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

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Figure 2 Don Quixote, Richard Parkes Bonington, 1826 It was, one might say, a Quixotic relationship to the past as personal narrative and indeed it was in these years that the Don was co-opted into the ranks of the antiquaries. Jonathan Oldbuck’s claim to kinship was echoed by Bonington who painted Quixote in the same year and in a very similar pose to his Antiquary [figs: 1 and 2]. In both pictures the subject’s abstracted stare suggests a figure somewhere between Earle’s obsessive and Adamson’s more affectionate portrait of the antiquary in mystic communion with the objects of his study. Bonington borrowed historic armour from a real antiquary, Samuel Rush Meyrick (1783-1848), for the picture so that his Quixote might be as authentic as Quixote himself could desire. The Don’s appeal extended far beyond the world of antiquarianism. After Shakespeare, Cervantes was the favourite author of the romantic critics. For Hazlitt in 1824 Quixote was Everyman: ‘who is there that does not own him for a friend, a countryman and a brother?’ 48 A comparison of a typical seventeenthcentury illustration of the text [fig: 3] with Doré’s of 1863 [fig: 4] makes plain the 48 Quoted in Noon, Richard Parkes Bonington, p.428. 22
transformation. The eccentric, observed from the outside, has become the romantic creator whose imaginative, self-generated vision flows out until it is part of the world. Figure 3 Don Quixote illustrated in 1687 Figure 4 Don Quixote, by Gustave Doré, 1863 In so far as the antiquary resembled the errant knight he, too, became a more popular and appealing figure. For just over half a century Hazlitt’s description was virtually true. Quixotic antiquarianism, as a lived engagement with history, was a national preoccupation in England, Scotland and France, reaching its climax perhaps in 1839 with the Eglinton Tournament [fig: 5], in which real knights, dressed in real antique armour jousted in real Scottish rain. 23
Page 1 and 2: Antiquaries in the Age of Romantici
Page 3 and 4: Abstract The thesis concentrates on
Page 5 and 6: List of Illustrations 1 The Antiqua
Page 7 and 8: Acknowledgements I would like to th
Page 9 and 10: Definitions Chapter One Don Quixote
Page 11 and 12: It was a change of emphasis that wa
Page 13 and 14: e but a Crosse or stone footstool i
Page 15 and 16: embankment or fortification. Perhap
Page 17 and 18: part of the understanding of the pa
Page 19 and 20: classical antiquity, was increasing
Page 21: e performed in historic costume.
Page 25 and 26: But wad ye see him in his glee, For
Page 27 and 28: interesting to him and his readers
Page 29 and 30: actor Charles Kemble on historic co
Page 31 and 32: considered view of Noviomagus, that
Page 33 and 34: eplaying the episode in The Antiqua
Page 35 and 36: Chapter Two ‘To stones a moral li
Page 37 and 38: Within architectural history there
Page 39 and 40: workings of this little commonweal
Page 41 and 42: Salisbury Cathedral and Wyatt ‘th
Page 43 and 44: from altering them in ways destruct
Page 45 and 46: philosophy of the Picturesque which
Page 47 and 48: about his protests at Salisbury, a
Page 49 and 50: within Milner’s position’. 51 H
Page 51 and 52: about Gothic architecture and its m
Page 53 and 54: Figure 10 St Peter's Chapel, Winche
Page 55 and 56: In addition to his Dissertation and
Page 57 and 58: Bright and cheerful mornings are no
Page 59 and 60: unning battle between the proprieto
Page 61 and 62: It constitutes at once a beautiful
Page 63 and 64: face amidst solemn azure and fleecy
Page 65 and 66: Britton could not resist pointing o
Page 67 and 68: Figure 16 Salisbury Cathedral from
Page 69 and 70: Secretary he addressed the third se
Page 71 and 72: 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 and 124:
made, not at the time depicted. Sin
Page 125 and 126:
The British in Normandy: architectu
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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gouffre qu’on appelle Angleterre,
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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
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Figure 40 Charles Edward Stuart, ca
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the gold, the armour and blazonry,
Page 185 and 186:
and its contents. He began work on
Page 187 and 188:
equire his text in order to be able
Page 189 and 190:
chassis couvert de papier en lambea
Page 191 and 192:
A most extraordinary place, looking
Page 193 and 194:
fragments and objects not only into
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
Page 243 and 244:
Although Field demanded that his or
Page 245 and 246:
manners and habits’ to fill the l
Page 247 and 248:
It discovered King John dressed as
Page 249 and 250:
Not surprisingly perhaps this ambit
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novelist, the painter, and the acto
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from meretricious commercial produc
Page 255 and 256:
Kenilworth, the novel in which Shak
Page 257 and 258:
Sir Walter has found out... that th
Page 259 and 260:
had created monuments for Garrick
Page 261 and 262:
The more I look at it the more I fe
Page 263 and 264:
Their infinite variety. 130 It conj
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Figure 50 Shakespeare's monument at
Page 267 and 268:
attempt at an antiquarian excavatio
Page 269 and 270:
I was not prepared to see it look s
Page 271 and 272:
It was in 1849, when Brunel’s Sha
Page 273 and 274:
While Alexandrina Buchanan is certa
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to have no acknowledged part. 11 Th
Page 277 and 278:
Britton, John, An Address from John
Page 279 and 280:
Gunn, William, BD, An Inquiry into
Page 281 and 282:
Pugin, A.W.N., Collected Letters, e
Page 283 and 284:
Auberbach, Jeffrey A., The Great Ex
Page 285 and 286:
Couve de Murville, M. N. L., John M
Page 287 and 288:
_____ ‘Stitched Up: Eliza Stothar
Page 289 and 290:
_____ Richard Parkes Bonington, The
Page 291 and 292:
Strong, Roy, And when did you last
Page 293 and 294:
Appendix John Britton (1771-1857) T
Page 295 and 296:
were published posthumously. His ma
Page 297 and 298:
foundation of the British Archaeolo
Page 299:
distinction in the universities, Wi
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