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

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Wainwright, Clive, The Romantic Interior (New Haven and London: Yale University Press, 1989) _____ ‘In Lucifer’s Metropolis’, Country Life, (October 1 1992), 82-84 Watkin, David, The Rise of Architectural History, (London: Architectural Press, 1980) Watson, Nicola J., ‘Kemble, Scott and the Mantle of the Bard’, in The Appropriation of Shakespeare: Post- Renaissance Reconstructions of the Works and the Myth, Jean I Marsden, (ed.), (New York: St Martin’s Press, 1991), 73-92 Wedgwood, Alexandra, A W N Pugin and the Pugin Family: catalogue of architectural drawings in the Victoria and Albert Museum, (London: Victoria and Albert Museum, 1985) Wells, Stanley, ‘Shakespeare in Planché’s Extravaganzas’, Shakespeare Survey, 16, (1970), 103-117 Wilson, Elizabeth, Bohemians: the glamorous outcasts, (London and New York: I B Tauris, 2000) Wood, M. A., ‘A Memorial to Two Sisters: Sara Losh’s church of St Mary at Wreay’, Country Life, (November 4, 1971), 1230-31 Wright, Beth Segal, ‘Scott’s Historical Novels and French Historical Painting 1815-1855’, The Art Bulletin, 62, 2, (June 1981), 268-287 Yanni, Carla, ‘On Nature and Nomenclature: William Whewell and the Production of Architectural Knowledge in Early Victorian Britain’, Architectural History, 40, (1997), 204-221 Yates, Frances A., The Art of Memory, (1966), (London: Routledge & Kegan Paul, ARK paperback, 1984) 292
Appendix John Britton (1771-1857) Topographer, author and publisher, Britton began working life as a cellarman in Clerkenwell. He became a solicitor’s clerk and worked at night providing the commentary –and songs- for de Loutherbourg’s light show, the Eidophusikon. In the meantime he educated himself, reading widely in history and topography. In 1789 he met Edward Brayley and their professional partnership lasted for the rest of Brayley’s life. Britton was the organising force, Brayley the quieter presence, who did more of the writing. Britton assembled an unbeatable team of artists, including the leading watercolourists of the day to illustrate their publications. With E J Willson and A C Pugin he produced the first books from which architects could copy Gothic architecture exactly and he wrote the first attempt at a chronological history of English Gothic. Britton’s career, its triumphs liberally larded with financial crises and violent quarrels with publishers and authors runs like a spine through the antiquarian activities of the period. Francis Douce (1757-1834) Douce, the son of an attorney and briefly an attorney himself, gave up the law to pursue antiquarian interests when his father’s death gave him a sufficient income to do so. He never went to university but had a brief flirtation with the professional world as Assistant and then Keeper in the manuscripts department of the British Museum from 1807-11. He resigned out of impatience with the ‘fiddle faddle’ of administrative life. The purpose of his own collections was to illustrate the manners and customs of the past from coins, prints and medals. He was a pioneer of social history in many fields of which this thesis considers only three; Shakespeare, Anglo-French antiquarianism and the medieval Dance of Death. Douce also assisted Walter Scott with his Sir Tristrem and 293
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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
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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
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could be earlier and that the title
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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 247 and 248: It discovered King John dressed as
Page 249 and 250: Not surprisingly perhaps this ambit
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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 and 290: _____ Richard Parkes Bonington, The
Page 291: Strong, Roy, And when did you last
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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