French culture experienced a revival of intellectual interest in
Roman Catholic religion during the
fin de siècle period. While some intellectuals became anti-religious, others explored
cultic religious practises and organized themselves into groups along the lines of
Roman Catholic sects, with beliefs and practices outside the mainstream of orthodox Catholicism. One such following was established by
Josephin Péladan, who was fascinated with Medieval
Rosicrucian secret society. Péladan called his movement the Mystic Order of the Rose + Croix, and named himself High Priest, or Sâr, of the Order. Péladan's Order has also been described as an
occult movement. Central to Péladan's doctrine was the promotion of the arts "especially of an esoteric flavour", hoping to "overcome European materialism". The main project of the Order was the organization of a series of art, literary, and music salons, the Salon de la Rose + Croix. There were six salons in total, held between 1892 and 1897. The poster for the fifth salon (1896), designed by
Armand Point and Sarreluys, depicted
Perseus holding the severed head of
Émile Zola, in reference to the mythological story in which Perseus did the same to the
Gorgon Medusa. Around 230 artists in total presented their works at the salons. Péladan wanted the Salon to create a forum for artists who rejected the officially approved
academic art being exhibited by the
Académie des Beaux-Arts, and the influential
Impressionists. Péladan was a prolific art critic, publishing condemnations of the major contemporary art scene in Paris. He lauded artists whose work included mystic and idealistic aspects. The Salon gave him a way to put his cult beliefs into practise in the art world, with the goal of affecting change in the mainstream approach to art subjects. Péladan was clear about how he wanted to focus the works presented at the Salon. Subjects deemed thematically appropriate had to be overtly connected to religion and mysticism. Legends and myths, dreams, and
allegory, were all considered suitable for the Salon, and the
Symbolist painters were strongly associated with the Salon. Works that dealt with modern life, naturalist landscapes, realism, or decadence were not included in the Salon. Some major influences on Péladan were Arthurian legends, Italian
Renaissance ideals and styles, the poetry of
Edgar Allan Poe and
Charles Baudelaire, and the music of
Richard Wagner. ==Impact==