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

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The change of sensibility found expression in fiction. In Coningsby Disraeli had declared that ‘the age of ruins is past’ and if it was not quite past in 1844 it had certainly gone by 1860. 7 Charlotte M Yonge, who looked back with such amusement to the Georgian squire setting up fragments of Netley Abbey in his park as an eye-catcher, summed up the change in her novel Hopes and Fears: 8 Honor had grown up among those who fed on Scott, Wordsworth, and Fouqué, took their theology from the British Critic, and their taste from Pugin…Lucilla and Phoebe were essentially of the new generation, that of Kingsley, Tennyson, Ruskin and the Saturday Review. Chivalry had given way to common sense, romance to realism…the past to the future. 9 It is an interesting list of names and distinctions. While Tennyson and Ruskin are certainly different from Scott and Wordsworth it is not, at this distance in time, their realism and certainly not their common sense that seems to distinguish them. They were, like John Henry Newman, George Gilbert Scott, the Pre-Raphaelites and all the other Victorian leaders of thought and taste, the children of romanticism. If their eyes were fixed on the future, on change and regeneration it was a future often visualised through the past, whether Ruskin’s Venice or Tennyson’s Camelot. That past, however, was now internalised, digested, it informed the present from within but it no longer compelled many people to dress up in armour or fill their houses with oaken furniture. If they wore tartan or left a rose on Abelard’s tomb it was usually because they were, if anything, less realistic than their parents’ generation and believed more literally in these things. As Macaulay had observed in an essay of 1828, ‘history begins in novel and ends in essay’. 10 His History of England appeared in 1848 and demonstrated how true this had been in his lifetime. It undoubtedly had its origins in the novel, particularly the work of Scott, but it was also part of a new philosophy of history in which personal narrative was 7 Benjamin Disraeli, Coningsby or the New Generation, (Paris, 1844), p.85. 8 See Chapter 4. 9 Charlotte M. Yonge, Hopes and Fears or scenes from the life of a spinter, 2 vols, (London, 1860), 2, p.281. 10 Macaulay, ‘History’, p. 233. 274
to have no acknowledged part. 11 Thus the Victorians carried the past into their new institutions, closing the doors behind them on the romantic antiquary, who dwindled once more into caricature. By the time George Eliot wrote Middlemarch, when the late 1860s looked back to the early 1830s, Jonathan Oldbuck had gone and in his place was only the unlovely figure of Edward Casaubon. 12 11 See Trevor-Roper, The Romantic Movement and the Study of History, for a detailed account of Macaulay’s debt to Scott. 12 Colin Kidd’s unpublished seminar paper ‘Mr Casaubon and the Antiquaries’, read at All Souls College, Oxford on 21 February 2011, explored George Eliot’s view of antiquarianism in the earlier part of the century. 275
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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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chassis couvert de papier en lambea
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A most extraordinary place, looking
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fragments and objects not only into
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the Blessed Virgin and the four Lat
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domestic culture, more people than
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Chapter Five ‘Nothing but a Popis
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The first part of this chapter will
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surrender my crozier into the hands
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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
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prying eyes of his household; and w
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so dangerous’. 41 In a very simil
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view of the Reformation, had caused
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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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Page 227 and 228: First saw them from the window; two
Page 229 and 230: An article he sent to Mac Millans M
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Page 233 and 234: order to satisfy the taste of a lat
Page 235 and 236: Illustrations of Shakspeare and its
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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
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Page 249 and 250: Not surprisingly perhaps this ambit
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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: While Alexandrina Buchanan is certa
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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