In May 2019 an international cooperative of researchers, performers, and artists staged Vernon Lee’s (Violet Paget, 1856–1935) pacifist drama The Ballet of the Nations: A Present-Day Morality (1915) at her Villa Il Palmerino, Florence. The site-specific performance was adapted from Lee’s text by director Angeliki Papoulia and producer Federica Parretti, with a focus on the text’s resonances with the current resurgence of the nationalist far-right movements and anti-immigrant manifestos. This article considers the genesis of this production, the research informing its adaptation, and the subsequent performance of the piece.
{"title":"A Present-Day Morality for the Present Day","authors":"Sally Blackburn-Daniels","doi":"10.16995/ntn.2931","DOIUrl":"https://doi.org/10.16995/ntn.2931","url":null,"abstract":"In May 2019 an international cooperative of researchers, performers, and artists staged Vernon Lee’s (Violet Paget, 1856–1935) pacifist drama The Ballet of the Nations: A Present-Day Morality (1915) at her Villa Il Palmerino, Florence. The site-specific performance was adapted from Lee’s text by director Angeliki Papoulia and producer Federica Parretti, with a focus on the text’s resonances with the current resurgence of the nationalist far-right movements and anti-immigrant manifestos. This article considers the genesis of this production, the research informing its adaptation, and the subsequent performance of the piece.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"104 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87613794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores one of the predominant themes in nineteenth-century stained glass: the urge to assemble collections of individual figures into genealogies of spiritual or institutional descent. Beginning with the importance of saints in ecclesiastical stained glass, it argues that this tradition both diversified in the Victorian religious marketplace but also spilled over into non-religious contexts — civic buildings, libraries, and the like — both in Britain and further afield. The stylistic vocabulary and connotations of the Gothic Revival allowed architects and designers to invest what were often very new settings with a sense of reverence and borrowed antiquity, as well as allowing older institutions to assert their lineage. Individual figures — saints in all but name — were at the very centre of this phenomenon. While in one sense this represents the effective secularization of a sacred form, this article suggests instead that stained glass allowed aspects of the sacred to seep into new settings, sometimes incongruously, but more often in ways that shaped people’s experiences of and emotional reactions to them.
{"title":"‘So great a cloud of witnesses’: Shaping Sacred Space in the Victorian Anglo-World","authors":"G. Atkins","doi":"10.16995/ntn.2953","DOIUrl":"https://doi.org/10.16995/ntn.2953","url":null,"abstract":"This article explores one of the predominant themes in nineteenth-century stained glass: the urge to assemble collections of individual figures into genealogies of spiritual or institutional descent. Beginning with the importance of saints in ecclesiastical stained glass, it argues that this tradition both diversified in the Victorian religious marketplace but also spilled over into non-religious contexts — civic buildings, libraries, and the like — both in Britain and further afield. The stylistic vocabulary and connotations of the Gothic Revival allowed architects and designers to invest what were often very new settings with a sense of reverence and borrowed antiquity, as well as allowing older institutions to assert their lineage. Individual figures — saints in all but name — were at the very centre of this phenomenon. While in one sense this represents the effective secularization of a sacred form, this article suggests instead that stained glass allowed aspects of the sacred to seep into new settings, sometimes incongruously, but more often in ways that shaped people’s experiences of and emotional reactions to them.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87773148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A review of the William Blake exhibition at Tate Britain, 11 September 2019–2 February 2020.
2019年9月11日至2020年2月2日，泰特美术馆威廉·布莱克作品展回顾。
{"title":"Review of William Blake at Tate Britain: 'For the pictures'","authors":"Susan M. Matthews","doi":"10.16995/ntn.2951","DOIUrl":"https://doi.org/10.16995/ntn.2951","url":null,"abstract":"A review of the William Blake exhibition at Tate Britain, 11 September 2019–2 February 2020.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"45 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83672489","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Nineteenth-century English stained glass has produced a rich corpus of works mainly produced by the many large and well-known Victorian studios. One group of artisans who can add much to the current debate on nineteenth-century stained glass are amateurs. However, almost every scholarly publication discussing stained glass or nineteenth-century material culture has ignored this minority group. Driven by the rejection of mass-produced windows that predates the well-known innovations of the Arts and Crafts Movement, this article is part of ongoing research and it discusses the cultural and social significance of nineteenth-century amateur windows in Anglican churches. Influenced by the Gothic Revival and the ideologies of the Oxford Movement and the Ecclesiologists, the range of amateur individuals is extremely diverse and most had a close connection with the Anglican Church. Inspired by religious literature, women amateurs, in particular, played an important sociocultural role striving for the demands of paid employment, training, education, and access to the professions. A small selection of case studies will explore some of the discovered amateur windows. The article will raise arguments in the context of Victorian religious material and visual cultures and will discuss the art of personalized making.
{"title":"Amateur Stained Glass in English Churches, 1830-80","authors":"T. Kupper, H. Küpper","doi":"10.16995/ntn.2895","DOIUrl":"https://doi.org/10.16995/ntn.2895","url":null,"abstract":"Nineteenth-century English stained glass has produced a rich corpus of works mainly produced by the many large and well-known Victorian studios. One group of artisans who can add much to the current debate on nineteenth-century stained glass are amateurs. However, almost every scholarly publication discussing stained glass or nineteenth-century material culture has ignored this minority group. Driven by the rejection of mass-produced windows that predates the well-known innovations of the Arts and Crafts Movement, this article is part of ongoing research and it discusses the cultural and social significance of nineteenth-century amateur windows in Anglican churches. Influenced by the Gothic Revival and the ideologies of the Oxford Movement and the Ecclesiologists, the range of amateur individuals is extremely diverse and most had a close connection with the Anglican Church. Inspired by religious literature, women amateurs, in particular, played an important sociocultural role striving for the demands of paid employment, training, education, and access to the professions. A small selection of case studies will explore some of the discovered amateur windows. The article will raise arguments in the context of Victorian religious material and visual cultures and will discuss the art of personalized making.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88465524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This photoessay presents a number of carefully chosen images of stained glass, found both in Britain and its former colonial empire, in order to provide an impression of the range and type of window that engaged colonial/imperial subject matter during the Victorian and Edwardian periods. These images are accompanied by a short analytical overview, supported with critical commentaries on each image (or set of images). The images are arranged with a view to highlighting how certain themes of concern to Victorian society were communicated, such as civilizational advancement, material improvement, moral and spiritual edification, the pioneering impulse, and the appropriation and symbolic reassignment of local contexts (such as non-European flora and fauna). The aim of the essay is to offer some insights on how stained glass might be understood as a medium through which cultural values were transmitted and reinforced afar, and imperial ideals were displayed and maintained at ‘home’. Notions of spectacle, sacrifice, heroics, duty, history, and trusteeship emerge as some of the key and recurring tropes and mechanisms that stained glass (as a medium) aspired to employ to great effect. The essay also touches upon the processes behind the procurement and transportation of stained glass across the world, considering which manufacturers were involved and in what capacity. In the context of global and imperial commercialization, it highlights how the material and medium of stained glass may be seen as a category/object through which cultural, industrial, and commercial networks were established across the British world.
{"title":"Colonial Themes in Stained Glass, Home and Abroad: A Visual Survey","authors":"G. Bremner","doi":"10.16995/ntn.2900","DOIUrl":"https://doi.org/10.16995/ntn.2900","url":null,"abstract":"This photoessay presents a number of carefully chosen images of stained glass, found both in Britain and its former colonial empire, in order to provide an impression of the range and type of window that engaged colonial/imperial subject matter during the Victorian and Edwardian periods. These images are accompanied by a short analytical overview, supported with critical commentaries on each image (or set of images). The images are arranged with a view to highlighting how certain themes of concern to Victorian society were communicated, such as civilizational advancement, material improvement, moral and spiritual edification, the pioneering impulse, and the appropriation and symbolic reassignment of local contexts (such as non-European flora and fauna). The aim of the essay is to offer some insights on how stained glass might be understood as a medium through which cultural values were transmitted and reinforced afar, and imperial ideals were displayed and maintained at ‘home’. Notions of spectacle, sacrifice, heroics, duty, history, and trusteeship emerge as some of the key and recurring tropes and mechanisms that stained glass (as a medium) aspired to employ to great effect. The essay also touches upon the processes behind the procurement and transportation of stained glass across the world, considering which manufacturers were involved and in what capacity. In the context of global and imperial commercialization, it highlights how the material and medium of stained glass may be seen as a category/object through which cultural, industrial, and commercial networks were established across the British world.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84991449","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The introduction to this issue of 19 takes the form of a roundtable discussion between the guest editors Dr Jasmine Allen (The Stained Glass Museum), Dr Gareth Atkins (Queens’ College, Cambridge), and Dr Kate Nichols (Birmingham). Each contributor reflects on the research potential of stained glass in their respective fields and the reasons for its neglect; together, they will also consider the fresh issues and questions raised by the cross-disciplinary discussions that the project has sought to facilitate. In doing so, they seek both to highlight the necessity of reappraising this neglected art form and its as yet untapped possibilities as an evolving research area.
{"title":"Reframing Stained Glass in Nineteenth-Century Britain: Culture, Aesthetics, Contexts","authors":"Jasmine Allen, G. Atkins, Kate Nichols","doi":"10.16995/ntn.3013","DOIUrl":"https://doi.org/10.16995/ntn.3013","url":null,"abstract":"The introduction to this issue of 19 takes the form of a roundtable discussion between the guest editors Dr Jasmine Allen (The Stained Glass Museum), Dr Gareth Atkins (Queens’ College, Cambridge), and Dr Kate Nichols (Birmingham). Each contributor reflects on the research potential of stained glass in their respective fields and the reasons for its neglect; together, they will also consider the fresh issues and questions raised by the cross-disciplinary discussions that the project has sought to facilitate. In doing so, they seek both to highlight the necessity of reappraising this neglected art form and its as yet untapped possibilities as an evolving research area.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90480420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This issue of 19 Live explores how four house museums have navigated the challenges and opportunities of curating the nineteenth century in lockdown.
本期《19 Live》探讨了四家博物馆如何在封锁的情况下应对19世纪的挑战和机遇。
{"title":"Introduction to 19 Live","authors":"V. Mills","doi":"10.16995/ntn.3010","DOIUrl":"https://doi.org/10.16995/ntn.3010","url":null,"abstract":"This issue of 19 Live explores how four house museums have navigated the challenges and opportunities of curating the nineteenth century in lockdown.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"69 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89498869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents stained glass as an important source of material evidence for attitudes to monarchy in Victorian Britain. It argues that expressions of veneration for Victoria by different religious constituencies were not merely instinctual and affective but considered and erudite. The ways in which different Anglican constituencies in particular marked key moments in Victoria’s reign within their churches made her person and throne a symbol for their ecclesiastical visions. The article supports its argument by offering a close, contextual reading of one such memorial, Charles Eamer Kempe’s Diamond Jubilee window (1898) in St Saviour’s, Southwark. Although nominally intended as a memorial to the long dead Prince Albert, it made only oblique reference to him. Instead, the window’s patron and the church’s rector William Thompson described the four figures depicted in its lights — Pope Gregory, King Ethelbert, Stephen Langton, and William of Wykeham — as ‘illustrating the union of Church and State’. Its message that the national Church had always been the indivisible ally of godly monarchs since the dawn of English history was the more powerful when read against Kempe and Thompson’s broader scheme for the redecoration of the restored St Saviour’s. Together they created a series of windows which not only interwove the English monarchy with the cosmic salvation narrative of Christianity but represented the church as a benevolent and inclusive patron of eminent writers, thinkers, and philanthropists in Southwark.
{"title":"‘Daylight upon magic’: Stained Glass and the Victorian Monarchy","authors":"Michael Ledger‐Lomas","doi":"10.16995/ntn.2896","DOIUrl":"https://doi.org/10.16995/ntn.2896","url":null,"abstract":"This article presents stained glass as an important source of material evidence for attitudes to monarchy in Victorian Britain. It argues that expressions of veneration for Victoria by different religious constituencies were not merely instinctual and affective but considered and erudite. The ways in which different Anglican constituencies in particular marked key moments in Victoria’s reign within their churches made her person and throne a symbol for their ecclesiastical visions. The article supports its argument by offering a close, contextual reading of one such memorial, Charles Eamer Kempe’s Diamond Jubilee window (1898) in St Saviour’s, Southwark. Although nominally intended as a memorial to the long dead Prince Albert, it made only oblique reference to him. Instead, the window’s patron and the church’s rector William Thompson described the four figures depicted in its lights — Pope Gregory, King Ethelbert, Stephen Langton, and William of Wykeham — as ‘illustrating the union of Church and State’. Its message that the national Church had always been the indivisible ally of godly monarchs since the dawn of English history was the more powerful when read against Kempe and Thompson’s broader scheme for the redecoration of the restored St Saviour’s. Together they created a series of windows which not only interwove the English monarchy with the cosmic salvation narrative of Christianity but represented the church as a benevolent and inclusive patron of eminent writers, thinkers, and philanthropists in Southwark.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"231 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82752667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Review of Aubrey Beardsley at Tate Britain","authors":"Sasha Dovzhyk","doi":"10.16995/NTN.2942","DOIUrl":"https://doi.org/10.16995/NTN.2942","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80818380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2011–12 Tate Britain mounted a major exhibition dedicated to the painter and printmaker John Martin (1789–1854). His most sensational painting, Belshazzar’s Feast (1820), was displayed alongside works illustrating how others capitalized on its success through imitation and copying (Fig. 1). These were all prints of some form except one, the ‘most striking’, painted on a large piece of glass (Fig. 2).1 As a curiosity closely associated with Martin’s early career as a glass painter, this has a long-established presence within the written history of Martin’s work.2 In the accompanying publication the
{"title":"Seeing Red","authors":"S. Rush","doi":"10.16995/ntn.2897","DOIUrl":"https://doi.org/10.16995/ntn.2897","url":null,"abstract":"In 2011–12 Tate Britain mounted a major exhibition dedicated to the painter and printmaker John Martin (1789–1854). His most sensational painting, Belshazzar’s Feast (1820), was displayed alongside works illustrating how others capitalized on its success through imitation and copying (Fig. 1). These were all prints of some form except one, the ‘most striking’, painted on a large piece of glass (Fig. 2).1 As a curiosity closely associated with Martin’s early career as a glass painter, this has a long-established presence within the written history of Martin’s work.2 In the accompanying publication the","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"15 12 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86958929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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