Accounting for the Unaccountable: Lesbianism and the History of Sexuality in Eighteenth-Century Britain

2010 ◽  
Vol 7 (1) ◽  
pp. 1-15 ◽  
Author(s):  
Katherine Binhammer
2019 ◽  
Vol 95 (2) ◽  
pp. 83-113
Author(s):  
Edward Wouk

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art.


1998 ◽  
Vol 41 (1) ◽  
pp. 179-199 ◽  
Author(s):  
B. W. YOUNG

Since the appearance of volume I of The decline and fall of the Roman empire in 1776, the religion of Edward Gibbon has been subject to intense debate. He has been variously identified as an atheist, a deist, even as a somewhat detached Christian. Examination of his relations, both personal and scholarly, with the varieties of religion and irreligion current in eighteenth-century Britain leads to the conclusion that he remained resolutely critical of all such positions. He did not share the convictions of dogmatic freethinkers, still less those of determined atheists. The product of a nonjuring family, Gibbon benefited from the scholarly legacy of several high church writers, while maintaining a critical attitude towards the claims of Anglican orthodoxy. It was through the deliberate and ironical adoption of the idiom of via media Anglicanism, represented by such theologians as the clerical historian John Jortin, that Gibbon developed a woundingly sceptical appraisal of the history of the early church. This stance made it as difficult for his contemporaries to identify Gibbon's religion as it has since proved to be for modern historians. Gibbon appreciated the central role of religion in shaping history, but he remained decidedly sceptical as to Christianity's ultimate status as revealed and unassailable truth.


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