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

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father who was ‘liberal in politics and strong in the advocacy of religious liberty’. 167 The men of the Losh family, like their Midland contemporaries in the Lunar Society, were part of an informal but extensive intellectual network embracing scientific study as well as literary pursuits. Losh’s uncle James was a friend of Wordsworth, who visited the family home at Woodside, a fellow of the Society of Antiquaries and from 1813 one of its Vice Presidents. His niece was educated ‘far beyond the reach of her own sex, and, indeed of most men’, a classicist, a linguist and a mathematician. 168 Losh and her sister Katherine made a long Continental tour in 1817 with another Uncle, William Losh. By then the family’s wealth had been considerably augmented with the profits from an alkali works established by the sisters’ father and uncles on Tyneside. Losh never married and by her late twenties the deaths of her parents and her only brother’s mental incapacity left her, after 1814, in an unusual situation for a woman. She was intellectually, personally and financially independent and socially in the position of the local squire. She used this role to pursue her interest in architecture, designing at least eighteen buildings, of which the parish church was the most significant. 169 The case for her as an architect is therefore self-evident. Her character as an antiquary can be established from her own notes which show her proceeding by typical antiquarian methods, analysing physical remains from internal evidence, taken in the context of documentary sources where relevant, and going on to use her findings to reanimate the past with fresh meaning for the present. St Mary’s [figs: 20, 21 and 22], was consecrated in December 1842. It is a remarkable building through which, as through Losh’s life, many currents of contemporary thought and feeling flow. It has, however, been discussed largely in terms of its style, which is, I would suggest, its least interesting aspect. Losh herself wrote that: ‘The unpolished mode of building adhered to in the new chapel, most approximates to early Saxon or modified Lombard, which was preferred to a more improved style, as less 167 Londsdale, The Worthies of Cumbria, p.148. Lonsdale’s is the first and still the fullest biographical source for Losh. 168 Londsdale, The Worthies of Cumbria, p.201. 169 Drew, ‘Sara Losh and the “chapel of ease”’, gives a list of known and attributed works. 82
expensive and elaborate.’ 170 That definition will do as well as any in this context for, as those who have considered the question agree, it does not fit precisely any style, nor is it Gothic, but it draws on a variety of pre-Gothic sources from more than one national tradition. 171 The result is unique and it is precisely in its individuality that Sarah Losh’s church embodies the essence of the romantic antiquarian enterprise. Figure 20 St Mary's Wreay, West door The project began when the existing church at Wreay was found, according to Losh’s notes, to be ‘in a very dilapidated condition’ and a committee was formed to consider restoration of the chancel. 172 Losh offered instead ‘to furnish a new site for the chapel and to defray all the expenses of its re-erection, on condition that I should be left unrestricted as to the mode of building it’. 173 The grateful parishioners accepted this generous, if highly conditional arrangement and so the results can be confidently seen as a reflection of Losh’s ideas and wishes. She in fact made no attempt to re-erect the old 170 Document in the Jackson Collection, Carlisle Library, unnumbered pages. 171 See Pevsner, ‘Sarah Losh’s Church’, and Bullen, ‘Sara Losh’. 172 Document in the Jackson Collection , Carlisle Library. 173 Document in the Jackson Collection, Carlisle Library. 83
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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
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 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
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: towards academic architectural hist
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
Page 103 and 104: centered on the Louvre as it was tr
Page 105 and 106: Norman troubadour manuscripts of th
Page 107 and 108: 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
Page 115 and 116: not survive for long. It was disman
Page 117 and 118: strewn with debris, was Lenoir’s
Page 119 and 120: 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
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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
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Figure 47 Douce's illustrations of
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Although Field demanded that his or
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manners and habits’ to fill the l
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It discovered King John dressed as
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Not surprisingly perhaps this ambit
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novelist, the painter, and the acto
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from meretricious commercial produc
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Kenilworth, the novel in which Shak
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Sir Walter has found out... that th
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had created monuments for Garrick
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The more I look at it the more I fe
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Their infinite variety. 130 It conj
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Figure 50 Shakespeare's monument at
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attempt at an antiquarian excavatio
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I was not prepared to see it look s
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It was in 1849, when Brunel’s Sha
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While Alexandrina Buchanan is certa
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to have no acknowledged part. 11 Th
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Britton, John, An Address from John
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Gunn, William, BD, An Inquiry into
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Pugin, A.W.N., Collected Letters, e
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Auberbach, Jeffrey A., The Great Ex
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Couve de Murville, M. N. L., John M
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_____ ‘Stitched Up: Eliza Stothar
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_____ Richard Parkes Bonington, The
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Strong, Roy, And when did you last
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Appendix John Britton (1771-1857) T
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were published posthumously. His ma
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foundation of the British Archaeolo
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distinction in the universities, Wi
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