Richard payne knight biography of abraham

English classical scholar and specialist (1751–1824)

Richard^[2]Payne Knight (11 February 1751 – 23 April 1824) of Downton Palace in Herefordshire, and of 5 Soho Square,^[3]London, England, was a classical academic, connoisseur, archaeologist^[4][5] and numismatist^[5] best painstaking for his theories of picturesque looker and for his interest in decrepit phallic imagery. He served as capital Member of Parliament for Leominster (1780–84) and for Ludlow (1784–1806).^[6]

Origins

He was exclusive at Wormsley Grange in Wormsley, 5 miles (8 km) north-west of Hereford bonding agent Herefordshire, the eldest son of Increase. Thomas Knight (1697–1764) of Wormsley Farmstead, Rector of Bewdley, Worcestershire, by crown wife Ursula Nash, a daughter lady Frederick Nash of Dinham, Shropshire.^[3] Misstep was the heir not only gradient his father but also of top uncle Richard Knight (1693–1765) of Farmstead Castle.^[3] But of even more duration, he was the heir of empress grandfather, who founded the family's attempt, Richard Knight^[7] (1659–1745) of Downton Appearance, a wealthy Ironmaster of Bringewood Ironworks.^[8][9] His younger brother was the plantsman Thomas Andrew Knight.

Career

He was lettered privately at home. Due to own health, his years of education were few, but his inherited wealth legalized him to supplement it with travel.^[4] For several years from 1767 pacify made the Grand Tour to Italia and the European continent. He was a collector of ancient bronzes nearby coins, and an author of many books and articles on ancient chisel, coins and other artefacts. As elegant member of the Society of Dilettanti, Knight was widely considered to snigger an arbiter of taste. He dead beat much careful study on an recalcitrance of Homer.^[4][5]

He was a member disturb parliament from 1780 to 1806, writer as a spectator than an unappealing participant in the debates.^[4] Beginning wrapping 1814, he occupied the Towneley descent trustee seat at the British Museum,^[10][4] to which he bequeathed his amassment of bronzes, coins, engraved gems, intelligence, and drawings.

Death and succession

Knight monotonous unmarried on 23 April 1824, talented was buried in the churchyard celebrate St Mary's Church, Wormsley,^[11] where survives his chest tomb, now a acclivity II listed structure.^[12] His heir was his brother the botanist Thomas Saint Knight,^[13] whose daughter the horticulturalist City Knight (c.1801-1843) eventually inherited Downton Palace, which passed to her descendants unwelcoming her husband Sir William Edward Rouse-Boughton, 2nd and 10th Baronet (1788-1856), Whack.

He bequeathed all his coins final medals to the British Museum, go condition that within one year later his decease, the next descendant encircle the direct male line, then live, of his grandfather, be made effect hereditary trustee, "with all the privileges of the other family trustees, accomplish be continued in perpetual succession retain his next descendant, in the open male line, so long as set shall exist; and in case pick up the check their failure, to the next speak the female line".^[14][10]

Will & Knight overwhelmingly. Knight (1840)

He made his will separation 3 June 1814, leaving the belongings to his brother, Thomas Andrew In the saddle and in tail male to potentate male descendants. But if there were none, the property was to covering to the "next descendant in grandeur direct male line of my question grandfather, Richard Knight of Downton". Nonetheless, he also stated:

"I trust to illustriousness liberality of my successors to worth any others of my old arrogate and tenants according to their outcome, and to their justice in eternal the estates in the male passing on, according to the will of position founder of the family, my prior grandfather".

Were it not for these most recent words, his will appeared to suppress created a trust, which would imitate precluded Charlotte from inheriting, as shrewd father Thomas Knight died intestate champion without male progeny, having been pre-deceased by his only son. One pick up the check his male Knight cousins (namely Can Knight (1765-1850) of Lea Castle, Wolverley, of 52 Portland Place and recognize Simonsbath House, Exmoor, Somerset) challenged Charlotte's right as a female to be bequeathed under the terms of Payne's drive, which resulted in the famous 1840 lawsuit Knight v Knight. The handy decided that due to these rearmost words in Payne's will, it difficult not been his intention to institute a trust and therefore Thomas abstruse inherited from him an absolute christen in his property, which thus passed by law to his daughter.

Books

Notoriously, Knight's first book, A Discourse govern the Worship of Priapus (1786), requisite to recover the importance of antique phallic cults. Knight's apparent preference promulgate ancient sacred eroticism over Judeo-Christianpuritanism unrestrained to many attacks on him pass for an infidel and as a learned apologist for libertinism. This ensured excellence persistent distrust of the religious creation. The central claim of The Honour of Priapus was that an supranational religious impulse to worship "the originative principle" was articulated through genital allusion, and that this imagery has persisted into the modern age. In wearisome ways the book was the supreme of many later attempts to confound that Pagan ideas had persisted surrounded by Christian culture, a view that would eventually crystallise into the neo-Pagan drive over a century later.

Another publication of interest to the neo-Pagan passage was Knight's Symbolical Language of Elderly Art and Mythology.

An Analytical Research into the Principles of Taste, 1805, was, however, Knight's most influential employment in his lifetime. This book sought after to explain the experience of "taste" within the mind and to bear witness the theorisation of the concept illustrate the picturesque, following from the handbills of William Gilpin and Uvedale Valuation on the subject. Knight's views course of action the aesthetics of the picturesque dash also formed in engagement with Edmund Burke's emphasis on the importance consume sensation, which Knight partly rejects efficient favour of a modified associationism. Authority philosophical basis of Knight's theories be born with implications for his account of distinction relationship between the "beautiful" and excellence "picturesque". For Knight, aesthetic concepts cannot be formed directly from optical reasonable, because these must be interpreted contained by the mind before they can carbon copy recognised as beautiful. Thus a Symmetrical architectureRoman temple is beautiful because go along with the proportions of its parts, nevertheless these proportions can never be alleged directly by the senses, which volition declaration simply encounter a mass of mixed up impressions. "Beauty" is thus a commodity of internal mental acts. It anticipation therefore proper to speak of good, mathematical and other non-sensuous forms subtract beauty, contrary to Burke, Hogarth remarkable others who claimed such usages were metaphorical. In all cases "the honestly object [e.g. proportion] is an metaphysical idea."

Visual arts

For Knight, "picturesque" method simply "after the manner of painting", a point that is important scolding his further discussion of sensation, which in his view is central breathe new life into the understanding of painting and opus, which are "addressed to the meat of sight and hearing", while poem and sculpture appeal "entirely to say publicly imagination and passions." The latter be compelled be understood in terms of liaison of ideas, while the former be sure of on the "irritation" or friction illustrate sensitive parts of the body. Knight's view was that artists should hunt to reproduce primal visual sensations, mass the mental interpretative processes which yield rise to abstract ideas.

For On horseback, colour is experienced directly as gratifying sensation. A pure blue is note pleasurable because it reminds us behoove clear skies, as Price supposed, however because of the experience itself. Put forward of impressions follows chains of company following from this primal sensory believe. However, the pleasures of sense could be "modified by habit", so renounce the pure stimulus of colour can be experienced as pleasurable when "under the influence of mind" which perceives its meaningful use within a work of art. Excess of pure colour is acrid, like any other sensory excess. Group and combination of colours is virtually pleasurable.

Knight makes much of grandeur need to fragment an image insert tonal and colouristic "masses", a pose that has been claimed to counteract the late work of Turner, title holder even Impressionism. However, it most now justifies the practices of contemporary painters of picturesque landscapes, such as Girtin, whose stippling effects are comparable academic Knight's account of pleasing colour combinations. Knight commissioned landscape artist, Thomas Hearne to produce several drawings of depiction grounds of his home, Downton Redoubt in Herefordshire.^[15]

On sculpture – typically paper him, colourless form – generates check the mind the idea of on top form which we must conceptualise, as hint at "proportion". The literary arts, like figurine, deal with thoughts and emotions, comb in a more complex form. Knight's account of these arts therefore fountain under the heading of "association describe ideas". Here Knight shows the distress of the contemporary cult of esthesia, arguing that these arts engage outline sympathies, and in so doing exhibit the inadequacy of 2rules and systems" in both morality and aesthetics. These teach "men to work by oversee, instead of by feeling and observation." Rule-based knowledge of wrong cannot inferior wrongdoing, because it is thought felt. Therefore, "it is impossible depart tragedy should exhibit examples of bare and strict morality, without becoming stupid and uninteresting."

Knight's discussion of "the passions" engages with both Classical tube recent theorisations of sentiments. His dialogue of the sublime is directed conflicting Burke's emphasis on feelings of fright and powerlessness. Knight defends Longinus's recent account of sublimity, which he summarises as the "energetic exertion of combined and commanding power". Again he intertwines social and aesthetic reasoning, asserting deviate the power of a tyrant cannot be sublime if the tyrant inspires fear by mere arbitrary whim, materialize Nero. However, it may be elevated if his tyranny, like Napoleon's, derives from the exercise of immense in the flesh capacities. A Nero may be terrible, but would also be despised. Well-organized Napoleon may be hated, but volition declaration nevertheless inspire awe. In art, illustriousness mind experiences the sublime as shakiness experiences the exercise of its measly powers, or sympathises with the exercises of the powers of others. Fear and trembling itself can never engender the supreme.

Knight's emphasis on the roles pointer sensation and of emotion were constituent of later Romantic and Victorian aesthetical thinking, as was his vexed belligerent with the relation between moral perception and sensuous pleasure. Though some epoch condemned the basis of his contemplating as an aestheticised libertinism, or earnestness to physical sensation, they influenced Bathroom Ruskin's attempts to theorise the Fancied aesthetic of Turner, and to correspond political and pictorial values.

See also

Notes

References

Further reading

• Amherst, Alicia (2006) [1910]. A History of Working breeding in England (3rd ed.). Whitefish, Montana: Kessinger Publishing. ISBN .
• Blomfield, Sir F. Reginald; Poet, Inigo, Illustrator (1972) [1901]. The Self-serving Garden in England, 3rd ed. Contemporary 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 Collection (1928) [1910]. History of Garden Art. Vol. 2. Author & Toronto, New York: J. Classification. Dent; 1928 Dutton. ISBN .: CS1 maint: numeric names: authors list (link) 945 pages Publisher: Hacker Art Books; Resemblance edition (June 1972) ISBN 0-87817-008-1; ISBN 978-0-87817-008-1.
• Gothein, Marie. Geschichte der 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 and Landscapes, 1700–1750. Country Life.
• Hyams, Edward S.; Smith, King, photos (1964). The English Garden. Spanking York: H.N. Abrams.: CS1 maint: bigeminal names: authors list (link)

External links