DOCSLIB.ORG

William Blake and His Circle

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
William Blake and His Circle William Blake and His Circle APPENDIX Blake Records Second Edition (2004) ADDENDA AND CORRIGENDA1017 The most extensive and important discoveries of contemporary references to William Blake and his relations since the Second Edition of Blake Records went to press concern the Moravian faith of his mother before he was born1018 and the Will and family of his wife’s brother-in-law Henry Banes after his death.1019 See also the apprenticeship of Thomas Owen to William Blake in June 1788. P. xii For "Lisson Grove, west of the map" and "No. 20 (1828- 130)" READ: 1017 The information about Walkeringham and the Moravians in these Addenda was first recorded in Keri Davies, “William Blake in Contexts: Family, Friendships, and Some Intellectual Microcultures of Eighteenth- and Nineteenth- Century England”, Surrey Ph.D., 2003, of which he generously sent me a copy. The discovery of the Blake connection with the Moravians was made by Dr Keith Schuchard in June 2001 and published in Keri Davies and Marsha Keith Schuchard, “Recovering the Lost Moravian History of William Blake’s Family”, Blake, XXXVIII (2004), 36-43 – apparently omitting the references below dated 6 Feb, 13 Aug 1750, 12, 28 Sept, 20, 23 Nov, 4, 11, 18 Dec 1751. (When I examined the Archive in the 1960s, we did not know that Blake’s mother had first married Thomas Armitage, and the connection with Blake was therefore invisible.) For wonderfully generous help when my wife and I worked in the Moravian Church Archives in 5-7 Muswell Hill, London, in May 2004 I am deeply indebted to the archivist Lorraine Parsons. 1018 Keri Davies and Marsha Keith Schuchard, “Recovering the Lost Moravian History of William Blake’s Family”, Blake, XXXVIII (2004), 36-43. 1019 Angus Whitehead, “‘I also beg Mr Blakes acceptance of my wearing apparel’: The Will of Henry Banes, Landlord of 3 Fountain Court, Strand, the Last Residence of William and Catherine Blake”, Blake, XXXIX (2005),78-99. 3075 Queen Street, Mayfair, to the right of the map and No. 1 (1828-29) P. xii For "1785-90" READ: 1785-91 P. xii For "Upper Charlotte Street" and "1828-31" READ: Upper Charlton Street ... (1829-31) P. xiv for "1790-1800" READ: 1791-1800 P. xix Owners and Repositories of Unique Materials Cowper and Newton Museum (Olney, Buckinghamshire), since 1996 on deposit in the Buckinghamshire County Record Office Fitzwilliam Museum (including the MS “Autobiography of John Linnell” formerly in the collection of John S. Linnell) Moravian Church Archives (London) Murray (John) Archive (National Library of Scotland) Nottinghamshire County Archives (Walkeringham Church Register) Princeton University Library, Cromek Archive (formerly David Warrington) 3076 William Blake and His Circle Universitätsarchiv (Herrnhut, Germany) P. xxii DELETE “David Warrington” P. xxxiv to the Boucher-Butcher genealogy substitute for Catherine’s sister Sarah1020 Sarah Boucher ====10 Nov 1788 == Henry Banes Battersea St Brides St Brides (1757-March 1824) London (d. 20 Jan 1829) ___________ Wine Cooper Louisa1021 ========= Richard Best (?1790-?1845) (d. ?1839) Watch finisher ____________________________________ Charles Charlotte Elizabeth Thomas Richard St Louisa St St John Pancras St Pancras Pancras Pancras St Pancras 1020 The new information about the Banes and Best families derives from Angus Whitehead, “‘I also beg Mr Blakes acceptance of my wearing apparel’: The Will of Henry Banes, Landlord of 3 Fountain Court, Strand, the Last Residence of William and Catherine Blake”, Blake, XXXIX (2005),78-99. 1021 Mrs Best’s given name is spelled “Louisa” in the baptismal records of her children in the rate books of 3 Fountain Court (1839-44) and in the 1841 census; it appears as “Louiza” in the transcripts of the Will of Henry Banes (1826) and its proving (1829). Probably the correct spelling is “Louisa” as in the name of her daughter Charlotte Louisa. Louisa’s age is derived from the census of summer 1841 (reported by Whitehead, pp. 90, 91) in which she is said to be 50 years old and “ind” (i.e., of independent means). The 1841 census identifies Thomas and Richard Best Jr as artists. 3077 (b. 1 April (b. 16 Aug (b. 19 Dec (b. 4 Dec (b. 20 March 1805) 1807) 1809) 1813) 1815) print co- artist lourer & artist (ex- hibited 1834-39) P. 2 The christening of the baby who was to become the mother of William Blake was recorded in the church of St Mary Magdalen in the village of Walkeringham, Nottinghamshire: “Catherine ye Daughter of Gervase Wright & Mary his [wife was] Bapt. Novem. 21st” 1725.1022 Walkeringham is a straggling village three miles West of Gainsborough (Lincolnshire), twenty miles North-West of Lincoln, and forty miles North-East of Nottingham. Cudworth (Barnsley, formerly Yorkshire), where Catherine’s future husband Thomas Armitage had been christened three years before, on 21 June 1722, is 35 miles West-North-West (through Doncaster) from Walkeringham. Catherine came from a family of yeomen.1023 She had six brothers and sisters, two of whom died before she was born: 1022 Walkeringham Parish Church Register, Nottinghamshire County Archives, transcribed from a photograph reproduced in Blake, XXXVIII (2004), 42. BR (2) xxxii, said she was born in London 28 Sept 1723. 1023 Her family may not have remained long in Walkeringham, for no Wright appears in the printed Nottingham voters lists of 1774, 1818, 1826, and 1830. 3078 William Blake and His Circle Gervase Wright Maltster and Yeoman Farmer of Walkeringham, Nottinghamshire Will of 7 Oct 1700 ___________ Gervase Wright married Mary Dawson 23 April 1712 _____________________________________________________________ Richard Robert Katharin John Elizabeth Elizabeth Catherine Benjamin married Elizabeth 29 April 6 Feb 15 Oct 1 Jan 30 June 6 April 21 Nov 23 Sept 4 July 1715 1717 1718 1720 1722 1724 1725 1729 1754 2 Dec 1732 died buried young 8 Oct 1722 _________________________________ Richard Elizabeth Catherine Thomas Mary 7 July 3 Nov 22 June 23 Nov 19 Feb 1759 1763 1766 1769 1024 1772 When she was ten, she may have been present when Elizabeth Perkyns, who had been convicted of extortion and false accusation of rape, on 16 July 1736, was “stript naked from the waist upwards and whipt publicly in her Town of 1024 The dates are of christenings, in Walkeringham for Gervase Wright and his children, in Sutton Cum Lound for Elizabeth Whitehead Wright and her children. The information comes from the Nottinghamshire Record Office via Davies. 3079 Walkeringham ... between the hours of twelve and one till her body be bloody”.1025 Catherine Wright married Thomas Armitage, hosier, in London on 14 December 1746. Four years later, the young couple were drawn to the newly formed Moravian Congregation in Fetter Lane,1026 whose records show: “Munday 13.th August 1750 ... Armitage desires to come nearer to ye B.rn also his Wife in the Society & M.rs Clarke”.1027 The Moravians were at the forefront of the English spiritual revival. On the night of 1-2 January 1739, John and Charles Wesley, George Whitefield, and Benjamin Ingham (inter alia) attended a Moravian lovefeast,1028 and, according to Wesley’s journal, about 3:00 A.M. “the power of God came mightily upon us, insomuch that many cried out for exceeding 1025 K. Tweedale Meaby, Nottingham: Extracts from the County Records of the Eighteenth Century (Nottingham [?1948]), 207. 1026 According to Colin Podmore, The Moravian Church in England, 1728- 1760 (Oxford: Clarendon Press 1998), 170, “the first English [Moravian] congregation [was formed] on 15 May 1742" in Fetter Lane. In 1749 an Act of Parliament recognized the Moravian Church as “an antient Protestant Episcopal Church”, a sister church of the Church of England (Podmore 228). 1027 Moravian Church Archives: Society Labourers’ Conference Minutes. The dates are from the Old Style (Julian) calendar; in the English-speaking world, the last day of the Old Style Calendar was 2 Sept 1752. 1028 “The lovefeast is primarily a song service, opened with prayer ... the presiding minister often says a few words, explaining the purpose of the service, just before the congregation partakes of the bun and coffee, or whatever is served. ... There is no rule as to the food to be offered, except that it be very simple and easily distributed” (Adelaide L. Fries, Customs and Practices of the Moravian Church, Revised Edition [Bethlehem, Pennsylvania: Moravian Church in North America, 2003], 78). 3080 William Blake and His Circle joy, and many fell to the ground.” This “sudden effusion of the Holy Ghost”1029 marked the beginning of a year in which the Revival was to overflow the confines of the Fetter Lane Society and spread into other parts of England. ... this lovefeast in Fetter Lane was the turning-point at which the Revival’s focus moved from devotional revitalization in London to evangelism throughout England.1030 Though licensed as Dissenters, the Moravians did not wish to separate their members from their birth-churches (usually Anglican) or to form a new sect.1031 Rather, they wished to form powerhouses of piety within the orthodoxies of Anglicanism (in England) or Lutheranism (in Germany). At first the Moravians expanded their numbers very rapidly. In 1748 “they put the total numbers of souls in their care in England ... between 5,000 and 6,000, compared with 12,000 for Wesley and 20,000 for Whitefield”.1032 Much of this expansion was in Yorkshire, led by Benjamin Ingham.1033 In 1742 and 1744 Moravian societies were formed in Wyke (South of Bradford), Mirfield (South South East of Wyke), Gomersal, Pudsey (Leeds County) (between Bradford and Leeds), Ockbrook (now Derbyshire) (between Derby and Nottingham), and Dunkinfield (now Cheshire). There was 1029 William Holland, “An Extract or Short Account of some few Matters relating to the Work of the Lord in England” (1748) (Podmore 48).
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • 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]
  • Dedicated J. A. B. Marshall, Esq. Members of the Lansdown Cricket
    D E D I C A T E D J A B . M . ARSHAL L, ESQ HE LA SDOWN C I KE C MEMBERS OF T N R C T LUB, B Y ONE OF THEIR OLD EST MEMB ERS A ND SINCERE FRIEND , THE U HO A T R . PRE FACE T H E S E C O N D E D I T I O N. THIS Edition is greatly improved by various additions and corrections, for which we gratefully o ur . acknowledge obligations to the Rev. R . T . A King and Mr . Haygarth, as also once more . A . l . to Mr Bass and Mr. Wha t e ey Of Burton For our practical instructions on Bowling, Batting, i of and Field ng, the first players the day have o n t he been consulted, each point in which he respectively excelled . More discoveries have also been made illustrative o f the origin and early history o f Cricket and we trust nothing is want ing t o maintain the high character now accorded ” A u tho to the Cricket Field, as the Standard on f rity every part o ou r National Ga me . M a 1 8 . 1 85 4 y, . PRE FACE T H F E I R S T E D I T I O N. THE following pages are devoted to the history f and the science o o ur National Game . Isaac Walton has added a charm to the Rod and Line ; ‘ a nd Col. Hawker to the Dog and the Gun ; Nimrod and Harry Hieover to the Hunting : Field but, the Cricket Field is to this day untrodden ground .
    [Show full text]
  • POLITICS, SOCIETY and CIVIL WAR in WARWICKSHIRE, 162.0-1660 Cambridge Studies in Early Modern British History
    Cambridge Studies in Early Modern British History POLITICS, SOCIETY AND CIVIL WAR IN WARWICKSHIRE, 162.0-1660 Cambridge Studies in Early Modern British History Series editors ANTHONY FLETCHER Professor of History, University of Durham JOHN GUY Reader in British History, University of Bristol and JOHN MORRILL Lecturer in History, University of Cambridge, and Fellow and Tutor of Selwyn College This is a new series of monographs and studies covering many aspects of the history of the British Isles between the late fifteenth century and the early eighteenth century. It will include the work of established scholars and pioneering work by a new generation of scholars. It will include both reviews and revisions of major topics and books which open up new historical terrain or which reveal startling new perspectives on familiar subjects. It is envisaged that all the volumes will set detailed research into broader perspectives and the books are intended for the use of students as well as of their teachers. Titles in the series The Common Peace: Participation and the Criminal Law in Seventeenth-Century England CYNTHIA B. HERRUP Politics, Society and Civil War in Warwickshire, 1620—1660 ANN HUGHES London Crowds in the Reign of Charles II: Propaganda and Politics from the Restoration to the Exclusion Crisis TIM HARRIS Criticism and Compliment: The Politics of Literature in the Reign of Charles I KEVIN SHARPE Central Government and the Localities: Hampshire 1649-1689 ANDREW COLEBY POLITICS, SOCIETY AND CIVIL WAR IN WARWICKSHIRE, i620-1660 ANN HUGHES Lecturer in History, University of Manchester The right of the University of Cambridge to print and sell all manner of books was granted by Henry VIII in 1534.
    [Show full text]
  • Issues) and Begin with the Summer Issue
    AN ILLUSTRATED QUARTERLY BLAKE SALES, BLAKE RESEARCH: THE ANNUAL CHECKLISTS VOLUME 34 NUMBER 4 SPRING 2001 £%Uae AN ILLUSTRATED QUARTERLY VOLUME 34 NUMBER 4 SPRING 2001 CONTENTS Articles Newsletter Blake in the Marketplace, 2000 Met Exhibition Through June, Blake Society Lectures, by Robert N. Essick 100 The Erdman Papers 159 William Blake and His Circle: A Checklist of Publications and Discoveries in 2000 By G. E. Bentley, Jr., with the Assistance of Keiko Aoyama for Japanese Publications 129 ADVISORY BOARD G. E. Bentley, Jr., University of Toronto, retired Nelson Hilton, University of Georgia Martin Butlin, London Anne K. Mellor, University of California, Los Angeles Detlef W. Dbrrbecker, University of Trier Joseph Viscomi, University of North Carolina at Chapel Hill Robert N. Essick, University of California, Riverside David Worrall, St. Mary's College Angela Esterhammer, University of Western Ontario CONTRIBUTORS SUBSCRIPTIONS are $60 for institutions, $30 for individuals. All subscriptions are by the volume (1 year, 4 issues) and begin with the summer issue. Subscription payments re• G. E. BENTLEY, JR. has just completed The Stranger from ceived after the summer issue will be applied to the 4 issues Paradise in the Belly of the Beast: A Biography of William of the current volume. Foreign addresses (except Canada Blake. and Mexico) require a $10 per volume postal surcharge for surface, and $25 per volume surcharge for air mail delivery. ROBERT N. ESSICK is Professor of English at the University U.S. currency or international money order necessary. Make of California, Riverside. checks payable to Blake/An Illustrated Quarterly. Address all subscription orders and related communications to Sarah Jones, Blake, Department of English, University of Roches• ter, Rochester, NY 14627.
    [Show full text]
  • Literary Branding in the Romantic Period
    Literary Branding in the Romantic Period by Christopher Laxer A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Christopher Laxer 2013 Literary Branding in the Romantic Period Christopher Laxer Doctor of Philosophy Department of English University of Toronto 2013 Abstract This thesis argues that, unlike the study of commodity branding, the study of literary branding should not focus solely upon book advertising, but rather investigate all of the processes of attribution that connect conceptual domains with literary labels, enabling their common use in the perception and navigation of the cultural world. Such processes should not be understood exclusively by analogy with the forms of commodity branding that originated in the consumer revolutions of the eighteenth or nineteenth centuries, but rather as the inherent consequences of more ancient and fundamental practices of naming and poetry. Rather than interpret the reactions of historical readers to Byron, for instance, largely in terms of the author as subject – as has been the tendency with earlier approaches to the question – this thesis seeks to explore historical readers’ reactions to the author’s name as label. The readers of Don Juan in 1819 knew Byron, not as we do after two centuries of biographical research, scholarly inquiry, and literary criticism, but as a literary label with relatively few associations. Arguing that the recent vogue for celebrity studies risks reifying elements of what Jerome McGann has called the Romantic Ideology, this thesis attempts to begin to redress this critical imbalance by examining the deployment of a number of interconnected literary labels in a series of case studies.
    [Show full text]
  • Hamilton College Library "Home Notes"
    American Communal Societies Quarterly Volume 3 Number 4 Pages 232-236 October 2009 Hamilton College Library "Home Notes" Follow this and additional works at: https://digitalcommons.hamilton.edu/acsq This work is made available by Hamilton College for educational and research purposes under a Creative Commons BY-NC-ND 4.0 license. For more information, visit http://digitalcommons.hamilton.edu/about.html or contact [email protected]. et al.: Hamilton College Library "Home Notes" Hamilton College Library “Home Notes” Communal Societies Collection New Acquisitions SEAL OF JOANNA SOUTHCOTT FIRST MEssENGER OF THE CHRISTIAN ISRAELITES Hamilton College Library recently acquired a remarkable collection of documents relating to Joanna Southcott (1750-1814) for its Communal Societies Collection. Southcott is considered to have been the first messenger of the Christian Israelite faith.1 In 1792 Southcott realized she was the woman spoken of in Revelation 12: 1And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: 2And she being with child cried, travailing in birth, and pained to be delivered. Southcott gained an increasing number of followers throughout the late 1790s. Many adherents of contemporary messenger Richard Brothers, considered second in the lineage by the followers of Benjamin and Mary Purnell (House of David and Mary’s City of David), defected to Southcott upon Brothers’ imprisonment in 1795. Among these was the engraver William Sharp who brought Southcott to London to begin the process of “sealing” the elect, or the 144,000 who would be saved at the Day of Judgment.
    [Show full text]
  • William Blake PART I
    126 Of the fifty-three more-or-less complete copies of Blake's writings in private hands, only one has moved to a public collection: VICTORIA UNIVERSITY IN THE UNIVERSITY OF TORONTO. This is Songs of Innocence and of Experience (i), a posthumous copy watermarked with fragments of J WHATMAN | 1831, lacking ten of fifty-four prints. A curious feature of copy i is that one print (pl. 23) is watercoloured (see Illus. 1A), perhaps by Catherine Blake (d. 18 October 1831 [BR (2) 546]) or Frederick Tatham who printed the posthumous copies of Blake's works in Illuminated Printing. The colouring is distinct from the colour-printed copy of the same etching in VICTORIA UNIVERSITY IN THE UNIVERSITY OF TORONTO. The public appearance of Songs (i) has permitted the correction of minor errors in the account of it in Blake Books. COPIES UNTRACED America (S), Book of Thel (S), Descriptive Catalogue (V), Europe (N), First Book of Urizen (K), For Children (F), Poetical Sketches (Q), Songs of Innocence and of Experience (CC, q), "To the Public", Visions (S) are untraced. Six of these ten untraced copies in Illuminated Printing - - America (S), Book of Thel (S), Europe (N), First Book of Urizen (K), For Children (F), and Visions (S) -- have not been recorded since they were sold for the Flaxman family in 1862. Some or all the untraced copies may have been destroyed. Division I: William Blake PART I 126 127 ORIGINAL EDITIONS, FACSIMILES,93 REPRINTS, AND TRANSLATIONS Section A: Original Editions TABLE OF COLLECTIONS ADDENDA Biblioteca La Solana ILLUMINATED WORK: For Children: The Gates of Paradise, pl.
    [Show full text]
  • Richard Baxter and Antinomianism
    RICHARD BAXTER (1615-1691) Dr Williams's Library Other ages have but heard of Antinomian doctrines, but have not seen what practica11 birth they travailed with as we have done.... The groanes, teares and blood of the Godly; the Scornes of the ungodly; the sorrow of our friendes; the Derision of our enemies; the stumbling of the weake, the hardening of the wicked; the backsliding of some; the desperate Blasphemyes and profanenes[s] of others; the sad desolations of Christs Ch urches, and woefull scanda11 that is fallen on the Christian profession, are all the fruites of this Antinomian plant. Richard Baxter, 1651 DEDICATED TO THE MEMORY OF MY FATHER DOUGLAS JOHN COOPER RICHARD BAXTER AND ANTINOMIANISM A thesis submitted for the Degree of Doctor of Philosophy in History by Tim Cooper-::::- University of Canterbury 1997 BX S?-O~+ . 1~3 ,c~'1:{8 CONTENTS ABBREVIATIONS ii A NOTE ON QUOTATIONS AND REFERENCES iii ACKNOWLEDGEMENTS IV ABSTRACT V INTRODUCTION 1 -PART ONE- CHAPTER: I mSTORIOGRAPIHCAL INHERITANCE 11 II THE ANTINOMIAN WORLD 50 III PERSONALITY AND POLEMIC 91 -PARTTWO- IV ARMIES, ANTINOMIANS AND APHORISMS The 1640s 144 V DISPUTES AND DIS SIP ATION The 1650s 194 VI RECRUDESCENCE The Later Seventeenth Century 237 CONCLUSION 294 APPENDIX: A THE RELIQUIAE BAXTERlANAE (1696) 303 B UNDATED TREATISE 309 BmLIOGRAPHY 313 1 9 SEP ZOOO Abbreviations: BJRL Bulletin ofthe John Rylands Library BQ Baptist Quarterly CCRE N. H. Keeble and Geoffrey F. Nuttall (eds), Calendar ofthe Correspondence ofRichard Baxter, 2 vols, Oxford, 1991. DNB L. Stephens and S. Lee (eds), Dictionary ofNational Biography, 23 vols, 1937-1938.
    [Show full text]
  • Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
    SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 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. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted.
    [Show full text]
  • Art and Samuel Rogers's Italy
    Reverse Pygmalionism Art and Samuel Rogers’s Italy ANGOR UNIVERSITY McCue, M. Romantic Textualities: Literature and Print Culture, 1780–1840 PRIFYSGOL BANGOR / B Published: 01/01/2013 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): McCue, M. (2013). Reverse Pygmalionism Art and Samuel Rogers’s Italy. Romantic Textualities: Literature and Print Culture, 1780–1840, 21. Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 26. Sep. 2021 ROMANTICT EXTUALITIES LITERATURE AND PRINT CULTURE, 1780–1840 • Issue 21 (Winter 2013) Centre for Editorial and Intertextual Research Cardiff University RT21.indb 1 16/07/2014 04:53:34 Romantic Textualities is available on the web at www.romtext.org.uk, and on Twitter @romtext ISSN 1748-0116 Romantic Textualities: Literature and Print Culture, 1780–1840, 21 (Winter 2013).
    [Show full text]