DOCSLIB.ORG

Homes and Haunts: Memorialising Romantic Writers 2011 James

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Homes and Haunts: Memorialising Romantic Writers 2011 James Homes and Haunts: Memorialising Romantic Writers A thesis submitted to The University of Manchester for the degree of PhD in the Faculty of Humanities 2011 James Henry Pardoe School of Arts, Histories and Cultures CONTENTS LIST OF FIGURES Page 4 ABBREVIATIONS Page 6 ABSTRACT Page 7 DECLARATION Page 8 COPYRIGHT STATEMENT Page 9 ACKNOWLEDGEMENTS Page 10 DEDICATION Page 12 INTRODUCTION: Page 13 Homes and Haunts of the Romantic Age Page 13 Thesis Aims Page 20 Methodology and Sources Page 24 Thesis Structure Page 27 CHAPTER ONE: Page 31 CRITICAL CONTEXTS Page 31 CHAPTER TWO: Page 49 ABBOTSFORD HOUSE Page 49 Introduction Page 49 Scott‟s House: Scott, The Borders & Abbotsford 1773-1832 Page 51 „Waverley in Stone‟: Scott‟s Memorial 1832-2004 Page 62 The House in the Early Twenty-First Century: The Abbotsford Trust 2004-2007 Page 86 Conclusion Page 99 CHAPTER THREE: Page103 NEWSTEAD ABBEY Page 103 Introduction Page 103 The „Byron House‟: to 1817 Page 105 The „Byronic House‟: 1817-1931 Page 118 2 From Private House to Public Museum: 1931-2002 Page 134 The House in the Twenty-First Century: a Result of an Historical Process Page 144 Conclusion Page 156 CHAPTER FOUR: Page 159 KEATS HOUSE & THE KEATS-SHELLEY MEMORIAL HOUSE Page 159 Introduction Page 159 Keats House Page 162 A Home of Keats Becomes Keats House and Memorial: 1818-1997 Page 162 Keats House and the City of London: 1997-2007 Page 177 Keats-Shelley Memorial House Page 190 Piazza di Spagna 26 – KSMH: 1903-1997 Page 190 KSMH: 1997-2006 Page 205 Conclusions Page 214 CONCLUSION Page 218 FIGURES Page 225 BIBLIOGRAPHY Page 258 Manuscripts Page 258 Printed Primary Sources Page 260 Interviews Page 263 Houses Page 263 Other Primary Sources Page 264 Secondary Sources Page 265 Word Count: 74,116 3 LIST OF FIGURES 1. Location Map of Abbotsford. Page 226 2. Abbotsford, view of South Court. Page 226 3. Plan of Abbotsford, post 1825. Page 227 4. Abbotsford, Entrance Hall. Page 227 5. Abbotsford, Byron Urn. Page 228 6. Abbotsford, Library East End. Page 228 7. Abbotsford, Study doorway to Scott‟s private quarters. Page 229 8. Abbotsford, Scott‟s writing desk and chair. Page 229 9. Abbotsford, Study. Page 230 10. Plan of Abbotsford, 1897. Page 230 11. Drawing of Abbotsford from Lockhart‟s biography of Scott. Page 231 12. Bronze death mask of Scott. Page 231 13. Abbotsford, Byron Urn in Dining-Room. Page 232 14. Abbotsford, Drawing-Room. Page 232 15. Abbotsford, Drawing-Room with Byron Urn. Page 233 16. Abbotsford, Dining-Room alcove where Scott died. Page 233 17. Abbotsford, contents of Scott‟s writing desk. Page 234 18. Abbotsford, Hardie painting. Page 234 19. Newstead, Ground Floor Plan. Page 235 20. Newstead, First Floor Plan. Page 235 21. Newstead, Cloister Garth. Page 236 22. Newstead, Byron‟s Bedroom. Page 236 23. Newstead, Virgin and Child. Page 237 24. Newstead, West Front 1820. Page 237 25. Newstead, West Front 1859. Page 238 26. Newstead, Cloister Garth early nineteenth century. Page 238 27. Newstead, the Chapel. Page 239 28. Newstead, Byron‟s Study. Page 239 29. Newstead, Phillips Portrait of Byron c.1813. Page 240 30. Newstead, Great Hall. Page 240 31. Newstead, Great Hall c.1870s. Page 241 32. Newstead, watercolour of Library c.1850s. Page 241 33. Newstead, Library post-1988. Page 242 34. Newstead, Byron‟s Dining-Room. Page 242 35. Newstead, the Salon. Page 243 36. Keats House, north elevation 1815. Page 243 37. Keats House Plan, 1980 guidebook. Page 244 38. Keats House, Severn painting of Keats c.1845. Page 245 39. Keats House, Royal Society of Arts Plaque. Page 245 40. Keats House, North view 1920s. Page 246 41. Keats House, locket containing lock of Keats‟s hair. Page 246 42. Keats House, the Keats Sitting-Room. Page 247 43. Keats House, Severn Portrait of Keats in Sitting-Room. Page 247 44. Keats House, Gold Brooch containing Keats‟s hair. Page 248 45. Keats House, Keats‟s Inkstand. Page 248 46. Keats House, the Chester Room. Page 249 47. Keats House, Brown‟s Sitting-Room. Page 249 48. Keats House, Brown‟s Bedroom. Page 250 4 49. Keats House, Keats‟s Bedroom. Page 250 50. Keats House, Entrance Gate. Page 251 51. Keats House, North View. Page 251 52. KSMH, Piazza di Spagna engraving by G.B. Falda. Page 252 53. KSMH, front view and Barcaccia 1935. Page 252 54. KSMH, Portrait of Keats on his death-bed by Severn 1821. Page 253 55. KSMH, Exterior of house c.1909. Page 253 56. KSMH, the Salone 2005. Page 254 57. KSMH, Locks of hair – Shelley, Keats, Leigh Hunt. Page 254 58. KSMH, Floor Plan. Page 255 59. KSMH, Exterior of house 2003. Page 256 60. KSMH, the Keats Room. Page 257 5 ABBREVIATIONS GLRO Greater London Record Office KSMA Keats-Shelley Memorial Association LMA London Metropolitan Archives NAO Nottinghamshire Archives Office NGR National Grid Reference NMR National Monuments Record NMS Nottingham Museum Service 6 The University of Manchester James Henry Pardoe PhD Homes and Haunts: Memorialising Romantic Writers 2011 ABSTRACT This thesis takes an historical approach to four literary houses open to the public today, associated with writers of the Romantic Age: Abbotsford House (Sir Walter Scott), Newstead Abbey (Lord Byron), Keats House (John Keats), and the Keats-Shelley Memorial House (John Keats and Percy Bysshe Shelley). At the heart of this study are questions of how and why houses have had a role in understanding the lives and works of famous writers. The different histories of these houses over the past two centuries point to a comparative framework for analysis. Fluctuations in the popularity of their associated writers are intimately connected with the manner in which they have been represented and received. For example, Scott and Byron were popular for much of the nineteenth century, with large numbers of people seeking out their homes. With Keats and Shelley their critical acclaim did not gain wide acknowledgement until the later decades of the nineteenth century. In parallel, the houses associated with their lives did not gain popular note until the twentieth century. One of the principal aims of this thesis is to show how the post-writer histories impact on the literary houses today. Many of the works within the literary house genre highlight the significance of the link between writers and their audiences. These links are created through the establishment of the houses as sites of remembrance, as memorials, and as sensory markers. However, whereas commentators concentrate on the links being direct, this study shows that the association is based on narratives filtered through those who were subsequently responsible for the houses. Consequently, the interpretations prevalent at the houses in the twenty-first century are the result of a long history based on the writers, and on what was considered their significance by others over approximately 200 years. This thesis also shows how visitor expectations have shaped current presentations, and how visitors‟ perception of an „aura‟ of the associated writers at these houses influenced the way they have been interpreted. „Aura‟ is used to identify the emotional response by people to certain locations or objects where they feel a „spirit‟ or the „sense‟ of something from the past. Bruno Latour and Adam Lowe‟s conceptualisation is used to show how „aura‟ is not inherent in objects from the past but is activated by the reaction of an audience, and thus can migrate from originals to copies. My research has found that each of the four houses is different in terms of its meaning to the writer, its intrinsic merit beyond the writer, its subsequent ownership and presentation history, and its funding context. Nevertheless, key similarities between them can be determined: the post-writer history still impacts today, visitor expectations over time have shaped current presentation, and visitors seek „aura‟, whether or not there are physical remains associated with the writer. However, this aura is dependent on whether the houses in the twenty-first century can „speak‟ to their audiences. 7 DECLARATION I declare that no portion of the work referred to in this thesis has been submitted in support of an application for another degree or qualification of this or any other university or other institute of learning. 8 COPYRIGHT STATEMENT i. The author of this thesis (including any appendices and /or schedules to this thesis) owns certain copyright or related rights in it (the “Copyright”) and he has given The University of Manchester certain rights to use such Copyright, including for administrative purposes. ii. Copies of this thesis, either in full or in extracts and whether in hard or electronic copy, may be made only in accordance with the Copyright, Designs and Patents Act 1988 (as amended) and regulations issued under it or, where appropriate, in accordance with licensing agreements which the University has from time to time. This page must form part of any such copies made. iii. The ownership of certain Copyright, patents, designs, trade marks and other intellectual property (the “Intellectual Property”) and any reproductions of copyright works in the thesis, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property and/or Reproductions. iv. Further information on the conditions under which disclosure, publication and commercialisation of this thesis, the Copyright and any Intellectual Property and/or Reproductions described in it may take place is available in the University IP Policy (see http://documents.manchester.ac.uk/DocuInfo.aspx?DocID=487), in any relevant Thesis restriction declarations deposited in the University Library, The University Library‟s regulations (see http://www.manchester.ac.uk/library/aboutus/regulations) and in The University‟s policy on Presentation of Theses.
Load more

Recommended publications
  • The Grave of John Keats Revisited
    The Keats-Shelley Review ISSN: 0952-4142 (Print) 2042-1362 (Online) Journal homepage: https://www.tandfonline.com/loi/yksr20 The Grave of John Keats Revisited Nicholas Stanley-Price To cite this article: Nicholas Stanley-Price (2019) The Grave of John Keats Revisited, The Keats- Shelley Review, 33:2, 175-193, DOI: 10.1080/09524142.2019.1659018 To link to this article: https://doi.org/10.1080/09524142.2019.1659018 Published online: 18 Sep 2019. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=yksr20 THE KEATS-SHELLEY REVIEW 2019, VOL. 33, NO. 2, 175–193 https://doi.org/10.1080/09524142.2019.1659018 ARTICLE The Grave of John Keats Revisited Nicholas Stanley-Price Advisory Committee, Non-Catholic Cemetery for Foreigners, Rome ABSTRACT KEYWORDS Many visitors in the nineteenth century to the grave of John Keats in John Keats; Rome; Rome thought it ‘neglected’ or ‘solitary’ and ‘unshaded’.Today’scritics Protestant cemetery; poet’s often characterize the grave as ‘marginal’, both literally and metaphori- grave; Percy Bysshe Shelley; cally, while ignoring the city authorities’ proposal to demolish it in the Joseph Severn; Romantics 1880s. An analysis of the grave’s original setting and its subsequent renovations suggests instead that it enjoyed a privileged position. Historical descriptions, when considered together with visitors’ accounts – avaluablesourceifusedcritically– and little-known artists’ depictions of Keats’s grave prompt a re-assessment of ideas of its ‘marginality’ and ‘neglect’ in the nineteenth century. The grave lies quite alone, and is evidently much neglected.
    [Show full text]
  • 1875, June 29]
    [1875, June 29] [From: Pickering, B.M.]1 [To: Lord Alfred Tennyson] 196 Piccadilly W June 29 1875 Sir Several years ago when the books of the late Sir C.W. Dilke2 were sold by auction I purchased a volume containing “The Lover’s Tale”3[.] I unfortunately lent it to Mr. Richard Herne Shepherd4 he expressing a great desire to read it and I at the time believing him a trustworthy person[.] Soon after this I found that he had dishonestly printed this poem from a transcript he had taken from my copy. On that occasion (by paying the printer, when he pretended he could not pay unless he sold copies) I induced him to suppress the copies and he handed me his transcript [Page 2] but either he had a duplicate transcript or a copy of the printed type for I have just discovered that he has a second time put the poem into type[.] Mr. Locker5 mentioned to me that an advertisement 1 Basil Montagu Pickering (1835-1878) was a publisher who specialized in rare books and first editions of nineteenth-century poets (see the Oxford Dictionary of National Biography [ODNB]). Pickering published Tennysoniana in 1866. 2 Charles Wentworth Dilke (1789-1864) was a newspaper editor and writer who, at various stages in his career, contributed to or led such publications as Retrospective Review, London Magazine, The Athenaeum (of which Dilke became editor in 1831), and the Daily News. Dilke had many friends and acquaintances among the literary elite of the country, including John Keats, Leigh Hunt, George Eliot, and Percy Shelley (see ODNB).
    [Show full text]
  • John Keats and Fanny Brawne Pages of an Enduring Love
    John Keats and Fanny Brawne Pages of an enduring love Source images: http://englishhistory.net/keats/fannybrawne.html “When shall we pass a day alone? I have Read this short account of John Keats’s and Fanny Brawne’s thwarted love story. had a thousand Keats and Fanny, who were newly neighbours, first met in a troubled time for the poet: his mother had died of tuberculosis, soon to be followed by his youngest brother Tom. The teenaged Fanny was not considered beautiful, but she was spirited and kind and Keats was struck by her coquettish sense of fun. Her family’s financialkisses, difficulties influencedfor her with a strong sense of practicality. However, she did fall for young Keats, who was neither well off nor making money through his writing. Her mother against better economical judgement could not prevent a love match, though not without the opposition of Keats’s friends, the two got engaged. Yet, further obstacles were to come. Keats knew his only hope of marrying Fanny was to succeed in writing, since he was often asked by his brother George for moneywhich loans. Inwith February my1820, however, the couple’s future was threatened by illness: Keats had been troubled by what looked like a cold, but later turned out to be a sign of tuberculosis. He was well aware of his worsening condition so at some point he wrote to Fanny that she was free to break their engagement, but she passionately refused to Keats’s relief: “How hurt I should have been hadwhole you ever acceded soul to what I is, notwithstanding, very reasonable!” In an attempt not to upset the poet with too strong emotions, his friend Charles Brown nursed him diligently and kept Fanny at a distance.
    [Show full text]
  • Shelley's“Adonais” As a Pastoral
    | １ , ＳＨＥＬＬＥＹ’Ｓ“ＡＤＯＮＡＩＳ” ＡＳ Ａ ＰＡＳＴＯＲＡＬ ＥＬＥＧＹ（１） Terufumi KIDO This paper aims chieny to discuss some salient featuresof “Adonais” by Percy Bysshe Shelley as an English pastoral elegy such as John Milton’s “Lycidas” and Matthew Arnold’s “Thyrsis.”lt is we11-known that the poem was written to mourn over the premature death of John Keats in Rome in February， 1821.For a full understanding and appreciation of “Adonais” it may be desirable to have some knowledge of Greek myth centering on the Adonis legend， the tradition of pastoral elegy， Shelley’s view of Keats and his works， and Shelley’s antipathy toward his contemporary reviewer of literary creation. Although “Shelley’s selection ofthe word ‘Adonais’ remains a matter of conjecture” l there is an interesting and persuasivereference to the title.“The change from Adonis to Adonais was an inspired piece of word-coining. The extra vowel creates a richer and more gracious flavour. The long-drawn final synables add an elegiac undertone， and ‘Adonis’seerns curt and flat after‘Adonais.’The ダ ダmetrical problems too are eased by the extra stress － Adonais instead of Adonls. ダ ・ 。2 ltis certain that; the title“Adonais” comes from the name of a beautiful youth，Adonis beloved by Aphrodite， the goddess of love ，beauty and fertility in Greek myth. The Adonis legend is known as follows: When Adonis was killed by a wild boar， the grief of the goddess moved Persephone， Queen of Hades， to allow him to spend six months of the year on earth and six in the underworld.
    [Show full text]
  • THE KEATSIAN the Newsletter of the Keats Foundation September 2019
    Registered Charity: 1147589 THE KEATSIAN The Newsletter of the Keats Foundation September 2019 Annual Wreath Laying It's John Keats's birthday on 31st October. Every year we hold a small service to celebrate his life, in Poets' Corner, Westminster Abbey. Representatives of the Keats Foundation, The Poetry Society and Keats House, and their guests meet in Poets' Corner, read a selection of Keats's poems and lay flowers at his memorial. Numbers are strictly limited. Admission to the Abbey is free to those taking part. https://www.eventbrite.co.uk/e/westminster-abbey-keats-birthday-wreath-event- registration-72968301153 Nine Letters and Poems Thursday 31 October 6.30 – 8.30pm at St Botolph-without-Bishopsgate, EC2M 3TL. Celebrate Keats’s birthday with an evening of readings and music in the setting of St Botolph-without-Bishopsgate, where Keats was baptised on Friday 18 December 1795. £7.50, booking essential at Eventbrite. Go to https://www.eventbrite.co.uk/e/nine-letters-and-poems-tickets-69170459707 1 The Eve of St. Agnes: Celebration on 20 January 2020 The Keats Foundation, with Keats House, will be celebrating the poem Keats wrote on the theme of The Eve of St Agnes. The event will take place on 20th January 2020 at Keats House in Hampstead. Keats completed writing the poem at Bedhampton nearly 200 years ago, and at this event celebrating it, the actor, Matthew Coulton (who has adopted the persona of Keats in numerous readings to great acclaim) will read the poem which will be introduced by Professor Nicholas Roe, Chair of The Keats Foundation.
    [Show full text]
  • From Poet to Poet Or Shelley's Inconsistencies in Keats's Panegyric
    From Poet to Poet or Shelley’s Inconsistencies in Keats’s Panegyric: Adonais as an Autobiographical Work of Art by Caroline Bertonèche (Paris 3) Adonais, in short, is such an elegy as poet might be expected to write upon poet. The author has had before him his recollections of Lycidas, of Moschus and Bion, and of the doctrines of Plato; and in the stanza of the most poetical of poets, Spenser, has brought his own genius, in all its ethereal beauty, to lead a pomp of Loves, Graces, and Intelligences, in honour of the departed. (Leigh Hunt, “Unsigned Review of Adonais”, The Examiner, 7 juillet 1822)1 I have engaged these last days in composing a poem on the death of John Keats, which will shortly be finished; and I anticipate the pleasure of reading it to you, as some of the very few persons who will be interested in it and understand it. It is a highly wrought piece of art, perhaps better in point of composition than anything I have written. (Lettre de Shelley à John et Maria Gisborne, 5 juin 1821, Complete Works, X 270) When Shelley said of Adonais, not long after its completion, that it was its most accomplished piece of art, “better in point of composition than anything [he] ha[d] written” while mentioning, in his Preface, the “feeble tribute of applause” (Shelley’s Poetry and Prose 392) it nonetheless represents, he does not to seem to want to hide his own sense of personal satisfaction, nor does he fail to confess certain obvious limitations in his work as a Romantic elegist.
    [Show full text]
  • Shelley's Heart and Pepys's Lobsters
    © Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Chapter 1 Shelley’s Heart and Pepys’s Lobsters Biographies are full of verifiable facts, but they are also full of things that aren’t there: absences, gaps, missing evi- dence, knowledge or information that has been passed from person to person, losing credibility or shifting shape on the way. Biographies, like lives, are made up of con- tested objects—relics, testimonies, versions, correspon- dences, the unverifiable. What does biography do with the facts that can’t be fixed, the things that go missing, the body parts that have been turned into legends and myths? A few years ago, a popular biographer who had allowed doubts and gaps into the narrative of a historical subject was criticised for sounding dubious. “For ‘I think,’ read ‘I don’t know,’” said one of her critics crossly. But more recently, “biographical uncertainty” has become a re- spectable topic of discussion.1 Writers on this subject tend to quote Julian Barnes’s Flaubert’s Parrot: You can define a net in one of two ways, depending on your point of view. Normally, you would say that it is a meshed instrument designed to catch fish. But you could, with no great injury to logic, reverse the image and define a net as a jocular lexicographer once did: he called it a col- lection of holes tied together with string. For general queries, contact [email protected] © Copyright, Princeton University Press.
    [Show full text]
  • Notes and References
    Notes and References Prologue: Food Security and the Literary Imagination 1. Jane Austen, Letter to Cassandra Austen, 23 Hans Place, 23–24 August 1814, in Jane Austen (1995), Jane Austen’s Letters, ed. Deirdre Le Faye, 4th edn (Oxford University Press), pp. 281–4 (p. 238). 1 Food Matters 1. Cited in Frank Dikötter (2010), Mao’s Great Famine: The History of China’s Most Devastating Catastrophe, 1958–62 (London: Bloomsbury), unpaginated preliminary pages. 2. Harry Thompson (2011), Peter Cook: A Biography (London: Hachette, 2011; orig. pub. Hodder & Stoughton, 1997), p. 47. 3. Francisco Goya y Lucientes, Saturn Devouring his Son (1819–23), 1.43 m x 81 cm, Museo Nacional Del Prado, Madrid, Spain; Hannibal Lecter first appeared in Thomas Harris’s novel Red Dragon (1981). 4. Maggie Kilgour (1990), From Communion to Cannibalism: An Anatomy of Metaphors of Incorporation (Princeton University Press). 5. See, for example, Bonnie J. W. Martin, Jeri A. Logemann, Reza Shaker and Wylie J. Dodds (1994), ‘Coordination Between Respiration and Swallowing: Respiratory Phase Relationships and Temporal Integration,’ Journal of Applied Physiology 76: 714–23. 6. Suzanne Collins (2009), Catching Fire (New York: Scholastic Press), p. 22. The political use of food and hunger in the Hunger Games trilogy is discussed further in the Epilogue. 7. Colin Tudge (2004), So Shall We Reap: What’s Gone Wrong with the World’s Food – and How to Fix It (London: Penguin; orig. pub. Allen Lane, 2003), p. 34. 8. Daniel Quinn (2009), Ishmael: An Adventure of the Mind and Spirit (New York: Random House; orig. pub. Bantam, 1992).
    [Show full text]
  • Keats in His Poem Endymion to Describe Sexual Ecstasy Keats: Biographical / Historical Context It Is Not Certain When the Poem Was Written
    Bright star! would I were steadfast as thou art Bright star! would I were steadfast as thou art— steadfast: unwavering, resolute Not in lone splendour hung aloft the night And watching, with eternal lids apart, Like nature's patient, sleepless Eremite, Eremite: a Christian hermit or recluse The moving waters at their priestlike task Of pure ablution round earth's human shores, Or gazing on the new soft-fallen mask Of snow upon the mountains and the moors— No—yet still steadfast, still unchangeable, Pillowed upon my fair love's ripening breast, To feel for ever its soft fall and swell, Awake for ever in a sweet unrest, Still, still to hear her tender-taken breath, And so live ever—or else swoon to death. swoon was used by Keats in his poem Endymion to describe sexual ecstasy Keats: Biographical / Historical Context It is not certain when the poem was written. Some suggest it was written in October 1818 and say it was about Isabella Jones, but most argue it was written in July 1819, on another visit to the Isle of Wight (where he wrote On the Sea in 1816), and that it was about Fanny Brawne. Look at the contextual information below and consider how you might we apply it to a reading of the poem. In June 1818 Keats wrote the following in a letter to his brother Tom, describing Windermere in the Lake District. ‘the two views we have had of [the lake] are of the most noble tenderness – they can never fade away – they make one forget the divisions of life; age, youth, poverty and riches; and refine one’s sensual vision into a sort of north star which can never cease to be open-lidded and stedfast over the wonders of the great Power.’ Do you think this is sufficiently convincing to argue the poem was inspired by the Lake District rather than the Isle of Wight? As for who the poem was inspired by there are, as alluded to above, two theories: Robert Gittings believes that the lover that Keats is referring to is Mrs Isabella Jones, with whom Keats supposedly had an affair.
    [Show full text]
  • Conservation Area Statement Hampstead 2
    Conservation area statement Hampstead 2 Conservation & Urban Design Team London Borough of Camden Environment Department Town Hall Extension Argyle Street London WC1H 8ND Telephone: 020 7974 1944 Produced by Camden Design & Print END200/01 4279 Tel: 020 7974 1985 page 3 Location page 8 History page 12 Character page 46 Audit page 57 Current Issues page 59 Guidelines page 68 Road Index HAMPSTEAD Conservation Area Statement The aim of this Statement is to provide a clear indication of the Council’s approach to the preservation and enhancement of the Hampstead Conservation Area. The statement is for the use of local residents, community groups, businesses, property owners, architects and developers as an aid to the formulation and design of development proposals and change in the area. The statement will be used by the Council in the assessment of all development proposals. Camden has a duty under the Planning (Listed Buildings and Conservation Areas) Act 1990 to designate as conservation areas any “areas of special architectural or historic interest, the character or appearance of which it is desirable to preserve or enhance.” Designation provides the basis for policies designed to preserve or enhance the special interest of such an area. Designation also introduces a general control over the demolition of unlisted buildings. The Council’s policies and guidance for Conservation Areas are contained in the Unitary Development Plan (UDP) and Supplementary Planning Guidance (SPG). This Statement is part of SPG and gives additional detailed guidance in support of UDP policies. The Statement describes the character of the area, provides an outline of the key issues and identifies development pressures which are currently a cause of concern.
    [Show full text]
  • The Shelleys and the Idea of Europe
    Paul Stock The Shelleys and the idea of Europe Article (Accepted version) (Refereed) Original citation: Stock, Paul (2008) The Shelleys and the Idea of Europe. European romantic review, 19 (4). pp. 335-349. ISSN 1050-9585 DOI: 10.1080/10509580802405684 © 2009 Taylor and Francis This version available at: http://eprints.lse.ac.uk/29372/ Available in LSE Research Online: September 2012 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final manuscript accepted version of the journal article, incorporating any revisions agreed during the peer review process. Some differences between this version and the published version may remain. You are advised to consult the publisher’s version if you wish to cite from it. 1 Article for European Romantic Review The Shelleys and the Idea of “Europe” by Paul Stock Introduction This article explores how the Shelleys and their circle configure ideas of “Europe” between January 1817 and March 1818. In this period, Mary was finishing Frankenstein and Percy wrote, planned and published Laon and Cythna, two texts which, I will argue, are especially concerned with the meanings of “Europe” and “European”.
    [Show full text]
  • Keats House Forward Plan October 2016 – March 2020
    APPENDIX 1 Keats House forward plan October 2016 – March 2020 Vicky Carroll (Principal Curator) and Frankie Kubicki (Senior Curator) October 2016 1 2 Contents Statement of purpose for Keats House ....................................................................................... 4 To preserve and develop Keats House as a museum and live memorial to John Keats and as a literary meeting place and centre for the education and benefit of the public. ........................................................................................................................................................... 4 Strategic context within the City of London Corporation ........................................................ 4 Current situation .............................................................................................................................. 5 Review of 2014-16 ........................................................................................................................... 5 Development of the Forward Plan .............................................................................................. 6 Our vision .......................................................................................................................................... 6 Our aims and objectives ............................................................................................................... 7 Our strategic aims ......................................................................................................................
    [Show full text]