Romantic Circles

Significance

Dr. Syntax was first introduced to the British public in 1809 in The Schoolmaster’s Tour, which appeared in Randolph Ackerman’s Poetical Magazine, a monthly targeted to the patrons of his “Repository of Arts” (J. Grego, Rowlandson 38). In this venture, Thomas Rowlandson created a caricature that was sent to William Combe (then in debtor’s prison at Kings’ Bench) who would then compose lines that addressed and would accompany the print (B. Falk, TR 156). The tour culminated in the fourth volume with the picturesque tour. Given its great success, the plates were reworked and renewed to appear in the 1812 The Tour of Doctor Syntax in Search of the Picturesque with thirty-one illustrations. This work was met with even greater success so that several editions were published within one season (J. Grego, Rowlandson 39). Taking advantage of Dr. Syntax’s immense popularity, a series of sequels were published, resulting in a trio of tours. So popular was Dr. Syntax in romantic culture that there was a plethora of Dr. Syntax merchandise, from hats and coats to wigs (B. Falk, TR 157).In this work, Dr. Syntax is invited to dine at a Lord’s “splendid pile” and to view his private art collection (W. Combe, Tour 99). From the moment that he is greeted at the door, there is a marked difference in class and taste between host and guest:

My Lord receiv’d him with the grace
Which marks the sovereign of the place; Nor was Syntax made to feel
The pride of which fools will oft reveal
Who think it a fine state decorum,
When humble merit stands before.
(W. Combe, Tour 99-100)

Dr. Syntax, the humble visitor, is overwhelmed by the grandeur of the estate; however, he is welcomed by the Lord who “was birth from folly free,— / Here was the true nobility, / Where human kindness gilds the crest;— / The first of virtues, and the best” (W. Combe, Tour 100). The Lord’s character is described in terms of the art of heraldry; his crest is gilded not by pretentious show but instead by “human kindness.” Thus, in the person of the Lord, the aristocracy is associated with a particularly artistic virtue, which translates into good taste as well as proper breeding. The Lord’s taste in art is refined and extensive, as shown in his private collection which includes paintings, sculpture, and medallions. Dr. Syntax then is first introduced to the Lord as a connoisseur who in turn treats him as not an untitled commoner but a fellow connoisseur. However, the Lord is in for a surprise at dinner when Dr. Syntax privileges the experience of dining over the conversation about art. The dinner is served in the Lord’s private gallery where Dr. Syntax, the Lord, and other aristocrats dine amidst paintings and art objects. With every inch of the walls covered with paintings, the room recalls the Great Hall of the Royal Academy Exhibitions. However, the grandeur and the quantity of art cannot distract Dr. Syntax from his dinner. The Lord waits for dinner to be served before asking Dr. Syntax his opinion of “the show / Of pictures that around you glow?” (W. Combe, Tour 100) The Lord not only wishes to display his collection but also his knowledge and position as a connoisseur, wishing to “judge, by certain rules, / The Flemish and Italian schools; / And nicely describe the merits / Or beauties of which each school inherits” (W. Combe, Tour 101). Implied in this is that his collection is a particularly fine one containing Old Masters. However, despite the Lord’s prodding, Dr. Syntax prefers to eat and drink before he examines the pictures to the point of protesting that “The finest works are on the table” (W. Combe, Tour 101). He prefers to concentrate his attention on dinner, which though appropriate given the circumstances seems entirely inappropriate given the location. When dinner is finally over and Dr. Syntax is ready to examine the Lord’s collection, he finds himself drunk and seeing double; his ability to view and criticize art is impaired by his appetite. In this episode, Dr. Syntax fails to take advantage of the invitation to not only view but also to discuss the private collection of a connoisseur aristocrat, thus revealing himself to be an errant spectator as well as a ersatz art connoisseur.