page_title: Joshua Kirby
section_title: Biography
hierarchical_section_title: Joshua Kirby / Biography
caption_attribution_description: English: My photograph of an original 1748 engraving of the lost domestic buildings of Ipswich Blackfriars, by J. Wood, drawn and published by Joshua Kirby (artist) in his 12 Plates of Suffolk Antiquities, the 1748 original from my own private collection.Latina: Imago Monasterii fratrum nigrorum praedicantium apud civitatem Ipswich in parte orientale Angliae, anno 1748 J. Wood sculpta ad similitudinem picturae linearis opusculi Josuae Kirby artificis, eorundem in illo tempore impensis in Duodecim Laminae Antiquitatum Suffolciensis, de exemplo quod mihi est tractata&#160;: imago photographica etiam a me capta.
context_page_description: Joshua Kirby, often mistakenly called John Joshua Kirby, was an English 18th-century landscape painter, engraver, writer, draughtsman and architect famed for his publications and teaching on linear perspective based on Brook Taylor's mathematics.
context_section_description: Joshua was the second of five sons of topographer John Kirby. In young life he assisted his father in the preparation of his important Survey of Suffolk, which took the form of a volume (1735) entitled The Suffolk Traveller, an extensive gazetteer in which the parishes and towns, and the principal landowners, seats, advowsons, antiquities and industries of the two counties of West and East Suffolk were described, the text counterpart of John Kirby's County Map published in 1736. In 1739 Joshua married Sarah Bull, and his children Sarah (afterwards Mrs. Sarah Trimmer) and William soon followed. From an early age he was very studious, but, showing special aptitude as an artist, he settled down to work as a painter in Ipswich and accepted commissions. He was particularly interested in Perspective, and began to prepare a Treatise on the subject before discovering the work of Dr. Brook Taylor.
  Making the friendship of Thomas Gainsborough he became interested in landscape, and with the encouragement of the antiquary Sir Joseph Ayloffe (who was developing materials for an extensive History of Suffolk) he prepared illustrations of ancient buildings and monuments in the county. From these Kirby published a set of twelve engraved by J. Ford in 1748, dedicating each to individual patrons, with a descriptive pamphlet. Kirby also prepared illustrations for the History of Dunwich by Thomas Gardner, published in 1754. In 1751 he issued proposals for a quarto volume on Brook Taylor's Perspective, made easy, both in Theory and Practice, to have a frontispiece by William Hogarth. By its title Kirby claimed less than his share of credit for its originality. The first edition appeared early in 1754. In this period he frequently visited London. He was admitted an honorary member of Hogarth's instructional project, the St Martin's Lane Academy, where he lectured on perspective. By 1754 he had already received so much encouragement from distinguished artists that his first edition was over-subscribed, and, with 50 copper plates, a second issue was made the following year, price (to Subscribers) one guinea. Hogarth's Satire on False Perspective of 1753 was the frontispiece.
  In 1755 Kirby moved to London, and was subsequently introduced by the Earl of Bute to the Prince of Wales (the future King George III), whom he instructed in linear perspective. The Prince thought so highly of him that he instructed Kirby to produce architectural illustrations, and with his liberal support in 1761 Kirby published them (including one by the Prince himself) in his masterly new two-volume work, The Perspective of Architecture. It embodied 'new principles for a complete system of the perspective of Architecture, both as it relates to the true delineation of objects, and the doctrine of light and shadow'. The first part described the use of the Architectonic Sector, an instrument invented by the Earl of Bute, and the second, 'a new Method of drawing the Five Orders, elegant structures, etc., in Perspective'. It was much admired. On his ascent to the throne His Majesty appointed Kirby Clerk of Works at Kew, in which his son William Kirby joined him.
  In 1763 Joshua and his brother William Kirby (Attorney at Law, of Witnesham, Suffolk, and father of the Revd. William Kirby,) issued subscription proposals for a new edition of their father's work, and the second, enlarged edition of The Suffolk Traveller appeared in 1764 and the Map in 1766. He was elected a Fellow of the Royal Society in 1767, and also Fellow of the Society of Antiquaries. Fresh editions of the Method of Perspective made Easy were produced in 1765 and 1768, and this remained a popular standard work until superseded by that of Thomas Malton, published in 1771. From 1768 to 1771 Kirby was President of the Incorporated Society of Artists, a divided organisation in the decline of which the Royal Academy was planned and formed, in which he declined to accept a Professorship of Perspective.
  Kirby, a devout and somewhat modest man, had great pride in his son William, who was sent to Italy to study for three
caption: The Ipswich Blackfriars domestic range, from Kirby's Twelve Prints, 1748
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