ART ACADEMIES AND ART ACADEMY SCHEMES IN BRITAIN AND IRELAND, 1600-1770 JASON M. KELLY 16 JULY 2022
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ART ACADEMIES AND ART ACADEMY SCHEMES
IN BRITAIN AND IRELAND, 1600-1770
JASON M. KELLY
16 JULY 2022
David Allen. The Interior of the Foulis Academy of Fine Arts. c.1761. oil on canvas. 33 x 40.6 cm. Hunterian Art
Gallery, University of Glasgow, GLAHA_43390.
An earlier version of this timeline was presented as part of my paper, “The Dilettanti, Art Pedagogy, and Roman
Models for an Art Academy in London” on 10 December 2018 at the conference “The Roman Art world in the
18th Century and the Birth of the Art Academy in Britain” hosted by the British School at Rome and the
Accademia Nazionale di San Luca.Before (and after) the establishment of the Royal Academy in London in 1768, there were numerous individuals and associations that proposed or implemented plans to create academies for the arts in Britain and Ireland. Examples can be traced to at least the early seventeenth century. To date, there is no publication that pulls together a single list of academies and/or academy schemes in seventeenth- and eighteenth- century Britain and Ireland. In the chart below, I bring together the manuscript and secondary literature to offer a timeline of schemes, proposals, recommendations, and attempts to establish academies for the arts in Britain and Ireland between 1600 and 1770. The data in this chart is limited to those projects which framed themselves as addressing the needs of the state (whether utilizing the language of royal patronage, national prestige, or public utility) or the need to connect communities of artists across the kingdom(s). Consequently, it does not address the important histories of guilds, local drawing schools, or schools with missions that didn’t focus on the arts but which might nevertheless provide training in drawing, topography, or architecture (for example, military and grammar schools and academies). This timeline is part of a larger project on which I have been working over the years which aims to 1) build a database of academies and learned institutions throughout Europe between 1300 and 1800 and 2) create a digital model of eighteenth-century networks of British and Irish artists and patrons and their contacts on the continent. As will be evident to anybody familiar with the secondary literature, the chart below is deeply indebted to the work of Ilaria Bignamini. I have not included a full bibliography for each entry (the Royal Academy of London would itself require many printed pages), but rather the key starting references for anybody who would like to delve into the material further.
Begin Date End Date References
Henry Frederick, Prince of Wales considers establishing an academy. Like its continental counterparts, it before 1612 Gutch, John, ed. 1781. “The Reason That Moved His Highness
would likely have been a general academy for elites which focused on practical training rather than Prince Henry, to Labour for the Setting Up of an Academy; and
professional training in art and/or architecture. the Means by Which He Would Have Raised It.” In Collectanea
Curiosa; or Miscellaneous Tracts, Relating to the History and
Antiquities of England and Ireland, 1:212–15. Oxford: Clarendon
Press.
Bignamini, Ilaria. 2014. “The English Academy of Art during the
sixteenth and seventeenth centuries: from the Renaissance to
the revolutions.” In Europäische Sozietätsbewegung und
demokratische Tradition: Die europäischen Akademien der
Frühen Neuzeit zwischen Frührenaissance und Spätaufklärung,
edited by Klaus Garber, Heinz Wismann, and Winfried Siebers,
1:1713–31. Tübingen: Max Niemeyer.
Some scholars note that Edmund Bolton proposed as "Academ Roial" to be housed at Windsor Castle. ca. 1617 Portal, Ethel M., “The Academ Roial of King James I,”
However, there is no evidence to suggest that this academy would be focused on the visual arts. Proceedings of the British Academy, 1915–1916 (London:
Humphrey Milford, 1916), p. 189-208.
Bolton, Edmund. 1781. “Sir Balthazar Gerbier’s [Sic. Edmund
Bolton] Project for an Academy Royal in England.” In Collectanea
Curiosa; or Miscellaneous Tracts, Relating to the History and
Antiquities of England and Ireland, edited by John Gutch,
1:209–12. Oxford: Clarendon Press.
Bignamini, Ilaria. 2014. “The English Academy of Art during the
sixteenth and seventeenth centuries: from the Renaissance to
the revolutions.” In Europäische Sozietätsbewegung und
demokratische Tradition: Die europäischen Akademien der
Frühen Neuzeit zwischen Frührenaissance und Spätaufklärung,
edited by Klaus Garber, Heinz Wismann, and Winfried Siebers,
1:1713–31. Tübingen: Max Niemeyer.
Musaeum Minervae established at Sir Francis Kynaston's house in Covent Garden. Sometimes referenced as 1635 1641 Kinnaston, Francis. The Constitutions of the Musaeum
a predecessor of the later academies of visual arts, this academy was based on the model of the French Minervaæ. London: T. P. for Thomas Spencer, 1636.
schools for young gentlemen. It was not an academy devoted to the visual arts. In fact, there were no
professors for visual arts, and the arts were classed with riding in its constitution: "Also Riding shall be taught, Lee, Patricia-Ann. “Some English Academies: An Experiment in
Dancing and behaviour, Paint∣ing, Sculpture, Writing." the Education of Renaissance Gentlemen.” History of Education
Quarterly 10, no. 3 (1970): 273–86.
The Academy for Foreign Languages, and All Noble Sciences and Excercises founded by Sir Balthazar ca. 1648-49 Peacey, Jason. “Print, Publicity, and Popularity: The Projecting of
Gerbier in Bethnal Green. Like Kynaston's Musaeum Minervae, this was likely more along the lines of a Sir Balthazar Gerbier, 1642—1662.” Journal of British Studies
school for young gentlemen. According to Gerbier's prospectus: 51, no. 2 (2012): 284–307.
"But aboue all there shall be taught what is most excellent of practicall Mathematicks: Whatsoeuer Bignamini, Ilaria. 2014. “The English Academy of Art during the
belongeth to Fortifications, Besieging and defending of places, Fire-workes, ordering of Battailles, and sixteenth and seventeenth centuries: from the Renaissance to
marches of Armies; Item, Musick, Playing on all sorts of instruments, Dancing, Fencing, Riding the great the revolutions.” In Europäische Sozietätsbewegung und
Horse, together with the new manner of fighting on Horsebacke. And if there be any louers of Vertue who demokratische Tradition: Die europäischen Akademien der
haue an inclination to drawing, Painting, Limning, and Caruing (either for their curiosity, or for to attayne vnto Frühen Neuzeit zwischen Frührenaissance und Spätaufklärung,
a greater exactenesse in seuerall of the fore mentioned sciences; Viz, Architecture, Fortification, &c.) they edited by Klaus Garber, Heinz Wismann, and Winfried Siebers,
shall be as exactly taught therein as in the other Sciences; as there shall bee an open Hall for some of the 1:1713–31. Tübingen: Max Niemeyer.
poore children of the Parish, or those that shall be recommended by the supreame authority, to learn gratis
such sciences as may bee fit for them." Gerbier, Balthazar. 1649. The Interpreter of the Academie for
Forrain Languages, and All Noble Sciences, and Exercises.
London [probably Paris].
A group of yeoman painters request space in the lower parlor of the Painter-Stainers Hall "for an academe to ca. 1650s Johns, Richard. James Thornhill and Decorative History Painting
make use of draweinge to the life." in England after 1688. Vol. 1. Phd Thesis. University of York,
2004.44.
Guildhall Library MS 5667/2 part 1,46r and v, cited in Johns.
In his History of the Royal Academy, vol. 1, pp. 19-20, William Sandby argues that John Evelyn proposed an 1662 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
academy in his Sculptura of 1662. While some scholars quote Sanby's assertion, Sandby seems to be of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
misquoting an article ["On the origin and Progress of Art," The Gentleman's Magazine, vol. 17 (March 1755):An "Academy" of Peter Lely is meeting in London according to a manuscript note by William Gandy. See also 1673 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
entry for Virtuosi of St. Luke. of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
Bignamini, Ilaria.. “The English Academy of Art during the
Sixteenth and Seventeenth Centurie : From the Renaissance to
the Revolutions.” Europäische Sozietätsbewegung Und
Demokratische Tradition, 2, 1996, 1713.
Virtuosi of St. Luke established. According to Martin Myrone, "Vertue's presentation of the society's papers 1689 1743 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
[BL, Add. MS 39167, ff. 73-85] serves to construct a retrospective institutional history that links the Virtuosi to of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
an interrupted, but implicitly recoverable, Stuart heritage. His manuscript title page announces that the club
was 'First Established by Sr Ant. Vandyke and in imitation continued to the year 1738/8 1739/1743'. The Myrone, Martin. “Society of the Virtuosi of St Luke (Act. c.
summary account that follows claims the society's origins were in Sir Anthony Van Dyck's practice of inviting 1689–1743).” In Oxford Dictionary of National Biography.
'the Virtuosi of London in the several Branches of Painting. Sculpture. &c. & Lovers of Art to meet at his Oxford: Oxford University Press, 2007.
house. he entertaining them in Generous manner & chiefly at the festival yearly of St. Luke'. Van Dyck's https://doi.org/10.1093/ref:odnb/96316.
death in 1641, followed by the civil wars, meant that this sociable tradition was 'interrupted many years' until
Sir Peter Lely started up similar gatherings at his own house, 'in immitation of Vandyke' until his own death
(1680). The 'factious times following made another chasme' until in 1689 'Several of the most considerable
Virtuosi met at a public Tavern' under the active encouragement of John Riley, the principal painter to
William III (BL, Add. MS 39167, fols. 73–74v). The society's documentary record begins only at this point,
which means that the institutional genealogy incorporating Van Dyck and Lely should be considered as at
least speculative, and quite possibly wholly fabricated in order to suit the tory and Roman Catholic bias of
Vertue and a number of his fellow Virtuosi."
Bignamini suggests that there may have been an academy in London ca. 1692, referencing Marshall Smith's ca. 1692 Smith, Marshall. 1693. The Art of Painting According to the
statement in the Art of Painting : Theory and Practise of the Best Italian, French, and Germane
Masters Treating of the Antiquity of Painting. 2nd ed. London:
"AFter you have attain'd to a Mastership in Draught, having got the Compass in your Eye; so that you can at M.B.
first sight Copy whatever is before you; not only Prints, but also Nature it self: having diligently studyed
Nuditys at the Academy, so that you can take a Figure of any Age, in all Aspects, Postures and Bignamini, Ilaria. 2014. “The English Academy of Art during the
Foreshottnings; you may begin the great Mistery of Colouring." [75] sixteenth and seventeenth centuries: from the Renaissance to
the revolutions.” In Europäische Sozietätsbewegung und
demokratische Tradition: Die europäischen Akademien der
Frühen Neuzeit zwischen Frührenaissance und Spätaufklärung,
edited by Klaus Garber, Heinz Wismann, and Winfried Siebers,
1:1713–31. Tübingen: Max Niemeyer.
Narcissus Luttrell writes in his diary on 12 February 1697/8: "His majestie [William III] is resolved to settle an 1698 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
academy to encourage the art of painting, where are to be 12 masters, and all persons that please may come of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
and practice gratis." [343-34]
Luttrell, Narcissus. A Brief Historical Relation of State Affairs:
From September 1678 to April 1714. Vol. 4. Oxford: Oxford
University Press, 1857.
Rose and Crown Club established. 1704 1745 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
Godfrey Kneller establishes painting academy at Great Queen Street. James Thornhill becomes governor ca. 18 October 1720 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
1715/16 until disagreements lead to him establishing his own academy in 1720. 1711 of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
The Earl of Shaftesbury's "Letter Concerning the Art, or Science of Design" written in 1712 and references a 1712 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
proposal for an academy: "As for other Academys, such as those for Painting, Sculpture, or Architecture, we of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
have not so much heard of the Proposal; whilst the Prince of our rival Nation, raises Academys, breeds Youth,
and sends Rewards and pensions into foreign Countrys, to advange the interest and credit of his own." Downes, Kerry. “The Publication of Shaftesbury’s ‘Letter
Concerning Design.’” Architectural History 27 (1984): 519–23.
https://doi.org/10.2307/1568493.
Thornhill proposes a Royal Academy to Charles Montagu, Lord Halifax to be located at the "upper end the ca. 1714 Walpole, Horace. Anecdotes of Painting in England. London:
[King's] mews" at Charing Cross Alexander Murray, 1871.
Osmun, William Raymond. A Study of the Work of Sir James
Thornhill. PhD thesis. University of London, 1950.Jonathan Richardson argues for the importance of a national academy: "For if our Nobility and Gentry were 1719 Richardson, Jonathan. A Discourse on the Dignity, Certainty,
Lovers and Connoisseurs , Publick Encouragement, and Assistance would be given to the Art; Academies Pleasure and Advantage, of the Science of a Connoisseur .
would be set up, Well Regulated, and the Government of them put into Such Hands, as would not want London: W. Churchill, 1719.
Authority to maintain those Laws, whithout which no Society can Prosper, or long Subsist. These Academies
would then be well provided of all Necessaries for Instruction in Geometry, Perspective, and Anatomy, as Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
well as Designing; for without a competent Proficiency in the three former, no considerable Progress can be of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
made in the Other. They would then be furnished with Good Masters to Direct the Students, and good
Drawing and Figures, whether Casts, or Originals, Antique, or Modern for their imitation. Nor should these be
Trace evidence suggests that Lord Burlington may have been planning an academy ca. 1719--a plan that was Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
possibly later lampooned by Hogarth in Masquerades and Operas, or the Bad Taste of the Town (ca. of Clubs and Academies.” Walpole Society 54 (1988): 89 fn. 3.
1733/34).
Academy for the Improvement of Painters and Sculptors by Drawing from the Naked founded in St. Martin's October 1720 1724 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
Lane (also referred to as the 1st St. Martin's Lane Academy). Founded by Louis Chéron and John Vanderbank, of Clubs and Academies.” Walpole Society 54 (1988): 89 fn. 3.
it failed in 1724 because Vanderbank embezzled money and left for France to avoid creditors.
After a split in the Great Queen Street Academy, Thornhill establishes an academy in James Street, Covent 1720 ca. 1721 Hogarth, William. Anecdotes of William Hogarth: Written by
Garden, but it soon fails. According to William Hogarth, "Sir James Thornhill, at the head of one of these Himself. London: J.B. Nichols and son, 1833.
parties, then set up another in a room he built at the back of his own house, now next the playhouse, and
furnished tickets gratis to all that required admission; but so few would lay themselves under such an Kitson, Michael. “Hogarth’s ‘Apology for Painters.’” Walpole
obligation, that this also soon sunk into insignificance." [24-25] Society 41 (1966): 46–111.
Thornhill re-establishes an academy [sometimes referred to as the Free Academy] at his house in Covent 1724 1734 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
Garden ("the back offices and painting-room abutted upon Langford's (then Cock's) Auction Room in the of Clubs and Academies.” Walpole Society 54 (1988): 89 fn. 3.
Piazza").
Moser, Joseph. “Vestiges, Collected and Recollected.” The
European Magazine and London Review 45 (May 1804): 329.
The Academy of St. Luke established in Edinburgh on 18 October 1729. The academy summarized its charge 1729 ca. 1731 Brookes, Patricia. “The Trustees’ Academy, Edinburgh--1760-
as: "We, Subscribers, Painters, and Lovers of Painting, Fellowes of the Edinburgh School of St Luke , for the 1801: The Public Patronage of Art and Design in the Scottish
encouragement of these excelent arts of Painting, Sculpture, Archilecture, &act ., and Improvement of the Enlightenment.” PhD Dissertation, Syracuse University, 1989.
Students : Have agreed to erect a publict Academy, whereinto every one that inclines, on aplication to our
Director and Council, shal be admited on paying a smal sum for defraying Charges of Figure and Lights, &ct. Brydall, Robert. Art in Scotland: Its Origin and Progress.
For further encouragement, some of our Members who have a Fine Colection of Models in Plaister from the Ediburgh: William Blackwood and Sons, 1889.
best Antique Statues, are to lend the use of them to the Academy."
Irwin, David G. Scottish Painters at Home and Abroad, 1700-
1900. London: Faber, 1975.
Royal Dublin Society founded. Its rules state "That a Committee of Arts shall sit once a fortnight in such 1731 Turpin, John. A School of Art in Dublin Since the Eighteenth
weeks wherein the Society does not meet, to which committee members may come at pleasure and may Century: A History of the National College of Art and Design.
admit artists, tradesmen and husbandmen, to assist and inform the members, in such arts and improvements Dublin: Gill & Macmillan, 1995.
as shall be thought useful, and fit to be encouraged and propagated in this kingdom."
'Royal Dublin Society, Schools of Drawing', Mapping the Practice
The Royal Dublin Society, like the later Society for the Encouragement of Arts, Manufactures, and and Profession of Sculpture in Britain and Ireland 1851-1951,
Commerce in England, was primarily focused on the economic value of the arts and their contributions to University of Glasgow History of Art and HATII, online database
trade. 2011
[http://sculpture.gla.ac.uk/view/organization.php?id=msib3_1216
317457, accessed 02 Jul 2022]
2nd Martin’s Lane Academy 1735 1768 Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
'this Winter 1735 an Accademy for Life sett up in St Martins lane where several Artists go to Draw from the
life. Mr Hogarth principally promotes or undertakes it' (Vertue, Notebooks, 3.76).
Moser removes equipment and casts to Pall Mall in 1767 and they move to the Royal Academy in 1769 when
he becomes the director of the drawing school.
The Winter Academy established by Richard Cooper in Edinburgh. Information on this academy is limited, 1735 Brookes, Patricia. “The Trustees’ Academy, Edinburgh--1760-
and it is unclear whether this was more akin to a drawing school led by a single individual or an academy led 1801: The Public Patronage of Art and Design in the Scottish
by a consortium of affiliated artists. Enlightenment.” PhD Dissertation, Syracuse University, 1989.George Berkeley proposes an academy for arts and design in Ireland in The Querist . His treatise focuses 1735 Berkeley, George. The Querist: Containing Several Queries,
specifically on the effects for linen manufacturing, but it implies a broader training in the arts as well as the Proposed to the Consideration of the Public. Dublin: R. Reilly,
establishment of a cast gallery: 1735.
"68. Qu. Whether a People, who had pro|vided themselves with the Necessaries of Life in good Plenty,
would not soon extend their Industry to new Arts and new Branches of Commerce?
69. Qu. Whether those same Manufactures which England imports from other Countries may not be
admitted from Ireland? And if so whether Lace, Carpets, and Tapestry, three considerable Articles of English
Impor|tation, might not find Encouragment in Ire|land? And whether an Academy for De|sign might not
greatly conduce to the perfect|ing those Manufactures among us?
70. Qu. Whether France and Flanders could have drawn so much Money from Eng|land, for figured Silks,
Lace, and Tapestry, if they had not had Academies for Designing?
Atkinson, Thomas. A Conference between a Painter and an Engraver: Containing Some Useful Hints and 1736
Necessary Instructions, Proper for the Young Artist . London: J. Roberts, 1736.
Hubert-François Gravelot considers establishing a public academy in England. pre-1745 Bignamini, Ilaria. “George Vertue, Art Historian and Art
Institutions in London 1689-1768. A Study of Clubs and
Academies.” Walpole Society 54 (1988): 19–148.
Ilaria Bignamini writes of an academy proposed by Carl Marcus Tuscher and George Michael Moser: "Of early 1740s Bignamini, Ilaria. “George Vertue, Art Historian and Art
Moser's plans we know more. Hogarth, who usually avoided mentioning his friends and enemies by name, Institutions in London 1689-1768. A Study of Clubs and
inserted a mysterious 'story of Moser and his/ friend' in an almost unreadable passage in his Apology for Academies.” Walpole Society 54 (1988): 19–148.
Painters. In this passage he uses words and expressions such as 'poverty', 'misery', 'unsucessfull', 'brought up
cobblers', and 'cruelty in endeavouring to augment numbers of plans' (Hogarth (1966-68), p. 79; also Kitson Allen, Brian. “Carl Marcus Tuscher: A German Artist in London.”
(1966-68), pp. 56-57 and p. 57 note 38). The passage indicates that Moser and a friend were responsible for Apollo 122, no. 281 (1985): 32–35.
some initiative which caused Hogarth's anger. It is inserted between passages on the Society of Arts, a
placing which would suggest that Hogarth was referring to plans which became an actual proposal in 1755.
(Moser signed the Plan of an Academy in 1755.) However, if Hogarth had been referring to those plans, or
even to plans of 1749, he would surely have mentioned (as he did in other passages of his Apology) the
Dilettanti, Gwynn and Vertue (project of 1749), or alternatively the Committee of Painters, Hayman, the
Dilettanti and the Society of Arts (project of 1755), rather than naming 'Moser and his/ friend'. This leads to
the surmise that Hogarth was referring to even earlier plans, probably Marcus Tuscher's. Tuscher, a German
artist, arrived in London in 1741 intending to establish an academy of art in that city. Tuscher had a wide
experience of academies: he was trained at the Nuremberg Academy under John Daniel Preisler; and he had
travelled extensively in Italy, becoming a member of the Florentine Accademia del Disegno (13 January
1731)
Williamand of theand
Hogarth Accademia EtruscaRysbrack
John Michael at Cortona.
lead(The Accademia
a group Etrusca
of artists wasdonating
to begin concerned with
works ofphilological
art to the 31 December Bignamini, Ilaria. “Art Institutions in London 1689-1768. A Study
Foundling Hospital. According to the minutes of the Court of Governors, the artists agree to form a 1746 of Clubs and Academies.” Walpole Society 54 (1988): 19–148.
committee to meet anually on 5 November to consider "further ornaments" for the hospital "without any
expense to the charity." The date was supposedly to celebrate the landing of William III. Brownlow, John. The History and Objects of the Foundling
Hospital: With a Memoir of the Founder. C. Jacques, 1865.
Royal Dublin Society begins receiving funding from the Civil List. 1746 Turpin, John. “The Academy Movement in Dublin, 1730-1880.”
New Hibernia Review / Iris Éireannach Nua 1, no. 4 (1997):
119–37.
Royal Dublin Society begins funding Robert West's school for drawing, taking it over in 1750. 1746 1877 Turpin, John. A School of Art in Dublin Since the Eighteenth
Century: A History of the National College of Art and Design.
Dublin: Gill & Macmillan, 1995.
'Royal Dublin Society, Schools of Drawing', Mapping the Practice
and Profession of Sculpture in Britain and Ireland 1851-1951,
University of Glasgow History of Art and HATII, online database
2011
[http://sculpture.gla.ac.uk/view/organization.php?id=msib3_1216
317457, accessed 02 Jul 2022]
Society of Dilettanti purchase land in Cavendish Square 1747 1747 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Identity in the British Enlightenment. New Haven and London:
Yale University Press and the Paul Mellon Centre for Studies in
British Art, 2009.Jean Bernard Le Blanc claims that no genius exists in England, partly because of the desire for wealth and 1745/1747 Le Blanc, Jean Bernard. Lettres d’un Français concernant le
partly due to the lack of an academy: gouvernement, la politique et les moeurs des Anglois et des
"This, if I mistake not, is the only English painter [James Thornhill], who dared to aspire to that kind of François. 3 Vols. The Hague, 1745; Letters on the English and
painting, which requires a genius that nature had refuted him: all the rest have been obliged to reduce French Nations: Containing Curious and Useful Observations on
themselves to portrait-painting: and it is surprizing [sic] that even in this way not one of them deserves to be Their Constitutions Natural and Political. Microform. Vol. 1.
named. And accordingly they have practised this noble profession as the meanest trade, for money alone, London: J. Brindley; R. Francklin; C. Davis; and J. Hodges, 1747.
without
Gwynn, the least
John. An ambition
Essay on of fame. Including
Design: The thirstProposals
of gold renders men industrious;
for Erecting but thattoofBe
a Public Academy reputation
Supportedcan
by 1748 1748
Voluntary Subscription (till a Royal Foundation Can Be Obtain’d) for Educating the British Youth in Drawing,
Dilettanti Subcommittee on Building approves John Gwynn’s plan for a Royal Academy of Painting, February 1749 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Sculpture and Architecture. 1749 Identity in the British Enlightenment. New Haven and London:
Yale University Press and the Paul Mellon Centre for Studies in
Robert Dingley and six other members of the Dilettanti’s Building Committee meet in a London tavern. Led British Art, 2009.
by their chairman and toastmaster, Lord Holdernesse, the group, by their own admission, grew “a little noisy
and drunk.” Between toasts, the men approved funding for John Gwynn’s plan for a Royal Academy of
Painting, Sculpture and Architecture. Gwynn’s proposed academy was modeled on France’s academies.
Initially, it would be subscription-based, but he hoped that George II and Parliament would eventually
support it as a chartered academy. Gwynn suggested that the academy have a private residence and that
British and Irish artists establish an academy in Rome, which is supported by the Earl of Charlemont after ca. 1749 1755 Kelly, Jason M. “Letters from a Young Painter Abroad: James
1752. Russel in Rome, 1747-1753.” Walpole Society 74 (2012): 61–164.
------. “British and Irish Artists in Rome during the 1730s and
1740s.” In Richard Wilson and the Transformation of European
Landscape Painting, edited by Martin Postle and Robin Simon,
35–51. New Haven: Yale University Press, 2014.
Frederick, Prince of Wales considers supporting Royal Academy of Painting, Sculpture and Architecture. 1749 March A text of Vertue's scheme is reproduced by the Walpole Society
1750/1 whose editors dated the academy ca. 1721. For a discussion and
During the 1740s, Frederick, the Prince of Wales, was forming what A.N. Newman once called a "shadow proposed re-dating to 1749, see Bignamini. Bignamini, Ilaria.
court." Central to this court was artistic patronage We should not be surprised that prominent within “George Vertue, Art Historian, and Art Institutions in London,
Frederick's circle were members of the Dilettanti. Arguably the most important position, Master of Horse, 1689-1768: A Study of Clubs and Academies.” Walpole Society
went to the Earl of Middlesex. They had the ear of the Prince and no doubt Frederick knew that the 54 (1988 1991): 1–148. Vertue, George. “Scheme for an
Dilettanti was considering helping to found an Academy of Arts in London. In fact, soon after John Gwynn Academy and Drawing School.” Walpole Society 20 (1931):
published his proposal for an academy, George Vertue was discussing royal sponsorship with the Prince. The 150–55.
plan must have been gaining traction, for Francis Hayman began sketching a painting showing the artists
petitioning the Prince in 1750-1 (Royal Albert Memorial Museum, Exeter). With the Prince's death in 1751 Kelly, Jason M. The Society of Dilettanti: Archaeology and
however, the artists' and dilettanti's hopes for a royal academy were dashed. Identity in the British Enlightenment. New Haven and London:
Yale University Press and the Paul Mellon Centre for Studies in
The Whitehall Evening Post or London Intelligencer reported on 26 March 26 1751 (no. 799) that "We hear British Art, 2009.
his Royal Highness two Days before he was taken ill, offered 500l. a Year for the Encouragement of an
Academy of Painting and Sculpture, which was going to be established here; and that Exeter-Exchange was
intended to be taken, until
Matthew Brettingham a House
proposes could
a Cast be built
Gallery for that Purpose."
for London. 1749 1749 Kenworthy-Browne, John. “Matthew Brettingham’s Rome
Account Book 1747-1754.” The Volume of the Walpole Society
49 (1983): 37–132.
William Shipley's School founded in London. 1750 1754 Allan, D. G. C. William Shipley: Founder of the Royal Society of
Arts: A Biography with Documents . London: Hutchinson, 1968.
Dilettanti commission artists for renderings of an academy and gallery. 1751 1752 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Identity in the British Enlightenment. New Haven and London:
In 1749, the Society of Dilettanti began rethinking the nature of the group’s planned clubroom in Cavendish Yale University Press and the Paul Mellon Centre for Studies in
Square. Rather than simply being an association room, the group flirted with a grander plan of turning their British Art, 2009.
meeting space into a sculpture gallery and academy premises in accordance with Gwynn’s proposal. Several
Dilettanti members commissioned architects to contribute designs for the new academy.George Gray
probably encouraged John Vardy, to contribute a design in 1751. That same year, James Gray, George’s
brother in Venice, prompted a promising young architect, Stephen Riou to submit a building plan. Riou’s neo-
Stephen Riou submits elevation for an academy to Dilettanti Drawing at RIBA. 1751 1751 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Identity in the British Enlightenment. New Haven and London:
Yale University Press and the Paul Mellon Centre for Studies in
British Art, 2009.
Stephen Riou. Design for Society of Dilettanti’s Academy of
Painting, Sculpture, and Architecture. 1753. Pen and ink and
wash on paper. 20 × 31.5 cm. RIBA Library Drawings and
Archives CollectionJohn Vardy submits proposal for an academy to Dilettanti. While the drawing no longer seems to exist, it is 1751 1751 Kelly, Jason M. The Society of Dilettanti: Archaeology and
possible that the design was related to Vardy's 1754 proposal for the British Museum. See John Vardy. Identity in the British Enlightenment. New Haven and London:
Design for the British Museum, Elevation and Plan. 1754. Pen and grey and red ink with grey and ochre Yale University Press and the Paul Mellon Centre for Studies in
wash, on two conjoined sheets of paper. 340 x 465 millimetres. British Museum. 1984,0121.1. British Art, 2009.
Maurice-Louis Jolivet submits drawing for an academy to Dilettanti. Drawing at West Wycombe 1751 1752 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Identity in the British Enlightenment. New Haven and London:
Sometime between 5 May 1751 and 3 May 1752, Francis Dashwood had his architect, Maurice-Louis Jolivet, Yale University Press and the Paul Mellon Centre for Studies in
draft a design. Jolivet’s plan proposed a four-column portico on the north and south entrances. On the east British Art, 2009.
wing would be the “Academy for Painting and Sculpture,” and on the west wing would be the “Academy for
Architecture.” The main body of the house would serve as the Dilettanti’s “Grand Council Room,” which Maurice-Louis Jolivet. The Society of Dilettanti’s Grand Council
included a cast gallery. Room and Academy of Painting, Sculpture, and Architecture. ca.
1751–2. Pencil, pen and ink, and wash on paper. 57 × 41 cm.
West Wycombe Park, Buckinghamshire.
In May 1752, the Society of Dilettanti decided on an "Antique Building as a Model." The building in May 1752 1752 Kelly, Jason M. The Society of Dilettanti: Archaeology and
question was the consequence of James Stuart and Nicholas Revett's drawings of Pola, which James Gray, Identity in the British Enlightenment. New Haven and London:
then Resident at Venice, presented to the Dilettanti in early 1753. Yale University Press and the Paul Mellon Centre for Studies in
British Art, 2009.
Foulis Academy founded in Glasgow. Thomas Pennant wrote of the academy that “Messrs. Robert and 1753 1775 Fairfull-Smith, George. The Foulis Press and the Foulis
Andrew Foulis, printers and booksellers to the university, have instituted an academy for painting and Academy: Glasgow’s Eighteenth-Century School of Art and
engraving; and like good citizens, zealous to promote the welfare and honor of their native place, have at Design . Glasgow: Glasgow Art Index in association with the
vast expence formed a most numerous collection of paintings from abroad, in order to form the taste of their Friends of Glasgow University Library, 2001.
eleves. [p. 252]
Pennant, Thomas. A Tour in Scotland; MDCCLXIX . 3rd ed.
Warrington: W. Eyres, 1774.
http://link.gale.com/apps/doc/CW0102961924/ECCO?sid=book
mark-ECCO&xid=aef1c637&pg=292.
William Shipley publishes proposal for a Royal Society for the Encouragement of Arts, Manufactures, and 1753 Proposals reprinted in Allan, D. G. C. William Shipley: Founder of
Commerce. the Royal Society of Arts: A Biography with Documents. London:
Hutchinson, 1968.
Royal Society for the Encouragement of Arts, Manufactures, and Commerce (RSA) founded by Shipley. 1754 Allan, D. G. C. William Shipley: Founder of the Royal Society of
Arts: A Biography with Documents. London: Hutchinson, 1968.
Print by Cornelius Johnston of a design of an elevation for the British Museum. The Public Advertiser, no. 1754 Cornelius Johnston. A Design for the British Musæum or Public
5600 (19 January 1754) reported that "This Day is published, Price 2 s. 6 d. / Humbly offered to the Repository & Cottonian Library." 15 January 1754. etching and
Consideration of the Commissioners, / A Design for the BRITISH MUSÆUM, or, Public Repository and engraving. 37.5 x 69 cm (trimmed). British Library, King’s
Cottonian Library, being on Front of a Quadrangle, in which may be included, the Royal Society, Antiquarian Topographical Collection. Maps K.Top.24.17.a.
Society, and a Royal Academy of Painting, Sculpture and Architecture, with proper Receptacles for such https://www.flickr.com/photos/britishlibrary/50265372552/in/pho
future Libraries, Natural and Artificial Curiosities, as may be hereafter left. tostream/
This elevation proposed that the British Museum one side of a quadrangle that include the Cottonian, the
Paul Hiffernan summarizes the debate between "Hogarthians" and "Academists." 1754 Hiffernan, Paul. The Tuner. London: M. Cooper, 1754.
The Select Society of Edinburgh establishes the Edinburgh Society for Encouraging Arts, Sciences, 1755 Brookes, Patricia. “The Trustees’ Academy, Edinburgh--1760-
Manufactures and Agriculture which sponsors premiums for arts likely to improve commerce and industry. 1801: The Public Patronage of Art and Design in the Scottish
Enlightenment.” PhD Dissertation, Syracuse University, 1989.
John Shebbeare writes that "An academy of painting established like that at Paris, where all the pictures of 1755 Shebbeare, John. Letters on the English Nation: By “Batista
their masters are seen for a whole month, once every year in a public exhibition, would destroy these false Angeloni”, a Jesuit, who Resided Many Years in London. Vol. 2.
methods of getting into reputation: pictures beheld together by those eyes which are not judges of them S. Crowder, 1755.
apart, would have a very different appearance; the artist of real merit would not stand in need of a puffing
patron to get him business, nor the unskilful painter have the power of imposing on the world, by the artifice
of an impetuous and ill-judging protector; till this is once accomplished it is in vain to expect works of merit,
Gwynn, John, ed. An Essay in Two Parts, on the Necessity and Form of a Royal Academy for Painting, 1755
Sculpture, and Architecture. London: J. Robinson, 1755.
“Select Committee of Painters, Statuaries, Architects, Gravers, &c.” submit proposal to Dilettanti. The January 1755 1755 Kelly, Jason M. The Society of Dilettanti: Archaeology and
proposal was little more than an updated version of John Gwynn’s earlier proposal to the Dilettanti. And, in Identity in the British Enlightenment. New Haven and London:
fact, Gwynn was one of the signatories on the petition to the Dilettanti in January 1755. It claimed that if in Yale University Press and the Paul Mellon Centre for Studies in
fact the Dilettanti sponsored an academy, “the Productions of our Painters, Statuaries and Architects, could British Art, 2009.
be brought to equal those of our Authors [i.e. Shakespeare, Milton, and Newton], it would become as much a
Requisite to a finish’d Education for those abroad to visit us.”
Much has been written about the Dilettanti's failure to support the academy. William Hogarth claimed that
the Dilettanti were seeking to control the academy and that the artists would have none of it. But this is not
entirely true The Dilettanti did seek to control the academy, but along the lines of the French academy
The Dilettanti abandon plans for an academy, appealing "to the trustees of the British Museum" for rooms at 1756 1756 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Montagu House to create a cast gallery. Identity in the British Enlightenment. New Haven and London:
Yale University Press and the Paul Mellon Centre for Studies in
British Art, 2009.Royal Dublin Society School of Landscape and Ornamental Drawing founded. 1756 Royal Dublin Society, Schools of Drawing', Mapping the Practice
and Profession of Sculpture in Britain and Ireland 1851-1951,
University of Glasgow History of Art and HATII, online database
2011
[http://sculpture.gla.ac.uk/view/organization.php?id=msib3_1216
317457, accessed 02 Jul 2022]
Jean André Rouquet critiques the English for focusing on commerce and not supporting the arts, including in 1756 Jean André Rouquet. The Present State of the Arts in England.
the form of a national academy: "The great increase of commerce began to diminish the regard which had London: J. Nourse, 1755.
hitherto been paid to ingenuity. Whereever commerce flourishes, wealth is one of those things that are
mostly considered; and as the arts are not the high road to wealth, consequently less value is set upon them.
And here I may observe, notwithstanding all that has been given out to the contrary, that the arts are not
made an object of the public attention in England; for there is no foundation or institution in their favour,
William Chambers puts forward a "Plan of a Building for the Society of Arts, Manufactures and Commerce," ca. 1757-59 Allen, Brian. “The Society of Arts and the First Exhibition of
which likely included rooms for painting, sculptures, and artists' models. Contemporary Art in 1760.” RSA Journal 139, no. 5416 (1991):
265–69.
Harris, John. “General Notes: A Plan by Sir William Chambers for
the Society of Arts.” Journal of the Royal Society of Arts 110, no.
5069 (1962): 351–53.
William Chambers. Unexecuted design for new premises for the
Society of Arts, Manufactures and Commerce. ca. 1750s. RIBA.
RIBA66798.
Lloyd's Evening Post and British Chronicle, no. 95 (27 February 1758) reports that "James Dawkins, Esq. has 1758 See also probate of James Dawkins. National Archives, London.
left a considerable legacy to the academy for the encouragement of painting, sculpture, &c." MS Prob/11/835.
Duke of Richmond's gallery opened to students. 1758 1758 Coutu, Joan. “‘A Very Grand and Seigneurial Design’: The Duke
of Richmond’s Academy in Whitehall.” The British Art Journal 1,
no. 2 (2000): 47–54.
Kenworthy-Browne, John. “The Duke of Richmond’s Gallery in
Whitehall.” British Art Journal 10, no. 1 (June 22, 2009): 40–50.
Robert Wood proposes a Royal Academy with a national academy for the arts in a letter to Lord Bute: "I am October 1759 Allen, Brian. “The Society of Arts and the First Exhibition of
glad your Lordship thinks my ideas of the Academy confined, as to expense; my own plan wo be to expend at Contemporary Art in 1760.” RSA Journal 139, no. 5416 (1991):
least £100,000 on the building and to have, as at Turin, a Noblem of the first rank at the head of it, but I fear 265–69.
the success; when Chambers throws upon paper some loose hints I have given him with regard to a building,
I may perhaps have (some time this winter) more time than at present to explain myself; it may amuse tho' it Harris, John. “General Notes: A Plan by Sir William Chambers for
should go no further." the Society of Arts.” Journal of the Royal Society of Arts 110, no.
5069 (1962): 351–53.
Society of Artists established. 1759 1791 Graves, Algernon, ed. (1907). The Society of Artists of Great
Britain, 1760–1791 and the Free Society of Artists, 1761–1783: a
Complete Dictionary of Contributors and their Work from the
Foundation of the Societies to 1791. London: G. Bell and Sons.
“The Papers of the Society of Artists of Great Britain.” Walpole
Society 6 (1917): 113–30.
First annual exhibition in the great room of the Society of Arts, Commerce, and Manufactures on 21 April 1760 Allen, Brian. “The Society of Arts and the First Exhibition of
1760. Contemporary Art in 1760.” RSA Journal 139, no. 5416 (1991):
265–69.
The Board of Trustees for the Improvement of Fisheries and Manufactures in Scotland establishes the 1760 Brookes, Patricia. “The Trustees’ Academy, Edinburgh--1760-
Trustees Academy, a government-sponsored school for teaching drawing under the direction of William 1801: The Public Patronage of Art and Design in the Scottish
DelaCour. This school is focused on the application of design for commerce. Enlightenment.” PhD Dissertation, Syracuse University, 1989.
"The Commissioners and Trustees for improving fisheries and manufactures in Scotland, do hereby advertise, Brydall, Robert. Art in Scotland: Its Origin and Progress .
that by an agreement with Mr. DelaCour painter, he has opened a school in this city for persons of both Ediburgh: William Blackwood and Sons, 1889.
sexes that shall be presented to him by the trustees, whom he is to teach gratis, the ART OF DRAWING for
the use of manufactures, especially the drawing of PATTERNS for the LINEN and WOOLEN Edinburgh Evening Courant. 9 July 1760 and 14 July 1760.
manufactures—and at the end of the year some prizes are to be distributed among the scholars.
All persons that incline to be taught by him are desired to apply to the trustees secretary, with whom they
will lodge certificates in their favor, or recommendations from persons of character, and specimens of their
drawings if they have already done any thing in that way. As only a certain number can be admitted at one
Free Society of Artists established. 1761 1783 Graves, Algernon, ed. (1907). The Society of Artists of Great
Britain, 1760–1791 and the Free Society of Artists, 1761–1783: a
Complete Dictionary of Contributors and their Work from the
Foundation of the Societies to 1791. London: G. Bell and Sons.Dilettanti consider establishing a public cast gallery in a new building. 1761 1761 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Identity in the British Enlightenment. New Haven and London:
In March 1761, Society of Dilettanti members discussed the possibility of creating a cast gallery. It would be a Yale University Press and the Paul Mellon Centre for Studies in
museum, representing the “best Statues, Bustsos & Bass-relievos & that may be now in Great-Britain & British Art, 2009.
Ireland.” The committee also decided to “purchase abroad, any fine Casts of the best Statues, &c. ------ in the
manner, & att the time the Society shall direct.” Dilettanti members who had contacts in Europe would
“make out the names of such Gentlemen abroad, who they think, might be willing to assist, in procuring
those peices [sic] of Virtù, wch are the objects the Society have in view, & letters to be wrote to ‘em, & signed
by their members – desiring their assistance on this occasion. They again hoped to build a structure based on
Dilettanti consider establishing both a museum and seeking a royal charter. 1764 1764 Kelly, Jason M. The Society of Dilettanti: Archaeology and
Identity in the British Enlightenment. New Haven and London:
When plans for a gallery re-emerged in 1764, the members of the Dilettanti sought not only to create a Yale University Press and the Paul Mellon Centre for Studies in
museum, but to obtain a royal charter. British Art, 2009.
William Newton offers designs for a Dilettanti museum. The Dilettanti proposed two locations off Green Park. 1764 1764 Kelly, Jason M. The Society of Dilettanti: Archaeology and
William Newton’s original notes from his first meetings with members of the Dilettanti’s Building Committee Identity in the British Enlightenment. New Haven and London:
still survive at the RIBA. Outlining four key elements of architecture, “the Use,” “Place, “Person”, and Yale University Press and the Paul Mellon Centre for Studies in
“Ornaments,” the notes give an idea of what the Dilettanti wanted him to design. The building’s use was for British Art, 2009.
a new academy “for Promoting & Discoursing on fine Arts.” Expanded from the earlier incarnations of their
plan, this new academy had a more general understanding of the “Polite Arts.” The iconography included
representations of poetry, painting, music, sculpture, and architecture, suggesting that the building would be
a museum to the arts in general. In the spirit of neoclassicism, the Building committee wanted a structure
Dublin Society School of Architectural Drawing founded. 1764 1764 "Turpin, John. A School of Art in Dublin Since the Eighteenth
Century: A History of the National College of Art and Design.
Dublin: Gill & Macmillan, 1995.
'Royal Dublin Society, Schools of Drawing', Mapping the Practice
and Profession of Sculpture in Britain and Ireland 1851-1951,
University of Glasgow History of Art and HATII, online database
2011
[http://sculpture.gla.ac.uk/view/organization.php?id=msib3_1216
317457, accessed 02 Jul 2022]"
Society of Artists in Ireland founded. 1764 1780 Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin:
Maunsel, 1913.
Turpin, John. “The Academy Movement in Dublin, 1730-1880.”
New Hibernia Review / Iris Éireannach Nua 1, no. 4 (1997):
119–37.
Royal Dublin Society proposes annual exhibitions, but recalls its public advertisement when members of the 1764 Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin:
Society of Artists of Ireland decline to participate. Maunsel, 1913.
"Whereas the Society hath been informed by some of the members that it is the opinion of several of the Turpin, John. “The Academy Movement in Dublin, 1730-1880.”
most eminent Painters in this Kingdom that an Exhibition of the Performances of the several artists would be New Hibernia Review / Iris Éireannach Nua 1, no. 4 (1997):
a great encouragement to them, the Society gives the public notice that they will permit their House in 119–37.
Shaw's Court to be made use of for that purpose; and all artists are desired to send in an account of the
Pieces they intend to exhibit, with the dimensions thereof, signed with their names and places of abode
directed to the Secretary at the Society's House before the 25th of March next. The time of exhibition not to
exceed three months on such days of the week as shall be given notice of in the daily Papers. A committee
of this Society will have power to examine all such pieces as shall be sent in for exhibition, and to reject such
as shall be deemed improper. The forming and printing of the Catalogues are left to the artists who send in
pieces to the exhibition, and, being printed in a decent manner, they are permitted to sell the same for
sixpence each" (The Dublin Journal [Faulkner's Journal]. 14-18 February 1764).
"As there had been several meetings of Painters, Sculptors, and Architects for the purpose of instituting an
Annual Exhibition of their several performances (antecedent to the advertisement of the Dublin Society), it is
with the greatest respect to the intentions of those worthy patrons of arts and sciences that being pre-
engaged in such a design among themselves they are under the disagreeable necessity of declining the
Society of Artists of Ireland holds first annual exhibition, which opens on 12 February 1765 at Charles 1765 1777 Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin:
Napper's great room in George's Lane. Maunsel, 1913.
Turpin, John. “The Academy Movement in Dublin, 1730-1880.”
New Hibernia Review / Iris Éireannach Nua 1, no. 4 (1997):
119–37.Society of Artists of Ireland builds a permanent exhibition room on William Street, Dublin. 1765 Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin:
Maunsel, 1913.
Turpin, John. “The Academy Movement in Dublin, 1730-1880.”
New Hibernia Review / Iris Éireannach Nua 1, no. 4 (1997):
119–37.
Royal Dublin Society School for Architectural Drawing founded. 1764 Turpin, John. A School of Art in Dublin Since the Eighteenth
Century: A History of the National College of Art and Design.
Dublin: Gill & Macmillan, 1995.
'Royal Dublin Society, Schools of Drawing', Mapping the Practice
and Profession of Sculpture in Britain and Ireland 1851-1951,
University of Glasgow History of Art and HATII, online database
2011
[http://sculpture.gla.ac.uk/view/organization.php?id=msib3_1216
317457, accessed 02 Jul 2022]
Fielding, Henry. An Essay on the Necessity and Form of a Royal Academy for Painting, Sculpture, and 1764
An Essay on Perfecting the Fine Arts in Great Britain and in Ireland. Dublin: William Sleater, 1767. 1767
Society of Artists of Ireland granted 500 pounds by the Irish parliament "Towards building an academy for 1767 The London Magazine. Or, Gentleman’s Monthly Intelligencer.
painting, sculpture, and architecture, &c." London: R[ichard]. Baldwin, jun., 1767.
http://link.gale.com/apps/doc/CW0109866539/ECCO?sid=book
mark-ECCO&xid=03771ee0&pg=706.
Ireland. Parliament. House of Commons. The Journals of the
House of Commons of the Kingdom of Ireland. Vol. 8. Dublin:
George Grierson, 1796.
http://link.gale.com/apps/doc/CB0132970627/ECCO?sid=bookm
ark-ECCO&xid=e45ccdaa&pg=832.
Strickland, Walter G. A Dictionary of Irish Artists. 2 vols. Dublin:
Maunsel, 1913.
Royal Academy of Arts founded. 1768
Society for the Protection and Encouragement of Arts of Painting and Design in Liverpool founded. 1769 1794 Kidson, Alex, and Elizabeth Barker, eds. 2008. Joseph Wright of
Derby in Liverpool. New Haven: Yale University Press.You can also read
