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Revival Memories, Identities, Utopias REVIVAL MEMORIES, IDENTITIES, UTOPIAS EDITED BY AY L A LE PINE MATT LODDER ROSALIND MCKEVER Revival. Memories, Identities, Utopias Edited by Ayla Lepine, Matt Lodder, and Rosalind McKever With contributions by: Deborah Cherry Whitney Davis John Harvey Alison Hokanson Martin Horácek Phil Jacks Michelle Jackson Ayla Lepine Matt Lodder Jonathan Mekinda Alan Powers Nathaniel Walker Alyson Wharton Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2015, The Courtauld Institute of Art, London. ISBN: 978-1-907485-04-6 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any way or form or my any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission in writing from the publisher. Designed by Jack Hartnell Cover Image: Henri De Braekeleer, The Man in the Chair, 1876 (detail). Oil on canvas, 79 x 63 cm, Koninklijk Museum voor Schone Kunsten, Antwerp. CONTENTS List of Illustrations 5 Notes on Contributors 9 Acknowledgements 11 Foreword: The Interval of Revival 12 WHITNEY DAVIS Introduction 17 AYLA LEPINE, MATT LODDER, ROSALIND MCKEVER I. MEMORIES ‘Nostalgia’, Matt Lodder 27 The Ghost Begins by Coming Back. Revenants And Returns 29 In Maud Sulter’s Photomontages DEBORAH CHERRY 1937 and Victorian Revivalism 45 ALAN POWERS The Retrieval of Revival: Recollecting and Revising 67 the Evan Roberts Wax Cylinder JOHN HARVEY The Problem of Expiration of Style 86 and the Historiography of Architecture MARTIN HORÁČEK II. IDENTITIES ‘Historicism’, Ayla Lepine 101 The New Old Style: Tradition, Archetype and Rhetoric 103 in Contemporary Western Tattooing MATT LODDER Longing for Past and Future: Cultural Identity and Central 120 European Revivalist Glassware Designs MICHELLE JACKSON Henri De Braekeleer and Belgium’s 135 Nineteenth-Century Revivalist Movement ALISON HOKANSON Armenian Architects and ‘Other’ Revivalism 150 ALYSON WHARTON III. UTOPIAS ‘Anachronism’, Rosalind McKever 169 Ferro-concrete and the Search for Style 171 in the ‘American Renaissance’ PHIL JACKS Echoes of Manhattan in Parliament Square: 188 Transatlantic Medievalism for the Twentieth Century AYLA LEPINE Modernism and Revivalism in Italian Architecture 205 and Design, 1935-1955 JONATHAN MEKINDA Babylon Electrified: Orientalist Hybridity as Futurism 222 in Victorian Utopian Architecture NATHANIEL WALKER Photograph Credits 239 188 CHAPTER 10 ECHOES OF MANHATTAN IN PARLIAMENT SQUARE: TRANSATLANTIC MEDIEVALISM FOR THE TWENTIETH CENTURY AYLA LEPINE In Alfred Tennyson’s poem Idylls of the King, published in 1872, knights become uneasy 10.1 Ralph Adams Cram and about the fragile and uncanny quality of their surroundings as they ride towards Camelot: Bertram Grosvenor ‘Lord there is no such city anywhere, but all vision’ they remark. At the threshold of this Goodhue, St Thomas Church, New York City, dream-city is a guarded gate. Here, they find that ‘new things and old co-twisted, as if United States, 1907–16. Time were nothing, so inveterately that men were giddy’.1 The powerful magician Merlin 10.2 keeps these giddy beholders at bay as a blast of sound fills the air. The medieval dream, James S. Gibson and 2 Frank Peyton Skipwith, Merlin explains, is perpetual and elusive. For those seeking it and marvelling at its spatial Middlesex Guildhall ambiguities, the city itself is the quest. It is sustained by an ineffable holiness, and it consti- (now the Supreme Court), London, United tutes an ultimately unreachable yet nearly attainable goal. As Merlin explains, concealing Kingdom, 1911–13. as much as he reveals in Tennyson’s deliberately poetic and languidly opaque text: They are building still, seeing the city is built To music, therefore never built at all, And therefore built forever.3 This essay considers the elusive, entrancing search for an architecture in which time could be co-twisted to build a city of the future by looking keenly to the dream-cities and material remains of many layered pasts. Homing in on this revivalist phenomenon, my research explores three ideas that connect two modern Gothic Revival buildings. The me- dievalist sites situated within metropolitan centres are St Thomas Church at Fifth Avenue AYLA LEPINE | TRANSATLANTIC MEDIEVALISM 189 and 53rd Street in New York City’s Manhattan, and the Middlesex Guildhall—which is now the Supreme Court—on the north side of Parliament Square in Westminster, London. Both buildings were prominent projects in globally significant and rapidly changing cit- ies, produced at a time when the Gothic style was no longer an obvious choice for civic or religious buildings on either side of the Atlantic. Both projects used medievalist forms and ideas to integrate past and present, deploying sculpture and architectural motifs to tell an old story of governance, leadership, and faith in a new way. St Thomas Church was designed by the prominent American firm of Cram, Goodhue and Ferguson in 1906 and consecrated in April 1916 (fig. 10.1). Its building process was arduous, complex, and highly publicized. Westminster Guildhall had a shorter gestation period and a less famous architect. Designed by James Gibson with his partner Frank Pe- yton Skipwith, the building was planned in 1911 and opened in December 1913 (fig. 10.2). The three ideas that cohere into a framework for a comparative interpretation of these structures concern style, temporality, and identity. Additionally, Marvin Trachtenberg’s recent explication of time as an architectural tool and what he has identified as the press- ing obstacle of ‘chronophobia’ in modern architectural design and discourse are marshaled in relation to key structures in London and New York. Both of the buildings could be dismissed as late and eccentrically conservative fruits of a gnarled tree that grew up as the young sapling of the optimistic and ecclesiastically powered Gothic Revival in the nineteenth century. By the twentieth century, as Kenneth Clark put it in his history of the Gothic Revival, published in 1928, the style was lifeless. Clark put this conviction vividly: ‘Its fruits are stale and have turned to dust in our mouths. The words conjure up the vision … of an age too recently dead’.4 Not everyone felt this way, however. The architect and critic Harry Stuart Goodhart- Rendel gave a lecture at the Royal Institute of British Architects (RIBA) in 1924 in which he asserted, ‘That the Gothic style in England has ever become a corpse I will not allow’.5 At the height of the Gothic Revival in Victorian Britain and its empire, the use of later Gothic motifs from the fourteenth, fifteenth and even sixteenth centuries was often seen as anathema. By the late Victorian period, architects like G.F. Bodley, George Gilbert Scott Jr, and a new generation including J.D. Sedding and John Ninian Comper saw the Gothic world differently.6 Later Gothic forms were not only embraced, but they were also blended with classical architectural language, expanding medievalism’s possibilities and blurring its definitions, particularly in relation to the rise of the Arts and Crafts movement with the arrival of C.R. Ashbee and W.R. Lethaby at the turn of the twentieth century.7 Indeed, Lethaby wrote about architecture of the Middle Ages not so much as a style but a language or ethos of building.8 The relationship between the Arts and Crafts ideology, the Gothic Revival, and trans- atlantic dialogue regarding architecture and architectural sculpture offers rich possibili- ties for further research, as much of the exploration of these cultural phenomena has been done in a relatively nationalistic, monographic, or stylistically narrow way.9 Moreover, in light of the recent challenges to periodization raised in art and architectural history and the increasing attention paid to the values and meanings of layered and interlacing anach- ronisms, ‘late’ seems somewhat facile in its devotion to stylistic and temporal linearity. Additionally, without recourse to major strides in recent critical theory, there is the simple AYLA LEPINE | TRANSATLANTIC MEDIEVALISM 190 evidence that the Gothic style carried on well into the twentieth century and the manner in which designers manipulated Gothic forms had its own distinctive and vital character. One of the most important factors in a new interpretation of these two buildings and oth- ers constructed in the twentieth century is that they are products not of a single revivalist impulse, but of multiple interlacing revivalist strands. For architects like Goodhue and Gibson, source material from the Middle Ages was co-twisted with later Gothic Revival reworkings of the medieval world. In their twentieth-century designs, Goodhue, Cram and Gibson produced multiple revivalist iterations in a single plan, crafting neo-neo-neo Gothic forms. In Trachtenberg’s 2010 book, Building-in-Time, the architectural historian gives next to no attention to the nineteenth century’s rampant historicism and stylistic skirmishes.
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