DOCSLIB.ORG

Antiquaries in the Age of Romanticism: 1789-1851 Hill, Rosemary

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Antiquaries in the Age of Romanticism: 1789-1851 Hill, Rosemary Antiquaries in the Age of Romanticism: 1789-1851 Hill, Rosemary For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/2680 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] Antiquaries in the Age of Romanticism: 1789-1851 Rosemary Hill Queen Mary, University of London Submitted for the degree of PhD March 2011 1 I confirm that the work presented in this thesis and submitted for the degree of PhD is my own. Rosemary Hill 2 Abstract The thesis concentrates on the work of fourteen antiquaries active in the period from the French Revolution to the Great Exhibition in England, Scotland and France. I have used a combination of the antiquaries’ published works, which cover, among other subjects, architecture, topography, costume history, Shakespeare and the history of furniture, alongside their private papers to develop an account of that lived engagement with the past which characterised the romantic period. It ends with the growing professionalistion and specialisation of historical studies in the mid-nineteenth century which left little room for the self-generating, essentially romantic antiquarian enterprise. In so far as this subject has been considered at all it has been in the context of what has come to be called ‘the invention of tradition’. It is true that the romantic engagement with history as narrative led to some elaboration of the facts, while the newness of the enterprise laid it open to mistakes. I have not ignored this. The restoration of the Bayeux Tapestry, the forged tartans of the Sobieski Stuarts and the creation of Shakespeare’s Birthplace are all considered. Overall, however, I have been concerned not to debunk but as it were to ‘rebunk’, to see the antiquaries in their historical context and, as far as possible, in their own terms. 3 Contents List of Illustrations 5 Acknowledgements 7 Chapter One: Don Quixote to Jonathan Oldbuck: the image of the Antiquary 9 Chapter Two: ‘To stones a moral life’: antiquaries and Gothic architecture 35 Chapter Three: Revolution to Restoration: cross-Channel antiquarianism 99 Chapter Four: The Antiquarian Interior 162 Chapter Five: ‘Nothing but a Popish cabal’: religion, politics and 199 antiquarianism Chapter Six: Walter Scott’s ‘mighty wizzard’: the antiquaries’ Shakespeare 230 Conclusion 272 Bibliography 276 Appendix 293 4 List of Illustrations 1 The Antiquary, by Richard Parkes Bonington, 1826 8 2 Don Quixote, by Richard Parkes Bonington, 1826 22 3 Don Quixote illustrated in 1687 23 4 Don Quixote, by Gustave Doré, 1863 23 5 The Eglinton Tournament, James Henry Nixon, 1839 24 6 Francis Grose 25 7 The Antiquary's Cell, by E.W.Cooke, 1835 27 8 Fungus the Antiquary, by Thomas Rowlandson from The English Dance of Death, 1815 28 9 Salisbury Cathedral after Wyatt's alterations 47 10 St Peter's Chapel, Winchester 53 11 St Peter's Chapel, Winchester, interior 54 12 Salisbury Cathedral from The Beauties of England and Wales 60 13 Salisbury Cathedral from The Cathedral Antiquities 61 14 Salisbury Cathedral cloisters in The Cathedral Antiquities 62 15 Salisbury Cathedral, by J M W Turner, 1802 62 16 Salisbury Cathedral from the Meadows, by John Constable, 1831 67 17 The Slipper Chapel at Walsingham and Willson's church at Melton Mowbray 74 18 Toddington Manor, Gloucestershire 77 19 The New Palace of Westminster 78 20 St Mary's Wreay, West door 83 21 St Mary’s, Wreay 84 22 St Mary’s Wreay, apse, (with later wall paintings) 89 23 Le Musée des Monumens Français 109 24 Lenoir at St Denis 111 25 Lenoir's Jardin Elysée, the tomb of Abelard and Heloise on the right 113 26 The tomb of Abelard and Heloise at the cemetery of Père Lachaise 114 27 The Death of Harold in the Bayeux Tapestry 123 5 28 The Tapestry as illustrated in Montfaucon and as it is today 124 29 E H Langlois, self-portrait engraved by Mary Turner 132 30 The Duchesse de Berry as Mary Queen of Scots, by Eugene Lami 141 31 The Duchesse de Berry sailing into exile, unknown artist 142 32 The Intervention of the Sabine Women, by Jacques-Louis David, 1796-99 148 33 Hymne à la Cloche, colophon 150 34 Frontispiece to Langlois’s Les Danses des Morts 153 35 The oriel window from Les Andelys under demolition and at Highcliffe Castle, Hampshire 156 36 Sir Walter Scott in his study, by William Allan, 1831 169 37 John Britton's account of his home and collection 170 38 John Britton, mezzotint after John Wood, 1845 172 39 The Sobieski Stuart brothers, self-portrait 176 40 Charles Edward Stuart, calotype, c1843 181 41 Walter Scott in the hall at Abbotsford, c1830 187 42 The Honours of Scotland, the discovery of the Regalia, by David Wilkie, 1822 223 43 The Entrance of George IV at Holyrood House, by David Wilkie, 1828 224 44 The Marquis of Montrose from The Costume of the Clans, 1845 228 45 Shakespeare and his Friends at the Mermaid Tavern, by John Faed, c1850 231 46 Pillories, from Douce's notes on Measure for Measure 237 47 Douce's illustrations of fools and their accoutrements 241 48 Walter Scott and his Literary Friends at Abbotsford by Thomas Faed, 1849 258 49 Walter Scott at Shakespeare's Tomb, possibly by William Allan 262 50 Shakespeare's monument at Stratford 265 51 The house in Henley Street before restoration 269 52 The restored Birthplace in the 1860s 269 6 Acknowledgements I would like to thank my supervisor Anne Janowitz for encouraging me to undertake a doctoral thesis in the first place and for continuing to support it and I am grateful to Queen Mary, University of London for a Studentship which made it possible. At Queen Mary Markman Ellis, Chris Reid and Bill Schwartz were reliable sources of friendly encouragement and advice. I am grateful to the Warden and Fellows of All Souls College, Oxford, for a two- year fellowship during which I was able to present my work in progress in a series of seminars. I would thank all who attended, particularly those who asked questions and made suggestions: James Adams, Paul Brand, Colin Burrow, John Drury, Caroline Elam, Patrick Finglass, Noel Malcolm, Richard Marks, Geoffrey Tyack, Michael Sheringham and William Whyte. Colin Kidd and Keith Thomas took particular trouble to draw relevant material to my attention and to encourage my endeavour. For valuable conversations and advice on the subject of antiquarianism over several years I am most indebted to Rosemary Sweet. Christopher Barker allowed me to study the papers of his ancestor Dawson Turner which are still in his possession. Megan Aldrich, Alexandrina Buchanan, Charlotte Gere, Julian Pooley and Diana Scarisbrick were generous in making available their unpublished research. On the difficult subject of Scottish history and mythology Hugh Cheape and Ian Gow offered sage advice and information. Gavin Stamp discussed the architectural history with me and the librarians of the Society of Antiquaries were unfailingly helpful. Humaira Erfan-Ahmed kindly provided technical and moral support. 7 Figure 1: The Antiquary, by Richard Parkes Bonington, 1826 8 Chapter One Don Quixote to Jonathan Oldbuck: the Image of the Antiquary Definitions By 1628, when John Earle in his Micro-Cosmographie defined him as ‘one that hath that unnaturall disease to bee enamour’d of old age, and wrinckles’, the antiquary was already a figure of dubious appeal and obvious comic potential.1The New Dictionary of the…Canting Crew in 1699 had him down as ‘a curious Critick in old Coins, Stones and Inscriptions, in Worm-eaten Records…also one that affects and blindly doats, on Relicks, Ruins, old Customs Phrases and Fashions’.2 By the end of the eighteenth century, on the eve of the period with which this thesis is concerned, it seemed to the antiquary Francis Grose that it had ‘long been the fashion to laugh at the study of Antiquities, and to consider it as the idle amusement of a few humdrum plodding fellows, who, wanting genius for nobler studies, busied themselves in heaping up illegible Manuscripts, mutilated Statues, obliterated Coins, and broken pipkins!’3 When it came to the antiquarian personality Johnson’s Dictionary defined an antiquary in neutral terms as ‘a man studious of antiquity; a collector of ancient things’.4 Yet in a letter to Boswell Johnson remarked that ‘a mere antiquarian is a rugged being’5 and he defined rugged as ‘full of unevenness and asperity…not neat, not regular…savage of temper; brutal… turbulent… sour, surly, discomposed…shaggy’.6 These accumulated 1 Earle, Micro-Cosmographie, p.13. 2 Johnson, Samuel, Dictionary, London, 1755. 3 Quoted in Brown, Hobby-Horsical Antiquary, p. 11 and see pp 15-17 for a survey of parodies from Earle to Pope. See also Sweet, Antiquaries, p. xiii. 4 Johnson, Dictionary, 1755. 5 Boswell’s Life of Johnson, (Oxford: Oxford University Press, new edition, 1953), p.937. 6 Johnson, Dictionary, 1755. 9 characteristics were all still present in the romantic period. They can be observed in varying degrees in Walter Scott’s Jonathan Oldbuck, the eponymous Antiquary, with whom, in 1816 this peculiar figure might be said to have broken the surface of the popular imagination.7 There was more to Oldbuck, as there had been to his predecessors, than the caricature, but its salient features merit consideration. So does another equally long- standing if less often and less pithily expressed image of the antiquary which casts him as an altogether more subversive figure.
Load more

Recommended publications
  • University of Birmingham at School with the Avant Garde
    University of Birmingham At School with the avant garde: Grosvenor, Ian; van Gorp, Angelo DOI: 10.1080/0046760X.2018.1451559 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Grosvenor, I & van Gorp, A 2018, 'At School with the avant garde: European architects and the modernist project in England', History of Education. https://doi.org/10.1080/0046760X.2018.1451559 Link to publication on Research at Birmingham portal Publisher Rights Statement: This is an Accepted Manuscript of an article published by Taylor & Francis in History of Education on 19/04/2018, available online: http://www.tandfonline.com/10.1080/0046760X.2018.1451559 General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • The Victorian Society's Launch, Had Helped Establish Serious Academic Study of the Period
    The national society for THE the study and protection of Victorian and Edwardian VICTORIAN architecture and allied arts SOCIETY LIVERPOOL GROUP NEWSLETTER December 2009 PROGRAMME CHESTER-BASED EVENTS Saturday 23 January 2010 ANNUAL BUSINESS MEETING 2.15 pm BISHOP LLOYD’S PALACE, 51-53 Watergate Row After our business meeting, Stephen Langtree will talk about the Chester Civic Trust (whose home this is) in its 50th Anniversary year. Chester Civic Trust has a high profile both locally and nationally: over the past twenty years, as secretary, chairman, now vice-president, Stephen Langtree has had much to do with this. Wednesday 17 February 7 for 7.30 pm GROSVENOR MUSEUM (Chester Civic Trust / visitors welcome / no advance booking / suggested donation £3) LIVING BUILDINGS - ARCHITECTURAL CONSERVATION: PHILOSOPHY, PRINCIPLES AND PRACTICE Donald Insall’s “Living Buildings” (reviewed in November’s ‘Victorian’) was recently published to celebrate the 50th anniversary of Donald Insall Associates. It was the 1968 Insall Report which proved a pioneering study for Chester’s conservation: Donald Insall CBE will reflect on this and other work of national significance (including Windsor Castle) in his lecture. Wednesday 17 March 7 for 7.30 pm GROSVENOR MUSEUM (Chester Civic Trust / visitors welcome / no advance booking / suggested donation £3) A NEW PEVSNER FOR CHESHIRE Sir Nikolaus Pevsner and Edward Hubbard launched the “Cheshire” volume in ‘The Buildings of England’ series back in 1971. Expansion and revision now brings Macclesfield-based architectural historian Matthew Hyde (working on the new volume with Clare Hartwell) to look again at Chester and its hinterland. He will consider changes in judgments as well as in the townscape over the 40 years.
    [Show full text]
  • Exhuming the Vestigial Antique Body in Walter Scott's Caledonia
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 11 | 2015 Expressions of Environment in Euroamerican Culture / Antique Bodies in Nineteenth Century British Literature and Culture Exhuming the Vestigial Antique Body in Walter Scott's Caledonia Céline Sabiron Electronic version URL: http://journals.openedition.org/miranda/6694 DOI: 10.4000/miranda.6694 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Céline Sabiron, “Exhuming the Vestigial Antique Body in Walter Scott's Caledonia”, Miranda [Online], 11 | 2015, Online since 20 July 2015, connection on 16 February 2021. URL: http:// journals.openedition.org/miranda/6694 ; DOI: https://doi.org/10.4000/miranda.6694 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Exhuming the Vestigial Antique Body in Walter Scott's Caledonia 1 Exhuming the Vestigial Antique Body in Walter Scott's Caledonia Céline Sabiron 1 In Walter Scott's Border Antiquities of England and Scotland (1814-1817), the Anglo- Scottish border is portrayed as a backbone1 connecting the English and Scottish limbs of the British body, and lying there, almost lifeless, for two centuries since the Union of the Crowns: The frontier regions of most great kingdoms, while they retain that character, are unavoidably deficient in subjects for the antiquary. [...] The case becomes different, however, when, losing by conquest or by union their character as a frontier, scenes once the theatre of constant battle, inroad, defence, and retaliation, have been for two hundred years converted into the abode of peace and tranquillity [...].
    [Show full text]
  • Walter Scott's Kelso
    Walter Scott’s Kelso The Untold Story Published by Kelso and District Amenity Society. Heritage Walk Design by Icon Publications Ltd. Printed by Kelso Graphics. Cover © 2005 from a painting by Margaret Peach. & Maps Walter Scott’s Kelso Fifteen summers in the Borders Scott and Kelso, 1773–1827 The Kelso inheritance which Scott sold The Border Minstrelsy connection Scott’s friends and relations & the Ballantyne Family The destruction of Scott’s memories KELSO & DISTRICT AMENITY SOCIETY Text & photographs by David Kilpatrick Cover & illustrations by Margaret Peach IR WALTER SCOTT’s connection with Kelso is more important than popular histories and guide books lead you to believe. SScott’s signature can be found on the deeds of properties along the Mayfield, Hempsford and Rosebank river frontage, in transactions from the late 1790s to the early 1800s. Scott’s letters and journal, and the biography written by his son-in-law John Gibson Lockhart, contain all the information we need to learn about Scott’s family links with Kelso. Visiting the Borders, you might believe that Scott ‘belongs’ entirely to Galashiels, Melrose and Selkirk. His connection with Kelso has been played down for almost 200 years. Kelso’s Scott is the young, brilliant, genuinely unknown Walter who discovered Border ballads and wrote the Minstrelsy, not the ‘Great Unknown’ literary baronet who exhausted his phenomenal energy 30 years later saving Abbotsford from ruin. Guide books often say that Scott spent a single summer convalescing in the town, or limit references to his stays at Sandyknowe Farm near Smailholm Tower. The impression given is of a brief acquaintance in childhood.
    [Show full text]
  • Samuel Baker the University of Texas at Austin [email protected]
    Samuel Baker The University of Texas at Austin [email protected] 5/13/2009 Scott’s Stoic Characters: Ethics, Sentiment, and Irony in The Antiquary, Guy Mannering, and “The Author of Waverley” Published in Modern Language Quarterly (2009) 70 (4): 443–471: Cite only from published version. https://doi-org.ezproxy.lib.utexas.edu/10.1215/00267929-2009-011 Whomever one reads on the question, it seems that Walter Scott created “the classical form of the historical novel” by standing at a locus of contradiction. According to the most influential such accounts, Scott “portrayed objectively the ruination of past social formations, despite all his human sympathy for, and artistic sensitivity to, the splendid, heroic qualities which they contained”; he could accomplish such feats of mediation because he was “two men … both the prudent Briton and the passionate Scot."1 These accounts of Scott’s contradictory investments–by Georg Lukács and David Daiches, respectively–find an emblem in the title Virginia Woolf gave her essay on Scott's late-life journal. Referring to how Scott installed modern lighting at his pseudo- medieval estate, Woolf calls her piece “Gas at Abbotsford.”2 Such formulations became 1 Georg Lukács, The Historical Novel [1937], Hannah and Stanley Mitchell, tr. (Lincoln, Neb.: Univ. of Nebraska Press, 1983), pp.54-55; David Daiches, “Scott’s Achievement as a Novelist” [1951], in Literary Essays (Chicago: Univ. of Chicago Press, 1967), 92. 2 Virginia Woolf, “Gas at Abbotsford” [1940], in Collected Essays, 4 vols. (New York: Harcourt Brace, 1967), 1:128-138. touchstones for Scott criticism some decades ago.3 Many critics since have adopted the concept of a split Scott that, whatever their other differences, Lukács, Daiches, and Woolf share.
    [Show full text]
  • Review of the Year 2012–2013
    review of the year TH E April 2012 – March 2013 NATIONAL GALLEY TH E NATIONAL GALLEY review of the year April 2012 – March 2013 published by order of the trustees of the national gallery london 2013 Contents Introduction 5 Director’s Foreword 6 Acquisitions 10 Loans 30 Conservation 36 Framing 40 Exhibitions 56 Education 57 Scientific Research 62 Research and Publications 66 Private Support of the Gallery 70 Trustees and Committees of the National Gallery Board 74 Financial Information 74 National Gallery Company Ltd 76 Fur in Renaissance Paintings 78 For a full list of loans, staff publications and external commitments between April 2012 and March 2013, see www.nationalgallery.org.uk/about-us/organisation/ annual-review the national gallery review of the year 2012– 2013 introduction The acquisitions made by the National Gallery Lucian Freud in the last years of his life expressed during this year have been outstanding in quality the hope that his great painting by Corot would and so numerous that this Review, which provides hang here, as a way of thanking Britain for the a record of each one, is of unusual length. Most refuge it provided for his family when it fled from come from the collection of Sir Denis Mahon to Vienna in the 1930s. We are grateful to the Secretary whom tribute was paid in last year’s Review, and of State for ensuring that it is indeed now on display have been on loan for many years and thus have in the National Gallery and also for her support for very long been thought of as part of the National the introduction in 2012 of a new Cultural Gifts Gallery Collection – Sir Denis himself always Scheme, which will encourage lifetime gifts of thought of them in this way.
    [Show full text]
  • Maurice-Quentin De La Tour
    Neil Jeffares, Maurice-Quentin de La Tour Saint-Quentin 5.IX.1704–16/17.II.1788 This Essay is central to the La Tour fascicles in the online Dictionary which IV. CRITICAL FORTUNE 38 are indexed and introduced here. The work catalogue is divided into the IV.1 The vogue for pastel 38 following sections: IV.2 Responses to La Tour at the salons 38 • Part I: Autoportraits IV.3 Contemporary reputation 39 • Part II: Named sitters A–D IV.4 Posthumous reputation 39 • Part III: Named sitters E–L IV.5 Prices since 1800 42 • General references etc. 43 Part IV: Named sitters M–Q • Part V: Named sitters R–Z AURICE-QUENTIN DE LA TOUR was the most • Part VI: Unidentified sitters important pastellist of the eighteenth century. Follow the hyperlinks for other parts of this work available online: M Matisse bracketed him with Rembrandt among • Chronological table of documents relating to La Tour portraitists.1 “Célèbre par son talent & par son esprit”2 – • Contemporary biographies of La Tour known as an eccentric and wit as well as a genius, La Tour • Tropes in La Tour biographies had a keen sense of the importance of the great artist in • Besnard & Wildenstein concordance society which would shock no one today. But in terms of • Genealogy sheer technical bravura, it is difficult to envisage anything to match the enormous pastels of the président de Rieux J.46.2722 Contents of this essay or of Mme de Pompadour J.46.2541.3 The former, exhibited in the Salon of 1741, stunned the critics with its achievement: 3 I.
    [Show full text]
  • Stonehill College Europe Challenged
    Stonehill College April 14, 2016 Europe Challenged J. Brian Atwood It is a real pleasure to visit Stonehill. I thank Professor Anna Ohanyan for inviting me here today. Professor Ohanyan has done impressive scholarly work in her field. We met at the Watson Institute at Brown a few months ago participating in a symposium on the Dayton agreement on Bosnia. I want to talk to you today about the European Project—the 50­year effort to build an integrated, secure, democratic and prosperous Europe. Even casual observers would conclude that it is not going well today. Europe is under attack from within and without. This sad state of affairs should be of great concern to the United States; yet it appears that we are at risk of writing an American version of John F. Kennedy’s 1940 book “While England Slept.” Our approach to Europe today seriously underestimates the nature of the crisis. We hear a great deal about the terrorist attacks and the refugee and migrant crisis. However, this is the tip of a very dangerous iceberg. There is no denying the stresses these issues are creating, but there are also underlying threats that receive far less attention. Our presidential candidates tend to ignore these threats. Or worse in the case of Donald Trump who has questioned our 1 commitment to NATO at a time when the deterrent value of this alliance is arguably more important than ever. Even President Obama in his now well­read Atlantic magazine interview complains that European leaders need to do more while he states his own preference to look towards Asia.
    [Show full text]
  • Departmental Seminars - Spring Term 2007/08
    Departmental Seminars - Spring term 2007/08 The department puts on two separate seminar programmes: the Departmental Seminars (DS) and the Research Seminars (RS). The Departmental Seminars are joint seminars, organized by 2 or more professors (convenors), and are essentially teaching seminars, aimed at examining broad developments within the discipline, and exploring major theoretical and methodological issues. Each semester the department will put on 5 to 6 Departmental Seminars (8 to 9 sessions per semester). Alongside the Departmental Seminars are the Research Seminars (8 to 9 sessions per semester) which are organized by individual professors (or in some cases jointly organized by 2 professors). The Research Seminars are intended as specialized seminars dealing with the research in progress of professors, researchers and visiting scholars. Researchers normally attend the Research Seminars of their supervisors. First year researchers are required to take 3 seminars in the autumn semester (RS or DS) and two seminars in the spring semester (RS or DS). Of these five seminars the researcher has to choose two DS. A researcher is not confined to the Departmental Seminars offered by the Department of History, but may, where appropriate and with the approval of her/his supervisor, take a seminar offered by another department. The Department formally requires you to register with Mr. Sergio Amadei the titles of the seminars, which you must attend during each of your first and second semesters of study. During the autumn semester all first year researchers will be required to hand in a written presentation and to give an oral presentation upon the subject of 2 of the seminars that they are attending.
    [Show full text]
  • Beautiful Britain Abbotsford
    Beautiful Britain Abbotsford ANONYMOUS CHAPTER I FROM CARTLEYHOLE TO ABBOTSFORD Thousands of persons from all parts of the world visit Abbotsford annually. There is no diminution in the pilgrimage to this chief shrine of the Border Country, nor is there likely to be. Scott's name, and that of Abbotsford, are secure enough in the affections of men everywhere. It is scarcely necessary to recall that Scott on both sides of his house was connected with the Border Country—the 'bold bad Border' of a day happily long dead. He would have been a reiver himself, more than likely, and one of its nameless bards to boot, had he lived before the Border felt the subdued spirit of modern times. A descendant of Wat of Harden, linked to the best blood of the Border, and with every phase of his life redolent of the Border feeling, history has had no difficulty in claiming Sir Walter Scott as the most representative Border man the world has seen. He was not born in the Border Country, but practically all his life was spent there. He came to the Border a sickly, delicate child, between his third and fourth year, and for threescore years and one he seldom left it for any lengthened interval. Edinburgh was the arena of much of his professional career. But he was happiest, even amid the most crushing sorrows of his life, when within earshot of the Tweed. There was not a blither or sunnier boyhood than Scott's at Rosebank, where even then he was 'making' himself, and dreaming of the days that were to be.
    [Show full text]
  • News Release
    The Metropolitan Museum of Art news release For release Communications Department 1000 Fifth Avenue Immediate New York, NY 10028-0198 tel 212-570-3951 Contact fax 212-472-2764 email [email protected] Elyse Topalian Sabina Potaczek Crossing the Channel: British and French Painting in the Age of Romanticism Exhibition dates: October 8, 2003 - January 4, 2004 Exhibition location: Tisch Galleries, second floor Press preview: Tuesday, October 7, 10:00 a.m.—noon Crossing the Channel: British and French Painting in the Age of Romanticism, a groundbreaking exhibition opening at The Metropolitan Museum of Art on October 8, 2003, will fully explore for the first time the important exchange of art and ideas that originated between France and England during the decades following the fall of Napoleon in 1815 - a crucial period that saw the full flowering of the Romantic revolution. The exhibition, which remains on view through January 4, 2004, will bring together major works by artists such as Constable, Bonington, J.M.W. Turner, Delacroix, and Gericault, all of whom played a key role in this unprecedented dialogue across the English Channel and between the two national schools. The exhibition is made possible by United Technologies Corporation. The exhibition was organized by Tate Britain, in association with The Metropolitan Museum of Art and The Minneapolis Institute of Arts. Whereas traditional views have tended to stress the impact that eatly 19th-century French painters had on their British counterparts, Crossing the Channel reveals the important influence that English innovations - notably a new emphasis on pure landscape painting, the experimental, impressionistic techniques of the English watercolorists, and the works (more) Crossing the Channel Page 2 of the British Romantic writers - exerted on French art at this time.
    [Show full text]
  • French Travellers to Scotland, 1780-1830
    French Travellers to Scotland, 1780-1830: An Analysis of Some Travel Journals. Elizabeth Anne McFarlane Submitted according to regulations of University of Stirling January 2015 Abstract. This study examines the value of travellers’ written records of their trips with specific reference to the journals of five French travellers who visited Scotland between 1780 and 1830. The thesis argues that they contain material which demonstrates the merit of journals as historical documents. The themes chosen for scrutiny, life in the rural areas, agriculture, industry, transport and towns, are examined and assessed across the journals and against the social, economic and literary scene in France and Scotland. Through the evidence presented in the journals, the thesis explores aspects of the tourist experience of the Enlightenment and post - Enlightenment periods. The viewpoint of knowledgeable French Anglophiles and their receptiveness to Scottish influences, grants a perspective of the position of France in the economic, social and power structure of Europe and the New World vis-à-vis Scotland. The thesis adopts a narrow, focussed analysis of the journals which is compared and contrasted to a broad brush approach adopted in other studies. ii Dedication. For Angus, Mhairi and Brent, who are all scientists. iii Acknowledgements. I would like to thank my husband, Angus, and my daughter, Mhairi, for all the support over the many years it has taken to complete this thesis. I would like to mention in particular the help Angus gave me in the layout of the maps and the table. I would like to express my appreciation for the patience and perseverance of my supervisors and second supervisors over the years.
    [Show full text]