Suggests a parallel between the changes in English landscape drawing in the last decade of the 18th c. and political changes of the same period, in particular the protest of anti-Jacobin Whigs and Tories of the appropriation and transformation of traditional political discourse by radical elements. Exemplifies the artistic aspect of this parallel with a discussion of the landscape drawings of William Gilpin, 1782-1802, published in travel guides, and William Marshall Craig's criticism of their overly abstract nature. In both the political and the artistic arenas, the mutability of the sign (whether the drawing itself or the use of political terminology) was viewed as a threat to conservative ideology.
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