Antiquaries in the Age of Romanticism: 1789-1851 - Queen Mary ...

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There is no contemporary evidence that Harold died in this way. As an earlier correspondent to Archaeologia had noted Giraldus Cambrensis in his twelfth-century Itinerarium Cambriae, refers to Harold being wounded in the eye at the battle and surviving. 76 That story had been repeated with variations many times since but the conventional account of the events depicted in the Tapestry, as given in Ducarel’s Anglo-Norman Antiquities derived from Montfaucon and later in the discussion in the Gentleman’s Magazine debate of 1803, was that Harold’s death is represented only once, not twice as Stothard argued, and that the figure to which the text ‘Harold Rex interfectus est’ refers shows him prone, being wounded in the thigh. [fig: 27] The needle holes Stothard interpreted as an arrow moving towards the figure to the left might as easily be seen to represent a spear which is being thrown. Stothard’s interpretation was, to say the least, highly questionable. It was also, however, dramatic, attractive and anecdotal. It did not just fill a physical gap in the fabric but an imaginative one in the narrative. The ‘restorations’ Stothard described were made only in his drawings and the later engravings but when the embroidery was prepared for exhibition at a new, specially created, museum in 1842 some ‘new sewing’ was done to fill in the blanks. 77 [fig 28] This seems to have been based on Stothard’s graphic reconstruction. Although scholars continue to debate the point visitors to Bayeux today can buy a post card of this scene confidently captioned in three languages as ‘Harold’s Death/La Mort d’Harold/Harold’s Tod’. Like the much-visited tomb of Abelard and Heloise the object of cultural pilgrimage is certainly an antiquarian extrapolation, if not an actual fiction. 76 See Grape, The Bayeux Tapestry, p.24. 77 Hicks. The Bayeux Tapestry, p.138. Figure 28 The Tapestry as illustrated in Montfaucon (left) and as it is today 124
The British in Normandy: architecture, topography and antiquarian connections after 1815 By the time Britain’s enforced isolation ended in 1815 antiquarian curiosity about the Continent was at fever pitch. For one thing, as the Quarterly Review pointed out, antiquaries were running out of domestic material: Every nook in our island has now been completely ransacked… the humbler antiquary of the Ancient Borough ekes out his octavo with chronicles of Shreeves and Mayors… It would be difficult to name any structure of the ‘olden time’ which has not been transmitted into the portfolio and the library. 78 Furthermore the great architectural debate on the national origins of Gothic had been largely stymied, as far as publications were concerned, since Whittington’s Survey, though this had been vigorously refuted by Milner and Carter. 79 The brief visits of 1814 had done little more than whet appetites. Even Douce, whose interests were not primarily architectural, seems to have been asking de la Rue for information about French Gothic which the Abbé was sure he could provide. Vos antiquaires paroissent disputer beaucoup sur les differens styles d’architecture… il est facile de saisir les differences de style suivant les differens ages, et comme je puis les fixer par des dates certaines, il ny aura je crois rien a repliquer sur ce que j’en pourrais dire. [Your antiquaries seem to argue a great deal about the different styles of architecture, it is easy to fix the differences of style by the various periods and as I can ascertain them according to secure dates I think there will be no possibility of disputing my conclusions.] 80 De la Rue was to say the least over-confident on this point for, as he did admit, ‘on a tres peu travaille en france sur ce sujet.’ [Nobody has done much work on this subject in France.] 81 In the years that followed Waterloo English antiquaries invaded Normandy, extending the 78 Quarterly Review, 25 (April 1821), p. 113. 79 Milner, Treatise on Ecclesiastical Architecture, Chapter 4, and Carter, Gentleman’s Magazine, 79, (1809), pp. 523-526 and pp. 627-630. 80 Douce/de la Rue letters, f60v, 24 October, 1814. 81 Douce/de la Rue letters, f38, 28 March, 1813. 125
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Antiquaries in the Age of Romantici
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Abstract The thesis concentrates on
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List of Illustrations 1 The Antiqua
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Acknowledgements I would like to th
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Definitions Chapter One Don Quixote
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It was a change of emphasis that wa
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e but a Crosse or stone footstool i
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embankment or fortification. Perhap
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part of the understanding of the pa
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classical antiquity, was increasing
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e performed in historic costume.
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transformation. The eccentric, obse
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But wad ye see him in his glee, For
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interesting to him and his readers
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actor Charles Kemble on historic co
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considered view of Noviomagus, that
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eplaying the episode in The Antiqua
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Chapter Two ‘To stones a moral li
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Within architectural history there
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workings of this little commonweal
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Salisbury Cathedral and Wyatt ‘th
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from altering them in ways destruct
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philosophy of the Picturesque which
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about his protests at Salisbury, a
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within Milner’s position’. 51 H
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about Gothic architecture and its m
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Figure 10 St Peter's Chapel, Winche
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In addition to his Dissertation and
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Bright and cheerful mornings are no
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unning battle between the proprieto
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It constitutes at once a beautiful
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face amidst solemn azure and fleecy
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Britton could not resist pointing o
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Figure 16 Salisbury Cathedral from
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Secretary he addressed the third se
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measured details of medieval buildi
Page 73 and 74: exhortations to accuracy and appeal
Page 75 and 76: Some years later in 1840, when he w
Page 77 and 78: Figure 18 Toddington Manor, Glouces
Page 79 and 80: study of the last forty years’ of
Page 81 and 82: towards academic architectural hist
Page 83 and 84: expensive and elaborate.’ 170 Tha
Page 85 and 86: a small doorway in the south east c
Page 87 and 88: Her criticism of Michelangelo’s L
Page 89 and 90: The iconography of the east end of
Page 91 and 92: a church was a symbolic building, a
Page 93 and 94: Willis became the first academic an
Page 95 and 96: its annual congress that he began t
Page 97 and 98: admired, however. His lack of inter
Page 99 and 100: Chapter Three Revolution to Restora
Page 101 and 102: at least one French scholar. 5 Ther
Page 103 and 104: centered on the Louvre as it was tr
Page 105 and 106: Norman troubadour manuscripts of th
Page 107 and 108: est, for the Tapestry remained inac
Page 109 and 110: des Monumens Français. They were n
Page 111 and 112: esult, albeit unintentional, was th
Page 113 and 114: calculated to produce effect & to i
Page 115 and 116: not survive for long. It was disman
Page 117 and 118: strewn with debris, was Lenoir’s
Page 119 and 120: heroes and demigods of Greece and R
Page 121 and 122: tower, surmounted by, or rather end
Page 123: made, not at the time depicted. Sin
Page 127 and 128: Dawson Turner could set out the sam
Page 129 and 130: You remember how admirably the Lay
Page 131 and 132: historic buildings were either put
Page 133 and 134: and equal administration of the law
Page 135 and 136: ‘veritable épopée de notre âge
Page 137 and 138: Scott’s complicit audience that t
Page 139 and 140: details seriously. Delacroix was am
Page 141 and 142: Costume balls were wildly popular b
Page 143 and 144: 1830s, however, the exploration of
Page 145 and 146: chapter that Hugo omitted from the
Page 147 and 148: to the past, the abstract argument
Page 149 and 150: occasions he wove fiction and narra
Page 151 and 152: [The dead, wrapped in their shrouds
Page 153 and 154: Figure 34 Frontispiece to Langlois
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Page 157 and 158: The demolition of Les Andelys was r
Page 159 and 160: It has been suggested that the effe
Page 161 and 162: shaking the long branches of the wi
Page 163 and 164: C’est ainsi que peu à peu, se d
Page 165 and 166: imagination will reveal the hidden
Page 167 and 168: layer of dark stain to make it look
Page 169 and 170: novels and poetry; the sporran of R
Page 171 and 172: emarkable Stonehenge Cabinet that B
Page 173 and 174: close to accidental satire. The jux
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With the Sobieski Stuart brothers,
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inaccurate. 34 What they themselves
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novels a real manuscript is describ
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Figure 40 Charles Edward Stuart, ca
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the gold, the armour and blazonry,
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and its contents. He began work on
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equire his text in order to be able
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chassis couvert de papier en lambea
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A most extraordinary place, looking
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fragments and objects not only into
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the Blessed Virgin and the four Lat
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domestic culture, more people than
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Chapter Five ‘Nothing but a Popis
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The first part of this chapter will
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surrender my crozier into the hands
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Milner’s relationship with histor
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which Edward designed, was Gothic.
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From sacred emblem of the division
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evealed to him increasingly his dis
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prying eyes of his household; and w
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so dangerous’. 41 In a very simil
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view of the Reformation, had caused
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e-discovery and presentation of his
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oyal regalia. It was only in the lo
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Figure 42 The Honours of Scotland,
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Prebble points out, was just about
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First saw them from the window; two
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An article he sent to Mac Millans M
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and the exhibition at the British M
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order to satisfy the taste of a lat
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Illustrations of Shakspeare and its
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could be earlier and that the title
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his own particular ‘fairy system
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Figure 47 Douce's illustrations of
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Although Field demanded that his or
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manners and habits’ to fill the l
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It discovered King John dressed as
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Not surprisingly perhaps this ambit
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novelist, the painter, and the acto
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from meretricious commercial produc
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Kenilworth, the novel in which Shak
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Sir Walter has found out... that th
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had created monuments for Garrick
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The more I look at it the more I fe
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Their infinite variety. 130 It conj
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Figure 50 Shakespeare's monument at
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attempt at an antiquarian excavatio
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I was not prepared to see it look s
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It was in 1849, when Brunel’s Sha
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While Alexandrina Buchanan is certa
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to have no acknowledged part. 11 Th
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Britton, John, An Address from John
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Gunn, William, BD, An Inquiry into
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Pugin, A.W.N., Collected Letters, e
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Auberbach, Jeffrey A., The Great Ex
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Couve de Murville, M. N. L., John M
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_____ ‘Stitched Up: Eliza Stothar
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_____ Richard Parkes Bonington, The
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Strong, Roy, And when did you last
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Appendix John Britton (1771-1857) T
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were published posthumously. His ma
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foundation of the British Archaeolo
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distinction in the universities, Wi
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