DOCSLIB.ORG

BRST196/HIST 254J Keith Wrightson Time and Place in Early Modern

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BRST196/HIST 254J Keith Wrightson Time and Place in Early Modern 1 BRST196/HIST 254J Keith Wrightson Time and Place in Early Modern England Yale in London: Spring 2015 This seminar explores perceptions of time and place in England, c. 1500-1800, and their relationship to both personal and social identity. These issues are approached using appropriate theoretical and substantive readings and both visual and textual primary sources. Particular attention will be given to the use of visual images as historical evidence. Specific issues addressed include the development of cartography, chorography and antiquarianism; conventions of time reckoning and the dating of events; perceptions of the life course; the creation of social memory and historical narratives; representations of social place; agrarian change and the transformation of the landscape; the impact of the Reformation on the calendar, the landscape, and senses of the past; representations of previously unknown places and peoples, and ‘iconic’ places and their significance. Primary sources for discussion include maps and prospects; chorographical surveys; illustrated antiquarian writings; almanacs; pictorial representations of notable events; engravings; paintings (portraits; ‘country house portraits’; landscapes; ‘conversation pieces’; History Painting and ‘documentary’ works); memorials; family histories; extracts from court records. A course packet of secondary readings is available from Tyco, Broadway. The syllabus contains URLs which will guide you to primary sources which can be accessed online from Early English Books Online [EEBO] or other online collections and downloaded. A number of additional primary sources will be posted in the resources section of the Classes*v2 server. A list of suggestions for Student Presentations is appended to this syllabus. N.B. It is vital that you have Cisco AnyConnect Secure Mobility Client on your computer so that you can access Yale Library resources from London. Assessment will be based on: Short paper (c.5pp.) 20% - due Week 7 Class presentation (15-20 mins) 20% Longer paper (c.10pp.) 50% - due Week 14 Participation 10% 2 Week 1: Jan 13 Introduction The agenda; the syllabus; resources for study Week 2: Jan 20 Establishing Themes: Time, Place, Memory & Identity Discussion of introductory readings [90 pp.] from: P. Connerton, How Societies Remember (2010 edit) Intro & ch.1 on ‘Social Memory’, pp. 1-40 D. Massey. “Places and their Pasts”. History Workshop Journal 39 (1995), pp. 182-91 [JSTOR] D. Woolf, The Social Circulation of the Past (2003) pp. 1-15, 271-4 N. Whyte, Inhabiting the Landscape (2009) pp. 1-9 P. Burke, Eyewitnessing. The Uses if Images as Historical Evidence (2001) Intro, pp. 1-21 [Online Book via Orbis] Week 3: Jan 27 Charting place and time: cartography a) J.P. Hartley, “Maps, Knowledge and Power”, in D. Cosgrove & S. Daniels ed. The Iconography of Landscape (1988) pp. 277-312. R. Helgerson 'The Land Speaks' in his Forms of Nationhood: The Elizabethan Writing of England (1992) pp. 107-139 b) John Speed, Prospect of the Most Famous Parts of the World…Asia, Africa, Europe, America (1627) Theatre of the Empire of Great Britain (1611) We will use the 1631 edition including both works: looking more closely at images 4, 49, 51, 65, 67, 87, 156 http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION =ByID&ID=V23145 3 Christopher Saxton, Atlas of the Counties of England and Wales (1579) EEBO: http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=By ID&ID=V27074 Look at Frontispiece: image 1 Braun & Hogenberg, Civitates Orbis Terrarum (1572) London Map http://commons.wikimedia.org/wiki/File:Antique_map_of_London_by_Braun_%26_ Hogenberg.jpg Wenceslaus Hollar: The ‘Long View’ of London (1647) http://commons.wikimedia.org/wiki/File:1647_Long_view_of_London_From_Bankside_- _Wenceslaus_Hollar.jpg John Strype Survey of the Cities of London and Westminster (1720). http://www.hrionline.ac.uk/strype/ [see Westminster parishes: St Giles- in-the-Fields, Book 4, ch. 4] Week 4: Feb 3 Discovering time through place: chorography & antiquarianism a) D. Woolf, The Social Circulation of the Past (2003) pp. 141-82, 352-88. b) William Camden, Britain, or a Chorographical Description trans. P. Holland (1610) – ‘The Author to the Reader’ + pp. 240-257 (Wiltshire). http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION =ByID&ID=V7564 Richard Carew, The Survey of Cornwall (1602), pp. 120-3 (Lesnewith Hundred) http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION =ByID&ID=V7891 William Dugdale, Antiquities of Warwickshire Illustrated (1656), pp. 297-303 (Warwick) & 521-2 (Shakespeare monument in Stratford-upon-Avon) http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION =ByID&ID=V58176 Thomas Machell’s Queries (1676-7) http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION =ByID&ID=V205918 4 William Stukeley, Itinerarium Curiosum (1724) , Vol I pp. 175-6 (Old Sarum) & 153-8 (Dorchester) + plates in Vol II (images 15-18, 30-32, 42-43) http://find.galegroup.com/ecco/infomark.do?type=search&tabID=T001&qu eryId=Locale%28en%2C%2C%29%3AFQE%3D%28BN%2CNone%2C7%29 T099861%24&sort=Author&searchType=AdvancedSearchForm&version=1. 0&userGroupName=29002&prodId=ECCO Extracts from Antiquityes and Memoryes of the Parish of Myddle Written by Richard Gough (1700) [prepared by KW] Classes*v2 Resources Week 5: Feb 10 Shaping Time 1. Social & cultural conventions a) P. A. Sorokin & R.K. Merton, “Social Time: a methodological & functional analysis”, American Jnl of Sociology, 42. 5 (1937), pp. 615-629 [JSTOR] D. Cressy, Bonfires and Bells (1989) ch. 2 (pp. 13-33) P. Glennie & N. Thrift, Shaping the Day (2009), chs. 3-4 pp. 65-134 [Online book via Orbis] b) ‘Dating statements from court depositions’ [prepared by KW] Classes*v2 Resources George Naworth, A Newe Almanacke and Prognostication (1642) http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTI ON=ByID&ID=V199287 George Wharton, Calendarium Ecclesiasticum, or A New Almanack (1657) http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTI ON=ByID&ID=V105025 Pages from Thomas Trevilian’s Commonplace Book (1608): Folger Shakespeare Library: months of June, July, August, October, November. (Classes*v2 Resources) Wenceslaus Hollar ‘The Four Seasons’ – Winter http://upload.wikimedia.org/wikipedia/commons/b/bd/Wenceslas_Holl ar_-_Winter.jpg William Hogarth, The Four Times of Day [YCBA 223B, C, 115, Sh-3, vol. IV Obj # B1981.25 1424-7; online Lewis Walpole Digital Library: 5 Morning: http://images.library.yale.edu/walpoleweb/oneitem.asp?imageId=lwlpr 22246 Night: http://images.library.yale.edu/walpoleweb/fullzoom.asp?imageid=lwlpr 22249 [Week 6: extended field trip to York – no class] Week 7: Feb 24 Shaping Time II: Family Time and the Life Course [Short Paper due end of week 7] a) D. Woolf, The Social Circulation of the Past (2003) ch. 3 ‘The Cultivation of Heredity’, pp. 74-98. b) Picturing a Life: Sir Henry Unton’s memorial portrait [NPG 710] View online http://www.npg.org.uk/collections/search/portrait/mw06456/Sir- Henry-Unton + for a navigable version http://primary.naace.co.uk/activities/unton/portrait/bits/frames.htm Family narratives from Richard Gough’s, Observations concerning the Seates In Myddle (1701) [prepared by KW ] Classes*v2 Resources Declensions: Three life stories of the London Hanged from The Ordinary’s Account of Newgate Prison, 1729. [prepared by KW] Classes*v2 Resources William Hogarth: A Harlot’s Progress [available online from Lewis Walpole Digital Collections] http://images.library.yale.edu/walpoleweb/oneitem.asp?imageId=lwlpr22337 http://images.library.yale.edu/walpoleweb/oneitem.asp?imageId=lwlpr22338 http://images.library.yale.edu/walpoleweb/oneitem.asp?imageId=lwlpr22340 http://images.library.yale.edu/walpoleweb/oneitem.asp?imageId=lwlpr22341 http://images.library.yale.edu/walpoleweb/fullzoom.asp?imageid=lwlpr22237 http://images.library.yale.edu/walpoleweb/oneitem.asp?imageId=lwlpr22342 Week 8: Mar 3 Shaping Time III: Historical events and reference points a) D. Woolf, The Social Circulation of the Past (2003) ch. 6 ‘Seeing the past’ pp. 183-202 + ‘Community Memory, Social Memory & History’, pp. 289-99. 6 A. Fox, “Remembering the Past in Early Modern England”, TRHS, 6th ser., IX (1999) pp. 233-256. [JSTOR] b) An Allegory of the Tudor Succession (The Family of Henry VIII) http://collections.britishart.yale.edu/vufind/Record/1666690 ‘Deliverances’ of the Beleaguered Isle: Samuel Ward, The Papists Powder Treason (1680 – originally 1621] http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTION=ByID& ID=V43040 Almanacs and defining historical time lines: Thomas Trevilian’s Commonplace Book (1608): Folger Shakespeare Library: “A briefe computation of the time” (Classes*v2 Resources) George Naworth, A Newe Almanacke and Prognostication (1642) – Image 2 “A Computation of Time” http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTI ON=ByID&ID=V199287 George Wharton, Calendarium Ecclesiasticum (1657) – Image 4 “Regall Table” + Image 31ff “Gesta Britannorum” http://eebo.chadwyck.com/search/full_rec?SOURCE=pgimages.cfg&ACTI ON=ByID&ID=V105025 History Painting: Benjamin West, Death of General Wolfe (1770) http://www.gallery.ca/en/see/collections/artwork.php?mkey=5363 Week 9: Mar 10 Knowing your place I: elites and aspirants a) T. Cooper, A Guide to Tudor and Jacobean Portraits (2008) 46pp. T. Cooper, Citizen Portrait (2012) pp. 66-101 (35 pp) b) M. Dewar ed., De Republica Anglorum by Sir Thomas Smith (Cambridge, 1982), pp. 57-9, 65-77, 130-35, 140-42. [the social order described] Gillis van Tilborgh: The Tichborne Dole (1671) http://commons.wikimedia.org/wiki/File:Tichborne_dole.jpg 7 Lady Ann Clifford’s ‘The Great Picture’ triptych http://www.thehistoryblog.com/wp-content/uploads/2012/08/The-Great-Picture- Anne-Clifford.jpg [Week 10: Mar 16-22, Yale-in-London Spring Break] Week 11: Mar 24 Knowing your place II: Plebeians D. Solkin, “Joseph Wright & the subversive art of labour” Representations 83 (2003) [JSTOR] K. Snell, “In and out of their place: the migrant poor in English art”, Rural History 24 (2013) pp.
Load more

Recommended publications
  • Hogarth in British North America
    PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry A dissertation submitted to the Faculty of the University of Delaware in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Art History Summer 2014 © 2014 Colleen Terry All Rights Reserved UMI Number: 3642363 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 3642363 Published by ProQuest LLC (2014). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 PRESENCE IN PRINT: WILLIAM HOGARTH IN BRITISH NORTH AMERICA by Colleen M. Terry Approved: ___________________________________________________________ Lawrence Nees, Ph.D. Chair of the Department of Art History Approved: ___________________________________________________________ George H. Watson, Ph.D. Dean of the College of Arts & Sciences Approved: ___________________________________________________________ James G. Richards, Ph.D. Vice Provost for Graduate and Professional Education I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy. Signed: ___________________________________________________________ Bernard L. Herman, Ph.D. Professor in charge of dissertation I certify that I have read this dissertation and that in my opinion it meets the academic and professional standard required by the University as a dissertation for the degree of Doctor of Philosophy.
    [Show full text]
  • 'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
    Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse.
    [Show full text]
  • The Morgan Presents the Satirical Drawings of Celebrated British
    Press Contacts Noreen Khalid Ahmad 212.590.0310 [email protected] Shaili Shah 212.590.0311 [email protected] The Morgan Presents the Satirical Drawings of Celebrated British Artist William Hogarth Hogarth: Cruelty and Humor May 24, 2019 to September 22, 2019 New York, NY, Wednesday, April 3, 2019 — The Morgan Library & Museum announces a new exhibition of satirical drawings and prints by renowned artist William Hogarth (1697–1764). Best known for his humorous political commentary, Hogarth’s work engaged a broad audience and agitated for legislative and social change. His intricate drawings and richly anecdotal scenes depict the ills and injustices of eighteenth-century urban life, exploring the connections between violence, crime, alcohol abuse, and cruelty to animals. He hoped his William Hogarth (1697–1764), Detail of Fourth Stage of Cruelty, 1750–51, red chalk, some graphite, on paper, incised with stylus. The Morgan Library & Museum, III, 32e, purchased by graphic work would amuse, shock, and Pierpont Morgan (1837–1913) in 1909. Photography Steven H. Crossot, 2014. ultimately edify his audience. Opening May 24, Hogarth: Cruelty and Humor tells the story of Hogarth’s iconic images and the social realities of life in Georgian London that inspired him to advocate for reform through popular works of art. It is the first show at the Morgan devoted to this artist, whose style was so influential in British art that the word “Hogarthian” remains a recognizable way of describing works of satire. Featuring over twenty works, the show investigates Hogarth’s creative process and examines his embrace of humor, highlighting the Morgan’s exceptional cache of preparatory drawings for his two most acclaimed print series from 1751: Beer Street and Gin Lane, and The Stages of Cruelty.
    [Show full text]
  • Graves of Artists and Architects Buried There
    Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage.
    [Show full text]
  • List of Freemasons from Wikipedia, the Free Encyclopedia Jump To: Navigation , Search
    List of Freemasons From Wikipedia, the free encyclopedia Jump to: navigation , search Part of a series on Masonic youth organizations Freemasonry DeMolay • A.J.E.F. • Job's Daughters International Order of the Rainbow for Girls Core articles Views of Masonry Freemasonry • Grand Lodge • Masonic • Lodge • Anti-Masonry • Anti-Masonic Party • Masonic Lodge Officers • Grand Master • Prince Hall Anti-Freemason Exhibition • Freemasonry • Regular Masonic jurisdictions • Opposition to Freemasonry within • Christianity • Continental Freemasonry Suppression of Freemasonry • History Masonic conspiracy theories • History of Freemasonry • Liberté chérie • Papal ban of Freemasonry • Taxil hoax • Masonic manuscripts • People and places Masonic bodies Masonic Temple • James Anderson • Masonic Albert Mackey • Albert Pike • Prince Hall • Masonic bodies • York Rite • Order of Mark Master John the Evangelist • John the Baptist • Masons • Holy Royal Arch • Royal Arch Masonry • William Schaw • Elizabeth Aldworth • List of Cryptic Masonry • Knights Templar • Red Cross of Freemasons • Lodge Mother Kilwinning • Constantine • Freemasons' Hall, London • House of the Temple • Scottish Rite • Knight Kadosh • The Shrine • Royal Solomon's Temple • Detroit Masonic Temple • List of Order of Jesters • Tall Cedars of Lebanon • The Grotto • Masonic buildings Societas Rosicruciana • Grand College of Rites • Other related articles Swedish Rite • Order of St. Thomas of Acon • Royal Great Architect of the Universe • Square and Compasses Order of Scotland • Order of Knight Masons • Research • Pigpen cipher • Lodge • Corks Eye of Providence • Hiram Abiff • Masonic groups for women Sprig of Acacia • Masonic Landmarks • Women and Freemasonry • Order of the Amaranth • Pike's Morals and Dogma • Propaganda Due • Dermott's Order of the Eastern Star • Co-Freemasonry • DeMolay • Ahiman Rezon • A.J.E.F.
    [Show full text]
  • William Hogarth: British Satirical Prints
    Works in the Exhibition William Hogarth: British Satirical Prints 1. Hudibras Encounters the Skimmington (Plate VII) from the series 10. The Battle of the Pictures, 1745 16. The Reward of Cruelty (Plate IV) from The Four Stages of Cruelty See John the soldier, Jack the Tar, with Sword & Pistol arm'd for War, should February 7 — April 13, 2008 Large Illustrations for Samuel Butler’s Hudibras, 1725-26 Thomas Cook, After William Hogarth 1750-51 Mounsir dare come here ! - The Hungry Slaves have smelt our Food, they Thomas Cook, After William Hogarth Etching, 9 x 9 11/16 in. Thomas Cook, After William Hogarth long to taste our Flesh and Blood, Old England's Beef and Beer! - Britons to Arms! and let 'em come, Be you but Britons still, Strike Home, And Lion-like (published by George and John Robinson, 1802) Anonymous Gift, 00.212 (published by George, George and John Robinson, 1799) attack 'em; - No Power can stand the deadly Stroke, That's given from hands Engraving, 13 3/8 x 21 3/8 in. Etching and engraving, 18 7/8 x 15 3/8 in. The Bearer hereof is Entitled (if he thinks proper) to be a Bidder for Mr. & hearts of Oak, With Liberty to back em. Gift of Mr. and Mrs. Leslie S. Pinsof, 00.147 Hogarth’s Pictures which are to be Sold on the Last day of this Month. Anonymous Gift, 00.138 This said, they both advanc'd and rode A Dog Trot through the bawling Behold the Villain’s dire disgrace! Not Death itself can end.
    [Show full text]
  • Animal Painters of England from the Year 1650
    JOHN A. SEAVERNS TUFTS UNIVERSITY l-IBRAHIES_^ 3 9090 6'l4 534 073 n i«4 Webster Family Librany of Veterinary/ Medicine Cummings School of Veterinary Medicine at Tuits University 200 Westboro Road ^^ Nortli Grafton, MA 01536 [ t ANIMAL PAINTERS C. Hancock. Piu.xt. r.n^raied on Wood by F. Bablm^e. DEER-STALKING ; ANIMAL PAINTERS OF ENGLAND From the Year 1650. A brief history of their lives and works Illustratid with thirty -one specimens of their paintings^ and portraits chiefly from wood engravings by F. Babbage COMPILED BV SIR WALTER GILBEY, BART. Vol. II. 10116011 VINTOX & CO. 9, NEW BRIDGE STREET, LUDGATE CIRCUS, E.C. I goo Limiiei' CONTENTS. ILLUSTRATIONS. HANCOCK, CHARLES. Deer-Stalking ... ... ... ... ... lo HENDERSON, CHARLES COOPER. Portrait of the Artist ... ... ... i8 HERRING, J. F. Elis ... 26 Portrait of the Artist ... ... ... 32 HOWITT, SAMUEL. The Chase ... ... ... ... ... 38 Taking Wild Horses on the Plains of Moldavia ... ... ... ... ... 42 LANDSEER, SIR EDWIN, R.A. "Toho! " 54 Brutus 70 MARSHALL, BENJAMIN. Portrait of the Artist 94 POLLARD, JAMES. Fly Fishing REINAGLE, PHILIP, R.A. Portrait of Colonel Thornton ... ... ii6 Breaking Cover 120 SARTORIUS, JOHN. Looby at full Stretch 124 SARTORIUS, FRANCIS. Mr. Bishop's Celebrated Trotting Mare ... 128 V i i i. Illustrations PACE SARTORIUS, JOHN F. Coursing at Hatfield Park ... 144 SCOTT, JOHN. Portrait of the Artist ... ... ... 152 Death of the Dove ... ... ... ... 160 SEYMOUR, JAMES. Brushing into Cover ... 168 Sketch for Hunting Picture ... ... 176 STOTHARD, THOMAS, R.A. Portrait of the Artist 190 STUBBS, GEORGE, R.A. Portrait of the Duke of Portland, Welbeck Abbey 200 TILLEMAN, PETER. View of a Horse Match over the Long Course, Newmarket ..
    [Show full text]
  • Arise Sir Isaac! Newton's London Career
    26 February 2020 Arise Sir Isaac! Newton’s London Career Dr Patricia Fara This lecture is based on Patricia Fara’s forthcoming book, to be published by Oxford University Press in 2021. The Indian Emperor. Or the Conquest of Mexico. As performed in the year 1731 in Mr Conduitt’s, Master of the Mint, before the Duke of Cumberland &c. Act 4, Scene 4 by William Hogarth (1731-2) Isaac Newton is celebrated throughout the world as a great scientific genius who conceived the theory of gravity and revolutionized optical science. But in his early fifties, he abandoned his life as a reclusive scholar at Cambridge to spend three decades in London, a long period of metropolitan activity that is often overlooked. Enmeshed in Enlightenment politics and social affairs, Newton engaged in the linked spheres of early science and imperialist capitalism. Instead of the quiet cloisters and dark libraries of Cambridge’s all-male world, he now moved in fashionable London society, which was characterised by patronage relationships, sexual intrigues and ruthless ambition. An eminent Enlightenment figure who had twice served as an MP, Newton liaised with international visitors and mingled among elite circles of the Hanoverian aristocracy. Knighted by Queen Anne, and a close ally of the influential Earl of Halifax, Newton occupied a powerful position as President of London’s Royal Society. He also became Master of the Mint, responsible for the nation’s money at a time of financial crisis and himself making and losing small fortunes on the stock market. A major investor in the East India Company, Newton benefited from the global trading networks that relied on selling African captives to wealthy plantation owners in the Americas and was responsible for monitoring the import of African gold to be melted down for English guineas.
    [Show full text]
  • Grosvenor Prints Catalogue
    Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 111 Item 141, Hogarth's The Rake's Progress, one of eight plates. ` Cover: Detail of item 119 Back: Detail of Item 80 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rainment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. Raphael's Witch!!! or the Oracle of the Future, by the Author of the Prophetic Messenger. With Coloured Designs on Copper, by R. Cruikshank & The Author, a a Piece of Music by Blewitt. London: William Charleton Wright. Paternoster Row [n.d., c.1831]. 8vo, original half calf gilt, marbled boards, first edition; pp. 23+180; with coloured title and two coloured folding plates, both very defective. Binding distressed. £260 A book containing various methods of fortune telling. According to the Preface ''This book is adapted to lay 4. [Dawn & Dusk] Hoffnung! Ahnerin Dess, about in drawing-rooms - to be read in gardens and was vergessen uns jegliche Pein macht!... [&] groves - to ornament the boudoir - for amusement in Wiedersehn - das werd ich! Dich untergehende evening parties, as an innocent substitute for cards - to Sonne!... be consulted in every mood of mind and temper. For H. Lips del. et sculp. 1804. singular as it may seem, not a thought can arise, nor a Pair of stipples, printed in sepia. 245 x 195mm (9¾ x wish originate, but the LADY-WITCH OF RAPHAEL 7¾"), large margins £260 will easily solve and satisfy.
    [Show full text]
  • A Review of William Hogarth's Marriage À La Mode with Particular
    A Review of William Hogarth's Marriage ~ la Mode -with Particular Reference to Character and Setting by Robert L. S. Cowley VOLUME· I THE THESIS Submitted in fulfilment of the requirements for the degree of Dootor of Philosophy of the University of Birmingham Shakespeare Institute May, 1977 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ANY IMAGES MISSING FROM THIS DIGITAL COpy HAVE BEEN EXCLUDED AT THE REQUEST OF THE UNIVERSITY SYNOPSIS The thesis has been prepared on the assumption that Hogarth's pioture series are essentially narrative works. They are oonsidered in the Introduotion in the light of reoent definitions of the narrative strip, a medium in whioh Hogarth was a oonsiderable innovator. The first six ~hapters oonsist of an analysis of each of the pic- tures in Marriage ~ la Mode. The analysis was undertaken as a means of exploring the nature of Hogarth's imagination and to disoover how ooherent a work the series is. There is an emphasis on oharaoterization and setting because Hogarth himself chose to isolate character as a feature in the subscription ticket to Marriage ~ la Mode.
    [Show full text]
  • JUNE / JULY 2012 FREEMASON.ORG Publication Board Frank Loui, Grand Master Allan L
    JUNE / JULY 2012 FREEMASON.ORG Publication Board Frank Loui, Grand Master Allan L. Casalou, Grand Secretary and Editor-in-Chief Editorial Staff Terry Mendez, Managing Editor Angel Alvarez-Mapp, Creative Editor Megan Brown, Senior Editor Sarah Gilbert, Assistant Creative Editor Michelle Simone, Assistant Editor Photography Feature (p. 10–16): Luciano Chessa, Greg Sudmeier © Emily Payne Photography, Russell Jaeger © Resolusean Photography, Ed Abroms © Ed Abroms p. 17–18: © Scott Gilbert Photography p. 22–24: © Resolusean Photography p. 25–27: © Emily Payne Photography Illustration Cover and feature © Chen Design Associates p. 5 © Chen Design Associates Design Chen Design Associates Officers of the Grand Lodge Grand Master – Frank Loui, California No. 1, San Francisco No. 120 Deputy Grand Master – John F. Lowe, Irvine Valley No. 671 Senior Grand Warden – John L. Cooper III, Culver City-Foshay No. 467 Junior Grand Warden – Russell E. Charvonia, Channel Islands No. 214 Grand Treasurer – M. William Holsinger, PGM, Evergreen No. 259 Grand Secretary – Allan L. Casalou, Acalanes Fellowship No. 480 Grand Lecturer – Jack M. Rose, San Dimas No. 428 freemason.org CALIFORNIA FREEMASON ISSUE 5 JUNE/JULY 2012 USPS # 083-940 is published bimonthly by Masons of Calfiornia. 1111 California Street, San Francisco, CA 94108-2284. Periodicals Postage Paid at San Francisco, CA and at additional mailing offices. Postmaster: Send address changes to California Freemason, 1111 California Street, San Francisco, CA 94108-2284. Publication Dates - Publication dates are the first day of October, December, February, April, June, and August. Subscriptions – CALIFORNIA FREEMASON is mailed to every member of this Masonic jurisdiction without additional charge. Others are invited to subscribe for $2.00 a year or $2.75 outside of the United States.
    [Show full text]
  • Theatre and Art: Gay and Hogarth (Art Imitating Life Or Life Imitating Art?) Larisa Kocic-Zámbó
    This teaching material has been made at the University of Szeged and supported by the European Union. Project identity number: EFOP-3.4.3-16-2016-00014 Restoration & Eighteenth-Century English Literature (ANGBA3- Literature Survey Course) Theatre and Art: Gay and Hogarth (Art Imitating Life or Life Imitating Art?) Larisa Kocic-Zámbó SUMMARY: This lesson is a look at the satirical take on corruption in 18th century England, both in terms of government (The Beggar’s Opera) and metropolitan London (A Harlot’s Progress). Topics to be discussed: • General idea on satire • John Gay’s The Beggar’s opera (1728) o Popular reception o Critical reception • William Hogarth’s A Harlot Progress (1732) 1 | P a g e 1 FROM EXCLUSIVITY TO POPULAR ENTERTAINMENT Discussion of theatre so far revealed its exclusive nature, as Restoration theatre (comedy, tragedy and dramatic opera alike) was primarily the entertainment of aristocratic and privileged classes with its reliance on allegorical readings of performances teeming with allusions to contemporary court and political intrigues. The 18th century will see a broadening of theatre’s appeal among middle-class (bourgeois) audience with the popularity of sentimental comedy, a dramatic genre developed in response to the perceived immorality of Restoration plays in which the protagonist were middle class characters overcoming moral and social obstacles — a plotline far more identifiable for the growing middle class audiences than the allegorical figures of tragedies and operas, or the plotlines of comedies in which characters of middle-and-lower-class origin bore the brunt of comedic jibes. However, as the emerging medium of novel (with similar plotlines as sentimental comedy) will have a far wider appeal (due to its accessibility), we will skip the discussion of sentimental comedy and 18th century theatre at large, paying homage merely to the unique phenomenon of John Gay’s The Beggar’s opera (1728).
    [Show full text]