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The treatment of nature in English poetry between Pope and Wordsworth cover

The treatment of nature in English poetry between Pope and Wordsworth

Chapter 3: LIST OF ILLUSTRATIONS
By Myra Reynolds
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About This Book

A scholarly survey examines how English literature and the visual arts moved from a classical, external view of nature toward a more subjective, expressive sensibility that anticipated Romantic thinking. It traces developments in eighteenth-century poetry and detects early articulations of later Romantic ideas, then broadens the inquiry to fiction, travel writing, garden design, and landscape painting to show parallel shifts across media. Close readings and historical context reveal recurring themes, such as the growing valuation of natural feeling, the gradual decline of neoclassical conventions, and the cumulative preparation that made later poets and painters appear as summative figures.

LIST OF ILLUSTRATIONS

FACING PAGE
Long Leate 249
“The House and gardens of the Rt. Hon. Thomas Lord Viscount Weymouth, Baron Warminster, L. Knyff, Del. I. Kip, Sculp.”
Hagley Park 261
“A View in Hagley Park, belonging to Sir Thos. Lyttleton Bart., to whom this Plate is inscrib’d by his most obed’t. Serv’t. T. Smith. G. Vivares Sculp.” Published Oct. 1749.
John Maitland, Duke of Lauderdale 275
“From the original of Sir Peter Lely in the Collection of the Right Hon. the Earl of Lauderdale. Drawn by Wm. Hilton, R.A. and Engraved with Permission by I. S. Agar.” The print here reproduced was published March 1, 1820.
Mrs. Carnac 280
By Sir Joshua Reynolds. In the Wallace Collection, London. From a photograph by the Muchmore Art Company, London.
Squire Hallet and His Wife 283
By Thomas Gainsborough. Now in the possession of Lord Rothschild. From a photograph by Braun, Clement & Cie.
A Calm 286
By Willem van de Velde. In the Gallery at Dulwich, London. “Drawn, engraved and published by R. Cockburn, Dulwich, 1818.”
Dunnington Cliff 288
“A View of Dunnington Cliff. On the River Trent (Five Miles South East of Derby) belonging to the Right Honourable the Earl of Huntington, to whom this Plate is inscrib’d by his Lordships most Dutiful and most humble Serv’t. T. Smith. G. Vivares Sculp. Act of Parliam’t. Augt. 25, 1745.”
Derwentwater 291
“A View of Derwent-Water, Towards Borrodale. A Lake near Keswick in Cumberland. To Edward Stephenson Esq’r. of Cumberland. This Plate is inscrib’d by his most Obliged humble Servant Will’m. Bellers. Painted after Nature by William Bellers. Engraved by Messrs. Chatelin & Ravenet. Published according to Act of Parliament October the 10th 1752.”
Mount Snowdon 293
“A View of Snowden, in the Vale of Llan Beriis, in Caernarvon Shire. I. Boydell. Del. & Sculp. Published according to Act of Parliament by J. Boydell at the Globe near Durham Yard in the Strand 1750.”
Cader-Idris 297
“The Summit of Cader-Idris Mountain in North Wales. Richard Wilson pinx’t. E. & M. Rooker sculpser’t. Published July 17, 1775 by John Boydell, Engraver in Cheapside London.”
Kilgarren Castle 300
“Kilgarren Castle in South Wales, Richard Wilson pinx’t. Will’m. Elliott sculp’t. Published July 17th 1775 by John Boydell Engraver in Cheapside London.”
Snowdon 304
By Richard Wilson. In the Manchester City Art Gallery. From a photograph by Sherratt and Hughes, Manchester.
The Market Cart 307
Painted by Thomas Gainsborough. In the National Gallery.
Pembroke 311
“Engraved by I. Walker from an Original Picture by Paul Sandby Esq. R. A. Published May 1st 1797.”
Lodore Waterfall 315
“Drawn by Jos’h. Farington. Engraved by W. Byrne and T. Medland. London. Published as the Act directs, April, 1785.”
The Wood Cutters 318
Painted by G. Morland. Engraved by W. Ward. Published by T. Simpson, St. Paul’s Church Yard, London, 1792.