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

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ecord, every ivied ruin’ with ‘no standard to judge by… but his opinion or their antiquity’. 42 Significantly Gough’s protests, anticipating just these objections no doubt, had already engaged his opponents on their own ground. His letter had pointedly defended the cathedral as an object of beauty by the standards of contemporary taste, an example of the ‘boldest and lightest style… uniform and elegant’. Milner’s treatise, as might have been expected, defended scholarship, as distinct from opinion. He did not want to retain everything that was old. Like many of his contemporaries, including antiquaries, Milner disliked Elizabethan and Jacobean architecture and would happily have had examples of it, such as the Gorges monument at Salisbury, removed. But he too emphasised aesthetics, taking on the ‘modern connoisseurs’ for their bad taste as much as their ignorance. ‘PROPRIETY, CONVENIENCY, and BEAUTY’ were to be his criteria. In fact these were for Milner, as they were now becoming for antiquarianism, fluid categories which constantly ran into one another, or formed aspects of the same idea. For Milner the effect of, and to some extent the motive for, gathering factual information about the Middle Ages was the creation of a heightened aesthetic response to its architecture. The purer the objective truth, the more intense the subjective experience. It was a challenge to Walpole’s widely shared view that ‘one must have taste to be sensible of the beauties of Grecian architecture; one only wants passion to feel Gothic’. 43 Informed taste was now to be a criterion for Gothic too, without losing any of the passion. That this change of sensibility in the last years of the century was not confined to an antiquarian clique is underlined by the fact that Walpole himself, who had always enjoyed a turbulent relationship with the Society of Antiquaries and thought little of Richard Gough even before he finally gave up the attempt to give the antiquaries ‘a little wrench towards taste’ with his resignation in 1774, wrote a letter of support to Gough 42 Gentleman’s Magazine, 59, (1789), p.1064. 43 Walpole, Anecdotes of Painting, 1, pp. 107-8. 46
about his protests at Salisbury, a letter that Milner triumphantly reprinted in his Dissertation. 44 Figure 9 Salisbury Cathedral after Wyatt's alterations Milner’s own position is most apparent in the way he dealt with the opening up of the interior of the building, which he judged to amount to ‘the destruction of the proportions and of the due relation of the different parts of the Cathedral’. 45 The arguments of Shute Barrington, supported by William Gilpin, founding father of the early Picturesque, whose ideas had not developed as Walpole’s had, were for the sublime effects of open vistas. 46 It was to achieve these that the screens had been removed. Milner countered with his own, more sophisticated, reading of the concept of the ‘artificial infinite’, quoting directly from Burke: ‘“Succession and uniformity are necessary to constitute this artificial Infinite, because, if the figures of the parts should be changed, the imagination finds a check; you are presented with the termination of one 44 Evans, A History of the Society of Antiquaries, p.137 for his opinion of Gough and pp.166-69 for the final rupture with the Society. 45 Milner, A Dissertation on the Modern Style of altering Antient Cathedrals, p.16. 46 See Buchanan, ‘“Wyatt the Destroyer”: a vandal at Salisbury Cathedral?’, p.129. It seems that Wyatt was not in this instance following his own inclinations. 47
Page 1 and 2: Antiquaries in the Age of Romantici
Page 3 and 4: Abstract The thesis concentrates on
Page 5 and 6: List of Illustrations 1 The Antiqua
Page 7 and 8: Acknowledgements I would like to th
Page 9 and 10: Definitions Chapter One Don Quixote
Page 11 and 12: It was a change of emphasis that wa
Page 13 and 14: e but a Crosse or stone footstool i
Page 15 and 16: embankment or fortification. Perhap
Page 17 and 18: part of the understanding of the pa
Page 19 and 20: classical antiquity, was increasing
Page 21 and 22: e performed in historic costume.
Page 23 and 24: 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
Page 31 and 32: considered view of Noviomagus, that
Page 33 and 34: eplaying the episode in The Antiqua
Page 35 and 36: 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
Page 43 and 44: from altering them in ways destruct
Page 45: philosophy of the Picturesque which
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
Page 69 and 70: Secretary he addressed the third se
Page 71 and 72: measured details of medieval buildi
Page 73 and 74: exhortations to accuracy and appeal
Page 75 and 76: Some years later in 1840, when he w
Page 77 and 78: Figure 18 Toddington Manor, Glouces
Page 79 and 80: study of the last forty years’ of
Page 81 and 82: towards academic architectural hist
Page 83 and 84: expensive and elaborate.’ 170 Tha
Page 85 and 86: 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
Page 101 and 102:
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
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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
Page 121 and 122:
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
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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
Page 143 and 144:
1830s, however, the exploration of
Page 145 and 146:
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
Page 153 and 154:
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
Page 159 and 160:
It has been suggested that the effe
Page 161 and 162:
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
Page 167 and 168:
layer of dark stain to make it look
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novels and poetry; the sporran of R
Page 171 and 172:
emarkable Stonehenge Cabinet that B
Page 173 and 174:
close to accidental satire. The jux
Page 175 and 176:
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
Page 193 and 194:
fragments and objects not only into
Page 195 and 196:
the Blessed Virgin and the four Lat
Page 197 and 198:
domestic culture, more people than
Page 199 and 200:
Chapter Five ‘Nothing but a Popis
Page 201 and 202:
The first part of this chapter will
Page 203 and 204:
surrender my crozier into the hands
Page 205 and 206:
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
Page 213 and 214:
prying eyes of his household; and w
Page 215 and 216:
so dangerous’. 41 In a very simil
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view of the Reformation, had caused
Page 219 and 220:
e-discovery and presentation of his
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oyal regalia. It was only in the lo
Page 223 and 224:
Figure 42 The Honours of Scotland,
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Prebble points out, was just about
Page 227 and 228:
First saw them from the window; two
Page 229 and 230:
An article he sent to Mac Millans M
Page 231 and 232:
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 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 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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