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

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Chapter Two<br />

‘To stones a moral life 1 : antiquaries and Gothic<br />

architecture<br />

Medieval architecture was <strong>the</strong> subject to which arguably <strong>the</strong> greatest quality and<br />

certa<strong>in</strong>ly <strong>the</strong> greatest quantity <strong>of</strong> antiquarian effort was directed <strong>in</strong> <strong>the</strong> period. There were<br />

more publications on this than on any o<strong>the</strong>r antiquarian subject with <strong>the</strong> possible<br />

exception <strong>of</strong> topography and <strong>the</strong>re was a considerable overlap between <strong>the</strong> two areas,<br />

particularly <strong>in</strong> <strong>the</strong> earlier decades.<br />

In its engagement with Gothic architecture romantic antiquarianism was both at<br />

its most typical and its most ambitious. This chapter sets out <strong>in</strong> microcosm much that<br />

characterised <strong>the</strong> period as a whole, particularly <strong>the</strong> relationship between antiquaries and<br />

<strong>in</strong>stitutions, which should be seen as a background to <strong>the</strong> chapters that follow. One<br />

notable shift, highlighted <strong>in</strong> <strong>the</strong> debates about architecture, was <strong>the</strong> marg<strong>in</strong>alisation <strong>of</strong> <strong>the</strong><br />

Society <strong>of</strong> <strong>Antiquaries</strong> <strong>of</strong> London, which lost <strong>the</strong> dom<strong>in</strong>ance it had enjoyed <strong>in</strong> <strong>the</strong> earlier<br />

eighteenth century. The Society’s decl<strong>in</strong>e was <strong>in</strong> part a reflection <strong>of</strong> <strong>the</strong> fact that, as<br />

Samuel Foote had noticed, antiquaries were becom<strong>in</strong>g more socially diverse and<br />

<strong>in</strong>dividualistic. This <strong>in</strong> turn contributed to a more widespread movement with<strong>in</strong><br />

antiquarianism from <strong>the</strong> largely passive documentation <strong>of</strong> monuments and artefacts, to an<br />

active engagement with <strong>in</strong>terpretation and conservation. The study <strong>of</strong> <strong>the</strong> Gothic saw<br />

antiquaries branch<strong>in</strong>g out, becom<strong>in</strong>g journalists, publishers, campaigners and, not<br />

<strong>in</strong>frequently, turn<strong>in</strong>g architect <strong>the</strong>mselves. By <strong>the</strong> mid-n<strong>in</strong>eteenth century however, <strong>the</strong><br />

enterprise was los<strong>in</strong>g some <strong>of</strong> its momentum. The way <strong>in</strong> which it fragmented and was<br />

re-organised along more <strong>in</strong>stitutional and socially hierarchical l<strong>in</strong>es was also typical <strong>of</strong><br />

<strong>the</strong> wider change that came over antiquarianism <strong>in</strong> <strong>the</strong> High Victorian years.<br />

1<br />

‘even <strong>the</strong> loose stones that cover <strong>the</strong> high-way,/I gave a moral life, I saw <strong>the</strong>m feel/Or l<strong>in</strong>ked <strong>the</strong>m to<br />

some feel<strong>in</strong>g’.William Wordsworth, The Prelude, (1805), Book 3, ll 125-7.<br />

35

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