Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of (...) antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it. (shrink)

Jonathan Swift is best known as a satirist, a poet, and a polemicist, but he was also a historian and his historical vision played a prominent role in his thinking and in his writings. (Marshall 2015) This chapter explains how the experience of ‘loss’ affected Swift’s historical vision. Swift was a loser in many respects. Born Irish, Swift aspired to achieve professional success as a clergyman in the Church of England and as a politician in the service of the Tory (...) party. For the last four years of Queen Anne’s reign, Swift enjoyed privileged access to the machinations of Robert Harley’s ‘great’ ministry. Swift’s service to the crown was not rewarded with preferment but rather with exile back to Ireland. In his later life, Swift would reinvent himself as an Irish patriot and he would continue to work on revising his History of the Four Last Years of the Queen (written 1712-13; published 1758). (shrink)

Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of (...) antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it. (shrink)