This magnificent portrait was commissioned by James, 6th Duke of Hamilton, to celebrate his marriage to Elizabeth Gunning. Born in Ireland, Elizabeth was a celebrity beauty who caused a sensation when she and her equally attractive sister were introduced into high society. Though the sisters had neither dowries nor rank, their physical attractiveness secured them excellent marriages. Elizabeth married the Duke of Hamilton on St Valentines Day, 1752, only weeks after meeting him at a masquerade. The artist Gavin Hamilton, a distant relative of the Duke, produced an extremely sophisticated image that was unlike the more informal portraits of the time. The elegantly-draped figure, as poised and calm as a classical statue, is already suggestive of Hamilton’s later fascination with the Antique. (National Galleries of Scotland)

David Hume: Essay on Suicide

ONE considerable advantage that arises from Philosophy, consists in the sovereign antidote which it affords to superstition and false religion. All other remedies against that pestilent distemper are vain, or at least uncertain. Plain good sense and the practice of the world, which alone serve most purposes of life, are here found ineffectual: History as well as daily experience furnish instances of men endowed with the strongest capacity for business and affairs, who have all their lives crouched under slavery to the grossest superstition. Even gaiety and sweetness of temper, which infuse a balm into every other wound, afford no remedy to so virulent a poison; as we may particularly observe of the fair sex, who tho’ commonly possest of their rich presents of nature, feel many of their joys blasted by this importunate intruder. But when found Philosophy has once gained possession of the mind, superstition is effectually excluded, and one may fairly affirm that her triumph over this enemy is more complete than over most of the vices and imperfections incident to human nature. Love or anger, ambition or avarice, have their root in the temper and affection, which the soundest reason is scarce ever able fully to correct, but superstition being founded on false opinion, must immediately vanish when true philosophy has inspired juster sentiments of superior powers. The contest is here more equal between the distemper and the medicine, and nothing can hinder the latter from proving effectual but its being false and sophisticated.

IT will here be superfluous to magnify the merits of Philosophy by displaying the pernicious tendency of that vice of which it cures the human mind. The superstitious man says Tully is miserable in every scene, in every incident in life; even sleep itself, which banishes all other cares of unhappy mortals, affords to him matter of new terror; while he examines his dreams, and finds in those visions of the night prognostications of future calamities. I may add that tho’ death alone can put a full period to his misery, he dares not fly to this refuge, but still prolongs a miserable existence from a vain fear left he offend his Maker, by using the power, with which that beneficent being has endowed him. The presents of God and nature are ravished from us by this cruel enemy, and notwithstanding that one step would remove us from the regions of pain and sorrow, her menaces still chain us down to a hated being which she herself chiefly contributes to render miserable.

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Portrait of William Shirley by Thomas Hudson, 1750

A while ago I posted Sir Joshua Reynolds’ portrait of John Simpson, noting that the sitters style of dress was somewhat different from anything I had seen in contemporary portraits. Here is a similar example, twenty-five years earlier. The painter is Thomas Hudson, the sitter is William Shirley, colonial governor of Massachusetts.

The oldest example of such a three-piece suit—coat, waistcoat and pants all of the same fabric—I have found yet is Cornelis Troost’s portrait of a music lover 1736, here in a modest gray, as befits a Dutch Calvinist. This type of suit was probably more common in the Protestant countries, but the Los Angeles County Museum of Art has a 1755 French example, which is very similar to the suit William Shirley wears.

Georges-Louis Leclerc, Comte de Buffon was an eminent naturalist. His Histoire naturelle, générale et particulière, which appeared 1749–1788 in 36 volumes, is still rather popular in antiquarian bookshops. when Drouais painted his portrait in 1753, he wore a velvet coat and an embroidered silk vest. Few paintings show the French men’s fashion of the time in such detail and brilliance.

Pierre Augustin Caron de Beaumarchais was only twenty-three when Nattier painted his portrait, but he had already invented an escape mechanism for watches that allowed them to be made substantially more accurate and compact. In the same year he made a watch mounted on a ring for Madame Pompadour. The next year he married Madeleine-Catherine Aubertin, a rich widow who helped him secure a royal office and gave up watchmaking.

The goddesses of dawn tend to be associated with mirth, revelry, profligacy. This is not only true for the mostly equivalent Aurora and Eos, but also for the rather different Bast, and even the Japanese Ama-no-Uzume. This Aurora was painted by Fragonard in 1755 or 1756. It is about 131×95 cm in size, but I could not find out its location.

Jean-Marc Nattier was a popular portraitist at the court of Louis XV. He often painted the court ladies in mythological or allegorical attire, here as a vestal virgin. This painting is now at the North Carolina Museum of Art, the identity of the sitter is unknown.

It has been said that Boucher represented and embodied the taste of his century, and no single painting probably captured the spirit of this century better than The Toilet of Venus (1751).

Gotthold Ephraim Lessing: The Sparrows

AN old church that gave the sparrows countless nests was repaired. As it stood in new glory, the sparrows came back to look for their old homes. Alas, they found them all bricked up. “What,” they cried, “is this huge building good for now? Come, let us leave this useless heap of stones!”


From a collection of prose fables first published 1759.

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