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

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Ford, Richard, Dramatisations of Scott’s Novels: a catalogue, (Oxford: Oxford Bibliographical Society, 1979) Flavigny, Laurence, Musée Départmental des Antiquités, 1831-1981, (Rouen: Musée Départmental des Antiquités, 1981) Frankl, Paul, The Gothic: literary sources and interpretations through eight centuries, (Princeton: Princeton University Press, 1960) Freeman, Arthur and Janet Ing Freeman, John Payne Collier: scholarship and forgery in the nineteenth century, 2 vols, (New Haven and London: Yale University Press, 2004) Frew, John M., ‘Richard Gough, James Wyatt, and Late 18 th -century Preservation’, Journal of the Society of Architectural Historians, 38, (December 1979) 366-374 _____ ‘Gothic is English: John Carter and the Revival of the Gothic as England’s National Style’, Art Bulletin, 64, 2, (June 1982), 315-319 Funnell, Peter, ‘The Symbolic Language of Antiquity’, in The Arrogant Connoisseur: Richard Payne Knight, 1751-1824, Michael Clarke and Nicholas Penny, (eds), (Manchester: Manchester University Press, 1982) Garbin, Lidia, ‘ “Not fit to tie his brogues”: Shakespeare and Scott’, in Shakespeare and Scotland, Willy Maley and Andrew Murphy, (eds), (Manchester: Manchester University Press, 2004), 141-156 Grape, Wolfgang, The Bayeux Tapestry: Monument to a Norman Triumph, (Munich, New York: Prestel, 1994) Halévy, Elie, A History of the English People in the Nineteenth Century, vols. 1-4, (London: Ernest Benn, 1961) Harris, John, Moving Rooms: the trade in architectural salvage, (New Haven and London: Yale University Press, 2007) Haskell, Francis, History and its Images: art and the interpretation of the past, (New Haven and London: Yale University Press, 1993) Hicks, Carola, The Bayeux Tapestry: the life story of a masterpiece, (London: Vintage Books, 2006) 286
_____ ‘Stitched Up: Eliza Stothard and the Bayeux tapestry scandal’, Times Literary Supplement, (February 8, 2008), 14-15 Hill, Rosemary, God’s Architect: Pugin and the Building of Romantic Britain, (London: Allen Lane, 2007) _____ ‘Romantic Affinities’, Crafts, 166, (September/October, 2000), 35-39 _____ ‘“The ivi’d ruins of folorn Grace Dieu”, Catholics, Romantics and late Georgian Gothic’, in Gothic Architecture and its Meanings 1550-1850, Michael Hall, (ed), (Reading: Georgian Group, 2002), 158-184 Joliffe, J.W. et al, The Douce Legacy: an exhibition to commemorate the 150 th anniversary of the bequest of Francis Douce, (Oxford: Bodleian Library, 1984) Jones, Edwin, John Lingard and the Pursuit of Historical Truth, (Brighton: Sussex Academic Press, 2001) Kelly, Linda, The Kemble Era: John Philip Kemble, Sarah Siddons and the London Stage, (London: The Bodley Head, 1980) Kemp, Laurie, Woodside, (Wreay, no publisher named, 1997) Kent, Ernest A., ‘John Christopher Hamp of Norwich’, Journal of the British Society of Master Glass- Painters, 6, (1935-7), 191-6 Kidd, Colin, ‘Lord Dacre and the Politics of the Scottish Enlightenment’, Scottish Historical Review, 84, 2, 218, (October 2005), 202-220 _____ ‘A Reply to Professor Colin Kidd on Lord Dacre’s Contribution to the Study of Scottish History and the Scottish Enlightenment’ (by William Ferguson) and ‘On Heroes, Hero-Worship and Demonology in Scottish Historiography: a reply to Dr Ferguson’, Scottish Historical Review, 28, 1: 221, (April 2007), 96- 125 Kremers, Hildegard, and others, Marie Caroline de Berry, Naples, Paris, Graz: Itinéraire d’une princesse romantique, (Paris: Somogy, editions d’art, 2002) Lafond, Jean, ‘The traffic in old stained glass from abroad during the eighteenth and nineteenth centuries in England’, Journal of the British Society of Master Glass-Painters, 14: 1, (1964), 58-71 Laspougeas, Jean, ‘La Normandie au temps d’Arcisse de Caumont’ in Arcisse de Caumont, erudit normand et fondateur de l’archaéologie française, (Caen: Societé des antiquaires de Normandie, 2004), 11-23 287
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
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But wad ye see him in his glee, For
Page 27 and 28:
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
Page 53 and 54:
Figure 10 St Peter's Chapel, Winche
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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
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face amidst solemn azure and fleecy
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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
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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
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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
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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 and 284: Auberbach, Jeffrey A., The Great Ex
Page 285: Couve de Murville, M. N. L., John M
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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