Richard Payne Knight
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| - | '''Richard Payne Knight''' ([[15 February]] [[1750]] – [[23 April]] [[1824]]) was a [[classical scholar]] and [[connoisseur]] best known for his theories of [[picturesque]] beauty and for his interest in ancient [[phallic]] imagery. | + | '''Richard Payne Knight''' (15 February 1750 – 23 April 1824) was a [[classicist]], [[antiquarian]] and [[mythographer]] best known for his theories of [[picturesque]] beauty (''[[An Analytical Inquiry into the Principles of Taste]]'') and for his interest in ancient [[phallic imagery]] (''[[The Worship of Priapus]]''). |
| ==Biography== | ==Biography== | ||
| He was born at Wormesley Grange, five miles north west of [[Hereford]] in [[Herefordshire]], [[United Kingdom|UK]], was the son of Rev. Thomas Knight (1697-1764) and nephew and heir of Richard Knight (1693-1765) of [[Croft Castle]]. They were two of the sons of Richard Knight, a wealthy [[Ironmaster]] of [[Bringewood Ironworks]]. He was educated at home, but [[Grand Tour|toured]] Italy and the European continent from 1767 for several years. He was a collector of ancient [[bronze]]s and [[coin]]s, a Member of Parliament from 1780 to 1806, and an author of numerous books and articles on ancient sculpture, coins and other artefacts. As a member of the [[Society of Dilettanti]], Knight was widely considered to be an arbiter of taste. He bequeathed his collection of bronzes, coins, [[engraved gems]], marbles, and drawings to the [[British Museum]]. | He was born at Wormesley Grange, five miles north west of [[Hereford]] in [[Herefordshire]], [[United Kingdom|UK]], was the son of Rev. Thomas Knight (1697-1764) and nephew and heir of Richard Knight (1693-1765) of [[Croft Castle]]. They were two of the sons of Richard Knight, a wealthy [[Ironmaster]] of [[Bringewood Ironworks]]. He was educated at home, but [[Grand Tour|toured]] Italy and the European continent from 1767 for several years. He was a collector of ancient [[bronze]]s and [[coin]]s, a Member of Parliament from 1780 to 1806, and an author of numerous books and articles on ancient sculpture, coins and other artefacts. As a member of the [[Society of Dilettanti]], Knight was widely considered to be an arbiter of taste. He bequeathed his collection of bronzes, coins, [[engraved gems]], marbles, and drawings to the [[British Museum]]. | ||
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| - | Notoriously, Knight's first book, ''[[The Worship of Priapus]]'', sought to recover the importance of ancient [[phallic]] cults. Knight's apparent preference for ancient sacred [[eroticism]] over [[Judeo-Christian]] [[puritanism]] led to many attacks on him as an infidel and as a scholarly apologist for libertinism. This ensured the persistent distrust of the religious establishment. The central claim of ''The Worship of Priapus'' was that an international religious impulse to worship ‘the generative principle’ was articulated through genital imagery, and that this imagery has persisted into the modern age. In some ways the book was the first of many later attempts to argue that [[Paganism|Pagan]] ideas had persisted within [[Christian]] culture, a view that would eventually crystalise into the [[neo-Pagan]] movement over a century later. | + | [[69 (sex position)]], [[Adoration of the Shepherds (Mantegna)]], [[Alexander Day (artist)]], [[Anti-Jacobin]], [[Arduinna]], [[Augustus Wollaston Franks]], [[Benedetto Pistrucci]], [[Benjamin Haydon]], [[Bringewood Ironworks]], [[Brinsop and Wormsley]], [[British Museum]], [[Burrington, Herefordshire]], [[Cameo (carving)]], [[Capability Brown]], [[Capheaton Treasure]], [[Caubiac Treasure]], [[Charlotte Knight]], [[Christopher Hussey (historian)]], [[Croft Castle]], [[Decimus Burton]], [[Discobolus]], [[Downton Castle]], [[Dusios]], [[Edward Clive, 1st Earl of Powis]], [[Edward Herbert, 2nd Earl of Powis]], [[Elgin Marbles]], [[Elizabeth Gwillim (bird artist)]], [[English landscape garden]], [[Engraved gem]], [[Foxley, Herefordshire]], [[Frances Stackhouse Acton]], [[Frederick Cornewall (1752–1783)]], [[Frederick Knight (politician)]], [[Garden writing]], [[George Hayter]], [[George Witt (collector)]], [[History of gardening]], [[Humphry Repton]], [[James Christie the Younger]], [[James Forlong]], [[John Bacon Sawrey Morritt]], [[John Bateman, 2nd Viscount Bateman]], [[John Hunter (British politician)]], [[John Knight (Exmoor pioneer)]], [[John Matthews (physician)]], [[John Nash (architect)]], [[John Rushout, 2nd Baron Northwick]], [[John Samuel Agar]], [[Knight (surname)]], [[Knight v Knight]], [[Leominster (UK Parliament constituency)]], [[Libro de' Disegni]], [[List of British architects]], [[Mâcon Treasure]], [[Mary Symonds]], [[Michel Fourmont]], [[Pan (god)]], [[Paramythia Hoard]], [[Phallic saint]], [[Picturesque]], [[Piercefield House]], [[Priapus]], [[Rejected Addresses]], [[Richard Porson]], [[Richard Westall]], [[River Teme]], [[Robert Knight (MP, born 1768)]], [[Sheela na gig]], [[Sir Uvedale Price, 1st Baronet]], [[Society of Dilettanti]], [[St Mary's Church, Wormsley]], [[St. Alban's Tavern group]], [[Stanage Park]], [[The Raising of Lazarus (Sebastiano del Piombo)]], [[The Standard Bearer (Rembrandt, 1636)]], [[Thomas Andrew Knight]], [[Thomas Hearne (artist)]], [[Thomas Johnes]], [[Thomas Wright (antiquarian)]], [[William Gilpin (priest)]], [[William Owen (painter)]], [[William Rouse-Boughton]] |
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| - | ''An Analytical Inquiry into the Principles of Taste'', 1805, was, however, Knight’s most influential work in his lifetime. This book sought to explain the experience of ‘taste’ within the mind and to clarify the theorisation of the concept of the picturesque, following from the writings of [[William Gilpin (clergyman)|William Gilpin]] and [[Sir Uvedale Price, 1st Baronet|Uvedale Price]] on the subject. Knight's views on the [[aesthetics]] of the picturesque are also formed in engagement with [[Edmund Burke]]'s emphasis on the importance of sensation, which Knight partly rejects in favour of a modified [[associationism]]. The philosophical basis of Knight's theories have implications for his account of the relationship between the ‘beautiful’ and the ‘picturesque’. For Knight, aesthetic concepts cannot be formed directly from optical sensations, because these must be interpreted within the mind before they can be recognised as beautiful. Thus a [[Classical architecture]] [[Roman temple]] is beautiful because of the proportions of its parts, but these proportions can never be perceived directly by the senses, which will simply encounter a mass of confused impressions. ‘Beauty’ is thus a product of internal mental acts. It is therefore proper to speak of moral, mathematical and other non-sensuous forms of beauty, contrary to Burke, [[William Hogarth|Hogarth]] and others who claimed such usages were metaphorical. In all cases ‘the particular object [e.g. proportion] is an abstract idea.’ | + | |
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| - | For Knight ‘picturesque’ means simply ‘after the manner of painting’, a point which is important to his further discussion of sensation, which in Knight's view is central to the understanding of painting and music which are ‘addressed to the organs of sight and hearing’, while poetry and sculpture appeal ‘entirely to the imagination and passions.’ The latter must be understood in terms of associations of ideas, while the former rely on the ‘irritation’ or friction of sensitive parts of the body. Artists should seek to reproduce primal visual sensations, not the mental interpretative processes which give rise to abstract ideas. | + | |
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| - | For Knight, colour is experienced directly as pleasurable sensation. A pure blue is not pleasurable because it reminds us of clear skies, as Price supposed, but because of the experience itself. Interpretation of impressions follows chains of association following from this primal sensory experience. However, the pleasures of sense may be ‘modified by habit’, so that the pure stimulus of colour may be experience as pleasurable when ‘under the influence of mind’ which perceives its meaningful use within a painting. Excess of pure colour is painful, like any other sensory excess. Variety and combination of colours is most pleasurable. | + | |
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| - | Knight makes much of the need to fragment an image into tonal and colouristic ‘masses’, a view has been claimed to anticipate the late work of [[J. M. W. Turner|Turner]], or even [[Impressionism]]. However, it most directly justifies the practices of contemporary painters of picturesque landscapes, such as Girtin, whose stippling effects are comparable to Knight’s account of pleasing colour combinations. | + | |
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| - | Sculpture – typically colourless form – generates in the mind the idea of shape which we must conceptualise, as with ‘proportion’. The literary arts, like [[sculpture]], deal with thoughts and emotions, though in a more complex form. Knight’s account of these arts therefore falls under the heading of ‘association of ideas’. Here Knight shows the influence of the contemporary cult of sensibility, arguing that these arts engage our sympathies, and in so doing demonstrate the inadequacy of ‘rules and systems’ in both morality and aesthetics. These teach ‘men to work by rule, instead of by feeling and observation.’ Rule-based knowledge of wrong cannot prevent wrongdoing, because it is thought not felt. Therefore, ‘it is impossible that tragedy should exhibit examples of pure and strict morality, without becoming dull and uninteresting.’ | + | |
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| - | Knight’s discussion of ‘the passions’ engages with both Classical and recent theorisations of sentiments. His discussion of the sublime is directed against Burke’s emphasis on feelings of terror and powerlessness. Knight defends [[Longinus (literature)|Longinus]]'s original account of sublimity, which he summarises as the ‘energetic exertion of great and commanding power.’ Again he intertwines social and aesthetic reasoning, asserting that the power of a tyrant cannot be sublime if the tyrant inspires fear by mere arbitrary whim, like [[Nero]]. However, it may be sublime if his tyranny, like [[Napoleon]]'s, derives from the exercise of immense personal capacities. A Nero may be feared, but would also be despised. A Napoleon may be hated, but will nevertheless inspire awe. In art, the mind experiences the sublime as it experiences the exercise of its own powers, or sympathises with the exercises of the powers of others. Fear itself can never engender the sublime. | + | |
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| - | Knight’s emphasis on the roles of sensation and of emotion were constituative of later [[Romanticism|Romantic]] and [[Victorian era|Victorian]] aesthetic thinking, as was his vexed struggle with the relation between moral feeling and sensuous pleasure. Though some contemporaries condemned the basis of his thought as an aestheticised libertinism, or devotion to physical sensation, they influenced [[John Ruskin]]’s attempts to theorise the Romantic aesthetic of Turner, and to integrate political and pictorial values. | + | |
| + | ==Bibliography== | ||
| + | *''[[The Worship of Priapus]]'' (1786) | ||
| + | *''[[An Analytical Inquiry into the Principles of Taste]]'' (1805) | ||
| + | *''[[An Inquiry Into the Symbolical Language of Ancient Art and Mythology]]'' (1818) | ||
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Richard Payne Knight (15 February 1750 – 23 April 1824) was a classicist, antiquarian and mythographer best known for his theories of picturesque beauty (An Analytical Inquiry into the Principles of Taste) and for his interest in ancient phallic imagery (The Worship of Priapus).
[edit]
Biography
He was born at Wormesley Grange, five miles north west of Hereford in Herefordshire, UK, was the son of Rev. Thomas Knight (1697-1764) and nephew and heir of Richard Knight (1693-1765) of Croft Castle. They were two of the sons of Richard Knight, a wealthy Ironmaster of Bringewood Ironworks. He was educated at home, but toured Italy and the European continent from 1767 for several years. He was a collector of ancient bronzes and coins, a Member of Parliament from 1780 to 1806, and an author of numerous books and articles on ancient sculpture, coins and other artefacts. As a member of the Society of Dilettanti, Knight was widely considered to be an arbiter of taste. He bequeathed his collection of bronzes, coins, engraved gems, marbles, and drawings to the British Museum.
[edit]
Linking in in July 2023
69 (sex position), Adoration of the Shepherds (Mantegna), Alexander Day (artist), Anti-Jacobin, Arduinna, Augustus Wollaston Franks, Benedetto Pistrucci, Benjamin Haydon, Bringewood Ironworks, Brinsop and Wormsley, British Museum, Burrington, Herefordshire, Cameo (carving), Capability Brown, Capheaton Treasure, Caubiac Treasure, Charlotte Knight, Christopher Hussey (historian), Croft Castle, Decimus Burton, Discobolus, Downton Castle, Dusios, Edward Clive, 1st Earl of Powis, Edward Herbert, 2nd Earl of Powis, Elgin Marbles, Elizabeth Gwillim (bird artist), English landscape garden, Engraved gem, Foxley, Herefordshire, Frances Stackhouse Acton, Frederick Cornewall (1752–1783), Frederick Knight (politician), Garden writing, George Hayter, George Witt (collector), History of gardening, Humphry Repton, James Christie the Younger, James Forlong, John Bacon Sawrey Morritt, John Bateman, 2nd Viscount Bateman, John Hunter (British politician), John Knight (Exmoor pioneer), John Matthews (physician), John Nash (architect), John Rushout, 2nd Baron Northwick, John Samuel Agar, Knight (surname), Knight v Knight, Leominster (UK Parliament constituency), Libro de' Disegni, List of British architects, Mâcon Treasure, Mary Symonds, Michel Fourmont, Pan (god), Paramythia Hoard, Phallic saint, Picturesque, Piercefield House, Priapus, Rejected Addresses, Richard Porson, Richard Westall, River Teme, Robert Knight (MP, born 1768), Sheela na gig, Sir Uvedale Price, 1st Baronet, Society of Dilettanti, St Mary's Church, Wormsley, St. Alban's Tavern group, Stanage Park, The Raising of Lazarus (Sebastiano del Piombo), The Standard Bearer (Rembrandt, 1636), Thomas Andrew Knight, Thomas Hearne (artist), Thomas Johnes, Thomas Wright (antiquarian), William Gilpin (priest), William Owen (painter), William Rouse-Boughton
[edit]
Bibliography
- The Worship of Priapus (1786)
- An Analytical Inquiry into the Principles of Taste (1805)
- An Inquiry Into the Symbolical Language of Ancient Art and Mythology (1818)
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