Harry Peckham, Esq. (1740–1787), Recorder of Chichester (1785) 1785

Editor: Here we have George Romney’s oil painting "Harry Peckham, Esq., Recorder of Chichester," completed in 1785. I’m immediately struck by the formality; Peckham’s holding of the book suggests authority. What do you see here? Curator: Well, situating this within the late 18th century, we’re firmly in the era of burgeoning legal and bureaucratic systems. Notice how Romney depicts Peckham: the powdered wig, the somber attire. How does this portrait contribute to the construction of authority? Is it the gaze, perhaps, or the implied weight of the book he carries? Editor: It's interesting you mention construction. Is the point of the portrait less about Peckham the man and more about the role of Recorder? It seems designed to project power. Curator: Precisely. It speaks volumes about the burgeoning professional class. Romney wasn’t merely capturing a likeness, but reinforcing a social order, projecting ideals of learnedness and judgment necessary for maintaining civic control. Think of the museums of the day. What role do you believe they played in the presentation of important civic and legal figures? Editor: They showcased men like Peckham as pillars of society, almost sanctifying their roles, right? So, by placing Peckham's portrait within this Neoclassical frame, Romney participates in cementing his status, giving it a timeless, almost classical significance. Curator: Exactly! And by seeing the painting in such public institutions as museums or governmental buildings we acknowledge how the social significance transcends his persona, creating a powerful tool within the power structure of the British society of that time. Editor: It makes you wonder who decides which images get displayed. Curator: That's the million-dollar question, isn't it? A fascinating area to research indeed! Thank you! Editor: This was incredibly enlightening!