Antiquaries in the Age of Romanticism: 1789-1851 - Queen Mary ...
Antiquaries in the Age of Romanticism: 1789-1851 - Queen Mary ...
Antiquaries in the Age of Romanticism: 1789-1851 - Queen Mary ...
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<strong>the</strong> commercial possibilities <strong>of</strong> casts and engrav<strong>in</strong>gs <strong>of</strong> it. 119 He persuaded <strong>the</strong> antiquary and<br />
furniture maker George Bullock to take a cast, <strong>in</strong> <strong>the</strong> course <strong>of</strong> which Bullock was conv<strong>in</strong>ced<br />
that he saw on <strong>the</strong> face ‘evident signs’ that it was taken from ei<strong>the</strong>r a life or death mask, br<strong>in</strong>g<strong>in</strong>g<br />
it still closer to <strong>the</strong> physical presence <strong>of</strong> Shakespeare himself. 120 Once back <strong>in</strong> London Bullock<br />
<strong>in</strong>vited Britton to a celebratory breakfast view<strong>in</strong>g at his home <strong>in</strong> Tenterden Street <strong>of</strong>f Hanover<br />
Square, with Scott, Benjam<strong>in</strong> West and Dr J C Spurzheim, one <strong>of</strong> <strong>the</strong> pioneers <strong>of</strong> phrenology.<br />
The cast was ‘deeply scrut<strong>in</strong>ized and commented on’. 121 West endorsed <strong>the</strong> view that it was<br />
taken from life, while Scott’s conversation brought it to life.<br />
The Scotch Poet…seemed to have known him; to have lived and brea<strong>the</strong>d <strong>in</strong> <strong>the</strong> same atmosphere with him; to have<br />
drank <strong>of</strong> <strong>the</strong> same sack with him at <strong>the</strong> “The Mermaid” <strong>in</strong> company with Jonson, Beaumont, Selden, and <strong>the</strong> rest <strong>of</strong><br />
<strong>the</strong> glorious fraternity who conferred immortality on that famous hostel. Oh, that I possessed <strong>the</strong> capacious and<br />
retentive memory <strong>of</strong> <strong>the</strong> Scotch Novelist! 122<br />
For once <strong>the</strong> reader too regrets that Britton cannot supply more detail. It would be<br />
<strong>in</strong>terest<strong>in</strong>g to know how and how far Scott <strong>in</strong>serted himself <strong>in</strong>to <strong>the</strong> narrative, for that he did so<br />
was clear, and that his comments on <strong>the</strong> works spun, like Britton’s <strong>in</strong>to an account <strong>of</strong><br />
Shakespeare’s life and personality. He could repeat ‘almost every strik<strong>in</strong>g passage <strong>in</strong> <strong>the</strong> plays<br />
and poems… and applied many <strong>of</strong> <strong>the</strong>m to characterize <strong>the</strong>ir author’. 123 Of <strong>the</strong> bust itself Scott<br />
said less, <strong>in</strong>deed he ‘scarcely noticed’ it at first, his chief remark be<strong>in</strong>g a suggestion that <strong>the</strong><br />
length <strong>of</strong> <strong>the</strong> top lip seemed ‘unnatural’ and must be a mistake. 124 Bullock, however, po<strong>in</strong>ted out<br />
that Scott’s features were <strong>in</strong> this regard identical, us<strong>in</strong>g compasses to prove his po<strong>in</strong>t. That same<br />
morn<strong>in</strong>g Bullock took a cast <strong>of</strong> Scott’s head, ‘<strong>the</strong> first he sat for’. 125<br />
Scott carried a copy <strong>of</strong> <strong>the</strong> Stratford bust back to Scotland. In Ed<strong>in</strong>burgh he found it<br />
improved on acqua<strong>in</strong>tance:<br />
119 Britton, Autobiography, (1850), Appendix, p.6.<br />
120 Britton, Autobiography, (1850), Appendix, p.6.<br />
121 Britton, Autobiography, (1850), Appendix, p.7.<br />
122 Britton, Autobiography, (1850), Appendix, p.7.<br />
123 Britton, Autobiography, (1850), Appendix, p.8.<br />
124 Britton, Autobiography, (1850), Appendix, p.8.<br />
125 Britton, Autobiography, (1850), Appendix, p. 9.<br />
260