In art, a sense of shared identity is often created through the use of facial expression on the human figures that are portrayed.
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The book is divided into three parts, each containing two chapters. Part 2 explores, in greater detail, the ways in which rhetoric was used in persuasive design, addressing paintings and the creation of memories and identities through the construction of stone buildings. Chapter 4 contains a case study of the manner by which the English architect Inigo Jones aimed to construct a new classical past for Jacobean early 17th-century Britain.
To help construct his new architectural style, he used the architecture of Stonehenge, which he figured in his work as a classical monument. Part 3 addresses interpretations of the arts and architecture and how these were informed by rhetoric, again dividing art and architecture into separate fields of study. The final coda discusses whether interest in rhetoric declined during the 19th century as interest in the classical tradition waned. The volume also contains a number of approaches that address aspects of material culture, particularly sculpture and architecture.
Van Eck does not discuss in any detail how the discovery of classical objects and sites related to the developing rhetoric of the visual arts, however. Excavating and surveying ruins are topics that are important to the two authors reviewed below, but van Eck is more interested in how discoveries and survivals are perceived by the artists and architects who used them in their works.
Redford, professor of art history and English at Boston University, has published extensively on 18th-century society, on topics such as the letters of Samuel Johnson and the tradition of the Grand Tour. His new book on the Society of Dilettanti addresses the culture of connoisseurship in Enlightenment England, including aristocratic expeditions to visit the classical monuments of the Levant.
These were important activities that contributed to the Neoclassical movement and the development of the scholarly study of Greece and Rome. This book is engagingly written, with numerous high-quality illustrations in both color and black-and-white.
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Redford explores the origins and guiding principles of this cultural movement by drawing on published works of the society, arguing that one powerful model for the Society of Dilettanti was provided by the Freemasons. He addresses the social life of the Dilettanti in some detail, including some strange initiation ceremonies and requirements of membership, such as a desire to indulge in heavy bouts of drinking. One condition of membership was that each member commission his portrait for the society; individual portraits were painted by Knapton, Joshua Reynolds, and Thomas Lawrence.
Redford addresses the context and character of many of these mock-classical and mock-religious representations. Both chapters are well supported with many high-quality color photographs of individual paintings. Redford argues that the Dilettanti moved more to the center stage of elite society when they sponsored the expedition of James Stuart and Nicholas Revett to Greece in — Redford states that this publication anticipated the modern archaeological site report by striving for clarity, reliability, and precision A second expedition to Asia Minor — resulted in Richard Chandler et al.
Both these significant works are addressed by Redford in some detail. Redford illustrates the important contribution of the Dilettanti to the growing knowledge of classical architecture and archaeology through a detailed and well-illustrated series of case studies.
He provides a full survey of activities of the society and their impact on contemporary and later architects and antiquaries. He argues that their publications combined didactics e.
The Dilettanti were interested, primarily, in the classical architecture and sculpture of the Mediterranean. However, during the 18th century, a genuine interest was developing among antiquarians in Britain concerning the indigenous classical culture imported as a result of the Roman invasion and conquest of lowland Britain mid first—early fifth centuries C.
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Inigo Jones claimed a Roman date for Stonehenge during the 17th century, but it was clear by the 19th century that this henge monument was much earlier; most were beginning to recognize the evidence for a pre-Roman past. This small book is the result of a doctorate undertaken at Bristol University. It explores how the dismissive views of ancient barbarians, conveyed by classical texts that addressed Roman Britain e.
These archaeological discoveries enabled antiquarians to claim the introduction of classical culture to lowland Britain in the early centuries C. Most artists, architects, and antiquaries had looked to the ancient monuments of the classical Mediterranean and the Near East, but from the 18th century, greater attention came to be paid to the indigenous context of British society. The focus is primarily on the period from to , addressing the rediscovery of the evidence for the civil or lowland part of the province. Her book provides an original perspective on excavations of the Roman civil and military sites at Caerleon, Cirencester, Colchester, and Chester, during which significant remains of Roman buildings and artifacts were uncovered.
This useful and interesting study explores the development of archaeological knowledge in some detail through the use of published sources and extensive archival sources derived from a number of local antiquarian and archaeological societies. A particular strength of the study is that the author brings to the fore the confused and contradictory ideas held by Victorians about the ancient past of England, exploring the processes through which national identity and the role of Britain as an imperial power were influenced by comparisons drawn with the Roman empire.
Although the title of the volume stresses the Victorian rediscovery of Roman Britain, it does not include the excavations at the Roman town of Silchester, close to Reading, that were undertaken at the end of the century. Indeed, Hoselitz does not cover in detail late Victorian developments, when the uses of classical Rome were transformed through a greater focus on analogies with current times provided through ideas related to the decline and fall of empires.
By focusing on a particular period in the 19th century and on the study of four particular places, the volume addresses the recovery of Roman Britain in a rather particularistic fashion. However, the focus on individual people and places does enable an original study of the role of the image of Rome and the growing professionalism of antiquarian and archaeological works.
This is a useful study that contributes an important new perspective to the development of 19th-century archaeology. These three studies adopt distinct methods and theories to address different agendas. Each provides a significant addition to the published literature, but, in my mind, reading all three raises the importance of communicating across disciplinary boundaries. Evidently, this is a currently popular topic, and it has been explored in a number of published volumes.
There is a wealth of material in all three of these areas of study to warrant considerable further research and publication.
Edwards, C. Freeman, P. Oxford: Oxbow. Hingley, R. Published online at www. Supplement: Annual Reports — Vol. Index to Volumes 1—10 — Skip to main content. You are here Home. October Richard Hingley. The Society of Dilettanti Redford, professor of art history and English at Boston University, has published extensively on 18th-century society, on topics such as the letters of Samuel Johnson and the tradition of the Grand Tour. Conclusion These three studies adopt distinct methods and theories to address different agendas. Other accounts of Victorian archaeology include individual chapters in Freeman and Hingley Your name.
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