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It’s an age-old conflict between those with long professional experience, who felt they had a right to run the Society of Artists, and the young Turks, who used to go boozing in the evening and singing glees and were, following the example of William Hogarth, very anti-authority. This conflict was made more difficult in the 1760s— and, I occasionally think, in the 21st century as well—by the fact that artists tend to spend all day alone in their studios, their status can be measured by where their work is hung in an exhibition, and they are not, in general, used to the disciplines of mediating differences of opinion through systems of organisation. The result was that arguments within the Society of Artists caused a group of artists led by William Chambers, who had a fairly high opinion of himself, to walk out of the Society of Artists, which was a comparatively democratic organisation, in order to establish a rival, and professionally superior, organisation under the direct authority—and with the blessing—of the King.

By now I was enjoying myself. What had begun as a holiday pastime was developing into an attempt to try and understand, under the microscope of narrative description, exactly what was the movement of the various individuals involved in the establishment of the Royal Academy, what they thought and felt, how they coalesced, using as far as possible and in so far as I had access to them, original documentary sources, most of which have been published, rather than secondary authorities, and using, as far as I felt able to—while, I hope, respecting the documentary sources—an imaginative reconstruction as to who the people were, the differences in their personalities, and their social attitudes. If I brought to the exercise any particular skills, they were not ones of research, but of a reasonably long experience of, and interest in, the tensions which surround any system of professional organisation and a particular experience of how the Royal Academy operates and feels today. Of course, there is a risk of anachronism, of reading back into the past too much of the experience of today. But I would like to think that my experience gives me a particular form of interpretative and analytic sympathy with the micro-politics of these 18th-century debates.

Having tracked back to what happened between June and November 1768 in order to give an understanding of what led to the four artists going to see the King on November 28, 1768, I tracked forward to find out what happened as a result of this visit: the rumours which surrounded the imminent establishment of the Royal Academy; the efforts which were made to coerce Joshua Reynolds into becoming President; the dinner which was held on Friday, December 9 at Joseph Wilton’s house next to his sculptor’s yard in Portland Street; and the meeting which was held the following day at St James’s Palace, when, according to the first description of what happened, recorded in the first minutes of Council, the so-called Instrument of Foundation was “laid before his Majesty who signified His Approbation and Ordered that the Plan should be put in execution, signing the Instrument with his own Hand”.

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