An account of a cultural development of the 18th century that has hitherto received little critical attention. The work describes the emergence of a kind of meeting of aural and visual perceptions in the public sphere, well-recognized at the time, which though largely running its course by the early-19th century left a substantial legacy to the subsequent development of Western culture. The text is founded upon the seemingly implausible premise that, across much of Europe during the period from 1750 to 1810, the paths of the history of music and of the history of painting crossed, with interesting and lasting consequences. More precisely, it is argued that changes in aesthetic response and public behaviour in both the practice of listening (to music) and also the practice of viewing (of the visual arts) during this period reveal similar concerns at the same time, to the extent that they may be considered part of the same movement.
The author's intention is to show that these activities, musical and artistic, though previously occupying quite distinct spheres of human accomplishment and endeavour, came during the 18th century to share a close affinity within the public sphere, resulting in a kind of parity in popular estimation.