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

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them entirely convincing and his account makes no attempt to separate them from their context. 45 I have dined with the two princes who are the descendants of the Stewarts. the Eldest is one of the most glorious men I ever knew. he is perfect in his ideas on Christian architecture…they Live on a most romantic Island surrounded by waterfalls & rocks –in a vast glen between the mountains. I was quite delighed.[sic] I could fight for him. he has fitted up a gothic room -& really well done. there is a prophecy in the highlands that the stewarts are yet to be restored. 46 Even the more sceptical Elizabeth Grant found these ‘strange brothers [who]…one day announced that they were Stuarts…astonishing’. 47 In the version of the story she had heard the brothers’ mother was Scottish and ‘her people had been in the service of the unfortunate Stuarts in Italy and who can tell if she had not some right to call herself connected with them?’ 48 Being less persuaded than Pugin she remembered their context in a more humdrum way. The house she saw as a ‘villa’, their garden as ‘pretty’ and the waterfall as ‘small’. 49 She was struck, however, by the fact that Charles’s wife ‘played the harp like Flora McIvor’ and that ‘crowds went to visit them’. 50 In their own persons the brothers achieved a remarkable resemblance to their pretended ancestors. ‘They always wore the Highland dress, kilt and belted plaid, and looked melancholy and spoke at times mysteriously.’ 51 Unafraid of the new medium of photography, much admired for its veracity, Charles sat for his portrait to the Edinburgh photographers Hill and Adamson in about 1843 [fig: 40] and the result bears out the truthfulness at least of Grant’s description and the fact that if the camera does not lie it may certainly be too easily impressed. 45 Trevor-Roper, ‘The Tartan’, p. 232. 46 Pugin to the Earl of Shrewsbury, 6 August 1842, Letters, 1, p.373. 47 Grant, Memoirs of a Highland Lady, p.388. 48 Grant, Memoirs of a Highland Lady, p.388. 49 Grant, Memoirs of a Highland Lady, p. 388. 50 Grant, Memoirs of a Highland Lady, p. 388. 51 Grant, Memoirs of a Highland Lady, p. 388. 180
Figure 40 Charles Edward Stuart, calotype, c1843 Meanwhile the brothers were pursuing their work on the history of tartan. By the time Pugin met them in 1842 they were on the brink of publication. They were by now felt to have been ‘long and honourably distinguished for their devotion to the Antiquities of the Gael’, so much so that they were invited to contribute ‘a series of outlines of Highland Costume’ to the Abbotsford Edition of the Waverley Novels, which appeared that same year, the year of Victoria and Albert’s first visit north of the border. 52 The Abbotsford Edition marked another stage in the integration of illusion and reality in and around Scott’s fiction. The editors had studied his home and its contents ‘with care’ in order to illustrate the novels with ‘a Series of Engravings, representing the Pictorial and Antiquarian Museum at Abbotsford’ thereby providing ‘the most instructive graphic commentary that the body of his Writings could receive from any one source’. 53 The romantic interior was to take on a new life in art. In addition to which further illustrations were taken from ‘the real localities of his scenes’ and ‘the real portraits of his personages have been copied’. 54 Here at the crux of fact and fiction the Sobieski Stuarts inserted themselves with their ‘invaluable’ researches which it was felt, fully justified ‘the expectations formed of their projected great Work’. 55 The Vestiarium Scoticum which appeared in the same year and will be discussed in the next chapter was indeed well received in most quarters. Five years later, however, with Tales of the Century, the brothers over-reached themselves. In making public and 52 Scott, Abbotsford Waverley Novels, 1, p.4. For the implications of the royal visit see Tyrell, ‘The Queen’s Little Trip’. 53 Scott, Abbotsford Waverley Novels, 1, p.3. 54 Scott, Abbotsford Waverley Novels, 1, p. 4. 55 Scott, Abbotsford Waverley Novels, 1, p. 4. 181
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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
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exhortations to accuracy and appeal
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Some years later in 1840, when he w
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Figure 18 Toddington Manor, Glouces
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study of the last forty years’ of
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towards academic architectural hist
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expensive and elaborate.’ 170 Tha
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a small doorway in the south east c
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Her criticism of Michelangelo’s L
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The iconography of the east end of
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a church was a symbolic building, a
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Willis became the first academic an
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its annual congress that he began t
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admired, however. His lack of inter
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Chapter Three Revolution to Restora
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at least one French scholar. 5 Ther
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centered on the Louvre as it was tr
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Norman troubadour manuscripts of th
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est, for the Tapestry remained inac
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des Monumens Français. They were n
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esult, albeit unintentional, was th
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calculated to produce effect & to i
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not survive for long. It was disman
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strewn with debris, was Lenoir’s
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heroes and demigods of Greece and R
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tower, surmounted by, or rather end
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made, not at the time depicted. Sin
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The British in Normandy: architectu
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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
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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
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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
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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
Page 175 and 176: With the Sobieski Stuart brothers,
Page 177 and 178: inaccurate. 34 What they themselves
Page 179: novels a real manuscript is describ
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Page 185 and 186: and its contents. He began work on
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Page 191 and 192: A most extraordinary place, looking
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Page 195 and 196: the Blessed Virgin and the four Lat
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Page 199 and 200: Chapter Five ‘Nothing but a Popis
Page 201 and 202: The first part of this chapter will
Page 203 and 204: surrender my crozier into the hands
Page 205 and 206: Milner’s relationship with histor
Page 207 and 208: which Edward designed, was Gothic.
Page 209 and 210: From sacred emblem of the division
Page 211 and 212: evealed to him increasingly his dis
Page 213 and 214: prying eyes of his household; and w
Page 215 and 216: so dangerous’. 41 In a very simil
Page 217 and 218: view of the Reformation, had caused
Page 219 and 220: e-discovery and presentation of his
Page 221 and 222: oyal regalia. It was only in the lo
Page 223 and 224: Figure 42 The Honours of Scotland,
Page 225 and 226: Prebble points out, was just about
Page 227 and 228: First saw them from the window; two
Page 229 and 230: 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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