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

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matter of taste and he would avail himself of any relevant source however vulgar, for ‘even the meanest productions of human intellect’ might be useful, if ‘like medicinal poisons, they be administered with skill’. 22 Douce, the artful apothecary, ridding his subject matter of disorders contracted over time, was also obliged to see off the quacks. ‘Sometimes there has been a necessity for stepping in between two contending critics; and for showing, as in the case of many other disputes, that both parties are in the wrong.’ 23 In fact Douce found himself in debate, and in dispute, with many parties, including, sometimes, Shakespeare himself. His approach, it will be seen, demonstrated a peculiarly antiquarian variant on that reciprocity between text and reader, actor and audience that was the essence of the romantic critique. From the beginning Douce was intent upon getting as much out of the plays as he brought to them. In his life-long attempt to ‘augment the knowledge of our popular customs and antiquities’, he found that ‘the writings of Shakespeare’ offered ‘better hints, and … ampler materials than those of anyone’. 24 He therefore expanded his notes with ‘digressions’. 25 These excursions into adjacent areas of folklore and history further wove the plays into their contemporary context and served, he hoped, to ‘operate in diminishing that tedium which usually results from an attention to matters purely critical’. 26 They did, although they also naturally opened him up to charges of irrelevance and wool-gathering. The range of material that he invoked for The Tempest, the first text he discusses, and its deployment, is typical of his method in the first part of the book, as he works his way through the plays. Douce makes no general summarising comments; each point relates to a line or a speech and is included in the order in which it occurs. Thus his most far-reaching suggestion, a proposed re-dating of The Tempest, occurs in relation to Act I sc ii and Ariel’s reference to ‘the still-vext Bermoothes’. 27 By 1807 The Voyage of Sir George Sommers of 1609 had already been suggested as a terminus post quem for the play and, according to Malone, the ‘great tempest’ of 1612 was the likely inspiration for the title. Douce agreed with the first point but suggested that the play 22 Douce, Illustrations of Shakspeare, 1, p. x. 23 Douce, Illustrations of Shakspeare, 1, p. ix. 24 Douce, Illustrations of Shakspeare, 1, p. ix. 25 Douce, Illustrations of Shakspeare, 1, p. ix. 26 Douce, Illustrations of Shakspeare, 1, p. ix. 27 Douce, Illustrations of Shakspeare, I, p. 5 and Tempest I ii l 239. 236
could be earlier and that the title and the theme related to the detailed accounts of Sommers’s wreck such as that of an eye-witness Silvester Jourdan, published in 1610, in which the Bermudas are described as uninhabited because ‘under the influence of inchantment’. 28 This might, Douce argues, be a likely source. (It is now known that the play does date from before 1612 and there was a performance at court on November 1 1611.) Similarly, on Caliban’s lines: As wicked dew as e’er my mother brush’d With raven’s feathers from unwholesome fen, Drop on you both! A south-west blow on you. 29 Douce glosses the raven imagery with a reference to Batman upon Bartholome his booke De proprietatibus rerum, of 1582, in which it is said that ravens are fed on dew when they are young and that ‘“the raven is called corvus or CORAX”’. ‘Corax’, Douce suggests, is the origin of ‘Sycorax’. 30 Figure 46 Pillories, from Douce's notes on Measure for Measure From such solidly factual, text-based suggestions Douce moves out into arguments that depend on an understanding of Shakespeare’s methods, his reading and so by implication his character and biography. To Malone’s offering of ‘a very apposite passage from Catullus’ for 28 Douce, Illustrations of Shakspeare, I, p. 6. 29 Douce Illustrations of Shakspeare, 1, p. 8 and Tempest, Act I sc ii. 30 Douce Illustrations of Shakspeare, 1, p.8. 237
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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
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Costume balls were wildly popular b
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1830s, however, the exploration of
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chapter that Hugo omitted from the
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to the past, the abstract argument
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occasions he wove fiction and narra
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[The dead, wrapped in their shrouds
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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
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It has been suggested that the effe
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shaking the long branches of the wi
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C’est ainsi que peu à peu, se d
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imagination will reveal the hidden
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layer of dark stain to make it look
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novels and poetry; the sporran of R
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emarkable Stonehenge Cabinet that B
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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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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: Illustrations of Shakspeare and its
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
Page 251 and 252: novelist, the painter, and the acto
Page 253 and 254: 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
Page 265 and 266: 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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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
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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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