In a small, dark, cave-like dwelling, a woman with a creased brow and elongated nose sits crouched with her knees to her chest. She wears a white bonnet and large cloak, and she smokes a slender clay pipe. A dog, standing on its hind legs, licks her chin, and a second canine companion lies in the foreground beside a scroll-handled mug.
A man, imprisoned, sits in the corner of a cell next to a barred window through which two figures stare. The captive wears a large brimmed hat, long curled wig, and cravat, which date the sitter to the late seventeenth or early eighteenth century. He wears a loose, patterned gown, which is lifted to reveal a stockinged leg with a shackle and chain at the booted ankle.
Repton's lavishly illustrated texts served to record past accomplishments as wells as to advertise his skills as a landscape architect. The over-slips that allow for "before" and "after" views of a property were particularly important as they testified to the dramatic results Repton promised.
Repton's lavishly illustrated texts served to record past accomplishments as wells as to advertise his skills as a landscape architect. The over-slips that allow for "before" and "after" views of a property were particularly important as they testified to the dramatic results Repton promised.
Epitomized by Caspar David Friedrich’s Wanderer Watching a Sea of Fog (c. 1817-18), and the Wordsworthian peripatetic, the gentlemanly or artistic wanderer is integral to the Romantic imagination. Wandering lies at the heart of picturesque sightseeing, blank verse poetry, specimen collecting, and the Romantic cultivation of self. However, these forms of sanctioned wandering exist against a backdrop of less desirable movements that, nonetheless, inform, color and at times literally converge with the endorsed amblings of the inquisitive artist-gentlemen.
This text and its illustrative plates demonstrate how to create optical instruments for recreational scientific experiments.
Hooper's text and its images describe how to create optical instruments for recreational scientific experiments.
The text and its accompanying plates delineate how to create optical instruments for recreational scientific experiments.
The camera obscura portrayed here is an excellent example of Ferguson’s interest in the physical properties of the scientific problem at hand.
As evidenced in the sustained revision, expansion, and republication of Jacques Ozanam’s original work on recreational experiments from the late seventeenth century to the nineteenth, optical technologies and rational experiments stimulated the Romantic visual imagination and reinforced the emphasis on edification and self-improvement through efforts at practical education in the domestic spher
