Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.

Founded in 1732 as a convivial dining club, the Society of Dilettanti became in time a leading sponsor of the British Enlightenment, sponsoring the Royal Academy & the British Museum, & was the first private organization to send an archaeological expedition to Greece.

Antiquities of Ionia is an unchanged, high-quality reprint of the original edition of 1797. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres.As a publisher we focus on the preservation of historical literature.Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.

Modern freemasonry was invented in London about 1717, but was only one of a surge of British associations in the early modern era which had originated before the English Revolution. By 1800, thousands of clubs and societies had swept the country. Recruiting widely from the urban affluent classes, mainly amongst men, they traditionally involved heavy drinking, feasting, singing, and gambling. They ranged from political, religious and scientific societies, artistic and literary clubs, to sporting societies, bee keeping, and birdfancying clubs, and a myriad of other associations.

The legacy of ancient Greece and Rome has been imitated, resisted, misunderstood, and reworked by every culture that followed. In this volume, some five hundred articles by a wide range of scholars investigate the afterlife of this rich heritage in the fields of literature, philosophy, art, architecture, history, politics, religion, and science.

An exploration of the origins, influences, and legacy of the scandalous Hell-Fire Clubs of the 18th century and beyond • Reveals the club’s origins in the work of Rabelais and the magical practices of John Dee and how their motto, “Do What You Will,” deeply influenced Aleister Crowley • Explores the cross-fertilization of liberty and libertinage within these clubs that influenced both U.S. and French Revolutions • Examines the debaucherous activities and famous members of many Hell-Fire Clubs, including Sir Francis Dashwood’s Monks of Medmenham Mention the Hell-Fire Clubs and you conjure up an image of aristocratic rakes cutting a swath through the village maidens. Which is true, but not the whole truth. The activities of these clubs of upper-class Englishmen revolved around not only debauchery but also blasphemy, ritual, quasi-magical pursuits, and political intrigue. Providing a history of these infamous clubs, Geoffrey Ashe reveals their origins in the work of François Rabelais and the activities of John Dee. He shows how the Hell-Fire Clubs’ anything-goes philosophy of “Do what you will”--also Aleister Crowley’s famous motto--and community template were drawn directly from Rabelais. The author looks at the very first Hell-Fire Club, founded by Philip, Duke of Wharton, in 1720 and then at the Society of the Dilettanti, a fraternity formed in 1732. Ashe examines the life, travels, and influences of Sir Francis Dashwood, founding member of the Society of the Dilettanti and the scandalous Permissive Society at Medmenham, also known as the Monks of Medmenham. He also explores other Hell-Fire clubs the movement inspired throughout England, Scotland, and Ireland, including the violence-prone Mohocks and the Appalling Club. He shows how many illustrious figures of the day were members of these societies, such as Lord Byron. He also examines the rumors that Benjamin Franklin was a member, an allegation that can be neither confirmed nor denied. Exploring the political and magical ideas that fueled this movement, the author shows how the cross-fertilization of liberty and libertinage within the Hell-Fire Clubs went on to influence both the U.S. and French revolutions, as well as the hippie movement of the 1960s, the Church of Satan founded by Anton LaVey, and the motorcycle club known as the Hells Angels. The legacy of the Hell-Fire Clubs continues to impact society, beckoning both elite and outsider to cast aside social norms and “do what you will.”

In a lively re-examination of the British collectors who bankrupted themselves to possess antique marble statues, Owning the Past chronicles a story of pride, rivalry, snobbery, and myopic obsession with posterity and possession. Analyzing the motives that drove "Marble Mania" in England from the 17th through the early 19th century, Ruth Guilding examines how the trend of collecting antique sculpture entrenches the ideals of connoisseurship and taste, exacerbates socioeconomic inequities, and serves nationalist propaganda. Even today, for the individuals or regimes that possess them, classical statuary performs as a symbol of authority or as the trophies of a "civilized" power. From Adolf Hitler posing for the press beside an ancient copy of Myron's Discobolus to the 2002 sale of the Newby Venus for a record price of about $13 million to the Emir of Qatar, marble mania remains unabated. With insider access to private collections, Guilding writes with verve and searing insight into this absorbing fixation. Published for the Paul Mellon Centre for Studies in British Art