more momentary, more personal scenes?
—such as haystacks in a field, light and shadow on water, train stations in the city, crowds in a café, or even the tired back of an ordinary farmer..."
Dean Lichtenfels's face turned sour.
Lionel didn't mention "Impressionism" once, but every sentence alluded to it.
Although students at the Academy of Fine Arts Vienna practiced classical "fundamentals" every day, they had all seen that rebellious new style of painting from Paris.
So, those unconventional images floated into their minds...
Lionel concluded:
"Homer's epics will forever be treasures of human literature, but as writers, we cannot repeat them again and again.
The evolution of art is not simply 'progress' or 'regression,' but more like a growing tree—the traditional branches remain stout, while new shoots also stretch towards the sun.
Without either, this tree would die."
His speech ended.
A brief silence fell over the classroom, followed by a burst of enthusiastic applause.
Many students' faces showed expressions of excitement, thought, and confusion.
Dean Lichtenfels also quietly breathed a sigh of relief.
Lionel ultimately did not state his full implications but reaffirmed the importance of painting tradition.
This way, while his own objective wasn't achieved, he didn't lose face by having his invited guest contradict him.
...
————
In the carriage on the way back, Zola patted Lionel's shoulder:
"Lion, your speech today was very clever. It avoided direct conflict and kept us from becoming 'traitors of Paris.'
That point about lead tube paints was truly amazing and logical."
Huysmans finally couldn't help but speak:
"That was brilliant! Those old relics simply don't understand that the life of art lies in feeling and truth, not in rigidly adhering to rules!"
Maupassant, grinning, put an arm around Lionel's neck:
"Technology determines subject matter? Haha, so should I say that the advent of quill pens and cheap paper allowed me to write so many love stories?
But... thinking about it carefully, it seems to make some sense?"
Lionel smiled, didn't answer, and looked out the window again.
Zola's voice rang out again:
"But there was one sentence in your closing remarks that I didn't quite understand—
'I hope the Academy of Fine Arts Vienna can be more tolerant of young painters who dream of being admitted here, and even if not accepted, should encourage them to continue on the path of art...'
Was that for some young person you know? Was he rejected by the Academy of Fine Arts Vienna? Is he still painting now?"
Lionel didn't answer, but instead said:
"The weather's getting cold, and I'm tired. Let's go back to Paris..."
(End of Chapter)
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