|Call Number||ND 1340 G5|
|Title||Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscape: to Which is Added a Poem, on Landscape Painting. By William Gilpin, M. A. Prebendary of Salisbury; and Vicar of Boldre in New Forest, near Lymington.|
|Short Title||Three Essays|
|Title Page Quotation|
|Dedication||To William Lock, Esq; of Norbury-Park, in Surrey. [...] I am, dear sir, with the greatest esteem, and regard, Your sincere, and most obedient, humble servant, William Gilpin. Vicar's-hill, Oct. 12, 1791. (i-viii)|
|Imprint||London; Printed for R. Blamire, in the Strand. 1792.|
|SFU Catalogue Original Bibliography||1 v. (various pagings)|
|Digital Object URL|
|Bibliographic Notes||Our copy: writing in pencil on one of the blank pages at back; paper inside front and back covers is bright orange; title on spine reads "Gilpin's Three Essays"; on page 85 there is a sentence written on a small horizontal strip of paper bound in between two paragraphs - a sentence forgotten when setting the type that needed to be added in after the fact?|
This volume contains three essays and a long poem on landscape painting, as noted in the title. Gilpin annotates the poem, which was edited by William Mason, editor of Gray’s Poems (this collection); a footnote contains additional correspondence from Mason expressing his irritation at Gilpin’s inflexibility about the work. Gilpin also includes a response to his first essay on the picturesque by famous painter Sir Joshua Reynolds, in which Reynolds expresses approval of Gilpin’s insights but suggests that the picturesque might be a characteristic of inferior forms of painting. Gilpin offers very broad and sometimes contradictory aesthetic and picturesque theories and admits it is impossible and restricting to fix rules on the principals of the picturesque; it is nonetheless in the “spirit of inquiry” that he persists in analyzing how to draw, paint, observe, and identify the picturesque (30). He posits that there might be more pleasure in the recollection of beauty than in the moment of apprehension (51). The volume contains six landscape aquatints and one illustration of Gilpin’s aesthetic concept of “points of sight,” which he notes is analogous to the concept of the “vanishing point” (85), along with explanations of these prints.
The SFU LDC copy contains this note on the vanishing point on a separate, thin strip of paper cut horizontally, inserted between two paragraphs on page 85. The sentence was possibly forgotten at the typesetting stage and then subsequently added.
|Digital Copy Holders|