TINTAGEL CASTLE

Artist: J. D. Harding ____________ Engraver: H. Griffiths

Note: the title in the table above is printed below the engraving

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AN ANTIQUE STEEL ENGRAVING PRINTED IN THE EARLY 1840s!! VERY OLD WORLD! INCREDIBLE DETAIL!

This engraving, after Mr. Jendles' spirited sketch, embraces not only Tintagel Castle, but one of those more useful erections which modern science has rendered available to commercial purposes, and intended for the shipment of ores from the neighbouring mine. The different character of the erections which crown the opposing cliffs mark the widely separated eras of their erection, while both become objects of deep interept to those who see in the ruins of the one hand, and the progressively improving mechanism of the other, a type of the spirit which animated our warlike ancestors to maintain their dominant power over their native soil, converted in their more peaceful descendants into a determination to make the best use of the treasures it contains.

Tintagel Castle is situated partly on the extremity of a bold rock of slate, on the coast, and partly on a rocky island, with which it was formerly connected by a drawbridge, and is of great antiquity. This castle is said to have been the birthplace of King Arthur, but his history is so blended with the marvellous, that his very existence has been doubted, and the circumstances connected with his birth are certainly not amongst those parts of the relation which are most entitled to credit. It was, however, said by Lord Bacon, that there was truth enough in the story to make him famous besides that which was fabulous.

In the year 1245, Richard Earl of Cornwall, brother to King Henry III. was accused of having afforded an asylum in Tintagel Castle to his nephew David, Prince of Wales, and in the reign of Henry III. the castle and manor of Tintagel were annexed to the Duchy of Cornwall. So little remains of the walls of this ancient and formerly impregnable castle, that the date of its erection cannot even be conjectured from the style of the architecture: it is certain that the castle was in a dilapidated state in 1337, in which year a survey was made. There was then no governor, but the priest who officiated in the chapel of the castle had the custody of it, without fee. It is described as a castle sufficiently walled, in which were two chambers beyond the two gates, in a decayed state. A chamber, with a small kitchen for the constable, in good repair; a stable for eight horses, decayed; and a. cellar and bakehouse, ruinous. The timber of the great hall had been taken down by command of John of Eitham, Earl of Cornwall, because the hall was ruinous, and the walls of no value.

In the reign of Richard II., Tintagel Castle was made a state prison, and in 1385, John Northampton, lord mayor of London, was committed to this castle. Thomas Beauchamp, Earl of Warwick, was also a prisoner here in 1397. "The ruins of Tintagel Castle," says the Rev. R. Warner, "claim dominion over unqualified desolation; over one wide and wild scene of troubled ocean, barren country, and horrid rocks: its situation and aspect quite chilled the tourist," and in continuation of his description, he introduces the less sublime remark, " that to look at it was enough to give one the tooth-ache."

Tintagel was made a free borough by Kichard Earl of Cornwall, and, as well as Trevenna, about a mile distant from each other, forms part of the borough of Bossiney, which formerly sent two members to parliament. Although not incorporated, it is governed by a mayor. At Trevenna is an annual fair for horned cattle on the first Monday after the 19th of October; and at Tintagel is a school supported by the mayor and free burgesses. The church, dedicated to St. Simphorian, is a vicarage, in the patronage of the dean and chapter of Windsor. It was formerly appropriated to the abbey of Fonteverard, in Normandy, but having passed in the same manner as Leighton Buzzard, in Bedfordshire, was given, by King Edward IV., to the collegiate chapel of! St. George at Windsor.

PRINT DATE: This lithograph was printed in 1840; it is not a modern reproduction in any way.

PRINT SIZE: Overall print dimensions are 7 inches by 10 inches including a white border of approximately one inch on each side (not shown).

PRINT CONDITION: Condition is fine. Bright and clean. Blank on reverse.

BIOGRAPHY OF ARTIST: James Duffield Harding, (1798-1863) was an English landscape painter, was the son of an artist, and took to the same vocation at an early age, although he had originally been destined for the law. He was in the main a watercolour painter and a lithographer, but he produced various oil-paintings both at the beginning and towards the end of his career. He frequently contributed to the exhibitions of the Water-Colour Society, of which he became an associate in 1821, and a full member in 1822. He was also very largely engaged in teaching, and published several books developing his views of art-amongst others, The Tourist in Italy (1831); The Tourist in France (1834); The Park and the Forest (1841); The Principles and the Practice of Art (1845); Elementary Art (1846); Scotland Delineated in a Series of Views (1847); Lessons on Art (1849). He died at Barnes on the 4th of December 1863. Harding was noted for facility, sureness of hand, nicety of touch, and the various qualities which go to make up an elegant, highly trained, and accomplished sketcher from nature, and composer of picturesque landscape material; he was particularly skilfull in the treatment of foliage.

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Please note: the terms used in our auctions for engraving, heliogravure, lithograph, print, plate, photogravure etc. are ALL prints on paper, NOT blocks of steel or wood. "ENGRAVINGS", the term commonly used for these paper prints, were the most common method in the 1700s and 1800s for illustrating old books, and these paper prints or "engravings" were inserted into the book with a tissue guard frontis, usually on much thicker quality rag stock paper, although many were also printed and issued as loose stand alone prints. So this auction is for an antique paper print(s), probably from an old book, of very high quality and usually on very thick rag stock paper.

EXTREMELY RARE IN THIS EXCELLENT CONDITION!