“Like Macbeth, Western man made an evil decision, which has become the efficient and final cause of other evil decisions. Have we forgotten our encounter with the witches on the heath? It occurred in the late fourteenth century, and what the witches said to the protagonist of this drama was that man could realize himself more fully if he would only abandon his belief in the existence of transcendentals. The powers of darkness were working subtly, as always, and they couched this proposition in the seemingly innocent form of an attack upon universals. The defeat of logical realism in the great medieval debate was the crucial event in the history of Western culture; from this flowed those acts which issue now in modern decadence.” — Richard M. Weaver, Ideas Have Consequences
Mrs Jordan, as ‘Peggy’ in 'The Country Girl’ (1786-1787). George Romney (English, 1734-1802). Oil on canvas.
Mrs. Jordan shown in two of her well-known roles. She has the attitude of her portrayal of Priscilla Tomboy in The Romp, but wears her costume for Peggy in The Country Girl. At the sitting, whatever one proposed, the other rejected. At last, Mrs. Jordan, pretending to be tired, sprang up said, ‘well, I’m a-going.’ Romney instantly exclaimed ‘That will do!’ and in that attitude and uttering that expression, he painted her.
George Romney - Portrait of Lady Caroline Price  by Gandalf Via Flickr: Along with Sir Joshua Reynolds, George Romney was one of the most prominent portraitists of the eighteenth century. His paintings such as the present work are characterised by fashionable costume, beautiful colour, and graceful brushwork. Sitting with a sense of poise befitting her stature, Lady Price modestly averts her gaze to her right. Her white ruffled bodice is quickly and expertly described with masterful brushstrokes. Light pours into the space, playing off of the rich texture of the lady’s plumed, blue ribbon hat.
[Heritage Auctions - Oil on canvas, 74.9 x 62.2 cm]
Portrait of Lady Gordon (1784). George Romney (English, 1734-1802). Oil on canvas.
entertained on a lavish scale, with as many as 100 sitting down to dinner at the Castle. In the 1780s, the Duchess started entertaining in Edinburgh, quickly becoming the leading hostess. She regularly gave soirée evenings where up and coming artists were asked to entertain. It was in her drawing room that Robert Burns first read his poetry to Edinburgh society.