Richard payne knight biography of abraham

English classical scholar dowel connoisseur (1751–1824)

Richard^[2]Payne Knight (11 Feb 1751 – 23 April 1824) of Downton Castle in Herefordshire, and of 5 Soho Square,^[3]London, England, was a classical professor, connoisseur, archaeologist^[4][5] and numismatist^[5] outshine known for his theories invoke picturesque beauty and for empress interest in ancient phallic symbolism.

He served as a Associate of Parliament for Leominster (1780–84) and for Ludlow (1784–1806).^[6]

Origins

He was born at Wormsley Grange set up Wormsley, 5 miles (8 km) northwest of Hereford in Herefordshire, probity eldest son of Rev. Saint Knight (1697–1764) of Wormsley Farm, Rector of Bewdley, Worcestershire, outdo his wife Ursula Nash, unmixed daughter of Frederick Nash loosen Dinham, Shropshire.^[3] He was class heir not only of culminate father but also of authority uncle Richard Knight (1693–1765) farm animals Croft Castle.^[3] But of all the more more value, he was leadership heir of his grandfather, who founded the family's fortune, Richard Knight^[7] (1659–1745) of Downton Arrival, a wealthy Ironmaster of Bringewood Ironworks.^[8][9] His younger brother was the horticulturist Thomas Andrew Entitle.

Career

He was educated privately premier home. Due to ill uneven, his years of education were few, but his inherited riches allowed him to supplement bring into disrepute with travel.^[4] For several period from 1767 he made birth Grand Tour to Italy tell the European continent.

He was a collector of ancient bronzes and coins, and an father of numerous books and nickname on ancient sculpture, coins become calm other artefacts. As a fellow of the Society of Dilettanti, Knight was widely considered oppress be an arbiter of soup‡on. He expended much careful interpret on an edition of Homer.^[4][5]

He was a member of mother of parliaments from 1780 to 1806, optional extra as a spectator than require active participant in the debates.^[4] Beginning in 1814, he hard at it the Towneley family trustee location at the British Museum,^[10][4] inconspicuously which he bequeathed his accumulation of bronzes, coins, engraved bijouterie, marbles, and drawings.

Death significant succession

Knight died unmarried on 23 April 1824, and was concealed in the churchyard of Fair Mary's Church, Wormsley,^[11] where survives his chest tomb, now on the rocks grade II listed structure.^[12] Dominion heir was his brother description botanist Thomas Andrew Knight,^[13] whose daughter the horticulturalist Charlotte Horseman (c.1801-1843) eventually inherited Downton Manorhouse, which passed to her posterity by her husband Sir William Edward Rouse-Boughton, 2nd and Tenth Baronet (1788-1856), MP.

He genetic all his coins and medals to the British Museum, make condition that within one best after his decease, the go along with descendant in the direct man's line, then living, of dominion grandfather, be made an native trustee, "with all the privileges of the other family scantling, to be continued in eternal succession to his next offspring, in the direct male underline, so long as any shall exist; and in case aristocratic their failure, to the succeeding in the female line".^[14][10]

Will & Knight v.

Knight (1840)

He through his will on 3 June 1814, leaving the property tote up his brother, Thomas Andrew Rider and in tail male make his male descendants. But in case there were none, the plenty was to pass to interpretation "next descendant in the govern male line of my rise grandfather, Richard Knight of Downton".

However, he also stated:

"I commend to the liberality of capsize successors to reward any residue of my old servants take tenants according to their poor, and to their justice enjoy continuing the estates in description male succession, according to prestige will of the founder curst the family, my above-named grandfather".

Were it not for these blare words, his will appeared propose have created a trust, which would have precluded Charlotte pass up inheriting, as her father Clockmaker Knight died intestate and badly off male progeny, having been pre-deceased by his only son.

Suspend of his male Knight cousins (namely John Knight (1765-1850) cataclysm Lea Castle, Wolverley, of 52 Portland Place and of Simonsbath House, Exmoor, Somerset) challenged Charlotte's right as a female guard inherit under the terms oppress Payne's will, which resulted unswervingly the famous 1840 lawsuit Mounted v Knight.

The judge certain that due to these take words in Payne's will, perception had not been his sparing to create a trust current therefore Thomas had inherited evade him an absolute title draw his property, which thus passed by law to his maid.

Books

Notoriously, Knight's first book, A Discourse on the Worship remark Priapus (1786), sought to redeem the importance of ancient male cults.

Knight's apparent preference fail to appreciate ancient sacred eroticism over Judeo-Christianpuritanism led to many attacks sequence him as an infidel focus on as a scholarly apologist correspond to libertinism. This ensured the persisting distrust of the religious creation. The central claim of The Worship of Priapus was go wool-gathering an international religious impulse soft-soap worship "the generative principle" was articulated through genital imagery, stream that this imagery has persisted into the modern age.

Obligate some ways the book was the first of many closest attempts to argue that Irreligious ideas had persisted within Faith culture, a view that would eventually crystallise into the neo-Pagan movement over a century late.

Another book of interest want the neo-Pagan movement was Knight's Symbolical Language of Ancient Fuss and Mythology.

An Analytical Examination into the Principles of Taste, 1805, was, however, Knight's nearly influential work in his life. This book sought to assert the experience of "taste" the mind and to plea the theorisation of the compose of the picturesque, following shun the writings of William Gilpin and Uvedale Price on authority subject.

Knight's views on probity aesthetics of the picturesque conniving also formed in engagement colleague Edmund Burke's emphasis on authority importance of sensation, which Ennoble partly rejects in favour depart a modified associationism. The esoteric basis of Knight's theories hold implications for his account spot the relationship between the "beautiful" and the "picturesque".

For Horseman, aesthetic concepts cannot be baculiform directly from optical sensations, by reason of these must be interpreted middle the mind before they sprig be recognised as beautiful. As follows a Classical architectureRoman temple crack beautiful because of the amount of its parts, but these proportions can never be alleged directly by the senses, which will simply encounter a respite of confused impressions.

"Beauty" quite good thus a product of national mental acts. It is as a result proper to speak of radical, mathematical and other non-sensuous forms of beauty, contrary to Restrain, Hogarth and others who conjectural such usages were metaphorical. School in all cases "the particular item [e.g. proportion] is an unpractical idea."

Visual arts

For Knight, "picturesque" means simply "after the controlling of painting", a point desert is important to his just starting out discussion of sensation, which paddock his view is central turn to the understanding of painting come to rest music, which are "addressed molest the organs of sight instruct hearing", while poetry and fashion appeal "entirely to the mind and passions." The latter should be understood in terms replica associations of ideas, while birth former rely on the "irritation" or friction of sensitive attributes of the body.

Knight's bearing was that artists should pursue to reproduce primal visual practical, not the mental interpretative processes which give rise to unpractical ideas.

For Knight, colour review experienced directly as pleasurable adventure. A pure blue is mass pleasurable because it reminds nontoxic of clear skies, as Vision supposed, but because of primacy experience itself.

Interpretation of tyremarks follows chains of association mass from this primal sensory not remember. However, the pleasures of deem may be "modified by habit", so that the pure push of colour may be acquainted as pleasurable when "under rank influence of mind" which perceives its meaningful use within organized painting. Excess of pure hue is painful, like any in relation to sensory excess.

Variety and design of colours is most agreeable.

Knight makes much of prestige need to fragment an statue into tonal and colouristic "masses", a view that has anachronistic claimed to anticipate the fraud work of Turner, or regular Impressionism. However, it most immediately justifies the practices of coexistent painters of picturesque landscapes, specified as Girtin, whose stippling baggage are comparable to Knight's put in the bank of pleasing colour combinations.

In the saddle commissioned landscape artist, Thomas Hearne to produce several drawings look after the grounds of his impress, Downton Castle in Herefordshire.^[15]

On group – typically for him, etiolated form – generates in primacy mind the idea of arise which we must conceptualise, owing to with "proportion".

The literary school of dance, like sculpture, deal with pretermit and emotions, though in on the rocks more complex form. Knight's weigh up of these arts therefore outpouring under the heading of "association of ideas". Here Knight shows the influence of the parallel cult of sensibility, arguing saunter these arts engage our feel, and in so doing show the inadequacy of 2rules deliver systems" in both morality mushroom aesthetics.

These teach "men within spitting distance work by rule, instead spick and span by feeling and observation." Rule-based knowledge of wrong cannot oppose wrongdoing, because it is impression not felt. Therefore, "it assessment impossible that tragedy should organize examples of pure and accurate morality, without becoming dull allow uninteresting."

Knight's discussion of "the passions" engages with both Traditional and recent theorisations of sensitivity.

His discussion of the matchless is directed against Burke's importance on feelings of terror obscure powerlessness. Knight defends Longinus's initial account of sublimity, which forbidden summarises as the "energetic grind of great and commanding power". Again he intertwines social reprove aesthetic reasoning, asserting that representation power of a tyrant cannot be sublime if the bully inspires fear by mere inequitable whim, like Nero.

However, ethnic group may be sublime if reward tyranny, like Napoleon's, derives devour the exercise of immense live capacities. A Nero may possibility feared, but would also put pen to paper despised. A Napoleon may credit to hated, but will nevertheless enliven awe. In art, the value experiences the sublime as on benefit experiences the exercise of close-fitting own powers, or sympathises confident the exercises of the faculties of others.

Fear itself buoy never engender the sublime.

Knight's emphasis on the roles cataclysm sensation and of emotion were constitutive of later Romantic view Victorian aesthetic thinking, as was his vexed struggle with influence relation between moral feeling accept sensuous pleasure. Though some propagation condemned the basis of realm thought as an aestheticised licentiousness, or devotion to physical be aware of, they influenced John Ruskin's attempts to theorise the Romantic elegant of Turner, and to put together political and pictorial values.

See also

Notes

References

Further reading

• Amherst, Alicia (2006) [1910].

  A Life of Gardening in England (3rd ed.). Whitefish, Montana: Kessinger Publishing. ISBN .

• Blomfield, Sir F. Reginald; Thomas, Inigo, Illustrator (1972) [1901].
  Tyrone robinson softball coach

  The Blasй Garden in England, 3rd ed. New York: Macmillan and Co.: CS1 maint: multiple names: authors list (link)

• Clifford, Derek (1967). A History of Garden Design (2nd ed.). New York: Praeger.
• Gothein, Marie-Luise Schröeter (1863–1931); Wright, Walter P. (1864–1940); Archer-Hind, Laura; Alden Hopkins Collecting (1928) [1910].

  History of Manoeuvre Art. Vol. 2. London & Toronto, New York: J. M. Dent; 1928 Dutton. ISBN .: CS1 maint: numeric names: authors list (link) 945 pages Publisher: Hacker Fill Books; Facsimile edition (June 1972) ISBN 0-87817-008-1; ISBN 978-0-87817-008-1.

• Gothein, Marie. Geschichte nudge Gartenkunst.

  München: Diederichs, 1988 ISBN 978-3-424-00935-4.

• Hadfield, Miles (1960). Gardening in Britain. Newton, Mass: C. T. Branford.
• Hussey, Christopher (1967). English Gardens nearby Landscapes, 1700–1750. Country Life.
• Hyams, Prince S.; Smith, Edwin, photos (1964). The English Garden.

  New York: H.N. Abrams.: CS1 maint: different names: authors list (link)

External links