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

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Knight’s The Symbolical Language of Ancient Art and Mythology, an inquiry, first published in 1818. Pevsner could find no other word for Knight’s views on recurring forms in art than ‘psychoanalytical’. 186 Whether she knew it or not, Knight’s introductory essay might stand as a description of what Losh achieved at Wreay, the intersection in a symbolic building of a private experience with the divine: The religion of every person is included in his ideal of the Absolute Right. Every man’s conception of the Deity is the reflection of his own interior character… true in essence, superior to the forms of worship…the heavenly principle and Supreme Order have been the constant faith of mankind… Religions were born from the human soul, and not fabricated. In process of time they evolved a twofold character, the external and the spiritual. Then symbolism became the handmaid to worship; and the Deity in all his attributes was represented by every form that was conceived to possess significance. 187 There follows a glossary of symbols and their meaning. If Losh read it she would have know that the pine cone and the lotus, the two most prominently recurring images inside her church, are symbolic in classical imagery not only of rebirth but of male and female respectively, ‘the exterior emblems of sex’. 188 Whether such sexual imagery was comprehended in her view of the creative power of nature is not possible to know, but it is a possiblitity. What certainly is implicit is a view of religion as something wider, older and perhaps deeper than Christianity. On the night before her father’s funeral in 1814 James Losh recalled that she spoke to him ‘with great candour and energy upon many most deeply interesting subjects –she seems to suffer from those doubts and anxieties which are but too common to minds of much sensibility and deep research’. 189 By the 1840s such doubts were becoming more pressing throughout Victorian society and yet, with Darwin still to publish, it remained possible and indeed common to see a divine plan in nature that embraced both faith and those geological and scientific discoveries which so interested and also enriched the Losh family. 186 Pevsner, ‘Richard Payne Knight’, p. 297. 187 Knight, The Symbolical Language of Ancient Art and Mythology, pp. xiii-iv. 188 Knight, The Symbolical Language of Ancient Art and Mythology, p.xiv. 189 Journal of James Losh, quoted in Kemp, Woodside, p. 119. 88
The iconography of the east end of St Mary’s is the most powerful and original in the church and is surely intended to represent in every sense the architect’s conclusion. In the apse are the seven lamps that stand before the throne of God in the Book of Revelations, the culmination of the Christian gospel. Below them thirteen niches stand for Christ and the apostles while above, depicted in stained glass, are fossils. These are not generalised images but representations of specific fossilised ferns found in the coal- measures of Northumberland, the mines from which the Losh family fortune derived. They include, according to Losh’s friend and biographer Henry Lonsdale (who was himself a doctor and a man of science) Neuropteris, Pecopteris heterophylla, Spheopteris and Sphenophyllum Schlotheimii. Lonsdale’s interpretation of their significance is that the culmination of the church in natural rather than explicitly Christian imagery makes it ‘a kind of pantheistic temple’ in which ‘the light passing through the ante-diluvian forest’ strikes the marble lotus flower Losh designed to place on the altar. 190 Figure 42 St Mary’s Wreay, apse, (with later wall paintings) There are many more symbols inside and outside the church at Wreay and there is neither space nor time to consider them all, however, a few examples are worth noting. 190 Londsdale, The Worthies of Cumbria, p. 231. 89
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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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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
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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
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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
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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: Her criticism of Michelangelo’s L
Page 91 and 92: a church was a symbolic building, a
Page 93 and 94: Willis became the first academic an
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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
Page 133 and 134: and equal administration of the law
Page 135 and 136: ‘veritable épopée de notre âge
Page 137 and 138: 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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