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

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Réau, Louis, Histoire du Vandalisme: les monuments détruits de l’art français, edition augmentée par Michel Fleury et Guy-Michel Leproux, (Paris: Robert Laffont, 1994) Reinhardt, Paul, ‘The Costume Designs of James Robinson Planché (1796-1880), Educational Theatre Journal, 20:4 (Dec., 1968), 524-544 Richard, Charles, ‘Notice sur E-H Langlois’, in Stalles de la Cathédrale de Rouen, by E H Langois, (Rouen, 1838) 1-89 Robb, Graham, Victor Hugo, (London: Picador, 1997) Robb, Steven, ‘The Sobieski Stuart Brothers’, Royal Stuart Review, (2003), 3-8 Rosenfeld, Sybil, ‘The Grieves’ Shakespearean Scene Designs’, Shakespeare Survey, 20, (Cambridge: Cambridge University Press, 1967), 107-111, Russell, Francis, Portraits of Sir Walter Scott: a study of romantic portraiture, (London: privately printed, 1987) Schoenbaum, S., Shakespeare’s Lives, (Oxford and New York: Clarendon Press and Oxford University Press, 1970) Semmel, Stuart ‘Reading the Tangible Past: British Tourism, Collecting and Memory after Waterloo’, Representations, 69, (Winter, 2000) 9-37 Shepard, Mary, ‘ “Our Fine Gothic Magnificence”: the nineteenth-century chapel at Costessy Hall, Norfolk and its medieval Glazing’, Journal of the Society of Architectural Historians, 54: 2, (June 1995), 186-207 Shine, Hill and Helen Chadwick Shine, The Quarterly Review under Gifford: identification of contributors 1809-1824, (Chapel Hill, 1949) Stamp, Gavin, ‘High Victorian Gothic and the Architecture of Normandy’, Journal of the Society of Architectural Historians, 62:2, (June 2003), 194-211 Stewart, Donald C. and J. Charles Thompson, ed. by James Scarlett, Scotland’s Forged Tartans, (Edinburgh: Paul Harris Publishing, 1980) 290
Strong, Roy, And when did you last see your father? The Victorian Painter and British History, (London: Thames and Hudson , 1978) Sturrock, John, ‘Introduction’ to Victor Hugo, Notre-Dame de Paris (1831) ed. and trans. by John Sturrock, (London: Penguin, 1978, reprinted with additions 2004) Summerson, John, Architecture in Britain, 1530-1830, (Harmondsworth: Penguin, 1953) Sweet, Rosemary, Antiquaries: the discovery of the past in eighteenth-century Britain, (London: Hambledon, 1994) Thomas, Keith, Religion and the Decline of Magic, (1971), (p/b ed London: Penguin, 1991 ) Todd, William B. and Ann Bowden, Sir Walter Scott, a bibliographical history, 1796-1832, (New Castle, Delaware: Oak Knoll Press, 1998) Townsend, Dabney, ‘The Picturesque’, The Journal of Aesthetics and Art Criticism, 55:4 (1997), 367-376 Tracy, Charles, Continental Church Furniture in England: a traffic in piety, (Woodbridge: Antique Collectors Club, 2001) Trevor-Roper, Hugh, The Invention of Scotland: myth and history, (2008), ( p/b edition, New Haven and London: Yale University Press, 2009) _____ ‘The Invention of Tradition: the highland tradition of Scotland’, in The Invention of Tradition, Eric Hobsbawm and Terence Ranger (eds), (Cambridge: Cambridge University Press, Canto, 1992), 15-41 _____ The Romantic Movement and the Study of History, (London: The Athlone Press, 1969) Tyrell, Alex, ‘The Queen’s “Little Trip”: the royal visit to Scotland in 1842’, The Scottish Historical Review, 82:1, (April 2003), 47-73 Vaughan, William, John Constable, (London: Tate Publishing, 2002) Vidmar, John, ‘John Lingard’s History of the English Reformation: History or Apologetics?’, The Catholic History Review, 85:3, (July 1999), 383-419 291
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
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
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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
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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
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
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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
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heroes and demigods of Greece and R
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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
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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
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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 and 286: Couve de Murville, M. N. L., John M
Page 287 and 288: _____ ‘Stitched Up: Eliza Stothar
Page 289: _____ Richard Parkes Bonington, The
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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