Contributor: Martin Fog Arndal
Location: National Portrait Gallery, London
Description: In 1797, renowned philosopher and author, Mary Wollstonecraft sat for her last portrait made by John Opie, portrait painter to the royal family as well as a number of other influential Britons. Of the different portraits Wollstonecraft would sit for, this one stands out due to its serene expression. Compared to Opie’s first portrait of her in 1790-1, in which Wollstonecraft is holding an open book in her hands, gazing straight into the eyes of the beholder, the latter portrait is radically different. Holding no objects, only bearing the colors of black and white, she lights up against a dark background, gazing to her right. In front of Opie sits not only the feminist depicted in 1790-1, but a mother of one, and pregnant once again. However, the vividness of her eyes, the relaxed shoulders, and the relaxed composition defy the emotional turmoil that had defined the years before her untimely death. Eleven days after giving birth, later that same year Opie depicted her for the last time, Wollstonecraft would pass away.
Continue reading “Mary Wollstonecraft”
Contributor: Matthew Sangster
Location: British Library, London
Description: Richard Horwood’s vast PLAN of the Cities of LONDON and WESTMINSTER the Borough of SOUTHWARK, and PARTS adjoining Shewing every HOUSE, a project commenced in 1790 and finally completed in 1799, touches upon many suggestive contradictions between Romantic ideologies and the print culture of the period in which these were theorised. The Plan is deeply Romantic in terms of its reach and ambition: a house-by-house map of the largest city in Europe surveyed and engraved by one man over a period of nearly a decade. Horwood himself was keen to stress the novelty and grandeur of his endeavour: his prospectus described the Plan as an undertaking ‘ON A PRINCIPLE NEVER BEFORE ATTEMPTED’ and when writing to the Society for the Encouragement of Arts, Manufacture and Commerce in an attempt to secure a premium for his work, he played up the physical and mental effort it had required:
The execution of it has cost me nine years severe labour and indefatigable perseverance; and these years formed the most valuable part of my life. I took every angle; measured almost every line; and after that, plotted and compared the whole work. The engraving, considering the immense mass of work, is, I flatter myself, well done.
Continue reading “Every House of the Ant-Hill on the Plain: Richard Horwood’s London”
Contributor: Nicola J. Watson
Location: Theatre Collection, Victoria and Albert Museum, London
Description: Nearly two hundred years ago today, you might have attended this post-Christmas entertainment at the Theatre Royal, Covent Garden in London. The programme characteristically offered a straight piece (here, Richard Brinsley Sheridan’s The Duenna) but it also included a ‘new, grand & comick’ pantomime staged by the famous composer, arranger and producer of such shows, Charles Farley (1771-1859). As nowadays, pantomime in the Regency was one of the more idiosyncratically and resolutely British forms of national popular theatre and an integral part of Christmas festivities. But, as this playbill suggests, British pantomime also drew heavily upon European literary tradition and theatrical practice, even as it staged Britain’s relation to the rest of the world in topical, patriotic and even imperialist mode.
Continue reading “A Christmas Entertainment in London, Jan 11th, 1826”