This thesis addresses the growing impulse towards establishing a public, national collection of Old Master pictures for Britain, located in London, in the last quarter of the eighteenth-century. It does so by identifying the importance of individual conceptualizations of what such a collection might mean for a nation, and how it might come to be realized for an imprecisely defined public. My thesis examines the shifting dynamics between private and public collections during the period of 1775 to 1800, repositioning notions of what constituted space for viewing and accessing art in a national context, and investigates just who participated in the ensuing dialogues about various uses of art for the nation. To this end, three case studies have been employed. The first examines the collection of pictures assembled by Sir Robert Walpole and their public legacy. The second explores the proposal for a national collection of art put forth by art dealer Noel Desenfans. The third examines the frustrated plans of Sir Joshua Reynolds for his collection of Old Master pictures. Through the respective lenses provided by the case studies, it is demonstrated that the envisioning of a national gallery for Britain pitched competing perspectives against each other, as different kinds of people jockeyed for cultural authority. The process of articulating and shaping these ambitions with an eye towards national benefit was only beginning to be explored, and negotiations of private ambitions and interests surrounding picture collections for the public was further complicated by factors of social class and profession. This thesis demonstrate that the boundaries of participation in matters concerning art for the nation were not fixed regarding Old Master pictures and the value placed on them in late eighteenth-century London. / Thesis (Ph.D, Art History) -- Queen's University, 2009-01-26 09:01:22.591

This thesis is an analysis of the manner in which the persona and works of Ben Jonson were appropriated – between the Restoration, in 1660, and the retirement of David Garrick, in 1776 – to reflect the political and social concerns of the age. Unlike previous studies, rather than primarily focusing on the stage history of Jonson, I analyse a wide range of sources – produced both within and outwith the theatre – in order to explore, across a variety of media, a breadth of material which appropriates the playwright and his works. I shall consider in my first main chapter the appropriations of Jonson within the Restoration court, in particular noting the assimilation of the playwright's work to what might be styled a proto-Tory ideology, as well as the way in which his plays could mirror the destabilising effects of the king's romantic liaisons. In my second chapter, I explore the moral reformation at the turn of the eighteenth century, in which we can see appropriations of Jonson which cast his works as being primarily didactic. The third chapter moves the narrative of the thesis into the years of the premiership of Sir Robert Walpole. I shall consider the way in which the playwright's works – especially The Alchemist and Eastward Ho! – were seen as being especially relevant to an age of speculation and mercantile endeavour, as well as examining the manner in which the figures of Sejanus and Volpone were appropriated to mock the increasingly unpopular premier. In the final chapter, I shall offer an analysis of Garrick's seminal portrayal of Drugger in the contexts of the political philosophy of the mid-eighteenth century, considering the manner in which it was interpreted alongside the character's further appropriations by Francis Gentleman. The thesis concludes by exploring political appropriations of Jonson up to the present day.