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Where can we look for the core of the new “bourgeois society”? It originally was comprised of men who were not dependent on domiciliary rights and not subjected feudally – therefore, first and foremost, townspeople. They were “citizens” in the traditional sense of possessing the civil rights of a town and being the subject of a monarch (and not a noble lord!). A new, educated bourgeois configuration, dominated by civil servants, buts also including writers, professors, teachers, and scientists – many of them in civil service (and more than a few ex-Jesuits after the repeal of their order in 1773) – developed out of this old urban bourgeoisie in the years after the reign of Maria Theresa and Joseph II. In addition, the emerging supra-regional market (and the almost equally significant market in the rapidly expanding residence city itself) resulted in considerable entrepreneurial growth, the prosperity of which formed the foil against which the bourgeois culture of the Biedermeier period could later develop. This new entrepreneurship was usually favoured by a state factory charter; i.e., it was possible to run a business without adhering to the restrictions and stipulations that the individual guilds, associations, and professional societies had formerly prescribed. This shows that the new educated bourgeoisie and new entrepreneurship were both the products of the state in the making!

Entrepreneurship, which was not regulated by a guild, and for which the name of “fabricant” was soon introduced to distinguish it from “master craftsman”, originally had no connection to the new educated classes. The entrepreneurs only gradually achieved some of the social standing that the intelligentsia had already claimed for itself. The state, which needed both, awarded outstanding members of the two groups with titles of nobility.⁷ These peerages (from a simple “von” to “knight” – or “baron” at the most) characterised the “second society” with their upper-class lifestyle who ranked behind the traditional high nobility but combined their sophisticated modes of behaviour with scientific, artistic, and literary interests. Schubert was honoured in these circles, and this is also where Grillparzer and Bauernfeld socialised. Grillparzer’s close ties were due to his uncle Joseph Sonnleithner’s connections. These circles were also the principal clients for painting which, along with music and theatre, rapidly blossomed in the Biedermeier and pre-March periods. Its master artists Friedrich von Amerling, Moritz Michael Daffinger, Josef Danhauser, Peter Fendi, Josef Kriehuber, and Ferdinand Georg Waldmüller created many portraits of members of this society.