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Published online by Cambridge University Press: 12 January 2016
From his emergence on the cultural scene in the 1920s until his death in 1983, Kenneth Clark was one of the most influential figures in the history of British art and design, and his legacy remains strong. Clark’s life and work were entirely dedicated to communicating about art and transforming public understanding regarding its production and enjoyment. His first book, The Gothic Revival: An Essay in the History of Taste, investigated, condemned and elevated the status of Georgian and Victorian England’s enthusiasm for the Middle Ages. Written in the mid-1920s, it was published with Constable in 1928 when he was only twenty-five years old. By investigating the circumstances under which the book came to fruition and its importance in relation to Clark’s persistent interest in the Victorians — and John Ruskin in particular — a richer understanding of Clark’s ideas and beliefs can take shape.
1 Clark, Kenneth, Another Part of the Wood (London, 1974), p. 62 Google ScholarPubMed. Clark described hearing Rendall’s lecture on St Francis and Assisi as an experience akin to a religious conversion.
2 There is also a renewed surge of interest in Franciscan practices in philosophical and architectural networks. See Agamben, Giorgio, Monastic Rules and Form-of-Life (Stanford, 2013)Google Scholar and Aureli, Pier Vittorio, Less Is Enough: On Architecture and Aesceticism (Moscow, 2013), e-bookGoogle Scholar.
3 Clark, Kenneth, The Gothic Revival: an Essay in the History of Taste (London, 1928), p. ix Google Scholar.
4 I am grateful to Michael Delon for sharing this information with me. For a thorough discussion of Bentley and his Georgian Gothic circle in relation to architecture and identity, see Reeve, Matthew, ‘Dickie Bateman and the Gothicization of Old Windsor: Gothic Architecture and Sexuality in the Circle of Horace Walpole’, Architectural History, 56 (2013), pp. 97–131 Google Scholar.
5 Clark, , The Gothic Revival, p. vii Google Scholar.
6 Ibid., p. vi. Goodhart-Rendel’s essay on the Gothic Revival was delivered as a paper at the RIBA in 1924, the year he became President of the Architectural Association.
7 Goodhart-Rendel, Harry Stuart, ‘Churches of Brighton and Hove’, Architectural Review (August 1918), pp. 23–29 Google Scholar; (September 1918), pp. 59–63; (October 1918), pp. 75–79. Goodhart-Rendel went on to design a Brighton church himself: St Wilfrid’s, in 1933–34. The career and impacts of Goodhart-Rendel, who was also President of the RIBA from 1937–39, have been discussed in Powers’, Alan foreword to English Architecture Since the Regency (London, 1989), pp. 9–13 Google Scholar. See also Powers, Alan, H. S. Goodhart-Rendel 1887–1959 (London, 1987)Google Scholar.
8 Goodhart-Rendel, H.S., ‘Victorian Churches’, Architect and Building News (28 luly 1933), pp. 100–01Google Scholar; (4 August 1933), pp. 142–44. See also Brandwood, Geoff, Temple Moore: an Architect of the Late Gothic Revival (Stamford, 1997)Google Scholar.
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10 Goodhart-Rendel, , ‘Gothic Architecture’, p. 321 Google Scholar.
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12 London, V&A archives, Laver C23, 24 February 1927. I am grateful to James Stourton for drawing my attention to this correspondence.
13 London, Tate Archives, 8812.1.3.367, ‘Rewrite’ to The Gothic Revival, undated.
14 Clark, , The Gothic Revival, p. 296 Google Scholar.
15 ‘Bell, Charles F.’, Dictionary of Art Historians, http://www.dictionaryofarthistorians.org/bellcf.htm (accessed on 12 July 2013)Google Scholar.
16 Florence, I Tatti archives, Bell to Berenson, 27 October 1927. ‘I was looking forward to working at some of 10 [Clark’s] material with him — and naturally I should miss him as a companion and friend.’ I am grateful to Jon Whiteley for sharing his research with me.
17 See Secrest, Meryl, Kenneth Clark (London, 1984)Google Scholar. Regarding Bell, Secrest posited, ‘Like many who are intensely self-critical, he applied his rigorous standards to others and was famous for the malicious annotations he made in the margins of other’s books in an extremely tidy hand. He much preferred others to publish his knowledge, according to another protégé, because if the results were attacked they would get the blame’ (p. 59).
18 Bell, C.F., ‘Snobbery in Art: the Giorgione Panels’, The Times, 5 November 1937, p. 10.Google Scholar
19 Florence, I Tatti Archives, Bell to Berenson, 2 June 1927.
20 Ibid., 1 May 1932.
21 Ibid., 1 May 1932; 8 December 1932; 4 July 1935.
22 Ibid., 2 June 1927.
23 Oxford, Ashmolean Archives. Kenneth Clark to C.F. Bell, 1927 (undated), Bell and Keeper Correspondence, 1921–36. The ‘potboiler’ was Melville, Lewis, The Life and Letters of William Beckford of Fonthill, Author of ‘Vathek’ (London, 1910)Google Scholar. Bell’s papers in the Ashmolean include a heavily annotated copy of Melville.
24 London, RIBA Archives, BeC / 1, p. iv.
25 Ibid., p. vii.
26 See, for example, Pugin, A.W.N., The True Principles of Pointed or Christian Architecture (London, 1841)Google Scholar.
27 Till, Jeremy, Architecture Depends (Cambridge, MA, 2009), p. 175 Google Scholar.
28 Spuybroek, Lars, The Sympathy of Things: Ruskin and the Ecology of Design (Rotterdam, 2011)Google Scholar.
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30 Guffey, Elizabeth, Retro: the Culture of Revival (London, 2006), p. 9 Google Scholar; Jameson, Fredric, Postmodernism or the Cultural Logic of Late Capitalism (Durham, NC, 1991), p. 283 Google Scholar.
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33 Quoted in Clark, Kenneth, ‘Introduction’, in Ruskin, John, Praeterita (London, 1949), p. vii Google Scholar.
34 I am grateful to Katie Faulkner for this suggestion, which seems to be promising for a broader assessment of Clark’s work in philosophical terms between the 1930s and the 1970s.
35 Mitrović, Branko, ‘Apollo’s Own: Geoffrey Scott and the Lost Pleasures of Architectural History’, journal of Architectural Education, 54. 2 (2000), pp. 95–103 (p. 101)CrossRefGoogle Scholar.
36 Scott, Geoffrey, The Architecture of Humanism (London, 1914), p. 101 Google Scholar.
37 London, RIBA Archives, G.ReH, Box 40, notes for Architectural Review.
38 Ibid., G.ReH/40/1.
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40 Clark, , The Gothic Revival (1928), p. v Google Scholar.
41 London, RIBA Archives, G.ReH/40/1, Goodhart-Rendel, Review of The Gothic Revival, Architectural Review (1929).
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44 Powers, Alan, ‘Foreword’ in Goodhart-Rendel, , English Architecture Since the Regency, p. 9 Google Scholar.
45 London, RIBA Archives, G.ReH/28/4, H.S. Goodhart-Rendel, notes for Slade lectures, 1934.
46 Anthony Symondson has illuminated Comper’s importance in modern British architecture through decades of architectural writing and advocacy. See Symondson, , ‘John Betjeman and the Cult of J.N. Comper’, Thirties Society journal, 7 (1991), pp. 2–13 Google Scholar; Symondson, , ‘Look with Your Ears: Some Twentieth-Century Attitudes to the Late Gothic Revival’, in The Victorian Society Annual, ed. Whittingham, S. (1996), pp. 37–49 Google Scholar; ‘Sir Ninian Comper and the Planning of a Modern Church’, in Twentieth Century Architecture: the Twentieth Century Church, ed. Harwood, Elain (London, 1998), pp. 17–42 Google Scholar; Symondson, Anthony, The Life and Work of Sir Ninian Comper (London, 1988)Google Scholar; Symondson, Anthony and Bucknall, Stephen, Sir Ninian Comper (Reading, 2006)Google Scholar.
47 Bonaventure, Itinerarius mentis in Deum, quoted in Anson, Peter, Fashions in Church Furnishings, 1840–1940 (London, 1960), p. 356 Google Scholar.
48 Anson, , Fashions in Church Furnishings, p. 356 Google Scholar.
49 Prettejohn, Elizabeth, ‘Envoi’, in The Cambridge Companion to the Pre-Raphaelites, ed. Prettejohn, Elizabeth (Cambridge, 2012), pp. 265–72 (p. 266)CrossRefGoogle Scholar. See also Prettejohn, Elizabeth, ‘The Pre-Raphaelite Legacy’, in Pre-Raphaelites: Victorian Avant-Garde, ed. Barringer, Tim, Rosenfeld, Jason and Smith, Alison (London, 2012), pp. 231–36CrossRefGoogle Scholar.
50 Fry, Roger, ‘The Ottoman and the Whatnot’, The Athenaeum (27 June 1919), in Vision and Design (London, 1920), pp. 28–32 Google Scholar.
51 Prettejohn, , ‘Envoi’, p. 270 Google Scholar.
52 Campbell, Roy, ‘Rossetti’, Nation and Athenaeum (19 May 1928), cited in Alexandra Harris, Romantic Moderns: English Artists, Writers and the Imagination from Virginia Woolfto John Piper (London, 2010), p. 91 Google Scholar.
53 Clark, Kenneth, Another Part of the Wood, p. 174 Google ScholarPubMed; Harris, , Romantic Moderns, p. 91 Google Scholar.
54 Fletcher, Pamela, ‘Victorians and Moderns’;, in Edwardian Opulence, ed. Trumble, Angus and Wolk-Rager, Andrea (New Haven, 2013), p. 99 Google Scholar.
55 Trumble, Edwardian Opulence; see also Barringer, Tim, ‘“I am a native, rooted here”: Benjamin Britten, Samuel Palmer and the Neo-Romantic Pastoral’, Art History, 34. 1 (2011), pp. 126–65CrossRefGoogle Scholar.
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57 Reed, , Bloomsbury Rooms, p. 298 Google Scholar.
58 Nash, Paul, ‘Room and Book’, in Paul Nash: Writings on Art, ed. Causey, Andrew (Oxford, 2001), p. 90 Google Scholar. Christopher Reed points out that Lawrence Whistler also refers to ‘amusing’ in relation to art of the period in The Laughter and the Urn. Reed, , Bloomsbury Rooms, p. 97 Google Scholar.
59 Reed, , Bloomsbury Rooms, p. 298 Google Scholar.
60 London, Tate Britain Archives, 8812.1.3.367, Clark, ‘rewrite’, The Gothic Revival, undated.
61 London, RIBA Archives, SuJ /11/1, Summerson, John, ‘The Gothic Revival by Kenneth Clark’, Quarterly of the Incorporation of Architects in Scotland (1929), p. 22 Google Scholar.
62 Ibid.
63 Summerson, John, ‘William Butterfield; or, the Glory of Ugliness’, Heavenly Mansions (London, 1948), pp. 159–76 (p. 175).Google Scholar
64 Goodhart-Rendel, Harry Stuart, ‘Rogue Architects of the Victorian Era’, RIBA Journal (April 1949), pp. 249–59 (P. 251)Google Scholar.
65 Goodhart-Rendel, Harry Stuart, ‘The Gothic Revival: a Study in the History of Taste’, Architectural Review (June 1929), pp. 301–02 (p. 302)Google Scholar.
66 Hills, Paul, David Jones (London, 1981), p. 101 Google Scholar.
67 Burns, Tom, The Tablet (31 January 1981), p. 23 Google Scholar.
68 Hills, , David Jones, p. 101 Google Scholar.
69 Malory’s knight’s name in the Morte d’Arthur — a literary source as powerful for Jones as for William Morris, Edward Burne-Jones and the Pre-Raphaelites in the nineteenth century — was Breunor le Noire, the black prince of Malory’s Book IX in the epic. See Dai Greatcoat: a Self-Portrait of David Jones in His Letters, ed. Rene Hague (London, 1980), p. 11.
70 See Thomas Dilworth, , ‘David Jones’s The Deluge: Engraving the Structure of the Modern Long Poem’, Journal of Modern Literature, 19. 1 (Summer 1994), pp. 5–30.Google Scholar
71 Cambridge, Kettle’s Yard Archives, Kenneth Clark to H.S. Ede, 29 August 1936, quoted in Dilworth, ‘Engraving the Structure’, p. 12.
72 See Dilworth, Thomas, ‘Letters from David Jones to Kenneth Clark’, The Burlington Magazine, 142.1165 (April 2000), pp. 215–25Google Scholar.
73 London, Tate Archives, David Jones to Kenneth Clark, 9 July 1963. Quoted in Dilworth, Thomas, ‘Letters’, p. 223 Google Scholar.
74 Ibid., 9 July 1963. Quoted in Dilworth, Thomas, ‘Letters’, p. 223 Google Scholar. In the 1940s, Clark was director of the National Gallery. His activities there, including monthly picture displays and regular concerts, are well known. That his display of the collection could be influenced by the tastes of his friends is also evident. Jones wrote to T.F. Burns on 16 May 1942: ‘they cleaned the El Greco Christ and the Money-Changers at the Nat[ional] Gal[lery] and put it on show all by itself — it’s an absolute corker now it’s cleaned […] it looked about twice as “real” as the people walking about in front of it […] I wrote to Ken Clark and asked him to keep it on for an extra week and he very kindly did so.’.
75 Clark, Kenneth, ‘Some Recent Paintings of David Jones’, Agenda, 5 (1967), pp. 92–96 Google Scholar.
76 Jones’ Petra im Rosenhag drew upon both the technique and mastery of line apparent in Botticelli, as well as upon Martin Schongauer’s representation of the Virgin Mary in a hortus conclusus, invoking the medieval tradition of Mary’s association with gardens and roses. I am grateful to Paul Hills for these observations, particularly regarding Jones’ Botticellian visuality.
77 Cardiff, National Museum of Wales, Kenneth Clark to David Jones, 28 September 1959.
78 Jones, David, ‘Art and Sacrament’, Epoch and Artist (London, 2008) pp. 160–61Google Scholar.
79 Green, Candida Lycett (ed.), John Betjeman Letters, vol. 2, 1951–84 (London, 1995), p. 319 Google Scholar. For an extended discussion of Betjeman, the Victorian Society, and twentieth-century preservation campaigns, see Hill, Rosemary et al. (eds), Victorians Revalued: What the Twentieth Century Thought of Nineteenth-Century Architecture (London, 2010)Google Scholar.
80 Hillier, Bevis, John Betjeman: New Fame, New Love (London, 2002), pp. 412–13Google Scholar.
81 London, Tate Archives 8812.1.3.296, John Betjeman to Kenneth Clark, 20 January 1940.
82 Ibid., 8812.1.2.3.318.
83 Ibid.
84 Goodhart-Rendel, , ‘Rogue Architects’, pp. 251–59Google Scholar.
85 Ibid., p. 258.
86 London, Tate Archives, 8812.1.2.3.321, John Betjeman to Kenneth Clark, 31 July 1949.
87 Betjeman, John, Ghastly Good Taste (London, 1933), p. 120 Google Scholar.
88 For a discussion of Fleetwood-Hesketh’s work, see Powers, Alan, ‘Recollections of the 20s and 30s: an Interview with Peter Fleetwood-Hesketh’, Thirties Society Journal, 1 (1980), pp. 13–17 Google Scholar.
89 Betjeman, , Ghastly Good Taste, p. 120 Google Scholar.
90 London, Tate Archives 8812.1.3.321, John Betjeman to Kenneth Clark, 31 July 1949.
91 Letter from J.N. Comper to Provost Ball of Cumbrae Cathedral, 19 April 1902 and the Revd Leonard Comper, 1 November 1901, quoted in Symondson, Anthony, Stephen Dykes Bower (London, 2011), p. xvi Google Scholar. Italics in original.
92 See Lepine, Ayla, ‘On the Founding of Watts & Co., 1874’, BRANCH: Britain, Representation and Nineteenth-Century History, ed. Felluga, Dino Franco, extension of Romanticism and Victorianism on the Net, online http://www.branchcollective.org/?ps_articles=ayla-lepine-on-the-founding-of-watts-co-1874 (accessed on 13 July 2013Google Scholar). See also Lepine, Ayla, ‘Sacred Beauty: George Frederick Bodley’s Designs for Oxford and Cambridge’ (doctoral thesis, Courtauld Institute of Art, 2011)Google Scholar; Hall, Michael, George Frederick Bodley and the Later Gothic Revival in Britain and America (London, 2014), forthcomingGoogle Scholar.
93 See Symondson, Anthony and Bucknall, Stephen, John Ninian Comper (Reading, 2006)Google Scholar.
94 See Comper, J.N., Further Thoughts on the English Altar, or Practical Considerations on the Planning of a Modern Church (Cambridge, 1933)Google Scholar. See also Symondson, Anthony and Bucknall, Stephen, Sir Ninian Comper (Reading, 2006)Google Scholar.
95 John Betjeman, , ‘A Note on J. N. Comper, Heir to Butterfield and Bodley’, Architectural Review, 85 (1939), pp. 79–82 Google Scholar.
96 Quoted in Symondson, and Bucknall, , Sir Ninian Comper, p. 198 Google Scholar.
97 London, Tate Archives, 8812.1.3.
98 Ibid., 8812.1.3.319b, Kenneth Clark to John Betjeman, 9 May 1949.
99 Sadleir’s collection of Gothic fiction is held in Princeton University Library and at the Albert and Shirley Small Special Collections Library at the University of Virginia.
100 Hudson, Derek, ‘Sadleir, Michael Thomas Harvey (1888–1957)’, rev. Basu, Sayoni, Oxford Dictionary of National Biography, Oxford University Press, 2004, http://www.oxforddnb.com/view/article/35904 (accessed on 2 March 2014)Google Scholar.
101 Clark, , ‘Letter to the Publisher’, The Gothic Revival (1950), p. 2 Google Scholar.
102 Clark, , The Gothic Revival, 2nd edn, p. 95 Google Scholar.
103 Ibid., p. 3.
104 Ibid., p. 2.
105 Ibid., p. 143.
106 Ibid. Colvin wrote to Clark in August 1949 affirming that ‘it is good news that the book is to be reprinted’ and explaining that John Piper had encouraged him to contact Clark with additional information and points for correction and annotation in the new edition (London, Tate Archives, 8812.1.4.1514, Howard Colvin to Kenneth Clark, 4 August 1949).
107 London, Tate Archives 8812.1.3.321, John Betjeman to Kenneth Clark, 31 July 1949.
108 Harris, , Romantic Moderns, p. 87.Google Scholar
109 Ibid.
110 For a thorough discussion of medievalism as modernity and Victorian legacies in Jones, Eliot and early twentieth-century British writers, see Alexander, Michael, Medievalism (London and New Haven, 2007)Google Scholar. See also Stamp, Gavin, ‘Giles Gilbert Scott: the Problem of Modernism’, Architectural Design (1979), pp. 72–83.Google Scholar
111 Clark, , The Gothic Revival, pp. 252–81Google Scholar; Clark, , The Gothic Revival, 2nd edn, p. 6.Google Scholar
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113 Ibid.
114 Spalding, Frances, Roger Fry (London, 1980), p. 20.Google Scholar
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117 Ibid., p. xx.
118 Spalding, , Roger Fry, p. 273.Google Scholar
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129 Ibid., p. xviii.
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133 Ibid., p. 474.
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139 Clark, The Gothic Revival, 2nd edn, p. 295.
140 Ibid.
141 Quoted in Hillier, , John Betjeman, p. 31 Google Scholar. ‘The Dok’ referred to Nikolaus Pevsner. See also Clarke, Peter, Marching Songs for Victorian Walkers (London, 1983)Google Scholar.
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