The Image of Georgian Bath, 1700–2000: Towns, Heritage, and History by Peter Borsay
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89 rehabilitateBurkebyprivilegingOnConciliation , his earlier speech about the American colonies, over the manifest conservatism of Reflections on the Revolution in France, attempts to discredit ‘‘the stigmatic view’’ of the subscribers to Sir Edward Thompson’s 1776 edition of Marvell’s Works ‘‘that entered our systems of value with the work of Pierre Legouis ,’’ skirmishes with John Barrell and David Solkin in order to ‘‘recover the Whig in Reynolds,’’reintroduces ‘‘one of the greatest liberal barristers in English history,’’ Thomas Erskine, for the highly unlikely reason that ‘‘he seems to be in danger of vanishing from the record’’and reconsiders The Prelude ‘‘in its various stages of composition’’ to ask whether Wordsworth ever really abandoned his youthful radicalism. J. A. Downie Goldsmiths College, University of London PETER BORSAY. The Image of Georgian Bath, 1700–2000: Towns, Heritage, and History. Oxford, 2000. Pp. xv ⫹ 434.£60. Illusory representations of Bath’s Georgian past (1700–1830) have helped various elites determine theirownpresent and preserve ‘‘substantial parts of the eighteenth-century urban landscape.’’ Mr. Borsay argues that this ‘‘mythic material ’’ has been generated by and still dominates popular media because it is needed by those who disseminate and accept it. A Hegelian idea thatpublicly-accepted stories about the past are what transform the present controls the way Mr. Borsay organizes and discusses Bath’s historiography . The body of the book is a compendium of literary texts; biographical legends; innovative architectural, sociological and economic studies;andliterary histories. Mr. Borsay investigates which oneschanged‘‘prevailing’’waysofimagining Georgian Bath. The book’s lack of agency extends to Mr. Borsay’s way of covering telling political battles in Bath from the later nineteenth through the mid-twentieth century between conservationists and the city’s governing councils, and opposing classes of residents and visitors over what to do with ruins and run-down buildings. After decades of indifference, an aggressive campaign restored the Georgian ‘‘shrines’’in the 1970s and led to the way all of Georgian Bath is now treated by the heritage industry and its commercial reinforcements . Reconstructions destroy existing structures and replace them with materials and internal organizations of space that allow for new uses of space which, like the earlier Georgian interiors, do not correspond to uniform facades,but now can function as time capsules. An allegiance to the beauty of classical architecture colors the text. Mr. Borsay treats as passing trends and ‘‘sheer effrontery ’’ irreverent but also serious suggestions on the part of unnamed people, whose letters appeared in the local Bath press, that money to renovate ‘‘elite’’ structures (the Assembly Rooms) should instead be used to improve life for the average person in Bath. The adversarial criticism and strong distaste for the eighteenth-century spa in numbers of key eighteenth-century texts is simply dubbed ‘‘somewhat surprizing.’’Mr.Borsay repeatedly quotes as authoritativeand balanced Horace Annesley Vachell’s narrowly bourgeois and genteel, ‘‘[Georgian ] Bath belongs to the world.’’ At the same time, much evidence reveals that the image of Georgian Bath ‘‘encodes’’ a complicated cult, participation in which bestows status. Characters 90 and images cherished by some groups of people for others symbolize their own or a previous generation’s deprivation and hidden injuries of class. Mr. Borsay catalogues historical personages chosen and omitted from representations and retells quarrels over what elementsinBath’shistory to present and when. He describes how the organization of space in Bath works to separate, stigmatize, exclude, and elevate people. This book is a postmodern encyclopedia of almost all the sources of the historiography of Georgian Bath. We are shown how difficult it is to alter popular romance, guidebooks, and ‘‘common knowledge’’by accurate information gleaned from primary documents. Thus Mr. Borsay comes to think that Bath today is the product of the images through which people have experienced it. This study represents a missed opportunity and worthy project gone awry. Mr. Borsay’s earlier comprehensive study, The English Urban Renaissance, 1660– 1770, showsno doubt thataccuratescholarship is possible and can function usefully beyond the small circle of people who might read it through. The present ends by arguing that Georgian Bath’s ‘‘national heritage of beauty’’ has lasted because it ‘‘consoles’’ and ‘‘comforts’’ ‘‘people’’as an element in theiridentities, and that late...Keywords:
Georgian
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Value (mathematics)
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Section (typography)
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Georgian
Fine art
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