COLLECTION NAME:
Walter Scott Image Collection
mediaCollectionId
UoEwal~1~1
Walter Scott Image Collection
Collection
true
Work Record ID:
0030149
work_record_id
0030149
Work Record ID
false
Licence:
Shelfmark:
Corson P.7084
work_shelfmark
Corson P.7084
Shelfmark
false
Title:
Corneille: From an Original Picture by C. Lebrun in the Possession of the Institute of France
work_title
Corneille: From an Original Picture by C. Lebrun in the Possession of the Institute of France
Title
false
Alternate Title:
Steel engraved portrait of Corneille by T. Woolnoth from a picture by C. Le Brun
work_alternate_title
Steel engraved portrait of Corneille by T. Woolnoth from a picture by C. Le Brun
Alternate Title
false
Creator:
Le Brun, Charles
work_creator_details
Le Brun, Charles
Creator
false
Creator Role:
Artist
work_creator_role
Artist
Creator Role
false
Associate Creator:
Woolnoth, Thomas A.
secondary_creator
Woolnoth, Thomas A.
Associate Creator
false
Associate Creator Role:
Engraver
secondary_creator_role
Engraver
Associate Creator Role
false
Date:
1853
work_display_date
1853
Date
false
Description:
Engraved portrait of the French dramatist Pierre Corneille (1606-1684). In his 'Essay on the Drama' (1819) Scott credited Corneille with overcoming the arbitrary restrictions imposed on French Classical Drama by the observance of the Aristotelian unities of time, place, and action. Despite being 'surrounded by the worst possible models', he 'vanquished the taste of his age, the competition of his rivals, and the envy of Richelieu'. Scott nonetheless regrets that in his own 'Essay on Dramatic Poetry', Corneille helped to impose the observance of the unities on future generations of French dramatists, even though they had at times forced him to 'violate the rules of probability and common sense'. In his essay on 'Molière' (1828), Scott considered the differences between the French classical tragedy of Corneille and Racine and the English tragedy of Shakespeare, and analysed the radically differing tastes of French and English audiences. In his The Life of Napoleon Bonaparte (1827-28), Scott attributed Napoleon's preference for Racine and Corneille over Voltaire to the fact that 'they wrote their immortal works for the meridian of a court, and at the command of the most monarchical of monarchs, Louis XIV'. Unlike Voltaire, their masterpieces contain 'nothing that can wound the ear of the most sensitive sovereign'. Corneille is, with Boileau, one of the authors for whom Frank Osbaldistone neglects his commercial studies in chapter 1 of Rob Roy (1818). The original portrait by Charles LeBrun was painted in 1647.
work_description
Engraved portrait of the French dramatist Pierre Corneille (1606-1684). In his 'Essay on the Drama' (1819) Scott credited Corneille with overcoming the arbitrary restrictions imposed on French Classical Drama by the observance of the Aristotelian unities of time, place, and action. Despite being 'surrounded by the worst possible models', he 'vanquished the taste of his age, the competition of his rivals, and the envy of Richelieu'. Scott nonetheless regrets that in his own 'Essay on Dramatic Poetry', Corneille helped to impose the observance of the unities on future generations of French dramatists, even though they had at times forced him to 'violate the rules of probability and common sense'. In his essay on 'Molière' (1828), Scott considered the differences between the French classical tragedy of Corneille and Racine and the English tragedy of Shakespeare, and analysed the radically differing tastes of French and English audiences. In his The Life of Napoleon Bonaparte (1827-28), Scott attributed Napoleon's preference for Racine and Corneille over Voltaire to the fact that 'they wrote their immortal works for the meridian of a court, and at the command of the most monarchical of monarchs, Louis XIV'. Unlike Voltaire, their masterpieces contain 'nothing that can wound the ear of the most sensitive sovereign'. Corneille is, with Boileau, one of the authors for whom Frank Osbaldistone neglects his commercial studies in chapter 1 of Rob Roy (1818). The original portrait by Charles LeBrun was painted in 1647.
Description
false
Work Type:
Engraving
work_type_notes
Engraving
Work Type
false
Measurement:
18.4 x 26.8cm (7 1/4 x 10 9/16")
work_display_measurement
18.4 x 26.8cm (7 1/4 x 10 9/16")
Measurement
false
Material:
Ink
work_material
Ink
Material
false
Material:
Paper
work_material
Paper
Material
false
Technique:
Steel Engraving
work_technique
Steel Engraving
Technique
false
Location:
TBC/Main Library/Special Collections
work_location
TBC/Main Library/Special Collections
Location
false
Repository:
Corson Collection
work_repository
Corson Collection
Repository
false
Source:
The Portrait Gallery of Distinguished Poets, vol. II. London: Wm. S. Orr & Co., 1853
work_edition
The Portrait Gallery of Distinguished Poets, vol. II. London: Wm. S. Orr & Co., 1853
Source
false
Subject Person:
Corneille, Pierre
work_subject_person
Corneille, Pierre
Subject Person
false
Subject Person:
Scott, Walter, Sir
work_subject_person
Scott, Walter, Sir
Subject Person
false
Subject Category:
Books and reading
work_subject_class
Books and reading
Subject Category
false
Subject Category:
Portraits
work_subject_class
Portraits
Subject Category
false
Related Work Title:
Essay on the Drama
work_source
Essay on the Drama
Related Work Title
false
Related Work Creator:
Scott, Walter, Sir
work_source_creator
Scott, Walter, Sir
Related Work Creator
false
Repro File Type:
Derivative TIFF
repro_file_type
Derivative TIFF
Repro File Type
false
Repro File Size (bytes):
50560760
repro_file_size
50560760
Repro File Size (bytes)
false
Repro Capture Date:
06/04/2012 11:09:00
repro_capture_date
06/04/2012 11:09:00
Repro Capture Date
false
Repro Rights Statement:
© The University of Edinburgh
repro_rights_statement
© The University of Edinburgh
Repro Rights Statement
false