The clothing of Clio: a study of the representation of history in nineteenth-century Britain and France 9780521256162

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The Clothing of Clio A study of the representation of history in nineteenth-century Britain and France

The Clothing of Clio A study of the representation of history in nineteenth-century Britain and France

STEPHEN BANN Reader in Modern Cultural Studies University of Kent

BS +4 eS niversity of o ne ¢ tas 353 Say to anand ior * steEo) se] | meme of fot te j Ny Henry Vil in 1534.

Boye | Sir rae ad since 1584.

CAMBRIDGE UNIVERSITY PRESS Cambridge

London New York New Rochelle Melbourne Sydney

Published by the Press Syndicate of the University of Cambridge The Pite Building, Trumpington Street, Cambridge cp2 iRP 32 East 57th Street, New York, Ny 10022, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1984 First published 1984 Reprinted 1986

Printed in Great Britain by the University Press, Cambridge Library of Congress catalogue card number: 83—20909 British Library Cataloguing in Publication Data Bann, Stephen The clothing of Clio. 1. Great Britain—Historiography 2. France—Historiography

I Title

941'.0072 DAI ISBN 0 §21 25616 X

UP ,

To my parents who introduced me to history and poetry

History, not wanted yet, Lean’d on her elbow, watching Time, whose course Eventful, should supply her with a theme .. . William Cowper, ‘Yardley Oak’ (1791)

History is the Muse of our time; we are, I think, the first who have

understood the past... Albertine de Broglie, letter to Prosper de Barante (1825)

Contents

List of sllustrations page vil

Introduction I

Preface and acknowledgements x1 1 The historian as taxidermist: Ranke, Barante, Waterton 8

2 Acycle in historical discourse: Barante, Thierry, Michelet 32 3 Image and letter in the rediscovery of the past: Daguerre, Charles

Alfred Stothard, Landseer, Delaroche 54

4 Poetics of the museum: Lenoir and Du Sommerard 77 5 The historical composition of place: Byron and Scott 93

James 138 Postscript 164

6 Defences against irony: Barham, Ruskin, Fox Talbot 112 7 Anti-history and the ante-hero: Thackeray, Reade, Browning,

Notes 178 Index 193 vil

Illustrations

PLATES

1 Maternal sustenance and grave example: bas-relief of History by Clodion, from the Palais de la Légion d’honneur (Photo Giraudon) I 2 Costumed characters appearing on the stage after the curtain has gone down: Jean-sans-Peur (John the Fearless, Duke of Burgundy), from

Barante, Histotre des Ducs de Bourgogne (1842 edition) 46 3 Shown at the very moment preceding his assassination: Meurtre du duc

Jean (Murder of Duke John), from Barante, Histoire des Ducs de

Bourgogne (1842 edition) 47

4 Thene plus ultra of scenic illusionism: L.-J.-M. Daguerre, Ruins of the

Liverpool) 56 Chapel of Holyrood (1824), after a diorama shown in London in 1825-6 (reproduced by permission of the Walker Art Gallery,

5 Resurrecting the past: Thomas and Charles Alfred Stothard, The Monumental Effigies rescued from Time (frontispiece to Monu-

of the British Library) 66 mental Effigies, 1811-33) (reproduced by permission of the Trustees

6 Reduction and fragmentation: effigy of William Longespée, Earl of Salisbury (from Charles Alfred Stothard, Monumental Effigies) (re-

produced by permission of the Trustees of the British Library) 67 7 Gesturing towards the scene of historical fatality: Delaroche, Edouard V et Richard Duc d’York (also called Les Enfants d’Edouard), 1831 (reproduced by permission of the Trustees of the Wallace Collection:

small version of the original painting of 1831) : 73 8 A chaotic assemblage of objects crammed into a small space: Renoux, L’Antiquaire (The Antiquary - portrait of A. du Sommerard), 1825

(reproduced by permission of the Trustees of the British Library) 80 g Objects have been allotted their respective places: collection of the Hotel de Cluny, Francois Ier room, from Du Sommerard, Les Arts au moyen

dge (reproduced by permission of the Trustees of the British Library) 81 10 Scott's huge baronial pile: South Court and entrance of Abbotsford

(reproduced from the present-day guide-book, with permission) 94 11 ‘A rich and rare Mix’d Gothic’: Peter Tillemans, view of the West

Front of Newstead Abbey in the early eighteenth century (Newstead |

Abbey, Nottingham Museums) 95 Vill

Illustrations 1X 12 Sedulous medieval recreation: The entrance hall at Abbotsford (from a water-colour by William Smith Jnr, reproduced in Lockhart, Life of

Sir Walter Scott, 1912 edition) 124

13 A farrago of false medsevalism: frontispiece by I. S. Gwilt for Barham,

Ingoldsby Legends (1843) 125

14 A country-house constructed on the foundations of a medieval abbey: Sharington’s Tower at Lacock Abbey (photographed by Fox Talbot)

(Photo Fox Talbot Museum, Lacock) 136

1§ A mock-authentic title-page to go with the eighteenth-century binding:

Thackeray’s Henry Esmond (first edition, 1852) (reproduced by

permission of the Trustees of the British Library) 142 16 The smplicit contract which binds the audience to the narrator: vignette

of clasped hands, a page from Reade, The Cloister and the Hearth (first edition, 1861) (reproduced by permission of the Trustees of the

British Library) 156

17 Adventures of the Roman nose I: Marius discovered in the Marshes at

Minturna, from J. Leech, Comic History of the Romans (1851-2) 166 18 Adventures of the Roman nose II: Caesar faces the conspirators in Mankiewicz’s Julius Caesar (1953) (reproduced by permission of the

MGM/UA Entertainment Co.) 167

19 Non-actors and location shooting: St Francis and his companions in Rossellini’s Francesco, giullare di Dio (1950) (reproduced by permis-

sion of the BFI Film and Video Library) 168 FIGURES

1 Musée des Petits-Augustins: Lenoir 87

2 Musée de Cluny: Du Sommerard 87

*

Preface and acknowledgements

The academic paternity of an interdisciplinary study like this one is bound to be

rather diverse. I owe a debt of gratitude first of all to the late Sir Herbert Butterfield, for agreeing to supervise the doctoral thesis on Prosper de Barante

which was the origin of my interest in the different forms of historical representation; and also to the late Leland Lyons, who as founding Professor of History at the University of Kent took care that history of historiography should be taught there. Successive generations of students on the course which he set up have persuaded me that such an interest need not be entirely peripheral. Colleagues and friends have helped me to see how the elusive concepts of historical representation might be investigated and understood. In particular, I should mention Hayden White, Lionel Gossman and Frank Kermode. To set oneself in such company may appear hazardous. But while I would not wish to associate them with the limitations of my approach, I can certainly say that I have been stimulated by the originality, acuity and elegance of their works. Il am also especially grateful to Francis Haskell for reading through a preliminary draft of Chapter 2, and to Natalie Zemon Davis for commenting on my first stab at a conclusion. Elinor Shaffer deserves thanks for piloting my first chapter on its initial voyage through the Cambridge University Press. The Rockefeller Foundation generously appointed me a Scholar in Residence at the Villa Serbelloni in the late Spring of 1982, thus enabling me to spend part of my study leave from the University of Kent in intelligent company and delightful surroundings. Though regrettably brief, this period provided me with the essential stimulus to complete this book. Prior versions of three chapters have been published before: Chapter 1 in Comparative Criticism Yearbook, 3 (1981); Chapter 2 in 20th Century Studies, 3 (1970); Chapter 4 in History and Theory, 17, 3 (1978). I am grateful for permission to reprint the substance (though not usually the letter) of these earlier Studies.

Mrs Maxwell-Scott, of Abbotsford, kindly gave me permission to include a photograph of the house, as it appears in the official guide-book; Miss Pamela Wood, Keeper responsible for Newstead Abbey, allowed me a simular facility. Provenance of the other plates is given in the preceding list except where they have been prepared from my own materials with the expert aid of Jim Styles and John West. xi

Xi Preface and acknowledgements For the final re-typing of the manuscript, I had the patient co-operation of Susan Davies and Mary Thomas. I am pleased to acknowledge, finally, the helpful comments of Terence Moore, of the Cambridge University Press, who was trusting enough to encourage this project at a stage when it was still very far from completion.

Quotations from foreign languages have been translated, except where the precise form of the original is judged to be important. In such cases, both the original language and the translation are included. Except where stated otherwise, the translations are my own. S. B.

Canterbury, March 1983

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