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

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and enthusiastic antiquary who was appointed first director of the museum immediately requested and was granted permission to hire Langlois ‘pour l’aider dans la régie et l’adminstration du musée’ [to help him with the organisation and administration of the museum]. 79 Having rejected the second floor of the building as being unable to take the weight of the architectural fragments he intended to display, Deville opted instead for the cloisters, where the collection is still displayed today. As well as bearing out Ferrey’s puzzled observations about Langlois’s social standing in France, the creation of the museum around him suggests another permutation on the theme of the romantic interior. Langlois became, if not exactly an exhibit, then literally a living part of the museum, inhabiting it and ordering it from within. His own collection was absorbed into it during his lifetime, and not only the antiquities. Deville, who was obviously fond of Langlois personally, incorporated Langlois’s sword, left over from his military service, into the display. 80 Wandering through the cloisters in Rouen, as Quasimodo wandered through Notre Dame, Langlois would have passed through his own history, among objects that had characterised his career and to some extent formed him. After his death the museum remained, like the shell of a snail, its outlines describing the space his curious character once occupied. The Sacred Interior: Sara Losh at Wreay While it is difficult to imagine two less similar characters than Langlois and Sara Losh, they are neighbours at that end of the spectrum where the antiquarian space is inseparable from character and belief and where irony and comedy have no place. Losh’s church was remarkable in many ways. It has been discussed as symbolic architecture and there will be a little more to say about it in the next chapter. However, it can also be considered briefly as an unconventional part of a more conventional trend, well established by the 1840s, of incorporating historic 79 Flavigny, Musée Départmental des Antiquités,p.15. 80 Richard, ‘E-H Langlois’, p. 35. 192
fragments and objects not only into private domestic spaces, but also into ecclesiastical interiors. As any regular church visitor knows and as Charles Tracy’s important study has recently made clear, the vast trade in Continental woodwork after 1815 included a significant quantity of ecclesiastical fixtures and fittings many of which were installed in English churches. Not far from Wreay, at Brougham Hall, was St Wilfrid’s chapel, an interior exactly contemporary with St Mary’s, fitted up with a spectacular array of panelling screens and a great triptych, all cobbled together by the architect L N Cottingham (1787-1847) for Lord Brougham. There was also a considerable traffic in stained glass. 81 In both cases the historic material was often filled out, or filled in, adapted, mutilated or simply misunderstood in the established Wardour Street tradition, the usual coat of dark stain was then brushed over the wood in the hope of creating a unifying effect. Often it was the local squire who effected these improvements and there was little explicitly religious or theological about the selection of pieces or their use. This may be taken to indicate the extent to which, in the Anglican communion, the interconnection of state and church allowed the gentry to feel that the parish church was an extension of their own property and indeed their own home. Such interiors were closer to the trend in interior decoration that Wainwright identified, than to the resonant, personal spaces created by individual antiquaries like Scott, Britton and the Sobieski Stuarts. Even pieces which clearly had religious meaning, and, almost inevitably, Roman Catholic iconography, such as carvings of saints, were incorporated without doctrinal demur. At the medieval church of St Leonard’s, Old Warden, in Bedfordshire for example, Robert Henley, Lord Ongley, simply stuffed the building with a collection which, to an educated eye, presents a bewildering visual cacophony of dates and styles. When Nikolaus Pevsner visited he could hardly hear himself think: There is nothing in …[the] exterior to prepare for the shock in store upon entering. One can only just register the high unmoulded Norman tower arch…before going under in the mass of woodwork. It oppresses you from all sides; it is utterly disjoined, and can only here and there be read consecutively…one is all the time up against the Early 81 For the extent of the trade see ‘Catalogue of a sale of stained glass in 1804’; Kent, ‘John Christopher Hamp of Norwich’; Lafond, ‘The traffic in old stained glass’ and Rackham, ‘English Importations of Foreign Stained Glass’. 193
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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
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You remember how admirably the Lay
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historic buildings were either put
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and equal administration of the law
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‘veritable épopée de notre âge
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Scott’s complicit audience that t
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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
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
Page 175 and 176: With the Sobieski Stuart brothers,
Page 177 and 178: inaccurate. 34 What they themselves
Page 179 and 180: novels a real manuscript is describ
Page 181 and 182: Figure 40 Charles Edward Stuart, ca
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Page 185 and 186: and its contents. He began work on
Page 187 and 188: equire his text in order to be able
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Page 191: A most extraordinary place, looking
Page 195 and 196: the Blessed Virgin and the four Lat
Page 197 and 198: domestic culture, more people than
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
Page 231 and 232: and the exhibition at the British M
Page 233 and 234: order to satisfy the taste of a lat
Page 235 and 236: Illustrations of Shakspeare and its
Page 237 and 238: could be earlier and that the title
Page 239 and 240: his own particular ‘fairy system
Page 241 and 242: 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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