AMBITION IN

‘ THE GRAND MANNER’

Edward Dayes as History Painter

jonathan yarker

[A]
LOWELL LI BSON LIMI T ED
BRITISH ART
3 Clifford Street · London w1s 2lf
+44 (0)20 7734 8686 · [email protected]
www.lowell-libson.com
AMBITION IN
‘THE GRAND MANNER’

-
Edward Dayes as History Painter

jo nat h a n ya r k e r

Lowell Libson Ltd

mmxiii
LOWELL LIBSON LIMITED 7 Preface
3 Clifford Street · London w1s 2lf
Telephone: +44 (0)20 7734 8686 9 Ambition in ‘The Grand Manner’:
Fax: +44 (0)20 7734 9997
Email: [email protected]
Edward Dayes as history painter
Website: www.lowell-libson.com
Catalogue ia & iB
The gallery is open by appointment, Monday to Friday
The entrance is in Old Burlington Street 12 Lycurgus entering Athens and Theseus’s approach to Athens
Lowell Libson
[email protected] Catalogue 2
14 The Triumph of Beauty
Deborah Greenhalgh
[email protected]
17 Edward Dayes: a true ‘historical painter’
Jonny Yarker
[email protected]
appendix i
33 Catalogue of Edward Dayes’s sketchbook
in the British Museum

Frontispiece: Edward Dayes Self-portrait, 1801 appendix ii

Oil on canvas · 24 x 20 inches; 610 x 508 mm
© National Portrait Gallery, London. 63 Works exhibited by Edward Dayes
Published by Lowell Libson Limited 2013 at the Royal Academy in the period covered
Text and publication © Lowell Libson Limited by the British Museum Sketchbook
All rights reserved
i s bn 9 7 8 0 9 5 63930 5 0
62 Notes and References
Principal photography by Rodney Todd White & Son Ltd
Designed and typeset in Adobe Caslon by Dalrymple
Digitally printed in England by Pureprint 64 Select Bibliography
Preface
-
I am particularly grateful to Jonny Yarker for his hard work in
so successfully pulling together the various elements that I had
been considering for a publication dealing with the fascinat-
ing development of Edward Dayes’s career in his final decade.
Robin Hamlyn had already made exhaustive researches into
the Classical iconography seen in our three pictures as well as
making extensive notes on the individual drawings contained in
the book of sketches in the collection of the British Museum.
I am greatly indebted to Robin and Susan Hamlyn for all they
have contributed to this project. At the British Museum, Kim
Sloan has been hugely supportive and has been most generous
in allowing the sketchbook to be published here in its entirety.
I hope that this publication will aid the reconsideration of
Dayes’s career, as well as shedding important light on a moment
in British painting which has been frequently overlooked.

Lowell Libson

[6] [7]
Ambition in ‘The Grand Manner’: Edward Dayes as history painter
-
A little bit of a hack, a little too versatile, of a rather spiteful and to the newly finished Somerset House, and as a student had
unpleasant character, Dayes was clearly a good teacher, and ranks been profoundly impressed by the writings of its first president,
high in accomplishment among the topographers … Joshua Reynolds. Dayes’s desire to move away from landscape
his work is of his period, sedate and well designed.1 and attempt subject paintings, and in the process leave the world
of the commercial print publisher and enter the more elevated
With this statement Martin Hardie concluded his 1966 assess- marketplace of the Royal Academy, reflected a broader shift in the
ment of the work of the painter Edward Dayes, articulating a structures of British painting at the end of the eighteenth century.
prejudice which has endured until comparatively recently. Edward The acquisition in 1988 of Dayes’s historical watercolour The
Dayes has long been considered ‘among the topographers’, and his Fall of the Rebel Angels of 1798 by the Tate and the sketchbook by
‘versatility’ – he produced topographical and antiquarian water- the British Museum in 1993 has meant that this aspect of Dayes’s
colours, oil paintings, miniature portraits, added backgrounds career has begun to receive attention from scholars. Kay Dian
to architectural drawings, worked as a reproductive engraver, Kriz recognised in Dayes and his struggles to shift from ‘hack’
coloured other peoples, prints and prepared drawings for the topographer to a painter in the Reynoldsian ‘Grand Manner’ one
newly popular panoramas – has been seen as indicative of his of the fundamental inter-generational struggles which were played
status as a ‘hack’. Recently this opinion has been challenged, not out across the walls of the annual Royal Academy exhibition at the
least because the best of his topographical works rank as some of end of the eighteenth century.5 Whilst Greg Smith has deployed
the finest landscape paintings of the eighteenth century, but it has Dayes’s example to illustrate the conflicting impulses of the fledg-
been the realisation that Dayes had ambitions as a history painter ling school of British watercolour on the eve of its secession from
which has stimulated a re-examination of his career.2 the main-stream Academy, with the foundation of the Society of
The evidence of Dayes’s writing – particularly his series of Painters in Watercolour in 1804.6
nine essays on painting published in the Philosophical Magazine But it is with the rediscovery of Dayes’s historical masterpiece
- a surviving work diary from 1798 in the National Art Library in oil, The Triumph of Beauty, exhibited in the Great Room at Som-
and records of the Royal Academy prove that from the late 1790s erset House in 1800, that the true extent of his abilities as a painter
Dayes planned and exhibited a number of bold historical com- and sophistication in mastering the conventions of contemporary
positions.3 These sources have been amplified by the rediscovery history painting have been made apparent. The purpose of this
of a number of Dayes’s historical works, including a sketchbook publication is to introduce The Triumph of Beauty and to publish
filled with over a hundred studies for compositions derived from two further historical watercolours, Lycurgus Entering Athens and
literary and historical texts.4 The sketchbook’s pages offer detailed Theseus’s Approach to Athens of 1797, along with the contents of
evidence of Dayes’s working method, aspirations and attempts to the British Museum sketchbook. We hope this publication will
move away from pure landscape and complete pictures more in aid in the reconsideration of Dayes’s career, as well as shedding
sympathy with the ambitions of the Royal Academy. Dayes had important light on a moment of British painting which has been
entered the Royal Academy schools in 1780, the year they moved frequently overlooked.

[9]
catalogue 1a & 1b of engravings to pocket editions of the works of fashionable writ- idea for the pictures pendant, the subject of which was Theseus
ers such as Gray, Thomson, Shakespeare, Milton and Dryden. In Approaching Athens. Taken from the opening passage of Dryden’s
Edward Dayes 1763–1804 his own Essay on Composition, or disposition, Dayes asked ‘how
is it possible that an artist with little reading can accomplish a
poem, it depicts the moment Theseus, returning from battle, is
stopped by a ‘quire of mourning dames’, composed of wretched
Lycurgus entering Athens  and  Theseus’s approach to Athens work like an historical picture?’3 Under ‘Pocket Volumes’ is listed queens whose husbands have all fallen at the hands of Creon,
‘Dryden’s Fables’, a copy of the poet John Dryden’s 1700 collection now King of Thebes. The slaughtered kings are lying unburied
of translations of classical and medieval poetry from which Dayes and dishonoured according to Creon’s command. The queens
made a number of designs. For the present pictures he chose the appeal for help to Theseus who, although returning from a long
story of Palamon and Arcite, a translation of Geoffrey Chaucer’s battle, is deeply moved and resolves:
‘Knight’s Tale’ from The Canterbury Tales, which itself was taken
That by the faith which knights to knighthood bore,
from Boccaccio’s Teseida. In Dryden’s account of Lycurgus enter-
And whate’er else to chivalry belongs,
ing Athens, he described the ‘King of Thrace’ as:
He would not cease, till he revenged their wrongs;
Big-bon’d, and large of limbs, with sinews strong, That Greece should see performed what he declared,
Broad shoulder’d, and his arms were round and long And cruel Creon find his just reward.
Four milk-white bulls (the Thracian use of old)
The pictures form a striking pair utterly different in tone and style
Were yok’d to draw his car burnish’d gold.
of execution to any of Dayes’s other surviving watercolours, both
Upright he stood, and bore aloft his shield
being chromatically restrained displaying Dayes’s enduring respect
The passage continues describing the ‘bear-skin on his back’, his for the classicism of Poussin.
diadem of diamonds and rubies, ‘greyhounds, snowy fair’ and Dayes’s new departure into history painting did generate
his train of knights ‘in pomp and proud array.’ In his fifth essay some press comment. In the Monthly Mirror Dayes’s historical
on Invention, Dayes articulated a working method which neatly compositions were considered together, the anonymous critic
described his own: ‘When we have determined on a subject, commended his ‘considerable labour’ and described them as
we must with all due expedition make a sketch of the principal ‘very respectable’ for a landscape painter. Dryden’s Fables Ancient
persons concerned in the event … as much of the fire and spirit and Modern were perennially popular and it seems likely that
Pencil, pen and grey ink and watercolour heightened with the Royal Academy at the end of the eighteenth century as well as of the actions, as well as the grandeur of the whole depends on Dayes, who worked extensively for the topographical print mar-
touches of white and gum arabic being extraordinarily powerful works of English neo-classicism. the first impression.’4 In the sketchbook is a confident and flu- ket, would have been hopeful of having his works engraved by a
Each 22⅜ x 31⅛ inches; 568 x 792 mm In 1798 Dayes wrote nine Essays on Painting, which were ent study showing Lycurgus precisely as described by Dryden, book publisher. In the end Dayes’s attempts to become a history
Signed and dated E Dayes 1797 (the first lower left, the second printed in the Philosophical Magazine. Little more than conven- indeed Dayes has retained the minutiae of the poem depicting painter were unsuccessful and these remarkable watercolours
lower right) and the first further inscribed ‘[Palamon & A]rcite tional digests of seventeenth-century French Classicist art theory, the scene with remarkable literalism. A further sketch shows the remain the most substantial historical watercolours he produced.
or the Knight’s Tale [from] Dryden’ (lower edge) written in emulation of Reynolds’s Discourses, Dayes’s essays were
In their original frames. an essential part of his campaign to be recognised as a history
Fig.1 | Edward Dayes
painter, published at the moment he was preparing the present
Collections Mrs Madelyn Elmes; Study for Lycurgus entering
works for exhibition. Viewed in tandem with compositional Athens, 1797
Private collection, UK.
drawings in Dayes’s recently discovered sketchbook, now in the Pencil on paper; 7⅞ x 6¼ inches;
Exhibited London, Royal Academy, 1798, nos. 501 and 517. British Museum (see Appendix) they give a remarkably complete 197 x 158 mm
© The Trustees of the British
portrait of his commitment to becoming a history painter as well Museum (1993,0508.1 (59)r.).
as providing the intellectual and practical context for these works.1 Fig.2 | Edward Dayes
In 1798 Dayes exhibited four works at the Royal Academy, includ- Reynolds had articulated his own notion of a history painter in the Study for Theseus Entering
ing this impressive pair of watercolours, depicting scenes from Discourses, requiring his students to be both conversant with the Athens, 1797
Pencil on paper; 7⅞ x 6¼ inches;
Dryden’s fable Palemon and Arcite: Lycurgus Entering Athens and great literature of the past and the great art. We can gather some
197 x 158 mm
Theseus’s Approach to Athens. As Dayes’s most ambitious and fully idea of Dayes’s efforts in the former, by the survival of an inven- © The Trustees of the British
realised historical drawings, they represent an eloquent essay in tory of his library preserved in the National Art Library.2 Made Museum (1993,0508.1 (66)r.)

the aspirations of a watercolourist competing for recognition at in 1800, it lists some 365 volumes, ranging from bound collections

[ 12 ] [ 13 ]
catalogue 2

Edward Dayes 1763–1804

The Triumph of Beauty

Oil on canvas; 50 x 36 inches; 1270 x 915 mm Executed by Edward Dayes and exhibited in the Great Room at
Painted 1799–1800 Somerset House in the summer of 1800, The Triumph of Beauty is
a remarkable essay in the aspirations of historical painting and the
Exhibited London, Royal Academy, 1800, no. 93
Reynoldsian ‘grand manner’ from a painter more generally known
… Beauty’s living image, like the Morn for his topographical watercolours. It stands simultaneously as a
That wakes in Zephyr’s arms the blushing May, compelling document of Dayes’s attempts to use the apparatus
Moves onward; or as Venus, when she stood of history painting to advance his career and a perfect example of
Effulgent on the pearly car, and smild the Academy aesthetic in the decade after the death of Reynolds.
Fresh from the deep, and conscious of her form, The recent appearance of Dayes’s sketchbook containing over 100
To see the tritons tune their vocal shells, studies for historical compositions raised the possibility that a
And each cerulean sister of the flood number of previously unattributed subject-pictures may in fact
With loud acclaim attend her oer the waves be by Dayes. Amongst the designs is a small wash study for the
To see the Idalian bower … 1 Triumph of Beauty [fig.3].
The sketchbook proves that from 1798 Dayes spent an increas-
ing amount of his time painting scenes from the Bible and from
the works of Dryden and Milton. His diary for 1798 gives a
detailed account of his work on four watercolours, including the
striking image of The Fall of the Angels [fig.14]. The following year
he began the present canvas in oils, a move that was a logical
progression for Dayes, ambitious for a career as a serious his-
tory painter. A small finished watercolour by Dayes of a Woman
Bathing in a wooded Stream dated 1797 [fig.4] demonstrates his
interest in the idea of a standing female nude. For the subject
matter Dayes turned to the work of the mid-eighteenth century
poet, Mark Akenside. In the 1800 exhibition catalogue published
by the Academy, Dayes included seven lines from Akenside’s
1744 didactic poem, The Pleasures of the Imagination, to inform the
subject of the Triumph of Beauty. Dayes’s composition was both
a literal transcription of Akenside’s account of a standing ‘Venus’
in her ‘pearly car’, surrounded by ‘Tritons’ and ‘cerulean sister[s]
of the flood’, and a distillation of the poet’s Platonic concept of
beauty itself.
Fig.3 | Edward Dayes Study for the Triumph of Beauty, 1800
Pencil and watercolour on paper ; 7⅞ x 6¼ inches; 197 x 158 mm
The extent of Dayes’s ambition was underlined in his theoreti-
© The Trustees of the British Museum (1993,0508.1 (91)r.). cal ‘Essays on painting’, published in the Philosophical Magazine

[ 14 ] [ 15 ]
Edward Dayes: a true ‘historical painter’
-
for 1801–2, which outlined the ideal method for preparing an In recent writing on the development of a British school of his father a turner – Dayes in turn, began his career apprenticed
historical composition. Dayes commended the young painter to watercolour painting, Edward Dayes has begun to receive criti- to William Pether, a printmaker skilled at mezzotint. 2 Pether was
begin with a rough sketch, which he was to ‘prune or add till the cal attention, emerging from the shadow of his most celebrated particularly noted for his ability to exploit the chiaroscuro effects
whole comes into perfect ordonnance,’ adding finally ‘complete pupil, Thomas Girtin.1 This is largely due, not to his topographical of the medium, making a number of celebrated plates after paint-
the whole by slightly tinting it.’2 The ‘tinted’ drawing in the British watercolours, but to a series of historical compositions he pro- ings by Rembrandt for John Boydell in the 1760s. In the following
Museum sketchbook reveals Dayes’s debt to the Medici Venus in duced at the end of his career for exhibition at the Royal Acad- decade Pether produced prints after Joseph Wright of Derby’s
the conception of the figure. But Dayes’s composition had more emy. They prove Dayes to have been one of a number of painters candlelight paintings, including A Philosopher Giving a Lecture
immediate precedents than the antique. In 1772 James Barry had who explored the boundaries of the medium, pushing it beyond on the Orrery which he exhibited at the Society of Artists in 1768,
shown his Venus Rising from the Sea [fig.19] at the Academy. The the traditional province of landscape, to represent scenes from Three Persons Viewing the Gladiator by Candlelight in 1769 and An
study in the British Museum sketchbook gives an idea of the poetry and history. This shift was a natural one for a generation of Academy in 1772.3 Pether had trained with the entrepreneurial
original composition, which included Cupid seated in the clouds, painters steeped in the writings and teachings of the Academy’s portraitist Thomas Frye, and considered himself more than an
bow in hand, to the right of Venus. This detail recalled Barry’s first President, Sir Joshua Reynolds, who framed history paint- engraver, exhibiting pastel portraits, oil landscapes and miniatures
composition, where Cupid is seen standing behind Venus on a ing as the ultimate goal of any artist and founded the Academy at the Society of Arts throughout his career.4 It was this side of
bank of cloud. Recent analysis has shown that it was an element schools to prepare painters to work in the ‘great manner’. Dayes Pether’s career which Dayes noted in the biography he included
which Dayes included in his initial execution of the design, along in particular seems to have been alive to Reynolds’s doctrine. In in his Professional Sketches of Modern Artists, his somewhat wasp-
with putti seated in the clouds to the left of Venus, but decided to a series of nine essays on the parts of painting, published in the ish notes on contemporaries eventually published with his other
paint them out before completing the picture. Philosophical Magazine between 1801 and 1803, Dayes adumbrated writings in 1805. Dayes found Pether ‘a kind master, and polite
The choice of subject was remarkably in tune with other a system of art indebted to Reynolds’s Discourses. In each essay he gentleman’, specifically noting his oil portraits ‘painted with a firm,
pictures in the 1800 exhibition. Benjamin West showed Venus at asserted the importance of thought over the mere mechanics of broad pencil and great force of light and shade’, his landscapes
her Birth Attired by the Graces [fig.21]. West’s Venus is posed very technique; for Dayes the literate artist was to rely on the nobil- ‘tolerable’, and his miniatures ‘clear, firm and spirited’.5 On the
similarly to Dayes’s, with one hand raised to her head and the face ity of his conception over the mere effects of paint. His literary strength of his interpretations of Rembrandt and Wright, Dayes
shown in profile, although the palette and execution are completely ambition was matched by a series of historical compositions Dayes reckoned that in mezzotint he was ‘unquestionably the first.’ By
different.3 Dayes follows his own suggestions as articulated in his executed, first in watercolour and then in oil, which he exhibited 1787 Dayes was entrusted with preparing the painted studies for
essays, that handling and colour should reflect the subject matter of at the Royal Academy from 1798. The recent identification of three Pether’s engravings; a fine watercolour copy of Poussin’s Landscape
the painting. Thus the figure of Venus is finely modelled, ‘clean and of these watercolours and, more remarkably, his oil painting The with a Man Washing his Feet at a Fountain executed by Dayes
Fig.4 | Edward Dayes Woman bathing in a wooded Stream, 1797 fair’ in a blond palette, whilst the tritons are ‘dusky or muddy’ by Triumph of Beauty which he showed in 1800, offer an unusual survives in Birmingham. It was copied from a painting then in the
Watercolour on paper; 6⅝ x 5⅛ inches; 167 x 130 mm contrast painted in a reddish-brown tone. Our painting was well opportunity to reassess not only his contribution to the develop- collection of the connoisseur Sir George Beaumont, in preparation
© 2013 University of Oxford, Ashmolean Museum.
placed in the Great Room, but in the end it received relatively little ing school of watercolour painting, but his position as a true late for an engraving Pether published the same year.6 From Pether,
critical notice, its proximity to a canvas by the Academy’s Presi- eighteenth century ‘historical painter’. Dayes seems to have learnt the art of mezzotint; in 1788 he exhib-
dent of a similar subject and format cannot have helped. Its sub- ited two plates after George Morland, Juvenile Navigation and
sequent history is unknown, no studio sale catalogue survives and Training and early career Children Nutting, and, in 1790, A Visit to Grandfather [fig.5], after
it is entirely absent from any modern scholarship on the painter. Dayes began his working life not in the studio of a history painter, a work by John Raphael Smith. This early training meant Dayes
but in the workshop of an engraver. Born in London to a family was acquainted with the commercial print trade, a sector which
of skilled craftsmen – his grandfather had been a staymaker and would provide financial stability throughout his career.

[ 16 ] [ 17 ]
In 1780 Dayes enrolled at the Royal Academy schools, which use of colours – was to be supplemented by the study of old master subscription among the nobility.’12 Dayes had made a pair of wash
had recently moved to new premises in Somerset House.7 Unlike paintings and reading works of history and poetry. This last idea drawings commemorating a service of thanksgiving for the recov-
the syllabus of the French Académie, the Royal Academy schools was of particular significance, according to Reynolds, the ‘great ery of George III from illness [fig.5] which, despite his anecdote,
were designed not for beginners, but for apprentices who had style’ endowed a work with ‘intellectual dignity’ that ‘ennobles seem likely to have been conceived as prints and were in fact
attained a degree of competence by copying engravings and old the painter’s art; that lays the line between himself and the mere published in 1790 by Robert Pollard.
master paintings under their master’s supervision.8 Upon entering, mechanick; and produces those great effects in an instant, which It was as a topographical draughtsman that Dayes began his
students were required to follow a graduated progression: starting eloquence and poetry, by slow and repeated efforts, are scarcely able career as an independent master, his best-known work being the
in the Antique Academy – where young painters perfected their to attain.’10 Prizes were offered each year, reinforcing the emphasis watercolours of London street scenes populated with fashionable
skill in drawing from casts – before progressing to the study of on the hierarchy of genres; gold medals were given for the best figures, such as his Buckingham House [fig.8]. A recently rediscov-
the living model [fig.6].9 The timetable of the schools reflected historical painting, bas relief or architectural design, while silver ered 1794 view of Lancaster [fig.9] appears to be not only his most
this division, the Antique Academy was open from 9am to 3pm, medals were awarded for drawings and models of academy figures ambitious landscape, but his masterpiece in this genre. Putting
with a two hour session in the evening, and the Life Academy was or drawings of a building. Gold medallists were eligible to compete aside any aspirations of becoming an historical painter, Dayes
open for only two hours in the evening. This allowed students to for a travelling scholarship. Landscape painting and topography worked primarily on the fringes of the print and publishing trades.
work for their master during the day and then go to the Academy held no official place and engravers were only permitted to be For his day-to-day existence, we can turn to a remarkable survival,
at night; Dayes would have learnt much of the practical life of a Associate Academicians, not one of the forty full members.11 in the form of Dayes’s work diary from 1798.13 Although made a
commercial artist in Pether’s studio, using his time at the schools We have no record of Dayes’s progress through the schools, decade after he began practising independently of Pether, it can be
to improve his technical skills. although from his later trajectory, and his writing in particular, we viewed as illustrative of the kind of work he had been producing
Practical work was supplemented by access to the Academy’s can infer the great impact of his early training. Dayes does relate throughout the 1790s. His regular income came from a number
library, and the Professors of Painting, Architecture, Perspective an anecdote of an early encounter with Reynolds himself. After of printsellers and publishers, as well as amateur artists, keen to
and Anatomy, who were each required to deliver 6 lectures a year, noting that he saw ‘many of his best pictures fresh off the easel’ have their drawings worked up for publication. Dayes was paid
in addition to the President’s Discourses which were biennial from Dayes observed: ‘At the time I made the drawing of the KING at £10 a month by the printseller Francis Jukes, it seems this was
1772. Reynolds’s writing constituted the de facto syllabus of the ST PAUL’S, after his illness in 1788, Reynolds complimented me principally for colouring engravings. In January and March Dayes
Fig.5 | Edward Dayes, after John Raphael Smith Academy and his first three Discourses, which were published handsomely on seeing them; afterwards observed that ‘the labor coloured impressions of the View of Golconda and Torre Futtapoor,
A Visit to the Grandfather, 1788 as a single volume, along with four others, in 1778, outlined an bestowed must have been such, that I could not be remunerated plates 6 and 11 from Thomas Anburey’s Hindoostan Scenery, which
Mezzotint
21¾ x 16 inches; 555 x 405 mm
ideal system of study for the young painter. For Reynolds, the from selling them; but if I would publish them myself, he would had been etched and published by Jukes. Jukes himself printed
© The Trustees of the British Museum. ‘language of art’ – which consisted of drawing, modelling and the lend me the money necessary, and engage to get me a handsome sixteen sepia aquatints of Views on the River Wye by Dayes between
1797 and 1802. Throughout the year he received money from John
Walker for drawings which were presumably scheduled for publi-
cation in his successful Copper Plate Magazine or Monthly Cabinet
of Picturesque Prints, a journal which also employed the young
Turner [fig.10]. As a professional draughtsman he was also called
upon to produce finished watercolours from sketches made by
amateur hands; thus in 1789 Dayes completed a number of views
of Iceland from studies made on a trip by Lord Stanley [fig.11].
In 1794 he was employed by the linen-draper and antiquarian
James Moore to work up his studies for Twenty Five Views in the
Southern Part of Scotland.14 The diary gives an idea of how much
Dayes was paid for such work, he charged James Moore a guinea
for a ‘small view of Durham’. The plates for Moore’s Scottish
volume were engraved by John George Landseer who, along with
Fig.6 | Edward Francis Burney Fig.7 | Edward Dayes Fig.8 | Edward Dayes Buckingham House, St James’s Park, 1790 Jukes, seems to have provided Dayes with continual, if distinctly
The Antique School at New Somerset House, c.1780 Interior of St Paul’s during the day of General Thanksgiving, 23 April 1789 Watercolour; 15½ x 20½ inches; 393 x 642 mm un-academic, employment.15
Pen and ink and watercolour Pen and ink, and watercolour © V&A Images, Victoria and Albert Museum.
13¼ x 19⅛ inches; 335 x 485 mm 15¾ x 25¾ inches; 401 x 652 mm
The diary proves Dayes to have been at the heart of the Lon-
© Royal Academy of Arts, London. © The Trustees of the British Museum (reg. no. 1872,0210.8). don art world, as it records his periodic visits to: salerooms (in May

[ 18 ] [ 19 ]
details. Dayes himself noted, in a passage which echoes Reynolds’s
sentiments, ‘[p]rints and drawings are useful to please the eye, or
enrich our thoughts, or, by having them before us, to keep up the
fervour of the mind while employed on similar works of our own:
then it is we may catch a grace from a figure, a grand or beautiful
cast of drapery, or a thought that may give energy or brilliancy to
our own, and that without copying. Collections of good prints are
highly valuable to the artist; they add a nobleness to his concep-
tions, and raise and warm his imagination.’22
Dayes’s nine Essays on Painting, printed from 1798 in the
Philosophical Magazine, were conventional digests of seventeenth-
century French Classicist art theory, written in emulation of
Reynolds’s Discourses.23 But they should be viewed as part of his
campaign to be recognised as a history painter, published at the
moment Dayes was preparing several historical works for exhibi-
Fig.10 | John Walker, after Edward Dayes Lancaster Fig.11 | Edward Dayes
Fig.9 | Edward Dayes Lancaster, 1794 tion. Read in tandem with one of Dayes’s sketchbooks, preserved in
Pencil, pen and grey ink and watercolour; 26 x 36 inches; 660 x 914 mm Published in The Itinerant: A Select Collection of Interesting and Picturesque Views in Skellingfell on the Island of Stromoe, Faroe Islands, 1789
Pierpoint Morgan Library and Museum, New York. Great Britain and Ireland: engraved from original paintings and drawings, by eminent Watercolour over pencil and pen and ink; 16 x 21⅝ inches; 470 x 550 mm the British Museum, which contains over 100 studies for historical
artists, London, 1799, plate cxxxix. Lowell Libson Ltd. works, it gives a remarkably complete portrait of his commitment
to this new course.24 In his fifth essay on Invention, Dayes articu-
he went to see Michael Bryan’s sale in Pall Mall, the same rooms complete, just in time for March 29, when he records being ‘busy Composition, or disposition, Dayes asked ‘how is it possible that an lated a working method which neatly described his own: ‘When
which would play host to the Orléans collection at the end of the sending pictures to the Exhibition’ [fig.14]. This was by far the artist with little reading can accomplish a work like an historical we have determined on a subject, we must with all due expedition
year) other painter’s, such as James Barry and private collections. longest Dayes spent on a single picture and it suggests, that by 1798, picture?’19 Whilst reading was essential to inform the intellectual make a sketch of the principal persons concerned in the event …
The diary also contains evidence that Dayes undertook the ancil- he had already resolved to become a history painter. This change content of a historical composition, of almost greater importance as much of the fire and spirit of the actions, as well as the grandeur
lary activities which occupied many young painters: working as a of direction requires some explanation. Dayes was undoubtedly was the study of earlier painters. Reynolds advocated a system of of the whole depends on the first impression.’25 In the sketchbook
drawing master and picture restorer.16 We know also, that as an ambitious for his art and determined to fulfil Reynolds’s demands creation predicated on the imitation of certain ideal models; the each sheet is covered with studies full of ‘fire and spirit’ recording
independent master he took on pupils; in May 1789 Thomas Girtin of a painter in the ‘great style’. He may also have felt that his species young painter was advised to assemble a stock of figures, poses his compositional ideas for an extensive range of literary, biblical
was bound for a seven-year apprenticeship with Dayes. of landscape painting was increasingly retardataire when compared and devices from select Old Master paintings, what he called ‘the and historical paintings. Principally dramatic, multi-figured scenes,
The most profitable project Dayes was involved with during to the works of younger contemporaries. Although whilst Dayes’s materials for the exercise of genius.’20 Reynolds went further in his such as the Death of Cyrus from Plutarch’s life of Artaxerxes, which
1798, was the execution of designs for a panorama, completed for topographical works were gradually superseded by the more atmo- sixth Discourse suggesting the painter should not be content with is shown dramatically in a wash drawing over two pages of the
Robert Barker. Having developed the concept of a circular pan- spheric landscapes of Turner and Girtin, this would not have been simply copying earlier works, ‘he should enter into a competition sketchbook (1993.0508.1 (84)r.). In his essay on Invention, Dayes
orama, Barker had built an exhibition room at Leicester Square evident until after 1800. Instead it was a decision prompted, at least with his original, and endeavour to improve what he is appropriat- goes on to observe that the painter should then ‘prune or add till
to show a series of cities, towns and battles. As a topographer, in part, by commercial ambition. During the 1780s history painting ing to his own work.’21 the whole comes into perfect ordonnance, choosing such objects
Dayes was employed by Barker to prepare views of Windsor for was not only the most intellectually rewarding and celebrated genre The inventory of Dayes’s books reveal that he owned standard as are strikingly noble or beautiful, and adding such accessory
one of his panoramas, visiting ‘Brush place’ on numerous occasions open to an artist, but with the emergence of new systems of patron- seventeenth and eighteenth century collections of engravings such circumstances as may best contribute to illustrate the story.’ Most
from February 1798 and charging £30 for two months work. Dayes age, particularly the schemes run by the entrepreneurial publishers, as Francesco Aquila’s impressions of the Vatican Stanze of 1722 of the sketchbook represents single compositional ideas – ranging
was only preparing drawings for the panorama, as diarist Joseph John Boydell and Thomas Macklin, the most financially lucrative. and a volume of François Perrier’s ‘Statues’ (either the 1635 or 1648 from a depiction of Althan from Ossian’s Temora (1993,0508.1 (12)
Farington records, it was Ramsay Richard Reinagle who actually Reynolds had articulated his own notion of a history painter in edition), as well as Grand Tour publications, which had been fash- r.) to illustrated scenes from Gibbon’s Decline and Fall (1993,0508.1
painted the scene.17 But whilst Dayes subsisted in this way, his the Discourses, requiring his students to be both conversant with the ionable a generation earlier, such as Gavin Hamilton’s 1773 Schola (94) r.) – but in a number of studies he follows his own method
diary makes clear he devoted the most time to a number of histori- great literature of the past and the great art. We can gather some Italica Picturae and Giovanni Battista Piranesi’s 1745 Varie Vedute and refines the initial idea in further sketches. So the figure hold-
cal pictures he was preparing for exhibition at the Royal Academy. idea of Dayes’s efforts in the former, by the survival of an inventory di Roma Antica e Moderna. Dayes’s assemblage of prints precisely ing aloft the head of Cyrus is shown in two further iterations, on
of his library preserved in the National Art Library.18 Made in reflected the composition of the Royal Academy library, which the left hand page. The sketchbook demonstrates how committed
Becoming a History Painter 1800, it lists some 365 volumes, ranging from bound collections collected publications that reproduced existing works or contained Dayes was to becoming an historical painter.
On January 3, Dayes recorded in the diary: ‘Begun A Drawing of of engravings to pocket editions of the works of fashionable writ- material that was deemed useful to the aspiring historical painter, For an aspirant artist determined to rise above the print and
the fall of the Angels fm. Milton’, the picture took thirty days to ers Gray, Thomson, Shakespeare and Milton. In his own Essay on furnishing: costumes, ancient instruments, armour or architectural topographical market, the obvious forum for advancement was

[ 20 ] [ 21 ]
competent – and consistent – painter in oils. It was therefore was one of the most repeated and most successful subjects at the
natural that he should follow Westall’s example and make his exhibition. In 1797 Thomas Lawrence showed a painting of Satan
first historical experiments in watercolour. Greg Smith has sug- calling his Legions (his diploma work given to the Royal Academy
gested that the shift in Dayes’s work from landscape to historical on his election as an Academician) and Thomas Stothard, George
compositions specifically reflected a ‘disinterested campaign’ to Romney, Henry Richter and Westall, had all recently completed
highlight the suitability of watercolour painting for the execu- paintings derived from Paradise Lost.35 At the same time, Henry
tion of historical subject matter, adding that Dayes’s work (both Fuseli was preparing a series of works for his Milton Gallery and
literary and painted) represented ‘a calculated riposte to Westall’s James Barry a cycle of engravings depicting the major episodes
example.’30 It is true that for a painter, such as Dayes, steeped in from Paradise Lost.36 The evidence of the British Museum sketch-
Reynolds’s teaching, Westall’s reliance on technical pyrotechnics book suggests that Dayes kept a weather eye on Academic taste.
over intellectual content was irremissible. Writing in his Profes- It contains a number of studies for pictures of the Plantagenet
sional Sketches, he observed that Westall was ‘great in little things, kings, Edwards II and III, along with the Black Prince (1993.0508.1
as his merit lies in neatness and colour; yet in the latter he is (54)r.). Throughout the 1790s, Benjamin West – who had been
sometimes gaudy; and he too often sacrifices his subjects to han- elected President of the Royal Academy following the death of
dling.’31 Dayes added ‘the higher walks of art are injured by the Reynolds in 1792 – had been exhibiting the same subjects in paint-
Fig.12 | Edward Francis Burney The Royal Academy annual exhibition Fig.13 | Richard Westall Hesiod, 1796
trickery of execution, or a great show of colour; as these practices ings destined for the Audience Chamber at Windsor Castle. Most
of 1784: The Great Room, West Wall, 1784 Watercolour and gouache
Pen and wash; 13⅛ x 19⅜ inches; 335 x 492 mm Attingham Park, The Berwick Collection (The National Trust), draw the attention from the subject to the painter, whose duty it of the other authors explored by Dayes in the British Museum
© The Trustees of the British Museum. ©NTPL/John Hammond. should be to keep unseen.’32 But Dayes must have been aware of sketchbook, reflect the exiguous range of subjects that appeared
Westall’s very great financial success and, in showing historical in the annual exhibition.
the annual exhibition of the Royal Academy. Dayes had submitted (killed is the artist’s term) by the host of staring, gaudy subjects works, sought in part to emulate it. Westall had received lavish Along with the Fall of the Angels, Dayes exhibited a pair of
paintings every year to the Academy exhibition since 1786, ini- that hang around, and come in immediate contact with a support from entrepreneurial publishers, such as Boydell who had impressive watercolours of scenes derived from Dryden’s fable
tially showing miniatures and landscapes, but in 1798 he took the siber-coloured and natural painting.27 commissioned 28 watercolours for a new edition of Milton’s Para- Palemon and Arcite: Lycurgus entering Athens and Theseus’s Approach
decision to submit three historical works.26 The Royal Academy dise Lost, at 40 guineas each. Around 1798 therefore, the execution to Athens [cats 1a & 1b]. Represented by two confident and fluid
exhibition, like that organised by the Society of Artists, to which It was under these conditions that the first major exhibitor of of historical compositions in watercolour must have seemed like studies in his sketchbook, the pictures form a striking pair utterly
Dayes submitted topographical works in 1790 and 1791, offered a historical watercolours, Richard Westall, made his mark. From a potentially profitable endeavour.33 different in tone and style of execution to the Fall of the Angels
place to be seen, not only by other painters and connoisseurs, but 1789 Westall exhibited a series of historical compositions at the [fig.17 & 18]. Whilst his handling of the Fall recalls in its depth of
by the newly professional art journalists and a public who were Academy calculated to compete on similar terms with paintings in The 1798 Exhibition colouring and stark use of lighting, precisely the kind of arresting
acquiring a burgeoning interest in the fine arts. But exhibiting oil [fig.13]. Westall’s very great success, both critical and financial, In 1798 Dayes exhibited five watercolours, one was a View on the colouration he apparently disliked in Westall’s work, the Lycurgus
at the Academy was not without its problems, particularly for was in no small part down to his ability to ‘arrest attention’ and Rhine and Ramagen but the other four demonstrated his new and Theseus are more chromatically restrained, displaying Dayes’s
watercolourists and topographical draughtsmen; principally, how execute works, in what Mrs Bray disparagingly called, ‘the Exhi- departure into history painting. From the diary, we know that enduring respect for the classicism of Poussin. The frieze-like
to make works visible in the Academy’s densely hung rooms in bition tone’. In a series of articles in the Somerset House Gazette Dayes spent some thirty days completing a watercolour of the Lycurgus particularly recalls Poussin’s work, such as the Triumph
Somerset House [fig.12]. adumbrating the ‘Rise and Progress of Water Colour Painting Fall of the Rebel Angels from Paradise Lost [fig.14]. The British of David (Dulwich Picture Gallery), which Dayes could have seen
In the memoir of the painter and illustrator Thomas Stothard, in England’ published from 1812, William Henry Pyne praised Museum sketchbook contains two studies for the composition, in the house of the Royal Academician Francis Bourgeois, whilst
his widow, Mrs Eliza Bray, noted that: Westall’s ‘historical and poetical compositions’, for ‘the combina- one showing God casting out the rebels and another, closer to the pair of oxen pulling Lycurgus’s chariot, is indebted to Sébastien
tions of colouring, light, shadow and brilliancy of effect’, noting the final composition, of just the angels in descent [fig.15] and Bourdon’s The Return of the Ark, a picture which had belonged to
The public, in order duly to appreciate an artist at the Exhibi- that he was worthy of greater praise than either Turner or Girtin (1993.0508.1 (65)r.). The choice of subject matter reflected both Reynolds and which he had commended in his Discourses.37 The
tion of the Royal Academy, require to have something impos- for achieving in ‘what is considered to be a higher department, Dayes’s desire to tackle topics of serious intellectual content and combination of recondite literary source with erudite quotation
ing before their eyes—something which, either from size, which until his experiments proved the contrary, seemed unat- his awareness of fashions amongst contemporary exhibitors. Dayes from earlier painters was precisely the formula for history painting
subject, or colour, compels them to see it. It is well known that tainable by any process, but in colours prepared with oil.’28 The explained in his fifth essay on Invention ‘[a]s a poet, Milton was which had been promulgated by the Academy. The other historical
artists who make the greatest figure there, paint thr pictures, evidence of contemporary reviews, demonstrate that Westall’s particularly happy in his Paradise Lost: it is not the destruction of watercolour Dayes exhibited was entitled Lewis the Gross Receiving
generally speaking, expressly for the place; and, in order to work attracted considerable critical notice at the Academy’s a city, nor the conduct of a colony, but the fate of worlds, a theme Oriflamme, currently unidentified, but we can gather something
arrest attention, I have heard many of them say that they are annual exhibitions.29 which involves the happiness of mankind.’34 But Paradise Lost had of its appearance from the preparatory study in his sketchbook
“obliged to paint up to the Exhibition tone,” not from choice, Up until 1798 Dayes had practised principally, and most a greater significance, having offered a constant source for painters (1993.0508.1 (42)r.). The subject matter was taken from a modern
but necessity, else would their pictures be at once overpowered successfully, in watercolour, although as we shall see he was a during the eighteenth century, so much so, that by the 1790s it work of history, William Beckford’s History of France from the most

[ 22 ] [ 23 ]
Early Records to the Death of Louis XVI, which had been published London’s publishing trade) and it is perhaps not too far fetched to [t]o see a work of such superlative merit, a work which we St Paul [fig.17], were shown in the Council Room, a slightly bet-
in 1794. see Dayes’s decision to illustrate a scene from Beckford’s recently hesitate not to pronounce the very best historical composition ter space than the Antique Academy. Despite its prime location,
Dayes’s new departure into history painting did generate published, popular work of history as a deliberate ploy to stimulate in the whole collection, degraded, insulted, and thrust into an Dayes’s view of Caernarvon made little impact, overshadowed by
some press comment. In the Monthly Mirror, Dayes’s historical a commission. obscure corner, to see such flagrant abuses committed under the Turner’s handling of the same subject (Tate), which was also in
compositions were considered together, the anonymous critic The politics of display at the Academy has been the subject of shield and safeguard of OFFICAL impunity, is a circumstance the exhibition.42
commended his ‘considerable labour’ and described them as much scholarship in recent years, it is really only necessary in the which calls imperiously for stern verdict of decided reprobation. There were of course other strategies for amplifying exposure
‘very respectable’ for a landscape painter. But his technique was context of Dayes to underline the desirability for a painting to be We appeal to every spectator, susceptible of feeling; to every at the Academy.
attacked, particularly the handling of light and ‘a certain hatch- well positioned and, if exhibiting in watercolour, the benefit of person, competent to feel; to every person, gifted with the ener- Dayes’s sketchbook confirms that he was conscious of pre-
ing, that looks like the work of the graver, tends to enfeeble the being in the Great Room rather than one of the other spaces.40 gies of mind; nay more, we appeal to the Academy itself; we paring his paintings for their best reception at exhibition; two
expression’ adding that this was a ‘custom which has the author- A good position inevitably led to positive press comment and appeal to the society collectively; to the Members individually; to pages show sections of picture frames with detailed measure-
ity of Westall to recommend it’.38 The concession to Westall’s the potential for further commissions. It would have had a more declare, as men of honour, men of taste and judgment, whether ments. Thomas Uwins noted in 1828, ‘I know the importance of
technique – particularly apparent in the Fall of the Rebel Angels immediate imperative for the financially insecure Dayes. Unlike Mr Dayes’ picture has met with the treatment it deserved?41 first impressions. I believe frames pay more than pictures.’43 The
– suggests Dayes was emulating a successful formula, whilst the the majority of exhibits, the three works Dayes showed at the It was not uncommon at this period for painters to encourage Lycurgus and Theseus are both in their original gilded, neo-classical
graphic quality of the Lycurgus and Theseus suggests that Dayes Academy in 1799, were all advertised in the exhibition catalogue journalistic encomia of this kind, but regardless of the authenticity frames. But if Dayes really wanted to become an accepted his-
was looking to the commercial potential of the publishing market. as ‘to be disposed of ’, in other words for sale. But his water­colours of the review it underlines the poor positioning of Dayes’s paint- torical painter and ensure his pictures were well placed in the
This was noted by at least one other critic, writing in the London were relegated to the Antique Academy, an inferior space, geo- ing. The following year he succeeded in having his Caernarvon Academy, there was really only one route open to him and that was
Packet, who observed of the Lewis the Gross: ‘a very meagre draw- graphically removed from the main exhibition rooms a floor above, Castle, North Wales, one of the three pictures he submitted to the to exhibit works in oil. This change of medium was also essential as
ing, something after the mechanical manner of Old Sam Wale, of and as the place in which the Academy’s students drew from casts, exhibition, shown in the Great Room. His two historical composi- Dayes had ambitions to become a member of the Academy itself.
Paternoster-row celebrity, but wanting in the correctness which he a world away in status from the Great Room. tions, St John Preaching in the Wilderness (1993.0508.1 (48)r.) and A resolution passed by the General Assembly of the Academy in
usually gave his automata!’39 Samuel Wale was principally a book The anonymous reviewer in the Whitehall Evening Post, after The Conversion of St Paul [fig.16], which we know only from studies 1772 stated ‘that Persons who only exhibit Drawings cannot be
illustrator (hence the illusion to Paternoster row, at the heart of praising The Fall of the Rebel Angels, complained: in the British Museum sketchbook and a later engraving of the admitted as Candidates for Associates’, so this partially explains

Fig.14 | Edward Dayes The Fall of the Rebel Angels, 1798 Fig.16 | Edward Dayes Study for the Conversion of St Paul, 1799
Watercolour and gouache on paper; 35¾ x 25⅝ inches; 91 x 65mm Pencil on paper; 7⅞ x 6¼ inches; 197 x 158 mm
© Tate, London, 2013 © The Trustees of the British Museum (1993,0508.1 (82)r.).

Fig.15 | Edward Dayes Study for the Fall of the Rebel Angels, c.1798 Fig.17 | Isaac Taylor after Edward Dayes The Conversion of St Paul, 1814
Pencil on paper; 7⅞ x 6¼ inches; 197 x 158 mm Engraving from the Royal Standard Family Bible; 10¾ x 9 inches; 275 x 227 mm
© The Trustees of the British Museum (1993.5.81 (67)r.) © The Trustees of the British Museum (reg. no: 1981,U.467).

[ 24 ] [ 25 ]
why Dayes exhibited an historical composition in oil the following Fig.18 | Venus de’Medici
Plaster cast; 65 x 20½ x 16⅛ inches; 1650 x 520 x 410 mm
year.44
© Royal Academy of Arts, London

The Triumph of Beauty Fig.3 | Edward Dayes Study for the Triumph of Beauty, 1800
Pencil and watercolour on paper ; 7⅞ x 6¼ inches; 197 x 158 mm
On Sunday December 8 1799, the landscape painter Joseph Far- © The Trustees of the British Museum (1993,0508.1 (91)r.).
ington recorded a visit to Benjamin West’s private gallery, attached Fig.19 | James Barry Venus Rising from the Sea
to his house, 14 Newman Street: ‘Dayes came in & told Mr West Oil on canvas; 104 x 68 inches; 2647 x 1722 mm
Dublin City Gallery, The Hugh Lane
that he is now employed painting and seemed to be well satisfied
with the effect of his own attempts.’45 Dayes was clearly keen to Fig.20 | Valentine Green after James Barry
advertise his experiment in oils and was probably consciously pre- Venus Anadyomene, 1772
Mezzotint; 25¼ x 15½ inches; 40 x 395 mm
paring the way for his debut at the exhibition the following year. © The Trustees of the British Museum
The move to oils was a logical progression for Dayes, ambitious
for a career as a serious history painter, but it was by no means
his first work in the medium. His 1798 diary records a number of
landscape views made in oil, on Wednesday 1 August, Dayes ‘Dead
coloured in Oil a View of Dartmouth Castle’ and in the following
days completed a pendant view of ‘Tynemouth’, this evidence is
supported by the survival of a number of signed canvases.46 But
the ‘attempt’ Dayes described to Farington and West was clearly
the picture that would turn out to be his historical masterpiece,
the recently rediscovered Triumph of Beauty [cat.2]. Nemesis’, both derived from the vision of Harmodius found in the in particular lies behind the Triumph of Beauty, the Medici Venus, right leg, arms raised, holding tresses of her hair, her face turned
For the subject matter Dayes turned to the work of the mid- second book of The Pleasures of the Imagination. In 1798 the rule which Dayes would have known in multiple copies and casts in profile, similar to Dayes’s composition. William Pressly has
eighteenth century poet, Mark Akenside. In the 1800 exhibition prohibiting the inclusion of poetry to accompany a painting’s title [fig.18].50 He noted in his fourth essay, On Grace, that: ‘Three observed that Barry’s picture represents a perfect distillation of
catalogue published by the Academy, Dayes included seven lines in the exhibition catalogue published and sold by the Academy, things contribute to the beauty of the Venus de Medicis; its line Edmund Burke’s views on beauty as expatiated in his Philosophical
from Akenside’s 1744 didactic poem, The Pleasures of the Imagina- had been changed and exhibitors took advantage of the fact, citing of grace running unbroken through the whole figure, its form, and Enquiry into the Origins of Our Ideas of the Sublime and Beautiful,
tion to inform the subject of the Triumph of Beauty. Akenside’s long passages from poems to ensure maximum exposure. Westall the variety and contrast of the parts; as, the head with the chest, published in 1757.55 Burke had reduced beauty to a series of clas-
verse examines the various kinds of pleasure derived from the exhibited his oil painting, The Bard, from Gray in 1798 (San Anto- and the arms and legs with each other.’51 This corresponds to his sifiable attributes, a criteria which directly informs Barry’s work.
perception of beauty: nio Museum of Art), including eight lines from Gray’s poem in the theory that: ‘a standing figure, to be graceful, must rest on one leg, Barry’s figure is notable for its ‘smoothness’ and ‘delicacy’ of form,
catalogue. This new ability to add literary gloss even extended to and the face incline to the hip it rests on.’52 Following seventeenth whilst the colouration directly reflects Burke’s demand that ‘the
Or as Venus, when she stood
landscape painters, who began to add long quotations from texts century Classicist writers – particularly Roger de Piles – Dayes colours of beautiful bodies must not be dusky or muddy, but clean
Effulgent on her pearly car, and smil’d
such as James Thomson’s The Seasons to the description of their commended a system of ideal proportion, including a series of and fair.’ Barry had also relied on the Medici Venus to provide the
Fresh from the deep, and conscious of her form,
works.47 In 1802 Turner exhibited a watercolour of the Falls of the anatomical ratios, which he undoubtedly used in constructing the model for his figure – Burke had mentioned the sculpture as an
To see the Tritons tune their vocal shells,
Clyde (Walker Art Gallery) including in the Academy catalogue figure of Venus in the Triumph of Beauty.53 Dayes commended example of grace – and Barry later observed that ‘no man could be
And each cerulean sister of the flood
an extract from Akenside’s Hymn to the Naiads.48 the young painter to begin with a rough sketch, which he was to more sensible of its beauties than I was, whilst painting my own
With loud acclaim attend her o’er the waves
At this point it is worth returning to Dayes’s essays as they ‘prune or add till the whole comes into perfect ordonnance,’ add- Venus.’56 The picture was a critical triumph, two poems written
To seek th’ Idalian bow’r
offer much of the evidence for his choice of subject matter and ing finally ‘complete the whole by slightly tinting it.’54 A ‘tinted’ in its praise appeared in the Public Advertiser and in the same year
Dayes’s Triumph of Beauty was both a literal transcription of Aken- his approach to the picture’s execution. As we have seen, Dayes drawing of the composition survives in the British Museum Valentine Green published a celebrated mezzotint, entitled Venus
side’s account of a standing ‘Venus’ in her ‘pearly car’, surrounded was the product of an Academic education, and despite never sketchbook [fig.3], it shows Venus posed with her weight on her Anadyomene [fig.20].
by ‘Tritons’ and ‘cerulean sister[s] of the flood’, and a distillation having travelled to the Continent, his writings demonstrate his left leg, her left arm raised to her head, and her face turned in In his diary, Dayes recorded visiting Barry’s great cycle of
of the poet’s Platonic concept of beauty itself. Hugely popular respect for the antique models he had been required to replicate profile, identical to the finished painting. paintings at the Society of Arts in 1798, he also commended Barry
amongst painters of the period, Akenside’s poetry was frequently as a student. Dayes noted in his third essay Of the Elements of Dayes’s composition had more immediate precedents than the in his Professional Sketches noting that he ‘is better entitled to
used as a source for compositions; in 1800 the miniaturist turned Beauty: ‘those beautiful forms of the Greeks, which happily exist antique. In 1772 James Barry had shown his Venus Rising from the the appellation of Historical Painter, than any other artist in this
history painter, Samuel Shelley, exhibited a pair of paintings among us, are not imitations of any spectacle proper to the sense, Sea (Dublin City Gallery) at the Academy [fig.19]. The painting country’.57 It was perhaps unsurprising that he should turn to
entitled ‘Re-appearance of Euphrosyne’ and ‘Widsom and the fiend but are the result of profound contemplation.’49 One sculpture shows the single figure of Venus standing with her weight on her Barry for inspiration in preparing his Triumph of Beauty. Dayes

[ 26 ] [ 27 ]
would have felt no opprobrium in the term imitation, indeed presumably watercolours and exhibited in a single frame. The lat- several works of this kind for Morland in 1790. Dayes was there- of popular buildings and street scenes in London for publica-
he noted in his second essay On Taste that: ‘[t]he adoption of a ter are of interest, identifiable from a series of labelled studies at fore tempering his debut historical canvas in oil, with genre works tion, as well as supplying images for the burgeoning number of
grace or an ornament, by no means implies plagiarism. If they are the back of the British Museum sketchbook, they show Dayes he hoped to capitalise on in the print market. antiquarian works.65 Dayes was a careful observer of fashions,
introduced with fitness, there can be no charge of want of judg- attempting to master a form of painting which was increasingly In the end the Triumph of Beauty received relatively little criti- frequently emulating successful schemes by other artists. In 1803
ment. This is very different to using a visible or striking part of a popular: depicting contemporary scenes of rural acts of charity, but cal notice, its proximity to a canvas by the Academy’s President Dayes wrote a Tour in Yorkshire and Derbyshire, which described a
composition, which no independent spirit would stoop to.’58 For given religious titles. Thus the cottage door motif, made popular of a similar subject and format cannot have helped. In the end it walking tour with particular emphasis on ‘picturesque’ views illus-
the details of the composition, Dayes turned to his collection of in the works of Gainsborough and George Morland, is used by was not a propitious moment for Dayes to embark upon a career trated by his own drawings.66 Dayes adopted a format similar to
prints for inspiration, borrowing several elements from old master Dayes to illustrate I was thirsty and ye gave me a drink and I was a as a history painter. The apparent opportunities offered by entre- that developed by the amateur, William Gilpin, in his ‘picturesque’
paintings. The figure of the Triton on the far right, is borrowed stranger and ye took me in (1993.0508.1 (95)r.), (1993.0508.1 (95)v.) preneurial publishers, such as Boydell and Macklin, had ended tours, which had proved hugely successful since the publication of
directly from the fresco of Glaucus and Scylla by Annibale Carracci and (1993.0508.1 (96)r.). It is hard not to read this development in financial disaster by 1800; a situation compounded by the end Observations on the River Wye in 1782. His attempts to succeed as a
from his decoration to the Farnese gallery in Rome. The study as a directly commercial move, Dayes must have been aware of of the European market for luxury goods brought about by the history painter followed a similar pattern. Dayes’s training at the
in the British Museum sketchbook, gives an idea of the original the popularity of prints of this nature, indeed, he had engraved Napoleonic wars. Another consequence of which was that Lon- Royal Academy schools and his early emersion in the theories of
composition, which included Cupid seated in the clouds, bow in don was flooded with fine old master paintings dislodged from Reynolds, undoubtedly made him ambitious to become a histori-
hand, to the right of Venus. This detail recalled Barry’s composi- the Continent – the exhibition of the Italian paintings from the cal painter. Around 1800 the Royal Academy was the principal
tion, where Cupid is seen standing behind Venus on a bank of Orléans collection in Pall Mall had opened in December 1798 – forum for such works, and Dayes showed himself to be aware of
cloud. Recent analysis has shown that it was an element which serving to depress the market for contemporary works.62 the strategies for success. But it was the commercial potential
Dayes included in his initial execution of the design, along with presented by the print market and a number of contemporary
putti seated in the clouds to the left of Venus, but decided to paint Conclusion historical projects, which convinced him to pursue this course.
them out before completing the picture. Dayes continued to show at the Royal Academy for the remainder Even his essays in the Philosophical Magazine can be read as part
As with his exhibits in the previous year, Dayes’s choice of of his life. In 1801 and 1803 he exhibited two pairs of pictures of his programme of self-promotion.
subject was remarkably in tune with other pictures in the 1800 with biblical subjects, along with a succession of topographical In the end neither Dayes’s literary efforts, nor his attempts
exhibition. Benjamin West showed Venus at her Birth Attired by works.63 But their apparent critical failure and his unsuccessful bid to establish himself as a historical painter succeeded, but this
the Graces (private collection). West’s Venus is posed very similarly to become an Associate Academician, led to a gradual dissatisfac- does not justify transforming his life into an apologue. Recent
to Dayes’s, with one hand raised to her head and the face shown tion with the Academy. He only submitted a view of Shrewsbury to genealogical research has suggested that Dayes’s father also suf-
in profile, although the palette and execution are completely dif- the exhibition in April 1804 and in the following month commit- fered periods of mental instability, indicating that his death was
ferent.59 Dayes follows his own suggestions as articulated in his ted suicide. In 1805 his widow instructed E. W. Brayley to publish not prompted solely by professional disappointment.67 Indeed,
essays, that handling and colour should reflect the subject matter Dayes’s writings, including his acerbic Professional Sketches, which the illustrious list of subscribers to Brayley’s edition of Dayes’s
of the painting. Thus the figure of Venus is finely modelled, ‘clean dwelt on the perceived inequity of certain artists’ professional works suggest he was firmly embedded in the London art world
and fair’ in a blond palette, whilst the tritons are ‘dusky or muddy’ success over that of others; as a result his posthumous reputation and respected by patrons as well as fellow painters. Although in
by contrast painted in a reddish-brown tone. Dayes’s handling as a professionally disappointed painter was sealed. Later writers light of the quality of Dayes’s only historical work in oil Triumph
underscores this approach, he had written that ‘[t]he use of the have continued to present Dayes as an outsider, who failed to of Beauty and historical works in watercolour, it is difficult not to
pencil is distinguished into the smooth or mellow, and the expedi- manipulate the Academy system to his advantage. He has been agree with Dayes’s own lament for the ill-fated sculptor Thomas
tious or bold’, observing that ‘the former method best applies to compared with other tragic figures of the period, particularly the Proctor who died penniless, apparently discouraged by his lack
objects in themselves beautiful: as elegant female figures.’60 The ill-fated James Barry whose intemperate outburst against the of success: ‘what a loss are the public answerable for in him!’68
Venus is indeed rendered with a smoothness that is in careful Academy in 1799 resulted in his expulsion, whilst Dayes’s suicide
contrast to the painterliness of the sky and sea. A certain elegant has been framed, like that of Benjamin Robert Haydon, as the
stylisation of Venus’s form, seen particularly in the improbable culmination of a period of professional disappointment.64 But this
pink drapery covering her middle (‘[i]n the female, the naked is interpretation ignores how embedded Dayes was in the London
ever pleasing, while an artful concealment will augment the beauty art world and how conventional, if ultimately unsuccessful, his
and grace’) and serpentine line of the left-hand side of her body, attempts at advancement were.
suggests an awareness both of Barry and decorative painters such Dayes had begun his artistic career in the workshop of a pro-
as Giovanni Battista Cipriani.61 Fig.21 | Benjamin West PRA (1738–1820) ductive and successful engraver and had experienced first-hand
Venus at her birth attired by the Three Graces, 1799
The painting was well placed in the Great Room, along with Oil on canvas laid on panel; 19½ x 14 inches; 495 x 356 mm
the potential for employment in the print and publishing trades.
‘Six Subjects from the XXVth Chap. Of St. Matthew’, which were Private collection, USA As a topographical painter he had produced a number of views

[ 28 ] [ 29 ]
APPENDIX 1

Catalogue of Edward Dayes’s sketchbook in the British Museum

REG. NO. 1993,0508.1(1–130)

In the collection of the British Museum is a vellum-bound, wash or watercolour, before embarking upon the final work. There
folio sketchbook, containing 130 leaves, with studies and notes are very few studies of faces, gestures, landscapes or details, prefer-
for compositions derived from literary and historical sources. ring schematic studies of the whole composition.
There are no topographical landscape studies, suggesting the Towards the end of the sketchbook (from 1993,0508.1 (100) r.)
sketchbook was intimately tied to Dayes’s ambition to become a Dayes turned it upside down and began working from the back
history painter and exhibit historical scenes at the Royal Acad- on a series of ink studies of personifications (of the hours of the
emy. Accordingly it seems likely that the sketchbook was begun day, months of the year, continents and rivers etc.) accompanied
around 1797 and internal evidence suggests it was used continu- by detailed descriptions of their iconography. They may well have
ally by Dayes until his death in 1804. In his surviving work diary been made in preparation for a projected publication. Through-
for 1798 Dayes records on 3 January ‘Begun A Drawing of the out the sketchbook there are fragmentary notes and draft letters
fall of the Angels fm. Milton’, this is likely to refer to the fin- which, for the most part, have been largely erased. These include
ished composition now in the Tate [fig.14] but may equally well draft letters to the Exhibition committee of the Royal Academy
describe one of the two schematic studies contained within the (1993,0508.1 (104) v.) and a letter offering his pictures to the most
sketchbook (1993,0508.1 (67) r. and 1993,0508.1 (65)r.) The posi- prominent collectors of the day (1993,0508.1 (1) v.)
tion of these studies in the sketchbook suggests that Dayes had The sketchbook passed to Dayes’s son, James Dayes (whose
begun to prepare historical compositions shortly before he began name appears inscribed on 1993,0508.1 (1) r.) and is next recorded
work on the Fall of the Rebel Angels. in the collection of the scene-painter Robert Caney and was sold
The sketchbook offers a remarkable insight into Dayes’s by his daughter-in-law at Christie’s in 1973 (5 May, 1973, lot.28)
working method. Most of the finished compositional studies are and appeared again at auction in 1993 (Christie’s 30 March, 1993,
annotated with the name of either the author or book from which lot.29) where it was acquired by the British Museum.
the subject-matter is derived. These frequently relate to volumes The catalogue itself takes the form of an itemised description
listed in Dayes’s library, a manuscript list of which survives in the of each page. The standard description is of a graphite drawing,
National Art Library, London (MSL/1980/190). As in the case of unless otherwise noted. The subject of each drawing, where known,
the Lycurgus and Theseus derived from Dryden’s Fables Ancient is identified, and, where legible, inscriptions transcribed. Refer-
and Modern, Dayes composed studies which were faithful to the ence has been made to compositions which relate to works Dayes
minutiae of the original text. He frequently experimented with exhibited at the Royal Academy, the number of the picture in the
several different episodes before arriving at the most dramatic exhibition catalogue is placed in brackets next to the title. The
moment of each narrative. In most cases he seems to have pro- sketchbook consisted of a number of blank pages which, for the
duced one fluid, compositional sketch, often modelled in ink and sake of space, have been omitted.

Fig.22 | Edward Dayes Study for the Triumph of Beauty, 1800

Pencil and watercolour on paper ; 7⅞ x 6¼ inches; 197 x 158 mm
© The Trustees of the British Museum (1993,0508.1 (91)r.).

[ 31 ]
Wash study of the Good Samaritan, showing the
Samaritan tending the wounds of the injured
man. Possibly related to the painting Dayes
exhibited at the Royal Academy in 1802 (486).

1993,0508.1 (1) r. 1993,0508.1 (2) v.  [horizontal format] 1993,0508.1 (4) r. 1993,0508.1 (5) v.  [horizontal format] 1993,0508.1 (7) r.
Inscribed: Flyleaf, inscribed ‘Ed Dayes’ and ‘James Loose sketch, scene outside an Inn. Study inscribed ‘hot gingerd’, showing a woman Study inscribed ‘The Halt’, showing figure in Ink and wash drawing of the Good Samaritan,
Dayes’ various faint pencil sketches and notes. standing in doorway distributing food to a riding gear at a cottage door, in the manner of showing the Samaritan giving money to the inn
young boy. Possibly made in preparation for a George Morland. keeper, there are coins visible in the right hand
series of London cries, Hot Spice Gingerbread of Samaritan. Possibly related to the painting
Smoaking hot! Appeared in the series made by Dayes exhibited at the Royal Academy in 1802 1993,0508.1 (8) v.  [horizontal format]
Francis Wheatley in 1796. (486). Very rubbed drawings of a mounted figure – for
clearer study see 1993,0508.1 (9) v.

1993,0508.1 (1) v. 1993,0508.1 (3) r.

Inscribed: 4 separate brief paragraphs – in pencil Study of a woman in doorway distributing food 1993,0508.1 (6) r.
– largely erased. ‘Lord Leicesters Ld C[aw?dor] to an old woman, related to 1993,0508.1 (2) r. Satyr chasing a nymph.
Lord War[ … ] Cremorne Sr G Beaumont … Mr
Chamberlaine’ This looks like a list of the most 1993,0508.1 (4) v.  [horizontal format] 1993,0508.1 (7) v.
prominent collectors of the period. Including A more developed study of 1993,0508.1 A series of studies for 1993,0508.1 (7) r. another 1993,0508.1 (9) r.
Sir George Beaumont and John Campbell, Lord (2) v. showing figures on a cart outside an inn, treatment of the Good Samaritan. Studies Rubbed study of a hermit.
Cawdor. somewhat in the manner of George Morland. include the wounded man and the donkey.
Possibly related to the painting Dayes exhibited
at the Royal Academy in 1802 (486).

1993,0508.1 (6) v.
Inscribed: ‘Faith/Charity-Simaritan’
Loose study for 1993,0508.1 (6) r.

1993,0508.1 (9) v.  [horizontal format]

1993,0508.1 (2) r. 1993,0508.1 (3) v. 1993,0508.1 (5) r. Mounted figure in a landscape, loosely sketched.
Study of a woman standing in doorway A woman in contemporary dress and a second Faint study of a mounted figure amongst a
distributing food to an old woman. female figure with billowing drapery. crowd. 1993,0508.1 (8) r.

[ 32 ] [ 33 ]
1993,0508.1 (10) r. 1993,0508.1 (11) v. 1993,0508.1 (12) v. 1993,0508.1 (14) r. ‘Battle of [indistinct]’ 1993,0508.1 (16) v. ‘Numbers Ch. 20’ 1993,0508.1 (19) r.
Faint study of a bull. Faint figure study, a standing woman. Series of studies depicting chariots with single Wash study of a battle scene. Top left inscribed ‘woman/fainted’ ‘Beasts’. Biblical study, possible related to the two
standing figures. Study for Moses Striking Water from the drawings depicting Moses. See 1993,0508.1
Rock. (17) r. and 1993,0508.1 (16) v.

1993,0508.1 (10) v. 1993,0508.1 (12) r. 1993,0508.1 (13) r. 1993,0508.1 (15) r.  [horizontal format] 1993,0508.1 (17) r. ‘Exodus Ch. 17’ 1993,0508.1 (20) r.  [horizontal format]
Dramatic study of two figures in front of a Inscribed in ink ‘Temora Book I / Inscribed: ‘Homers Iliad Book – 21 –‘ ‘Wisdom Possibly Theseus, with Aethra, recovering Another treatment of Moses Striking Water Worship of a term of Priapus – based in part on
throne. Althan’ conquers or/of the Brutal thread’ his father’s armour from under a rock? from the Rock. paintings by Poussin, including the Bacchanal before
Temora was an epic poem by James Study finished with wash. Possibly Lycaon and a term of Pan now in the National Gallery, London.
Macpherson first published in 1763. Achilles?
This finished wash study depicts
Althan – who related: ‘I stood in the
wood alone, and saw a ghost on the
darkening air. His strides extended
from hill to hill: his shield was dim on
his side. It was the son of Semo: I knew
his warrior’s face.’

1993,0508.1 (11) r. 1993,0508.1. (16) r. 1993,0508.1 (18) r. 1993,0508.1 (20) v.

Faint figure studies. 1993,0508.1 (13) v. Study of St John the Baptist preaching in Possibly study of Theseus, with Aethra, Inscribed: ‘Tom Jones’
Two ruled boxes containing indistinct the wilderness, Dayes exhibited a finished recovering his father’s armour from under a Showing a dramatic moment from the novel
compositional studies. watercolour of the same title at the Royal rock, a more developed version of the study Tom Jones by Henry Fielding.
Academy in 1799 (423). on 1993,0508.1 (15)r.

[ 34 ] [ 35 ]
1993,0508.1 (21) r. 1993,0508.1 (22) v. 1993,0508.1 (24) r. 1993,0508.1 (27) r. 1993,0508.1 (29) v. 1993,0508.1. (31) r.
A second study for the scene first explored in Two studies for the principal figures in Inscribed: ‘Death of Heny II’ Study of an unidentified historical scene of a Two portrait studies of a woman’s head. Inscribed: ‘Edwd 2nd’
1993,0508.1 (20) v.? 1993,0508.1 (23) r. Showing Henry II on his deathbed. king enthroned. Study of a scene from the life of King Edward II.

1993,0508.1 (21) v. 1993,0508.1 (23) r. 1993,0508.1 (25) r.

A third study for the scene first explored in Inscribed: ‘Leolf the Robber Hist of Engd’ Inscribed: ‘Rufus’ 1993,0508.1 (28) r. 1993,0508.1. (30) r.  [horizontal format] 1993,0508.1 (32) r.
1993,0508.1 (20) v.? Wash drawing showing King Edmund I Study showing the death of King William II, Study for an historical scene, a bishop blessing Faint pencil sketch of male figure. Another composition, reworking the scene in
being assassinated by Leolf the Robber whilst known as Rufus. Possibly another scene taken a couple? 1993,0508.1 (31) r. although not inscribed.
celebrating the feast of St Augustine. The scene from Raymond’s History of England?
was a popular one in the eighteenth century,
described in George Frederick Raymond’s
History of England, where it was illustrated by
Samuel Wale.

1993,0508.1 (22) r. 1993,0508.1 (26) r. 1993,0508.1 (29) r. 1993,0508.1 (30) v. 1993,0508.1 (33) r.
Inscribed: ‘Stephen’s Queen’ Inscribed: ‘Rufus’ Watercolour and wash landscape of a waterfall Two studies of a woman’s head. Watercolour landscape of herd and mounted
Possibly shows Matilda, wife of King Stephen Wash drawing, more fully developed than and reclining figure in military dress. figure crossing a bridge and women washing
of England with Empress Matilda? 1993,0508.1 (25) r. but showing the same subject- clothes in the foreground.
1993,0508.1 (23) v. matter, the death of King William II whilst
Slight landscape in drawn frame. hunting.

[ 36 ] [ 37 ]
1993,0508.1 (34) r. 1993,0508.1 (36) v. 1993,0508.1 (38) v. 1993,0508.1 (41) r. 1993,0508.1 (43) r. 1993,0508.1 (44) v.
Loose sketch of nymphs bathing. Studies of plumes? Ink drawing of Pontius Pilate washing his Inscribed ‘Aratus’ Preliminary for Leonidas, see 1993,0508.1 (44) r. Further study for figures from 1993,0508.1 (44) r.
hands of Christ. The composition loosely based Study for a historical scene, a mounted figure
on Rembrandt’s etching of Pilate showing entering a city and greeted by the populace?
Christ to the people.

1993,0508.1 (35) r. 1993,0508.1 (37) v. 1993,0508.1 (39) r. 1993,0508.1 (41) v. 1993,0508.1 (43) v. 1993,0508.1 (45) r.
Inscribed: ‘Shepherdess of … [indistinct]’ Study of two figures in Roman dress. Inscribed: ‘Mat Chap 27’ Study of a kneeling female figure for the same Preliminary for Leonidas, see 1993,0508.1 (44) r. Further study for figures from 1993,0508.1 (44) r.
Study of a pastoral landscape, with a shepherd Wash drawing of Pontius Pilate washing his composition as 1993,0508.1 (40) v.
playing a pipe and a reclining shepherdess. hands of Christ.

1993,0508.1 (42) r.
Inscribed: ‘Lewis the Gross 92 His’y France’
1993,0508.1 (36) r. 1993,0508.1 (38) r. 1993,0508.1 (40) r. Wash drawing depicting a sketch of Louis VI 1993,0508.1 (44) r. 1993,0508.1. (45) v.
Wash drawing of two figures embracing. Study of two figures. Inscribed: ‘aratus Page 395’ of France receiving the Oriflamme, or battle Inscribed: ‘Leonidas’ Figure studies for ‘Priors Solomon’ related to
Wash drawing of a scene, probably taken from standard of France, from the Abbey of St Possibly Gorgo, Leonidas’s wife, weeping over 1993,0508.1 (46) r.
the Greek poet Aratus, depicting a woman Denis in 1124, an episode taken from William his corpse following the battle of Thermopylae?
interceding during a battle. Beckford’s History of France (1794) which Dayes Related to Gavin Hamilton’s Andromache
exhibited at the Royal Academy in 1798 (331). bewailing the body of Hector.

[ 38 ] [ 39 ]
1993,0508.1. (46) r. 1993,0508.1 (47) v. 1993,0508.1 (49) r.  [horizontal format] 1993,0508.1 (50) v. 1993,0508.1 (52)r. 1993,0508.1 (54) r.  [horizontal format]
Inscribed: ‘Priors Solomon’ Figure studies. Wash drawing of an unidentified subject – Inscribed: ‘Phocion Vide Plutarch’ Inscribed: ‘Lycurgus’ Inscribed: ‘Edward black Prince’
Wash drawing of a scene from Matthew Prior’s possibly a shepherd watching a sleeping nymph? A further treatment of the subject in 1993,0508.1 Wash drawing almost certainly depicting an Wash drawing of Edward, Prince of Wales in a
poem Solomon and Abra; or, Love Epistles, first (50) r. episode from Plutarch’s life of Lycurgus. victorious procession.
published in 1718.

1993,0508.1 (46) v. 1993,0508.1. (48) r. 1993,0508.1 (51) r. 1993,0508.1 (52) v. 1993,0508.1 (55) r.
1993,0508.1. (49) v.
A second study of Louis VI of France receiving Wash drawing of St John the Baptist Preaching in Inscribed ‘Theseus’ Inscribed: ‘The fate of Romulus Vide Numa’ Inscribed: ‘Black Prince’
A rapid sketch of two standing figures.
the Oriflamme, developing 1993,0508.1 (44)r. the Wilderness, presumably a preliminary design Pencil study depicting a scene from Theseus’s Wash drawing depicting a scene from Wash drawing of King Edward III possibly
The final watercolour was exhibited at the Royal for the painting exhibited at the Royal Academy life, probably also derived from Plutarch. Romulus’s life. granting the Black Prince Aquitaine?
Academy in 1798 (331). in 1799 (423).

1993,0508.1 (50) r.
Inscribed: ‘Phocion’ 1993,0508.1 (51) v. 1993,0508.1 (53) r. 1993,0508.1 (55) v.
1993,0508.1 (47) r. 1993,0508.1 (48) v. Wash drawing, probably depicting a scene from Two figure studies relating to 1993,0508.1 (52)r. Inscribed: ‘Lives of Plutarch’ A wash study of the Good Samaritan. Possibly
Inscribed: ‘Collins’ Inscribed: ‘Pompey’ Plutarch’s Lives. Phocion, the Greek statesman Wash study of a female figure running through related to the painting Dayes exhibited at the
This is presumably a scene taken from William Wash drawing showing Pompey’s severed head was offered untold riches by Alexander the a darkened archway, subject probably derives Royal Academy in 1802 (486).
Collins’s Oriental Eclogues. being shown to a disgusted Julius Caesar. Great and others, but refused them. This from one of Plutarch’s Lives.
probably forms the subject of Dayes’s sketch.

[ 40 ] [ 41 ]
1993,0508.1 (56) r. 1993,0508.1 (57) v. 1993,0508.1 (59) r.  [horizontal format] 1993,0508.1 (61) r.  [horizontal format] 1993,0508.1 (64) r.  [horizontal format]
Inscribed ‘Black Prince’ Inscribed: ‘Paul’ Inscribed: ‘Palamon and Arcite’ Schematic idea related to 1993,0508.1 (60) r. A second wash study for the death of
Wash drawing of the Conversion of St Paul, a This fine wash drawing depicting the first Epaminondas see 1993,0508.1 (62)v. and
Wash study of a scene taken from William
preliminary idea related to the painting Dayes compositional study of Lycurgus Entering 1993,0508.1 (63)r.
Beckford’s History of France, London, 1794,
exhibited at the Royal Academy in 1799 (442). Athens, the watercolour Dayes exhibited at the
III, p.27.
Royal Academy in 1798 (501), the subject derived
from Palamon and Arcite, from Dryden’s Fables
Ancient and Modern. See Cat. 1a.

1993,0508.1 (62) v. and 1993,0508.1 (63) r.

conceived as a single composition.
Inscribed: ‘Death of Epaminondas’
1993,0508.1 (61) v. Epaminondas was a Theban general, killed at 1993,0508.1 (64) v.
1993,0508.1 (58) r.
Possibly a study of John the Baptist? the moment of victory at battle of Mantinea in Series of studies of an armed figure in
Inscribed: ‘Ceyx & Alcyone’
362 BC. The wash drawing shows Dayes working Roman costume.
1993,0508.1 (56) v. Drawing of Alcyone embracing her husband
out the composition across the double-page,
Wash study of the Good Samaritan. Related Ceyx? The fable ‘Ceyx & Alcyone’ originally
1993,0508.1 (60) r.  [horizontal format] with two smaller pencil studies on 1993,0508.1
to 1993,0508.1 (55) v. related by Ovid in the Metamorphoses appears in
Inscribed: ‘Palemon and Arcite’ (69) v.
John Dryden’s Fables Ancient and Modern which
Wash drawing depicting an episode from
formed the basis for two of Dayes’s historical
Dryden’s Fables Ancient and Modern, possibly
watercolours: see Cats. 1a & 1b.
the episode Dayes had originally considered
pairing with 1993,0508.1 (59)r.?

1993,0508.1 (65) r.
1993,0508.1 (62) r.  [horizontal format] Wash study for the Fall of the Rebel Angels.
Inscribed: ‘Palemon and Arcite’ In his 1798 diary, Dayes mentions that he
1993,0508.1 (57) r.  [horizontal format] A study in wash relating to 1993,0508.1 (60) r. 1993,0508.1 (63) v. had begun working on a drawing of this
Inscribed: ‘Page 32 Vol 3 Homer’s Iliad’ Sketch of a landscape with a mounted figure. subject-matter which he exhibited at the
Study possibly depicting Nestor giving 1993,0508.1 (58) v.  [horizontal format] Royal Academy in 1798 (490) and is now in
advice to Patroclus? Study of three oxen, relating to 1993,0508.1 (59) r. the Tate, see Fig.14.

[ 42 ] [ 43 ]
1993,0508.1 (65) v. 1993,0508.1 (67) r. 1993,0508.1 (69) r. ‘Boadeica Vide Speed’ 1993,0508.1 (71) r. 1993,0508.1 (72) v. 1993,0508.1 (75) r.  [horizontal format]
Study of a head in profile, related to a figure A depiction of Boadicea, Queen of the Iceni. Sketch of a giant holding a rock. Related to Study of a seated man, (upside down), related to Inscribed: ‘Dion’
Inscribed: ‘Nine days the fall – Milton Book
from Lycurgus Entering Athens. See Cat.1a. 1993,0508.1 (71) v. 1993,0508.1 (73) r. The subject of this sketch is taken from
6 Line 871’
Plutarch’s Lives.
Wash study for the Fall of the Rebel Angels,
see also 1993,0508.1 (65)r. See Fig.14.

1993,0508.1 (70) r. 1993,0508.1 (71) v. 1993,0508.1 (73) r.  [horizontal format] 1993,0508.1. (76) r.
1993,0508.1 (66) r.  [horizontal format]
Inscribed: ‘Death of Wm Conqr ‘ Inscribed: ‘Tales of Geni(?) Giant Trifaldi’ Compositional sketch showing a man Inscribed ‘Mat Chap 14 Ver 6’
First compositional study for Theseus’s 1993,0508.1 (68) r. Wash drawing depicting the death of King Two studies of giants throwing rocks. presenting a petition to a seated man in prison. The sketch depicts the dance of Salome for
Approach to Athens the watercolour Dayes William I, known as William the Conqueror.
Inscribed: ‘Parnells Hermit’ King Herod.
exhibited at the Royal Academy in 1798
(517), the subject derived from Dryden’s Scene derived from Thomas Parnell’s The
Pelamon and Arcite and conceived as a pair Hermit, a moral narrative in heroic couplets.
to (59)r. For the watercolour see Cat.1b.

1993,0508.1 (70) v. 1993,0508.1 (72) r. 1993,0508.1 (74) r.  [horizontal format]

1993,0508.1 (77) r.  [horizontal format]
A series of unidentified sketches. A multi-figured celestial composition. Inscribed: ‘Gen Chap 46’
Inscribed: ‘Stephen’
A sketch study of Genesis Chapter 46 which
A sketch of battle scene.
1993,0508.1 (68) v. shows Joseph recognising his brothers on their
1993,0508.1 (66) v. Studies of armed women and men, relating return into Egypt.
Study of a female figure. to 1993,0508.1 (69)r.

[ 44 ] [ 45 ]
1993,0508.1 (77) v.  [horizontal format] 1993,0508.1 (79) v. 1993,0508.1 (81) v. 1993,0508.1 (83) r. 1993,0508.1 (84) v.  [horizontal format] 1993,0508.1 (86) v.  [horizontal format]
A series of architectural and figural sketches. Inscribed: ‘Minerva comforting painting’ Inscribed: ‘Ixion ED’ Inscribed indistinctly. Inscribed: ‘Eagles wing on the Helmet’, ‘Fingal Inscribed: ‘The fight for the body of Patroclus’.
Inscription relating to: 1993,0508.1 (80) r. Wash drawing of Ixion bound to a wheel. This Pencil, pen and wash study for the book 1st Cuthullin’s Car’
composition, and that of 1993,0508.1 (82) r. Conversion of St Paul. A pen and ink study of a scene from Ossian, of
are close to the work of the sculptor Thomas Cathullin King of Ireland, riding a chariot.
Proctor, who exhibited a much celebrated model
of the same subject at the Royal Academy in
1785.

1993,0508.1 (87) r.  [horizontal format]

Inscribed: ‘Homers Iliad Book 17 Line 335 &c.’
1993,0508.1 (80) r. ‘Minerva comforting
1993,0508.1 (78) r.  [horizontal format] A bold pen, ink and wash study of Menelaus
painting’
Inscribed: ‘Cato – Plutarch’ 1993,0508.1 (85) r.  [horizontal format] rescuing the body of Patrocolus from the
A study showing a grand allegorical
A sketch of a scene from Plutarch’s Lives, Inscribed: ‘Cathullin from Fingal Book I’ Trojans. Clearly indebted to other treatments
composition of painting ascending with
depicting the Roman statesman and stoic, Cato 1993,0508.1 (82) r. A more vigorous wash study of Cathullin, see of the same subject, particularly the famous
Minerva, the three graces in the bottom left.
the younger. See: 1993,0508.1 (81) v. 1993,0508.1 (84) v. for an earlier treatment of the Classical sculptural group in Florence.
Possibly a design conceived following the
death of an artist? same scene.

1993,0508.1 (83) v. and 1993,0508.1

(84) r. read together:
Inscribed: ‘Persians whore breeches long
vests & tiara on the head’ and ‘Plutarchs
Life of Artaxerxes Page 447’
1993,0508.1 (79) r.  [horizontal format] 1993,0508.1 (82) v.  [horizontal format] A pencil, pen and wash study of a 1993,0508.1 (88) r.
Inscribed: ‘Caesar’ Inscribed: ‘angel obscure’ nocturnal scene from Plutarch’s life of 1993,0508.1 (86) r. Inscribed: ‘Collins Eclogue 1’
Wash drawing depicting Julius Caesar seated in 1993,0508.1 (81) r. A page of sketches and pen and wash drawings Artaxerxes, probably showing the death of A pen, ink and wash treatment of Pen, ink, wash and watercolour study of a scene
the midst of a conflagration. Indistinct compositional study. depicting the Conversion of St Paul. King Cyrus. St Paul’s conversion. from William Collins’s Persian Eclogues of 1742.

[ 46 ] [ 47 ]
1993,0508.1 (88) v.  [horizontal format] 1993,0508.1 (90) r. 1993,0508.1 (92) v.  [horizontal format] 1993,0508.1. (95) r. 1993,0508.1 (96) r. ‘I was thirsty and ye gave me 1993,0508.1 (97) r.
Inscribed in the bottom left ‘Larger’. Inscribed: ‘Akenside’ Study of a kneeling male figure, possibly relating Inscribed: ‘For I was an hungered and ye gave drink Mathew 25 v.35’ Inscribed: ‘I was a stranger & ye took me in’
Pencil, pen and wash compositional study, Pencil compositional study, a scene derived from to 1993,0508.1 (93) r. or a study of St John the me meat Mathew ch 25 Verse 35 &c.’ Pen, ink and wash compositional study Pen, ink and wash compositional study
showing a mounted figure embracing a standing the poetry of Mark Akenside. Baptist in the wilderness. Pen, ink and wash compositional study depicting a traveller at a cottage door receiving depicting a stranger being shown a bed. This was
figure in front of a city wall, possibly related to depicting a cottage interior, with an old a drink. This was probably a sketch for the probably a sketch for the series of pictures of
1993,0508.1 (89) r. destitute man being fed by a young woman. This series of pictures of Chapter 25 of the Gospel Chapter 25 of the Gospel of Matthew, exhibited
was probably a sketch for the series of pictures of Matthew, exhibited at the Royal Academy in at the Royal Academy in 1800 (163).
of Chapter 25 of the Gospel of Matthew, 1800 (163).
exhibited at the Royal Academy in 1800 (163).

1993,0508.1 (90) v. 1993,0508.1 (93) r.  [horizontal format]

Pencil study of a standing woman. Inscribed: ‘Death of Brutus Vide Plutarch’
1993,0508.1 (89) r.  [horizontal format] A pencil, pen, wash and watercolour study of a
Inscribed: ‘Philip helping Alexander Vide scene from Plutarch’s Lives.
Plutarch 267’, top left: ‘augurs in white with gold
fillet on crown’ 1993,0508.1 (95) v. ‘I was thirsty and ye gave me 1993,0508.1 (96) v. 1993,0508.1 (97) v.
Pen, ink, wash and watercolour, compositional drink Mathew 25 v.35’ Inscribed: ‘M – [unclear] in a Gown and Velvet Inscribed: ‘I was a stranger & ye took me in’
study of Philip embracing Alexander. Pen, ink and wash compositional study Cap’ Pencil, ink and watercolour wash compositional
depicting a traveller at a cottage door receiving Small pencil study, later worked up for a study depicting a mounted traveller being
a drink. This was probably a sketch for the nocturnal coloured wash treatment of subject welcomed into a cottage. This was probably a
series of pictures of Chapter 25 of the Gospel seen on 1993,0508.1 (97) v. sketch for the series of pictures of Chapter 25 of
of Matthew, exhibited at the Royal Academy in the Gospel of Matthew, exhibited at the Royal
1800 (163). Academy in 1800 (163).

1993,0508.1 (91) r.  [horizontal format] 1993,0508.1 (94) r.  [horizontal format]
Inscribed: ‘Akenside Book 1st’ Inscribed: ‘Julian protects Nebridius from the
A pencil, wash and watercolour study for The soldiers – Gibbon Vol 4 Page 24’
Triumph of Beauty, which was exhibited at the A pencil, wash and watercolour compositional
1993,0508.1 (89) v.  [horizontal format] Royal Academy in 1800 (93). See: Cat.2. study depicting the Emperor Julian protecting
Pencil study for 1993,0508.1 (91) r., showing Nebridius from his own followers.
Venus reclining.

[ 48 ] [ 49 ]
of pictures of Chapter 25 of the Gospel of was probably a sketch for the series of pictures Earth her ordinary attribute is a lion is girdle about her waist with stars upon it she
Matthew, exhibited at the Royal Academy in of Chapter 25 of the Gospel of Matthew, represented a matron sitting on a globe with a holds the sign of the Ram under her Right arm
1800 (163). exhibited at the Royal Academy in 1800 (163). cornucopia in her hand & septre in the other & in her left hand a garland of flowers at her
At this point, Dayes turned the sketchbook she has a mural crown on her head instead of feet are wings that answer to the colour of her
upside down and began to work from the which the painter may introduce a garland vestment –

back. of fruit & flowers: her garment may be either Autumnal Equinox an old man dress’d as
Green or any earthy colour decked with herbs [unclear] he holds the sign Libra in one hand in
& flowers – the other is a bunch of grapes on the [unclear]
Water a woman crown’d with marshy reeds in season & wings as pr. Last –
(or she may have a crown of gold on her head) The Estival or Summer Solstice a young man
the vestment is the colour of the sea she is almost naked to denote the heat of the season
1993,0508.1 (98) r. sitting on a rock at the shore leaning on an the drapery is a purple colour & the figure is in 1993,0508.1 (128) v.
Inscribed: ‘Naked and ye cloathed me’ urn out of which flows abundance of water & retreating attitude because at that time the sun Inscribed: ‘The East Wind is called Eurus a
Pen, ink and wash compositional study various fishes hold a septre in hwe right hand & seems to go back – the garland & ears of corn young man of a Moorish complexion in allusion
depicting a seated man being clothed. This was part of a ship is seen in the distance –’ on his head distinguish the solstice the blew to the Ethiopians country from whence it
probably a sketch for the series of pictures of 1993,0508.1 (99) v. [unclear] with nine stars & the sign of Cancer comes is in the attitude of flying with wings at
Chapter 25 of the Gospel of Matthew, exhibited Inscribed: ‘Four Subject from Goldsmith in the middle denote the suns entering that his shoulders the star Lucifar above his head it
at the Royal Academy in 1800 (163). Epilogue to She Stoops to Conquer’. / sign of Cancer in his left hand & a globe in his appearing at the dawn he hold a cup of incense
Sentimental Mag.e for 1773 page 43’ right one fourth of which is dark to show the in his right hand a string of pearls in his left &
1993,0508.1 (130) r.
shortness of the night – he has four wings to his about his middle a gurdle of the same as those
Inscribed: ‘Beginning’ and indistinct signature
Palamon & Arcite feet two on the right & one on the left which – aromatick & jewels come from the East.’
2 ft 7 in x ½ Pen and ink study of a standing semi-naked
in Robert measure or
1 foot by 11 male beneath globe with sun. Possibly derived The Hyernal of Winter solstice an old man
Size of Drawings
from Cesare Ripa? dressd in fur he hold a globe in his left hand
an quarter of which is luminous – blue gone
31–23 Hist.l 30 by 23 Good this shape about his legs with twelve stars & the sign of
Sizes of 32 – 22 Capricorn which sign he hold under his right
German glass 32 – 25 arm are distinctive marks of the tropic – Four
1993,0508.1 (129) r. wings to his feet three of which are black the
31 ½ – 22 Inscribed: Fire, Air, Earth, Water white one on the right – He hold the globe in
22 by 32 Landscape. Four ink studies of female figures, representing the left from the suns being on the left hand
1993,0508.1 (98) v. A design for frames for Lycurgus Entering the four elements as described in 1993,0508.1 towards the antarctick pole.’
Inscribed: ‘May have a servant’ ‘a young Artist’ Athens and Theseus Approaching Athens. Cats. 1a (130) v.
Studies for the cross-section of a frame. & 1b.
1993,0508.1 (127) r.
Ink drawings of the four winds, including the
East Wind, described 1993,0508.1 (128) v.
1993,0508.1 (130) v.
Inscribed: ‘Fire is expressed by the figure of a
young woman of lively colour dressed in red
having the drapery in different gold in form
of a flame she hold a vase full of fire with a
salamander in it illuminated by the rays of
the sun in her right hand she holds Jupiters
Thunder; her feet are suspended in the ir under
them are the winds which blow beneath the
regions of fire – 1993,0508.1 (128) r.
1993,0508.1 (129) v.
1993,0508.1 (99) r. ‘I was sick and ye visited me’ 1993,0508.1(100) r. Air is personified by a Nymph by her side is a Inscribed: ‘The Spring Equinox so called from Inscribed: ‘Spring, equinox,’, ‘Autumn, equinox,’
Pen, ink and wash compositional study Inscribed: ‘I was in prison & ye came unto me’ Peacock she holds a carnation in her hand & is the days & nights being of an equal length a ‘Summer, solstice,’ ‘Winter, solstice, male.’
depicting a sick man in bed being attended Pen, ink and wash compositional study a light transparent azure & her hair is scattered young woman dressed in white on the right Pen and ink drawings of the figures described in
to. This was probably a sketch for the series depicting a women visiting a man in prison. This by the wind – side & black on the left she has a broad blue 1993,0508.1 (129) v.

[ 50 ] [ 51 ]
corn, having a garland of the same upon his cornucopia with grapes, figs, peaches and other place of a hatchet a cup full of truffles may be a young boy of a brown complexion in the
head, the particular fruits of this month may fruits – introduced. – precipitate action of flying towards the het, with
also be introduced with propriety –’ October is represented a young man dressed January the rigour of the season in this month the evening star Hesperides above his head
in a carnation coloured robe, crowned with a requires this figure to be entirely cloathed in a which precedes the night he holds a bat in his
garland and upon his head of sprigs in riched white mantle. The figure is represented youing, left hand with its wings extended in the other
with acorns, In one hand he holds the sign of and holds the sign of Aquarius for an attribute. he holds a dart, and others are seen in the air,
Scorpio, and in the other, a basket with medlers, February is characterised a young man that he has already thrown. –
mushrooms and chestnuts.’ dressed in cloud coloured drapery he holds the Day is represented by an allegorical figure of
sign of Pisces.’ a graceful aspect dressed in white with wings
at his shoulders, he has a lighted torch in one
hand and a bunch of flowers in the other he is
1993,0508.1 (127) v. 1993,0508.1 (126) v. crowned with the herb Ornithogalum, Day may
Inscribed: ‘Spring is the figure of a young girl be represented with a peacock, having its tail
Inscribed: ‘March is characterised by a young
crowned with myrtle, she has various flowers man of a sprightly aspect dressed in armour shut in such a manner as to hide the eyes of the
in one hand and a garland of roses in the other with an helmet on his head, with wings at his feathers.-
with some animals by her side at play. – shoulders as have all the other months. In one 1993,0508.1 (125) r. Night is painted a woman of a dark
Summer is represented by a healthy young hand he holds the sign arises, adorned with Inscribed: ‘March’, ‘April’, ‘May’, ‘June’. complexion crowned with poppies she has large
woman, dressed in yellow drapery crowned the flower of the almond tree; in the other, he Pen and ink studies of four personifications of black ings her dress adorned with stars is not
with ears of corn, holding a lighted torch in one holds a cup containing the fruit of the ballac the months, described in 1993,0508.1 (126) v. without its splendour two children in her arms
hand, and a sickle in the other. Sheaves of corn tree, asparagus and luminous, or other fruits of a pallid and black complextion.’
are introduced at a distance – produced in this month, a horse is introduced, 1993,0508.1 (124) r.
Autumn is a woman richly dressed with because in this month it is mentioned they are Inscribed: ‘July’, ‘August’, ‘September’, ‘October’. 1993,0508.1 (123) r.
a garland of vines on her head she holds a inclined to propagate the spade alludes to the Pen and ink studies of four personifications of Inscribed: ‘November’, ‘December’, ‘January’,
cornucopia full of fruits in her right hand, and a proper season, to dig about the roots of the the months, described in in 1993,0508.1 (123) v. ‘February’.
bunch of grapes in the other – vine –
Pen and ink studies of four personifications of
Winter is expressed by the figure of a April is represented by the figure of a young the months, described in 1993,0508.1 (124) v.
wrinkled old man, warming himself at the fire, man crowned with myrtle and is dressed in
dressed parlty in cloath, and partly in fur.’ green green in his right hand the sign of Taurus,
adorned with violets and ravenous other spring
flowers; with his left hand he holds a basked
containing almonds, and other fruits produced
in this month – the garland of myrtle, and the
1993,0508.1 (125) v.
animals at a distance denote, that a this time, 1993,0508.1 (122) r.
Inscribed: July is characterised by the faint
plants and animals are strongly quickened in a Pen and ink studies of four personifications of
aspect with which this figure is represented and
generative sense – the times of the day as described in 1993,0508.1
the lightness of his dress, which is of an orange
May is represented by a young man dressed colour, in one hand he has the sign of Leo for (123) v.
in green embroidered with various flowers, an attribute decorated with ears of corn in the 1993,0508.1 (124) v.
with a garland of the same upon his head, in other hand, he holds a basket with melons, Inscribed: ‘November is also represented by a
his right hand he holds the signs of Gemini, pears, nuts and other fruits to produce of this young man, whose drapery is the colour of the 1993,0508.1 (123) v.
adorned with white and red roses, and in the country, and is crowned with ears of corn – leaves when they begin to wither, round his Inscribed: ‘The morning twilight is personified
1993,0508.1 (126) r. other a sythe the hay rick, and basket containing August is represented a young man of a lively head is a garland of olives with the berries, the by a naked young boy of a brown complextion
Inscribed: ‘Spring’, ‘Summer’, ‘Autumn’, ‘Winter’ strawberries, cherries, pease, and other fruits are aspect, dressed in shining drapery, crowned sign Sagittarius in his right hand, the basket with wings of the same colour and the morning
Four ink studies of personifications of the introduced as being the natural productions of with damask roses, jessamine and gilly flowers. by his side with turnips, radishes cabbages and star appearing above his head. He is in a flying
seasons, as described in 1993,0508.1 (127) v. this month – In one hand he has the sign of virgo, and in the other plants. – attitude, in one hand he holds a vase turned
June in painted under the image of a young other a basket with pears, plums, figs, nuts, and December is characterised by a young man of downwards out of which issues minute drops
man in a lighter dress than the proceding figure. almonds – an austere aspect this figure has more drapery of water, with the other hand he holds a lighted
He is represented in hay fields, with a sickle or September this figure is drest in purple of than the proceeding one, and increased is torch turned backwards, the swallow is flying in
scythe in one hand, and holds the sign of cancer a chearfull countenance with a garland of dressed in black. In one hand he holds the sing the air –
in the other, adorned with the ripening ears of millit and [unclear] upon his head in the other of Capricorn, and in the other a hatchet, in The evening twilight is also represented

[ 52 ] [ 53 ]
1993,0508.1 (122) v. 1993,0508.1 (121) r. 1993,0508.1 (120) r. 1993,0508.1 (119) r. 1993,0508.1 (118) r. 1993,0508.1 (117) r.
Inscribed: ‘First hour of the Day is Pen and ink studies of four personifications Pen and ink studies of four personifications of Pen and ink studies of four personifications of the Pen and ink studies of personifications Pen and ink studies of personifications
represented under the image of a young of the hours of the day as described on the hours of the day as described on 1993,0508.1 hours of the day as described on 1993,0508.1 (120) v. of four evening hours as described in of four evening hours as described in
woman of a fair complexion her forehead is a 1993,0508.1 (122) v. (121) v. 1993,0508.1 (119) v. 1993,0508.1 (118) v.
tuft of her golden locks she is dressed in red
she has wings to her shoulders and is painted
in a flying posture. In her right hand for
where the painter thinks proper she hears the
sign of the sun and in the other a bunch of
red and yellow flowers opening in the bud. –
The second hour of the Day is represented
by a young woman with wings, as in the
proceeding figure the hair in the same form
and colour the fore, lock, not quite so fair
her dress is short and of a golden colour,
surrounded with some clouds. She holds
the sign of Hermes in her right hand and a 1993,0508.1 (118) v.
1993,0508.1 (121) v. 1993,0508.1 (120) v. 1993,0508.1 (119) v. 1993,0508.1 (117) v.
turnsol in her left which follows the course Inscribed: ‘The fifth hour of the night. The
Inscribed: ‘The fifth hour of the Day is Inscribed: ‘The Ninth hour of the day is dressed Inscribed: ‘The first hour of the night the dress is a Inscribed: ‘The vestment of the Ninth hour
of the sun. represented dressed in white with a mixture attributes given to this hour are Mercury
in a citron coloured vestment and holds the sign blackish colour such as that of the horizon on time is a violet colour with one hand she holds the
The third hour of the day the hair of this of orange colour this figure holds the sign of Venus in one hand and in the other a branch of the evening twilight or rather of various colours. in one hand and a bunch of poppies in the sign of mars and with the other an horned
figure is blackish the dress is of a mixture of Saturn in one hand and in the other a of olives. She holds the sign of Jupiter in one hand and in the other. The drapery is the same colour with owl –
white and red, but mostly of the former, she turnsol. The tenth hour of the Day is dressed in other a bat. – that of the preceding figure. – The figure of the tenth hour is dressed
holds the sign of Mercury in one hand and The sixth hour of the Day is represented yellowish coloured drapery, with a mixture of The second hour of the night holds the sign of The costume of the sixth hour is black in violet coloured drapery, lighter than the
with the other a sundial- of a more spirited aspect than the former brown, she holds the sign of Mercury in one mars in one hand and with the other – an owl. The the sign of the moon is in her right hand proceeding one. She hold the sign of the sun
The fourth hour of the Day is dressed in ones. The arms are naked buskins on the legs. hand, and a branch of poplar in the other. drapery of this figure is of a dusky colour near to and a cat under her left arm – in one hand and with the other a clock in
white, in her right hand she holds the sign The colour of her vestment is a shining red. The eleventh hour of the Day her Drapery is black the drapery of this figure is of a ducky colour, The seventh hour of the Night. The the form of a little temple the tenth hour is
of the moon, and with the other the flower With her right hand of the holds the sign of a dark yellow she holds the sign of the moon in near to black, the draperys of the hours of the night apparel of this female figure is a dark blue shown on the deal plate, with a bell at top –
Hyacinth –’ Jupiter, and in the other a bunch of lotus – her right hand and with the left a clepsydra or in succession becomes darker – partaking of black. She holds the sign of A cock is an attribute to the eleventh
The seventh hour is dressed in orange water dial – The third hour of the night the vestment of this Saturn in her right hand and a badger house, this figure is dressed in blue holds the
colour, which participates a little red she The twelfth hour of the Day. The drapery is figure is black, the draperys of the hours of the night under her left arm. sign of Venus in one hand and an hour glass
holds the sign of mars in one hand and in the a violet colour inclining to black: she holds the in succession becomes darker – The figure of the eight hour holds the with the other –
other a bunch of Lupines – sign of Saturn in the right hand, and with the The third hour of the night the vestment of this sign of Jupiter the colour of the drapery The sign of Mercury is an attribute to the
The eight hour of the Day is dressed in other a branch of weeping willow – figure is black she holds the sign of the sun as low as is blue but not as dark as the last she as a twelfth hour of night, the drapery is blue,
white and orange coloured drapery. She The hours of the night are represented with she can attribute, but if a different species from the dormouse for an attribute –’ with a mixture of white and violet. She holds
holds the sign of the sun dial on which the butterfly wings.’ antecedent one it having a kind of beard at its beak – a swan under her arm –’
eight hour is indicated –’ The fourth hour of the night is of a clearer black
than the proceeding one, she holds the sign of Venus
in one hand and an hour glass in the other –’

[ 54 ] [ 55 ]
left hand and a cornucopia in her right hand old man of an austere aspect, crowned with Inscribed: ‘The River Thames is represented
containing the ears of corn to denote the palms and pouring water out of a vase, with a by the figure of an aged man of a vigorous
fertility of country rhinoceras by his side appearance holding a cornucopia in one hand
America is represented almost naked of The River Nile is Represented in the Vatican and neptunes trident in the other with a naval
a tawny complexion and a fierce aspect, has at Rome in the character of an old man, pouring crown upon his head and sitting by various
her head and other parts of her body adorned out of an urn he holds a cornucopia in his right bales of merchandise. He is resting upon an
with various coloured feathers, according to hand and his crowned with a garland of fruit urn from which is discharged great abundance
the custom of the country. In her left hand she and flowers, a crocodile may be introduced. of water a swan may also be introduced. –
holds a bow, and in her right a bunch of arrows, The sphinx was a famous animal of Egypt and The River Tiber is represented by the figure
these being the arms of both men and women in is here represented by the side of the river, the of an old man resting upon an urn as those
many of these provinces. The moose deer is also boys at play about this figure may be sixteen in already described, and crowned with laurel
1993,0508.1 (116) r. a notable animal in that part of the world and number in memory of the Roman victories. At his
1993,0508.1 (113) v. 1993,0508.1 (112) r.
Pen and ink studies of personifications of four may with propriety be introduced.’ The River Plata is also represented by the feet and two boy [sic] suckling a wolf being
Inscribed: ‘The City of London is Four pen and ink studies representing the four
evening hours as described in 1993,0508.1 (117) v. figure of an old man. resting upon a vase from significant characters of Romulus and Remus.
represented by the figure of a matron having personifications, as described in 1993,0508.1 (113) v.
which issues a torrent of water, and is crowned The founders of Rome. He holds a cornucopia a mural crown upon her head. She holds a
with the branches of oliander commonly called in one hand, and an oar in the other. cornucopia with her left hand, and a roll of
the Spanish willow which abounds in that part The River Indus is characterised a serious parchment with the other. She is standing
of the world the cinchona or Jesuits bark tree young man with a crown of fruit and flowers by several bales of Goods and the anchor of
of the size of a cherry Tree may be introduced, upon his head. He holds an urn with one a ship. Upon a shield which lays at her feet,
as also the Lizard. The figure holds a bow and hand, out of which is discharged abundance is deciphered the city arms. The mace and
arrow.’ of water and with the other hand he holds a sword are also introduced, as the attributes of
camel by the bridel. this figure.
The River Niger is represented by the figure The City of Rome is represented by a
of a Moor with rays of light surrounding his female figure with a helmet on her head, in
head. He is leaning upon an urn and sitting one hand she holds a globe with an eagle
by a lion. The most remarkable animal on that upon it, each of them being the symbol of
1993,0508 (115) r. 1993,0508.1 (112) v.
1993,0508.1 (116) v. part of affrica.’ eternity in the other hand she holds a spear.
Four pen and ink studies representing the four Inscribed: ‘The Golden age is Personified by an
Inscribed: ‘Europe represented by the figure of At her left feet are the Roman fasces, and by
continents as described in 1993,0508.1 (116) v. amiable young woman standing by the shade of
a matron magnificently dressed having a crown her side is a shield of a circular form. an olive (tree the simple of peace) in which is
of gold upon her head. She is standing by an Britannia is represented by the figure of swarm of bees. Her golden locks hang upon her
elegant Temple. The horn of plenty in her left a graceful woman sitting upon a globe and shoulders in their natural beauty without art: Her
hand containing fruits and flowers, allude to crowned with oak leaves. She holds a spear dress is of gold without ornament, and she holds a
the fertility of the soil. The trophies, the owl in one hand, and a branch of olives in the cornucopia containing various fruit and flowers. –
upon the books and the musical instruments other. The cornucopia on the foreground is The Silver Age is represented by the figure of a
and other things lying at her feet denote her
1993,0508.1 (114) r. emblematical of the various productions of young woman inferior in beauty to the preceding
superiority above all parts of the world with
Four pen and ink studies representing the four the country, the cap of liberty by her side is one. She is dressed in embroidered silver and her
respect to arms and literature, a horse is an
rivers as described in 1993,0508.1 (115) v. an allusion to the happy constitution of the headdress is artfully adorned with rows of pearls.
attribute and signifies the warlike disposition of
country. The trident at her feet signifies that She rests upon a plough, sttanding by a cottage
the inhabitants the garments embroidered.
britannia is the supreme Ruler of the waves.- with the ears of a corn in her hand, and silver
Asia is represented by a woman richly dressed
1993,0508.1 (113) r. Italy is characterised by the figure of a fine buskins on her legs.
in embroidery with pearls and other jewels and
Four pen and ink studies representing the four woman in a sumptuous dress sitting upon a The Brazen age is expressed in a bold attitude
crowned with garlands of fruits and flowers. 1993,0508.1 (115) v.
rivers as described in 1993,0508.1 (114) v. globe, having a mural crown upon her head by the figure of a woman richly dressed, crowned
In her right hand she holds branches of cassia, Inscribed: ‘The River Danube represented by with a star above it. She holds a cornucopia with a helmet, the crest of which is the skin
pepper and July flowers and in her left hand the figure of an old man as in a medal of the
in her right hand, containing fruits, and a of a Lions head. She holds a spear in her right
a vase of incense. The camel by her side, is an Emperor Trajan, resting upon a vase out of
sceptre in her left. The globe and sceptre with hand, and rests with her left upon a shield and is
annimal of great service and a native of Asia which gushes great abundance of water. The
the Roman ensigns and the crown at her feet surrounded with elegant buildings.
Africa is represented by the figure of a woman head of this figure is covered with drapery
signify the dominion the inhabitants of this The Iron age is represented by the figure of a
of a tawny colour and in a Moorish dress, she because the origin of its spring is not certainly
region have had over other nations.’ woman, with a fierce aspect, dressed in armour
is crowned with the trunk of an Elephant and nown
a lion by her side she holds a scorpion in her The River Ganges is represented by an 1993,0508.1 (114) v. having the skin of a wolfs head as a crest to the

[ 56 ] [ 57 ]
helmet; she holds a drawn sword in her right hand persuasions of erudition. She presided over Inscribed: ‘The muse of Polyhymnia is
in a fighting posture, and a shield in her left, on musick, and is represent by a fine young woman represent in the attitude of oratory and
which on which is exhibited the figure of fraud, gayley dressed, crowned with a garland of presided over rhetorick. She is dressed in
partly the resemblance of a mans face and partly various flowers, and holds different instruments white drapery to denote the purity and
the body of a syren or spotted serpent, both of of musick in both her hands. – sensitivity that became the orators of
which are the symbols of fraud, at her feet are The Muse Thalia presided after comedy and sound doctrine the book by her side, with
different trophies of war, and part of a fortified city lyrick poetry and is represented a young woman the motto Suadere signifies the whole
at a distance. –’ of chearful countenance, with a garland of ivy of rhetorick its end being persusiasion
round her head, she holds a mask in her left her headdress is adorned with pearls and
various jewels of fine colours.
hand and in the right stalks of corn and green
The Muse Eerato signifies love, as she
leaves, with socks on her feat, which were worn
presides over the softer poetry for this
by the ancient comedians’ 1993,0508.1 (109) v. 1993,0508.1 (107) r. 1993,0508.1 (106) v.
reason. Cupid is sometimes attending her.
‘The Muse Melpomene presides over tradegy Inscribed: ‘The Muse Calliope. She presided Four pen and ink studies of standing male Inscribed: ‘Mr r. Caney Esq.’
She is dressed in thin drapery, and crowned
and is painted of a grave aspect, in an heroick over heroick poetry her forehead is adorned figures, presumably personifications, but
with myrtle and roses with one hand she
dress, with her head finely attired, she holds with a band of Gold, as a mark of emenance, in without the accompanying descriptive text to
holds a lyre and with the other a platter.
a cup in one hand, and a dagger in the other her right hand she holds a Garland of Laurel, explain their meaning.
The Muse Terpsichore presided over the symbols of poetry, and under her left arm
with a crown and scepter at her feet she is shod
the dances, and is therefore represented in three books with titles upon them. Viz the
in buskins which were used by the ancient
a dancing attitude crowned with feathers Oddyssey, the Iliad and Aenead
tragedians –’
of various colours, gayly dressed in thin Heroick Virtue. In the Capital at Rome.
A pencil note below: ‘Robert Caney Esquire,
drapery playing on the cithern. There is a statue of hercules, dressed in a lions
1993,0508.1 (111) r. 31 Rochester Square, Camden Road, N. W.’
Muse Urania the Name of this Muse skin, with the club in one hand, and three
Four pen and ink studies representing the four
heaven, the Science of astronimy being applies in the other from the Gardens of
personifications, as described in 1993,0508.1 (112) v.
attributed to her. She is dressed in azure Esperides, being significant chharacters of the
with a Garland of bright stars encircling three heroick virtues attributed to hercules
her head standing by a Globe, on which is Poetick Fury is personified by the figure of
represented the celestial spheres, and is an a lively young man, in an attitude of writing
attitude of contemplation.’ with his eyes toward heaven, with wings to
his temples, and crowned with laurel, having a 1993,0508.1 (107) v. 1993,0508.1 (105) r.
girdle of ivy round his middle’ Inscribed: ‘Mr Caney’ Camden Town, London’ Four pen and ink studies of figures, presumably
personifications, but without the accompanying
descriptive text to explain their meaning

1993,0508.1 (110) r.
Four pen and ink studies representing the four
1993,0508.1 (111) v. muses described in 1993,0508.1 (111) v.
Inscribed: ‘The Muses are nine in number, the
offspring of Jupiter and memory, who dwelt with
appollo, on mount Parnassus. –
The Muse Clio is the first in order of the muses
1993,0508.1 (109) r.
who presided over history, whose name signifies
Four pen and ink studies representing the
praise; she is represented young with a flowing
four muses described in 1993,0508.1 (110) v.
white robe and is crowned with a garland of laurels
and holds in her right hand a trumpet and in the
left a book on which is rote herodatus, the Grecian 1993,0508.1 (108) r. 1993,0508.1 (106) r. 1993,0508.1 (105) v.
historian, who dedicated his first book to this Four pen and ink studies representing the four Four pen and ink studies of figures, presumably Pencil sketch of a man and woman in
muse. – personifications described in 1993,0508.1 (109) v. personifications, but without the accompanying contemporary costume.
The Muse Euterpe the name of this muse descriptive text to explain their meaning
signifies joy or pleasure and alludes to the sweet 1993,0508.1 (110) v.

[ 58 ] [ 59 ]
Four pen and ink studies of figures, presumably APPENDIX 2
personifications, but without the accompanying
descriptive text to explain their meaning. Works exhibited by Edward Dayes at the Royal Academy in the
period covered by the British Museum Sketchbook
-

1993,0508.1 (104) r. 1993,0508.1 (101) r. 1798

Four pen and ink studies of figures, presumably Four pen and ink studies of figures, presumably
Sketch from Beckford’s ‘History of France’: ‘Ver. 36. Naked and ye clothe med.’, ‘Ver. 40.
personifications, but without the accompanying personifications, but without the accompanying
Lewis the Gross Receiving the Oriflamme (331) Verily I say unto you.’ (163)
descriptive text to explain their meaning 1993,0508.1 (103) v. descriptive text to explain their meaning.
View of the Rhine between Room and Ramagen The Glyn, near Corwen, Merionethshire (415)
17 lines of very faint pencil, appears to be a draft
(420)
letter to the Academy describing the series of 1801
watercolours mentioned in the draft letter on The fall of the Angels, Vide Milton (490)
1993,0508.1 (104) v. Beneath in pen: ‘A set of Keswick Lake (18)
Lycurgus entering Athens, Vide Dryden’s
Pictures from Mat’. Pistill Rhayder, North Wales (280)
Palamon and Ariete (501)
Theseus’s approach to Athens, Vide Dryden’s 1802
Palamon and Ariete (517) Elisha causing iron to swim, ‘And he cast
1799 down a stick, and casting it in thither; and the
iron did swim, etc.’ 2nd Kings, chap vi. (251)
Caernarvon Castle, North Wales, where Edward
II, the first Prince of Wales, was born (97) Conway Castle, North Wales (376)
1993,0508.1 (101) v.  [horizontal format]
1993,0508.1 (104) v. John Preaching in the wilderness (423) The Good Samaritan, ‘And he went to him
Pencil study of a rural scene.
Inscribed: ‘Gentleman, List of the pictures I and bound up his wounds.’ (486)
Paul’s conversion. ‘And as he journeyed, he came
have done my self the Honr of sending to your
near Damascus: and suddenly there shined round Portrait of an artist (630)
Exhibition forming a series (& marked 1 2 3 4 5 &
about him a light from heaven.’ (442)
6)’. With other sketches. This is a letter addressed Caernarvon Castle, North Wales (758)
1993,0508.1 (102) r.
to the Royal Academy and presumably referring Netley Abbey, Hampshire (664)
Four pen and ink studies of figures, presumably 1803
to the series of watercolours depicting verses from
personifications, but without the accompanying 1800
the Gospel of Matthew which Dayes exhibited in The Triumph of Saul and David, ‘And the
descriptive text to explain their meaning.
1800 (163). The Triumph of Beauty, ‘Beauty’s living image, women answered one another as they played.’
like the Morn
(548)
That wakes in Zephyr’s arms the blushing May.’
Conway Castle, North Wales (648)
(93)
1804
Six subjects from the XXV Chapter of
1993,0508.1 (100) r. St Matthew, ‘Ver. 35. For I was an hungered.’, Shrewsbury (270)
Four pencil, pen and ink studies of figures,
presumably personifications, but without the
accompanying descriptive text to explain their
meaning.

1993,0508.1 (102) v.
1993,0508.1 (103) r. Pencil study of a tree.

[ 60 ] [ 61 ]
Notes and References 10  J. Reynolds, ed. R. Wark, Discourses on Art, late Edward Dayes, London, 1971, Appendix true to nature, as to astonish me that he did not

-
New Haven and London, 1988, p.43. (unpaginated). oftener paint in the same style.’
11  For the place of engravers at the Royal 19  E. Dayes, 1805, p.239. 33  It is perhaps of note that Dayes was not
Academy in this period see S. Hyde, ‘Print- 20  E. Dayes, 1805, p.239. alone in making the transition. Samuel Shel-
makers and the Royal Academy Exhibitions, 21  J. Reynolds, ed. R. Wark, Discourses on Art, ley, who had practised as portrait miniaturist,
1780–1836’, in ed. D. Solkin, Art on the Line; the New Haven and London, 1988, p.107. began to show historical watercolours at the
Royal Academy at Somerset House, 1780–1836, exh. 22  E. Dayes, 1805, p.231. Royal Academy in 1782 and continued to do
cat., London (The Courtauld Institute Gallery), 23  Dayes’s separation of painting into nine so until 1804, when lack of commercial success
2001, p.217–228. parts is reminiscent of Dufresnoy’s five parts prompted him to become a founding member of
12  E. Dayes, 1805, p.346–7. of painting as articulated in his great poem De the Society of Painters in Watercolour.
13  The MS diary is in the: London, National Arte Graphica of 1668, which had been repub- 34  E. Dayes, 1805, p.227.
Art Library, MSL/1980/190. It was published lished by William Mason with ‘annotations by’ 35  For the use of Milton as a subject matter in
Edward Dayes as history 2  London, National Art Library, successful pupil was the miniature portraitist
with some minor transcription errors in ed. R. Reynolds himself in 1783. Jonathan Richardson this period see M. Pointon, Milton and English
painter · paGE 9 MSL/1980/190. It was reproduced in ed. ed. Henry Edridge. In light of Dayes’s failures
W. Lightbown, E. Dayes, The Works of the late earlier in the century had expanded the Art, Manchester, 1970 and R. Paulson, Book and
R. W. Lightbown, E. Dayes, The Works of the at the Academy it is perhaps of interest that
1  M. Hardie, Water-Colour Painting in Britain, Edward Dayes, London, 1971, Appendix p.31–51. categories to seven, in his 1715 Theory of Paint- Painting: Shakespeare, Milton and the Bible, liter-
late Edward Dayes, London, 1971, Appendix despite his commercial popularity, Edridge was
I The Eighteenth Century, London, 1966, p.182. 14  For Dayes’s relationship with Moore see C. ing. Quotations from Reynolds, Mason and ary texts and the emergance of English Painting,
(unpaginated). also unsuccessful in his attempts at becoming an
2  This was something recognised by Hardie F. Bell, ‘Fresh light on some water-colour paint- Dufresnoy all appear as epigrams in Dayes’s Knoxville, 1982.
3  E. Dayes, 1805, p.239. Academician, eventually being elected an Asso-
who noted that St. Gregory the Great and the ers of the Old British School, derived from the essays. 36  See A. Haut, ‘Barry and Fuseli: Milton,
4  E. Dayes, 1805, p.237. ciate in 1820. See S. Houfe, ‘Henry Edrridge,
British Captives, a watercolour now in the collection and papers of James Moore FSA’, in 24  The sketchbook is first recorded in the exile and expulsion’, in eds. T. Dunne, and W.
1769–1821: a neoclassical portraitst’, Antique The Walpole Society, vol. v, 1915–7, p.47–83. collection of Lisson James Dayes, it was sold Pressly, James Barry 1741–1806: History Painter,
Victoria and Albert Museum was formerly Collector, vol.43 (1971), p.211–16.
attributed to Dayes, it is now more generally catalogue 2 · paGES 14–16 15  For Landseer’s career and discussion of at Sotheby’s London, 5 April, 1973, lot. 28 and Farnham, 2010, p. 95–114.
5  E. Dayes, 1805, p. 343–4. Dayes’s work for him see: J. Gage, ‘An Early again at Christie’s London, 30 March, 1993, lot. 37  Commended in his fourteenth Discourse,
accepted as a work by William Blake. M. 1  M. Akenside (1721–1770) The Pleasures of 6  See H. Wine, National Gallery Catalogues: The
Hardie, Water-Colour Painting in Britain, I The Exhibition and the Politics of British Printmak- 29. It was acquired by the British Museum in which was delivered to the Royal Academy in
Imagination, 1744 (1772 edition, rev. 1805), Book Seventeenth Century French Paintings, London, ing, 1800–1812’, Print Quarterly, vol. 6, 1989, 1993. 1788, when Dayes was almost certainly present.
Eighteenth Century, London, 1966, p.182. 1, p.27 ll. 329–335. 2001, cat. no. NG40, p.282–287. Dayes’s copy is p.123–139. 25  E. Dayes, 1805, p.237. Following the sale of Reynolds’s collection in
3  Ed. R. W. Lightbown, The Works of Edward 2  E. Dayes, 1805, p.237. listed under drawings (3) and Pether’s engraving 16  On December 19 Dayes records ‘Recd 26  A. Graves, The Royal Academy of Arts: a 1792, it entered the collection of Sir George
Dayes, London, 1971. This reprint of the 1805 3  H. Von Erffa and A. Stalley, The Paintings of under prints (3). It is perhaps of note that Dayes of Col Howgill for Teaching his son &c. – complete dictionary of contributors and their work Beaumont, whose name appears in a note in
publication of Dayes’s writing includes a tran- Benjamin West, New Haven and London, 1986, apparently failed to impress Beaumont, an ama- £15.19.0.’ On 12 September Dayes recorded from its foundation in 1769 to 1904, London, Dayes’s BM sketchbook.
scription of his 1798 work diary (p.31–51) and cat. no. 157. teur draughtsman and patron who was famous ‘repaired a picture for Collings’. Dayes is also 1904, vol.2, p.277–78. 38  The Monthly Mirror, 1798, p.28–9.
manuscript list of his library. Dayes’s essay were for his sponsorship of young artists. It was on listed in the catalogues of the Royal Academy as 27  E. Bray, Life of Thomas Stothard RA with 39  London Packet or New Lloyd’s Evening Post,
initially published in the magazine between seeing the young John Constable’s copies of
Edward Dayes: a true ‘Draughtsman to the Duke of York’ an honorary Personal Reminiscences, London, 1851, p.98. May 9, 1798.
January 1801 and March 1803. engravings of the Raphael tapestry cartoons in
‘historical painter’ · paGES 17–29 position which came with no stipend, but again 28  This was a view apparently voiced by 40  D. Solkin, Art on the Line; the Royal Academy
4  See D. Blaney Brown, ‘Edward Dayes, 1795, Beaumont was convinced to encourage suggests something of his ambitions. contemporaries. James Northcote observed Exhibitions at Somerset House 1780–1836, exh.
Historical Draughtsman’, The Old Water-Colour 1  See K. D. Kriz, The Idea of the English the young painter. See G. Reynolds, The Early 17  Dayes’s involvement with Barker’s pan- that Westall was ‘as much entitled to share cat. London (Courtauld Institute of Art), 2001.
Society, vol.62, 1991, p.9–23. Landscape Painter; Genius as Alibi in the Early Paintings and Drawings of John Constable, New oramas assumes greater significance in light of in the honour of being one of the founders For the specifics of watercolour see G. Smith,
5  K. D. Kriz, The Idea of the English Landscape Nineteenth Century, New Haven and London, Haven and London, 1996, vol. 1, cats. 95.1–3. Girtin’s work on the Eidometropolis – a depic- of the school of painting in watercolours, as ‘Watercolourists and Watercolours at the Royal
Painter; Genius as Alibi in the Early Nineteenth 1997, p.21–33. Kriz uses Dayes’s life and writings 7  S. C. Hutchinson, ‘The Royal Academy tion of London some 18ft high and 108ft in cir- his highly-gifted contemporaries Girtin and Academy 1780–1836’, in ed. D. Solkin, 2001,
Century, New Haven and London, 1997, p.21–33. to articulate a shift in the hierarchy of genres Schools, 1768–1830’, in The Walpole Society, vol. cumference – which was exhibited at the Spring Turner.’ See A. Wilton, British Watercolours p.189–200.
6  G. Smith, The Emergence of the Professional which took place around 1800, when history xxxviii, 1962, p. 144, n. 367. Gardens in 1802. See H. J. Pragnell, The London 1750–1850, 1977, p.20. 41  Whitehall Evening Post, June 12, 1798.
Watercolourist; Contentions and alliances in the painting as espoused by Joshua Reynolds and 8  In his ninth essay On Style, Dayes criticised Panoramas of Robert Barker and Thomas Girtin 29  For Westall’s career see R. J. Westall, ‘The 42  In the exhibition catalogue Dayes’s Caer-
artistic domain, 1760–1824, Aldershot, 2002, practised by James Barry was displaced by the the lack of early training amongst young paint- circa 1800, London, 1968 and G. Smith, Thomas Westall Brothers’, Turner Studies, vol. 4, no. 1, narvon Castle was noted as ‘where Edward II.
p.137–139. new school of landscape painting, led by Turner ers. ‘Boys are too often put to draw after the Girtin: The Art of Watercolour, exh. cat. London 1984, p.23–38. the first Prince of Wales was born’, presumably
and Girtin. living model, before they have imbibed a proper (Tate Gallery), 2002, p.188–205. Farington 30  G. Smith, The Emergence of the Professional to confer some historical status on what was
2  T. Marshall, ‘Edward Dayes: his ancestors, notion of, or relish for, beautiful proportion.’ E. recorded May 3, 1799 ‘Panorama, – Barkers view Watercolourist; Contentions and alliances in the essentially a topographical work.
catalogue 1a & 1b · paGES 12–13
family and descendants’, The British Art Journal, Dayes, 1805, p.276. of Windsor painted by Reinagles I went to see.’ artistic domain, 1760–1824, Aldershot, 2002, 43  S. Uwins, A Memoir of Thomas Uwins RA,
1  The sketchbook is first recorded in the vol. 8, no. 3, Winter 2007, p.31–38. 9  Little has been written about the early pro- Eds. K. Garlick and A. Macintyre, The Diary of p.137–139. London, 1858, vol.2, p.131. Quoted in J. Simon,
collection of Lisson James Dayes, it was sold 3  For Pether’s relationship with Wright see gramme of study at the Royal Academy, for the Joseph Farington, New Haven and London, 1979, 31  E. Dayes, 1805, p.355. The Art of the Picture Frame; Artists, Patrons and
at Sotheby’s London, 5 April, 1973, lot. 28 and T. Clayton, in J. Edgerton, Joseph Wright of best discussion see I. Bignamini and M. Postle, vol. IV, p.1216. 32  E. Dayes, 1805, p.355–6. It is of note that the Framing of Portraits in Britain, London,
again at Christie’s London, 30 March, 1993, lot. Derby, exh. cat. London (Tate Gallery), 1990, The Artist’s Model: Its Role in British Art from 18  London, National Art Library, the only composition by Westall to which 1996, p.19.
29. It was acquired by the British Museum in p.25–30. Lely to Etty, exh. cat. Nottingham (University MSL/1980/190. It was reproduced in ed. ed. Dayes offered unalloyed praise, was ‘a Thresher, 44  G. Smith, The Emergence of the Professional
1993. 4  In this context it is of note that Pether’s other Art Gallery), p.16–24. R. W. Lightbown, E. Dayes, The Works of the which was clear brilliant, and silvery; and so Watercolourist; Contentions and alliances in the

[ 62 ] [ 63 ]
artistic domain, 1760–1824, Aldershot, 2002, p.23. Benjamin West, New Haven and London, 1986, Landscape Painting in the 1805 edition of Dayes’s
45  eds. K. Garlick and A. Macintyre, The Diary cat. no. 157. works.
of Joseph Farington, New Haven and London, 60  E. Dayes, 1805, p.264. 67  T. Marshall, ‘Edward Dayes: his ancestors,
1979, vol. IV, p.1320, December 8, 1799. 61  In his writing Dayes frequently com- family and descendants’, The British Art Journal,
46  His fine View of Shrewsbury from the River mended Cipriani, particularly his abilities as a vol. 8, no. 3, Winter 2007, p.31–38.
Severn survives in Shrewsbury Museum and teacher. 68  E. Dayes, 1805, p.344. Contained in the Brit-
Art Gallery and a view of Rochester in the Yale 62  We have a sense of Dayes’s own frustra- ish Museum sketchbook are two studies of Ixion
Center for British Art. Recently Bernard Smith tion with taste for old master paintings. In a (1993,0508.1 (81) v. and 1993,0508.1 (82) r. which
and Ian McLean, have suggested Dayes may be marginal note, made by Dayes in an auction are extremely close to a sculpture of the same
the author of the remarkable view of Sydney- catalogue for the sale of the collector John Purl- subject by Proctor, which he exhibited at the
Cove 1794, apparently the earliest oil painting of ing, he observed: ‘the prices given for many of Royal Academy in 1785. In his Sketch of Proctor,
the settlement, now in the State Library of New the pictures in the Sale argues a great national Dayes describes the piece as ‘justly considered
South Wales. See I. McLean ‘Identities and weakness as the persons must buy from igno- as the finest piece of work ever produced by a
empire in Sydney-Cove 1794’, in eds. T. Barringer, rance.’ Dayes had recorded visiting Purling’s native of Britain.’
G. Quilley and D. Fordham, Art and the British collection in Portland Place in 1798 and clearly
Empire, Manchester, 2007, p.23–37. knew it well. In his annotated sale catalogue
47  Turner in particular frequently accom- he remarked ‘this Mr Purling when he showed
panied his paintings with long passages from me his pictures boasted in a sort of triumphal
Thomson. For example in 1798 he showed manner that the picture by Wilson was the only
Buttermere Lake, with part of Cromackwater, modern one in his collection.’ Dayes in turn
Cumberland, a shower (Tate) at the Academy, reported to Joseph Farington, that Wilson’s
including a long passage from Spring. painting had sold for £246, although it had
48  For Turner’s interest in Akenside see J. been acquired by a dealer from Wilson himself
Gage, Colour in Turner: Poetry and Truth, Lon- for only £27; so implying the inequity of an art Select Bibliography
don, 1969, p.143. world dominated by collectors and dealers. Eds. London, National Art Library, MSL/1980/190
49  E. Dayes, 1805, p.214. K. Garlick and A. Macintyre, The Diary of Joseph Edward Dayes’s work diary for 1798.
50  There were several casts of different Venus’s Farington, New Haven and London, 1979, vol.
recorded in the Royal Academy collection in IV, p.1547–8. E. Dayes, ed. E. W. Brayley, The Works of the late
1781, including one of the ‘Venus Anadyomene 63  Dayes even resorted to holding his own Edward Dayes, containing an excursion through
… commonly called La Venere de’ Medici’, it exhibition at his house in Maiden Lane. This the principal parts of Derbyshire and Yorkshire,
had been presented to the Academy in 1779 by echoed the contemporary practice of painters with illustrative notes by E.W. Brayley; Essays in
William Henry, Duke of Gloucester, who had showing works in their private galleries, such as Painting; Instructions for Drawing and Colouring
obtained it from Filippo Farsetti in Venice. It Benjamin West at Great Newman Street. Our Landscapes; and Professional Sketches of Modern
is perhaps notable that the sculpture was cast only record of the show, is Joseph Farington, Artists, London, 1805.
without arms, making it far closer to Dayes’s who records Dayes giving him a ticket. See Eds. ed. R. W. Lightbown, E. Dayes, The Works of the
composition than the original marble in Flor- K. Garlick and A. Macintyre, The Diary of Joseph late Edward Dayes, London, 1971.
ence. See G. Baretti, A Guide through the Royal Farington, New Haven and London, 1979, vol.
Academy, London, 1781, p.29. IV, p.1548. D. Blaney Brown, ‘Edward Dayes, Historical
51  E. Dayes, 1805, p.222. 64  In particular D. Blaney Brown, ‘Edward Draughtsman’, The Old Water-Colour Society,
52  E. Dayes, 1805, p.221. Dayes, Historical Draughtsman’, The Old Water- vol.62, 1991, p.9–23.
53  E. Dayes, 1805, p.216. Colour Society, vol.62, 1991, p.9–23 and G. Smith, K. D. Kriz, The Idea of the English Landscape
54  E. Dayes, 1805, p.237. 2002. Painter; Genius as Alibi in the Early Nineteenth
55  W. L. Pressly, The Life and Art of James 65  Andrew Wilton has pointed out that Century, New Haven and London, 1997.
Barry, New Haven and London, 1981, p.32–35. Dayes’s highly competent views of London,
G. Smith, The Emergence of the Professional
56  J. Barry, ed. E. Fryer, The Works of James populated by fashionable figures, owe a debt
Watercolourist; Contentions and alliances in the
Barry, Esq. Historical Painter, London, 1809, vol. to the contemporary French painter Philibert-
artistic domain, 1760–1824, Aldershot, 2002,
II, p.145. Louis Debucourt and had an important impact
p.137–139.
57  E. Dayes, 1805, p.316. on the young Turner. A. Wilton, Turner as
58  W. L. Pressly, The Life and Art of James Draughtsman, Aldershot, 2006, p.52. T. Marshall, ‘Edward Dayes: his ancestors,
Barry, New Haven and London, 1981, p.33. 66  Dayes’s Tour in Yorkshire and Derbyshire family and descendants’, The British Art Journal,
59  H. Von Erffa and A. Stalley, The Paintings of was published, along with his Instructions for vol. 8, no. 3, Winter 2007, p.31–38.

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