1 Light Touches: Cultural Practices of Illumination, London 1780-1840 Submitted by Alice Barnaby ...

347 Pages·2011·1.49 MB·English

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Light Touches: Cultural Practices of Illumination, London 1780-1840

Submitted by Alice Barnaby to the University of Exeter as a thesis for the
degree of Doctor of Philosophy in English, September 2009.

Volume 1 of 2.

This thesis is available for library use on the understanding that it is copyright
material and that no quotation from the thesis may be published without proper
acknowledgement.

I certify that all material in this thesis which is not my own work has been identified
and that no material has previously been submitted and approved for the award of
a degree by this or any other University.

……………………………...…….
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Abstract

In the last decades of the eighteenth century, urban lives were touched by a series
of innovations in the technology and aesthetics of illumination. Unfamiliar
combinations of new fuel sources and auxiliary equipment (for example, curtains,
blinds, glass, mirrors and lampshades) meant that cities looked and felt different
during both the day and the night. The spheres of elite, popular, public and private
culture explored, exploited and were fascinated by the cultural value of light.
Through four case studies in the aesthetics of urban illumination, my thesis
demonstrates how the acquisition of skills for the manipulation of transparent and
reflective surfaces were crucial when negotiating a balance between self-
expression and standards of taste, morality, gender and class. Rather than relying
upon canonical examples of the period’s fascination with light, such as the high
Romantic idealization of nature’s sunrises and sunsets, my thesis investigates
more everyday encounters with light in the built environment: the fashionably
genteel pastime of transparent painting; the gendering of light to design both
domestic interiors and female identity; the appropriation of patrician top-lighting for
public buildings of education and exhibition; and the popularity of illuminated
spectacles in commercial pleasure gardens. I argue that these new possibilities of
lighting temporarily enabled new possibilities of subjectivity. My historical
phenomenology suggests that the formation of perception between 1780 and 1840
was actively directed towards changes in the world through a finely-attuned
consciousness of light.
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Acknowledgements

It has been a huge joy and privilege to spend the last four years of my life working
towards a Ph.D. The excitement of reading and writing has been made all the more
enjoyable through the pleasures of listening to, and talking with, members of
Exeter’s research community. In particular I would like to thank my examiners
Professor Nick Groom and Professor Dana Arnold for their rigorous and
constructive engagement with my work. I would also like to thank Professor
Regenia Gagnier and members of the English Department’s Centre for Victorian
Studies. Others who have been kind enough to read my work include Professor
Isobel Armstrong, Dr Mary Barnaby, Dr Shani Rousso, Vicky Smith, Dr Gillian
Swanson and Dr Lewis Ward. I appreciate the invaluable support and feedback
they have given me. I am grateful to the AHRC for three years of funding. In the
fourth year I benefited from a Yale Centre for British Art residential fellowship and a
Library Research Grant from the Getty Research Institute. Finally and most
importantly, I would like to thank my supervisor, Dr John Plunkett, for his continual
support, encouragement and intellectual generosity.
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Table of Contents

Abstract 2
Acknowledgements 3
List of Illustrations 5
Abbreviations 15
Introduction 16
Chapter One 46
Chapter Two 121
Chapter Three 194
Chapter Four 261
Conclusion 342
Illustrations 348
Newspapers and periodicals consulted 425
Works cited pre-1901 427
Works cited post-1901 443
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Illustrations
Ackermann, Rudolf. Saloon, plate 7. Repository of the Arts Literature, Commerce,
Manufacturers, Fashions and Politics. 15 (1816) V&A Art Library. Personal
photograph by author. 10 Oct. 2008.
---. Library Window Curtains, Plate 5. A Series, containing Forty-Four Engravings
in of Colours, of Fashionable Furnitures. 1823. V&A Art Library. Personal
photograph by author. 10 Oct. 2008.
---. Drawing Room Window Curtains, Plate 15. A Series, containing Forty-Four
Engravings in of Colours, of Fashionable Furnitures. 1823. V&A Art Library.
Personal photograph by author. 10 Oct. 2008.
---. Fashion plate. Repository of Arts. February 1 (1809). V&A Art Library. Personal
photograph by author. 10 Oct. 2008.
Adam, Robert. Kedleston Hall, Derbyshire. c.1764. 10 July 2008.
<www.maggiegowan.co.uk>.
Allen, Thomas. Vauxhall Gardens. 1826. The History of Lambeth. GLPR. 23 Sept.
2007. Personal photograph by author.
Bernini, Gian Lorenzo. San Andrea al Quirinale, Rome. 1658-1678. 10 July 2008.
<http://commons.wikimedia.org/wiki/File:Dome_Sant_Andrea_al_Quirinale.j
pg>.
Bluck, J. The Orchestra Stand, Vauxhall Garden. 1809. Engraved by A. Pugin.
Lambeth Archives. 25 Aug. 2009. <http://landmark.lambeth.gov.uk/>.
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Brunell’s Metallic Paper. Repository of Arts. Rudolf Ackermann. 1 (1809) V&A Art
Library. Personal photograph by author. 15 Sept. 2008.
Buckler, John. Picture Gallery of Sir Fleming Leicester’s Gallery in Hill Street.
1806. University of Manchester, Tabley House Collection. Witt Library,
Courtauld Institute. 3 June 2008. Personal photograph by author.
Burlington Arcade. c.1825. GLPR. 2 July 2008.
<http://collage.cityoflondon.gov.uk/collage/app>.
Burney, Edward Francis. The Eidophusikon Showing Satan arraying his Troups on
the Banks of a Fiery Lake with the Raising of Pandemonium from Milton.
c.1782. British Museum, London. Yale Bulletin and Calendar. 24 Aug. 2009
<http://www.yale.edu/opa/arc-ybc/v34.n6/story13.html>.
Cawse, John. Parisian Ladies in their Full Winter Dress for 1800. 1799. BMPR. 25
Aug. 2009.
<http://www.britishmuseum.org/research/search_the_collection_database.a
spx>.
Celtic Cabinet. Devizes Museum, Wiltshire. c. 1800. 14 November 2008. Personal
photograph by author.
Clark, J. The Submarine Cave, Royal Vauxhall Gardens. 1822. Lambeth Archives.
25 Aug. 2009. <http://landmark.lambeth.gov.uk/>.
Convex gilded mirror. c.1800. V&A. 24 Aug. 2009.
<http://collections.vam.ac.uk/objectid/O7887>.
Cruikshank, George. The looking-glass curtain at the Royal Coburg Theater.
c.1820. Lambeth Archives. 25 Aug. 2009.
<http://landmark.lambeth.gov.uk/>.
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Cruikshank, Robert. Mr. Simpson receiving the Duke of Wellington. 1833. Lambeth
Archives. 25 Ayg. 2009. <http://landmark.lambeth.gov.uk/>.
Daguerre, Louis. The Ruins of Holyrood Chapel. 1824. Walker Art Gallery,
Liverpool. 24 Aug. 2009.
<http://www.liverpoolmuseums.org.uk/walker/collections/19c/daguerre.aspx
>.
Earlom, Richard. The Exhibition of the Royal Academy of Painting in the year
1771. mezzotint after Charles Brandoin. Solkin, David. Painting for Money.
Yale: London, 1992: 275. 25 Aug. 2009. Personal photograph by author.
Egyptian Hall – Pantherion – Bullock’s Museum. 1810. Ackermann’s Repository of
Arts. V&A Art library. 10 Sept. 2008. Personal photograph by author.
Flaxman, John. Drapery, plate 42. Lectures on Sculpture. 1829. 24 Aug. 2009.
Google Books
<http://books.google.co.uk/books?id=IRgEAAAAYAAJ&dq=flaxman+sculpto
r&source=gbs_navlinks_s>.
---. Drapery, plate 43. Lectures on Sculpture. 1829. 24 Aug. 2009. Google Books
<http://books.google.co.uk/books?id=IRgEAAAAYAAJ&dq=flaxman+sculpto
r&source=gbs_navlinks_s>.
Flitcroft, Henry. Stourhead Pantheon, Wiltshire. 1753. 10 July 2008.
<http://www.flickr.com/photos/48012849@N00/2600577484>.
Friedrich, Caspar David. Woman at a Window. 1822. Berlin, Nationalgalerie. Aug.
24 2008. <http://www.caspardavidfriedrich.org/>.
Fuseli, Henry. The Nightmare. 1781. Detroit Institute of Arts. Aug. 24 2008.
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Gainsborough, Thomas. The Cottage Door. 1780. Cincinnati Art Museum, Ohio. 25
August 2009. <http://www.thomas-gainsborough.org/>.
---. Open Landscape with Shepherd, Sheep and Pool. c.1786. V&A. Sept. 10 2009.
<http://www.vam.ac.uk/>.
Guarino. Guarini, Church of San-Lorenzo in Turin. 1687. 10 July 2008.
<http://www.usc.edu/dept/architecture/slide/ghirardo/CD2/065-CD2.jpg>.
Heaviside Clark, John. Portable Diorama. 1826. The Getty Research Institute, Los
Angeles. 24 Aug. 2009.
<http://www.getty.edu/art/exhibitions/devices/flash/>.
Holman Hunt, William. The Awakening Conscience .1853. The Tate. 25 Aug. 2009.
<http://www.tate.org.uk/servlet/ViewWork?workid=6996>.
Hope, Thomas. Aurora Room, plate 7. Household Furniture and Interior
Decorations. 1807. V&A Art Library. Personal photograph by author. 10 Oct.
2008.
Hosmer Shepherd, Thomas. Bank of England Exchange Rotunda. c.1840. GLPR.
2 July 2008. <http://collage.cityoflondon.gov.uk/collage/app>.
Imperato, Ferrante. Frontispiece of Dell' Historia Naturale. 1599. Modena,
Biblioteca Estense. 1 July 2008.
<http://www.louvre.fr/templates/llv/flash/cabinet/img/img_5_11.jpg>.
Interior of the Great Room of the Egyptian Hall. Repository of Arts. 1 September
1819. V&A Art Library. Personal photograph by author. 2 July 2008.
Jones, Inigo. Tulip Stairs, Queen’s House Greenwich. c.1635. 5 July 2008.
<http://upload.wikimedia.org/wikipedia/commons/6/6e/TulipStair_QueensHo
use_Greenwich.jpg>.
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Lace advertisement. Repository of Arts. 8 (1819). V&A Art Library. Personal
photograph by author. 10 Oct. 2008.
Marshall, C. (engraved by C.Mottram). Entrance to the Dark Walk. c.1820.
Lambeth archives. 26 Aug. 2009. <http://landmark.lambeth.gov.uk/>.
Marshall, C. (engraved by J. Tumbull) Hall of Mirrors, Colosseum Regent’s Park.
1839. From Trotter’s Illustrated Topography of Thirty Miles around London
1839: 127. 25 Aug. 2009. MOTCO UK Directory and image database.
<http://www.motco.com/series190/default2.asp.>
Malton, Thomas. Four percent Office, Bank of England. 1790. GLPR. Corporation
of London. 5 July 2008. <http://collage.cityoflondon.gov.uk/collage/app>.
Maple and ebony veneer cabinet. George Bullock. 1816-1818. V&A. 25 Aug. 2009.
<http://collections.vam.ac.uk/objectid/O8177>.
Masquerade at Vauxhall. c.1740. Lambeth Archives. 25 Aug. 2009.
<http://landmark.lambeth.gov.uk/>.
A Millener’s Shop.1772. V&A. 24 Aug. 2009. <http://www.vam.ac.uk/>.
Muslin embroidered in wool. c.1808. V&A.
<http://collections.vam.ac.uk/objectid/O129483>.
Northcote, James. Henry Fuseli. 1778. National Portrait Gallery, London. 10 July
2008.
<http://www.tate.org.uk/britain/exhibitions/gothicnightmares/rooms/room2_w
orks.htm>.
Orme, Edward. Frontispiece. An Essay on Transparent Prints. 1807. BDC.
Personal photograph by author. 15 Sept. 2008.
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---. Transparent Crown. An Essay on Transparent Prints. 1807. BDC. Personal
photograph by author. 15 Sept. 2008.
---. Transparent Cat’s Head. An Essay on Transparent Prints. 1807. BDC. Personal
photograph by author. 15 Sept. 2008.
Pantheon, Ince Blundell Hall, Lancashire. c.1802. 8 July 2008.
<http://www.ibhnursinghome.com/File/ince_blundell_hall.php>.
Pantheon, Rome. c.125AD. 10 July 2008.
<http://www.ymago.net/lupanart/pantheon.html>.
Pasmore the Younger, John. Benjamin West's Picture Gallery. c.1821. Wadsworth
Atheneum, Connecticut. Aug. 25 2009.
<http://dapc.winterthur.org/iseedapc/obj_dat/2002.0119.htm>.
Percier, Charles and Fontaine, Pierre. Design for the Scrolled End of a Bedstead,
Plate 15. Recueil de Décorations Intérieures, 1812. Metropolitan Museum of
Art, New York. Aug. 24 2009. <http://www.metmuseum.org/>.
Pernotin, B. (after). The Dream. 1799. Published by Rudolf Ackermann. BMPR. 24
Aug. 2009.
<http://www.britishmuseum.org/research/search_the_collection_database.a
spx>.
Porden, C. F. (drawn by), (etched by John Cleghorn; engraved by Robt. Havell &
Son). Fonthill Abbey: Interior of King Edward's Gallery. Looking across the
Octagon into St. Michael's Gallery. Plate 6. John Rutter. Delineations of
Fonthill Abbey. 1823. V&A Art Library. Personal photograph by author. 15
Sept. 2008.