David Hume
David Hume

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David Hume

Acknowledgements

This course was written by Dr Alex Barber.

This free course is an adapted extract from the course A207 From Enlightenment to Romanticism, which is currently out of presentation

Except for third party materials and otherwise stated (see terms and conditions [Tip: hold Ctrl and click a link to open it in a new tab. (Hide tip)] ), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence

Grateful acknowledgement is made to the following sources for permission to reproduce material within this product.

Course image: Davide Restivo in Flickr made available under Creative Commons Attribution-ShareAlike 2.0 Licence.

David Hume, Of Suicide, reproduced with the kind permission of the National Library of Scotland

Of the Immortality of the Soul, reproduced with the kind permission of the National Library of Scotland

Allan Ramsay, David Hume, 1766, oil on canvas, 76.2 x 63.5 cm, Scottish National Portrait Gallery, Edinburgh. Photo: SNPG/Bridgeman Art Library.

Joseph Wright of Derby, Lecture on the Orrery in which a Candle is used to create an Eclipse, 1766, oil on canvas, 147.3 x 203 cm, Derby Museum and Art Gallery. Photo: reproduced by courtesy of Derby Museum and Art Gallery/Bridgeman Art Library/John Webb.

William Blake, Isaac Newton, c.1795, colour print finished in ink and watercolour on paper, Tate Gallery, London. Photo: © Tate, London 2002.

Figure 1 Joseph Wright of Derby, “The Old Man and Death” 1773, oil on canvas, 101.6 x 127cm, Wadsworth Atheneum, Hartford, CT, Ella Gallup Sumner and Mary Catlin Sumner Collection

Figure 2 Louis-Léopold Boilly, “Les Cinq Sens (The Five Senses)”, 1823, colour lithograph, 21 x 18cm, Photo © Leonard de Selva/CORBIS

Figure 3 Johann Friedrich Bolt, after Vinzenz Kininger, title page from the printed music score of “Don Giovanni”, 1801, engraving, Gesellschaft der Musikfreunde, Vienna

Figure 4 William Blake, “Capaneus the Blasphemer”, illustration to Dante’s “Divine Comedy”, Hell Canto 14, 1824-7, pen, ink and watercolour, 37.4 x 52.7cm, courtesy of the National Gallery of Victoria, Melbourne, Australia (Felton Bequest, 1920)

Figure 5 Jean-Baptiste Greuze, “The Paralytic”, 1763, oil on canvas, 115.5 x 146cm, The State Hermitage Museum, St Petersburg. Photo: Scala

Figure 6a J.P. Le Bas, “Ruins of the Opera House” (after the Lisbon Earthquake of 1755), 1757, from the Le Bas series, Bibliothèque Nationale de France, Paris. Photo: National Information Service for Earthquake Engineering, University of California, Berkeley.

Figure 6b J.P. Le Bas, “Ruins of the Praca de Patriarchal (Patriarchal Square)” (after the Lisbon Earthquake of 1755), 1757, from the Le Bas series, Bibliothèque Nationale de France, Paris. Photo: National Information Service for Earthquake Engineering, University of California, Berkeley.

Every effort has been made to trace all the copyright owners, but if any have been inadvertently overlooked, the publishers will be pleased to make the necessary arrangements at the first opportunity

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