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

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presents a series of reflections on the individual’s engagement with the narrative of history, on authenticity and illusion. Oldbuck has the well-established characteristics of the Antiquary. He ‘measured decayed entrenchments, made plans of ruined castles, read illegible inscriptions, and wrote essays on medals in the proportion of twelve pages to each letter of the legend’. 53 Socially too he is typical. We learn that: ‘the country gentlemen were generally above him in fortune, and beneath him in intellect’. 54 But between these broad familiar outlines are delicate self-referential touches that tie Scott and his alter ego together into the antiquarian tradition. Oldbuck’s home ‘Monkbarns’, plays in its name on Scott’s own house, Abbotsford. While Abbotsford had no connection to a monastic building beyond the name, which Scott had given it himself, the fictional Monkbarns does. It incorporates the remains of a monastery. It rises like antiquarianism itself from the ruins of the Reformation. Oldbuck is highly conscious of the tradition to which his house links him. And so through his fiction Scott allies himself in fact, to ‘ “The learned Leland...who lost his sense on witnessing the destruction of the conventual libraries in England” ’. 55 Oldbuck, like his hero Quixote, is the pivot, between past and present, fact and fiction. He is also, naturally enough, involved in pedantic and occasionally bad-tempered correspondence in learned journals. His particular bugbear in 1794 is the dispute about Ossian and its authenticity or otherwise. Oldbuck is with Johnson against what he calls ‘that stuff of Macpherson’s’. 56 Yet of course he himself is the fictional creature of a still anonymous author who is inserting epigraphs in the text entitled ‘Old Song’ which he knows perfectly well he has written himself in a farmhouse to which he has given a monastic name to imply a fictitious history. Scott’s presentation of Oldbuck’s hostility to Ossian is a tease not a denunciation, a pun on the layers of reflective meaning, illusion and authenticity that Scott himself is deploying and which by this date are more 53 Scott, The Antiquary, p.25. 54 Scott, The Antiquary, p.25. 55 Scott, The Antiquary, p. 162. 56 Scott, The Antiquary, p.292. 26
interesting to him and his readers than the simpler view of authenticity taken by Oldbuck’s generation. The Antiquary captured most exactly the prevalent image of late-Georgian antiquarianism and remained a model for the rest of the period. There were variations, however. In E W Cooke’s popular painting ‘The Antiquary’s Cell’ [fig: 7], not least in the use of the word ‘cell’, there is a suggestion of a more imposing semi-mystical figure, the magus, or at least the alchemist, hinted at already by Adamson. At the same time the Figure 7 The Antiquary's Cell, by E.W.Cooke, 1835 antiquary might also still, as Lingard discovered, be seen as a political and religious subversive. And while the old associations lingered there was potential to colonise a new and specifically romantic social type, the Bohemian. E H Langlois was one who did. These, however, are subjects for later chapters. Meanwhile the antiquary in his more usual variant forms was now pretty well established in the public mind. Thomas Rowlandson’s satire on social types, The English Dance of Death, with verses by William Combe, appeared in the same year as Scott’s novel. It features Fungus the Antiquary among the characters of modern life about to meet his end [fig: 8]. The Dance of Death was a popular subject for antiquarianism in the period, both Langlois and 27
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 and 22: e performed in historic costume.
Page 23 and 24: transformation. The eccentric, obse
Page 25: But wad ye see him in his glee, For
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
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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
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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
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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
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not survive for long. It was disman
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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
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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
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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
Page 167 and 168:
layer of dark stain to make it look
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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,
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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
Page 187 and 188:
equire his text in order to be able
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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
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which Edward designed, was Gothic.
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From sacred emblem of the division
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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
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oyal regalia. It was only in the lo
Page 223 and 224:
Figure 42 The Honours of Scotland,
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Prebble points out, was just about
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First saw them from the window; two
Page 229 and 230:
An article he sent to Mac Millans M
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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
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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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