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published_or_final_version / History / Master / Master of Philosophy

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Thesis (B.A.Hons. 1969) from the Dept. of History, University of Adelaide.

This thesis looks at the design and decoration of European ceramics in the period 1500-1830, paying particular attention to their place within the evolution of stylistic trends within European art and design in this period, including the dissemination of designs through prints during the Renaissance; the influence of the import of Oriental goods in the 17th and 18th centuries; the influence of metalwork in the 18th century; and the influence of the Classical revival of the late 18th century. It pays particular attention to the usage of objects and changes in eating and drinking, including the emergence and decline of service a la francaise in the 18th century, and the use of ceramics as room decoration in this period. It also considers ceramic product as an aspect of economic theory such as mercantilism and changes in society and industrial production.

This thesis examines the patronage and collecting of Alexander, l0th Duke of Hamilton, premier peer of Scotland, son-in-law of the maniacal collector William Beckford, and arguably the greatest collector in the history of Scotland. Using archival evidence from many sources, it begins with investigations of the Duke's early collecting of Italian Renaissance paintings and manuscripts, acquisitions associated with Russia between 1807 and 1814, involvement with Princess Pauline Borghese and the Bonaparte family, and purchases of porphyry and marble in Rome between 1817 and 1827. Chapters 5 and 6 focus on the extension and refurbishment of Hamilton Palace between 1822 and 1832 and parallel purchases of furniture, furnishings and applied art. Special attention is paid to motivation and the acquisition of items from the Fonthill sale, tapestries made for Cardinal Pietro Ottoboni, furniture owned by Marie-Antoinette, Napoleon's 1810 tea service, bronze statues (wrongly) associated with Francis I of France - which served to underline the Duke's status and "support" his claim to the French dukedom of Chatellerault - and porphyry busts of Roman emperors that were "superior" to the bronze copies in the British royal collection. Chapter 7 reviews the last grand projects: the extremely expensive great black marble staircase, planned equestrian monument of the Duke as Marcus Aurelius, and Hamilton Mausoleum. The final chapter concentrates on the later purchases of Classical items and plaster copies, second marble bust of Princess Pauline, Thorvaldsen 's Napoleon Apotheosized, and Old Master paintings, and discusses how the Duke displayed his collection, in colourways, running sequences, clusters, and "end statements". A ''post mortem " conclusion sketches out the continuity of collecting Napoleonic material, as a consequence of the Duke's son and heir's marriage to the daughter of the adopted daughter of Napoleon and cousin of Napoleon Ill and the dispersal of the collection and demolition of Hamilton Palace between 1880 and 1930.

Critics who discuss Beethoven’s Pastoral Symphony often write about aspects that run counter to their conception of what a symphony should be, such as this symphony’s static nature and its programmatic elements. In nineteenth-century Boston and London, criticism of the Pastoral Symphony reflects the opinions of a wide range of listeners, as critics variably adopted the views of the intellectual elite and general audience members. As a group, these critics acted as intermediaries between various realms of opinion regarding this piece. Their writing serves as a lens through which we can observe audiences’ acceptance of ideas common in contemporaneous musical thought, including the integrity of the artwork, the glorification of genius, and ideas about meaning in music.