![]() This essay will open up these contexts and in so doing reveal that Constable’s conservatism was, albeit occasionally, of a paradoxically radical nature. ![]() Reading the correspondence between Fisher and Constable against this context reveals exactly how contested a space, in every sense of the word, Constable’s depiction of Salisbury Cathedral constituted in a troubled period of religious and political tension. The context within which they nurtured their friendship and in which Salisbury Cathedral was painted was a political moment that saw the assumed authority of Church and State providing a battleground on which radicals and liberals, dissenters and religious sceptics laid out a strategy of reform. 2įisher published little, and he did so out of choice, but his correspondence with Constable reveals both a sharing of ideals and a meeting of minds: Constable was at least as committed to the Anglican vision of the Church and English society as was Fisher himself. ![]() ![]() Constable himself had been integrated into the world of Salisbury Cathedral Close by his friendship with Archdeacon John Fisher (1788–1832), with whom he corresponded about a great many issues, not least painting. ![]()
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