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Edmund Blacket, Medievalism and the Gothic in the Colony

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Edmund Blacket, Medievalism and the Gothic in the Colony Edmund Blacket, Medievalism and the Gothic in the Colony Celeste van Gent A thesis submitted in partial fulfilment of the requirements of the degree of Bachelor of Arts (Honours) in History. University of Sydney December 2020 Acknowledgements I would like to thank my supervisor Dr. John Gagne for your expertise and guidance, and always making time for long and insightful Zoom discussions. I would like to extend my thanks to the University of Sydney’s Archives and Rare Books library for unearthing material for me throughout the year and scanning sources for me during lockdown. Thank you to Jayden and my family for your encouragement and enduring support. Abstract Edmund Blacket (1817-83) was an English-born Gothic Revival architect. This thesis uses the critical framework of medievalism to identify the function of multiple timeframes, real and imagined, within the Gothic style. It traces Blacket’s youth sketching Gothic ruins in the Yorkshire countryside, his construction of quintessentially English churches in the Colony of New South Wales, and his grand designs for the University of Sydney’s first buildings. This journey shows how Blacket’s use of the Gothic style spoke at once to a romanticised medieval past and the fragmented colonial present, as well as anticipating the Colony’s future. Contents List of Illustrations 5 Introduction Inventing the Gothic 7 Chapter One Blacket and the Gothic Ruin 17 Chapter Two Bridges to ‘old England’ 36 Chapter Three ‘The growth of ages’ 61 Conclusion ‘Imperishable stone’ 85 Bibliography 92 Illustrations Figures 1 Blacket’s ‘T’ shape buildings within the University of Sydney’s quadrangle 8 1.1 Locations of Gothic buildings Blacket visited in Yorkshire 17 1.2 A painting of Victoria and Albert in medieval costume for their ball 21 1.3 Blacket’s sketches from June 8, 1838 22 1.4 Blacket’s sketches at Rievaulx Abbey 23 1.5 John Sell Cotman’s sketch at Rievaulx Abbey 24 1.6 Turner’s watercolour of Rievaulx Abbey 24 1.7 Sophia Gray’s traced sketches of medieval fonts 25 1.8 Blacket’s sketches from Easby Abbey 27 1.9 Blacket’s detailed sketch of a tomb at Lanercost Priory 30 1.10 Blacket’s sketch of a smaller tomb at Lanercost Priory 31 1.11 Blacket’s notation of style at Selby Abbey 32 1.12 All Saints’ Church, Leamington Spa, a Gothic Revival church 34 1.13 All Saints’ Church, Newton-on-Ouse near York, a Gothic Revival church 35 2.1 Blacket’s representation of St. John’s Church, Parramatta 41 2.2 St. Mark’s Church, Darling Point designed by Blacket in 1848 45 2.3 An engraving of Holy Trinity Church in Lincolnshire 46 2.4 Tower likeness to St. Mark’s seen in Brandon’s plate of Achurch Church 46 2.5 Tracery in Sharpe’s Treatise that matches Blacket’s design for St. Mark’s 46 2.6 St. Philip’s Church, Church Hill designed by Blacket in 1848 47 2.7 Tracery at St. Mary’s, Oxford published in Bloxam’s text 47 2.8 Blacket’s tracery design for St. Philip’s main eastern window 47 5 2.9 Brandon’s plate of Martham Church, Norfolk 48 2.10 Decorated Gothic celebrated at St. Andrew’s Church, Heckington 52 2.11 Blacket’s sketch of Decorated Gothic tracery at Carlisle Cathedral 52 2.12 St. Paul’s Church, Redfern designed by Blacket in 1848 in the Decorated style 53 2.13 Brandon’s plate of Southfleet Church, Kent 53 2.14 Map of Sydney in 1854 59 3.1 The main buildings looking on the Great Hall 61 3.2 Interior detail of the Great Hall looking toward the Oxford Window 62 3.3 The main buildings and clock tower 63 3.4 The western facade of King’s College Chapel, Cambridge and its great window 67 3.5 Westminster Abbey’s Lady Chapel commissioned by Henry VII 75 3.6 Cloistered quadrangle of Magdalen College, Oxford 75 3.7 Trinity College Chapel with large Perpendicular style windows 76 3.8 Elizabethan style at the Second Court at St. John’s College, Cambridge 77 3.9 Pinnacles adorning the quadrangle of New College, Oxford 79 3.10 Oriel window at Balliol College, Oxford 79 3.11 The Great Hall’s arched windows in contrast to squared-framed windows 80 3.12 The Oxford Window on the Great Hall’s western end 82 3.13 Detail of the Royal Window showing Queen Victoria in the centre 83 3.14 Blacket’s plan for the Great Hall’s doorway 84 4.1 Interior sketch of the Great Hall from the Illustrated London News 85 4.2 Stained glass light of Queen Victoria from the Illustrated London News 86 4.3 The south range bordered by cloisters with MacLaurin Hall on the right 89 4.4 Heraldic ornamentation on the Nicholson Gateway 89 4.5 Blacket standing by the fireplace in the Great Hall during its construction 91 6 Introduction Inventing the Gothic The favourite part of my drive from Sydney to Mudgee, a regular foray home to visit family, is the stretch of country from Lithgow onwards. The narrow road winds along uninterrupted. Not far along it, in the distance, you can see the pinnacled tops of a stone tower peeking through the surrounding pines. The sight has always drawn my eye, for it reminds me of elsewhere, and ‘elsewhen.’1 The church’s sculpted stone and the pine’s dark green foliage stick out from the faded yellow-grey tones of the surrounding bush. Its association with a rainswept landscape, moss- covered stone and the ghost of a medieval past is entirely transporting. Particularly as this trip is usually taken in the glaring summer sun, with the dry-dust heat of an Australian drought making the air-conditioner in my car work overtime. Having driven past this sight countless times, earlier this year I turned off the Castlereagh Highway and wandered towards it. I pulled up to the church, and hopped out. I could feel the heat radiating off the bitumen as I crossed the road before my shoes crunched onto the dead grass of the churchyard. The square tower, its crenellated battlements, delicate tracery and gargoyles that stared down at me felt utterly incongruous. A nearby information board revealed first its name, the Church of St. John the Evangelist, and its maker: Edmund Blacket. Edmund Blacket (1817-83) was an English-born Gothic Revival architect responsible for hundreds of buildings across colonial New South Wales, many of them Gothic style churches. The University of Sydney’s main buildings (1854-62) are the most celebrated of his works—the original north-east facing ‘T’ shape that includes the Great Hall and the adjacent wing fronted by the clock tower (fig. 1 Helen Dell, “What to Do with Nostalgia in Medieval and Medievalism Studies?,” Emotions: History, Culture, Society 2, no. 2 (November 2018): 288. 7 1).2 Blacket was born into a middle-class family in Southwark, and worked both in a linen mill and as a railway surveyor in Yorkshire, where he toured nearby medieval ruins in his free time.3 Blacket did so until he was twenty-five when he married Sarah Mease and with her, emigrated to Sydney in 1842, never to return. Blacket did not receive formal architectural training in England, nor did he build there, but upon arriving in Sydney he began to design almost immediately. Blacket was known as a devout Anglican and held the position of Diocesan Architect to the Church of England for several years in Australia, as well as Colonial and University Architect respectively. Figure 1. Blacket’s ‘T’ shape buildings within the University of Sydney’s quadrangle outlined in yellow. (PSG Holdings. Aerial View of The University of Sydney’s Quadrangle. n.d. Photograph. https://www. psgholdings.com.au/sydney-university.) Blacket’s life spanned the Gothic Revival movement, and his work revealed the influences of wider historical forces like Romanticism and industrialisation, colonialism and empire, and reforms in the Anglican church and university education. This thesis explores the role these contexts played in Blacket’s understanding of the Gothic, and assesses the visions and ideologies that Blacket 2 Clifford Turney, Ursula Bygott, and Peter Chippendale, Australia’s First: A History of the University of Sydney Volume 1 1850-1939 (Sydney: University of Sydney in association with Hale & Iremonger, 1991), 443. The rest of the quadrangle was built later, and not by Blacket. 3 Joan Kerr, Our Great Victorian Architect: Edmund Thomas Blacket 1817-1883 (Sydney: The National Trust of Australia, 1983), 8. 8 brought into the design of the University of Sydney. It explores the tension between Blacket’s youth in England, where he indulged in its medieval history through Gothic ruins, and his sudden emigration to Australia, never to see an original Gothic building again. Unfathomably distant in time and space from medieval England, Blacket recreated it anew in the Colony. Unavoidably, he participated in the colonial project, and his Gothic constructions scattered over New South Wales testify to his devotion to the Church of England and England itself. I was already a few months into my research on Blacket by the time I happened upon the Church of St. John the Evangelist. The experience was the first of many as I began to notice Blacket’s legacy written in stone across New South Wales—estranged yet naturalised monuments to a vision of the English Middle Ages. The discordance between colonial Australia and medieval England created by the Gothic Revival is the foundation for this thesis, grounded in ideas of the medieval and medievalism, fiction and fabrication, and colonialism and the Gothic style.
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