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

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Figure 10 St Peter's Chapel, W<strong>in</strong>chester<br />

One <strong>of</strong> <strong>the</strong> three illustrations <strong>of</strong> his chapel [fig:10], which Milner published shows<br />

it through this open doorway, framed by <strong>the</strong> arch, which is now described as ‘Norman’. 69<br />

It is a typically romantic picturesque composition, show<strong>in</strong>g <strong>the</strong> view from one space <strong>in</strong>to<br />

ano<strong>the</strong>r, discrete but semi-visible space. This was exactly <strong>the</strong> configuration to which<br />

Payne Knight attributed to <strong>the</strong> particular effect <strong>of</strong> Gothic, ‘dim and discoloured light<br />

diffused…through unequal varieties <strong>of</strong> space, divided but not separated… thus effects<br />

more impos<strong>in</strong>g have been produced, than are, perhaps to be found <strong>in</strong> any o<strong>the</strong>r works <strong>of</strong><br />

man’. 70 This was precisely what Wyatt had destroyed at Salisbury. The image is also <strong>in</strong> a<br />

simple way symbolic. We are to understand <strong>the</strong> modern chapel through its antecedents. In<br />

its co-dedication to St Swithun and St Bir<strong>in</strong>us (as well as St Peter), sa<strong>in</strong>ts who had local<br />

associations with W<strong>in</strong>chester and aga<strong>in</strong> <strong>in</strong> its details, ‘illustrative <strong>of</strong> different antiquities<br />

relat<strong>in</strong>g to this city’ Milner was seek<strong>in</strong>g to weave his chapel seamlessly <strong>in</strong>to <strong>the</strong> fabric <strong>of</strong><br />

<strong>the</strong> past. 71 When he published <strong>the</strong> description <strong>of</strong> it <strong>in</strong> his History <strong>of</strong> W<strong>in</strong>chester he placed<br />

it at <strong>the</strong> end <strong>of</strong> <strong>the</strong> second volume, as a cont<strong>in</strong>uation <strong>of</strong> <strong>the</strong> ‘Survey <strong>of</strong> Antiquities’. From<br />

a chronological po<strong>in</strong>t <strong>of</strong> view it belonged at <strong>the</strong> end <strong>of</strong> Volume One, <strong>the</strong> History Civil<br />

and Ecclesiastical, which concluded with <strong>the</strong> latest build<strong>in</strong>gs <strong>in</strong> <strong>the</strong> city, <strong>the</strong> ‘several neat<br />

and elegant houses and shops’ <strong>in</strong> what Milner caustically dismissed as <strong>the</strong> ‘<strong>the</strong> boww<strong>in</strong>dow-<br />

style’ and <strong>the</strong> new gaol. 72 But for him it belonged with <strong>the</strong> ca<strong>the</strong>dral and with<br />

69<br />

Milner, The History Civil and Ecclesiastical and Survey <strong>of</strong> <strong>the</strong> Antiquities <strong>of</strong> W<strong>in</strong>chester, 2, p.242, and<br />

plate between pp. 240-241.<br />

70<br />

Knight, An Analytical Enquiry <strong>in</strong>to <strong>the</strong> Pr<strong>in</strong>ciples <strong>of</strong> Taste, p.177.<br />

71<br />

Milner, The History Civil and Ecclesiastical and Survey <strong>of</strong> <strong>the</strong> Antiquities <strong>of</strong> W<strong>in</strong>chester, 2, p.240.<br />

72<br />

Milner, The History Civil and Ecclesiastical and Survey <strong>of</strong> <strong>the</strong> Antiquities <strong>of</strong> W<strong>in</strong>chester, 1, p.448.<br />

53

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