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Introduction: Reproducing Englishness 1 in Pursuit of An Notes Introduction: Reproducing Englishness 1. Samuel Taylor Coleridge, “The Nightingale,” in Wordsworth and Coleridge: Lyrical Ballads, eds. R. L. Brett and A. R. Jones (London and New York: Routledge, 1991), pp. 84–8, ll. 49–59. 2. Susan Buck-Morss’s The Dialectics of Seeing: Walter Benjamin and the Arcades Project elaborates upon Walter Benjamin’s “dialectical image,” the notion that the juxtaposition of contradictory images or of contradictions within a single image can itself be pedagogical; see especially, “Natural History: Fossil” (Cambridge, MA: The MIT Press, 1991). 3. G. R. Hibbard, “The Country House Poem of the Seventeenth Century,” Journal of the Warburg and Courtauld Institutes 19, no. 1/2 (January–June, 1956): 159–74. 4. Thomas Hardy, “Memories of Church Restoration,” in Public Voice: The Essays, Speeches, and Miscellaneous Prose, ed. Michael Millgate (Oxford: Oxford University Press, 2001), p. 253. 5. Walter Scott, “Lay of the Last Minstrel,” in The Complete Works of Sir Walter Scott; with a Biography and His Last Additions and Illustrations, vol. 1 (New York: Connor and Cooke, 1833), p. 324. 1 In Pursuit of an English Style: The Allure of Gothic 1. Thomas Rickman, An Attempt to Discriminate the Styles of Architecture in England, From the Conquest to the Reformation: With a Sketch of the Grecian and Roman Orders, ed. John Henry Parker, 7th edn (London: John Henry Parker, 1848), p. 37. 2. Robert Willis, Report of a Survey of the Dilapidated Portions of Hereford Cathedral in the Year 1841 (London: Minet, 1842). 3. John Ruskin, The Seven Lamps of Architecture (1849; reprint, London: Century, 1988), p. 194. 4. Alfred Hugh Fisher, The Cathedral Church of Hereford: A Description of Its Fabric and a Brief History of the Episcopal See, eds. Gleeson White and Edward F. Strange (London: George Bells and Sons, 1898), p. 21. 5. John Merewether, A Statement of the Condition and Circumstances of the Cathedral Church of Hereford in the Year 1841 (London: Simpkin, Marshall, and Co. and Hamilton, Adams, and Co., 1862), p. 4. 6. Ibid., p. 7. 7. John Clutton, 7031, Hereford Cathedral Archives. Quoted in David Whitehead, “The Architectural History of the Cathedral since the Reformation,” in Hereford Cathedral: A History, ed. Gerald Aylmer and John Tiller (Ohio: The Hambledon Press, 2000), p. 268. 8. Merewether, p. 15. 221 222 Notes 9. See Daryl Ogden, “The Architecture of Empire: ‘Oriental’ Gothic and the Problem of British Identity in Ruskin’s Venice,” Victorian Literature and Culture, vol. 25, no. 1 (1997). 10. Rickman, p. 43. 11. Ibid., p. 44. 12. Ibid. 13. Ibid. 14. Ibid. 15. Nikolaus Pevsner, The Englishness of English Art: An Expanded and Annotated Version of the Reith Lectures Broadcast in October and November 1955 (New York, 2002), p. 292. 16. Jean Bony, ‘The Impact of the Rayonnant Style in Gothic England,’ in The English Decorated Style: Gothic Architecture Transformed, 1250–1350 (Ithaca: Cornell University Press, 1979), p. 1. 17. Ibid., p. 4. 18. Ibid., pp. 1–2. 19. Nicola Coldstream, The Decorated Style: Architecture and Ornament, 1240–1360 (London: British Museum Press, 1994), p. 35. 20. Ibid. 21. Pevsner, The Englishness of English Art, pp. 81–146. 22. Nikolaus Pevsner, Pevsner: On Art and Architecture, ed. Stephen Games (London: Methuen Publishing Limited, 2002), p. 212. 23. Pevsner, The Englishness of English Art, p. 118. 24. Pevsner, Pevsner, p. 232. 25. Pevsner, The Englishness of English Art, p. 116. 26. Ibid., p. 117. 27. Ibid., p. 85. 28. Ibid., p. 83. 29. Ibid., p. 93. 30. Rickman, p. 1. 31. Rickman, p. 2. 32. Rickman, p. 5. 33. John Ruskin, The Stones of Venice Volume II: The Sea-Stories (1886; reprint, New York: Cosimo, 2007), p. 152. 34. Ibid., p. 153. 35. Ibid., pp. 152–3. Emphasis added. 36. Ibid., p. 228. 37. Ibid., p. 231. 38. Ibid., pp. 153–4. 39. Ibid., p. 155. 40. Ibid. 41. Ibid., p. 157. 42. Ibid. 43. Daryl Ogden, pp. 109–20. 44. Ruskin, pp. 161–2. 45. Ibid., p. 159. 46. Ibid., p. 162. 47. Ibid. 48. Ibid., p. 159. Notes 223 49. Ibid., pp. 159–60. 50. Ibid., pp. 160–1. 51. Ibid., pp. 162–3. 52. He may well have been thinking of the spare Georgian boxes of the eight- eenth century, as much as the geometric houses of Venice. 53. Ibid., p. 207. 54. Ibid. 55. Ibid., p. 174. 2 Gothic Adaptations and Reprisals 1. Richard Corbet, “Upon Faireford Windowes,” in English Seventeenth-Century Verse, Volume II, ed. Richard S. Sylvester (New York: The Norton Library, 1974), p. 194. 2. Kenneth Munn, “Fables and Facts: The Sources for a History of Fairford’s Stained Glass,” in Life, Death and Art: The Medieval Stained Glass of Fairford Parish Church, A Multimedia Exploration, eds. Sarah Brown and Lindsay MacDonald (Gloucestershire: Sutton Publishing Limited, 1997), p. 71. 3. The Great West window survived the Reformation but not later weather damage or nineteenth-century restorations. 4. Alec Clifton-Taylor, English Parish Churches (London: B. T. Batsford Ltd, 1974), p. 141. 5. Henry Gee, The Elizabethan Clergy and the Settlement of Religion, 1558–1564 (Oxford: The Clarendon Press, 1898), pp. 54–5. 6. William Dowsing, The Journal of William Dowsing: Iconoclasm in East Anglia during the English Civil War, ed. Trevor Cooper (Suffolk: The Boydell Press, Woodbridge, 2001), pp. 215 and 219. 7. Andrew Graham-Dixon, A History of British Art (Berkley: University of California Press, 1999), p. 34. 8. Corbet, p. 194. 9. Joseph William Gray, Shakespeare’s Marriage, His Departure from Stratford and Other Incidents in His Life (London: Capman and Hall, originally published 1905), p. 103. 10. Keith Barley, “Conservation and Restoration: From the Reformation to the End of the Eighteenth Century,” in Life, Death and Art: The Medieval Stained Glass of Fairford Parish Church, A Multimedia Exploration, eds. Sarah Brown and Lindsay MacDonald (Gloucestershire: Sutton Publishing Limited, 1997), p. 113. 11. Ibid., 113. 12. The World English Bible (American Standard, 1997), John 21:11. 13. Albert C. Labriola and John W. Smeltz, The Bible of the Poor [Biblia Pauperum]: A Facsimile and Edition of the British Library Blockbook C.9 d.2 (Pittsburgh: Duquesne University Press, 1990), p. 5. 14. Tobin Nellhaus, “Mementos of Things to Come: Orality, Literacy, and Typology in the Biblia pauperum,” in Printing the Written Word: The Social History of Books, circa 1450–1520, ed. Sandra Hindman (Ithaca: Cornell University Press), p. 293. 15. Ibid. 16. Labriola and Smeltz, p. 5. 224 Notes 17. Requiring incredibly skillful woodcutting techniques, a blockbook is made by carving words and/or pictures in relief into a single block of wood so that it may be used to print onto paper or vellum. 18. Some eighty versions of the Biblia Pauperum, complete or fragmentary, survive from Southern Germany to the Northern Netherlands. 19. Labriola and Smeltz, p. 99. 20. Ibid. 21. Ibid., p. 5. 22. Nellhaus, pp. 317–18. 23. T. Fisher Unwin, “Mr. Unwin’s List,” The Antiquarian Magazine Advertiser, 6, no. 36 (1884): iv. 24. c. 1395–1400. King’s MS 5, f.5. British Library Catalogue N. Netherlands (The Hague). 25. James H. Marrow, “The Shape of Meaning: Word and Image in a 15th Century Book,” in Painting in the Age of Artificial Intelligence, ed. David Moos (London: Academy Group Ltd., 1996), p. 40. 26. Ibid., p. 44. 27. Ibid. 28. Ibid., p. 45. 29. Judith Weil, “Herbert’s ‘The Elixir,’” in A New Companion to English Renaissance Literature and Culture, Vol. Two, ed. Michael Hattaway (West Sussex: Blackwell Publishing Limited, 2010), p. 400, and, Patrick Collinson, “English Reformations,” in A New Companion to English Renaissance Literature and Culture, Vol. One, ed. Michael Hattaway (West Sussex: Blackwell Publishing Limited, 2010), p. 398. 30. This effect is assisted by the Perpendicular style of the windows, which usually have less tracery than those in the Decorated style. 31. William Shakespeare, The Tragedy of King Lear, ed. R. A. Foakes (London: The Arden Shakespeare, 2007), p. 330. 32. Collinson, “English Reformations,” p. 398. 33. Collinson, p. 398, referencing Eamon Duffy, The Voices of Morebath: Reformation and Rebellion in an English Village (New Haven: Yale University Press, 2006), and Margaret Aston, England’s Iconoclasts: Laws Against Images (Oxford: Clarendon Press, 1988). 34. See, for example, Joachim Patinir and Pieter Bruegel the Elder. 35. Jolly musters was the name adopted by reformers for the ritual burning of iconic religious statuary and other artifacts. 36. Collinson, p. 400; referencing Janel Mueller, The Native Tongue and the Word: Developments in English Prose Style 1380–1580 (Chicago: Chicago University Press, 1984). 37. Graham-Dixon, p. 14. 38. Ibid., p. 39. 39. Ibid., pp. 39 and 42. 40. Ernst Hans Gombrich, The Story of Art: With 398 Illustrations, 12th edn (New York: Phaidon Publishers Inc, 1972), p. 163. Even if the Wilton Diptych was painted by an English painter, it was painted in what is called the International Style, or International Gothic, a style that flourished on the Continent rather than Britain. Notes 225 41. Nicola Coldstream, “Art and Architecture in the Late Middle Ages,” in The Context of English Literature: The Later Middle Ages, ed. Stephen Medcalf (New York: Holmes and Meier, 1981), p. 196. 42. Ibid. 43. Hilary Wayment, King’s College Chapel Cambridge: The Great Windows Introduction (Cambridge: The Provost and Scholars of King’s College, 1982), p. 6. 44. Francis Woodman, The Architectural History of King’s College Chapel and its Place in the Development of Late Gothic Architecture in England and France. (London: Routledge and Kegan Paul, 1986), p. 245. 45. Wayment, p. 6. 46. Woodman, p. 245. 47. Dowsing, p. 179. 48. Woodman, p. 247.
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