Ackermann’s Repository of Arts was an illustrated, British periodical published from 1809-1829 by Rudolph Ackermann. Although commonly called Ackermann’s Repository, or, simply Ackerman’s, the formal title of the journal was Repository of arts, literature, commerce, manufactures, fashions, and politics, and it did, indeed cover all of these fields.In its day, it had great influence on English taste in fashion, architecture, and literature. The following excerpt from the April, 1814 edition displays a table and chair set designed for the Prince of Wales‘ Carlton House.
Though no where near as extravagant as the the Royal Palace at Brighton, Carlton House remained an icon of the Prince’s particular sense of style. The glowing terms in the following passage can only be seen as ironic in light of Jane Austen’s own personal struggle with the Prince. In 1815, she would be “invited” to dedicate her upcoming novel, Emma, to him, a figure whom she claimed to loathe. Along with this “invitation” came the opportunity for a personal tour of Carlton House, guided by none other than the Prince’s own librarian, James Stanier Clarke.
This began a series of correspondence between Austen and Clarke. He appeared fascinated by his brush with fame (possibly even painting her portrait) while she later lampooned his topical suggestions for her future novels in her “Plan of a Novel, According to Hints from Various Quarters”.
We know that a people become enlightened by the cultivation of the arts, and that they become great in the progress of that cultivation. That a just knowledge of the useful and a correct taste for the ornamental go hand in hand with this general improvement, the dullest observer may be satisfied by looking around him. We now acknowledge, that it is alone the pencil of the artist which can trace the universal hieroglyphic; understood alike by all, his enthusiasm communicates itself to all alike, and prepares the mind for cultivation. A national improvement is thus produced by the arts, and the arts are supported in their respectability by the calls which the improving public taste makes for their assistance; they are inseparable in their progress, and mutually depend on each other for support. In the construction of the domestic furniture of our dwellings we see and feel the benefit of all this. To the credit of our higher classes who encourage, and of our manufacturing artists who produce, we now universally quit the overcharged magnificence of former ages, and seek the purer models of simplicity and tasteful ornament in every article of daily call.
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