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

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_____ ‘Science and Sensibility: architectural antiquarianism in the early nineteenth century’ in Peltz and Myrone, Producing the Past: aspects of antiquarian culture and practice 1700-1850, (Aldershot:Ashgate, 1999), 169-186 _____ ‘The Science of Rubbish: Robert Willis and the contribution of architectural history’, in Gothic and the Gothic Revival, Frank Salmon, (ed.), (London: Society of Architectural Historians, 1998) 25-36 _____ ‘“Wyatt the Destroyer”: a vandal at Salisbury Cathedral?’, in Iconoclasm: Contested Objects, Contested Terms, Stacy Boldrick and Richard Clay, (eds), (Aldershot: Ashgate, 2007), 123-143 Bullen, J.B., ‘Sara Losh: architect, romantic, mythologist’, The Burlington Magazine, 143:1184 (2001), 676-684 Bussillet, Dominique, Les Enervés de Jumièges, (Cabourg: Editions Cabourg, cahiers du temps, 2007) Cheape, Hugh, Tartan: the highland habit, (Edinburgh: National Museums of Scotland, 2006) Choay, Françoise, trans. by Lauren M O’Connell, The Invention of the Historic Monument, (Cambridge: Cambridge University Press, 2001) _____ L’Allégorie du Patrimoine, (Paris: Editions de Seuil, 1992) Chippindale, Christopher, ‘John Britton’s “Celtic Cabinet” in Devizes Museum and its Context’, Antiquaries Journal, 65: 1, (1985), 121-38 Christie, William, The Edinburgh Literary Review in the Literary Culture of Romantic Britain, (London: Pickering and Chatto, 2009) Clark, Kenneth, The Gothic Revival, (London, 1928) Cobb, Gerald, English Cathedrals the Forgotten Centuries, Restoration and Change from 1550 to the Present Day, (London: Thames and Hudson, 1980) Corbett, Margery, ‘The Title-Page and Illustrations to the Monasticon Anglicanum, 1655-73’, Antiquaries Journal, 67, (1987), 102-9 Courajod, L., Alexandre Lenoir: son journal, et le Musée des Monuments Français, 2 vols, (Paris: 1878) Coutil, Léon, Eustache-Hyacinthe Langlois de Pont-de-l’Arche, reprinted from La Revue Normande, mai- juin 1924, (Rouen, 1925) 284
Couve de Murville, M. N. L., John Milner, 1752-1826, (Birmingham: Archdiocese of Birmingham Historical Commission, 1986) Crook, J. Mordaunt, ‘John Britton and the Genesis of the Gothic Revival’, in Concerning Architecture, Essays on architectural writers and writing presented to Nikolaus Pevsner , John Summerson, (ed.), (London: Allen Lane, 1968) _____ John Carter and the Mind of the Gothic Revival, (London: Society of Antiquaries, 1995) Dargan, E. Preston, ‘Scott and the French Romantics’, in Publications of the Modern Languages Association of America, 49, 2, (June 1934), 599-629 Drabble, John E., ‘Mary’s Protestant Martyrs and Elizabeth Catholic Traitors in the Age of Catholic Emancipation’, Church History, 51: 2, (June 1982), 172-185 Drew, K., ‘Sara Losh and “the Chapel of Ease”’, (unpublished BArch dissertation, University of Newcastle, 1987) Duffy, Stephen, ‘French Artists and the Meyrick armoury’, The Burlington Magazine, 151, (May 2009), 284-292 Eastlake, Charles L., FRIBA, A History of the Gothic Revival, (London, 1872) E-H Langlois, exhibition catalogue, no author credited, (Rouen: Bibliothèque Municipale, 1977) Entre Cour et Jardin: Marie-Caroline, Duchesse de Berry, exhibition catalogue, various authors, (Sceaux: Musée de l’Ile de France, 2007) Evans, Joan, A History of the Society of Antiquaries, (London: Society of Antiquaries, 1956) Faberman, Hilarie and Philip McEvansoneya, ‘Isambard Kingdom Brunel’s Shakespeare Room’, The Burlington Magazine, 137 (Feb. 1995), 108-118 Ferrey, Benjamin, Recollections of A N Welby Pugin and his father Augustus Pugin, (1861), reprinted with an introduction by Clive Wainwright and an index by Jane Wainwright, (London: Scolar Press, 1978) 285
Page 1 and 2:
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
Page 25 and 26:
But wad ye see him in his glee, For
Page 27 and 28:
interesting to him and his readers
Page 29 and 30:
actor Charles Kemble on historic co
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considered view of Noviomagus, that
Page 33 and 34:
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
Page 47 and 48:
about his protests at Salisbury, a
Page 49 and 50:
within Milner’s position’. 51 H
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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
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unning battle between the proprieto
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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
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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
Page 87 and 88:
Her criticism of Michelangelo’s L
Page 89 and 90:
The iconography of the east end of
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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
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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
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
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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
Page 139 and 140:
details seriously. Delacroix was am
Page 141 and 142:
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
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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
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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
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: Auberbach, Jeffrey A., The Great Ex
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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