By Anne M. Myers
Buildings inform tales. Castles, kingdom houses, church buildings, and monasteries are "documents" of the folks who equipped them, owned them, lived and died in them, inherited and stored or destroyed them, and recorded their histories. Literature and structure in Early glossy England examines the connection among 16th- and seventeenth-century architectural and literary works. by means of changing into extra delicate to the narrative services of structure, Anne M. Myers argues, we start to appreciate how more than a few writers seen and made use of the fabric equipped setting that surrounded the construction of early sleek texts in England.
Scholars have lengthy came across themselves within the place of excusing or explaining England’s failure to accomplish the similar of the Italian Renaissance within the visible arts. Myers proposes that structure encouraged an strange quantity of historiographic and literary creation, together with poetry, drama, architectural treatises, and diaries. Works by way of William Camden, Henry Wotton, Ben Jonson, Andrew Marvell, George Herbert, Anne Clifford, and John Evelyn, while regarded as a bunch, are texts that overturn the engrained severe thought Protestant worry of idolatry sentenced the visible arts and structure in England to a kingdom of suspicion and neglect.
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Additional info for Literature and Architecture in Early Modern England
And there remaine onelie certaine walles of a Castle of rough ﬂinte, long Britain brickes in the form of a quadrant, and the same cemented with lime, and a most stiﬀe binding sand, mightily britannia and the histories of english architecture 31 strengthened by tract of time, so that the cement is as hard as stone. Over the entrie whereof is ﬁ xed a head of a personage engraven in stone, some say it was Queene Berthas head, but I take it to be a Romane worke. (341–342) In this description, multiple kinds of research converge, and the built environment is understood and interpreted both through an examination of its physical fabric and through compilation of the stories and documents surrounding it.
What is “evidently shew[n]” is not only what was once there but that it no longer is. In the ﬁnal phrase, the former “great and . . magniﬁcent . . ” In such cases, description implies the passage of time; it is the mediation of narrative, with its temporal inﬂections, which makes it possible to reassemble history at all. 37 The result is a perception of topography that he calls “polychronic,” collating a series of historical moments in the same material object or geographical space. This eﬀect of temporal depth and collation is what narrative expresses all the time, of course.
Conducted with reference to ﬁeld work” that T. D. ”19 Despite the diversity of these assessments, it is diﬃcult to disagree with any of them because, depending on the pages or passages we select from this vast work, all are at once correct. It is the layering and simultaneous presence of these interests that draw the Britannia’s focus so often to buildings and that produce the work’s distinct approach to architectural description. All these emphases interpret architecture through its relationship to both landscape and history, as a plot point in the map of an ancient Roman town, for instance, an object observed during itinerant antiquarian “ﬁeld work,” or as a visible reminder of a family’s long-standing connection to a measured expanse of land.