Notions of decadence, decline, and decay are intrinsically linked to the history of art. The discipline’s three recognized forefathers ? Giorgio Vasari, Johann Joachim Winckelmann, and Heinrich Wölfflin ? all relied on the concept of decadence (and its antonym, progress) to make sense of the history of the visual arts and to evaluate the art of their times. A developmental model of art was central to the interpretative schemes of these art historians. In this organicist model, earlier developments prepare the stage for what comes later; and after a particular style flourishes for a time, its decline is inevitable as newer styles overtake it. Decadent artists such as Gustave Moreau and Aubrey Beardsley mock aesthetic standards and moral rules, precluding universal appreciation, and proudly so. Decadent artists and decadent audiences are estranged from their society and feel disdain for those who are scandalized by decadent art’s innovative form and immoral subject matter.

In the nineteenth century, the concept of decadence was not solely of aesthetic interest but had a number of scientific applications. Decadence itself is an organic metaphor, extending the natural processes of decline and decay to societies and the arts. Rather than rejecting nature outright, decadent authors readily embraced new scientific theories that changed the way people thought about the natural world. The pessimism of nineteenth-century science stemmed from the brutal world of industrial capitalism in which it was developed. Decadent writers then incorporated both scientific ideas and language into a literary style obsessed with decay and decline. Finally, science returned to decadent literature to pathologize certain modes of artistic expression as yet another sign that certain types of individuals were ‘degenerate’. Three key scientific theories of the nineteenth century underpin the decadent fixation on decline, decay, and degeneration: uniformitarianism, evolution, and the conservation of energy. All three theories identify impermanence in natural structures previously believed to be permanent and stable.