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

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see the past in its own terms. The logic of this position, however, meant that Douce had to apply the same criteria to Shakespeare himself. Knowing what he did about sixteenth-century drama he could not condone Pope’s attempts to attribute the anachronisms to the publishers of the plays. ‘Nothing… could have been less judicious’ for Shakespeare if not ‘more culpable in this respect than most of his contemporaries’, nevertheless wrote in an age when antiquarianism was in its infancy and history was to be bent to the tastes and purposes of posterity. 44 In the notes that follow Douce often sounds like Shakespeare’s irritated schoolmaster, pointing out the absurdity of mince-pies in Troilus and Cressida or a clock in Julius Caesar and, while he is prepared to overlook the Great Bed of Ware in Twelfth Night ‘because it is referred to as in England’ his paragraph on King Lear opens with a tetchy: ‘We have here a plentiful crop of blunders.’ 45 It is a moot point whether it is Shakespeare or his commentator who is in fact the promised ‘object of amusement’ at this point. 46 In the next essay, however, ‘On the clowns and fools of Shakespeare’, while Douce is critical of Shakespeare’s failure to allocate his fools clearly to any of the nine historical categories Douce has worked out for them, his subject matter is so rich and the interdependence of documentary and literary sources so great that the balance shifts again. As Douce interweaves references from Middleton’s Mayor of Quinborough with Shadwell’s The Woman Captain and an inventory of goods from the ‘ancient company of Saint George at Norwich’ in his attempt to determine what fools wore, on and off stage, literature begins to serve antiquarianism. 47 The very fact that ‘former theatrical managers exhibited with fidelity on the stage the manners of their own times’ is no longer a fault but an asset, for theatrical records can supply a gap in the history of non-theatrical costume. 48 Here in the interplay between textual and documentary evidence in Douce’s writings and later in Planché’s, a new subject emerges. Theatre history is added to the antiquarian repertoire. 44 Douce Illustrations of Shakspeare, 2, p.284. 45 Douce Illustrations of Shakspeare, 2, p.295. 46 Douce Illustrations of Shakspeare, 2, p. 284. 47 Douce Illustrations of Shakspeare, 2, p. 319. 48 Douce Illustrations of Shakspeare, 2, p. 317. 240
Figure 47 Douce's illustrations of fools and their accoutrements Douce’s engagement with Shakespeare is both detailed and abstract. He finds in the plays what best satisfies him as an antiquary, a source of information and a subject for enquiry, but he also has his version of the essential, transcendent Shakespeare. For Douce that transcendence over time was to be achieved by being securely located within it. The drama holds the mirror up not to nature but to history which was, for Douce, perhaps the same thing. He knew and admired John Philip Kemble, who had taken over Covent Garden the year before Douce’s book appeared and had been responsible for introducing an unprecedented level of historical accuracy to productions of Shakespeare. Thus, Douce thought, ‘by exhibiting to us times as they were’ he was able ‘to render the stage what it should be, a true and perfect mirror of history and manners’. 49 This was his version of Herder’s ‘all illusion is accomplished by means of … authenticity’. If Coleridge saw in the character of Hamlet a reflection of himself as ‘a paralysed romantic’, then Douce at Kemble’s Covent Garden also saw his own, antiquarian, world-view bodied forth with equally inspiring truthfulness. 50 49 Douce Illustrations of Shakspeare, 2, p. 383. 50 Bate, The Romantics on Shakespeare, p. 1. 241
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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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and its contents. He began work on
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equire his text in order to be able
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Page 191 and 192: A most extraordinary place, looking
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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
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: his own particular ‘fairy system
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
Page 275 and 276: 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
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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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