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²⁹ Ibid., p. 31.

³⁰ Gwynn, Essay on Design, p. ii and sig. A2r.

³¹ Ibid., p. 92.

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³³ Ibid., pp. 19, 21, iii.

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³⁷ Ibid., pp. 26, 21.

³⁸ Ibid., p. 31.

³⁹ A Plan of the City of London after the Great Fire in the Year of Our Lord 1666, with a Model of the New City, according to the Grand Design of Sir Christopher Wren Kt. (London, 1749)Google Scholar.

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⁴² Gwynn, London and Westminster Improved, pp. vi, 4.

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⁴⁴ Gwynn, London and Westminster Improved, p. vi.

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⁴⁶ Ibid., p. ix.

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⁴⁹ Ibid., p. xv.

⁵⁰ Ibid., p. vii.

⁵¹ Carter, Philip, Men and the Emergence of Polite Society: Britain, 1660–1800 (Harlow, 2001)Google Scholar.

⁵² Gwynn, London and Westminster Improved, p. vi.

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⁵⁵ Gwynn, London and Westminster Improved, p. 61.

⁵⁶ Ibid., p. 1.

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⁵⁹ Gwynn (London and Westminster Improved, p. 67) also complained of “mere mechanical architects, totally ignorant in any branch of learning proper to lead them into the knowledge of design.”

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⁶⁵ George II is quoted as saying, “I hate bainting and boetry too! Neither one nor the other ever did any good!” See Nichols, R. H. and Wray, F. A., The History of the Foundling Hospital (London, 1935), p. 259 Google Scholar. See also Whitley, William T., Artists and Their Friends in England, 1700–1799 (London, 1928)Google Scholar, for a discussion of Vertue's meetings with the prince of Wales.

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⁷⁸ Linda Colley, “The Apotheosis of George III: Loyalty, Royalty and the British Nation, 1760–1820,” Past and Present, no. 102 (1984): 94–129.

⁷⁹ Solkin, Painting for Money.

⁸⁰ Graves, The Society of Artists.

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⁸⁴ Uglow, Jenny, Hogarth: A Life and a World (London, 1997), p. 672 Google Scholar; Paulson, Ronald, Hogarth, vol. 3, Art and Politics, 1750–1764 (Cambridge, 1993)Google Scholar.

⁸⁵ Gwynn, London and Westminster Improved, pp. 2, xiii.

⁸⁶ Lancaster, Nathaniel, The Plan of an Essay upon Delicacy (London, 1748)Google Scholar, endeavors to define “the true character of DELICACY” (p. 70), hedged around as it is with the dangers of “effeminacy” (p. 70) and “estrangement from human commerce” (p. 73). See also Carter, Men and the Emergence of Polite Society.

⁸⁷ Shawe-Taylor, Desmond, The Georgians: Eighteenth-Century Portraiture and Society (London, 1990)Google Scholar; Pointon, Marcia, Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England (London, 1993)Google Scholar; Baker, Malcolm, “Portrait Busts of Architects in Eighteenth-Century England,” in New Light on English Palladianism, ed. Hind, Charles (London, 1990), pp. 14–30 Google Scholar; and Jordanova, Ludmilla, “Medical Men, 1780–1820,” in Portraiture: Facing the Subject, ed. Woodall, Joanna (Manchester, 1997), pp. 101–15Google Scholar.

⁸⁸ Compare, e.g., Gwynn's portrait with the direct gaze of Francis Price, the author of The British Carpenter (London, 1735)Google ScholarPubMed, in George Beare's 1747 portrait now in the National Portrait Gallery in London, or with the many representations of William Chambers.

⁸⁹ Summerson, Georgian London, p. 122; Stillman, English Neo-Classical Architecture.

⁹⁰ See the essays by David Gilbert and Frank Mort in this issue.

⁹¹ Harris, Sir William Chambers, and Stillman, English Neo-Classical Architecture.

⁹² Lefebvre, The Production of Space, p. 364.