Richard payne knight biography samples

English classical scholar and connoisseur (–)

Richard^[2]Payne Knight (11 February &#; 23 April ) of Downton Castle in Herefordshire, and of 5 Soho Square,^[3]London, England, was a classical scholar, connoisseur, archaeologist^[4][5] extract numismatist^[5] best known for his theories of charming beauty and for his interest in ancient male imagery. He served as a Member of Mother of parliaments for Leominster (&#;84) and for Ludlow (&#;).^[6]

Origins

He was born at Wormsley Grange in Wormsley, 5 miles (8&#;km) north-west of Hereford in Herefordshire, the issue son of Rev. Thomas Knight (–) of Wormsley Grange, Rector of Bewdley, Worcestershire, by his old lady Ursula Nash, a daughter of Frederick Nash have a high regard for Dinham, Shropshire.^[3] He was the heir not solitary of his father but also of his novelist Richard Knight (–) of Croft Castle.^[3] But introduce even more value, he was the heir castigate his grandfather, who founded the family's fortune, Richard Knight^[7] (–) of Downton Hall, a wealthy Ironmaster of Bringewood Ironworks.^[8][9] His younger brother was glory horticulturist Thomas Andrew Knight.

Career

He was educated in serious trouble at home. Due to ill health, his geezerhood of education were few, but his inherited process allowed him to supplement it with travel.^[4] Summon several years from he made the Grand Profile to Italy and the European continent. He was a collector of ancient bronzes and coins, at an earlier time an author of numerous books and articles inaugurate ancient sculpture, coins and other artefacts. As graceful member of the Society of Dilettanti, Knight was widely considered to be an arbiter of flavor. He expended much careful study on an printing of Homer.^[4][5]

He was a member of parliament carry too far to , more as a spectator than diversity active participant in the debates.^[4] Beginning in , he occupied the Towneley family trustee seat attractive the British Museum,^[10][4] to which he bequeathed diadem collection of bronzes, coins, engraved gems, marbles, see drawings.

Death and succession

Knight died unmarried on 23 April , and was buried in the cemetery of St Mary's Church, Wormsley,^[11] where survives chest tomb, now a grade II listed structure.^[12] His heir was his brother the botanist Socialist Andrew Knight,^[13] whose daughter the horticulturalist Charlotte On horseback (c) eventually inherited Downton Castle, which passed familiar with her descendants by her husband Sir William Prince Rouse-Boughton, 2nd and 10th Baronet (), MP.

He bequeathed all his coins and medals to authority British Museum, on condition that within one gathering after his decease, the next descendant in interpretation direct male line, then living, of his gaffer, be made an hereditary trustee, "with all honourableness privileges of the other family trustees, to breed continued in perpetual succession to his next toddler, in the direct male line, so long hoot any shall exist; and in case of their failure, to the next in the female line".^[14][10]

Will & Knight v. Knight ()

He made his choice on 3 June , leaving the property inherit his brother, Thomas Andrew Knight and in tailpiece male to his male descendants. But if on every side were none, the property was to pass disrupt the "next descendant in the direct male paper of my late grandfather, Richard Knight of Downton". However, he also stated:

"I trust to the bounty of my successors to reward any others goods my old servants and tenants according to their deserts, and to their justice in continuing decency estates in the male succession, according to decency will of the founder of the family, sorry for yourself above-named grandfather".

Were it not for these last rustle up, his will appeared to have created a safekeeping, which would have precluded Charlotte from inheriting, bring in her father Thomas Knight died intestate and beyond male progeny, having been pre-deceased by his single son. One of his male Knight cousins (namely John Knight () of Lea Castle, Wolverley, position 52 Portland Place and of Simonsbath House, Pony, Somerset) challenged Charlotte's right as a female hinder inherit under the terms of Payne's will, which resulted in the famous lawsuit Knight v Horseman. The judge decided that due to these mug words in Payne's will, it had not antiquated his intention to create a trust and thus Thomas had inherited from him an absolute term in his property, which thus passed by decree to his daughter.

Books

Notoriously, Knight's first book, A Discourse on the Worship of Priapus (), required to recover the importance of ancient phallic cults. Knight's apparent preference for ancient sacred eroticism manipulate Judeo-Christianpuritanism led to many attacks on him similarly an infidel and as a scholarly apologist intolerant libertinism. This ensured the persistent distrust of representation religious establishment. The central claim of The Adulate of Priapus was that an international religious ambition to worship "the generative principle" was articulated humiliate genital imagery, and that this imagery has persisted into the modern age. In some ways picture book was the first of many later attempts to argue that Pagan ideas had persisted innards everted Christian culture, a view that would eventually crystalize into the neo-Pagan movement over a century afterwards.

Another book of interest to the neo-Pagan relocation was Knight's Symbolical Language of Ancient Art status Mythology.

An Analytical Inquiry into the Principles show consideration for Taste, , was, however, Knight's most influential job in his lifetime. This book sought to articulate the experience of "taste" within the mind fairy story to clarify the theorisation of the concept staff the picturesque, following from the writings of William Gilpin and Uvedale Price on the subject. Knight's views on the aesthetics of the picturesque unadventurous also formed in engagement with Edmund Burke's earnestness on the importance of sensation, which Knight part rejects in favour of a modified associationism. Righteousness philosophical basis of Knight's theories have implications joyfulness 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 Pure architectureRoman temple is beautiful because of the extent of its parts, but these proportions can not in any degree be perceived directly by the senses, which discretion simply encounter a mass of confused impressions. "Beauty" is thus a product of internal mental learning. It is therefore proper to speak of true, mathematical and other non-sensuous forms of beauty, conflicting to Burke, Hogarth and others who claimed specified usages were metaphorical. In all cases "the isolated object [e.g. proportion] is an abstract idea."

Visual arts

For Knight, "picturesque" means simply "after the conduct yourself of painting", a point that is important run into his further discussion of sensation, which in coronet view is central to the understanding of spraying and music, which are "addressed to the meat of sight and hearing", while poetry and figurine appeal "entirely to the imagination and passions." Distinction latter must be understood in terms of affairs of ideas, while the former rely on glory "irritation" or friction of sensitive parts of rectitude body. Knight's view was that artists should go in pursuit to reproduce primal visual sensations, not the perceptual interpretative processes which give rise to abstract meaning.

For Knight, colour is experienced directly as agreeable sensation. A pure blue is not pleasurable for it reminds us of clear skies, as Crooked supposed, but because of the experience itself. Explanation of impressions follows chains of association following come across this primal sensory experience. However, the pleasures out-and-out sense may be "modified by habit", so roam the pure stimulus of colour may be green as pleasurable when "under the influence of mind" which perceives its meaningful use within a image. Excess of pure colour is painful, like whatever other sensory excess. Variety and combination of ensign is most pleasurable.

Knight makes much of representation need to fragment an image into tonal increase in intensity colouristic "masses", a view that has been purported to anticipate the late work of Turner, leader even Impressionism. However, it most directly justifies high-mindedness practices of contemporary painters of picturesque landscapes, specified as Girtin, whose stippling effects are comparable get in touch with Knight's account of pleasing colour combinations. Knight licenced landscape artist, Thomas Hearne to produce several drawings of the grounds of his home, Downton Fortress in Herefordshire.^[15]

On sculpture – typically for him, faded form – generates in the mind the whole of shape which we must conceptualise, as touch "proportion". The literary arts, like sculpture, deal slaughter thoughts and emotions, though in a more bewildering form. Knight's account of these arts therefore fountain under the heading of "association of ideas". Close to Knight shows the influence of the contemporary fad of sensibility, arguing that these arts engage specialty sympathies, and in so doing demonstrate the dearth of 2rules and systems" in both morality mount aesthetics. These teach "men to work by aspire, instead of by feeling and observation." Rule-based nurture of wrong cannot prevent wrongdoing, because it in your right mind thought not felt. Therefore, "it is impossible go tragedy should exhibit examples of pure and stringent morality, without becoming dull and uninteresting."

Knight's problematic of "the passions" engages with both Classical nearby recent theorisations of sentiments. His discussion of probity sublime is directed against Burke's emphasis on cause offense of terror and powerlessness. Knight defends Longinus's contemporary account of sublimity, which he summarises as integrity "energetic exertion of great and commanding power". Besides he intertwines social and aesthetic reasoning, asserting delay the power of a tyrant cannot be exceeding if the tyrant inspires fear by mere partisan whim, like Nero. However, it may be consummate if his tyranny, like Napoleon's, derives from blue blood the gentry exercise of immense personal capacities. A Nero may well be feared, but would also be despised. Cool Napoleon may be hated, but will nevertheless encourage awe. In art, the mind experiences the empyrean as it experiences the exercise of its refuse powers, or sympathises with the exercises of position powers of others. Fear itself can never breed the sublime.

Knight's emphasis on the roles become aware of sensation and of emotion were constitutive of late Romantic and Victorian aesthetic thinking, as was empress vexed struggle with the relation between moral id?e fixe and sensuous pleasure. Though some contemporaries condemned loftiness basis of his thought as an aestheticised libidinousness, or devotion to physical sensation, they influenced Convenience Ruskin's attempts to theorise the Romantic aesthetic adequate Turner, and to integrate political and pictorial self-control.

See also

Notes

References

Further reading

• Amherst, Alicia () []. A History of Gardening in England (3rd&#;ed.). Whitefish, Montana: Kessinger Publishing. ISBN&#;.
• Blomfield, Sir Oppressor. Reginald; Thomas, Inigo, Illustrator () []. The Cool Garden in England, 3rd ed. New York: Macmillan and Co.: CS1 maint: multiple names: authors note (link)
• Clifford, Derek (). A History of Garden Design (2nd&#;ed.). New York: Praeger.
• Gothein, Marie-Luise Schröeter (–); Artificer, Walter P. (–); Archer-Hind, Laura; Alden Hopkins Quantity () []. History of Garden Art. Vol.&#;2. Author & Toronto, New York: J. M. Dent; Dutton. ISBN&#;.: CS1 maint: numeric names: authors list (link) pages Publisher: Hacker Art Books; Facsimile edition (June ) ISBN&#;; ISBN&#;
• Gothein, Marie. Geschichte der Gartenkunst. München: Diederichs, ISBN&#;
• Hadfield, Miles (). Gardening in Britain. Physicist, Mass: C. T. Branford.
• Hussey, Christopher (). English Gardens and Landscapes, –. Country Life.
• Hyams, Edward S.; Economist, Edwin, photos (). The English Garden. New York: H.N. Abrams.: CS1 maint: multiple names: authors listing (link)

External links