Pen and Pencil

pen & pencil

Pen & Pencil Visual and literary culture in Georgian England

Duncan Robinson

2

PALLAS ATHENE

pen & pencil

Pen & Pencil Visual and literary culture in Georgian England

Duncan Robinson

2

PALLAS ATHENE

pen & pencil

Contents Preface by Brian Allen

p. 7

Introduction

p. 11

Chapter 1: Reynolds and the Discourses

p. 65

Chapter 1: Hogarth and the Stage

Chapter 1: Gainsborough’s Letters Chapter 4: Blake’s Divinity

Chapter 5: Constable’s Correspondence Chapter 6: Turner and Poetry

p. 177

p. 227 p. 275 p. 333

List of illustrations

p. 352

Index

4

p. 123

Notes

Some further reading

Opposite: Thomas Gainsborough, Elizabeth Linley (Mrs Richard Brinsley Sheridan), 1785–87 (detail)

p. 19

p. 351

p. 362

pen & pencil

Contents Preface by Brian Allen

p. 7

Introduction

p. 11

Chapter 1: Reynolds and the Discourses

p. 65

Chapter 1: Hogarth and the Stage

Chapter 1: Gainsborough’s Letters Chapter 4: Blake’s Divinity

Chapter 5: Constable’s Correspondence Chapter 6: Turner and Poetry

p. 177

p. 227 p. 275 p. 333

List of illustrations

p. 352

Index

4

p. 123

Notes

Some further reading

Opposite: Thomas Gainsborough, Elizabeth Linley (Mrs Richard Brinsley Sheridan), 1785–87 (detail)

p. 19

p. 351

p. 362

pen & pencil

Preface by Brian Allen

Opposite: John Constable, Hampstead Heath, between 1820 and 1830

6

this book has its origin in the Paul Mellon Lectures, delivered by Duncan Robinson at the National Gallery in London in January and February 2009 and repeated later that year at Yale University in New Haven, Connecticut.

I invited my former colleague Duncan to deliver the lectures towards the end of 2006 when plans were well advanced to mark the centenary of the birth of Yale and Cambridge alumnus Paul Mellon (1907–1999) the following year. I hoped it would provide the impetus to complete a book on a subject that had always remained close to Duncan’s intellectual heart for almost four decades. Rather remarkably, during his years in Cambridge, Duncan Robinson managed not only to direct the Fitzwilliam Museum (1995–2007) but he also took on the Mastership of Magdalene College (2002–12) which he enjoyed immensely while also teaching a great deal in the university’s history of art department. It was only after his retirement to the United States that he was able to devote time to working up his Paul Mellon Lectures for publication and, mercifully, completed a final draft before his death in December 2022.

Duncan had read English at Clare College, Cambridge, graduating in 1965, and during his time there developed a profound interest in the history of Italian Renaissance art. A two-year Mellon fellowship, which took him to Yale between 1965 and 1967, provided a perfect opportunity to immerse himself in his newly discovered subject within Yale’s excellent history of art department. It was during Duncan’s time at Yale in 1966 that Paul Mellon announced the gift of his burgeoning collection of British art to his alma 7

pen & pencil

Preface by Brian Allen

Opposite: John Constable, Hampstead Heath, between 1820 and 1830

6

this book has its origin in the Paul Mellon Lectures, delivered by Duncan Robinson at the National Gallery in London in January and February 2009 and repeated later that year at Yale University in New Haven, Connecticut.

I invited my former colleague Duncan to deliver the lectures towards the end of 2006 when plans were well advanced to mark the centenary of the birth of Yale and Cambridge alumnus Paul Mellon (1907–1999) the following year. I hoped it would provide the impetus to complete a book on a subject that had always remained close to Duncan’s intellectual heart for almost four decades. Rather remarkably, during his years in Cambridge, Duncan Robinson managed not only to direct the Fitzwilliam Museum (1995–2007) but he also took on the Mastership of Magdalene College (2002–12) which he enjoyed immensely while also teaching a great deal in the university’s history of art department. It was only after his retirement to the United States that he was able to devote time to working up his Paul Mellon Lectures for publication and, mercifully, completed a final draft before his death in December 2022.

Duncan had read English at Clare College, Cambridge, graduating in 1965, and during his time there developed a profound interest in the history of Italian Renaissance art. A two-year Mellon fellowship, which took him to Yale between 1965 and 1967, provided a perfect opportunity to immerse himself in his newly discovered subject within Yale’s excellent history of art department. It was during Duncan’s time at Yale in 1966 that Paul Mellon announced the gift of his burgeoning collection of British art to his alma 7

pen & pencil mater although Duncan could not possibly then have been aware of the significance of that decision for his own future career. When Duncan was appointed Director of the Yale Center for British Art in 1981, he quickly forged an excellent working relationship with Paul Mellon which developed into a strong friendship during his fourteen years of tenure in New Haven and thereafter until Mr Mellon’s death in 1999. Whilst Duncan did not enjoy the privilege of Paul Mellon’s immense wealth, he quickly recognised that his patron’s interest in art history had developed along similar lines to his own since Paul Mellon majored in English during his undergraduate years at Yale (1925–9) before a further period of study at Cambridge (1929–31) where he indulged his interest in poetry and English literature.

Duncan Robinson and Paul Mellon even had the same Cambridge College in common.

What would doubtless have fascinated Duncan was the discovery that Paul Mellon had taken courses in the later 1920s with the legendary Yale professor Chauncey Brewster Tinker (1876–1963) whose book Painter and Poet: Studies in the Literary Relations of English Painting (1938) Duncan later knew well and admired. Tinker’s book had originated as the Charles Eliot Norton Lectures at Harvard for the academic year 1937/8 but its contents had been refined in the lecture theatres and classrooms at Yale during the previous fifteen years. What Tinker’s courses and lectures developed were the ideas expounded in the early eighteenth century by writers such as Alexander Pope who believed that painting and poetry were equals. The Latin phrase ‘Ut pictura poesis’ meaning ‘as is painting so is poetry’ was a concept Pope and other contemporaries explored in their writings, acutely aware of the relationship of the sister arts.

In his introduction to this book Duncan Robinson explores the theoretical basis of the sister arts and sets the tone for the six chapters that follow on the giants of British art between 1730 and 1850. For William Hogarth, who famously stated ‘my picture was my stage’, his scenes from everyday 8

preface life paved the way for the narrative tradition so beloved of the Victorians.

Through his Discourses Joshua Reynolds raised the bar for his profession by insisting that students at the Royal Academy Schools must ‘warm his imagination with the best productions of ancient and modern poetry’. Opposite in almost every sense, Thomas Gainsborough’s intimate correspondence took the place of the formal lecture and from the letters he wrote to his friends we gain an appreciation of the man as well as insights into his painting. The same can be said of John Constable. By contrast, J. M. W. Turner’s appreciation of poetry encouraged him to pen his own Fallacies of Hope. The focus of Chapter 4 is William Blake, for whom Duncan had a particular love, and he unquestionably shared Blake’s world view that the literary and the visual are inseparable in the unity of their art.

Brian Allen former Director of Studies, The Paul Mellon Centre for Studies in British Art September 2025

9

pen & pencil mater although Duncan could not possibly then have been aware of the significance of that decision for his own future career. When Duncan was appointed Director of the Yale Center for British Art in 1981, he quickly forged an excellent working relationship with Paul Mellon which developed into a strong friendship during his fourteen years of tenure in New Haven and thereafter until Mr Mellon’s death in 1999. Whilst Duncan did not enjoy the privilege of Paul Mellon’s immense wealth, he quickly recognised that his patron’s interest in art history had developed along similar lines to his own since Paul Mellon majored in English during his undergraduate years at Yale (1925–9) before a further period of study at Cambridge (1929–31) where he indulged his interest in poetry and English literature.

Duncan Robinson and Paul Mellon even had the same Cambridge College in common.

What would doubtless have fascinated Duncan was the discovery that Paul Mellon had taken courses in the later 1920s with the legendary Yale professor Chauncey Brewster Tinker (1876–1963) whose book Painter and Poet: Studies in the Literary Relations of English Painting (1938) Duncan later knew well and admired. Tinker’s book had originated as the Charles Eliot Norton Lectures at Harvard for the academic year 1937/8 but its contents had been refined in the lecture theatres and classrooms at Yale during the previous fifteen years. What Tinker’s courses and lectures developed were the ideas expounded in the early eighteenth century by writers such as Alexander Pope who believed that painting and poetry were equals. The Latin phrase ‘Ut pictura poesis’ meaning ‘as is painting so is poetry’ was a concept Pope and other contemporaries explored in their writings, acutely aware of the relationship of the sister arts.

In his introduction to this book Duncan Robinson explores the theoretical basis of the sister arts and sets the tone for the six chapters that follow on the giants of British art between 1730 and 1850. For William Hogarth, who famously stated ‘my picture was my stage’, his scenes from everyday 8

preface life paved the way for the narrative tradition so beloved of the Victorians.

Through his Discourses Joshua Reynolds raised the bar for his profession by insisting that students at the Royal Academy Schools must ‘warm his imagination with the best productions of ancient and modern poetry’. Opposite in almost every sense, Thomas Gainsborough’s intimate correspondence took the place of the formal lecture and from the letters he wrote to his friends we gain an appreciation of the man as well as insights into his painting. The same can be said of John Constable. By contrast, J. M. W. Turner’s appreciation of poetry encouraged him to pen his own Fallacies of Hope. The focus of Chapter 4 is William Blake, for whom Duncan had a particular love, and he unquestionably shared Blake’s world view that the literary and the visual are inseparable in the unity of their art.

Brian Allen former Director of Studies, The Paul Mellon Centre for Studies in British Art September 2025

9

INTRODUCTION: THE SISTER ARTS

Opposite: William Blake, Laocoön, central image c. 1815, lettering c. 1826-7

in 1747 the bookseller, poet and playwright Robert Dodsley (1703–1764) published Polymetis: or, An Enquiry concerning the Agreement Between the Works of the Roman Poets, And the Remains of the Ancient Artists. Being An Attempt to illustrate them mutually from one another. In Ten Books. By the Revd.

Mr. Spence. It was designed to be a handsome book comprising 362 folio pages illustrated with engravings, and it attracted an unusually large number of subscribers. The printed list of 717 individuals and institutions who signed up when the book was advertised in 1743 was headed by the Prince of Wales and it included eighteen dukes, forty-five earls, and both Archbishops. The contemporary political spectrum was reflected in the names of the former Prime Minister, Robert Walpole (listed as ‘the late Lord Orford’), the longestserving Speaker of the House, Arthur Onslow, and the new intake of rising stars such as Charles Townshend and John Wilkes. Among Spence’s literary friends, the names of the poets Mark Akenside, Alexander Pope, and James Thomson appeared, as well as numerous individuals who can be identified as his former colleagues from Oxford where he served as Professor of Poetry for ten years from 1728. That arbiter of taste the politician and writer Horace Walpole eagerly awaited the publication of the book and signed up for five copies, one of which he sent to the poet Thomas Gray who, as a Cambridge classicist, took considerable pleasure in carping at Joseph Spence’s scholarship. Overall, however, the book was well received: a second edition was issued in 1755, a third in 1774, and an abridgment for use as a textbook was made by Nicholas Tindal in 1764.1 11

pen & pencil

introduction Like friendly colours found them both unite, And each from each contract new strength and light.

The last of those lines appears alongside a quotation from Cicero on the title page of Polymetis.2 It was not, however, the first occasion on which Spence had referred to the theory of ut pictura poesis.3 Twenty years earlier, in his Essay on Pope’s Odyssey, he had written that the designs of Painting and Poetry are so united that to me the Poet and the Painter seem scarcely to differ in any thing, except the Mean they make use of, to arrive at one and the same end.4 As a well-informed young academic, Spence was clearly familiar with current critical theory, including the influential views of Anthony Ashley Cooper, 3rd Earl of Shaftesbury (1671–1713), to whom he referred in his Essay.5 Like Shaftesbury, Spence was educated at Winchester College. The school’s motto, ‘manners makyth man’, neatly summarizes the basis of Shaftesbury’s outlook on life: Justice of thought and style, refinement in manners, good breeding, and politeness of every kind can come only from the trial and experience of what is best.6

The subject of the book, the unity of the arts, is one that dominated art theory in eighteenth-century Europe. Ultimately derived from ancient Rome, from Cicero and Horace especially, it was revived in France by Charles Alphonse du Fresnoy (1611–1665) whose Latin treatise De arte graphica was translated into French by his fellow-countryman Roger de Piles in 1668. An English translation by the poet John Dryden appeared in 1695 and was promoted further by Alexander Pope in his Epistle to Mr. Jervas with Dryden’s Translation of Fresnoy’s Art of Painting of 1712: Smit with the love of Sister-Arts we came, And met congenial, mingling flame with flame, 12

Title page opening of third edition of Polymetis (1774), with portrait of Spence by Isaac Whood, engraved

by George Vertue

The same values were attributed to Spence by his fellow Wykehamist William Somerville, who wrote of him in 1729 that Taught by his founder’s motto how to write, Good-manners guides his pen.7 Nevertheless as a commoner and a member of a younger generation, Spence was fully aware that Shaftesbury had written for a limited readership of men who belonged to his own social class, patricians who were by definition uninterested in the workaday world of commerce and the professions. Spence’s literary output contributed directly to the wider dissemination of Shaftesbury’s ideas among social aspirants, including artists, which occurred largely 13

pen & pencil

introduction Like friendly colours found them both unite, And each from each contract new strength and light.

The last of those lines appears alongside a quotation from Cicero on the title page of Polymetis.2 It was not, however, the first occasion on which Spence had referred to the theory of ut pictura poesis.3 Twenty years earlier, in his Essay on Pope’s Odyssey, he had written that the designs of Painting and Poetry are so united that to me the Poet and the Painter seem scarcely to differ in any thing, except the Mean they make use of, to arrive at one and the same end.4 As a well-informed young academic, Spence was clearly familiar with current critical theory, including the influential views of Anthony Ashley Cooper, 3rd Earl of Shaftesbury (1671–1713), to whom he referred in his Essay.5 Like Shaftesbury, Spence was educated at Winchester College. The school’s motto, ‘manners makyth man’, neatly summarizes the basis of Shaftesbury’s outlook on life: Justice of thought and style, refinement in manners, good breeding, and politeness of every kind can come only from the trial and experience of what is best.6

The subject of the book, the unity of the arts, is one that dominated art theory in eighteenth-century Europe. Ultimately derived from ancient Rome, from Cicero and Horace especially, it was revived in France by Charles Alphonse du Fresnoy (1611–1665) whose Latin treatise De arte graphica was translated into French by his fellow-countryman Roger de Piles in 1668. An English translation by the poet John Dryden appeared in 1695 and was promoted further by Alexander Pope in his Epistle to Mr. Jervas with Dryden’s Translation of Fresnoy’s Art of Painting of 1712: Smit with the love of Sister-Arts we came, And met congenial, mingling flame with flame, 12

Title page opening of third edition of Polymetis (1774), with portrait of Spence by Isaac Whood, engraved

by George Vertue

The same values were attributed to Spence by his fellow Wykehamist William Somerville, who wrote of him in 1729 that Taught by his founder’s motto how to write, Good-manners guides his pen.7 Nevertheless as a commoner and a member of a younger generation, Spence was fully aware that Shaftesbury had written for a limited readership of men who belonged to his own social class, patricians who were by definition uninterested in the workaday world of commerce and the professions. Spence’s literary output contributed directly to the wider dissemination of Shaftesbury’s ideas among social aspirants, including artists, which occurred largely 13

pen & pencil because of the increased circulation of periodicals in the early years of the century. Spence clearly had in mind the mixture of advice on manners and popular entertainment with which the co-founders of The Spectator Joseph Addison and Sir Richard Steele regaled their readers when he wrote that ‘Horace introduced the same pleasing way of teaching, among the Romans, as the authors of The Spectator, have done among us.’8 As he acknowledged, Spence owed a further debt to Addison whose Dialogues upon the Usefulness of Ancient Medals appeared in 1721, anticipating both the form and the content of Polymetis. It was, Spence explained, the combined product of his engagement with literary criticism as Oxford’s Professor of Poetry and the knowledge of art he acquired during his two visits to Italy as a travelling companion, or cicerone, to Lords Middlesex and Lincoln: As these two periods of my life happened partly to coincide, this put me on the thoughts of joining these studies together … for (as Cicero says in the motto to my book) there is a natural connection between all the polite arts.9 He also elected to follow both Addison and his earlier Essay on Pope’s Odyssey by presenting his discoveries as a series of dialogues. He did so, he claimed, to avoid both ‘the frequent use of that most disagreeable of all monosyllables—I’ and the ‘sullenness and severity that has been thrown over the studies of Criticism and Antiquities’. Committed, then, to the principle of utile dulci, he proceeded to examine in detail the relationships between texts and images in a series of Socratic dialogues between Polymetis, ‘well known for his taste in the polite arts’, and two companions, or pupils, Philander and Mysagetes. With shades of both Horace’s Sabine farm outside Rome and Pope’s villa at Twickenham, they came early to the villa and sat down to their tea, in the library; which looks directly upon the gardens, which were just then 14

introduction finished and brought to their perfection. You see, says Polymetis, I have followed the taste in fashion (which, as it happens, is certainly the best taste too) of making my gardens rather wild than regular. That general air, I hope, has nothing stiff and unnatural in it; and the lower part, in particular, joins with the country, as if it made a part of it.10 The last four dialogues (XVIII–XXI) are devoted to theory, and serve to remind us of the fierce controversy that dominated intellectual debate at the turn of the eighteenth century. Originating in France, it was imported to England by Sir William Temple in his Essay upon Ancient and Modern Learning of 1690. Named ‘the battle of the books’ after Jonathan Swift’s satire that appeared as a supplement to A Tale of a Tub in 1704, it continued to resonate for, among others, Shaftesbury and Spence, whose eighteenth dialogue treats ‘the Defects of the MODERN ARTISTS, in Allegorical Subjects’.

‘The allegories of the ancients’, he begins, ‘where they are well settled and known, might I think be of very great service to our artists, and poets, now.’ As an example of the defects of ‘modern’ artists, he cites ‘the fine set of pictures, by Rubens, in the Luxemburg Gallery’, and proceeds to identify what he sees as the ‘improprieties’ in the depiction of the ‘death of Henry the fourth’. Among them, Fame, wringing her hands, and holding a palm-branch (who, by the way too, is much more like some distress’d popish saint, than the goddess she is meant to represent) … Bacchus caressing Ceres, a little too familiarly for a council of the gods, the Queen-mother in council, with two cardinals and Mercury, and the Hymen on one side of Mary of Medici, and Cardinal Aldobrandini on the other.11

15

pen & pencil because of the increased circulation of periodicals in the early years of the century. Spence clearly had in mind the mixture of advice on manners and popular entertainment with which the co-founders of The Spectator Joseph Addison and Sir Richard Steele regaled their readers when he wrote that ‘Horace introduced the same pleasing way of teaching, among the Romans, as the authors of The Spectator, have done among us.’8 As he acknowledged, Spence owed a further debt to Addison whose Dialogues upon the Usefulness of Ancient Medals appeared in 1721, anticipating both the form and the content of Polymetis. It was, Spence explained, the combined product of his engagement with literary criticism as Oxford’s Professor of Poetry and the knowledge of art he acquired during his two visits to Italy as a travelling companion, or cicerone, to Lords Middlesex and Lincoln: As these two periods of my life happened partly to coincide, this put me on the thoughts of joining these studies together … for (as Cicero says in the motto to my book) there is a natural connection between all the polite arts.9 He also elected to follow both Addison and his earlier Essay on Pope’s Odyssey by presenting his discoveries as a series of dialogues. He did so, he claimed, to avoid both ‘the frequent use of that most disagreeable of all monosyllables—I’ and the ‘sullenness and severity that has been thrown over the studies of Criticism and Antiquities’. Committed, then, to the principle of utile dulci, he proceeded to examine in detail the relationships between texts and images in a series of Socratic dialogues between Polymetis, ‘well known for his taste in the polite arts’, and two companions, or pupils, Philander and Mysagetes. With shades of both Horace’s Sabine farm outside Rome and Pope’s villa at Twickenham, they came early to the villa and sat down to their tea, in the library; which looks directly upon the gardens, which were just then 14

introduction finished and brought to their perfection. You see, says Polymetis, I have followed the taste in fashion (which, as it happens, is certainly the best taste too) of making my gardens rather wild than regular. That general air, I hope, has nothing stiff and unnatural in it; and the lower part, in particular, joins with the country, as if it made a part of it.10 The last four dialogues (XVIII–XXI) are devoted to theory, and serve to remind us of the fierce controversy that dominated intellectual debate at the turn of the eighteenth century. Originating in France, it was imported to England by Sir William Temple in his Essay upon Ancient and Modern Learning of 1690. Named ‘the battle of the books’ after Jonathan Swift’s satire that appeared as a supplement to A Tale of a Tub in 1704, it continued to resonate for, among others, Shaftesbury and Spence, whose eighteenth dialogue treats ‘the Defects of the MODERN ARTISTS, in Allegorical Subjects’.

‘The allegories of the ancients’, he begins, ‘where they are well settled and known, might I think be of very great service to our artists, and poets, now.’ As an example of the defects of ‘modern’ artists, he cites ‘the fine set of pictures, by Rubens, in the Luxemburg Gallery’, and proceeds to identify what he sees as the ‘improprieties’ in the depiction of the ‘death of Henry the fourth’. Among them, Fame, wringing her hands, and holding a palm-branch (who, by the way too, is much more like some distress’d popish saint, than the goddess she is meant to represent) … Bacchus caressing Ceres, a little too familiarly for a council of the gods, the Queen-mother in council, with two cardinals and Mercury, and the Hymen on one side of Mary of Medici, and Cardinal Aldobrandini on the other.11

15

pen & pencil In his Essay on Painting of 1714 Shaftesbury was similarly critical of what he called a more ridiculous Attempt to comprehend two or three distinct Actions or Parts of History in one Picture, than to comprehend ten times the number in one and the same Poem.12 As its full title indicates, the subject of Shaftesbury’s Essay is the depiction of the Judgment of Hercules, a classical legend that Spence chose to highlight in Polymetis. At the end of the tenth discourse, his mouthpiece turns to Philander who had ‘promised to read us your friend’s poem’, an epic of twenty-seven stanzas describing in dramatic detail ‘The Choice of Hercules’. It was actually written by the friend of Spence who succeeded him as Professor of Poetry at Oxford, Robert Lowth, later Bishop of London, and thanks to its inclusion in Polymetis, it was to become an important literary source for Sir Joshua Reynolds (1723–1792) when he undertook his mock-heroic painting of Garrick between Tragedy and Comedy in 1761 (see p.

75). Lowth may well have consulted Shaftesbury as well as Xenophon for the prescriptive treatment of the contest between virtue and vice, on the outcome of which rested the hero’s immortality. By the end of Shaftesbury’s Essay it is hard to resist the conclusion that the Judgment of Hercules had become a metaphor for the choice confronted by the artist:

introduction a Painter ought to be a Title of Dignity, and understood to imply a Person endowed with such Excellence of Mind, and Body, as have ever been the Foundations of Honour among Men.14 As we shall see, this was one of the many lessons learned in his youth by the painter who was to become, in 1768, the first President the Royal Academy of Arts, London.

’Tis evident however from Reason itself, as well as from History and Experience, that nothing is more fatal, either to Painting, Architecture, or the other Arts, that this false Relish which is govern’d rather by what immediately strikes the Sense, than by what consequently and by reflection pleases the Mind, and satisfies the Thought and Reason.13 Only a year later, one of the first British painters to take up the pen, Jonathan Richardson (1667–1745), echoed the same sentiment when he wrote that 16

17

pen & pencil In his Essay on Painting of 1714 Shaftesbury was similarly critical of what he called a more ridiculous Attempt to comprehend two or three distinct Actions or Parts of History in one Picture, than to comprehend ten times the number in one and the same Poem.12 As its full title indicates, the subject of Shaftesbury’s Essay is the depiction of the Judgment of Hercules, a classical legend that Spence chose to highlight in Polymetis. At the end of the tenth discourse, his mouthpiece turns to Philander who had ‘promised to read us your friend’s poem’, an epic of twenty-seven stanzas describing in dramatic detail ‘The Choice of Hercules’. It was actually written by the friend of Spence who succeeded him as Professor of Poetry at Oxford, Robert Lowth, later Bishop of London, and thanks to its inclusion in Polymetis, it was to become an important literary source for Sir Joshua Reynolds (1723–1792) when he undertook his mock-heroic painting of Garrick between Tragedy and Comedy in 1761 (see p.

75). Lowth may well have consulted Shaftesbury as well as Xenophon for the prescriptive treatment of the contest between virtue and vice, on the outcome of which rested the hero’s immortality. By the end of Shaftesbury’s Essay it is hard to resist the conclusion that the Judgment of Hercules had become a metaphor for the choice confronted by the artist:

introduction a Painter ought to be a Title of Dignity, and understood to imply a Person endowed with such Excellence of Mind, and Body, as have ever been the Foundations of Honour among Men.14 As we shall see, this was one of the many lessons learned in his youth by the painter who was to become, in 1768, the first President the Royal Academy of Arts, London.

’Tis evident however from Reason itself, as well as from History and Experience, that nothing is more fatal, either to Painting, Architecture, or the other Arts, that this false Relish which is govern’d rather by what immediately strikes the Sense, than by what consequently and by reflection pleases the Mind, and satisfies the Thought and Reason.13 Only a year later, one of the first British painters to take up the pen, Jonathan Richardson (1667–1745), echoed the same sentiment when he wrote that 16

17

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1. HOGARTH AND THE STAGE

Subjects I consider’d as writers do — my Picture was my Stage and men and women my actors who were by Mean of certain Actions and express[ions] to Exhibit a dumb shew.1

William Hogarth (1697–1764) painted his portrait The Painter and his Pug in 1745, at a stage in his career when the sturdy self-confidence it reflected

must have seemed more than justified. From his beginnings as an apprentice silver-plate engraver, he had risen to become a well-known artist whose increasingly successful practice as a painter and printmaker was complement-

ed by a strong, entrepreneurial streak. In what is one of the most carefully considered self-reflections, Hogarth adopted the convention of placing him-

self at one remove from the picture plane, in a painting within a painting, a double illusion. X-rays of the canvas reveal that the original composition was much simpler and more conventional,2 closer in fact to the Self-portrait

with Palette he painted some ten years earlier.3 The changes are significant.

He removed his wig and replaced it with a fur-trimmed cap, influenced per-

haps by the tendency from Sir Godfrey Kneller (1646–1723) onwards to paint scholars and men of letters either bare-headed or capped.4

In a further play on the ambiguity of pictorial space, the line of the

drapery which overlaps the painted oval is continued in the superfluity of Opposite: William Hogarth, The Painter and his Pug, 1745

18

fabric wrapped around the sitter’s waist within it, providing a visual link be-

tween himself and the objects he placed in the foreground to represent his

artistic agenda. On the right, and of almost equal size to the image of himself, Hogarth portrayed his dog Trump, a symbol no doubt of his own dogged 19

pen & pencil

1. HOGARTH AND THE STAGE

Subjects I consider’d as writers do — my Picture was my Stage and men and women my actors who were by Mean of certain Actions and express[ions] to Exhibit a dumb shew.1

William Hogarth (1697–1764) painted his portrait The Painter and his Pug in 1745, at a stage in his career when the sturdy self-confidence it reflected

must have seemed more than justified. From his beginnings as an apprentice silver-plate engraver, he had risen to become a well-known artist whose increasingly successful practice as a painter and printmaker was complement-

ed by a strong, entrepreneurial streak. In what is one of the most carefully considered self-reflections, Hogarth adopted the convention of placing him-

self at one remove from the picture plane, in a painting within a painting, a double illusion. X-rays of the canvas reveal that the original composition was much simpler and more conventional,2 closer in fact to the Self-portrait

with Palette he painted some ten years earlier.3 The changes are significant.

He removed his wig and replaced it with a fur-trimmed cap, influenced per-

haps by the tendency from Sir Godfrey Kneller (1646–1723) onwards to paint scholars and men of letters either bare-headed or capped.4

In a further play on the ambiguity of pictorial space, the line of the

drapery which overlaps the painted oval is continued in the superfluity of Opposite: William Hogarth, The Painter and his Pug, 1745

18

fabric wrapped around the sitter’s waist within it, providing a visual link be-

tween himself and the objects he placed in the foreground to represent his

artistic agenda. On the right, and of almost equal size to the image of himself, Hogarth portrayed his dog Trump, a symbol no doubt of his own dogged 19

pen & pencil

hogarth and the stage William Hogarth, Southwark Fair, c. 1733

a governor of St Bartholomew’s Hospital, he had painted two biblical scenes to hang there, The Pool of Bethesda, 1736, and The Good Samaritan, 1736–7. For the Foundling Hospital, he donated in 1747 Moses Brought before Pharaoh’s Daughter, an accomplished exercise informed by Poussin’s classicism, and for Lincoln’s Inn in 1748 Paul before Felix, with its unconcealed reference to Raphael’s cartoons at Hampton Court. Finally in 1755–6, he completed a triptych for the church of St Mary Redcliffe in Bristol (above). In 1757 he was appointed as Sergeant Painter to the King. Yet all of these achievements were overshadowed by the success of his ‘modern moral subjects’. Even if Walpole put the final nail into the coffin of his reputation as a painter in ‘the grand style’, it was perhaps inevitable that as an offspring of the Augustan age in which the mock-heroic substituted for the epic, he would accept the verdict that, like Swift, he was first and foremost a satirist.

Increasingly isolated by his insularity, towards the end of his life Hogarth found himself at odds with many of his fellow artists as well as the cognoscenti who favoured the establishment of an official academy along French lines. With its determined rejection of idealism, The Artist Painting the Comic Muse can be viewed as a deliberate snub to Richardson’s earlier claim that ‘a Painter ought to be a Title of Dignity’.

62

William Hogarth, Christ’s Ascension (centre) flanked by The Sealing of the Sepulchre and The Three Marys at the Tomb, 1755–6

In the decades which followed the foundation of the Royal Academy of Arts, Reynolds perpetuated the view ‘of our late excellent Hogarth, who, with all his extraordinary talents, was not blessed with [a] knowledge of his own deficiency’.48 Yet early in the following century Hogarth’s reputation soared as the precursor of what the art historian David Solkin has called ‘painting out of the ordinary’. From his Southwark Fair to David Wilkie’s Pitlessie Fair, 1804, (see p. 119), or for that matter, to William Powell Frith’s Derby Day, 1856–8, ‘every picture tells a story’. Holman Hunt’s painting of The Awakening Conscience, 1853, is a direct descendant of Hogarth’s Piquet as a modern moral subject and, to move forwards into the twentieth century, David Hockney’s ironic account of himself as the innocent abroad in his Rake’s Progress of 1961–3 attests to the enduring legacy of the artist for whom, to echo his favourite author, ‘all the world’s a stage’.

63

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hogarth and the stage William Hogarth, Southwark Fair, c. 1733

a governor of St Bartholomew’s Hospital, he had painted two biblical scenes to hang there, The Pool of Bethesda, 1736, and The Good Samaritan, 1736–7. For the Foundling Hospital, he donated in 1747 Moses Brought before Pharaoh’s Daughter, an accomplished exercise informed by Poussin’s classicism, and for Lincoln’s Inn in 1748 Paul before Felix, with its unconcealed reference to Raphael’s cartoons at Hampton Court. Finally in 1755–6, he completed a triptych for the church of St Mary Redcliffe in Bristol (above). In 1757 he was appointed as Sergeant Painter to the King. Yet all of these achievements were overshadowed by the success of his ‘modern moral subjects’. Even if Walpole put the final nail into the coffin of his reputation as a painter in ‘the grand style’, it was perhaps inevitable that as an offspring of the Augustan age in which the mock-heroic substituted for the epic, he would accept the verdict that, like Swift, he was first and foremost a satirist.

Increasingly isolated by his insularity, towards the end of his life Hogarth found himself at odds with many of his fellow artists as well as the cognoscenti who favoured the establishment of an official academy along French lines. With its determined rejection of idealism, The Artist Painting the Comic Muse can be viewed as a deliberate snub to Richardson’s earlier claim that ‘a Painter ought to be a Title of Dignity’.

62

William Hogarth, Christ’s Ascension (centre) flanked by The Sealing of the Sepulchre and The Three Marys at the Tomb, 1755–6

In the decades which followed the foundation of the Royal Academy of Arts, Reynolds perpetuated the view ‘of our late excellent Hogarth, who, with all his extraordinary talents, was not blessed with [a] knowledge of his own deficiency’.48 Yet early in the following century Hogarth’s reputation soared as the precursor of what the art historian David Solkin has called ‘painting out of the ordinary’. From his Southwark Fair to David Wilkie’s Pitlessie Fair, 1804, (see p. 119), or for that matter, to William Powell Frith’s Derby Day, 1856–8, ‘every picture tells a story’. Holman Hunt’s painting of The Awakening Conscience, 1853, is a direct descendant of Hogarth’s Piquet as a modern moral subject and, to move forwards into the twentieth century, David Hockney’s ironic account of himself as the innocent abroad in his Rake’s Progress of 1961–3 attests to the enduring legacy of the artist for whom, to echo his favourite author, ‘all the world’s a stage’.

63

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reynolds and the discourses

responsibility, little less than a sacred trust, to uphold the principle of male primogeniture. To do so he adopted a tightly knit pyramidical composition based on sixteenth-century Italian paintings of the Madonna with the infants Christ and St John the Baptist to create a secular variant of the Holy Family. In a wooded but cultivated landscape, itself an indication of ownership, Lady Delmé’s son John leans against his mother but also stands upright and looks away from her into the distance. As if to acknowledge his future role as the head of the family, he places a protective arm around his sister, Isabella Elizabeth, whose child-like feminine charm contrasts with his more abstracted gaze. It is this ability of Reynolds to encapsulate in his portraits the values of contemporary society that explains why his name is so often appropriated by writers on the later eighteenth century to describe it as ‘the age of Reynolds’.

In 1778, unusually for Reynolds, he exhibited only four, rather than his usual twelve to fifteen canvases, at the Academy’s annual exhibition. One reason may have been that foremost among them was The Marlborough Family, guaranteed by its size (318 x 289 cm) to dominate the principal gallery. Presumably Reynolds hoped that it would be acclaimed as a masterpiece of group portraiture. He would not have been disappointed by the description of it which appeared in the Public Advertiser on 25 April as ‘a most noble Composition, and perhaps the best Piece of Portrait Painting that has been produced since the Days of Vandycke’.76 However, reviews overall were mixed, as were Walpole’s waspish comments noted in his copy of the catalogue: The colouring flat and bad, and killed by a red velvet curtain. The

Duke’s head much too old and distorted. Lord Blandford a most graceful figure, and the little child and dog expressive.77

Another reason for Reynolds’s reticence in 1778 may have been that he was fully occupied by another important commission he had managed to secure in 100

Anonymous printmaker after Sir Joshua Reynolds, Painted window of New College Chapel, Oxford (1779), 1816 (detail)

1777. That July the Warden and Fellows of New College, Oxford engaged Reynolds to make designs for stained glass to fill the west window of the college chapel. While the finished product was not installed until 1785, by 1779 Reynolds was ready to show four of his designs, painted in oils on canvas, at the Academy. The principal one, of the Nativity, was to occupy the central section of the window, from which he had persuaded the college to remove the tracery so that he could represent, as he explained to the Warden, ‘in the great space in the centre Christ in the Manger, on the Principle that Correggio has done it in the famous Picture called the Notte’.78 When he saw the painting of the Nativity, Walpole overcame his usual reservations: ‘Very great. The Virgin Mrs Sheridan. Joseph the old beggar man.’79 From the surviving evidence, including the faded windows themselves, the 101

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reynolds and the discourses

responsibility, little less than a sacred trust, to uphold the principle of male primogeniture. To do so he adopted a tightly knit pyramidical composition based on sixteenth-century Italian paintings of the Madonna with the infants Christ and St John the Baptist to create a secular variant of the Holy Family. In a wooded but cultivated landscape, itself an indication of ownership, Lady Delmé’s son John leans against his mother but also stands upright and looks away from her into the distance. As if to acknowledge his future role as the head of the family, he places a protective arm around his sister, Isabella Elizabeth, whose child-like feminine charm contrasts with his more abstracted gaze. It is this ability of Reynolds to encapsulate in his portraits the values of contemporary society that explains why his name is so often appropriated by writers on the later eighteenth century to describe it as ‘the age of Reynolds’.

In 1778, unusually for Reynolds, he exhibited only four, rather than his usual twelve to fifteen canvases, at the Academy’s annual exhibition. One reason may have been that foremost among them was The Marlborough Family, guaranteed by its size (318 x 289 cm) to dominate the principal gallery. Presumably Reynolds hoped that it would be acclaimed as a masterpiece of group portraiture. He would not have been disappointed by the description of it which appeared in the Public Advertiser on 25 April as ‘a most noble Composition, and perhaps the best Piece of Portrait Painting that has been produced since the Days of Vandycke’.76 However, reviews overall were mixed, as were Walpole’s waspish comments noted in his copy of the catalogue: The colouring flat and bad, and killed by a red velvet curtain. The

Duke’s head much too old and distorted. Lord Blandford a most graceful figure, and the little child and dog expressive.77

Another reason for Reynolds’s reticence in 1778 may have been that he was fully occupied by another important commission he had managed to secure in 100

Anonymous printmaker after Sir Joshua Reynolds, Painted window of New College Chapel, Oxford (1779), 1816 (detail)

1777. That July the Warden and Fellows of New College, Oxford engaged Reynolds to make designs for stained glass to fill the west window of the college chapel. While the finished product was not installed until 1785, by 1779 Reynolds was ready to show four of his designs, painted in oils on canvas, at the Academy. The principal one, of the Nativity, was to occupy the central section of the window, from which he had persuaded the college to remove the tracery so that he could represent, as he explained to the Warden, ‘in the great space in the centre Christ in the Manger, on the Principle that Correggio has done it in the famous Picture called the Notte’.78 When he saw the painting of the Nativity, Walpole overcame his usual reservations: ‘Very great. The Virgin Mrs Sheridan. Joseph the old beggar man.’79 From the surviving evidence, including the faded windows themselves, the 101

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gainsborough’s letters Thomas Gainsborough, Two Shepherd Boys with Dogs Fighting, 1783

Left: William Hogarth, The First Stage of Cruelty, 1751 Centre: William Hogarth, The Second Stage of Cruelty, 1751

Referring to his painting of Two Shepherd Boys with Dogs Fighting, which he exhibited at the Royal Academy in 1783, Gainsborough wrote to Chambers in the letter mentioned at the beginning of this chapter that I sent my fighting dogs to divert you. I believe next exhibition I shall

make the boys fighting and the dogs looking on – you know my cun-

ning way of avoiding great subjects in painting & of concealing my

ignorance by a flash in the pan. If I can do this while picking pockets in the portrait way two or three years longer I intend to sneak into a 158

Right: Martino Rota after Titian, The Death of St Peter Martyr (1528–9), 1560–80

cot & turn a serious fellow; but for the present I must affect a little madness.72

As the recipient of the letter, Chambers may well have been amused, but it is unlikely that he was deceived by the disingenuity of the author’s remarks. Concealment there is in them, but of knowledge rather than ignorance. No less, but less obviously than Reynolds, Gainsborough drew inspiration from the art of the past. His contemporaries would have recognized his debt to Murillo for the figures of the boys, and for the dogs to the seventeenth-century Flemish painter of boar hunts and other violent scenes of animals in extremis, Frans Snyders. They might also have related the fighting dogs to more recent paintings of mortal combat in the animal world, ‘nature red in tooth and claw’, by George Stubbs (1724–1806), a regular exhibitor at the Society of Artists and the Royal Academy from the 1760s onwards. More recent commentators have pointed to Titian’s Death of St Peter Martyr for Gainsborough’s composition and to Hogarth’s Stages of Cruelty for the poses of the black dog and the boy raising a stick. Among more 159

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gainsborough’s letters Thomas Gainsborough, Two Shepherd Boys with Dogs Fighting, 1783

Left: William Hogarth, The First Stage of Cruelty, 1751 Centre: William Hogarth, The Second Stage of Cruelty, 1751

Referring to his painting of Two Shepherd Boys with Dogs Fighting, which he exhibited at the Royal Academy in 1783, Gainsborough wrote to Chambers in the letter mentioned at the beginning of this chapter that I sent my fighting dogs to divert you. I believe next exhibition I shall

make the boys fighting and the dogs looking on – you know my cun-

ning way of avoiding great subjects in painting & of concealing my

ignorance by a flash in the pan. If I can do this while picking pockets in the portrait way two or three years longer I intend to sneak into a 158

Right: Martino Rota after Titian, The Death of St Peter Martyr (1528–9), 1560–80

cot & turn a serious fellow; but for the present I must affect a little madness.72

As the recipient of the letter, Chambers may well have been amused, but it is unlikely that he was deceived by the disingenuity of the author’s remarks. Concealment there is in them, but of knowledge rather than ignorance. No less, but less obviously than Reynolds, Gainsborough drew inspiration from the art of the past. His contemporaries would have recognized his debt to Murillo for the figures of the boys, and for the dogs to the seventeenth-century Flemish painter of boar hunts and other violent scenes of animals in extremis, Frans Snyders. They might also have related the fighting dogs to more recent paintings of mortal combat in the animal world, ‘nature red in tooth and claw’, by George Stubbs (1724–1806), a regular exhibitor at the Society of Artists and the Royal Academy from the 1760s onwards. More recent commentators have pointed to Titian’s Death of St Peter Martyr for Gainsborough’s composition and to Hogarth’s Stages of Cruelty for the poses of the black dog and the boy raising a stick. Among more 159

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Linnell as a good angel from Heaven to pluck me from the pit of modern art.’56 Linnell encouraged Palmer to draw from the antiquities in the British Museum and the engravings of Dürer, and to study the masters of the northern Renaissance. To judge from Palmer’s sketchbook of 1824, now in the British Museum, he was also influenced by his mentor’s approach to landscape painting, which Linnell regarded increasingly as a means of expressing his religious feelings. It was virtually inevitable that he would introduce his like-minded protégé to Blake. According to Palmer, the meeting took place on 9 October 1824, when Mr Linnell called and went with me to Mr. Blake. We found him lame

in bed, of a scalded foot (or leg). There, not inactive, though sixtyseven years old, but hard-working on a bed covered with books sat he

up like one of the Antique patriarchs, or a dying Michael Angelo. Thus and there was he making in the leaves of a great book (folio) the sub-

limest designs from his (not superior) Dante. He said he began them

with fear and trembling. I said ‘O! I have enough of fear and trembling.’

‘Then,’ said he, ‘you’ll do.’57

218

blake’s divinity

Left: William Blake, illustration to Thornton’s Pastorals of Virgil, Thenot and Colinet, c. 1821 Right: Samuel Palmer, The Valley Thick with Corn (Psalm 65), 1825

Left: Samuel Palmer, Hilly Scene, c. 1826–8 Right: Samuel Palmer, Coming from the Evening Church, 1830

In 1826 Palmer visited the village of Shoreham in Kent, before deciding to settle there in the following year. He was clearly inspired by the village itself, nestled into the hillsides which surround it, and began to produce both paintings and drawings that are almost claustrophobic in their intensity and disregard for perspective. The influence of Blake’s illustrations to Thornton’s Pastorals of Virgil of c. 1821 is clear in sepia drawings such as the Valley Thick with Corn of 1825, and in one of Palmer’s first Shoreham works, the Hilly Scene of c. 1826–8, to which the church spire adds a deliberately religious dimension. This is even more pronounced in Coming from the Evening Church of 1830, with worshippers enfolded by the landscape. In The Magic Apple Tree of the same year, however, the tree itself with its bright, cloisonné-like colour219

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Linnell as a good angel from Heaven to pluck me from the pit of modern art.’56 Linnell encouraged Palmer to draw from the antiquities in the British Museum and the engravings of Dürer, and to study the masters of the northern Renaissance. To judge from Palmer’s sketchbook of 1824, now in the British Museum, he was also influenced by his mentor’s approach to landscape painting, which Linnell regarded increasingly as a means of expressing his religious feelings. It was virtually inevitable that he would introduce his like-minded protégé to Blake. According to Palmer, the meeting took place on 9 October 1824, when Mr Linnell called and went with me to Mr. Blake. We found him lame

in bed, of a scalded foot (or leg). There, not inactive, though sixtyseven years old, but hard-working on a bed covered with books sat he

up like one of the Antique patriarchs, or a dying Michael Angelo. Thus and there was he making in the leaves of a great book (folio) the sub-

limest designs from his (not superior) Dante. He said he began them

with fear and trembling. I said ‘O! I have enough of fear and trembling.’

‘Then,’ said he, ‘you’ll do.’57

218

blake’s divinity

Left: William Blake, illustration to Thornton’s Pastorals of Virgil, Thenot and Colinet, c. 1821 Right: Samuel Palmer, The Valley Thick with Corn (Psalm 65), 1825

Left: Samuel Palmer, Hilly Scene, c. 1826–8 Right: Samuel Palmer, Coming from the Evening Church, 1830

In 1826 Palmer visited the village of Shoreham in Kent, before deciding to settle there in the following year. He was clearly inspired by the village itself, nestled into the hillsides which surround it, and began to produce both paintings and drawings that are almost claustrophobic in their intensity and disregard for perspective. The influence of Blake’s illustrations to Thornton’s Pastorals of Virgil of c. 1821 is clear in sepia drawings such as the Valley Thick with Corn of 1825, and in one of Palmer’s first Shoreham works, the Hilly Scene of c. 1826–8, to which the church spire adds a deliberately religious dimension. This is even more pronounced in Coming from the Evening Church of 1830, with worshippers enfolded by the landscape. In The Magic Apple Tree of the same year, however, the tree itself with its bright, cloisonné-like colour219

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constable’s correspondence J. M. W. Turner, Helvoetsluys, the City of Utrecht, 64, Going to Sea, 1832

The intensity of the red lead, made more vivid by the coolness of

his picture, caused even the vermilion and lake of Constable to look

weak. I came into the room just as Turner left it. ‘He has been here’, said Constable, ‘and fired a gun.’ … The great man did not come into

but finally decided to send in what he described to Leslie as ‘my Harlequin’s Jacket’, referring presumably to the preponderance of red and gold pigments.

What followed is taken from Robert Leslie’s edition of his father’s Life of Constable. Apparently the Hanging Committee placed Waterloo Bridge next to Turner’s Helvoetsluys (opposite), a sea piece with no positive colour in any part of it. Constable’s Waterloo seemed

as if painted with liquid gold and silver, and Turner came into the room several times while he was heightening with vermilion and lake

the flags of the city barges. Turner stood behind him, looking from the Waterloo to his own picture, and at last brought his palette from

the great room where he was touching another picture, and putting a

round daub of red lead, somewhat bigger than a shilling, on his grey sea, went away without saying a word.

262

John Constable, The Opening of Waterloo Bridge (‘Waterloo Bridge’, or ‘Whitehall Stairs, June 18th, 1817’), 1832

the room for a day and a half; and then, in the last moments that

were allowed for painting, he glazed the scarlet seal he had put on his picture, and shaped it into a buoy.73

From 1829 onwards Constable was involved with the engraver David Lucas (1802–1881) in producing a series of mezzotints after his paintings, to be published as Various Subjects of Landscape, characteristic of English Scenery, principally intended to display the Phenomena of the Chiar’oscuro of Nature: from Pictures Painted by John Constable, R.A. (to give it the expanded title used for the 1833 edition).74 He and Fisher had discussed the idea of using lithography to reproduce some of his drawings in 1822, but nothing came of the project, and Fisher later advised his friend against reproducing his paintings in ‘black & white. Your charm is colour & the cool tint of English daylight. The burr of mezzotint will not touch that.’75 However, Constable 263

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constable’s correspondence J. M. W. Turner, Helvoetsluys, the City of Utrecht, 64, Going to Sea, 1832

The intensity of the red lead, made more vivid by the coolness of

his picture, caused even the vermilion and lake of Constable to look

weak. I came into the room just as Turner left it. ‘He has been here’, said Constable, ‘and fired a gun.’ … The great man did not come into

but finally decided to send in what he described to Leslie as ‘my Harlequin’s Jacket’, referring presumably to the preponderance of red and gold pigments.

What followed is taken from Robert Leslie’s edition of his father’s Life of Constable. Apparently the Hanging Committee placed Waterloo Bridge next to Turner’s Helvoetsluys (opposite), a sea piece with no positive colour in any part of it. Constable’s Waterloo seemed

as if painted with liquid gold and silver, and Turner came into the room several times while he was heightening with vermilion and lake

the flags of the city barges. Turner stood behind him, looking from the Waterloo to his own picture, and at last brought his palette from

the great room where he was touching another picture, and putting a

round daub of red lead, somewhat bigger than a shilling, on his grey sea, went away without saying a word.

262

John Constable, The Opening of Waterloo Bridge (‘Waterloo Bridge’, or ‘Whitehall Stairs, June 18th, 1817’), 1832

the room for a day and a half; and then, in the last moments that

were allowed for painting, he glazed the scarlet seal he had put on his picture, and shaped it into a buoy.73

From 1829 onwards Constable was involved with the engraver David Lucas (1802–1881) in producing a series of mezzotints after his paintings, to be published as Various Subjects of Landscape, characteristic of English Scenery, principally intended to display the Phenomena of the Chiar’oscuro of Nature: from Pictures Painted by John Constable, R.A. (to give it the expanded title used for the 1833 edition).74 He and Fisher had discussed the idea of using lithography to reproduce some of his drawings in 1822, but nothing came of the project, and Fisher later advised his friend against reproducing his paintings in ‘black & white. Your charm is colour & the cool tint of English daylight. The burr of mezzotint will not touch that.’75 However, Constable 263

pen & pencil

constable’s correspondence

must have been aware of the important precedent set by Turner with his Liber Studiorum, a series of unbound prints in etching and mezzotint, issued between 1807 and 1824 in emulation of Claude’s Liber Veritatis.76 It may not be coincidental that he decided to rise to that challenge in the year that he could also add the initials ‘R. A.’ to his name. Although it could be argued that both artists shared the common goal of attempting to raise the status of landscape painting by their efforts, Constable’s agenda in doing so could not have been more different from that of the English Claude. In an early draft of his Prospectus for English Landscape, he staked out his claim that ‘the features of this country itself abundantly contain all that is so eagerly sought under foreign skies’. ‘But why’, he asked, should not subjects purely English be made the vehicle of General

Landscape? – and, when embodied by its highest principles, be so rendered, as to become legitimate, and at the same time original – and consequently classical art.77

To reinforce his further aim ‘to place English Scenery on the same footing in respect to Landscape as that on which it has long stood with regard to poetry’, 78 the introduction is prefaced by quotations from Constable’s favourite poets: Thomson, Wordsworth, Ovid, and Horace.

In David Lucas, Constable found the perfect instrument. In his late twenties when their collaboration began Lucas was, in Beckett’s words, ‘young enough to be pliant and teachable’ and ‘industrious and endowed with infinite patience’. His outstanding achievement was to find a way of expressing through his own medium of mezzotint the subtleties of the ‘chiaroscuro’ by which Constable set so much store. As they worked together, the images that emerged not only replicated the contrasts of light and shade in the paintings, but also heightened their drama. In the print of Hadleigh Castle, for instance, the storm clouds are parted by shafts of eerie light and the foreground is darkened to convey an even stronger impression of the ‘melancholy bounds’ with which Constable invested his original landscape.

264

David Lucas after John Constable, Hadleigh Castle: large plate, progress proof judged ‘mighty fine’ by Constable, 1830, published 1849

Constable judged it to be ‘mighty fine’, although he could not resist adding that ‘it looks as if all the chimney sweepers in Christendom had been at work on it, & thrown their soot bags up in the air’.79 Good-natured though that comment may seem to be, the working relationship between painter and engraver was not an easy one. Constable was a hard taskmaster, whose constant revisions and corrections to the plates were often accompanied by outbursts of temper. His letter to Lucas written in April 1833 is by no means exceptional: This dreadfull book must be my ruin … The great quantity of worth-

less & bad proofs, which you have sent, renders all the lists, to make up, of no use. The things you have sent (and of course charged for)

should have been burnt by you, ‘from the press’ … And I do consider 265

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constable’s correspondence

must have been aware of the important precedent set by Turner with his Liber Studiorum, a series of unbound prints in etching and mezzotint, issued between 1807 and 1824 in emulation of Claude’s Liber Veritatis.76 It may not be coincidental that he decided to rise to that challenge in the year that he could also add the initials ‘R. A.’ to his name. Although it could be argued that both artists shared the common goal of attempting to raise the status of landscape painting by their efforts, Constable’s agenda in doing so could not have been more different from that of the English Claude. In an early draft of his Prospectus for English Landscape, he staked out his claim that ‘the features of this country itself abundantly contain all that is so eagerly sought under foreign skies’. ‘But why’, he asked, should not subjects purely English be made the vehicle of General

Landscape? – and, when embodied by its highest principles, be so rendered, as to become legitimate, and at the same time original – and consequently classical art.77

To reinforce his further aim ‘to place English Scenery on the same footing in respect to Landscape as that on which it has long stood with regard to poetry’, 78 the introduction is prefaced by quotations from Constable’s favourite poets: Thomson, Wordsworth, Ovid, and Horace.

In David Lucas, Constable found the perfect instrument. In his late twenties when their collaboration began Lucas was, in Beckett’s words, ‘young enough to be pliant and teachable’ and ‘industrious and endowed with infinite patience’. His outstanding achievement was to find a way of expressing through his own medium of mezzotint the subtleties of the ‘chiaroscuro’ by which Constable set so much store. As they worked together, the images that emerged not only replicated the contrasts of light and shade in the paintings, but also heightened their drama. In the print of Hadleigh Castle, for instance, the storm clouds are parted by shafts of eerie light and the foreground is darkened to convey an even stronger impression of the ‘melancholy bounds’ with which Constable invested his original landscape.

264

David Lucas after John Constable, Hadleigh Castle: large plate, progress proof judged ‘mighty fine’ by Constable, 1830, published 1849

Constable judged it to be ‘mighty fine’, although he could not resist adding that ‘it looks as if all the chimney sweepers in Christendom had been at work on it, & thrown their soot bags up in the air’.79 Good-natured though that comment may seem to be, the working relationship between painter and engraver was not an easy one. Constable was a hard taskmaster, whose constant revisions and corrections to the plates were often accompanied by outbursts of temper. His letter to Lucas written in April 1833 is by no means exceptional: This dreadfull book must be my ruin … The great quantity of worth-

less & bad proofs, which you have sent, renders all the lists, to make up, of no use. The things you have sent (and of course charged for)

should have been burnt by you, ‘from the press’ … And I do consider 265

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turner and poetry

And to fair Prosperine the present borne,

J. M. W. Turner, Dolbadarn Castle, North Wales, 1800

Ere leave be giv’n to tempt the nether skies

In the painting Turner represented the Sybil brandishing the golden bough as Æneas responds to her final command: Now, Trojan, take the way thy fates afford;

Assume thy courage, and unsheathe thy sword.

Of the eight pictures Turner exhibited in 1800, the one which attracted the most attention was his Fifth Plague of Egypt 17 which, to judge from the epigraph, he confused with the seventh: ‘And Moses stretched forth his hands towards heaven, and the Lord sent thunder and hail, and the fire ran along the ground. – Exodus ix, 23.’ It was bought by another of his early patrons, William Beckford (1760–1844), the eccentric author and collector who is best remembered for his gothic novel Vathek (1786) and his equally gothic

J. M. W. Turner, The Fifth Plague of Egypt, 1800

folly, Fonthill Abbey in Wiltshire, which it could be argued Turner’s Plague matched in scale and exaggeration. Much less attention was paid to Dolbadarn Castle, North Wales,18 which was destined to become the diploma picture Turner presented to the Academy. The five lines of verse that accompanied it were unattributed but unmistakably his own: How awful is the silence of the waste,

Where nature lifts her mountains to the sky.

Majestic solitude, behold the tower

Where hopeless OWEN, long imprison’d, pin’d And wrung his hands for liberty in vain.

284

285

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turner and poetry

And to fair Prosperine the present borne,

J. M. W. Turner, Dolbadarn Castle, North Wales, 1800

Ere leave be giv’n to tempt the nether skies

In the painting Turner represented the Sybil brandishing the golden bough as Æneas responds to her final command: Now, Trojan, take the way thy fates afford;

Assume thy courage, and unsheathe thy sword.

Of the eight pictures Turner exhibited in 1800, the one which attracted the most attention was his Fifth Plague of Egypt 17 which, to judge from the epigraph, he confused with the seventh: ‘And Moses stretched forth his hands towards heaven, and the Lord sent thunder and hail, and the fire ran along the ground. – Exodus ix, 23.’ It was bought by another of his early patrons, William Beckford (1760–1844), the eccentric author and collector who is best remembered for his gothic novel Vathek (1786) and his equally gothic

J. M. W. Turner, The Fifth Plague of Egypt, 1800

folly, Fonthill Abbey in Wiltshire, which it could be argued Turner’s Plague matched in scale and exaggeration. Much less attention was paid to Dolbadarn Castle, North Wales,18 which was destined to become the diploma picture Turner presented to the Academy. The five lines of verse that accompanied it were unattributed but unmistakably his own: How awful is the silence of the waste,

Where nature lifts her mountains to the sky.

Majestic solitude, behold the tower

Where hopeless OWEN, long imprison’d, pin’d And wrung his hands for liberty in vain.

284

285

list of illustrations

LIST OF ILLUSTRATIONS All measurements given height before width.

All images from holding institutions or Wikimedia unless noted Half title: William Hogarth (1697–1764), detail of The Painter and his Pug, 1745. Oil on canvas, 90 x 69.9 cm.

Tate, London. On loan to the National Gallery, London Frontispiece: Sir Joshua Reynolds (1723–1792), detail of Mrs Richard Lloyd, 1775–6. Oil on canvas, 236 x 146 cm. Waddesdon Manor, Aylesbury, Buckinghamshire. Photo Alamy p. 4 Thomas Gainsborough (1727–1788), detail of Elizabeth Linley (Mrs Richard Brinsley Sheridan), 1785–7.

Oil on canvas, 219.7 x 153.7 cm. National Gallery of Art, Washington DC

preface

p. 6 John Constable (1776–1837), Hampstead Heath, between 1820 and 1830. Oil on canvas, 45 x 36 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT

introduction

p. 10 William Blake, Laocöon, central image c. 1815, lettering c. 1826–7. Intaglio etching and engraving with lettering in drypoint, image 26.2 x 21.6 cm. Fitzwilliam Museum, Cambridge p. 12 Joseph Spence, Title page opening of third edition of Polymetis, London, 1774, with portrait of Spence by Isaac Whood, engraved by George Vertue.

chapter 1: hogarth and the stage

p. 18 William Hogarth (1697–1764), The Painter and his Pug, 1745. Oil on canvas, 90 x 69.9 cm. Tate, London.

On loan to the National Gallery, London p. 21 Left-hand side of the Temple of British Worthies at Stowe, c. 1735. The busts of Milton and Shakespeare

352

by Michael Rysbrack (1694–1770); Sir Thomas Gresham probably by Peter Scheemakers (1691–1781); Inigo Jones maybe also by Rysbrack. Stowe Gardens, Buckinghamshire. Photo Daderot, Wikimedia p. 22 William Hogarth, The Line of Beauty, title page of The Analysis of Beauty, London, 1753. p. 24 William Hogarth, Masquerades and Operas (‘The Bad Taste of the Town’), 1724. Etching and engraving on paper, 125 x 175 mm. Metropolitan Museum of Art, New York, NY p. 26 William Hogarth, The Wedding of Stephen Beckingham and Mary Cox, 1729. Oil on canvas, 128 x 103 cm.

Metropolitan Museum of Art, New York, NY p. 28 (left) William Hogarth, Before, c. 1730–1. Oil on canvas, 37 x 45 cm. Fitzwilliam Museum, Cambridge p. 28 (right) William Hogarth, After, c. 1730–1. Oil on canvas, 37 x 45 cm. Fitzwilliam Museum, Cambridge p. 30 William Hogarth, preparatory drawing for The Beggar’s Opera, c. 1728–9. Black chalk with some white chalk on blue paper, some outlines pricked, splashed with oil paint, 373 x 492 mm. Royal Collection p. 31 William Hogarth, The Beggar’s Opera, 1729. Oil on canvas, 59 x 76 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 32 Charles Philips (1708–1747), Algernon Seymour, Lord Hertford (later 7th Duke of Somerset) with Colonel Tomkins Wardour; Colonel Browne; Lord Beauchamp with drums holding the hand of Frances, Lady Hertford; Lady Elizabeth Seymour (later Duchess of Northumberland) and Miss Herbert, 1732. Oil on canvas. Alnwick Castle, Collection of the Duke of Northumberland, Alnwick p. 33 William Hogarth, The Conduitt Piece (‘The Indian Emperor, or, The Conquest of Mexico’, Act IV scene 4, as performed in 1731 at John Conduitt’s house before the Duke of Cumberland), 1732–5. Oil on canvas, 80 x 147 cm. Private collection. Photo Alamy p. 35 William Hogarth, The Cholmondeley Family, 1732.

Oil on canvas, 71 x 107 cm. Houghton Hall, Norfolk.

Photo Alamy p. 36 William Hogarth, John, Lord Hervey and his Friends (‘The Hervey Conversation Piece’), 1738–40.

Oil on canvas, 102 x 127 cm. Ickworth House, Suffolk.

Photo Alamy p. 39 William Hogarth, The Four Times of Day: Morning, 1736. Oil on canvas, 74 x 61 cm. Upton House, Warwickshire p. 40 William Hogarth, The Harlot’s Progress, plate 1: Moll Hackabout Arrives in London, 1732 (after painting since destroyed). Etching and engraving on paper, 318 x 391 mm (sheet). British Museum, London p. 41 William Hogarth, The Rake’s Progress, plate 11: His Levée, 1735. Etching and engraving on paper, 311 x 387 mm. Metropolitan Museum of Art, New York, NY p. 42 William Hogarth, The Rake’s Progress, plate 8: In Bedlam, 1735. Etching and engraving on paper, 314 x 387 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 44 William Hogarth, Marriage A-la-Mode, 1: The Marriage Settlement, 1743–5. Oil on canvas, 70 x 91 cm.

National Gallery, London p. 45 William Hogarth, Marriage A-la-Mode, 2: The Tête-à-Tête, 1743–5. Oil on canvas, 70 x 91 cm. National Gallery, London p. 47 William Hogarth, Industry and Idleness, plate 10: The Industrious ’Prentice Alderman of London, the Idle One Brought before Him & Impeach’d by his Accomplice, 1747. Etching and engraving on paper, 210 x 286 mm.

Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 48 (left) William Hogarth, Beer Street, 1751. Etching and engraving on paper, 357 x 305 mm. British Museum, London p. 48 (right) William Hogarth, Gin Lane, 1751. Etching and engraving on paper, 357 x 305 mm. British Museum, London p. 49 William Hogarth, David Garrick as Richard III, c. 1745. Oil on canvas, 191 x 251 cm. Walker Art Gallery, Liverpool p. 50 William Hogarth, Ferdinand Courting Miranda (from Shakespeare’s Tempest), c. 1736. Oil on canvas,

80 x 107 cm. Nostell Priory, West Yorkshire p. 53 William Hogarth, David Garrick and his Wife Eva-Maria, 1757. Oil on canvas, 133 x 104 cm. Royal Collection p. 55 William Hogarth, The Lady’s Last Stake (‘Piquet, or Virtue in Danger’), c. 1759. Oil on canvas, 91 x 105 cm.

Buffalo AKG Art Museum, Buffalo, NY p. 56 Francesco Furini, Sigismunda with the Heart of Guiscardo, c. 1635–45. Oil on canvas, 73 x 59 cm. Birmingham Museums, Birmingham p. 57 William Hogarth, Sigismunda Mourning over the Heart of Guiscardo, her Murder’d Husband, 1759. Oil on canvas, 100 x 127 cm. Tate, London p. 59 Sir Joshua Reynolds, Kitty Fisher as Cleopatra Dissolving the Pearl, 1759. Oil on canvas, 76 x 64 cm. Kenwood House, London: p. 61 William Hogarth, The Artist Painting the Comic Muse, c. 1757. Oil on canvas, 45 x 43 cm. National Portrait Gallery, London p. 62 William Hogarth, Christ’s Ascension (centre) flanked by The Sealing of the Sepulchre and The Three Marys at the Tomb, 1755–6. Oil on canvas, 670 x 580 cm (centre) and 420 x 370 cm (sides). St Nicholas Church, Bristol. Bristol Museums and Art Gallery p. 63 William Hogarth, Southwark Fair, c. 1733. Oil on canvas, 121 x 151 cm. Cincinnati Art Museum, Cincinnati, OH

chapter 2: reynolds and the discourses

p. 64 Sir Joshua Reynolds (1723–1792), Self-portrait, c.

1780. Oil on panel, 127 x 102 cm. Royal Academy of Arts, London p. 66 Rembrandt van Rijn, Aristotle Contemplating the Bust of Homer, 1653. Oil on canvas, 144 x 137 cm. Metropolitan Museum of Art, New York, NY p. 68 Sir Joshua Reynolds, Parody on the ‘School of Athens’, 1751. Oil on canvas, 97 x 135 cm. National Gallery of Ireland, Dublin p. 69 Thomas Patch (1725–1782), British Gentlemen at Sir Horace Mann’s Home in Florence, 1763–5. Oil on canvas, 96 x 124 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT

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list of illustrations

LIST OF ILLUSTRATIONS All measurements given height before width.

All images from holding institutions or Wikimedia unless noted Half title: William Hogarth (1697–1764), detail of The Painter and his Pug, 1745. Oil on canvas, 90 x 69.9 cm.

Tate, London. On loan to the National Gallery, London Frontispiece: Sir Joshua Reynolds (1723–1792), detail of Mrs Richard Lloyd, 1775–6. Oil on canvas, 236 x 146 cm. Waddesdon Manor, Aylesbury, Buckinghamshire. Photo Alamy p. 4 Thomas Gainsborough (1727–1788), detail of Elizabeth Linley (Mrs Richard Brinsley Sheridan), 1785–7.

Oil on canvas, 219.7 x 153.7 cm. National Gallery of Art, Washington DC

preface

p. 6 John Constable (1776–1837), Hampstead Heath, between 1820 and 1830. Oil on canvas, 45 x 36 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT

introduction

p. 10 William Blake, Laocöon, central image c. 1815, lettering c. 1826–7. Intaglio etching and engraving with lettering in drypoint, image 26.2 x 21.6 cm. Fitzwilliam Museum, Cambridge p. 12 Joseph Spence, Title page opening of third edition of Polymetis, London, 1774, with portrait of Spence by Isaac Whood, engraved by George Vertue.

chapter 1: hogarth and the stage

p. 18 William Hogarth (1697–1764), The Painter and his Pug, 1745. Oil on canvas, 90 x 69.9 cm. Tate, London.

On loan to the National Gallery, London p. 21 Left-hand side of the Temple of British Worthies at Stowe, c. 1735. The busts of Milton and Shakespeare

352

by Michael Rysbrack (1694–1770); Sir Thomas Gresham probably by Peter Scheemakers (1691–1781); Inigo Jones maybe also by Rysbrack. Stowe Gardens, Buckinghamshire. Photo Daderot, Wikimedia p. 22 William Hogarth, The Line of Beauty, title page of The Analysis of Beauty, London, 1753. p. 24 William Hogarth, Masquerades and Operas (‘The Bad Taste of the Town’), 1724. Etching and engraving on paper, 125 x 175 mm. Metropolitan Museum of Art, New York, NY p. 26 William Hogarth, The Wedding of Stephen Beckingham and Mary Cox, 1729. Oil on canvas, 128 x 103 cm.

Metropolitan Museum of Art, New York, NY p. 28 (left) William Hogarth, Before, c. 1730–1. Oil on canvas, 37 x 45 cm. Fitzwilliam Museum, Cambridge p. 28 (right) William Hogarth, After, c. 1730–1. Oil on canvas, 37 x 45 cm. Fitzwilliam Museum, Cambridge p. 30 William Hogarth, preparatory drawing for The Beggar’s Opera, c. 1728–9. Black chalk with some white chalk on blue paper, some outlines pricked, splashed with oil paint, 373 x 492 mm. Royal Collection p. 31 William Hogarth, The Beggar’s Opera, 1729. Oil on canvas, 59 x 76 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 32 Charles Philips (1708–1747), Algernon Seymour, Lord Hertford (later 7th Duke of Somerset) with Colonel Tomkins Wardour; Colonel Browne; Lord Beauchamp with drums holding the hand of Frances, Lady Hertford; Lady Elizabeth Seymour (later Duchess of Northumberland) and Miss Herbert, 1732. Oil on canvas. Alnwick Castle, Collection of the Duke of Northumberland, Alnwick p. 33 William Hogarth, The Conduitt Piece (‘The Indian Emperor, or, The Conquest of Mexico’, Act IV scene 4, as performed in 1731 at John Conduitt’s house before the Duke of Cumberland), 1732–5. Oil on canvas, 80 x 147 cm. Private collection. Photo Alamy p. 35 William Hogarth, The Cholmondeley Family, 1732.

Oil on canvas, 71 x 107 cm. Houghton Hall, Norfolk.

Photo Alamy p. 36 William Hogarth, John, Lord Hervey and his Friends (‘The Hervey Conversation Piece’), 1738–40.

Oil on canvas, 102 x 127 cm. Ickworth House, Suffolk.

Photo Alamy p. 39 William Hogarth, The Four Times of Day: Morning, 1736. Oil on canvas, 74 x 61 cm. Upton House, Warwickshire p. 40 William Hogarth, The Harlot’s Progress, plate 1: Moll Hackabout Arrives in London, 1732 (after painting since destroyed). Etching and engraving on paper, 318 x 391 mm (sheet). British Museum, London p. 41 William Hogarth, The Rake’s Progress, plate 11: His Levée, 1735. Etching and engraving on paper, 311 x 387 mm. Metropolitan Museum of Art, New York, NY p. 42 William Hogarth, The Rake’s Progress, plate 8: In Bedlam, 1735. Etching and engraving on paper, 314 x 387 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 44 William Hogarth, Marriage A-la-Mode, 1: The Marriage Settlement, 1743–5. Oil on canvas, 70 x 91 cm.

National Gallery, London p. 45 William Hogarth, Marriage A-la-Mode, 2: The Tête-à-Tête, 1743–5. Oil on canvas, 70 x 91 cm. National Gallery, London p. 47 William Hogarth, Industry and Idleness, plate 10: The Industrious ’Prentice Alderman of London, the Idle One Brought before Him & Impeach’d by his Accomplice, 1747. Etching and engraving on paper, 210 x 286 mm.

Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 48 (left) William Hogarth, Beer Street, 1751. Etching and engraving on paper, 357 x 305 mm. British Museum, London p. 48 (right) William Hogarth, Gin Lane, 1751. Etching and engraving on paper, 357 x 305 mm. British Museum, London p. 49 William Hogarth, David Garrick as Richard III, c. 1745. Oil on canvas, 191 x 251 cm. Walker Art Gallery, Liverpool p. 50 William Hogarth, Ferdinand Courting Miranda (from Shakespeare’s Tempest), c. 1736. Oil on canvas,

80 x 107 cm. Nostell Priory, West Yorkshire p. 53 William Hogarth, David Garrick and his Wife Eva-Maria, 1757. Oil on canvas, 133 x 104 cm. Royal Collection p. 55 William Hogarth, The Lady’s Last Stake (‘Piquet, or Virtue in Danger’), c. 1759. Oil on canvas, 91 x 105 cm.

Buffalo AKG Art Museum, Buffalo, NY p. 56 Francesco Furini, Sigismunda with the Heart of Guiscardo, c. 1635–45. Oil on canvas, 73 x 59 cm. Birmingham Museums, Birmingham p. 57 William Hogarth, Sigismunda Mourning over the Heart of Guiscardo, her Murder’d Husband, 1759. Oil on canvas, 100 x 127 cm. Tate, London p. 59 Sir Joshua Reynolds, Kitty Fisher as Cleopatra Dissolving the Pearl, 1759. Oil on canvas, 76 x 64 cm. Kenwood House, London: p. 61 William Hogarth, The Artist Painting the Comic Muse, c. 1757. Oil on canvas, 45 x 43 cm. National Portrait Gallery, London p. 62 William Hogarth, Christ’s Ascension (centre) flanked by The Sealing of the Sepulchre and The Three Marys at the Tomb, 1755–6. Oil on canvas, 670 x 580 cm (centre) and 420 x 370 cm (sides). St Nicholas Church, Bristol. Bristol Museums and Art Gallery p. 63 William Hogarth, Southwark Fair, c. 1733. Oil on canvas, 121 x 151 cm. Cincinnati Art Museum, Cincinnati, OH

chapter 2: reynolds and the discourses

p. 64 Sir Joshua Reynolds (1723–1792), Self-portrait, c.

1780. Oil on panel, 127 x 102 cm. Royal Academy of Arts, London p. 66 Rembrandt van Rijn, Aristotle Contemplating the Bust of Homer, 1653. Oil on canvas, 144 x 137 cm. Metropolitan Museum of Art, New York, NY p. 68 Sir Joshua Reynolds, Parody on the ‘School of Athens’, 1751. Oil on canvas, 97 x 135 cm. National Gallery of Ireland, Dublin p. 69 Thomas Patch (1725–1782), British Gentlemen at Sir Horace Mann’s Home in Florence, 1763–5. Oil on canvas, 96 x 124 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT

353

pen & pencil p. 70 (left) Pompeo Batoni, Charles Compton, 7th Earl of Northampton, 1758. Oil on canvas, 238 x 149 cm.

Fitzwilliam Museum, Cambridge p. 70 (right) Sir Joshua Reynolds, Charles Coote, Earl of Bellomont, in Robes of the Order of the Bath, 1773–4. Oil on canvas, 245 x 162 cm. National Gallery of Ireland, Dublin p. 75 Sir Joshua Reynolds, David Garrick between Tragedy and Comedy, 1761. Oil on canvas, 148 x 182 cm.

Waddesdon Manor, Buckinghamshire. Photo Alamy p. 78 (left) The Apollo Belvedere, (Roman copy of Greek statue, c. AD 120–40), illustration by Louis Peter Boitard from Joseph Spence, Polymetis, London, 1747. p. 78 (centre) Sir Joshua Reynolds, Captain the Honourable Augustus Keppel, 1752–3. Oil canvas, 239 x 148 cm.

National Maritime Museum, London p. 78 (right) Allan Ramsay (1713–1784), Norman MacLeod, Chief of Clan MacLeod, c. 1747. Oil on canvas.

Dunvegan Castle, Skye p. 79 Sir Joshua Reynolds, Lord Heathfield of Gibralter, 1787. Oil on canvas, 142 x 114 cm. National Gallery, London p. 80 (left) Copy after Sir Anthony van Dyck, Thomas Wentworth, Earl of Strafford, with his secretary Sir Philip Mainwaring (c. 1639–40), 18th century. Oil on canvas, 77 x 64 cm. Birmingham Museums, Birmingham p. 80 (right) Sir Joshua Reynolds, Lord Rockingham and Edmund Burke (unfinished), c. 1766. Oil on canvas, 145 x 159 cm. Fitzwilliam Museum, Cambridge p. 86 (left) Edward Penny, The Death of General Wolfe, 1763. Oil on canvas, 102 x 127 cm. Ashmolean Museum, Oxford p. 86 (right) Attributed to Joseph Wilton, detail of Monument to General Wolfe, Westminster Abbey, c. 1773.

Grey ink and grey wah on paper, 280 x 198 mm. Private collection. p. 87 Benjamin West (1738–1820), The Death of General Wolfe, 1771. Oil on canvas, 151 x 213 cm. National Gallery of Canada, Ottawa p. 89 Nathaniel Hone, The Conjuror (‘The Pictorial Conjuror, displaying the Whole Art of Optical Deception’), 1775. Oil on canvas, 145 x 173 cm. National Gallery of

354

list of illustrations Ireland, Dublin p. 91 Sir Joshua Reynolds, The Montgomery Sisters: Three Ladies Adorning a Term of Hymen, 1774. Oil on canvas, 234 x 291 cm. Tate, London p. 95 Sir Joshua Reynolds, The Marlborough Family, 1778. Oil on canvas, 318 x 289 cm. Blenheim Palace, Oxfordshire p. 96 (left) Sir Joshua Reynolds, Lord Henry Spencer and Lady Charlotte Spencer: The Young Fortune Tellers, c. 1774. Oil on canvas, 143 x 114 cm. Huntington Art Museum, San Marino, CA p. 96 (right) Sir Joshua Reynolds, Master Crewe as Henry VIII, 1775. Oil on canvas, 140 x 110 cm. Tate, London p. 97 (left) Sir Joshua Reynolds, Joanna Leigh, Mrs Richard Bennett Lloyd, Inscribing a Tree, 1776. Oil on canvas, 236 x 146 cm. Waddesdon Manor, Aylesbury, Buckinghamshire. Photo Alamy p. 97 (right) Sir Joshua Reynolds, Portrait of Mai (‘Omai’), 1776. Oil on canvas, 236 x 146 cm. National Portrait Gallery, London, and Getty Museum, Los Angeles, CA p. 98 (left) Sir Joshua Reynolds, Georgiana, Duchess of Devonshire with her Infant Daughter Lady Georgiana Cavendish, c. 1785. Oil on canvas, 112 x 140 cm. Chatsworth House, Derbyshire. p. 98 (right) Sir Joshua Reynolds, Georgiana, Countess Spencer with her Daughter Lady Georgiana Spencer, 1759–61. Oil on canvas, 122 x 115 cm. Althorp, Northamptonshire. p. 99 Sir Joshua Reynolds, Lady Elizabeth Delmé and her Children, c. 1779–9. Oil on canvas, 238 x 147 cm.

National Gallery of Art, Washington, DC p. 101 Anonymous engraver after Sir Joshua Reynolds, detail of The much admired Painted Window of New College Chapel Oxford ... (1779), 1816. Stipple and etching printed in colour, 650 x 475 mm (sheet), published

by John Boydell. British Museum, London p. 106 Thomas Gainsborough (1727–1788), The Duke and Duchess of Cumberland Attended by Lady Elizabeth Luttrell, c. 1785–8. Oil on canvas, 164 x 125 cm. Royal Collection p. 107 (left) Sir Joshua Reynolds, Sarah (Kemble) Sid-

dons as the Tragic Muse, 1783–4. Oil on canvas, 239 x 147 cm. Huntington Art Museum, San Marino, CA p. 107 (right) Thomas Gainsborough, Sarah Siddons, 1785. Oil on canvas, 126 x 100 cm. National Gallery, London p. 108 (left) Thomas Gainsborough, The Cottage Girl, 1785. Oil on canvas, 174 x 125 cm. National Gallery of Ireland, Dublin p. 108 (right) Sir Joshua Reynolds, Cupid as Link Boy, 1774. Oil on canvas, 76 x 64 cm. Buffalo AKG Art Museum, Buffalo, NY p. 109 Edward Francis Burney (1760–1848), North Wall, The Great Room, Somerset House, 1784. Ink on paper, 268 x 444 mm. British Museum, London p. 110 (left) John Keyse Sherwin (c. 1751–1790) after Sir Joshua Reynolds, Mrs Frances Abington as Roxalana in ‘The Sultan’ (1783), 1791. Stipple engraving on paper, 222 x 183 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 110 (right) John Raphael Smith (1752–1812) after Sir Joshua Reynolds, A Bacchante (1784), 1784. Mezzotint, 384 x 279 mm. Birmingham Museums, Birmingham p. 111 (left) John Raphael Smith after Sir Joshua Reynolds, A Nymph and Cupid (‘The Snake in the Grass’) (1784), 1787. Stipple and etching on paper, 328 x 253 mm (sheet). British Museum, London p. 111 (right) Abraham Raimbach after Sir Joshua Reynolds, Venus and Cupid (‘The Wanton Bacchante’) (1785), 1810. Engraving and etching on paper, 507 x 353 mm (sheet). British Museum, London p. 113 Sir Joshua Reynolds, The Infant Hercules Strangling Serpents in his Cradle, 1786. Oil on canvas, 303 x 297 cm. State Hermitage Museum, St Petersburg p. 116 James Gillray (1756–1815), Shakespeare – Sacrificed; – or – the Offering to Avarice, 1789. Hand-coloured etching and aquatint, 500 x 382 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 119 Sir David Wilkie (1785–1841), Pitlessie Fair, 1804.

Oil on canvas, 62 x 111 cm. National Gallery of Scotland, Edinburgh p. 120 Sir David Wilkie, Chelsea Pensioners Reading the Waterloo Dispatch, 1822. Oil on canvas, 158 x 97 cm.

Apsley House, Wellington Collection, London, on

loan to National Gallery, London

chapter 3: gainsborough’s letters

p. 122 Thomas Gainsborough, Self-portrait, c. 1787. Oil on canvas, 77 x 65 cm. Royal Academy of Arts, London. Photograph Alamy p. 125 (left) Thomas Gainsborough, The Charterhouse, 1748. Oil on canvas, dia. 56 cm. Foundling Museum, London p. 125 (right) Sir Joshua Reynolds (1723–1792), The Eliot Family, c. 1746. Oil on canvas, 87 x 114 cm. Private collection, Port Eliot, Cornwall. p. 126 Thomas Gainsborough, Cornard Wood, near Sudbury, Suffolk, 1748. Oil on canvas, 122 x 155 cm. National Gallery, London p. 129 Thomas Gainsborough, Portrait of the Artist with his Wife and Daughter, c. 1748. Oil on canvas, 92 x 71 cm. National Gallery, London p. 130 Thomas Gainsborough, Mr and Mrs Andrews, c. 1750. Oil on canvas, 70 x 119 cm. National Gallery, London p. 133 (left) Thomas Gainsborough, Dr Rice Charleton, c.

1764. Oil on canvas, 229 x 152 cm. Holburne Museum, Bath p. 133 (right) Thomas Gainsborough, Isabella, Viscountess Molyneux, later Countess of Sefton, 1769. Oil on canvas, 236 x 155 cm. Walker Art Gallery, Liverpool p. 134 (left) Thomas Gainsborough, The Blue Boy, 1770.

Oil on canvas, 178 x 112 cm. Huntington Art Museum, San Marino, CA p. 134 (right, above) Sir Anthony van Dyck (1599–1641), George Villiers, 2nd Duke of Buckingham and his Brother, Lord Francis Villiers, 1635. Oil on canvas, 137 x 128 cm. Royal Collection p. 134 (right, below) Thomas Gainsborough, Miss Theodosia Magill, afterwards Countess of Clanwilliam, 1765.

Oil on canvas, 127 x 102 cm. Ulster Museum, Belfast p. 136 Thomas Gainsborough, Ann Ford (later Mrs Philip Thicknesse), 1760. Oil on canvas, 197 x 135 cm. Cincinnati Art Museum, OH p. 137 Thomas Gainsborough, Elizabeth and Thomas Linley (‘A Beggar Boy and Girl’), c. 1768. Oil on canvas, 70 x 62 cm. Clark Art Institute, Williamstown, MA

355

pen & pencil p. 70 (left) Pompeo Batoni, Charles Compton, 7th Earl of Northampton, 1758. Oil on canvas, 238 x 149 cm.

Fitzwilliam Museum, Cambridge p. 70 (right) Sir Joshua Reynolds, Charles Coote, Earl of Bellomont, in Robes of the Order of the Bath, 1773–4. Oil on canvas, 245 x 162 cm. National Gallery of Ireland, Dublin p. 75 Sir Joshua Reynolds, David Garrick between Tragedy and Comedy, 1761. Oil on canvas, 148 x 182 cm.

Waddesdon Manor, Buckinghamshire. Photo Alamy p. 78 (left) The Apollo Belvedere, (Roman copy of Greek statue, c. AD 120–40), illustration by Louis Peter Boitard from Joseph Spence, Polymetis, London, 1747. p. 78 (centre) Sir Joshua Reynolds, Captain the Honourable Augustus Keppel, 1752–3. Oil canvas, 239 x 148 cm.

National Maritime Museum, London p. 78 (right) Allan Ramsay (1713–1784), Norman MacLeod, Chief of Clan MacLeod, c. 1747. Oil on canvas.

Dunvegan Castle, Skye p. 79 Sir Joshua Reynolds, Lord Heathfield of Gibralter, 1787. Oil on canvas, 142 x 114 cm. National Gallery, London p. 80 (left) Copy after Sir Anthony van Dyck, Thomas Wentworth, Earl of Strafford, with his secretary Sir Philip Mainwaring (c. 1639–40), 18th century. Oil on canvas, 77 x 64 cm. Birmingham Museums, Birmingham p. 80 (right) Sir Joshua Reynolds, Lord Rockingham and Edmund Burke (unfinished), c. 1766. Oil on canvas, 145 x 159 cm. Fitzwilliam Museum, Cambridge p. 86 (left) Edward Penny, The Death of General Wolfe, 1763. Oil on canvas, 102 x 127 cm. Ashmolean Museum, Oxford p. 86 (right) Attributed to Joseph Wilton, detail of Monument to General Wolfe, Westminster Abbey, c. 1773.

Grey ink and grey wah on paper, 280 x 198 mm. Private collection. p. 87 Benjamin West (1738–1820), The Death of General Wolfe, 1771. Oil on canvas, 151 x 213 cm. National Gallery of Canada, Ottawa p. 89 Nathaniel Hone, The Conjuror (‘The Pictorial Conjuror, displaying the Whole Art of Optical Deception’), 1775. Oil on canvas, 145 x 173 cm. National Gallery of

354

list of illustrations Ireland, Dublin p. 91 Sir Joshua Reynolds, The Montgomery Sisters: Three Ladies Adorning a Term of Hymen, 1774. Oil on canvas, 234 x 291 cm. Tate, London p. 95 Sir Joshua Reynolds, The Marlborough Family, 1778. Oil on canvas, 318 x 289 cm. Blenheim Palace, Oxfordshire p. 96 (left) Sir Joshua Reynolds, Lord Henry Spencer and Lady Charlotte Spencer: The Young Fortune Tellers, c. 1774. Oil on canvas, 143 x 114 cm. Huntington Art Museum, San Marino, CA p. 96 (right) Sir Joshua Reynolds, Master Crewe as Henry VIII, 1775. Oil on canvas, 140 x 110 cm. Tate, London p. 97 (left) Sir Joshua Reynolds, Joanna Leigh, Mrs Richard Bennett Lloyd, Inscribing a Tree, 1776. Oil on canvas, 236 x 146 cm. Waddesdon Manor, Aylesbury, Buckinghamshire. Photo Alamy p. 97 (right) Sir Joshua Reynolds, Portrait of Mai (‘Omai’), 1776. Oil on canvas, 236 x 146 cm. National Portrait Gallery, London, and Getty Museum, Los Angeles, CA p. 98 (left) Sir Joshua Reynolds, Georgiana, Duchess of Devonshire with her Infant Daughter Lady Georgiana Cavendish, c. 1785. Oil on canvas, 112 x 140 cm. Chatsworth House, Derbyshire. p. 98 (right) Sir Joshua Reynolds, Georgiana, Countess Spencer with her Daughter Lady Georgiana Spencer, 1759–61. Oil on canvas, 122 x 115 cm. Althorp, Northamptonshire. p. 99 Sir Joshua Reynolds, Lady Elizabeth Delmé and her Children, c. 1779–9. Oil on canvas, 238 x 147 cm.

National Gallery of Art, Washington, DC p. 101 Anonymous engraver after Sir Joshua Reynolds, detail of The much admired Painted Window of New College Chapel Oxford ... (1779), 1816. Stipple and etching printed in colour, 650 x 475 mm (sheet), published

by John Boydell. British Museum, London p. 106 Thomas Gainsborough (1727–1788), The Duke and Duchess of Cumberland Attended by Lady Elizabeth Luttrell, c. 1785–8. Oil on canvas, 164 x 125 cm. Royal Collection p. 107 (left) Sir Joshua Reynolds, Sarah (Kemble) Sid-

dons as the Tragic Muse, 1783–4. Oil on canvas, 239 x 147 cm. Huntington Art Museum, San Marino, CA p. 107 (right) Thomas Gainsborough, Sarah Siddons, 1785. Oil on canvas, 126 x 100 cm. National Gallery, London p. 108 (left) Thomas Gainsborough, The Cottage Girl, 1785. Oil on canvas, 174 x 125 cm. National Gallery of Ireland, Dublin p. 108 (right) Sir Joshua Reynolds, Cupid as Link Boy, 1774. Oil on canvas, 76 x 64 cm. Buffalo AKG Art Museum, Buffalo, NY p. 109 Edward Francis Burney (1760–1848), North Wall, The Great Room, Somerset House, 1784. Ink on paper, 268 x 444 mm. British Museum, London p. 110 (left) John Keyse Sherwin (c. 1751–1790) after Sir Joshua Reynolds, Mrs Frances Abington as Roxalana in ‘The Sultan’ (1783), 1791. Stipple engraving on paper, 222 x 183 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 110 (right) John Raphael Smith (1752–1812) after Sir Joshua Reynolds, A Bacchante (1784), 1784. Mezzotint, 384 x 279 mm. Birmingham Museums, Birmingham p. 111 (left) John Raphael Smith after Sir Joshua Reynolds, A Nymph and Cupid (‘The Snake in the Grass’) (1784), 1787. Stipple and etching on paper, 328 x 253 mm (sheet). British Museum, London p. 111 (right) Abraham Raimbach after Sir Joshua Reynolds, Venus and Cupid (‘The Wanton Bacchante’) (1785), 1810. Engraving and etching on paper, 507 x 353 mm (sheet). British Museum, London p. 113 Sir Joshua Reynolds, The Infant Hercules Strangling Serpents in his Cradle, 1786. Oil on canvas, 303 x 297 cm. State Hermitage Museum, St Petersburg p. 116 James Gillray (1756–1815), Shakespeare – Sacrificed; – or – the Offering to Avarice, 1789. Hand-coloured etching and aquatint, 500 x 382 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 119 Sir David Wilkie (1785–1841), Pitlessie Fair, 1804.

Oil on canvas, 62 x 111 cm. National Gallery of Scotland, Edinburgh p. 120 Sir David Wilkie, Chelsea Pensioners Reading the Waterloo Dispatch, 1822. Oil on canvas, 158 x 97 cm.

Apsley House, Wellington Collection, London, on

loan to National Gallery, London

chapter 3: gainsborough’s letters

p. 122 Thomas Gainsborough, Self-portrait, c. 1787. Oil on canvas, 77 x 65 cm. Royal Academy of Arts, London. Photograph Alamy p. 125 (left) Thomas Gainsborough, The Charterhouse, 1748. Oil on canvas, dia. 56 cm. Foundling Museum, London p. 125 (right) Sir Joshua Reynolds (1723–1792), The Eliot Family, c. 1746. Oil on canvas, 87 x 114 cm. Private collection, Port Eliot, Cornwall. p. 126 Thomas Gainsborough, Cornard Wood, near Sudbury, Suffolk, 1748. Oil on canvas, 122 x 155 cm. National Gallery, London p. 129 Thomas Gainsborough, Portrait of the Artist with his Wife and Daughter, c. 1748. Oil on canvas, 92 x 71 cm. National Gallery, London p. 130 Thomas Gainsborough, Mr and Mrs Andrews, c. 1750. Oil on canvas, 70 x 119 cm. National Gallery, London p. 133 (left) Thomas Gainsborough, Dr Rice Charleton, c.

1764. Oil on canvas, 229 x 152 cm. Holburne Museum, Bath p. 133 (right) Thomas Gainsborough, Isabella, Viscountess Molyneux, later Countess of Sefton, 1769. Oil on canvas, 236 x 155 cm. Walker Art Gallery, Liverpool p. 134 (left) Thomas Gainsborough, The Blue Boy, 1770.

Oil on canvas, 178 x 112 cm. Huntington Art Museum, San Marino, CA p. 134 (right, above) Sir Anthony van Dyck (1599–1641), George Villiers, 2nd Duke of Buckingham and his Brother, Lord Francis Villiers, 1635. Oil on canvas, 137 x 128 cm. Royal Collection p. 134 (right, below) Thomas Gainsborough, Miss Theodosia Magill, afterwards Countess of Clanwilliam, 1765.

Oil on canvas, 127 x 102 cm. Ulster Museum, Belfast p. 136 Thomas Gainsborough, Ann Ford (later Mrs Philip Thicknesse), 1760. Oil on canvas, 197 x 135 cm. Cincinnati Art Museum, OH p. 137 Thomas Gainsborough, Elizabeth and Thomas Linley (‘A Beggar Boy and Girl’), c. 1768. Oil on canvas, 70 x 62 cm. Clark Art Institute, Williamstown, MA

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pen & pencil p. 139 Thomas Gainsborough, Mrs Richard Brinsley Sheridan (Elizabeth Linley), 1785–7. Oil on canvas, 220 x 154 cm. National Gallery of Art, Washington DC p. 141 (left) Thomas Gainsborough, Edward, Viscount (later Earl) Ligonier, 1770. Oil on canvas, 239 x 158 cm.

Huntington Art Museum, San Marino, CA p. 141 (right) Thomas Gainsborough, Penelope (Pitt), Viscountess Ligonier, 1770. Oil on canvas, 240 x 157 cm.

Huntington Art Museum, San Marino, CA p. 143 Thomas Gainsborough, Carl Friedrich Abel, c. 1765. Oil on canvas, 127 x 101 cm. National Portrait Gallery, London p. 144 Thomas Gainsborough, Johann Christian Fischer, 1774. Oil on canvas, 229 x 151 cm. Royal Collection p. 149 (left, above) William Hogarth, Captain Thomas Coram, 1740. Oil on canvas, 239 x 148 cm. Foundling Museum, London p. 149 (left, below) William Hogarth, Simon, Lord Lovat, 1746. Etching and engraving on paper, 362 x 233 mm. Metropolitan Museum of Art, New York, NY p. 149 (right) Thomas Gainsborough, James Quin, 1760– 3. Oil on canvas, 231 x 150 cm. National Gallery of Ireland, Dublin p. 150 Valentine Green after Thomas Gainsborough, David Garrick (1766). Mezzotint on paper, 618 x 389 mm. Published by John Boydell, 1769. National Portrait Gallery, London p. 155 Thomas Gainsborough, John Henderson, c. 1773–5.

Oil on canvas, 74 x 62 cm. National Portrait Gallery, London p. 157 Thomas Gainsborough, James Christie, 1778. Oil on canvas, 128 x 102 cm. Getty Museum, Los Angeles, CA p. 158 Thomas Gainsborough, Two Shepherd Boys with Dogs Fighting, 1783. Oil on canvas, 223 x 155 cm. Kenwood House, London p. 159 (left) William Hogarth, The First Stage of Cruelty, 1751. Etching and engraving on paper, 375 x 317 mm.

Metropolitan Museum of Art, New York, NY p. 159 (centre) William Hogarth, The Second Stage of Cruelty, 1751. Etching and engraving on paper, 379 x 320 mm. Metropolitan Museum of Art, New York, NY

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list of illustrations p. 159 (right) Martino Rota after Titian, The Death of St Peter Martyr (1528–9), 1560–80. Engraving, 401 x 272 mm. Metropolitan Museum of Art, New York, NY p. 161 Thomas Gainsborough, Rocky Landscape, c. 1783.

Oil on canvas, 119 x 147 cm. National Gallery of Scotland, Edinburgh p. 163 Thomas Gainsborough, Cottage Children (‘The Wood Gatherers’), 1787. Oil on canvas, 148 x 120 cm.

Metropolitan Museum of Art, New York, NY p. 164 (left) Richard Earlom after Thomas Gainsborough, The Shepherd Boy (1781), 1781. Mezzotint and etching on paper, 405 x 281 mm. Yale Center for British Art, New Haven, CT p. 164 (right) Bartolomé Esteban Murillo, Invitation to a Game of Argolla, 1665–70. Oil on canvas, 165 x 111 cm.

Dulwich Picture Gallery, London p. 165 Thomas Gainsborough, The Cottage Door, c. 1778.

Oil on canvas, 123 x 149 cm. Cincinnati Art Museum, Cincinnati, OH p. 167 Thomas Gainsborough, Diana and Actæon (unfinished), 1785–8. Oil on canvas, 158 x 188 cm. Royal Collection p. 168 Thomas Gainsborough, Girl with Pigs, c. 1781–2.

Oil on canvas. Castle Howard collection, image supplid by the kind permission of the Hon. Nicholas Howard. p. 169 Thomas Gainsborough, Young Hobbinol and Ganderetta, c. 1788. Oil on canvas, 125 x 101 cm. Huntington Art Museum, San Marino, CA p. 171 (left) Thomas Gainsborough, Lavinia (‘A Village Girl with Milk’), 1786. Oil on canvas, 151 x 120 cm. Abe Bailey Collection, Iziko South African National Gallery, Cape Town p. 171 (right) Sir Joshua Reynolds, The Cottagers, 1788.

Oil on canvas, 241 x 180 cm. Detroit Institute of Art, Detroit, MI p. 172 Sir Joshua Reynolds, Cymon and Iphigenia, c.

1775–89. Oil on canvas, 143 x 172 cm. Royal Collection p. 173 Thomas Gainsborough, Haymaker and Sleeping Girl, c. 1788. Oil on canvas, 227 x 150 cm. Museum of Fine Art, Boston, MA

chapter 4: blake’s divinity

p. 176 William Blake, Self-portrait, c. 1802–4. Black white and grey washes over pencil on paper. , 243 x 101 mm. Collection of Robert N. Essick. p. 178 James Barry, Orpheus Instructing a Savage People in Theology and the Arts of Social Life, 1777–83. Oil on canvas, 360 x 462 cm. Royal Society of Arts, London p. 180 (left) William Blake, The Spiritual Form of Pitt Guiding Behemoth, ?1805. Tempera and gold on canvas, 74 x 62.7 cm. Tate, London p. 180 (right) William Blake, The Spiritual Form of Nelson guiding Leviathan, c. 1805–9. Tempera on canvas, 76.2 x 62.5 cm. Tate, London p. 181 William Blake, Portrait of Edward III from his Monument, 1786. Etching and engraving on paper, 401 x 278 mm. Illustration to Richard Gough, Sepulchral Monuments of Great Britain (1786–99). p. 182 (left) John Hamilton Mortimer (1740–1779), Sir Arthegal, the Knight of Justice, with Talus, the Iron Man (from Spenser’s Færie Queene), c. 1778. Oil on canvas, 243 x 146 cm. Tate, London p. 182 (centre) James Barry, The Temptation of Adam, c. 1771. Oil on canvas, 200 x 153 cm. National Gallery of Ireland, Dublin p. 182 (right) James Barry, Venus Rising from the Sea, c. 1772. Oil on canvas, 285 x 195 cm. Hugh Lane Gallery, Dublin p. 183 (left) Henry Fuseli, The Oath on the Rütli, 1779–81.

Oil on canvas, 267 x 178 cm. Kunsthaus Zürich p. 183 (right) Henry Fuseli, The Mandrake: A Charm, 1784–85. Oil on canvas, 64 x 75 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 184 William Blake, Joseph Making Himself Known to his Brethren, c. 1784–5. Indian ink and watercolour over graphite on paper, 405 x 561 mm. Fitzwilliam Museum, Cambridge p. 187 William Blake, The Marriage of Heaven and Hell, plate 3 from copy A, composed and printed 1790. Relief and white-line etching with hand tinting in watercolours on paper, 154 x 110 mm. 1790. Houghton Library, Harvard University, Cambridge, MA p. 190 James Barry, The Phœnix or the Resurrection of Freedom, 1776. Engraving and aquatint on paper, 432 x

613 mm (plate size). Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 191 William Blake, ‘London’ from Songs of Innocence and Experience, object 47 from copy F, 1794. Relief and white-line etching, with colour printing and hand-colouring on paper, 111 x 69 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 192 (left) William Blake, ‘The Ecchoing Green’, from Songs of Innocence and Experience, object 6 from copy A, 1789. Relief and white-line etching, with colour printing and hand-colouring on paper, 111 x 70 mm.

British Museum, London p. 192 (right) William Blake, ‘The Garden of Love’ from Songs of Innocence and Experience, object 45 from copy A, 1794. Relief and white-line etching, with colour printing and hand-colouring, 111 x 68 mm. British Museum, London p. 195 William Blake, America: A Prophecy, object 8 from copy A, composed 1793, printed 1795. Relief etching, with hand-colouring, 234 x 167 mm. Morgan Library and Museum, New York, NY p. 197 William Blake, illustration to ‘Elegy in a Country Churchyard’ by Thomas Gray, c. 1797–8. Pen and ink and watercolour over pencil on paper, 420 x 325 mm.

Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 198 William Blake after John Flaxman (1755–1826), ‘Pandora Gifted’ from Compositions from the Works, Days and Theogony of Hesiod, 1814–17. Etching and engraving on paper, 213 x 187 mm. Collection of Robert N. Essick p. 199 William Blake, alternative design for the titlepage of The Grave by Robert Blair, 1806. Pen and ink and watercolour on paper, 425 x 310 mm (sheet). British Museum, London p. 200 William Blake, Sir Jeffery Chaucer and the Nine and Twenty Pilgrims on their Journey to Canterbury, 1808. Tempera on canvas, 46 x 136 cm. Pollok House, Glasgow p. 201 Luigi Schiavonetti and William Heath after Thomas Stothard, Pilgrimage to Canterbury (1807), 1817. Engraving and etching on paper, 361 x 963 mm.

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pen & pencil p. 139 Thomas Gainsborough, Mrs Richard Brinsley Sheridan (Elizabeth Linley), 1785–7. Oil on canvas, 220 x 154 cm. National Gallery of Art, Washington DC p. 141 (left) Thomas Gainsborough, Edward, Viscount (later Earl) Ligonier, 1770. Oil on canvas, 239 x 158 cm.

Huntington Art Museum, San Marino, CA p. 141 (right) Thomas Gainsborough, Penelope (Pitt), Viscountess Ligonier, 1770. Oil on canvas, 240 x 157 cm.

Huntington Art Museum, San Marino, CA p. 143 Thomas Gainsborough, Carl Friedrich Abel, c. 1765. Oil on canvas, 127 x 101 cm. National Portrait Gallery, London p. 144 Thomas Gainsborough, Johann Christian Fischer, 1774. Oil on canvas, 229 x 151 cm. Royal Collection p. 149 (left, above) William Hogarth, Captain Thomas Coram, 1740. Oil on canvas, 239 x 148 cm. Foundling Museum, London p. 149 (left, below) William Hogarth, Simon, Lord Lovat, 1746. Etching and engraving on paper, 362 x 233 mm. Metropolitan Museum of Art, New York, NY p. 149 (right) Thomas Gainsborough, James Quin, 1760– 3. Oil on canvas, 231 x 150 cm. National Gallery of Ireland, Dublin p. 150 Valentine Green after Thomas Gainsborough, David Garrick (1766). Mezzotint on paper, 618 x 389 mm. Published by John Boydell, 1769. National Portrait Gallery, London p. 155 Thomas Gainsborough, John Henderson, c. 1773–5.

Oil on canvas, 74 x 62 cm. National Portrait Gallery, London p. 157 Thomas Gainsborough, James Christie, 1778. Oil on canvas, 128 x 102 cm. Getty Museum, Los Angeles, CA p. 158 Thomas Gainsborough, Two Shepherd Boys with Dogs Fighting, 1783. Oil on canvas, 223 x 155 cm. Kenwood House, London p. 159 (left) William Hogarth, The First Stage of Cruelty, 1751. Etching and engraving on paper, 375 x 317 mm.

Metropolitan Museum of Art, New York, NY p. 159 (centre) William Hogarth, The Second Stage of Cruelty, 1751. Etching and engraving on paper, 379 x 320 mm. Metropolitan Museum of Art, New York, NY

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list of illustrations p. 159 (right) Martino Rota after Titian, The Death of St Peter Martyr (1528–9), 1560–80. Engraving, 401 x 272 mm. Metropolitan Museum of Art, New York, NY p. 161 Thomas Gainsborough, Rocky Landscape, c. 1783.

Oil on canvas, 119 x 147 cm. National Gallery of Scotland, Edinburgh p. 163 Thomas Gainsborough, Cottage Children (‘The Wood Gatherers’), 1787. Oil on canvas, 148 x 120 cm.

Metropolitan Museum of Art, New York, NY p. 164 (left) Richard Earlom after Thomas Gainsborough, The Shepherd Boy (1781), 1781. Mezzotint and etching on paper, 405 x 281 mm. Yale Center for British Art, New Haven, CT p. 164 (right) Bartolomé Esteban Murillo, Invitation to a Game of Argolla, 1665–70. Oil on canvas, 165 x 111 cm.

Dulwich Picture Gallery, London p. 165 Thomas Gainsborough, The Cottage Door, c. 1778.

Oil on canvas, 123 x 149 cm. Cincinnati Art Museum, Cincinnati, OH p. 167 Thomas Gainsborough, Diana and Actæon (unfinished), 1785–8. Oil on canvas, 158 x 188 cm. Royal Collection p. 168 Thomas Gainsborough, Girl with Pigs, c. 1781–2.

Oil on canvas. Castle Howard collection, image supplid by the kind permission of the Hon. Nicholas Howard. p. 169 Thomas Gainsborough, Young Hobbinol and Ganderetta, c. 1788. Oil on canvas, 125 x 101 cm. Huntington Art Museum, San Marino, CA p. 171 (left) Thomas Gainsborough, Lavinia (‘A Village Girl with Milk’), 1786. Oil on canvas, 151 x 120 cm. Abe Bailey Collection, Iziko South African National Gallery, Cape Town p. 171 (right) Sir Joshua Reynolds, The Cottagers, 1788.

Oil on canvas, 241 x 180 cm. Detroit Institute of Art, Detroit, MI p. 172 Sir Joshua Reynolds, Cymon and Iphigenia, c.

1775–89. Oil on canvas, 143 x 172 cm. Royal Collection p. 173 Thomas Gainsborough, Haymaker and Sleeping Girl, c. 1788. Oil on canvas, 227 x 150 cm. Museum of Fine Art, Boston, MA

chapter 4: blake’s divinity

p. 176 William Blake, Self-portrait, c. 1802–4. Black white and grey washes over pencil on paper. , 243 x 101 mm. Collection of Robert N. Essick. p. 178 James Barry, Orpheus Instructing a Savage People in Theology and the Arts of Social Life, 1777–83. Oil on canvas, 360 x 462 cm. Royal Society of Arts, London p. 180 (left) William Blake, The Spiritual Form of Pitt Guiding Behemoth, ?1805. Tempera and gold on canvas, 74 x 62.7 cm. Tate, London p. 180 (right) William Blake, The Spiritual Form of Nelson guiding Leviathan, c. 1805–9. Tempera on canvas, 76.2 x 62.5 cm. Tate, London p. 181 William Blake, Portrait of Edward III from his Monument, 1786. Etching and engraving on paper, 401 x 278 mm. Illustration to Richard Gough, Sepulchral Monuments of Great Britain (1786–99). p. 182 (left) John Hamilton Mortimer (1740–1779), Sir Arthegal, the Knight of Justice, with Talus, the Iron Man (from Spenser’s Færie Queene), c. 1778. Oil on canvas, 243 x 146 cm. Tate, London p. 182 (centre) James Barry, The Temptation of Adam, c. 1771. Oil on canvas, 200 x 153 cm. National Gallery of Ireland, Dublin p. 182 (right) James Barry, Venus Rising from the Sea, c. 1772. Oil on canvas, 285 x 195 cm. Hugh Lane Gallery, Dublin p. 183 (left) Henry Fuseli, The Oath on the Rütli, 1779–81.

Oil on canvas, 267 x 178 cm. Kunsthaus Zürich p. 183 (right) Henry Fuseli, The Mandrake: A Charm, 1784–85. Oil on canvas, 64 x 75 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 184 William Blake, Joseph Making Himself Known to his Brethren, c. 1784–5. Indian ink and watercolour over graphite on paper, 405 x 561 mm. Fitzwilliam Museum, Cambridge p. 187 William Blake, The Marriage of Heaven and Hell, plate 3 from copy A, composed and printed 1790. Relief and white-line etching with hand tinting in watercolours on paper, 154 x 110 mm. 1790. Houghton Library, Harvard University, Cambridge, MA p. 190 James Barry, The Phœnix or the Resurrection of Freedom, 1776. Engraving and aquatint on paper, 432 x

613 mm (plate size). Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 191 William Blake, ‘London’ from Songs of Innocence and Experience, object 47 from copy F, 1794. Relief and white-line etching, with colour printing and hand-colouring on paper, 111 x 69 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 192 (left) William Blake, ‘The Ecchoing Green’, from Songs of Innocence and Experience, object 6 from copy A, 1789. Relief and white-line etching, with colour printing and hand-colouring on paper, 111 x 70 mm.

British Museum, London p. 192 (right) William Blake, ‘The Garden of Love’ from Songs of Innocence and Experience, object 45 from copy A, 1794. Relief and white-line etching, with colour printing and hand-colouring, 111 x 68 mm. British Museum, London p. 195 William Blake, America: A Prophecy, object 8 from copy A, composed 1793, printed 1795. Relief etching, with hand-colouring, 234 x 167 mm. Morgan Library and Museum, New York, NY p. 197 William Blake, illustration to ‘Elegy in a Country Churchyard’ by Thomas Gray, c. 1797–8. Pen and ink and watercolour over pencil on paper, 420 x 325 mm.

Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 198 William Blake after John Flaxman (1755–1826), ‘Pandora Gifted’ from Compositions from the Works, Days and Theogony of Hesiod, 1814–17. Etching and engraving on paper, 213 x 187 mm. Collection of Robert N. Essick p. 199 William Blake, alternative design for the titlepage of The Grave by Robert Blair, 1806. Pen and ink and watercolour on paper, 425 x 310 mm (sheet). British Museum, London p. 200 William Blake, Sir Jeffery Chaucer and the Nine and Twenty Pilgrims on their Journey to Canterbury, 1808. Tempera on canvas, 46 x 136 cm. Pollok House, Glasgow p. 201 Luigi Schiavonetti and William Heath after Thomas Stothard, Pilgrimage to Canterbury (1807), 1817. Engraving and etching on paper, 361 x 963 mm.

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pen & pencil Cleveland Museum of Art, Cleveland OH p. 202 William Blake, The Angel of the Divine Presence Clothing Adam and Eve with Coats of Skins, 1803. Pencil and watercolour on paper, 393 x 287 mm. Fitzwilliam Museum, Cambridge p. 203 William Blake, God Judging Adam, 1795. Colour printed relief etching with watercolour and pen and ink additions to the impression on paper, 426 x 526 mm. Metropolitan Museum of Art, New York, NY p. 204 William Blake, The Great Red Dragon and the Woman Clothed in the Sun, c. 1803–5. Black chalk, pen and ink, and watercolour on paper, 437 x 348 mm.

Brooklyn Museum, New York, NY p. 205 William Blake, Blake’s Cottage at Felpham, detail from object 39 of Milton: a Poem, copy C, composed c.

1803–4, printed c. 1811. Relief and white-line etching with hand colouring on paper, 56 x 102 mm (whole page 141 x 102 mm). New York Public Library, New York NY p. 206 William Blake, The Head of Homer, 1800–3. Pen and ink and tempera on canvas, 40 x 84 cm. Manchester Art Gallery, Manchester. p. 208 William Blake, frontispiece of Jerusalem The Emanation of the Giant Albion, object 1 of copy E, composed 1804–20, printed c. 1821. White-line etching printed in orange ink, with watercolour, pen and black ink, and gold on paper, 343 x 264 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 210 William Blake, plate 97 of Jerusalem: The Emanation of the Giant Albion, copy E, composed 1804–20, printed c. 1821. Relief etching printed in orange ink, with watercolour, pen and black ink, and gold on paper, 210 x 149 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 212 William Blake, plate 99 of Jerusalem: The Emanation of the Giant Albion, 1804–20. Relief etching printed in orange ink, with watercolour, pen and black ink, and gold on paper, 27 x 154 mm.. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 213 (top left) William Blake, Two visionary heads: William Wallace and Edward I, c. 1819. Pencil on paper, 198 x 269 mm. Collection of Robert N. Essick

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list of illustrations p. 213 (top right) William Blake, The Ghost of a Flea, c.

1819. Pencil on paper, 189 x 153 mm. Tate, London p. 213 (left margin) John Linnell, William Blake Wearing a Hat (on Hampstead Heath), c. 1825. Pencil on paper, 17.9 x 11.5 cm. Fitzwilliam Museum, Cambridge p. 215 (left) William Blake, Satan and the Sons of God before the Divine Throne, plate 2 from Illustrations to the Book of Job. Letterpress and intaglio engravings on paper, 199 x 152 mm. Composed 1823–6, printed 1826.

Collection of Robert N. Essick p. 215 (right) William Blake, I have heard thee with the hearing of my Ear but now my Eye seeth thee, plate 17 from Illustrations to the Book of Job. Letterpress and intaglio engravings on paper, 200 x 151 mm Composed 1823–6, printed 1826. Collection of Robert N. Essick p. 216 William Blake, Beatrice Addressing Dante from the Car, 1824–7. Pen and ink and watercolours over pencil, on paper, 307 x 525 mm. Tate, London p. 217 William Blake, The Baffled Devils Fighting, 1826– 7. Line engraving on paper, 242 x 334 mm. Collection of Robert N. Essick p. 218 (left) William Blake, Thenot and Colinet from Illustrations to Thornton’s Pastorals of Virgil, c. 1821. Etching and engraving on paper, 60 x 85 mm. Huntington Art Museum, San Marino, CA p. 218 (right) Samuel Palmer (1805–1881), The Valley Thick with Corn (Psalm 65), 1825. Pen and dark brown ink with brush in sepia mixed with gum, varnished, on paper 182 x 275 mm. Ashmolean Museum, Oxford p. 219 (left) Samuel Palmer, Hilly Scene, c. 1826–8. Watercolour and gum arabic on paper on mahogany, 20.6 x 13.7 cm. Tate, London p. 219 (right) Samuel Palmer, Coming from the Evening Church, 1830. Tempera, chalk, gold, ink, and graphite on gesso on paper, 302 x 200 mm. Tate, London p. 220 Samuel Palmer, The Magic Apple Tree, 1830. Pen and Indian ink, and watercolour, mixed with a gumlike medium in some areas on paper, 349 x 273 mm.

Fitzwilliam Museum, Cambridge p. 221 George Richmond (1809–1896), Samuel Palmer, 1829. Watercolour and bodycolour on ivory, 83 x 70 mm. National Portrait Gallery, London p. 222 (left) William Blake, The Ancient of Days, plate

1 from Europe: A Prophecy, 1794 (copy K). Relief and white-line etching with extensive hand-colouring on paper, 234 x 169 mm. Composed 1794, printed 1821.

Fitzwilliam Museum, Cambridge p. 222 (right) George Richmond, The Creation of Light, 1826. Tempera with some gold and silver leaf on panel, 48 x 42 cm. Tate, London p. 223 (left) Edward Calvert, The Bride, 1828. Line ngraving on paper, 76 x 127 mm. Cleveland Museum of Art, Cleveland, OH p. 223 (right) William Blake, Bathsheba at the Bath, c. 1799–1800. Tempera on canvas, previously relined and now mounted on board, 26 x 38 cm. Tate, London p. 225 Dante Gabriel Rossetti, Astarte Syriaca, 1877. Oil on canvas, 185 x 109 cm. Manchester Art Gallery, Manchester

chapter 5: constable’s correspondence

p. 226 John Constable, Self-portrait, c. 1799–1804. Pencil and black chalk heightened with white and red chalk on paper, 248 x 194 mm. National Portrait Gallery, London p. 232 John Constable, View in Borrowdale, 1806. Pencil and watercolour on paper, 243 x 346 mm. Victoria and Albert Museum, London p. 234 John Constable, Lane near Dedham, 1802. Oil on canvas, 33 x 43 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 238 John Constable, Landscape: Ploughing Scene in Suffolk, 1824–5, repetition of 1814 original. Oil on canvas, 43 x 77 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 239 John Constable, Barge-building at Flatford, 1815.

Oil on canvas, 51 x 62 cm. Victoria and Albert Museum, London p. 240 John Constable, Wivenhoe Park, Essex, 1816. Oil on canvas, 56 x 101 cm. National Gallery of Art, Widener Collection, Washington, DC p. 241 (top) John Constable, Archdeacon John Fisher, 1816. Oil on canvas, 36 x 30 cm. Fitzwilliam Museum, Cambridge p. 241 (bottom) John Constable, Mrs Mary Fisher, 1816.

Oil on canvas, 36 x 31 cm. Fitzwilliam Museum, Cam-

bridge p. 242–3 John Constable, A Scene on the River Stour (‘The White Horse’), 1819. Oil on canvas, 131 x 188 cm. Frick Collection, New York, NY p. 245 (top) John Constable, Study for Stratford Mill (‘The Young Waltonians’), 1819–20. Oil on canvas, 131 x 184 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 245 (bottom) John Constable, Stratford Mill (‘The Young Waltonians’), 1820. Oil on canvas, 127 x 183 cm.

National Gallery, London p. 247 John Constable, The Hay Wain, 1821. Oil on canvas, 130 × 185 cm. National Gallery, London p. 249 John Constable, Hampstead Heath Looking towards Harrow, 1821–2. Oil on paper laid on canvas, 30 x 48 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 250 John Constable, Cloud Study, 1821. Oil on paper on board, 250 x 300 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 254 John Constable, The Leaping Horse, 1825. Oil on canvas, 142 x 187 cm. Royal Academy of Arts, London p. 257 John Constable, Hadleigh Castle, The Mouth of the Thames – Morning after a Stormy Night, 1829. Oil on canvas, 122 x 165 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 258 John Constable, Salisbury Cathedral from the Meadows, 1831. Oil on canvas, 14 x 97 cm. Tate, London p. 259 John Constable, The Valley Farm, 1835. Oil on canvas, 147 x 125 cm. Tate, London p. 262 John Constable, The Opening of Waterloo Bridge (also called Waterloo Bridge’or Whitehall Stairs, June 18th, 1817), 1832. Oil on canvas, 138 x 218 cm. Tate, London p. 263 J. M. W. Turner, Helvoetsluys, the City of Utrecht, 64, Going to Sea, 1832. Oil on canvas, 91 x 122 cm. Tokyo Fuji Art Museum, Tokyo p. 265 David Lucas after John Constable, Hadleigh Castle, 1830, published 1849. Mezzotint, trial proof, 280 x 380 mm. Metropolitan Museum of Art, New York, NY p. 267 John Constable, Dedham Vale, 1828. Oil on canvas,

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pen & pencil Cleveland Museum of Art, Cleveland OH p. 202 William Blake, The Angel of the Divine Presence Clothing Adam and Eve with Coats of Skins, 1803. Pencil and watercolour on paper, 393 x 287 mm. Fitzwilliam Museum, Cambridge p. 203 William Blake, God Judging Adam, 1795. Colour printed relief etching with watercolour and pen and ink additions to the impression on paper, 426 x 526 mm. Metropolitan Museum of Art, New York, NY p. 204 William Blake, The Great Red Dragon and the Woman Clothed in the Sun, c. 1803–5. Black chalk, pen and ink, and watercolour on paper, 437 x 348 mm.

Brooklyn Museum, New York, NY p. 205 William Blake, Blake’s Cottage at Felpham, detail from object 39 of Milton: a Poem, copy C, composed c.

1803–4, printed c. 1811. Relief and white-line etching with hand colouring on paper, 56 x 102 mm (whole page 141 x 102 mm). New York Public Library, New York NY p. 206 William Blake, The Head of Homer, 1800–3. Pen and ink and tempera on canvas, 40 x 84 cm. Manchester Art Gallery, Manchester. p. 208 William Blake, frontispiece of Jerusalem The Emanation of the Giant Albion, object 1 of copy E, composed 1804–20, printed c. 1821. White-line etching printed in orange ink, with watercolour, pen and black ink, and gold on paper, 343 x 264 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 210 William Blake, plate 97 of Jerusalem: The Emanation of the Giant Albion, copy E, composed 1804–20, printed c. 1821. Relief etching printed in orange ink, with watercolour, pen and black ink, and gold on paper, 210 x 149 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 212 William Blake, plate 99 of Jerusalem: The Emanation of the Giant Albion, 1804–20. Relief etching printed in orange ink, with watercolour, pen and black ink, and gold on paper, 27 x 154 mm.. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 213 (top left) William Blake, Two visionary heads: William Wallace and Edward I, c. 1819. Pencil on paper, 198 x 269 mm. Collection of Robert N. Essick

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list of illustrations p. 213 (top right) William Blake, The Ghost of a Flea, c.

1819. Pencil on paper, 189 x 153 mm. Tate, London p. 213 (left margin) John Linnell, William Blake Wearing a Hat (on Hampstead Heath), c. 1825. Pencil on paper, 17.9 x 11.5 cm. Fitzwilliam Museum, Cambridge p. 215 (left) William Blake, Satan and the Sons of God before the Divine Throne, plate 2 from Illustrations to the Book of Job. Letterpress and intaglio engravings on paper, 199 x 152 mm. Composed 1823–6, printed 1826.

Collection of Robert N. Essick p. 215 (right) William Blake, I have heard thee with the hearing of my Ear but now my Eye seeth thee, plate 17 from Illustrations to the Book of Job. Letterpress and intaglio engravings on paper, 200 x 151 mm Composed 1823–6, printed 1826. Collection of Robert N. Essick p. 216 William Blake, Beatrice Addressing Dante from the Car, 1824–7. Pen and ink and watercolours over pencil, on paper, 307 x 525 mm. Tate, London p. 217 William Blake, The Baffled Devils Fighting, 1826– 7. Line engraving on paper, 242 x 334 mm. Collection of Robert N. Essick p. 218 (left) William Blake, Thenot and Colinet from Illustrations to Thornton’s Pastorals of Virgil, c. 1821. Etching and engraving on paper, 60 x 85 mm. Huntington Art Museum, San Marino, CA p. 218 (right) Samuel Palmer (1805–1881), The Valley Thick with Corn (Psalm 65), 1825. Pen and dark brown ink with brush in sepia mixed with gum, varnished, on paper 182 x 275 mm. Ashmolean Museum, Oxford p. 219 (left) Samuel Palmer, Hilly Scene, c. 1826–8. Watercolour and gum arabic on paper on mahogany, 20.6 x 13.7 cm. Tate, London p. 219 (right) Samuel Palmer, Coming from the Evening Church, 1830. Tempera, chalk, gold, ink, and graphite on gesso on paper, 302 x 200 mm. Tate, London p. 220 Samuel Palmer, The Magic Apple Tree, 1830. Pen and Indian ink, and watercolour, mixed with a gumlike medium in some areas on paper, 349 x 273 mm.

Fitzwilliam Museum, Cambridge p. 221 George Richmond (1809–1896), Samuel Palmer, 1829. Watercolour and bodycolour on ivory, 83 x 70 mm. National Portrait Gallery, London p. 222 (left) William Blake, The Ancient of Days, plate

1 from Europe: A Prophecy, 1794 (copy K). Relief and white-line etching with extensive hand-colouring on paper, 234 x 169 mm. Composed 1794, printed 1821.

Fitzwilliam Museum, Cambridge p. 222 (right) George Richmond, The Creation of Light, 1826. Tempera with some gold and silver leaf on panel, 48 x 42 cm. Tate, London p. 223 (left) Edward Calvert, The Bride, 1828. Line ngraving on paper, 76 x 127 mm. Cleveland Museum of Art, Cleveland, OH p. 223 (right) William Blake, Bathsheba at the Bath, c. 1799–1800. Tempera on canvas, previously relined and now mounted on board, 26 x 38 cm. Tate, London p. 225 Dante Gabriel Rossetti, Astarte Syriaca, 1877. Oil on canvas, 185 x 109 cm. Manchester Art Gallery, Manchester

chapter 5: constable’s correspondence

p. 226 John Constable, Self-portrait, c. 1799–1804. Pencil and black chalk heightened with white and red chalk on paper, 248 x 194 mm. National Portrait Gallery, London p. 232 John Constable, View in Borrowdale, 1806. Pencil and watercolour on paper, 243 x 346 mm. Victoria and Albert Museum, London p. 234 John Constable, Lane near Dedham, 1802. Oil on canvas, 33 x 43 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 238 John Constable, Landscape: Ploughing Scene in Suffolk, 1824–5, repetition of 1814 original. Oil on canvas, 43 x 77 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 239 John Constable, Barge-building at Flatford, 1815.

Oil on canvas, 51 x 62 cm. Victoria and Albert Museum, London p. 240 John Constable, Wivenhoe Park, Essex, 1816. Oil on canvas, 56 x 101 cm. National Gallery of Art, Widener Collection, Washington, DC p. 241 (top) John Constable, Archdeacon John Fisher, 1816. Oil on canvas, 36 x 30 cm. Fitzwilliam Museum, Cambridge p. 241 (bottom) John Constable, Mrs Mary Fisher, 1816.

Oil on canvas, 36 x 31 cm. Fitzwilliam Museum, Cam-

bridge p. 242–3 John Constable, A Scene on the River Stour (‘The White Horse’), 1819. Oil on canvas, 131 x 188 cm. Frick Collection, New York, NY p. 245 (top) John Constable, Study for Stratford Mill (‘The Young Waltonians’), 1819–20. Oil on canvas, 131 x 184 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 245 (bottom) John Constable, Stratford Mill (‘The Young Waltonians’), 1820. Oil on canvas, 127 x 183 cm.

National Gallery, London p. 247 John Constable, The Hay Wain, 1821. Oil on canvas, 130 × 185 cm. National Gallery, London p. 249 John Constable, Hampstead Heath Looking towards Harrow, 1821–2. Oil on paper laid on canvas, 30 x 48 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 250 John Constable, Cloud Study, 1821. Oil on paper on board, 250 x 300 mm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 254 John Constable, The Leaping Horse, 1825. Oil on canvas, 142 x 187 cm. Royal Academy of Arts, London p. 257 John Constable, Hadleigh Castle, The Mouth of the Thames – Morning after a Stormy Night, 1829. Oil on canvas, 122 x 165 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 258 John Constable, Salisbury Cathedral from the Meadows, 1831. Oil on canvas, 14 x 97 cm. Tate, London p. 259 John Constable, The Valley Farm, 1835. Oil on canvas, 147 x 125 cm. Tate, London p. 262 John Constable, The Opening of Waterloo Bridge (also called Waterloo Bridge’or Whitehall Stairs, June 18th, 1817), 1832. Oil on canvas, 138 x 218 cm. Tate, London p. 263 J. M. W. Turner, Helvoetsluys, the City of Utrecht, 64, Going to Sea, 1832. Oil on canvas, 91 x 122 cm. Tokyo Fuji Art Museum, Tokyo p. 265 David Lucas after John Constable, Hadleigh Castle, 1830, published 1849. Mezzotint, trial proof, 280 x 380 mm. Metropolitan Museum of Art, New York, NY p. 267 John Constable, Dedham Vale, 1828. Oil on canvas,

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pen & pencil 145 x 122 cm. Scottish National Gallery, Edinburgh p. 272 John Constable, Cenotaph to the Memory of Sir Joshua Reynolds erected in the grounds of Coleorton Hall, Leicestershire by the late Sir George Beaumont, Bart., 1833–6. Oil on canvas, 132 x 109 cm. National Gallery, London p. 273 John Constable, Arundel Mill and Castle, 1837. Oil on canvas, 72 x 100 cm. Toledo Museum of Art, Toledo, OH

chapter 6: turner and poetry

p. 274 J. M. W. Turner, Self-portrait, c. 1799. Oil on canvas, 74 x 58 cm. Tate, London p. 277 John Gibson, Venus and Cupid, c. 1839. Marble, 119 x 90 cm. Victoria and Albert Musuem, London p. 278 J. M. W. Turner, Morning amongst the Coniston Fells, Cumberland, 1798. Oil on canvas, 123 x 90 cm.

Tate, London p. 280 J. M. W. Turner, Dunstanburgh Castle, North-East Coast of Northumberland: Sunrise after a Squally Night, 1798. Oil on canvas, 92 x 123 cm. National Gallery of Victoria, Melbourne p. 281 J. M. W. Turner, Harlech Castle, from Tygwyn Ferry, Summer’s Evening Twilight, 1799. Oil on canvas, 87 x 119 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 283 (left) Richard Wilson, The Lake of Nemi or Speculum Danæ (‘The Lake of Nemi with Diana and Callisto’), c. 1758. Oil on canvas, 76 x 97 cm. The Trustees of Jane, Lucy, and Charles Hoare, Stourhead, Wiltshire, National Trust p. 283 (right) J. M. W. Turner, Æneas and the Sibyl, Lake Avernus, c. 1798. Oil on canvas, 77 x 98 cm. Tate, London p. 284 J. M. W. Turner, The Fifth Plague of Egypt, 1800.

Oil on canvas, 122 x 183 cm. Indianapolis Museum of Art, Indianapolis, IN p. 285 J. M. W. Turner, Dolbadern Castle, North Wales, 1800. Oil on canvas, 119 x 90 cm. Royal Academy of Arts, London p. 288 J. M. W. Turner and William Say (1768–1834), Near Blair Atholl, Scotland (Part VI, plate 30 from Liber Studiorum), 1811. Etching and mezzotint, 183 x

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list of illustrations 265 mm. Metropolitan Museum of Art, New York, NY p. 291 J. M. W. Turner, Pope’s Villa at Twickenham, 1808.

Oil on canvas, 92 x 123 cm. Private collection p. 292 J. M. W. Turner, Thomson’s Æolian Harp, 1809.

Oil on canvas, 167 x 306 cm. Manchester Art Gallery, Manchester p. 295 J. M. W. Turner, Snow Storm: Hannibal and his Army Crossing the Alps, 1812. Oil on canvas, 146 x 238 cm. Tate, London p. 296 J. M. W. Turner, Dido Building Carthage, or the Rise of the Carthaginian Empire, 1815. Oil on canvas, 156 x 230 cm. National Gallery, London p. 298 J. M. W. Turner, The Decline of the Carthaginian Empire, 1817. Oil on canvas, 170 x 239 cm. Tate, London p. 299 J. M. W. Turner, England: Richmond Hill, on the Prince Regent’s Birthday, 1819. Oil on canvas, 180 x 335 cm. Tate, London p. 300 J. M. W. Turner, What You Will, 1822. Oil on canvas, 50 x 54 cm. The Clark Art Institute, Williamstown, MA p. 302 J. M. W. Turner, St Hugues Denouncing Vengeance on the Shepherd of Cormayer in the Val of d’Aoust, 1803. Watercolour on paper, 673 x 1009 mm. Sir John Soane’s Museum, London p. 303 J. M. W. Turner, Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia, 1820. Oil on canvas, 177 x 335 cm. Tate, London p. 305 J. M. W. Turner, Ulysses Deriding Polyphemus, 1829. Oil on canvas, 133 x 203 cm. National Gallery, London p. 307 J. M. W. Turner, Caligula’s Palace and Bridge, 1831.

Oil on canvas, 137 x 246 cm. Tate, London p. 308 J. M. W. Turner, Childe Harold’s Pilgrimage – Italy, 1832. Oil on canvas, 142 x 248 cm. Tate, London p. 309 Clarkson Frederick Stanfield, Venice from the Dogana, 1833. Oil on canvas, 130 x 167 cm. Bowood House, Wiltshire p. 310 J. M. W. Turner, Bridge of Sighs, Ducal Palace and Custom-House, Venice: Canaletti Painting, 1833. Oil on canvas, 51 x 82 cm. Tate, London

p. 311 Giacomo Rocrué after C. R. Cockerell, Idea for the Reconstruction of the Capitol and Forum of Rome, 1818. Engraving on paper, 275 x 340 mm. Private collection p. 312 J. M. W. Turner, Ancient Rome; Agrippina Landing with the Ashes of Germanicus, 1839. Oil on canvas, 91 x 122 cm. Tate, London p. 313 J. M. W. Turner, Modern Rome – Campo Vaccino, 1839. Oil on canvas, 92 x 127 cm.

Getty Museum, Los Angeles, CA p. 314 J. M. W. Turner, Venice, the Bridge of Sighs, 1840. Oil on canvas, 69 x 91 cm. Tate, London p. 315 J. M. W. Turner, The Campanile of St Marco, Venice, from the Hotel Europa by Moonlight, 1840. Watercolour and gouache on paper, 242 x 307 mm. Tate, London p. 313 J. M. W. Turner, Juliet and her Nurse, 1836. Oil on canvas, 89 x 121 cm. Private collection p. 320 J. M. W. Turner, Slavers Throwing Overboard the Dead and Dying – Typhoon Coming On (‘The Slave Ship’), 1840. Oil on canvas, 91 x 123 cm. Museum of Fine Arts, Boston, MA

p. 322 (left) J. M. W. Turner, Peace – Burial at Sea, 1842. Oil on canvas, 87 x 87 cm. Tate, London p. 322 (right) J. M. W. Turner, War – The Exile and the Rock Limpet, 1842. Oil on canvas, 79 x 79 cm. Tate, London p. 325 (left) J. M. W. Turner, Shade and Darkness – The Evening of the Deluge, 1843. Oil on canvas, 79 x 78 cm. Tate, London p. 325 (right) J. M. W. Turner, Light and Colour (Goethe’s Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis, 1843. Oil on canvas, 79 x 79 cm. Tate, London p. 327 J. M. W. Turner, The Angel, Standing in the Sun, 1841–6. Oil on canvas, 79 x 79 cm.

Tate, London p. 330 J. M. W. Turner, Regulus, 1828, overpainted c. 1829 and 1837. Oil on canvas, 90 x 124 cm. Tate, London p. 332 Thomas Fearnley, Turner Painting Regulus, 1837. Oil on paper, 240 x 210 mm.

Staten Museum for Kunst, Copenhagen/ Private collection

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pen & pencil 145 x 122 cm. Scottish National Gallery, Edinburgh p. 272 John Constable, Cenotaph to the Memory of Sir Joshua Reynolds erected in the grounds of Coleorton Hall, Leicestershire by the late Sir George Beaumont, Bart., 1833–6. Oil on canvas, 132 x 109 cm. National Gallery, London p. 273 John Constable, Arundel Mill and Castle, 1837. Oil on canvas, 72 x 100 cm. Toledo Museum of Art, Toledo, OH

chapter 6: turner and poetry

p. 274 J. M. W. Turner, Self-portrait, c. 1799. Oil on canvas, 74 x 58 cm. Tate, London p. 277 John Gibson, Venus and Cupid, c. 1839. Marble, 119 x 90 cm. Victoria and Albert Musuem, London p. 278 J. M. W. Turner, Morning amongst the Coniston Fells, Cumberland, 1798. Oil on canvas, 123 x 90 cm.

Tate, London p. 280 J. M. W. Turner, Dunstanburgh Castle, North-East Coast of Northumberland: Sunrise after a Squally Night, 1798. Oil on canvas, 92 x 123 cm. National Gallery of Victoria, Melbourne p. 281 J. M. W. Turner, Harlech Castle, from Tygwyn Ferry, Summer’s Evening Twilight, 1799. Oil on canvas, 87 x 119 cm. Yale Center for British Art, Paul Mellon Collection, New Haven, CT p. 283 (left) Richard Wilson, The Lake of Nemi or Speculum Danæ (‘The Lake of Nemi with Diana and Callisto’), c. 1758. Oil on canvas, 76 x 97 cm. The Trustees of Jane, Lucy, and Charles Hoare, Stourhead, Wiltshire, National Trust p. 283 (right) J. M. W. Turner, Æneas and the Sibyl, Lake Avernus, c. 1798. Oil on canvas, 77 x 98 cm. Tate, London p. 284 J. M. W. Turner, The Fifth Plague of Egypt, 1800.

Oil on canvas, 122 x 183 cm. Indianapolis Museum of Art, Indianapolis, IN p. 285 J. M. W. Turner, Dolbadern Castle, North Wales, 1800. Oil on canvas, 119 x 90 cm. Royal Academy of Arts, London p. 288 J. M. W. Turner and William Say (1768–1834), Near Blair Atholl, Scotland (Part VI, plate 30 from Liber Studiorum), 1811. Etching and mezzotint, 183 x

360

list of illustrations 265 mm. Metropolitan Museum of Art, New York, NY p. 291 J. M. W. Turner, Pope’s Villa at Twickenham, 1808.

Oil on canvas, 92 x 123 cm. Private collection p. 292 J. M. W. Turner, Thomson’s Æolian Harp, 1809.

Oil on canvas, 167 x 306 cm. Manchester Art Gallery, Manchester p. 295 J. M. W. Turner, Snow Storm: Hannibal and his Army Crossing the Alps, 1812. Oil on canvas, 146 x 238 cm. Tate, London p. 296 J. M. W. Turner, Dido Building Carthage, or the Rise of the Carthaginian Empire, 1815. Oil on canvas, 156 x 230 cm. National Gallery, London p. 298 J. M. W. Turner, The Decline of the Carthaginian Empire, 1817. Oil on canvas, 170 x 239 cm. Tate, London p. 299 J. M. W. Turner, England: Richmond Hill, on the Prince Regent’s Birthday, 1819. Oil on canvas, 180 x 335 cm. Tate, London p. 300 J. M. W. Turner, What You Will, 1822. Oil on canvas, 50 x 54 cm. The Clark Art Institute, Williamstown, MA p. 302 J. M. W. Turner, St Hugues Denouncing Vengeance on the Shepherd of Cormayer in the Val of d’Aoust, 1803. Watercolour on paper, 673 x 1009 mm. Sir John Soane’s Museum, London p. 303 J. M. W. Turner, Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia, 1820. Oil on canvas, 177 x 335 cm. Tate, London p. 305 J. M. W. Turner, Ulysses Deriding Polyphemus, 1829. Oil on canvas, 133 x 203 cm. National Gallery, London p. 307 J. M. W. Turner, Caligula’s Palace and Bridge, 1831.

Oil on canvas, 137 x 246 cm. Tate, London p. 308 J. M. W. Turner, Childe Harold’s Pilgrimage – Italy, 1832. Oil on canvas, 142 x 248 cm. Tate, London p. 309 Clarkson Frederick Stanfield, Venice from the Dogana, 1833. Oil on canvas, 130 x 167 cm. Bowood House, Wiltshire p. 310 J. M. W. Turner, Bridge of Sighs, Ducal Palace and Custom-House, Venice: Canaletti Painting, 1833. Oil on canvas, 51 x 82 cm. Tate, London

p. 311 Giacomo Rocrué after C. R. Cockerell, Idea for the Reconstruction of the Capitol and Forum of Rome, 1818. Engraving on paper, 275 x 340 mm. Private collection p. 312 J. M. W. Turner, Ancient Rome; Agrippina Landing with the Ashes of Germanicus, 1839. Oil on canvas, 91 x 122 cm. Tate, London p. 313 J. M. W. Turner, Modern Rome – Campo Vaccino, 1839. Oil on canvas, 92 x 127 cm.

Getty Museum, Los Angeles, CA p. 314 J. M. W. Turner, Venice, the Bridge of Sighs, 1840. Oil on canvas, 69 x 91 cm. Tate, London p. 315 J. M. W. Turner, The Campanile of St Marco, Venice, from the Hotel Europa by Moonlight, 1840. Watercolour and gouache on paper, 242 x 307 mm. Tate, London p. 313 J. M. W. Turner, Juliet and her Nurse, 1836. Oil on canvas, 89 x 121 cm. Private collection p. 320 J. M. W. Turner, Slavers Throwing Overboard the Dead and Dying – Typhoon Coming On (‘The Slave Ship’), 1840. Oil on canvas, 91 x 123 cm. Museum of Fine Arts, Boston, MA

p. 322 (left) J. M. W. Turner, Peace – Burial at Sea, 1842. Oil on canvas, 87 x 87 cm. Tate, London p. 322 (right) J. M. W. Turner, War – The Exile and the Rock Limpet, 1842. Oil on canvas, 79 x 79 cm. Tate, London p. 325 (left) J. M. W. Turner, Shade and Darkness – The Evening of the Deluge, 1843. Oil on canvas, 79 x 78 cm. Tate, London p. 325 (right) J. M. W. Turner, Light and Colour (Goethe’s Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis, 1843. Oil on canvas, 79 x 79 cm. Tate, London p. 327 J. M. W. Turner, The Angel, Standing in the Sun, 1841–6. Oil on canvas, 79 x 79 cm.

Tate, London p. 330 J. M. W. Turner, Regulus, 1828, overpainted c. 1829 and 1837. Oil on canvas, 90 x 124 cm. Tate, London p. 332 Thomas Fearnley, Turner Painting Regulus, 1837. Oil on paper, 240 x 210 mm.

Staten Museum for Kunst, Copenhagen/ Private collection

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index

INDEX Numbers in italic refer to illustrations Abel, Carl Friedrich 123, 141ff, 143, 146, 147, 148 Abington, Frances 110, 110 Ackland, Michael 196 Ackroyd, Peter 207 Adam (and expulsion from Eden) 23, 85, 118, 161, 162, 165, 166, 182, 183, 188, 201, 202, 203, 203, 269, 328 Addison, Joseph 14, 20, 23, 166 Dialogue upon the Usefulness of Ancient Medals 14 Aix-en-Provence 31, 34 Akenside, Mark 11 Albert, Prince 318 Alfred the Great 20 Algarotti, Count Francesco An Essay on Painting 84 Alison, Archibald 93 American Revolution 189, 190, 194 see also War of American Independence Amiens, Peace of 301 Ancients, The 220f Anderson, Robert (ed.), British Poets 276 Andrews, Frances 129f, 130 Andrews, Robert 129ff, 130 Angelo, Henry 138, 139, 156 Antwerp 102, 103, 161 Apollo Belvedere 77f, 78, 97 Arbuthnot, John 27 Aristotle 66, 93, 94 Arrowsmith, John 252 Athenæum, The 306, 310 Bach, Johann Christian 141f Bacon, Sir Francis, Baron Verulam, Earl St Alban 83 Barry, James 85, 177ff, 182f, 189; and St Paul’s 89 An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England 179 The Phœnix or the Resurrection of Freedom 189f, 190 Progress of Human Knowledge and Culture, 177ff, (including Orpheus Instructing a Savage People in

362

Barry continued Theology and the Arts of Social Life) 178 The Temptation of Adam 85, 118, 182 Venus rising from the Sea 142, 182, 183 Bartolozzi, Francesco 198 Basire, James 181, 181 Bate Dudley, Revd (Sir) Henry 126, 148, 163, 169, 174 Bath 131, 135, 137, 139, 141, 144, 145, 147, 148, 150, 162; Theatre Royal (Orchard Street Theatre) 148, 153 Bath, Maid of see Elizabeth Linley Bath, Order of the 70, 71 Batoni, Pompeo 70f Charles Compton, 7th Earl of Northampton 70 Beattie, James 124 Beaumont, Sir George 121; and Constable 121, 228, 229, 232, 233, 271ff, 272; and Turner 296 Beckett, R. B. 228, 264, 266, 268 Beckford, William 284; Vathek 284 Bellomont, Charles Coote, 1st Earl of 70, 71 Bentley, Gerald Eades 193, 196 Bernini, Gianlorenzo 304 Bible 184ff (Blake), 201, Bible 325ff (Turner); Genesis 183, 327, 328, 202, 202, 203 221 Revelation 203, 204f, 204, 207, 210, 224 Bickerstaff, Isaac 110 Bicknell family 235 Bicknell, Maria see Constable, Maria Bindman, David 202 Blackwood’s Magazine 316, 320 Blair, Robert The Grave, 198, 199, 200 Blake, William: and Reynolds, 177; and Royal Academy 179; his exhibition 179f; early training and influences 181ff; begins to make his own books 185ff; influence of Swedenborg 186ff; and revolution 189ff; America 194ff; and Flaxman 196f; Chaucer 199f; Butts and Bible illustrations 201ff; Jerusalem 207ff; and Linnell 213ff, 213; Job 214f; and Dante 215ff; and Palmer 218ff; and 221f;

Blake continued and the Ancients 220; continuing influence 224f America: A Prophecy 189, 194f, 195 The Angel of the Divine Presence Clothing Adam and Eve with Coats of Skins 202, 202 Bible illustrations 201ff The Ancient of Days 203, 221f, 222 Bathsheba at the Bath 222, 223 Blake’s Cottage at Felpham, from Milton: A Poem 205 Blair, Robert, title page for ‘The Grave’ 199 Dante, illustrations for 201, 213, 215ff, 216, 217, 218 Edward III from his Monument 181 Europe: A Prophecy 189, 203 First Book of Urizen 203 The Ghost of a Flea 213 God Judging Adam 202f, 203 Gray, Thomas, illustration for The Bard 183; illustration for ‘Elegy in a Country Churchyard’ 197 The Great Red Dragon and the Woman Clothed in the Sun 204f, 204 The Head of Homer 206, 206 Illustrations to the Book of Job 201, 213ff, 215 Jerusalem: The Emanation of the Giant Albion 207ff, 208, 211, 212 Joseph Making Himself Known to his Brethren 183f, 184 Laocöon 10 Marriage of Heaven and Hell 186ff, 187 Milton: A Poem 205, 207, 209f ‘Pandora Gifted’ from Compositions from the Works, Days and Theogony of Hesiod, after John Flaxman 198, 198 Pastorals of Virgil 219; Thenot and Colinet 218 Poetical Sketches by W. B. 184f ‘Sansom’ 184 Self-portrait 176 Sir Jeffery Chaucer and the Nine and Twenty Pilgrims on their Journey to Canterbury 199ff, 200 Songs of Innocence and Experience 189, 190ff, 191, 193, 212 The Spiritual Form of Nelson Guiding Leviathan 179f, 180 The Spiritual Form of Pitt Guiding Behemoth 179f, 180 Tiriel 185 Visionary Heads 213

Blake, Catherine 207, 217 Blake, James 179 Boccaccio 57, 173 Bognor 223 Bolton, Charles Paulet (or Powlett) 3rd Duke of 31f, 31 Bonasone, Giulio 214 Bonomi, Joseph 117 Borrowdale 232, 232 Boswell, James 152 Boyce, William 137 Boydell, John: Shakespeare Gallery 88, 115ff, 116, 118, 126, 127 Brathay Hall 232f Bristol: St Mary Redcliffe 62, 62 British Institution (Pall Mall Picture Galleries) 179, 251, 305, 332, 332 British Museum 218, 223 Bryant, Julius 160 Bunyan, John 43 Burke, Edmund, 80ff, 80, 83, 85 On the Sublime 80, 93 Burlington, Richard Boyle, 3rd Earl of 25, 27, 289 Burney, Edward Francis: North Wall, The Great Room, Somerset House 109 Bute, John Stuart, 3rd Earl of 80 Butlin, Martin 299, 304, 305, 318 Butts, Thomas 201, 206, 214, 222 Byron, George Gordon, 6th Baron 276, 279, 313 Childe Harold’s Pilgrimage 307f, 308, 312f, 314 Calvert, Edward 222f The Bride 222, 223 Campbell, Colen: Vitruvius Britannicus 123 Canaletto, Antonio 310 Canova, Antonio 277, 302 Caravaggio, Michele Merisi da 223 Caroline, Queen 34 Carracci, Annibale 296 Carter, Frances see Andrews, Frances Carter, William 129f Carthage 294, 296ff, 296, 298, 306 Cary, Henry 215 Carysfort, John Proby, Baron (later Earl) 110, 112 Catherine, Empress 112

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index

INDEX Numbers in italic refer to illustrations Abel, Carl Friedrich 123, 141ff, 143, 146, 147, 148 Abington, Frances 110, 110 Ackland, Michael 196 Ackroyd, Peter 207 Adam (and expulsion from Eden) 23, 85, 118, 161, 162, 165, 166, 182, 183, 188, 201, 202, 203, 203, 269, 328 Addison, Joseph 14, 20, 23, 166 Dialogue upon the Usefulness of Ancient Medals 14 Aix-en-Provence 31, 34 Akenside, Mark 11 Albert, Prince 318 Alfred the Great 20 Algarotti, Count Francesco An Essay on Painting 84 Alison, Archibald 93 American Revolution 189, 190, 194 see also War of American Independence Amiens, Peace of 301 Ancients, The 220f Anderson, Robert (ed.), British Poets 276 Andrews, Frances 129f, 130 Andrews, Robert 129ff, 130 Angelo, Henry 138, 139, 156 Antwerp 102, 103, 161 Apollo Belvedere 77f, 78, 97 Arbuthnot, John 27 Aristotle 66, 93, 94 Arrowsmith, John 252 Athenæum, The 306, 310 Bach, Johann Christian 141f Bacon, Sir Francis, Baron Verulam, Earl St Alban 83 Barry, James 85, 177ff, 182f, 189; and St Paul’s 89 An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England 179 The Phœnix or the Resurrection of Freedom 189f, 190 Progress of Human Knowledge and Culture, 177ff, (including Orpheus Instructing a Savage People in

362

Barry continued Theology and the Arts of Social Life) 178 The Temptation of Adam 85, 118, 182 Venus rising from the Sea 142, 182, 183 Bartolozzi, Francesco 198 Basire, James 181, 181 Bate Dudley, Revd (Sir) Henry 126, 148, 163, 169, 174 Bath 131, 135, 137, 139, 141, 144, 145, 147, 148, 150, 162; Theatre Royal (Orchard Street Theatre) 148, 153 Bath, Maid of see Elizabeth Linley Bath, Order of the 70, 71 Batoni, Pompeo 70f Charles Compton, 7th Earl of Northampton 70 Beattie, James 124 Beaumont, Sir George 121; and Constable 121, 228, 229, 232, 233, 271ff, 272; and Turner 296 Beckett, R. B. 228, 264, 266, 268 Beckford, William 284; Vathek 284 Bellomont, Charles Coote, 1st Earl of 70, 71 Bentley, Gerald Eades 193, 196 Bernini, Gianlorenzo 304 Bible 184ff (Blake), 201, Bible 325ff (Turner); Genesis 183, 327, 328, 202, 202, 203 221 Revelation 203, 204f, 204, 207, 210, 224 Bickerstaff, Isaac 110 Bicknell family 235 Bicknell, Maria see Constable, Maria Bindman, David 202 Blackwood’s Magazine 316, 320 Blair, Robert The Grave, 198, 199, 200 Blake, William: and Reynolds, 177; and Royal Academy 179; his exhibition 179f; early training and influences 181ff; begins to make his own books 185ff; influence of Swedenborg 186ff; and revolution 189ff; America 194ff; and Flaxman 196f; Chaucer 199f; Butts and Bible illustrations 201ff; Jerusalem 207ff; and Linnell 213ff, 213; Job 214f; and Dante 215ff; and Palmer 218ff; and 221f;

Blake continued and the Ancients 220; continuing influence 224f America: A Prophecy 189, 194f, 195 The Angel of the Divine Presence Clothing Adam and Eve with Coats of Skins 202, 202 Bible illustrations 201ff The Ancient of Days 203, 221f, 222 Bathsheba at the Bath 222, 223 Blake’s Cottage at Felpham, from Milton: A Poem 205 Blair, Robert, title page for ‘The Grave’ 199 Dante, illustrations for 201, 213, 215ff, 216, 217, 218 Edward III from his Monument 181 Europe: A Prophecy 189, 203 First Book of Urizen 203 The Ghost of a Flea 213 God Judging Adam 202f, 203 Gray, Thomas, illustration for The Bard 183; illustration for ‘Elegy in a Country Churchyard’ 197 The Great Red Dragon and the Woman Clothed in the Sun 204f, 204 The Head of Homer 206, 206 Illustrations to the Book of Job 201, 213ff, 215 Jerusalem: The Emanation of the Giant Albion 207ff, 208, 211, 212 Joseph Making Himself Known to his Brethren 183f, 184 Laocöon 10 Marriage of Heaven and Hell 186ff, 187 Milton: A Poem 205, 207, 209f ‘Pandora Gifted’ from Compositions from the Works, Days and Theogony of Hesiod, after John Flaxman 198, 198 Pastorals of Virgil 219; Thenot and Colinet 218 Poetical Sketches by W. B. 184f ‘Sansom’ 184 Self-portrait 176 Sir Jeffery Chaucer and the Nine and Twenty Pilgrims on their Journey to Canterbury 199ff, 200 Songs of Innocence and Experience 189, 190ff, 191, 193, 212 The Spiritual Form of Nelson Guiding Leviathan 179f, 180 The Spiritual Form of Pitt Guiding Behemoth 179f, 180 Tiriel 185 Visionary Heads 213

Blake, Catherine 207, 217 Blake, James 179 Boccaccio 57, 173 Bognor 223 Bolton, Charles Paulet (or Powlett) 3rd Duke of 31f, 31 Bonasone, Giulio 214 Bonomi, Joseph 117 Borrowdale 232, 232 Boswell, James 152 Boyce, William 137 Boydell, John: Shakespeare Gallery 88, 115ff, 116, 118, 126, 127 Brathay Hall 232f Bristol: St Mary Redcliffe 62, 62 British Institution (Pall Mall Picture Galleries) 179, 251, 305, 332, 332 British Museum 218, 223 Bryant, Julius 160 Bunyan, John 43 Burke, Edmund, 80ff, 80, 83, 85 On the Sublime 80, 93 Burlington, Richard Boyle, 3rd Earl of 25, 27, 289 Burney, Edward Francis: North Wall, The Great Room, Somerset House 109 Bute, John Stuart, 3rd Earl of 80 Butlin, Martin 299, 304, 305, 318 Butts, Thomas 201, 206, 214, 222 Byron, George Gordon, 6th Baron 276, 279, 313 Childe Harold’s Pilgrimage 307f, 308, 312f, 314 Calvert, Edward 222f The Bride 222, 223 Campbell, Colen: Vitruvius Britannicus 123 Canaletto, Antonio 310 Canova, Antonio 277, 302 Caravaggio, Michele Merisi da 223 Caroline, Queen 34 Carracci, Annibale 296 Carter, Frances see Andrews, Frances Carter, William 129f Carthage 294, 296ff, 296, 298, 306 Cary, Henry 215 Carysfort, John Proby, Baron (later Earl) 110, 112 Catherine, Empress 112

363

pen & pencil Chambers, Sir William 65, 117, 123, 159, 158f; house designed for Reynolds 259 Treatise on Civil Architecture 123 Champion, The 120 Chantrey, Sir Francis 277, 302 Charlemont, James Caulfield, 4th Viscount, 1st Earl of 54f, 57 Charles X 253 Charlotte, Queen 65, 141f, 168 Charteris, Colonel Francis 40, 41 Chaucer, Geoffrey 200, 200, 201 Cholmondeley, George Cholmondeley, 3rd Earl of see Malpas Christie, James 157, 157 Christie’s (auction house) 156f Christoph, Johann 27 Cibber, Colley 49f, 54 Cibber, Theophilius 34, 60 Cicero 12, 13, 14, 37, 83 Cipriani, Giovanni Battista 177 Clare College, Cambridge 7, 8 Clarkson, Thomas: History of the Abolition of the African Slave Trade 318ff Claude (Claude Gellée, called Le Lorrain) 123, 160, 229, 264 (and Turner), 281, 282, 292, 294, 296, 297, 299, 301, 304, 306 Liber Veritatis 264, 287 A River Landscape with Jacob and Laban and his Daughters 292, 306 Seaport: The Embarkation of the Queen of Sheba, 297 ‘Claude, the English’ (Turner) 264 Cleland, John: Fanny Hill: Or, Memoirs of a Woman of Pleasure 147 Clive, Kitty 43 Club, The 152 Cockerell, Charles Robert 306, 311, 313 Idea for the Reconstruction of the Capitol and Forum of Rome, print after 311 Coleorton 268, 271ff, 272 Coleridge, Samuel Taylor 233 Collins, William: Ode Occasion’d by the Death of Mr. Thomson 292f Colman, George 60; The Clandestine Marriage 60

364

index Cologne 102 Conduitt, John 32ff, 33 Constable, John: and Reynolds, Gainsborough, and landscape 227f; early years 228f; and Fishers 229 and passim; visits Lake District 231ff; and Maria Bicknell 232 and passim; Suffolk landscape 237ff; marriage 240f; large landscapes 241ff; Hampstead 238ff; and family 247f; clouds 249ff; French appreciation of 251ff; revising paintings 255f; conservative politics 255f; freshness 257ff; RA 259f; and Turner 260ff; and Various Subjects of Landscape 263ff; character 268f; homage to Reynolds 271ff Archdeacon John Fisher 241, 241 Arundel Mill and Castle 272, 273 Barge-building at Flatford 238, 239 The Cenotaph 121, 271ff, 272 East Bergholt, Suffolk 288 Cloud Study 250 Dedham Vale 267 Hadleigh Castle, The Mouth of the Thames – Morning after a Stormy Night 256f, 257, 257, 259, 271; mezzotint after, by David Lucas 264, 265 Hampstead Heath Looking towards Harrow 249 The Hay Wain 246, 247, 251ff Landscape: Ploughing Scene in Suffolk 237f, 238 Lane near Dedham 234, 234 The Leaping Horse 253f, 254, 268 Mrs Mary Fisher 241, 241 The Opening of Waterloo Bridge (‘Waterloo Bridge’, or ‘Whitehall Stairs, June 18th, 1817’) 261ff, 262 Salisbury Cathedral from the Meadows 258, 258 Salisbury Cathedral or The Rainbow (mezzotint with David Lucas) 266 A Scene on the River Stour (‘The White Horse’) 241ff, 242-3 Self-portrait 227 Stratford Mill (‘The Young Waltonians’) 244, 245, 255 Study for Stratford Mill (‘The Young Waltonians’) 244, 245 Valley Farm 259 View in Borrowdale 232 View of Hampstead Heath 248 View of Harrow 248 Wivenhoe Park, Essex 240

Constable, Abram (Constable’s brother) 228 Constable, Ann (née Watts; Constable’s mother) 234, 247 Constable, George 250, 259, 273 Constable, Golding (Constable’s father) 228, 230, 231 (preferences for Constable), 235, 240 (death), 256, 268, 270 (legacy) Constable, Maria (née Bicknell) 231, 235, 236, 237, 238, 240f (marries Constable), 246ff, 256 (death), 259, 268f Copley, John Singleton: The Death of Chatham 116f Copper-Plate Magazine, The 287 Coram, Captain Thomas 149, 149 Cornelius, Peter von 221 Correggio, Antonio Allegri da 56ff, 77, 101 Cortona, Pietro da 90 Cowley, Abraham 112 Cowper, William 205, 206 Cozens, John Robert 302 Crabb Robinson, Henry 215 Crewe, John (2nd Baron Crewe) 96, 96 Cromek, Robert Hartley 198, 199 Cumberland, Prince William, Duke of 33, 33, 106 Dante, 209 Divine Comedy 213, 215ff, 216, 217, 218 Darnley, John Bligh 3rd Earl of 134 Dartmouth, William Legge, 2nd Earl of 132 Davy, Sir Humphry 326 Dawe, George 277 Delacroix, Eugène 253 Delany, Mrs. Mary 136 Delmé, Isabella Elizabeth 99, 100 Delmé, John 99, 100 Delmé, Lady Elizabeth (née Howard) 98ff, 99 Delmé, Peter 99f Delmé, Sir Peter 99 Deloraine, Mary Howard, Countess of 33, 34 Desenfans, Noel 164 Devis, Arthur 128 Dodsley, Robert 11 Domenichino (Domenico Zampieri) 296 Dorset, John Frederick Sackville 3rd Duke of, 128, 138 Drawing School (Henry Pars, Strand) 181

Driffield, Revd Walter Wren 256 Dryden, John 94 Fables Ancient and Modern 57 The Indian Emperor 32ff, 33 Marriage A-La-Mode 43 translation of du Fresnoy, Art of Painting 12, 84 translation of Virgil 276, 282f, 296 Dunthorne, John 229, 237 Dupont, Gainsborough 123, 134 Duport, Jean Pierre 142 Dürer, Albrecht 214, 218 Dusart, Cornelis 104 Düsseldorf Academy 102 Dutch art 72, 102ff, 105, 111, 119, 127 Dyck, Sir Anthony van 79, 94, 96, 100, 123, 133f, 135, 153 George Villiers, 2nd Duke of Buckingham and his Brother, Lord Francis Villiers 134, 134 King Charles on Horseback 175 The Pembroke Family 125 Thomas Wentworth, Earl of Strafford with his secretary Sir Philip Mainwaring 80, 80 Lord John Stuart and his Brother, Lord Bernard Stuart 132 Dysart, William Tollemache, 6th Earl of 160 Eagles, Revd John 316 Earlom, Richard 164 East Bergholt 229, 230, 231, 235, 247, 275, 288 East Bergholt House 230, 247, 288 Eastlake, Sir Charles 304, 323 Edwards, Richard 198 Egerton, Judy 130 Egremont, George Wyndham, 3rd Earl of 227, 292, 306 Einberg, Elizabeth 33, 37, 49 Elizabeth I 20 Engraver’s Copyright Act (1735) 40 Erdman, David 185 Etty, William 269, 270 Everyman 43 Examiner, The 180, 294 Fancy pictures 108f Farington, Joseph 229, 233, 244, 271, 287, 296, 301 Farnley Hall 294, 318 Fawkes, Walter 318

365

pen & pencil Chambers, Sir William 65, 117, 123, 159, 158f; house designed for Reynolds 259 Treatise on Civil Architecture 123 Champion, The 120 Chantrey, Sir Francis 277, 302 Charlemont, James Caulfield, 4th Viscount, 1st Earl of 54f, 57 Charles X 253 Charlotte, Queen 65, 141f, 168 Charteris, Colonel Francis 40, 41 Chaucer, Geoffrey 200, 200, 201 Cholmondeley, George Cholmondeley, 3rd Earl of see Malpas Christie, James 157, 157 Christie’s (auction house) 156f Christoph, Johann 27 Cibber, Colley 49f, 54 Cibber, Theophilius 34, 60 Cicero 12, 13, 14, 37, 83 Cipriani, Giovanni Battista 177 Clare College, Cambridge 7, 8 Clarkson, Thomas: History of the Abolition of the African Slave Trade 318ff Claude (Claude Gellée, called Le Lorrain) 123, 160, 229, 264 (and Turner), 281, 282, 292, 294, 296, 297, 299, 301, 304, 306 Liber Veritatis 264, 287 A River Landscape with Jacob and Laban and his Daughters 292, 306 Seaport: The Embarkation of the Queen of Sheba, 297 ‘Claude, the English’ (Turner) 264 Cleland, John: Fanny Hill: Or, Memoirs of a Woman of Pleasure 147 Clive, Kitty 43 Club, The 152 Cockerell, Charles Robert 306, 311, 313 Idea for the Reconstruction of the Capitol and Forum of Rome, print after 311 Coleorton 268, 271ff, 272 Coleridge, Samuel Taylor 233 Collins, William: Ode Occasion’d by the Death of Mr. Thomson 292f Colman, George 60; The Clandestine Marriage 60

364

index Cologne 102 Conduitt, John 32ff, 33 Constable, John: and Reynolds, Gainsborough, and landscape 227f; early years 228f; and Fishers 229 and passim; visits Lake District 231ff; and Maria Bicknell 232 and passim; Suffolk landscape 237ff; marriage 240f; large landscapes 241ff; Hampstead 238ff; and family 247f; clouds 249ff; French appreciation of 251ff; revising paintings 255f; conservative politics 255f; freshness 257ff; RA 259f; and Turner 260ff; and Various Subjects of Landscape 263ff; character 268f; homage to Reynolds 271ff Archdeacon John Fisher 241, 241 Arundel Mill and Castle 272, 273 Barge-building at Flatford 238, 239 The Cenotaph 121, 271ff, 272 East Bergholt, Suffolk 288 Cloud Study 250 Dedham Vale 267 Hadleigh Castle, The Mouth of the Thames – Morning after a Stormy Night 256f, 257, 257, 259, 271; mezzotint after, by David Lucas 264, 265 Hampstead Heath Looking towards Harrow 249 The Hay Wain 246, 247, 251ff Landscape: Ploughing Scene in Suffolk 237f, 238 Lane near Dedham 234, 234 The Leaping Horse 253f, 254, 268 Mrs Mary Fisher 241, 241 The Opening of Waterloo Bridge (‘Waterloo Bridge’, or ‘Whitehall Stairs, June 18th, 1817’) 261ff, 262 Salisbury Cathedral from the Meadows 258, 258 Salisbury Cathedral or The Rainbow (mezzotint with David Lucas) 266 A Scene on the River Stour (‘The White Horse’) 241ff, 242-3 Self-portrait 227 Stratford Mill (‘The Young Waltonians’) 244, 245, 255 Study for Stratford Mill (‘The Young Waltonians’) 244, 245 Valley Farm 259 View in Borrowdale 232 View of Hampstead Heath 248 View of Harrow 248 Wivenhoe Park, Essex 240

Constable, Abram (Constable’s brother) 228 Constable, Ann (née Watts; Constable’s mother) 234, 247 Constable, George 250, 259, 273 Constable, Golding (Constable’s father) 228, 230, 231 (preferences for Constable), 235, 240 (death), 256, 268, 270 (legacy) Constable, Maria (née Bicknell) 231, 235, 236, 237, 238, 240f (marries Constable), 246ff, 256 (death), 259, 268f Copley, John Singleton: The Death of Chatham 116f Copper-Plate Magazine, The 287 Coram, Captain Thomas 149, 149 Cornelius, Peter von 221 Correggio, Antonio Allegri da 56ff, 77, 101 Cortona, Pietro da 90 Cowley, Abraham 112 Cowper, William 205, 206 Cozens, John Robert 302 Crabb Robinson, Henry 215 Crewe, John (2nd Baron Crewe) 96, 96 Cromek, Robert Hartley 198, 199 Cumberland, Prince William, Duke of 33, 33, 106 Dante, 209 Divine Comedy 213, 215ff, 216, 217, 218 Darnley, John Bligh 3rd Earl of 134 Dartmouth, William Legge, 2nd Earl of 132 Davy, Sir Humphry 326 Dawe, George 277 Delacroix, Eugène 253 Delany, Mrs. Mary 136 Delmé, Isabella Elizabeth 99, 100 Delmé, John 99, 100 Delmé, Lady Elizabeth (née Howard) 98ff, 99 Delmé, Peter 99f Delmé, Sir Peter 99 Deloraine, Mary Howard, Countess of 33, 34 Desenfans, Noel 164 Devis, Arthur 128 Dodsley, Robert 11 Domenichino (Domenico Zampieri) 296 Dorset, John Frederick Sackville 3rd Duke of, 128, 138 Drawing School (Henry Pars, Strand) 181

Driffield, Revd Walter Wren 256 Dryden, John 94 Fables Ancient and Modern 57 The Indian Emperor 32ff, 33 Marriage A-La-Mode 43 translation of du Fresnoy, Art of Painting 12, 84 translation of Virgil 276, 282f, 296 Dunthorne, John 229, 237 Dupont, Gainsborough 123, 134 Duport, Jean Pierre 142 Dürer, Albrecht 214, 218 Dusart, Cornelis 104 Düsseldorf Academy 102 Dutch art 72, 102ff, 105, 111, 119, 127 Dyck, Sir Anthony van 79, 94, 96, 100, 123, 133f, 135, 153 George Villiers, 2nd Duke of Buckingham and his Brother, Lord Francis Villiers 134, 134 King Charles on Horseback 175 The Pembroke Family 125 Thomas Wentworth, Earl of Strafford with his secretary Sir Philip Mainwaring 80, 80 Lord John Stuart and his Brother, Lord Bernard Stuart 132 Dysart, William Tollemache, 6th Earl of 160 Eagles, Revd John 316 Earlom, Richard 164 East Bergholt 229, 230, 231, 235, 247, 275, 288 East Bergholt House 230, 247, 288 Eastlake, Sir Charles 304, 323 Edwards, Richard 198 Egerton, Judy 130 Egremont, George Wyndham, 3rd Earl of 227, 292, 306 Einberg, Elizabeth 33, 37, 49 Elizabeth I 20 Engraver’s Copyright Act (1735) 40 Erdman, David 185 Etty, William 269, 270 Everyman 43 Examiner, The 180, 294 Fancy pictures 108f Farington, Joseph 229, 233, 244, 271, 287, 296, 301 Farnley Hall 294, 318 Fawkes, Walter 318

365

pen & pencil Fearnley, Thomas 332 Turner Painting Regulus 332 Felpham 205, 205, 207, 223 Fenton, Lavinia (later Duchess of Bolton) 31f, 31 Fielding, Henry 23, 39f Enquiry into the Causes of the Late Increase of Robberies 48 Joseph Andrews 23, 39 Tom Jones 23, 39 Finberg, Alexander 330 Fischer, Johann Christian 141f, 143ff, 144, 147, 151 Fisher, Archdeacon John (the younger) 236f, 241, 241, 244, 246 (buys Stratford Mill, comments on Hay Wain), 248, 251ff, 255 (retouching), 256, 257, 261 (Constable writes about Turner), 263, 268, 270 (impoverishment), 271 (death) Fisher, Canon Dr John (Bishop of Salisbury) 229, 236f, 271 Fisher, Kitty 59, 59 Fisher, Mary 241, 241 Fitzwilliam Museum, Cambridge 7 Flanders 38, 102ff, 114 Flatford 238, 238, 246 Flaxman, Anne 196, 197 Flaxman, John 181, 182, 196, 198, 198, 205; and Swedenborg 186, 196; illustrations to Homer 198 Compositions from the Works Days and Theogony of Hesiod 198, 198 Flemish art 38, 102ff, 111, 159, 161 Fonthill Abbey 285 Foote, Samuel: Taste 53f Ford, Ann (Mrs Philip Thicknesse) 135ff, 136, 148 Forrest, Ebenezer 38 Forster, Thomas: Researches about Atmospheric Phænomena 250 Fox, Charles James 109, 189 Fox, Henry 36f, 36 Fox, Stephen 36, 37 France 12, 15, 38, 85, 194, 252ff, 301 French art 28, 43, 44, 56, 62, 65, 253, 300 French Revolution 116, 189, 191, 194 Fresnoy, Charles Alphonse du: Art of Painting 12, 84, 84, 104, 300, 323

366

index Frith, William Powell: Derby Day 63 Fry, Roger 121 Furini, Francesco 56ff Sigismunda with the Heart of Guiscardo 56 Fuseli, Henry 114, 177, 182, 240 The Mandrake: A Charm 183 The Oath on the Rütli 183 Gainsborough, Thomas 79, 117, 118, 177; a ‘reading man’ 123; early years 124f; return to Suffolk 128ff; moves to Bath 131ff; and Van Dyck 133f; and musicians 135ff; and Linleys 138ff; and William Jackson 145f; and the theatre 148ff; and Garrick 150ff; studio/gallery at Schomberg House 153, 174, 179, 287; wit and good humour 155ff; and idealised village life 161ff; and Reynolds 168ff Ann Ford (later Mrs Philip Thicknesse) 135ff, 136 The Blue Boy 133ff, 134 Carl Friedrich Abel 143, 143 The Charterhouse 125, 125 Cornard Wood, near Sudbury, Suffolk 126, 126 Cottage Children (‘The Wood Gatherers’) 108, 163 The Cottage Door 164ff, 165, 171 The Cottage Girl 108, 108, 227 David Garrick, print after, 150 Diana and Actæon 165ff, 167 Dr Rice Charleton 131f, 133 The Duke and Duchess of Cumberland Attended by Lady Elizabeth Luttrell 106, 106 Edward, Viscount (later Earl) Ligonier 140f, 141 Elizabeth and Thomas Linley (‘A Beggar Boy and Girl’) 137f, 137 Girl with Pigs 168, 168 Haymaker and Sleeping Girl 172f, 173 Isabella, Viscountess Molyneux, later Countess of Sefton 133, 133 James Christie 157, 157 James Quin 148ff, 149 Johann Christian Fischer 143ff, 144 John Henderson 155 Lavinia (‘A Village Girl with Milk’) 170, 171 Mr and Mrs Andrews 129ff, 130 Mrs Richard Brinsley Sheridan (Elizabeth Linley) 4, 139, 140

Gainsborough continued Penelope (Pitt), Viscountess Ligonier 140, 141 Portrait of the Artist with his Wife and Daughter 128f, 129 Rocky Landscape 160, 161 Sarah Siddons 107, 107 Self-portrait 122 The Shepherd Boy, 164, print after 164 Two Shepherd Boys with Dogs Fighting 158ff, 158 The Watering Place 105 William Shakespeare 150ff Young Hobbinol and Ganderetta 169, 169 Gainsborough, Mary (Molly) 144f Gainsborough, Peggy 145 Galt, John 86, 87 Gandy, Joseph Michael 311 Garrick, David 16, 48ff, 49, 52ff (and Hogarth portrait with his wife), 53, 60, 139, 144, 148, 152, 156; 60 (The Clandestine Marriage); and Judgment of Hercules (and portrait David Garrick between Tragedy and Comedy) 16, 74ff, 75, 112, 151–2; and Gainsborough’s portrait of Shakespeare 144, 151; portrait by Gainsborough 150f, 150; and the Club 153; and John Henderson 154f; at Christies 157 Garrick, Eva Maria 52f, 53, 139 Garth, Samuel 166 Gay, John Beggar’s Opera 23, 27ff, 30, 31, 34 Shepherd’s Week 27f George I 25, 26 George II 34 George III 65, 80, 81 (and foundation of Royal Academy), 85, 86, 109, 156, 185, 191 George IV 109, 109, 156, 235, 261, 270, 299, 300 Géricault, Théodore 253 Ghezzi, Pier Leone 68 Giardini, Felice 135, 147 Gibbon, Mary (née Gainsborough) 144, 156 Gibbs, Joseph 135 Gibraltar 78, 322 Gibson, John 277 Venus and Cupid 277, 277 Gilbert, Sir John 332 Gilchrist, Alexander 181, 199, 201, 206, 213, 214, 223

Gillray, James: Shakespeare – Sacrificed; – or – The Offering to Avarice 116 Giovane Italia, La 312 Girtin, Thomas 233 Godfrey, Peter 248 Godwin, William 189, 194 Goethe, Johann Wolfgang von: Theory of Colours 323ff, 325 Goldsmith, Oliver 93, 311 Roman History 311 Gombrich, Sir Ernst 92, 228 Gothic Revival 223 Gowing, Sir Lawrence 331f Grand Tour 51, 52, 68ff, 68, 69, 70, 282 see also Italy and Rome Gravelot, Hubert 124 Graves Revd Richard 162 Gray, Thomas 11, 197 The Bard 183, 286 ‘Elegy in a Country Churchyard’ 197 Green, Valentine 150 Gresham, Sir Thomas 21 Griffith, Thomas 316, 320 Grosvenor, Sir Richard (1st Earl Grosvenor) 57f Hadleigh Castle 256f, 257, 265 Hallett, Mark 97 Hamerton, Philip Gilbert 275, 276, 277 Hamilton, Emma 110, 110 Harden, Jessy (née Allan) 232, 233 Harden, John 232, 233 Hardwicke, Philip Yorke, 2nd Earl of 160 Hay Drummond, Robert, Archbishop of York 85, 86f Hayley, William 205f Life of William Cowper 205 Ballads 205 Hayman, Francis 124, 125, 128 Hazlitt, William 107, 326, 329; on Reynolds 120f Heath, William 201 Heathfield of Gibraltar, George Augustus, Baron 78, 79 Heidegger, John Jacob 25 Helst, Bartholomeus van der: Banquet of the Civic Guard 103 Henderson, John 153ff, 155

367

pen & pencil Fearnley, Thomas 332 Turner Painting Regulus 332 Felpham 205, 205, 207, 223 Fenton, Lavinia (later Duchess of Bolton) 31f, 31 Fielding, Henry 23, 39f Enquiry into the Causes of the Late Increase of Robberies 48 Joseph Andrews 23, 39 Tom Jones 23, 39 Finberg, Alexander 330 Fischer, Johann Christian 141f, 143ff, 144, 147, 151 Fisher, Archdeacon John (the younger) 236f, 241, 241, 244, 246 (buys Stratford Mill, comments on Hay Wain), 248, 251ff, 255 (retouching), 256, 257, 261 (Constable writes about Turner), 263, 268, 270 (impoverishment), 271 (death) Fisher, Canon Dr John (Bishop of Salisbury) 229, 236f, 271 Fisher, Kitty 59, 59 Fisher, Mary 241, 241 Fitzwilliam Museum, Cambridge 7 Flanders 38, 102ff, 114 Flatford 238, 238, 246 Flaxman, Anne 196, 197 Flaxman, John 181, 182, 196, 198, 198, 205; and Swedenborg 186, 196; illustrations to Homer 198 Compositions from the Works Days and Theogony of Hesiod 198, 198 Flemish art 38, 102ff, 111, 159, 161 Fonthill Abbey 285 Foote, Samuel: Taste 53f Ford, Ann (Mrs Philip Thicknesse) 135ff, 136, 148 Forrest, Ebenezer 38 Forster, Thomas: Researches about Atmospheric Phænomena 250 Fox, Charles James 109, 189 Fox, Henry 36f, 36 Fox, Stephen 36, 37 France 12, 15, 38, 85, 194, 252ff, 301 French art 28, 43, 44, 56, 62, 65, 253, 300 French Revolution 116, 189, 191, 194 Fresnoy, Charles Alphonse du: Art of Painting 12, 84, 84, 104, 300, 323

366

index Frith, William Powell: Derby Day 63 Fry, Roger 121 Furini, Francesco 56ff Sigismunda with the Heart of Guiscardo 56 Fuseli, Henry 114, 177, 182, 240 The Mandrake: A Charm 183 The Oath on the Rütli 183 Gainsborough, Thomas 79, 117, 118, 177; a ‘reading man’ 123; early years 124f; return to Suffolk 128ff; moves to Bath 131ff; and Van Dyck 133f; and musicians 135ff; and Linleys 138ff; and William Jackson 145f; and the theatre 148ff; and Garrick 150ff; studio/gallery at Schomberg House 153, 174, 179, 287; wit and good humour 155ff; and idealised village life 161ff; and Reynolds 168ff Ann Ford (later Mrs Philip Thicknesse) 135ff, 136 The Blue Boy 133ff, 134 Carl Friedrich Abel 143, 143 The Charterhouse 125, 125 Cornard Wood, near Sudbury, Suffolk 126, 126 Cottage Children (‘The Wood Gatherers’) 108, 163 The Cottage Door 164ff, 165, 171 The Cottage Girl 108, 108, 227 David Garrick, print after, 150 Diana and Actæon 165ff, 167 Dr Rice Charleton 131f, 133 The Duke and Duchess of Cumberland Attended by Lady Elizabeth Luttrell 106, 106 Edward, Viscount (later Earl) Ligonier 140f, 141 Elizabeth and Thomas Linley (‘A Beggar Boy and Girl’) 137f, 137 Girl with Pigs 168, 168 Haymaker and Sleeping Girl 172f, 173 Isabella, Viscountess Molyneux, later Countess of Sefton 133, 133 James Christie 157, 157 James Quin 148ff, 149 Johann Christian Fischer 143ff, 144 John Henderson 155 Lavinia (‘A Village Girl with Milk’) 170, 171 Mr and Mrs Andrews 129ff, 130 Mrs Richard Brinsley Sheridan (Elizabeth Linley) 4, 139, 140

Gainsborough continued Penelope (Pitt), Viscountess Ligonier 140, 141 Portrait of the Artist with his Wife and Daughter 128f, 129 Rocky Landscape 160, 161 Sarah Siddons 107, 107 Self-portrait 122 The Shepherd Boy, 164, print after 164 Two Shepherd Boys with Dogs Fighting 158ff, 158 The Watering Place 105 William Shakespeare 150ff Young Hobbinol and Ganderetta 169, 169 Gainsborough, Mary (Molly) 144f Gainsborough, Peggy 145 Galt, John 86, 87 Gandy, Joseph Michael 311 Garrick, David 16, 48ff, 49, 52ff (and Hogarth portrait with his wife), 53, 60, 139, 144, 148, 152, 156; 60 (The Clandestine Marriage); and Judgment of Hercules (and portrait David Garrick between Tragedy and Comedy) 16, 74ff, 75, 112, 151–2; and Gainsborough’s portrait of Shakespeare 144, 151; portrait by Gainsborough 150f, 150; and the Club 153; and John Henderson 154f; at Christies 157 Garrick, Eva Maria 52f, 53, 139 Garth, Samuel 166 Gay, John Beggar’s Opera 23, 27ff, 30, 31, 34 Shepherd’s Week 27f George I 25, 26 George II 34 George III 65, 80, 81 (and foundation of Royal Academy), 85, 86, 109, 156, 185, 191 George IV 109, 109, 156, 235, 261, 270, 299, 300 Géricault, Théodore 253 Ghezzi, Pier Leone 68 Giardini, Felice 135, 147 Gibbon, Mary (née Gainsborough) 144, 156 Gibbs, Joseph 135 Gibraltar 78, 322 Gibson, John 277 Venus and Cupid 277, 277 Gilbert, Sir John 332 Gilchrist, Alexander 181, 199, 201, 206, 213, 214, 223

Gillray, James: Shakespeare – Sacrificed; – or – The Offering to Avarice 116 Giovane Italia, La 312 Girtin, Thomas 233 Godfrey, Peter 248 Godwin, William 189, 194 Goethe, Johann Wolfgang von: Theory of Colours 323ff, 325 Goldsmith, Oliver 93, 311 Roman History 311 Gombrich, Sir Ernst 92, 228 Gothic Revival 223 Gowing, Sir Lawrence 331f Grand Tour 51, 52, 68ff, 68, 69, 70, 282 see also Italy and Rome Gravelot, Hubert 124 Graves Revd Richard 162 Gray, Thomas 11, 197 The Bard 183, 286 ‘Elegy in a Country Churchyard’ 197 Green, Valentine 150 Gresham, Sir Thomas 21 Griffith, Thomas 316, 320 Grosvenor, Sir Richard (1st Earl Grosvenor) 57f Hadleigh Castle 256f, 257, 265 Hallett, Mark 97 Hamerton, Philip Gilbert 275, 276, 277 Hamilton, Emma 110, 110 Harden, Jessy (née Allan) 232, 233 Harden, John 232, 233 Hardwicke, Philip Yorke, 2nd Earl of 160 Hay Drummond, Robert, Archbishop of York 85, 86f Hayley, William 205f Life of William Cowper 205 Ballads 205 Hayman, Francis 124, 125, 128 Hazlitt, William 107, 326, 329; on Reynolds 120f Heath, William 201 Heathfield of Gibraltar, George Augustus, Baron 78, 79 Heidegger, John Jacob 25 Helst, Bartholomeus van der: Banquet of the Civic Guard 103 Henderson, John 153ff, 155

367

pen & pencil Henri IV 15 Henry VIII 96 Henry of Straffan, Joseph 69 Hercules, Judgment of 16, 30, 31, 74ff, 75, 112 Hertford, Algernon Seymour, Lord (7th Duke of Somerset) 32, 32 Hervey, John Hervey, 2nd Baron 36f, 36 Hilles, Frederick 84, 121 History painting – Hogarth and 50, 59; Benjamin West and debate on 86ff; Reynolds and 110, 121; Gainsborough on 145f, 168; Samuel Johnson on 128; Blake and 177, 179; Turner and, 294ff and passim; Houses of Parliament decoration 327 Hoadly, John 52, 53 Hoare, Henry 282 Hoare, Sir Richard Colt, 2nd Bart 282 Hockney David: The Rake’s Progress 63 Hogarth, Jane (née Thornhill) 26 Hogarth William 8, 120, 124, 125, 128, 189; Hogarth William and St Martin’s Lane Academy 124; Hogarth, William: his self-image and reading 21f; and bad taste 23; The Beggar’s Opera 27ff; conversation pieces 32ff; buffoonery 38; in France 38; and satire 39ff; Progresses 40ff; Marriage-A-la-Mode 43ff; Industry and Idleness 46ff; and Garrick 48ff, 52ff; Analysis of Beuaty 51; Piquet and Sigismunda 54ff; Sergeant Painter to the King 62; religious paintings 62; and academies 62; continuing influence 63 The Analysis of Beauty 22f, 22, 51f, 71 Anecdotes of William Hogarth 23 The Artist Painting the Comic Muse 60f, 61 Autobiographical Notes 46, 54f Battle of Pictures 90 Beer Street 48, 48 Before and After 28 The Beggar’s Opera 31; preparatory drawing for 30 Captain Thomas Coram 149 The Cholmondeley Family 34ff, 35 Christ’s Ascension (with The Sealing of the Sepulchre and The Three Marys at the Tomb) 62, 62 The Conduitt Piece (‘The Indian Emperor, or, The Conquest of Mexico’, ... as performed in 1731 at John

368

index Hogarth continued Conduitt’s house before the Duke of Cumberland) 33 David Garrick and his Wife Eva Maria 52ff, 53 David Garrick as Richard III 49f, 49 Ferdinand Courting Miranda (from Shakespeare’s Tempest, Act 1, scene 2) 50, 50 The Four Times of Day: Morning 39, 39 Gin Lane 48, 48, 190, 275 Harlot’s Progress 40f, 60, 192; plate 1: Moll Hackabout Arrives in London 40 The Hervey Conversation Piece(‘John, Lord Hervey and his Friends’) 36ff, 36 Industry and Idleness 46f; plate 10: The Industrious ’Prentice Alderman of London, the Idle one brought before him & Impeach’d by his Accomplice 47 The Lady’s Last Stake (‘Piquet, or Virtue in Danger’) 54ff, 55, 59, 63 The Line of Beauty 22, 22, 64 Marriage A-la-Mode 40, 60, 90, 130; plate 1: The Marriage Settlement 44; plate 2: The Tête-à-Tête 45 Masquerades and Operas (‘The Bad Taste of the Town’) 23ff, 24 The Painter and his Pug 1, 18, 19f, 23 Piquet see The Lady’s Last Stake The Rake’s Progress 40ff, 63; plate 11: His Levée 41; plate 8: In Bedlam 42 The Roast Beef of Old England (‘The Gate of Calais’) 38 Sigismunda Mourning over the Heart of Guiscardo, her Murder’d Husband 57, 57 Self-portrait see The Painter and his Pug and The Artist Painting the Comic Muse Simon, Lord Lovat 149, 149 Southwark Fair 63, 63 The Stages of Cruelty 159, 159 The Wedding of Stephen Beckingham and Mary Cox 26f, 26 Holbein, Hans the Younger 96, 102 Holland, Charles 60 Holman Hunt, William: The Awakening Conscience 63 Holworthy, James 300 Holy Land 322 Homer 66, 206, 206, 276; Iliad 198; Odyssey 304, 305 ‘Homer of painting, the’ (Michelangelo) 66, 72

Hone, Nathaniel: The Conjuror 88ff, 89 Horace 12, 14, 94, 118, 236, 264, 276 Ars Poetica, 30, 289 ‘Horace, the English’ see Pope, Alexander Howard, Luke The Climate of London 250–1 Essay on the Modification of Clouds 250 Howe of Langar, Sophia Charlotte Waller, 2nd Baroness 290, 292 Hudson, Thomas 125, 148 Hume, David 124 Humphry, Ozias 132 Hunt, Robert 180 Hussey, Christopher 231 Idler, The 69f, 71ff, 83 Ipswich Music Society 135 Ipswich 128, 135 Italian art 7, 25, 52, 59, 67, 70, 71, 72, 77, 100, 102, 104, 105, 125, 137, 182, 268 Italy 14, 67, 77, 85, 125, 137, 182f, 189, 198, 282, 295, 301ff, 310ff, 324 Jackson, William 123, 124, 128, 135 (Gainsborough’s last words), 137, 145ff, 155 (Gainsborough’s prose style) 156, 160, 162 Character of Gainsborough 147 Jefferson, Thomas 286 Jersey, William Villiers, 3rd Earl of 137 Johnson, Joseph 193f Johnson, Samuel 69, 72f, 80, 83, 93, 102, 117, 124, 128, 140, 152 (and the Club); and Cowley 112; and Savage 319; see also Idler Rasselas 83 Joll, Evelyn 304f, 318 Jones, George 276 Jones, Inigo 21 Jonson, Ben 24, 25 Junius 83 Kauffman, Angelica 89 Kenney, Edward John 76 Kent, William 24, 25, 27 Ketton-Cremer, Robert 131 Kneller, Sir Godfrey 19 Kraye, Lambert 102

Lake District, Constable journey to 231ff, 232 Lakeland poets 286; see also Wordsworth and Coleridge Lamb, Charles 120 Landseer, John 291, 294 Langhorne, John 280 Lawrence, Sir Thomas, 259–60, 276f, 302; his sale 228 Leslie, Charles Robert 227, 256, 258, 259, 262, 271 Autobiographical Recollections 268 Memoirs of the Life of John Constable, R. A. 233, 261, 262, 266ff, 269 Leslie, Robert 262 Lewis, Frederick Christian 255 Library of the Fine Arts, The 156 Licensing Act (1737) 23 Ligonier, Edward, Viscount 140f, 141 Ligonier, Penelope, Viscountess (née Pitt) 140f, 141 Lincoln, Henry Pelham-Clinton, 9th Earl of (and later 2nd Due of Newcastle-under-Lyne) 14 Linley, Elizabeth (later Mrs. Richard Sheridan) 4, 97, 101, 102, 137, 138ff, 139 Linley, Thomas (the elder) 137, 138 Linley, Thomas (the younger) 137, 137 Linnell, John 213f, 213, 217f William Blake Wearing a Hat (on Hampstead Heath) 213 Liverpool 170 Lloyd, Mrs. Richard Bennett, (née Joanna Leigh) 2, 97, 97 Llywelyn ap Gruffudd 286 Locke, John 189, 190 London Chronicle, The 162 London Daily Advertiser, The 60 London Packet, The 280f London: Adelphi 177 Broad (Broadwick) Street 179 Burlington House 25 Charlotte Street 248, 253 Covent Garden 39, 275 Covent Garden Theatre (also known as Theatre Royal, Covent Garden) 54 Drury Lane Theatre (also known as Theatre Royal in Drury Lane) 34, 46, 50, 51, 54, 60, 110, 139, 153

369

pen & pencil Henri IV 15 Henry VIII 96 Henry of Straffan, Joseph 69 Hercules, Judgment of 16, 30, 31, 74ff, 75, 112 Hertford, Algernon Seymour, Lord (7th Duke of Somerset) 32, 32 Hervey, John Hervey, 2nd Baron 36f, 36 Hilles, Frederick 84, 121 History painting – Hogarth and 50, 59; Benjamin West and debate on 86ff; Reynolds and 110, 121; Gainsborough on 145f, 168; Samuel Johnson on 128; Blake and 177, 179; Turner and, 294ff and passim; Houses of Parliament decoration 327 Hoadly, John 52, 53 Hoare, Henry 282 Hoare, Sir Richard Colt, 2nd Bart 282 Hockney David: The Rake’s Progress 63 Hogarth, Jane (née Thornhill) 26 Hogarth William 8, 120, 124, 125, 128, 189; Hogarth William and St Martin’s Lane Academy 124; Hogarth, William: his self-image and reading 21f; and bad taste 23; The Beggar’s Opera 27ff; conversation pieces 32ff; buffoonery 38; in France 38; and satire 39ff; Progresses 40ff; Marriage-A-la-Mode 43ff; Industry and Idleness 46ff; and Garrick 48ff, 52ff; Analysis of Beuaty 51; Piquet and Sigismunda 54ff; Sergeant Painter to the King 62; religious paintings 62; and academies 62; continuing influence 63 The Analysis of Beauty 22f, 22, 51f, 71 Anecdotes of William Hogarth 23 The Artist Painting the Comic Muse 60f, 61 Autobiographical Notes 46, 54f Battle of Pictures 90 Beer Street 48, 48 Before and After 28 The Beggar’s Opera 31; preparatory drawing for 30 Captain Thomas Coram 149 The Cholmondeley Family 34ff, 35 Christ’s Ascension (with The Sealing of the Sepulchre and The Three Marys at the Tomb) 62, 62 The Conduitt Piece (‘The Indian Emperor, or, The Conquest of Mexico’, ... as performed in 1731 at John

368

index Hogarth continued Conduitt’s house before the Duke of Cumberland) 33 David Garrick and his Wife Eva Maria 52ff, 53 David Garrick as Richard III 49f, 49 Ferdinand Courting Miranda (from Shakespeare’s Tempest, Act 1, scene 2) 50, 50 The Four Times of Day: Morning 39, 39 Gin Lane 48, 48, 190, 275 Harlot’s Progress 40f, 60, 192; plate 1: Moll Hackabout Arrives in London 40 The Hervey Conversation Piece(‘John, Lord Hervey and his Friends’) 36ff, 36 Industry and Idleness 46f; plate 10: The Industrious ’Prentice Alderman of London, the Idle one brought before him & Impeach’d by his Accomplice 47 The Lady’s Last Stake (‘Piquet, or Virtue in Danger’) 54ff, 55, 59, 63 The Line of Beauty 22, 22, 64 Marriage A-la-Mode 40, 60, 90, 130; plate 1: The Marriage Settlement 44; plate 2: The Tête-à-Tête 45 Masquerades and Operas (‘The Bad Taste of the Town’) 23ff, 24 The Painter and his Pug 1, 18, 19f, 23 Piquet see The Lady’s Last Stake The Rake’s Progress 40ff, 63; plate 11: His Levée 41; plate 8: In Bedlam 42 The Roast Beef of Old England (‘The Gate of Calais’) 38 Sigismunda Mourning over the Heart of Guiscardo, her Murder’d Husband 57, 57 Self-portrait see The Painter and his Pug and The Artist Painting the Comic Muse Simon, Lord Lovat 149, 149 Southwark Fair 63, 63 The Stages of Cruelty 159, 159 The Wedding of Stephen Beckingham and Mary Cox 26f, 26 Holbein, Hans the Younger 96, 102 Holland, Charles 60 Holman Hunt, William: The Awakening Conscience 63 Holworthy, James 300 Holy Land 322 Homer 66, 206, 206, 276; Iliad 198; Odyssey 304, 305 ‘Homer of painting, the’ (Michelangelo) 66, 72

Hone, Nathaniel: The Conjuror 88ff, 89 Horace 12, 14, 94, 118, 236, 264, 276 Ars Poetica, 30, 289 ‘Horace, the English’ see Pope, Alexander Howard, Luke The Climate of London 250–1 Essay on the Modification of Clouds 250 Howe of Langar, Sophia Charlotte Waller, 2nd Baroness 290, 292 Hudson, Thomas 125, 148 Hume, David 124 Humphry, Ozias 132 Hunt, Robert 180 Hussey, Christopher 231 Idler, The 69f, 71ff, 83 Ipswich Music Society 135 Ipswich 128, 135 Italian art 7, 25, 52, 59, 67, 70, 71, 72, 77, 100, 102, 104, 105, 125, 137, 182, 268 Italy 14, 67, 77, 85, 125, 137, 182f, 189, 198, 282, 295, 301ff, 310ff, 324 Jackson, William 123, 124, 128, 135 (Gainsborough’s last words), 137, 145ff, 155 (Gainsborough’s prose style) 156, 160, 162 Character of Gainsborough 147 Jefferson, Thomas 286 Jersey, William Villiers, 3rd Earl of 137 Johnson, Joseph 193f Johnson, Samuel 69, 72f, 80, 83, 93, 102, 117, 124, 128, 140, 152 (and the Club); and Cowley 112; and Savage 319; see also Idler Rasselas 83 Joll, Evelyn 304f, 318 Jones, George 276 Jones, Inigo 21 Jonson, Ben 24, 25 Junius 83 Kauffman, Angelica 89 Kenney, Edward John 76 Kent, William 24, 25, 27 Ketton-Cremer, Robert 131 Kneller, Sir Godfrey 19 Kraye, Lambert 102

Lake District, Constable journey to 231ff, 232 Lakeland poets 286; see also Wordsworth and Coleridge Lamb, Charles 120 Landseer, John 291, 294 Langhorne, John 280 Lawrence, Sir Thomas, 259–60, 276f, 302; his sale 228 Leslie, Charles Robert 227, 256, 258, 259, 262, 271 Autobiographical Recollections 268 Memoirs of the Life of John Constable, R. A. 233, 261, 262, 266ff, 269 Leslie, Robert 262 Lewis, Frederick Christian 255 Library of the Fine Arts, The 156 Licensing Act (1737) 23 Ligonier, Edward, Viscount 140f, 141 Ligonier, Penelope, Viscountess (née Pitt) 140f, 141 Lincoln, Henry Pelham-Clinton, 9th Earl of (and later 2nd Due of Newcastle-under-Lyne) 14 Linley, Elizabeth (later Mrs. Richard Sheridan) 4, 97, 101, 102, 137, 138ff, 139 Linley, Thomas (the elder) 137, 138 Linley, Thomas (the younger) 137, 137 Linnell, John 213f, 213, 217f William Blake Wearing a Hat (on Hampstead Heath) 213 Liverpool 170 Lloyd, Mrs. Richard Bennett, (née Joanna Leigh) 2, 97, 97 Llywelyn ap Gruffudd 286 Locke, John 189, 190 London Chronicle, The 162 London Daily Advertiser, The 60 London Packet, The 280f London: Adelphi 177 Broad (Broadwick) Street 179 Burlington House 25 Charlotte Street 248, 253 Covent Garden 39, 275 Covent Garden Theatre (also known as Theatre Royal, Covent Garden) 54 Drury Lane Theatre (also known as Theatre Royal in Drury Lane) 34, 46, 50, 51, 54, 60, 110, 139, 153

369

pen & pencil London continued Exeter Hall 318 Fleet Street 114 Foundling Hospital 62, 125, 125 Fulham 266 Gerrard Street 80 Greenwich, Painted Hall 26 Hampstead and Hampstead Heath 6, 213, 213, 248f, 249 251 Hampton Court 62, 71 Harley Street 179, 287 Harrow 248, 249 Hatton Garden 125 Haymarket Opera House (also known as King’s Theatre, Haymarket, now His Majesty’s) 25, 54, 41 Houses of Parliament decoration 121, 327 Keppel Street 246 Lambeth 192, 205 Lincoln’s Inn 62 Lincoln’s Inn Fields Theatre 25, 27, 34, 43 Mitre Tavern 115 Pall Mall 115, 117, 251, see also London, Schomberg House Pall Mall Picture Galleries see British Institution Peckham Rye 181 Piccadilly 329 Prince’s Hall 329 Putney 293 Queen Anne Street 287 Richmond 289, 290, 292, 293, 299ff, 299, 301 Schomberg House 157, 179, 274, 287 Sheen (Shene) 301 Somerset House 65, 109, 109, 114, 121, 251, 259, 272 St Bartholomew’s Hospital (‘Barts’) 62 St Martin-in-the-Fields 26, 27, 241 St Paul’s Cathedral 88f, 89, 179 Strand 65, 114 181, 272 Turk’s Head Tavern 80 Twickenham 14, 289ff, 291 Vauxhall Gardens 138 Westminster 65, 121 Westminster Abbey 86, 87, 181, 181 Whitehall 65

370

index London continued Whitehall Stairs 261f, 262 see also British Museum, National Gallery, Royal Academy Lott, Willy 246 Louis XVI 194 Lovat, Simon Fraser, Lord 149, 149 Lowth, Robert, Bishop of London 16, 75 Lucas, David: and English Landscape 263ff, 265; memories of Constable 267f Hadleigh Castle, print after John Constable 265 Macklin, Hannah (née Kenting) 171, 171 Macklin, Thomas 114ff, 118, 169ff Macpherson, James 286 Magdalene College, Cambridge 7 Magill, Theodosia (Countess of Clanwilliam) 134, 134 Mai (Omai) 97, 97 Mallet, David 280 Malpas, George Cholmondeley, Viscount (later 3rd Earl of Cholmondeley) 34f, 35 Manchester Art Treasures (exhibition) 174 Mann, Sir Horace 69 Mannings, David 74 Maratta, Carlo 268 Marcantonio see Raimondi Margate 102 Marlborough, Caroline, Duchess of 94, 95 Marlborough, Charles Spencer, 3rd Duke of 36, 37, 94 Marlborough, George Spencer-Churchill, 5th Duke of 95, 95, 100 Marlborough, George Spencer, 4th Duke of 94ff, 95, 100 Marlborough, John Churchill, 1st Duke of 95 Marlborough, Sarah, Duchess of 95 Marlowe, Christopher: Dr Faustus, 24, 25 Marvell, Andrew 189, 190 Mason, William 104, 300 Mathews, Captain Thomas 138 Mayhew, William 153 Mazzini, Giuseppe 312 Mengs, Anton Raphael 70 Metcalfe, Philip 102 Metsys, Quentin 102

Michelangelo: Hogarth and 24, 25; Reynolds and 64, 66, 72, 103, 107, 114, 118; Fuseli and 183, 184; Blake like 218; Constable and 271 Middleton, Revd Dr Conyers 36, 37 Middlesex, Charles Sackville, Earl of (later 2nd Duke of Dorset) 14 Millar, Sir Oliver 134 Milton, John 20ff, 21, 189, 190, 201, 207 Paradise Lost 20ff, 162, 194, 207, 255, 279, 280–1 Samson Agonistes 184 Molière pseudonym of Jean-Baptiste Poquelin: Le Bourgeois gentilhomme 42 Monro, Dr Thomas 302 Montagu, John Montagu, 2nd Duke of 34 Morning Chronicle, The 115, 174, 296 Morning Herald, The 126, 148 Mortimer, John Hamilton 177, 182 Sir Arthegal, the Knight of Justice, with Talus, the Iron Man (from Edmund Spenser’s Færie Queene) 182, 182 Motherwell, Robert 331 Mozart, Wolfgang Amadeus 137 Munich 221 Murillo 108, 153, 159, 163 The Good Shepherd 153 Invitation to a Game of Argolla 164, 164 St John in the Wilderness 164 Murray, Fiona: Memoirs of the Celebrated Miss Fanny Murray 54 Napoleon I, Emperor 286, 301, 322, 323 Napoleonic wars 116, 120, 294, 297, 301 Nardini, Pietro 137 National Gallery, London 7, 272, 297, 305, 328 Nazarenes 221 Needham, Mother 40, 41 Netherlands 102ff New York School 331 Newton, Sir Isaac 32, 33; Opticks 323 Nicoll, Allardyce 23 Nodier, Charles 251 Northcote, James 67 Omai see Mai Orford see Walpole

Onslow, Arthur 11 Osmington 241 Ossian 286 Ostade, Adriaen van 104 Ostend 102 Ovid: Amores 76; Metamorphoses 166 Owain (Owen) Goch ap Gruffudd 285f Oxford 11, 14, 16, 65, 66; New College 101, 101 Oxford Almanac, The 287 Oxford University Press 287 Palladio, Andrea 25, 27, 36, 45 Pall Mall Picture Galleries see British Institution Palmer, John 148, 153f Palmer, Samuel 217ff, 221; sketchbook (1824) Coming from the Evening Church 219, 219 Hilly Scene 219, 219 The Magic Apple Tree 219f, 220 Valley Thick with Corn 218, 219 Paris 15, 44, 65, 114, 146, 301f, 323; Constable showing pictures in Paris 251ff Paris, Treaty of 194 Pars, Henry 181 Parthenon frieze 305 Patch, Thomas 68f, 68 British Gentlemen at Sir Horace Mann’s Home in Florence 69 Paulson, Ronald 24, 34, 37 Pennethorne, James 311 Penny, Edward: Death of General Wolfe 86, 86, 88 Petworth House 227, 292, 306 Philips, Charles 32, 32 Algernon Seymour, Lord Hertford (later 7th Duke of Somerset) with friends and family 32 Phipps, Constantine (2nd Baron Mulgrave) 138, 142 Picturesque tours 286 Piles, Roger de 12, 132 Pindar 112 Piranesi, Giovanni Battista 306 Pitt, George, 1st Baron Rivers 140f Plato 94 Plautus 112 Plympton 67 Poets’ Gallery 114f, 169

371

pen & pencil London continued Exeter Hall 318 Fleet Street 114 Foundling Hospital 62, 125, 125 Fulham 266 Gerrard Street 80 Greenwich, Painted Hall 26 Hampstead and Hampstead Heath 6, 213, 213, 248f, 249 251 Hampton Court 62, 71 Harley Street 179, 287 Harrow 248, 249 Hatton Garden 125 Haymarket Opera House (also known as King’s Theatre, Haymarket, now His Majesty’s) 25, 54, 41 Houses of Parliament decoration 121, 327 Keppel Street 246 Lambeth 192, 205 Lincoln’s Inn 62 Lincoln’s Inn Fields Theatre 25, 27, 34, 43 Mitre Tavern 115 Pall Mall 115, 117, 251, see also London, Schomberg House Pall Mall Picture Galleries see British Institution Peckham Rye 181 Piccadilly 329 Prince’s Hall 329 Putney 293 Queen Anne Street 287 Richmond 289, 290, 292, 293, 299ff, 299, 301 Schomberg House 157, 179, 274, 287 Sheen (Shene) 301 Somerset House 65, 109, 109, 114, 121, 251, 259, 272 St Bartholomew’s Hospital (‘Barts’) 62 St Martin-in-the-Fields 26, 27, 241 St Paul’s Cathedral 88f, 89, 179 Strand 65, 114 181, 272 Turk’s Head Tavern 80 Twickenham 14, 289ff, 291 Vauxhall Gardens 138 Westminster 65, 121 Westminster Abbey 86, 87, 181, 181 Whitehall 65

370

index London continued Whitehall Stairs 261f, 262 see also British Museum, National Gallery, Royal Academy Lott, Willy 246 Louis XVI 194 Lovat, Simon Fraser, Lord 149, 149 Lowth, Robert, Bishop of London 16, 75 Lucas, David: and English Landscape 263ff, 265; memories of Constable 267f Hadleigh Castle, print after John Constable 265 Macklin, Hannah (née Kenting) 171, 171 Macklin, Thomas 114ff, 118, 169ff Macpherson, James 286 Magdalene College, Cambridge 7 Magill, Theodosia (Countess of Clanwilliam) 134, 134 Mai (Omai) 97, 97 Mallet, David 280 Malpas, George Cholmondeley, Viscount (later 3rd Earl of Cholmondeley) 34f, 35 Manchester Art Treasures (exhibition) 174 Mann, Sir Horace 69 Mannings, David 74 Maratta, Carlo 268 Marcantonio see Raimondi Margate 102 Marlborough, Caroline, Duchess of 94, 95 Marlborough, Charles Spencer, 3rd Duke of 36, 37, 94 Marlborough, George Spencer-Churchill, 5th Duke of 95, 95, 100 Marlborough, George Spencer, 4th Duke of 94ff, 95, 100 Marlborough, John Churchill, 1st Duke of 95 Marlborough, Sarah, Duchess of 95 Marlowe, Christopher: Dr Faustus, 24, 25 Marvell, Andrew 189, 190 Mason, William 104, 300 Mathews, Captain Thomas 138 Mayhew, William 153 Mazzini, Giuseppe 312 Mengs, Anton Raphael 70 Metcalfe, Philip 102 Metsys, Quentin 102

Michelangelo: Hogarth and 24, 25; Reynolds and 64, 66, 72, 103, 107, 114, 118; Fuseli and 183, 184; Blake like 218; Constable and 271 Middleton, Revd Dr Conyers 36, 37 Middlesex, Charles Sackville, Earl of (later 2nd Duke of Dorset) 14 Millar, Sir Oliver 134 Milton, John 20ff, 21, 189, 190, 201, 207 Paradise Lost 20ff, 162, 194, 207, 255, 279, 280–1 Samson Agonistes 184 Molière pseudonym of Jean-Baptiste Poquelin: Le Bourgeois gentilhomme 42 Monro, Dr Thomas 302 Montagu, John Montagu, 2nd Duke of 34 Morning Chronicle, The 115, 174, 296 Morning Herald, The 126, 148 Mortimer, John Hamilton 177, 182 Sir Arthegal, the Knight of Justice, with Talus, the Iron Man (from Edmund Spenser’s Færie Queene) 182, 182 Motherwell, Robert 331 Mozart, Wolfgang Amadeus 137 Munich 221 Murillo 108, 153, 159, 163 The Good Shepherd 153 Invitation to a Game of Argolla 164, 164 St John in the Wilderness 164 Murray, Fiona: Memoirs of the Celebrated Miss Fanny Murray 54 Napoleon I, Emperor 286, 301, 322, 323 Napoleonic wars 116, 120, 294, 297, 301 Nardini, Pietro 137 National Gallery, London 7, 272, 297, 305, 328 Nazarenes 221 Needham, Mother 40, 41 Netherlands 102ff New York School 331 Newton, Sir Isaac 32, 33; Opticks 323 Nicoll, Allardyce 23 Nodier, Charles 251 Northcote, James 67 Omai see Mai Orford see Walpole

Onslow, Arthur 11 Osmington 241 Ossian 286 Ostade, Adriaen van 104 Ostend 102 Ovid: Amores 76; Metamorphoses 166 Owain (Owen) Goch ap Gruffudd 285f Oxford 11, 14, 16, 65, 66; New College 101, 101 Oxford Almanac, The 287 Oxford University Press 287 Palladio, Andrea 25, 27, 36, 45 Pall Mall Picture Galleries see British Institution Palmer, John 148, 153f Palmer, Samuel 217ff, 221; sketchbook (1824) Coming from the Evening Church 219, 219 Hilly Scene 219, 219 The Magic Apple Tree 219f, 220 Valley Thick with Corn 218, 219 Paris 15, 44, 65, 114, 146, 301f, 323; Constable showing pictures in Paris 251ff Paris, Treaty of 194 Pars, Henry 181 Parthenon frieze 305 Patch, Thomas 68f, 68 British Gentlemen at Sir Horace Mann’s Home in Florence 69 Paulson, Ronald 24, 34, 37 Pennethorne, James 311 Penny, Edward: Death of General Wolfe 86, 86, 88 Petworth House 227, 292, 306 Philips, Charles 32, 32 Algernon Seymour, Lord Hertford (later 7th Duke of Somerset) with friends and family 32 Phipps, Constantine (2nd Baron Mulgrave) 138, 142 Picturesque tours 286 Piles, Roger de 12, 132 Pindar 112 Piranesi, Giovanni Battista 306 Pitt, George, 1st Baron Rivers 140f Plato 94 Plautus 112 Plympton 67 Poets’ Gallery 114f, 169

371

pen & pencil Pointon, Marcia 54, 59, 161 Pomfret, Thomas Fermor, 1st Earl of 33 Pope, Alexander 8, 11, 27, 94, 276, 289 (the English Horace); his villa 14, 289ff, 291 Epistle to Lord Burlington 289 Epistle to Mr. Jervas with Dryden’s Translation of Fresnoy’s Art of Painting 12 Essay on Criticism 30, 289 Essay on Man 319 Imitations of Horace, 289 Satires 289, 293 Odyssey 13f, 276, 304 Postle, Martin 74, 114 Potemkin, Prince 112 Potts, Jane 171 Poussin, Gaspard (Dughet) 232 Poussin, Nicolas 62, 92, 296 Cephalus and Aurora 305 Landscape with Polyphemus 305 Pre-Raphaelite Brotherhood 221, 222, 223, 224, 328 Price, Richard: Observations on the Importance of the American Revolution 189 Prince Regent see George IV Public Advertiser, The 100, 111, 160 Quin, James 148f, 149 Quintilian 83 Raimbach, Abraham 111 Raimondi, Marc Antonio 214 Ramsay, Allan 77f, 78 Norman MacLeod, Chief of Clan MacLeod 78 Raphael 24, 25, 71, 90, 271 (and Constable), 303f, 303, 310 Cartoons 62, 71 Madonna della Sedia 303, 304 School of Athens 68, 68 St Paul Preaching 71 Rebow, Mary 239 Rembrandt van Rijn 66, 114, 223 Aristotle Contemplating a Bust of Homer 66, 66 Night Watch 103 Reni, Guido 77 Repository of Arts, The 296 Review of Publications of Art 291f

372

index Reynolds, Sir Joshua: self image; and Royal Academy 65 and passim; family 66-7; in Italy 67; and Raphael 71; Idler essays 72f; and Garrick/Judgment of Hercules 74ff; Discourses 81ff and passim; and history painting 85ff; and borrowing 88ff; and the senses 92ff; portaiture 94f, including children; in Flanders 102ff; and Gainsborough 104ff, 168; and Prince of Wales 109; and erotica 110f; and Infant Hercules 112f; rival academies 114f; retires from Royal Academy 118; continuing influence 118ff A Bacchante, print after 100, 110 Captain the Honourable Augustus Keppel 77, 78 Charles Coote, Earl of Bellomont, in Robes of the Order of the Bath 70, 71 The Cottagers 171, 171 Cupid as Link Boy 108, 108 Cymon and Iphigenia 172f, 172 David Garrick between Tragedy and Comedy 16, 74ff, 75, 112, 152 Death of Dido 110 Discourses 9, 65, 73, 81ff; 110, 177, 180, 228, 235, 327; publication 91; publication in French and Italian 117; later reaction to 120f; continued republication 121; First Discourse 81, 84 Second Discourse 82, 121 Third Discourse 82, 83, 132, 282 Fourth Discourse 84ff, 88 Sixth Discourse 90 Seventh Discourse 92ff Thirteenth Discourse 112 Fourteenth Discourse 104f, 146, 168, 174 Fifteenth Discourse 117 The Eliot Family 125, 125 George III 65 George, Prince of Wales 109, 109 Georgiana, Duchess of Devonshire with her Infant Daughter Lady Georgiana Cavendish 98, 98 The Infant Hercules Strangling Serpents in his Cradle 112ff, 113, 117 Joanna Leigh, Mrs Richard Bennett Lloyd, Inscribing a Tree 2, 97, 97 Lady Elizabeth Delmé and her Children 98ff, 99 Lord Heathfield of Gibraltar 78, 79

Reynolds continued Lord Henry, Spencer and Lady Charlotte Spencer: The Young Fortune Tellers 96, 96 Lord Rockingham and Edmund Burke 80, 80 Kitty Fisher as Cleopatra Dissolving the Pearl 59f, 59 A Lady in the Character of St Cecilia 97, 102, 140 Mai (‘Omai’) 97, 97 The Marlborough Family 94ff, 95, 100 Master Crewe as Henry VIII 96f, 96 A Midsummer Night’s Dream 115 The Montgomery Sisters: Three Ladies Adorning a Term of Hymen 90, 91, 92 Mrs Frances Abington as Roxalana in ‘The Sultan’, print after 100, 110 Mrs Pelham Feeding her Chickens 171 A Nymph and Cupid (‘The Snake in the Grass’), print after 110, 111 Parody of Raphael’s ‘School of Athens’ 68ff, 68 Painted window at New College Chapel, Oxford, print after 101, 101 Queen Caroline 65 Sarah (Kemble) Siddons as the Tragic Muse 107, 107 Self-portrait 64, 65 Venus and Cupid (‘The Wanton Bacchante’), print after 111 Reynolds, Revd Samuel (father) 66 Rhudde, Dr. Durand 235, 270 Rich, John 25, 27 Richardson, Jonathan 16, 20f, 62, 71, 73, 77, 84 Richmond, Charles Lennox, 2nd Duke of 33 Richmond, George 221f, 221, 222 The Creation of Light 222 Samuel Palmer 221 Rockingham, Charles Watson-Wentworth, 2nd Marquess of 80f, 80 Rocrué, Giacomo 311 Rogers, Samuel: Italy 316 Rome (place) 25, 27, 51, 67ff, 83ff, 183, 196, 268, 276, 277, 302, 303, 303, 304, 306, 311, 313 Rome, Ancient 12, 85, 297f, 303, 306f, 307, 310ff, 311, 312, 319, 330, 332, 332 and see individual writers Romney, George: Death of General Wolfe 86 Rosa, Salvator 182, 296 Rosenthal, Michael 160, 255

Rossetti, Dante Gabriel 223ff ‘Astarte Syriaca’ 224 Astarte Syriaca 224f, 225 Rossetti, William Michael 223 Rota, Martino 159 Rowland, Christopher 184, 214 Rowley, Revd Joshua 248 Royal Academy 17, 63, 65, 85, 86, 88, 109, 114f (and competition), 117, 271; and Reynolds 81 and passim; and Stubbs 159; and Gainsborough 105, 160; and Blake 177, 179; and Palmer 217; moves to Somerset House 65; moves to Trafalgar Square 272; Professor of Ancient History 311; Professor of Perspective 121, 304, 310; Schools 9, 177, 223, 228, 229, 269, 275; Varnishing Day 322; and Constable and 228, 260f, 271f; and Turner 275ff and passim, 288 Royal Academy exhibitions: 1769: 133, 133 1770: 133, 134 1771: 85, 86, 87, 88, 118, 182, 183 1772: 142, 182 1774: 70, 71, 90, 91 1775: 88, 89, 91, 96, 96 1776: 96, 96 1777: 143, 143 1778: 95, 100, 182, 182 1779: 102 1780: 110, 144, 145 1781: 110 1782: 168, 168 1783: 158, 158, 160, 161 1784: 109f, 109, 110; 1785 110f, 111 1785: 110, 111 1788: 110, 111, 113, 114, 115 1789: 172, 172 1798: 260, 278, 279f, 280 1800: 284, 284 1803: 302, 302 1804: 233 1805: 287 1806: 287 1804: 287 1807: 233, 287

373

pen & pencil Pointon, Marcia 54, 59, 161 Pomfret, Thomas Fermor, 1st Earl of 33 Pope, Alexander 8, 11, 27, 94, 276, 289 (the English Horace); his villa 14, 289ff, 291 Epistle to Lord Burlington 289 Epistle to Mr. Jervas with Dryden’s Translation of Fresnoy’s Art of Painting 12 Essay on Criticism 30, 289 Essay on Man 319 Imitations of Horace, 289 Satires 289, 293 Odyssey 13f, 276, 304 Postle, Martin 74, 114 Potemkin, Prince 112 Potts, Jane 171 Poussin, Gaspard (Dughet) 232 Poussin, Nicolas 62, 92, 296 Cephalus and Aurora 305 Landscape with Polyphemus 305 Pre-Raphaelite Brotherhood 221, 222, 223, 224, 328 Price, Richard: Observations on the Importance of the American Revolution 189 Prince Regent see George IV Public Advertiser, The 100, 111, 160 Quin, James 148f, 149 Quintilian 83 Raimbach, Abraham 111 Raimondi, Marc Antonio 214 Ramsay, Allan 77f, 78 Norman MacLeod, Chief of Clan MacLeod 78 Raphael 24, 25, 71, 90, 271 (and Constable), 303f, 303, 310 Cartoons 62, 71 Madonna della Sedia 303, 304 School of Athens 68, 68 St Paul Preaching 71 Rebow, Mary 239 Rembrandt van Rijn 66, 114, 223 Aristotle Contemplating a Bust of Homer 66, 66 Night Watch 103 Reni, Guido 77 Repository of Arts, The 296 Review of Publications of Art 291f

372

index Reynolds, Sir Joshua: self image; and Royal Academy 65 and passim; family 66-7; in Italy 67; and Raphael 71; Idler essays 72f; and Garrick/Judgment of Hercules 74ff; Discourses 81ff and passim; and history painting 85ff; and borrowing 88ff; and the senses 92ff; portaiture 94f, including children; in Flanders 102ff; and Gainsborough 104ff, 168; and Prince of Wales 109; and erotica 110f; and Infant Hercules 112f; rival academies 114f; retires from Royal Academy 118; continuing influence 118ff A Bacchante, print after 100, 110 Captain the Honourable Augustus Keppel 77, 78 Charles Coote, Earl of Bellomont, in Robes of the Order of the Bath 70, 71 The Cottagers 171, 171 Cupid as Link Boy 108, 108 Cymon and Iphigenia 172f, 172 David Garrick between Tragedy and Comedy 16, 74ff, 75, 112, 152 Death of Dido 110 Discourses 9, 65, 73, 81ff; 110, 177, 180, 228, 235, 327; publication 91; publication in French and Italian 117; later reaction to 120f; continued republication 121; First Discourse 81, 84 Second Discourse 82, 121 Third Discourse 82, 83, 132, 282 Fourth Discourse 84ff, 88 Sixth Discourse 90 Seventh Discourse 92ff Thirteenth Discourse 112 Fourteenth Discourse 104f, 146, 168, 174 Fifteenth Discourse 117 The Eliot Family 125, 125 George III 65 George, Prince of Wales 109, 109 Georgiana, Duchess of Devonshire with her Infant Daughter Lady Georgiana Cavendish 98, 98 The Infant Hercules Strangling Serpents in his Cradle 112ff, 113, 117 Joanna Leigh, Mrs Richard Bennett Lloyd, Inscribing a Tree 2, 97, 97 Lady Elizabeth Delmé and her Children 98ff, 99 Lord Heathfield of Gibraltar 78, 79

Reynolds continued Lord Henry, Spencer and Lady Charlotte Spencer: The Young Fortune Tellers 96, 96 Lord Rockingham and Edmund Burke 80, 80 Kitty Fisher as Cleopatra Dissolving the Pearl 59f, 59 A Lady in the Character of St Cecilia 97, 102, 140 Mai (‘Omai’) 97, 97 The Marlborough Family 94ff, 95, 100 Master Crewe as Henry VIII 96f, 96 A Midsummer Night’s Dream 115 The Montgomery Sisters: Three Ladies Adorning a Term of Hymen 90, 91, 92 Mrs Frances Abington as Roxalana in ‘The Sultan’, print after 100, 110 Mrs Pelham Feeding her Chickens 171 A Nymph and Cupid (‘The Snake in the Grass’), print after 110, 111 Parody of Raphael’s ‘School of Athens’ 68ff, 68 Painted window at New College Chapel, Oxford, print after 101, 101 Queen Caroline 65 Sarah (Kemble) Siddons as the Tragic Muse 107, 107 Self-portrait 64, 65 Venus and Cupid (‘The Wanton Bacchante’), print after 111 Reynolds, Revd Samuel (father) 66 Rhudde, Dr. Durand 235, 270 Rich, John 25, 27 Richardson, Jonathan 16, 20f, 62, 71, 73, 77, 84 Richmond, Charles Lennox, 2nd Duke of 33 Richmond, George 221f, 221, 222 The Creation of Light 222 Samuel Palmer 221 Rockingham, Charles Watson-Wentworth, 2nd Marquess of 80f, 80 Rocrué, Giacomo 311 Rogers, Samuel: Italy 316 Rome (place) 25, 27, 51, 67ff, 83ff, 183, 196, 268, 276, 277, 302, 303, 303, 304, 306, 311, 313 Rome, Ancient 12, 85, 297f, 303, 306f, 307, 310ff, 311, 312, 319, 330, 332, 332 and see individual writers Romney, George: Death of General Wolfe 86 Rosa, Salvator 182, 296 Rosenthal, Michael 160, 255

Rossetti, Dante Gabriel 223ff ‘Astarte Syriaca’ 224 Astarte Syriaca 224f, 225 Rossetti, William Michael 223 Rota, Martino 159 Rowland, Christopher 184, 214 Rowley, Revd Joshua 248 Royal Academy 17, 63, 65, 85, 86, 88, 109, 114f (and competition), 117, 271; and Reynolds 81 and passim; and Stubbs 159; and Gainsborough 105, 160; and Blake 177, 179; and Palmer 217; moves to Somerset House 65; moves to Trafalgar Square 272; Professor of Ancient History 311; Professor of Perspective 121, 304, 310; Schools 9, 177, 223, 228, 229, 269, 275; Varnishing Day 322; and Constable and 228, 260f, 271f; and Turner 275ff and passim, 288 Royal Academy exhibitions: 1769: 133, 133 1770: 133, 134 1771: 85, 86, 87, 88, 118, 182, 183 1772: 142, 182 1774: 70, 71, 90, 91 1775: 88, 89, 91, 96, 96 1776: 96, 96 1777: 143, 143 1778: 95, 100, 182, 182 1779: 102 1780: 110, 144, 145 1781: 110 1782: 168, 168 1783: 158, 158, 160, 161 1784: 109f, 109, 110; 1785 110f, 111 1785: 110, 111 1788: 110, 111, 113, 114, 115 1789: 172, 172 1798: 260, 278, 279f, 280 1800: 284, 284 1803: 302, 302 1804: 233 1805: 287 1806: 287 1804: 287 1807: 233, 287

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pen & pencil Royal Academy exhibitions continued 1808: 233, 284f 1812: 260f, 290f, 291 1814: 237, 238 1815: 296, 296 1817: 297, 298 1818: 241 1819: 241ff, 242–3, 299, 299, 301, 311, 311 1820: 244, 245, 303, 303 1821: 246, 247, 248, 251, 253 1822: 120, 120, 300, 300 1823: 261 1825: 253, 254 1826: 261 1828: 261, 270 1829: 256, 257, 304 1830: 306 1831: 258, 258, 306, 307 1832: 261ff, 262, 263, 307f, 308 1833: 308ff, 309, 310, 316 1836: 261, 272, 272, 316f, 317 1837: 273, 273 1838: 310 1839: 310, 312 1840: 314f, 314, 317f, 320 1842: 322, 322 1843: 324, 325 1846: 327, 327; Royal Society 65 Rubens 15, 96, 103f (Reynolds and), 111, 114, 161, 223 Crucifixion of St Peter 102 Descent from the Cross 103 Virgin and Child with Saints 103 Ruisdael, Jacob Isaacksz. van 251 Rush, Sir William Beaumaris 248 Ruskin, John 121, 222, 304, 316 (meets Turner), 320f (and the Slave Ship), 326, 328f, 329 (and Whistler) Modern Painters 121, 317f, 321, 328 Notes on the Turner Gallery 328 Rutland, Charles Manners, 4th Duke of 111, 112 Rysbrack, Michael: Temple of British Worthies, Stowe, 20 21 Salisbury 236, 244, 246, 258, 270

374

index Salmon, Frank 310 Savage, Richard 319 Say, William 288 Scharf, George 174 Scheemakers, Peter: Temple of British Worthies, Stowe 21 Schiavonetti, Luigi (also Louis, Lewis) 198f, 201 Scott, Samuel 38 Scott, Sir Walter 119f Scriblerus Club 27, 43 Shaftesbury, Anthony Ashley Cooper, 3rd Earl of 13, 15, 27, 46, 298 Essay on Painting 15f, 74ff, 84, 93 Letter Concerning Enthusiasm, 67f, 71, 73f Shakespeare, William 20f, 21, 23, 24, 25, 39, 49f (and Garrick), 49, 50, 50, 72, 119 (and Wilkie), 149, 150, 156, 185 (Blake imitates), 276, 301 (shares birthday with Turner); Shakespeare Gallery 115f, 116, 127; Jubilee 150f; portrait by Gainsborough 144, 151 Hamlet 153 Lear 119, 185 Merry Wives of Windsor 154 Richard III 49f, 49 Romeo and Juliet 316, 317 Tempest 50, 50 Shebbeare, Dr John: The Marriage Act 60 Shenstone, William 161f Sheirdan, Elizabeth see Linley, Elizabeth Sheridan, Richard Brinsley 138ff Sheridan, Thomas 138 Sherwin, John Keyse 110 Shoreham 219, 222 Skerrett, Maria 31 Slater Rebow, Francis 239 slavery, abolition of 318 Smith, John Raphael 110, 110, 111 Smith, John Thomas 186, 201 Smith, Old Crazy 270 Smollett, Tobias 37f Adventures of Peregrine Pickle 37f Snowdonia 285, 286 Snyders, Frans 159 Soane, Sir John 261, 306

Society for the Encouragement of Art, Manufactures and Commerce 84, 177, 178 Society for the Promoting of the Arts of Painting and Design (Liverpool) 170 Society of Antiquaries 65, 181, 286 Society of Artists 54, 85, 86, 132, 148, 150, 159 Solkin, David 63, 289 Somerset, Algernon Seymour, 7th Duke of see Hertford, Lord Somerville, Mary Mechanism of the Heavens, 324 Recollections 324 Somerville, William: Hobbinol, or, The Rural Games 169f Sophocles 185 Southend 256 Spectator, The 14, 20, 24, 147, 308, 309, 323 Spence, Joseph: Polymetis 11ff, 12, 75, 78, 112, 123, 166; Professor of Poetry, Oxford 11, 14 Essay on Pope’s Odyssey 13 Spencer, Lavinia Spencer (née Bingham), Countess 79 St James’s Chronicle, The 113–4, 281 St James’s Evening Post, The 51 St Martin’s Lane Academy 124 Stafford, George Grenville Leveson-Gower, 2nd Marquess of 270 Stanfield, Clarkson Frederick 309, 322 Venice from the Dogana 309, 309 Steele, Sir Richard 14, 23 Steen, Jan 104 Stendhal (pseudonym of Marie-Henri Beyle) 323 Sterne, Laurence 37 Tristram Shandy 155 Stokes, Adrian 330f Stonehenge 214 Stothard, Thomas 182, 199ff Pilgrimage to Canterbury 199, 201 (print after) Stour, River 231, 235, 241, 242–3, 244, 245, 246, 247, 255, 256 Stourhead 282 Stowe, Temple of British Worthies 20, 21 Stratford St Mary 244, 245 Stratford upon Avon 150f

Stratford, Edward 155 Stubbs, George 123, 159 Sudbury 126, 127ff Suffolk 253 see also East Bergholt, River Stour, Sudbury Swedenborg, Emanuel 186ff, 196; Swedenborgian Church (The New Jerusalem Church) 186 Heaven and Hell 186 New Jerusalem and its Heavenly Doctrine 186 De ultimo judicio 186 Swift, Jonathan 15, 21, 23, 27, 62 A Tale of a Tub 15 Switzerland 302 Sydney, Algernon 189, 190 Telford, Henry 316 Temple, Sir William: Essay upon Ancient and Modern Learning 15 Teniers, David 102f, 104, 119 Terrick, Richard, Bishop of London 89 Thames, River 190, 257, 289, 290ff, 291, 292, 293f, 301, 329 Thicknesse, Lady Elizabeth 135 Thicknesse, Philip 135, 137 Thomson, James 11, 23, 264, 276, 286, 292ff, 292 Liberty 290, 298, 311f The Seasons 170, 260, 279, 280, 295, 301, 319 Thornbury, Walter 276, 278, 297, 330 Thornhill, Jane see Hogarth, Jane Thornhill, Sir James 25ff, 51, 89 Thornton, Dr Robert John 218 Tiber, River 294 Times, The 258 Tindal, Nicolas 11 Tinker, Chauncey Brewster 8, 164 Tinney, John Perl 246, 255 Titian 103, 104, 111, 223 Death of St Peter Martyr 159, 159 (print after) Townshend, Charles 11 Trimmer, Revd Henry Scott 293 True Briton, The 281 Trustees’ Academy (Edinburgh) 119 Turner, Joseph Mallord William: early years 275; trains at RA 275; made ARA 275, 282; illegitimate children 276; his father 276; reading 276f; and poetry

375

pen & pencil Royal Academy exhibitions continued 1808: 233, 284f 1812: 260f, 290f, 291 1814: 237, 238 1815: 296, 296 1817: 297, 298 1818: 241 1819: 241ff, 242–3, 299, 299, 301, 311, 311 1820: 244, 245, 303, 303 1821: 246, 247, 248, 251, 253 1822: 120, 120, 300, 300 1823: 261 1825: 253, 254 1826: 261 1828: 261, 270 1829: 256, 257, 304 1830: 306 1831: 258, 258, 306, 307 1832: 261ff, 262, 263, 307f, 308 1833: 308ff, 309, 310, 316 1836: 261, 272, 272, 316f, 317 1837: 273, 273 1838: 310 1839: 310, 312 1840: 314f, 314, 317f, 320 1842: 322, 322 1843: 324, 325 1846: 327, 327; Royal Society 65 Rubens 15, 96, 103f (Reynolds and), 111, 114, 161, 223 Crucifixion of St Peter 102 Descent from the Cross 103 Virgin and Child with Saints 103 Ruisdael, Jacob Isaacksz. van 251 Rush, Sir William Beaumaris 248 Ruskin, John 121, 222, 304, 316 (meets Turner), 320f (and the Slave Ship), 326, 328f, 329 (and Whistler) Modern Painters 121, 317f, 321, 328 Notes on the Turner Gallery 328 Rutland, Charles Manners, 4th Duke of 111, 112 Rysbrack, Michael: Temple of British Worthies, Stowe, 20 21 Salisbury 236, 244, 246, 258, 270

374

index Salmon, Frank 310 Savage, Richard 319 Say, William 288 Scharf, George 174 Scheemakers, Peter: Temple of British Worthies, Stowe 21 Schiavonetti, Luigi (also Louis, Lewis) 198f, 201 Scott, Samuel 38 Scott, Sir Walter 119f Scriblerus Club 27, 43 Shaftesbury, Anthony Ashley Cooper, 3rd Earl of 13, 15, 27, 46, 298 Essay on Painting 15f, 74ff, 84, 93 Letter Concerning Enthusiasm, 67f, 71, 73f Shakespeare, William 20f, 21, 23, 24, 25, 39, 49f (and Garrick), 49, 50, 50, 72, 119 (and Wilkie), 149, 150, 156, 185 (Blake imitates), 276, 301 (shares birthday with Turner); Shakespeare Gallery 115f, 116, 127; Jubilee 150f; portrait by Gainsborough 144, 151 Hamlet 153 Lear 119, 185 Merry Wives of Windsor 154 Richard III 49f, 49 Romeo and Juliet 316, 317 Tempest 50, 50 Shebbeare, Dr John: The Marriage Act 60 Shenstone, William 161f Sheirdan, Elizabeth see Linley, Elizabeth Sheridan, Richard Brinsley 138ff Sheridan, Thomas 138 Sherwin, John Keyse 110 Shoreham 219, 222 Skerrett, Maria 31 Slater Rebow, Francis 239 slavery, abolition of 318 Smith, John Raphael 110, 110, 111 Smith, John Thomas 186, 201 Smith, Old Crazy 270 Smollett, Tobias 37f Adventures of Peregrine Pickle 37f Snowdonia 285, 286 Snyders, Frans 159 Soane, Sir John 261, 306

Society for the Encouragement of Art, Manufactures and Commerce 84, 177, 178 Society for the Promoting of the Arts of Painting and Design (Liverpool) 170 Society of Antiquaries 65, 181, 286 Society of Artists 54, 85, 86, 132, 148, 150, 159 Solkin, David 63, 289 Somerset, Algernon Seymour, 7th Duke of see Hertford, Lord Somerville, Mary Mechanism of the Heavens, 324 Recollections 324 Somerville, William: Hobbinol, or, The Rural Games 169f Sophocles 185 Southend 256 Spectator, The 14, 20, 24, 147, 308, 309, 323 Spence, Joseph: Polymetis 11ff, 12, 75, 78, 112, 123, 166; Professor of Poetry, Oxford 11, 14 Essay on Pope’s Odyssey 13 Spencer, Lavinia Spencer (née Bingham), Countess 79 St James’s Chronicle, The 113–4, 281 St James’s Evening Post, The 51 St Martin’s Lane Academy 124 Stafford, George Grenville Leveson-Gower, 2nd Marquess of 270 Stanfield, Clarkson Frederick 309, 322 Venice from the Dogana 309, 309 Steele, Sir Richard 14, 23 Steen, Jan 104 Stendhal (pseudonym of Marie-Henri Beyle) 323 Sterne, Laurence 37 Tristram Shandy 155 Stokes, Adrian 330f Stonehenge 214 Stothard, Thomas 182, 199ff Pilgrimage to Canterbury 199, 201 (print after) Stour, River 231, 235, 241, 242–3, 244, 245, 246, 247, 255, 256 Stourhead 282 Stowe, Temple of British Worthies 20, 21 Stratford St Mary 244, 245 Stratford upon Avon 150f

Stratford, Edward 155 Stubbs, George 123, 159 Sudbury 126, 127ff Suffolk 253 see also East Bergholt, River Stour, Sudbury Swedenborg, Emanuel 186ff, 196; Swedenborgian Church (The New Jerusalem Church) 186 Heaven and Hell 186 New Jerusalem and its Heavenly Doctrine 186 De ultimo judicio 186 Swift, Jonathan 15, 21, 23, 27, 62 A Tale of a Tub 15 Switzerland 302 Sydney, Algernon 189, 190 Telford, Henry 316 Temple, Sir William: Essay upon Ancient and Modern Learning 15 Teniers, David 102f, 104, 119 Terrick, Richard, Bishop of London 89 Thames, River 190, 257, 289, 290ff, 291, 292, 293f, 301, 329 Thicknesse, Lady Elizabeth 135 Thicknesse, Philip 135, 137 Thomson, James 11, 23, 264, 276, 286, 292ff, 292 Liberty 290, 298, 311f The Seasons 170, 260, 279, 280, 295, 301, 319 Thornbury, Walter 276, 278, 297, 330 Thornhill, Jane see Hogarth, Jane Thornhill, Sir James 25ff, 51, 89 Thornton, Dr Robert John 218 Tiber, River 294 Times, The 258 Tindal, Nicolas 11 Tinker, Chauncey Brewster 8, 164 Tinney, John Perl 246, 255 Titian 103, 104, 111, 223 Death of St Peter Martyr 159, 159 (print after) Townshend, Charles 11 Trimmer, Revd Henry Scott 293 True Briton, The 281 Trustees’ Academy (Edinburgh) 119 Turner, Joseph Mallord William: early years 275; trains at RA 275; made ARA 275, 282; illegitimate children 276; his father 276; reading 276f; and poetry

375

pen & pencil Turner continued (Milton and Thomson) 279ff; Fallacies of Hope 9, 278f, 294f, 306, 317f, 322f, 324; and Claude 282; Diploma picture RA 285; sets up gallery in Queen Anne Street 287; exhibits less at RA 287; Professor of Perspective 287, 304, 310; builds Sandycombe Lodge 289; and the Thames 290ff, 299ff; and Virgil 282f; opens gallery 287; and print making 287f; and Twickenham 289f; Carthaginian paintings and empire 279ff; travels to Italy 301ff; Polyphemus 305f; and Byron 307f; Venice 308ff, 314f; Ancient Rome and empire 310ff; illustrations to Rogers’ Italy 316; and Ruskin 316ff; Slave Ship 317ff; and colour theory 323f; and faith 325f, 329; late paintings 329f Æneas and the Sibyl, Lake Avernus 282ff, 283 Ancient Rome: Agrippina Landing with the Ashes of Germanicus 310ff, 312 The Angel, Standing in the Sun 327, 327 Bridge of Sighs, Ducal Palace and CustomHouse, Venice: Canaletti Painting 309f, 310, 316 Caligula’s Palace and Bridge 306, 307 Childe Harold’s Pilgrimage – Italy 307f, 308 The Decline of the Carthaginian Empire, 297ff, 298 Dido Building Carthage, or the Rise of the Carthaginian Empire 296f, 296 Dolbadarn Castle, North Wales 285f, 285 Ducal Palace, Venice 309 Dunstanburgh Castle, North-East Coast of Northumberland: Sunrise after a Squally Night 260, 279ff, 280 England: Richmond Hill, on the Prince Regent’s Birthday 299ff, 299, 301 The Fifth Plague of Egypt 284f, 284 Forum Romanum for Mr Soane’s Museum 261 Harlech Castle, from Tygwyn Ferry, Summer’s Evening Twilight 280f, 281 Helvoetsluys, the City of Utrecht, 64, Going to Sea 261ff, 263

376

index Turner continued Isleworth 288 Juliet and her Nurse 316f, 317 Liber Studiorum 264, 266, 287f, 288 Light and Colour (Goethe’s Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis 324f, 325 Modern Rome – Campo Vaccino 312, 313 Morning amongst the Coniston Fells, Cumberland 278, 279 Near Blair Atholl, Scotland (Part VI, plate 30 from Liber Studiorum) 288 Palestrina – Composition 306 Peace – Burial at Sea 322, 322, 324 Pope’s Villa at Twickenham 290ff, 291 Regulus 330, 332, 333 Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia 303, 303, 306 Self-portrait 275 Shade and Darkness – The Evening of the Deluge 324f, 325 Slavers Throwing Overboard the Dead and Dying – Typhoon Coming On (‘The Slave Ship’) 317ff, 320 Snow Storm: Hannibal and his Army Crossing the Alps 260, 294f, 295 St Hugues Denouncing Vengeance on theShepherd of Cormayer in the Val of d’Aoust 302, 302 Thomson’s Æolian Harp 292f, 292, 299 Ulysses Deriding Polyphemus 304f, 305 Venice, the Bridge of Sighs 315 View of Orvieto 306 View of the Temple of Jupiter Panellenius 313 War – The Exile and the Rock Limpet 322 Watteau Study by Fresnoy’s Rules 300, 323 What You Will 300, 300 Tyers, Jonathan 138 Unwin, Mr. & Mrs. James 147 Varley, John 213

Vasari, Giorgio: Lives of the Most Excellent Painters, Sculptors, and Architects 67, 83 Venice 84, 111, 309f, 309, 310, 314f, 314, 315, 316f, 317, 322, 329 Veronese, Paolo: Marriage Feast at Cana 104 Vertue, George 11, 12, 125 Victoria, Queen 318 Virgil 276 Æneid Book I 296 Æneid Book VI 282 Pastorals of Virgil 218, 219 Volterra, Daniele da 64, 66 Wales 285ff Wales, Frederick, Prince of 11, 298 Wales, George, Prince of see George IV Walker, James 114 Walker, Thomas 30, 30, 31 Walpole, Horace (4th Earl of Orford) 11, 32, 34, 40ff (on Hogarth’s Progresses), 45, 52, 58 (on Hogarth’s Sigismunda), 62, 74 (on Judgment of Hercules), 96, 100, 101, 110 (on Reynold’s erotica), 112, 142 (on Barry’s Venus) Anecdotes of Painting in England 123 Walpole, Mary (Viscountess Malpas) 34 Walpole, Sir Robert 11, 23, 29ff (and Beggar’s Opera), 34, 36, 298 Walton, Izaak: Compleat Angler 244, 245, 276 War of American Independence 160, 194f Wark, Robert 135 Warton, Joseph 52 Waterhouse, Ellis 133, 140 Waterloo, Battle of 120, 120, 297, 301 Watteau, Jean-Antoine 299f Enchanted Isle 299f Watts, David Pike 231, 232 Wells, William 269 West Benjamin 85ff, 89, 118, 177, 229, 268; ; and decoration of St Paul’s 89 Death of Wolfe 86ff, 87 Weymouth Bay 241

Whistler, James Abbott McNeill 329f Mr. Whistler’s Ten O’Clock 329 White, Christopher 66 White, George 89, 90, 101, 102 Whitley, William Thomas 123, 174 Whood, Isaac: Portrait of Joseph Spence 12 Wilberforce, William 318 Wilkes, John 11 Wilkie, Sir David 119, 303, 322f, 322 Chelsea Pensioners Reading the Waterloo Dispatch, 120, 120 Diana and Callisto 119 Pitlessie Fair 63, 119, 119 William III 20 Wilson, Richard 85, 146, 281, 282, 286 The Lake of Nemi or Speculum Danæ 282, 283 The Thames near Twickenham 290 Wilton, Joseph Monument to General Wolfe, Westminster Abbey 86, 87 Winchester College 13 Wind, Edgar 124 Windsor Castle 301 Winnington, Thomas 36, 37 Wivenhoe Park 239f, 240 Wollstonecraft, Mary 193f, 196 A Vindication of the Rights of Men 193 A Vindication of the Rights of Woman 193 Original Stories from Real Life 193 Wordsworth, William 233, 264, 271, 272 ‘Lines Composed a Few Miles above Tintern Abbey’ 234 The Excursion 234 World, The 170 Wouwerman, Philips 102, 251 Wren, Sir Christopher 27 Xenophon 16 Yale Center for British Art 8 Yale University 7f Young, Edward 23 Night Thoughts 198, 276 Zeuxis 83

377

pen & pencil Turner continued (Milton and Thomson) 279ff; Fallacies of Hope 9, 278f, 294f, 306, 317f, 322f, 324; and Claude 282; Diploma picture RA 285; sets up gallery in Queen Anne Street 287; exhibits less at RA 287; Professor of Perspective 287, 304, 310; builds Sandycombe Lodge 289; and the Thames 290ff, 299ff; and Virgil 282f; opens gallery 287; and print making 287f; and Twickenham 289f; Carthaginian paintings and empire 279ff; travels to Italy 301ff; Polyphemus 305f; and Byron 307f; Venice 308ff, 314f; Ancient Rome and empire 310ff; illustrations to Rogers’ Italy 316; and Ruskin 316ff; Slave Ship 317ff; and colour theory 323f; and faith 325f, 329; late paintings 329f Æneas and the Sibyl, Lake Avernus 282ff, 283 Ancient Rome: Agrippina Landing with the Ashes of Germanicus 310ff, 312 The Angel, Standing in the Sun 327, 327 Bridge of Sighs, Ducal Palace and CustomHouse, Venice: Canaletti Painting 309f, 310, 316 Caligula’s Palace and Bridge 306, 307 Childe Harold’s Pilgrimage – Italy 307f, 308 The Decline of the Carthaginian Empire, 297ff, 298 Dido Building Carthage, or the Rise of the Carthaginian Empire 296f, 296 Dolbadarn Castle, North Wales 285f, 285 Ducal Palace, Venice 309 Dunstanburgh Castle, North-East Coast of Northumberland: Sunrise after a Squally Night 260, 279ff, 280 England: Richmond Hill, on the Prince Regent’s Birthday 299ff, 299, 301 The Fifth Plague of Egypt 284f, 284 Forum Romanum for Mr Soane’s Museum 261 Harlech Castle, from Tygwyn Ferry, Summer’s Evening Twilight 280f, 281 Helvoetsluys, the City of Utrecht, 64, Going to Sea 261ff, 263

376

index Turner continued Isleworth 288 Juliet and her Nurse 316f, 317 Liber Studiorum 264, 266, 287f, 288 Light and Colour (Goethe’s Theory) – The Morning after the Deluge – Moses Writing the Book of Genesis 324f, 325 Modern Rome – Campo Vaccino 312, 313 Morning amongst the Coniston Fells, Cumberland 278, 279 Near Blair Atholl, Scotland (Part VI, plate 30 from Liber Studiorum) 288 Palestrina – Composition 306 Peace – Burial at Sea 322, 322, 324 Pope’s Villa at Twickenham 290ff, 291 Regulus 330, 332, 333 Rome, from the Vatican. Raffaelle, Accompanied by La Fornarina, Preparing his Pictures for the Decoration of the Loggia 303, 303, 306 Self-portrait 275 Shade and Darkness – The Evening of the Deluge 324f, 325 Slavers Throwing Overboard the Dead and Dying – Typhoon Coming On (‘The Slave Ship’) 317ff, 320 Snow Storm: Hannibal and his Army Crossing the Alps 260, 294f, 295 St Hugues Denouncing Vengeance on theShepherd of Cormayer in the Val of d’Aoust 302, 302 Thomson’s Æolian Harp 292f, 292, 299 Ulysses Deriding Polyphemus 304f, 305 Venice, the Bridge of Sighs 315 View of Orvieto 306 View of the Temple of Jupiter Panellenius 313 War – The Exile and the Rock Limpet 322 Watteau Study by Fresnoy’s Rules 300, 323 What You Will 300, 300 Tyers, Jonathan 138 Unwin, Mr. & Mrs. James 147 Varley, John 213

Vasari, Giorgio: Lives of the Most Excellent Painters, Sculptors, and Architects 67, 83 Venice 84, 111, 309f, 309, 310, 314f, 314, 315, 316f, 317, 322, 329 Veronese, Paolo: Marriage Feast at Cana 104 Vertue, George 11, 12, 125 Victoria, Queen 318 Virgil 276 Æneid Book I 296 Æneid Book VI 282 Pastorals of Virgil 218, 219 Volterra, Daniele da 64, 66 Wales 285ff Wales, Frederick, Prince of 11, 298 Wales, George, Prince of see George IV Walker, James 114 Walker, Thomas 30, 30, 31 Walpole, Horace (4th Earl of Orford) 11, 32, 34, 40ff (on Hogarth’s Progresses), 45, 52, 58 (on Hogarth’s Sigismunda), 62, 74 (on Judgment of Hercules), 96, 100, 101, 110 (on Reynold’s erotica), 112, 142 (on Barry’s Venus) Anecdotes of Painting in England 123 Walpole, Mary (Viscountess Malpas) 34 Walpole, Sir Robert 11, 23, 29ff (and Beggar’s Opera), 34, 36, 298 Walton, Izaak: Compleat Angler 244, 245, 276 War of American Independence 160, 194f Wark, Robert 135 Warton, Joseph 52 Waterhouse, Ellis 133, 140 Waterloo, Battle of 120, 120, 297, 301 Watteau, Jean-Antoine 299f Enchanted Isle 299f Watts, David Pike 231, 232 Wells, William 269 West Benjamin 85ff, 89, 118, 177, 229, 268; ; and decoration of St Paul’s 89 Death of Wolfe 86ff, 87 Weymouth Bay 241

Whistler, James Abbott McNeill 329f Mr. Whistler’s Ten O’Clock 329 White, Christopher 66 White, George 89, 90, 101, 102 Whitley, William Thomas 123, 174 Whood, Isaac: Portrait of Joseph Spence 12 Wilberforce, William 318 Wilkes, John 11 Wilkie, Sir David 119, 303, 322f, 322 Chelsea Pensioners Reading the Waterloo Dispatch, 120, 120 Diana and Callisto 119 Pitlessie Fair 63, 119, 119 William III 20 Wilson, Richard 85, 146, 281, 282, 286 The Lake of Nemi or Speculum Danæ 282, 283 The Thames near Twickenham 290 Wilton, Joseph Monument to General Wolfe, Westminster Abbey 86, 87 Winchester College 13 Wind, Edgar 124 Windsor Castle 301 Winnington, Thomas 36, 37 Wivenhoe Park 239f, 240 Wollstonecraft, Mary 193f, 196 A Vindication of the Rights of Men 193 A Vindication of the Rights of Woman 193 Original Stories from Real Life 193 Wordsworth, William 233, 264, 271, 272 ‘Lines Composed a Few Miles above Tintern Abbey’ 234 The Excursion 234 World, The 170 Wouwerman, Philips 102, 251 Wren, Sir Christopher 27 Xenophon 16 Yale Center for British Art 8 Yale University 7f Young, Edward 23 Night Thoughts 198, 276 Zeuxis 83

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