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List of illustrations

  • Baldassare Castiglione
  • A sprig of guilder-rose
  • Designs for a Scythed Chariot, an Armored Car, and Pike
  • Title page from The Courtyer of Count Baldessar Castilio divided into foure bookes
  • Self-portrait, aged 30
  • Elizabeth I
  • Sir Francis Drake, 1540–96
  • Lord Herbert of Cherbury
  • An Unknown Woman, aged 26
  • Elizabeth I
  • Elizabeth I
  • Queen Elizabeth I ('The Ditchley portrait')
  • Mrs. Elizabeth Freake and Baby Mary
  • Constructions
  • Construction of a Sun and Chalice
  • Comparison of a Head of a Lion and a Man
  • Figure of a Man
  • Figure of a Woman
  • Figure of a Child
  • Allegorical Drawing of the Academy
  • The busts of an old man, a boy, and a young woman
  • Construction of the Eye
  • Construction of the Letter A
  • Capital Strokes and Letters
  • Any one who can learn to write can learn to draw
  • A Standing Female Figure
  • Costume for Atalanta
  • Peacham's Construction of a Sun
  • Shadowing
  • Title Page
  • Scene from Shakespeare's Titus Andronicus
  • The Museum of Ferdinando Cospi
  • Thomas Howard, 14th Earl of Arundel
  • Aletheia Talbot, Countess of Arundel
  • The Family of the Earl of Arundel
  • Charles I at the Hunt
  • Lord John Stuart and his Brother, Lord Bernard Stuart
  • Robert Rich (1587–1658), Second Earl of Warwick
  • Title Page
  • The Blue Boy
  • Insects
  • Nature Studies
  • Cork
  • Part of a vine branch cut transversly
  • A Louse on a Human Hair
  • Queen Elizabeth I (The Ditchley portrait), detail
  • Strath Tay with Aberfeldy Castle and Castle Menzies
  • A Landscape Frame
  • Lady Francis Scott and Lady Elliot
  • A Sheet of the Fair Copy of the Military Survey of the North of Scotland
  • Plan and Views of Dumbarton Castle
  • The ships Race-horse and Carcass of Captain Phipps' expedition embedded in ice in the Polar Regions
  • Heads
  • The Southeast view of Rose Castle in Cumberland
  • View of Revel, Capital of Esthonia
  • Figure Studies: Boy Standing
  • Figures
  • Coastal Scene
  • Designs for Semi-Detached Cottages
  • Designs for a Boiler or Still
  • Designs for a Wooden Rolling-stone
  • Temple of Concord and Temple of Jupiter, Rome
  • Roche Abbey, near Sandbeck
  • Title Page
  • On the River Elbe, near Lowositz in Saxony
  • Handbill for Mr. Fargues's Academy, Hoxton
  • Landscape
  • View of Dinevawr Castle
  • View of Goodrich Castle
  • View of Langor's-pool
  • Landscape View
  • Pastoral Landscape with the Ponte Molle
  • A Landscape at Sun-set with Cattle and A view of Ponte Molle near Rome
  • A Blot
  • A Landscape developed from the preceding blot
  • Streaky Clouds at the top of the Sky
  • A Completed Landscape from the original blot
  • On the Rhone
  • Lake View
  • View with Two Figures
  • Whatcombe
  • Two Claude Glasses
  • Views of Dumbarton Castle, detail
  • Dumbarton Castle
  • Myriorama, Second Series; Italian Scenery. Designed by Mr. Clark
  • Generalized Nature
  • A Willow
  • Masonry
  • Waterfall
  • Head of a Cow
  • Studies of a Cow
  • Mills
  • Plate XII
  • Trees
  • Spray and Ramification of the Oak
  • Spray and Ramification of the Ash
  • Clump of Trees
  • View in Windsor Park
  • Oak Trees
  • Sprays of foliage
  • Tree Trunks
  • Plate I
  • Plate II
  • Ash, Plate XVI
  • Oak, Plate III
  • Plate X
  • Beech Forest, Plate XXIX
  • Tree in a Farmyard
  • Fir Trees at Hampstead
  • Ash, seen at near distance, Plate XV
  • Oak and Ash Trees contrasted in a Landscape, Plate XX
  • Landscape under meridian Sun, Plate XVIII
  • Lightening, Plate XIII
  • Landscape at Noon, Plate XIII
  • Rainbow, Plate X
  • View at East Bergholt over the kitchen garden of Golding Constable's house
  • Arundel Mill and Castle
  • Perspectival Absurdities
  • Definition of an Angle
  • Plate IX
  • Frontispiece and title page
  • Plate XXVII
  • Camera Obscura
  • Camera Lucida
  • Messrs. Lackington Allen & Co., Temple of the Muses, Finsbury Square
  • The Library in Ackermann's Repository of the Arts, 101 Strand
  • S. & J. Fuller's Temple of Fancy
  • Ackermann's Repository of the Arts, 101 Strand
  • S. & J. Fuller's Temple of Fancy
  • Horse with easel and palette on his back (The Travelling Artist)
  • The Chariot of John Eamer Esq., Sheriff of the City of London and County of Middlesex. September 28. 1794. Built by Messrs. Godsal & Co.
  • Exhibition Room, Somerset House
  • Life Class at the Royal Academy
  • Galleries at the British Institution
  • Exhibition of the Society of Painters in Watercolours
  • Christie's Auction Rooms
  • Drawings Let Out to Copy at R. Ackermann's Repository of Arts
  • Drawings Let Out to Copy at S. & J. Fuller's, Temple of Fancy
  • R. Ackermann Begs Leave to recommend to the Nobility, Gentry, and the Public in general, His Superfine Water Colours
  • Title Page
  • Messrs Pellatt & Green, St. Paul's Church Yard
  • Messers Harding, Howell & Co., 89 Pall Mall
  • Allegorical Woodcut, with Patterns of British Manufacture
  • Walking Dress
  • Ladies Toilette, Fauteuil, Footstool, &c.
  • R. Ackermann
  • Ornamental Papers
  • Lady's Album
  • Lady's Album
  • Self Portrait
  • Plate II
  • Beauty Directed by Prudence rejects with Scorn the Solicitations of Folly
  • Pole screen with engraved design
  • Maria
  • Maria
  • Commode
  • The Stag, or Red Deer
  • Plate
  • Wedgwood & Byerley, York Street, St. James's Square
  • Plate I
  • Drawn Flowers
  • Painted Flowers
  • Color chart for mixing blue and red
  • Color chart for mixing blue and purple
  • Scarlet flesh Romana, Plate LXIV
  • Commode
  • Transferring
  • Title Page
  • Norwich Cathedral, Ambulatory
  • The Corinthian Maid
  • R. Collins, Principal Enamel and Miniature Painter to the King
  • Mr. Sandby Jnr., St.George's Row Oxford Street, Terms of teaching Drawing
  • Title Page
  • Thomas Jefferson
  • Silhouette machine
  • Studies, Plate II
  • Hampton in Arden, Warwickshire
  • Hastings Fishing Boats returning on the approach of a Storm
  • Storm. View of the Coast of Hastings
  • Plate I
  • Plate II
  • Plate III
  • Plate IV
  • Page of instructions with color key
  • Outline, Plate I
  • Stained with three colors, Plate II
  • Distance, second distance, and foreground, Plate VIII
  • Complete finishing of the drawing, Plate XIV
  • Lesson 1: Sketches of a Gate, 1838
  • Lesson 1: Sketch of a Gate, 1838
  • Lesson 13: In Normandy, 1838
  • Broad Street, Oxford, full moon
  • Study of a Stone Pine
  • Plate I
  • Plate 8
  • October 30th
  • Near Little Berkhamstead
  • St. Martin, July 6th
  • Clayberry from Field, May 1829
  • Menai Bridge from the Isle of Anglesea, Sept. 3, 1830
  • A Paddle-steamer in a Storm
  • Plate I, no. 9
  • Title Page
  • Cadir Idris
  • Paint box
  • Figure 47: Morning Dress
  • Figure 23: Afternoon Dress
  • Lady Caroline Spencer, later Viscountess Clifden, and her sister, Lady Elizabeth Spencer
  • Mrs. Bavizzetti's Seminary at Great Grove House, Kensington, October 1812
  • An elegant establishment for young ladies
  • The Elopement
  • Virtue
  • Vice
  • View of Earlham Hall with Joseph John Gurney
  • View of Earlham Bridge from the drawing room windows, Sep. 6. 1846
  • Rev. Francis Cunningham's Vicarage, Lowestoft, 1846
  • Title Page
  • Cyclamen
  • Title Page
  • Tulip and Anemone
  • Two Bouquets
  • Man's coat, incomplete
  • An urn decorated with the sign of Gemini, containing tulips, crown imperial, lilac, roses, a lily and narcissus
  • Common Provence Rose
  • Plate I
  • Sensitive
  • The Female Traveller
  • Strawberry—Mignonette—Tulip—Blue Bell
  • Hollyhock—Hepatica—Rest Harrow
  • Mimosa, or Sensitive Plant
  • Forget-me-nots
  • Still Life with Acorns and Horse Chestnuts
  • Pomegranate (Granta Punica), Plate CVL
  • Single White and Red Camellias, Plate I
  • Peony (Paeonia)
  • Dandelion (Taraxacum officinale)
  • Common Bladder Nut, Spindle Tree, Common Buckthorn, and Alder Buckthorn
  • Tigridia: The Tiger Flower, Plate X
  • Stamens, Plate I
  • Pistillum, Plate II
  • Corolla, or Petals, Plate III
  • Virginian spider wort, Plate VI
  • Plate I
  • Plate II
  • Chart: Prismatic Order and Proportion of Colours, and Order in Point Illumination
  • Colour Ball
  • Scarlet Blot
  • Blue Blot
  • Violet Blot
  • Green Blot
  • Yellow Blot
  • Orange Blot
  • Second Group
  • Third Group
  • Ninth Group
  • Eleventh Group
  • Primroses and Bird's Nest
  • An example of geometric outline, Plate XVII
  • An example of freehand drawing, Plate LI
  • An example of shaded freehand drawing, Plate V
  • Drawings of Simple Objects for Child Education
  • View towards Lecco, 6th October, 1833
  • Latticed Window
  • A Scene in a Library, Plate VIII
  • The Open Door
  • The Haystack
  • The Ladder
  • Panorama View of the Reading Establishment
  • Two Shields, Plate I
  • How to Draw Geometric Shapes
Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
~A book of this length certainly needs some explanation. Put simply, it attempts to explain how drawing came to be seen as a polite and useful art in England – that is to say, how drawing became a practice...
PublisherPaul Mellon Centre

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Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
~The question posed in this chapter is how and why drawing came to be practiced by non-artists? Perhaps the answer seems obvious: since drawing is pleasurable it naturally recommended itself as a pastime to those with the leisure to enjoy it. But when we come to look at the way drawing is discussed in the early modern period, this obvious answer dissolves. The...
PublisherPaul Mellon Centre
Related print edition pages: pp.3-32
https://doi.org/10.37862/aaeportal.00189.001

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Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
~In seventeenth-century England, the admonitions of humanists like Castiglione, della Casa, Elyot, and Ascham resounded in numerous books on courtesy and were taken up by churchmen, dissenters, and educators. As a discourse, courtesy was powerful enough to cross ideological lines and...
PublisherPaul Mellon Centre
Related print edition pages: pp.33-73
https://doi.org/10.37862/aaeportal.00189.002

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Free
Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
Part Two
PublisherPaul Mellon Centre
https://doi.org/10.37862/aaeportal.00189.003
Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
~With this chapter we begin part π of this study, examining the popularization of drawing in the...
PublisherPaul Mellon Centre
Related print edition pages: pp.77-126
https://doi.org/10.37862/aaeportal.00189.004

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Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
~In the first issue in 1809 of his magazine, the Repository of the Arts, Literature, Commerce, Manufacturers, Fashions...
PublisherPaul Mellon Centre
Related print edition pages: pp.127-181
https://doi.org/10.37862/aaeportal.00189.005

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Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
If the Miss Beauforts’ plans to dazzle the seaside resort of Sanditon are any indication, music and art played rather prominent roles in a young lady’s repertoire of elegant accomplishments. As the necessary accouterments of style, harps and drawing paper were caught up in a discourse of fashion and femininity ordered by the economy of commodification and consumerism that...
PublisherPaul Mellon Centre
Related print edition pages: pp.183-227
https://doi.org/10.37862/aaeportal.00189.006

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Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
~I have been tracing two threads throughout the chapters of part II: the first has been the formation, gendering, and classing of the amateur artist and the practice of amateur drawing in the commercial culture of the eighteenth and nineteenth centuries, a development that is summarized at the end of the preceding chapter. The second has been the evolution of...
PublisherPaul Mellon Centre
Related print edition pages: pp.229-246

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Free
Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
Select Bibliography
PublisherPaul Mellon Centre
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Description: Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
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PublisherPaul Mellon Centre
Learning to Draw: Studies in the Cultural History of a Polite and Useful Art
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