295:
368:
42:
235:
210:
438:
860:(op. cit.) correctly states that he left six sisters when he died. A seventh, Louisa, had predeceased him in 1842. An inscription on the Petit tomb in the churchyard of St Michael's, Lichfield, reads: "LOUISA PETIT sixth daughter of the Rev. HAYES PETIT deceased and HARRIET his wife. From a life of almost uninterrupted suffering which she bore with true Christian patience and cheerfulness she was released by a merciful providence on the 30th day of November in the Year of our Lord 1842 aged 30."
1418:
660:
357:, appeared in 1841. A tour de force in two volumes, with over 300 illustrations from watercolours by Petit himself, it sought to gather multiple examples to demonstrate the range of beauty in all historical architectural styles, from the continent as well as Britain. The underlying purpose was to counter the dogma of one "correct" style set out in
392:. The themes and objectives of his publishing and speaking were consistent: countering approaches to restoration that sought to alter medieval church buildings; calling for originality in new buildings; and the belief that contemporary architects should be able to draw on all available historical styles from both the British Isles and overseas.
262:, Petit painted to convey the spiritual beauty of nature and the precious beauty of medieval churches at risk from thoughtless restoration. Working neither for the commercial market nor for patrons, he painted to express his beliefs, his love of nature and to help explain his opposition to the dogmas of the Gothic Revival."
221:
The underlying tone of this later work is reddish, sometimes almost monochromatically so. As well as being the colour of brickwork, it may have been deliberately intended to make his watercolours visually distinctive for exhibiting in quantity at his lectures. The best of these examples were not mere
201:
From the mid-1820s, to which the earliest of his work can be dated, until the early 1840s his watercolours tended to be more carefully completed, and smaller in size, than was the case later. This period includes landscapes and shipping, as well as more unusual subjects such as factories and mines in
310:
In total some 10%-20% of works sold as Petit's through
Sotheby's Billingshurst are believed to be by these family members and of these a large proportion by Emma. Emma, Elizabeth and Susannah lived with Petit and looked after the pictures until their deaths in the 1890s, whence they went to a son of
249:
Whereas these started out as predominantly documentary records of specific buildings or places, subsequently professional artists began to add the ingredients of poetic idealisation, contrived rusticity and
Romantic sentiment to the mix, and by the 19th century an increasingly conventionalised style
278:
A complicating factor is that Petit's sister Emma, and often other family members, travelled and painted with him. Their watercolours, similar in subject matter to Petit's but weaker artistically, were mixed with his in the disposal of his work. Because, like Petit himself, they rarely signed their
257:
Completing approximately 12,000-15,000 watercolours, he was a faithful recorder of architecture, urban environments and natural scenery, but at the same time he succeeded in conveying the emotional impact of the buildings and scenes he portrayed. "As we can understand from the long poem he wrote at
274:
Only since 2016 have research and conservation in relation to Petit's artistic legacy been undertaken and a number of books and articles published. So far remnants of two-thirds of his albums and folios have been identified. Up to one-third, mostly later works, including many from his more distant
270:
After Petit's death, the
Architectural Exhibition Society gave over part of its annual show to an exhibition of around 300 of his watercolours, after which they disappeared. Petit left 1,000 of his drawings to different family members, and the rest (the vast bulk) passed down one family line until
225:
More and more, Petit eschewed precise or delicate work, conveying visual impact, emotion and effect impressionistically and dramatically. About one-third of Petit's later works were landscapes - sometimes showing a distant church dwarfed by the vastness of nature, frequently focusing on individual
49:
During extensive travels both at home and in continental Europe (as well as the Middle East), Petit painted buildings of different periods and styles with a particular focus on medieval architecture. His subject matter included landscapes, modern urban views, utilitarian structures such as bridges
253:
Petit unites these two traditions. That he systematically inscribed the name of locations (initially on album pages, then on the versos of his paintings - and from 1854 onwards the date too) emphasises the "topographical" focus of his art. Self-effacingly, he never signed his work - as if to play
217:
In later years, especially the 1850s and 1860s, most of Petit's work was undertaken abroad. He travelled often, especially in France (where he sketched most years), Germany, Italy, and
Ireland, but also completing tours to Corfu, Greece and Constantinople (1857), Spain and North Africa (1858) and
482:
The Chapel at
Caerdeon, subsequently named St Philip's, still stands and has recently received Grade 1 listing. The house at Upper Longdon ("Bumblekyte") was sold by his sisters in the 1890s, and was later demolished. The designs for both were exhibited at Architectural Exhibition Society annual
83:
Renewed interest in Petit since 2016 has led to the publication of a number of books and articles, the founding of the Rev. J.L. Petit
Society to promote awareness of his artistic and architectural legacy, and the installation of information boards in Lichfield where Petit lived and where he is
430:
Petit's advocacy of foreign models quickly gained wide acceptance, although when he argued at a RIBA talk in 1858 that even
Byzantine architecture had much to offer he had to admit to sometimes being accused of indiscriminately advocating the style of the country he had most recently visited.
398:
But alas for the building which falls into the hands of an ignorant or presumptuous restorer! How many a noble church, that for ages has preserved its beauty in spite of accident, violence, or decay, seems to writhe and struggle under the fantastic additions and incongruous ornaments of some
306:
His other sisters
Elizabeth (Haig), Susannah and Maria (Jelf), and his sister-in-law, Amelia Reid, and Sarah Salt, his niece, also painted alongside Petit on different occasions. His wife Louisa (Reid) is believed to have painted still lifes and birds, but seems not to have been interested in
302:
Petit's fourth sister, Emma
Gentille Petit, accompanied him most frequently on painting tours from about 1845, and occasionally contributed drawings for his articles, something that he always acknowledged. She also appears to have been the one cataloguing and organising his albums and folios.
271:
1957 when they were abandoned to new owners after a death. The collection, already depleted by damage, was then disposed of mainly through auctioneers
Sotheby's Billingshurst in the 1980s and 1990s with little or no attempt at a systematic understanding of Petit's worth as an artist.
1281:(exhibition catalogue). Christchurch: 1987, cat. no. 27. An 1854 magazine review of that year's Architectural Exhibition noted that Petit, jointly with architect T. Hill, was exhibiting "interesting and novel" plans for India Missionary Churches, adopting the "Byzantine model".
64:
In numerous watercolours of ecclesiastical buildings, he conveyed the visual and emotional impact of churches and cathedrals individually and in their settings. Displays of his watercolours at his talks, sometimes a hundred at a time, contributed to his popularity as a speaker.
166:, where he was awarded a B.A. in 1823 and graduated M.A. in 1826. He was ordained as deacon in 1825 and priest a year later. He worked as assistant curate and then stipendiary curate at St Michael's, Lichfield, until 1828, after which he was curate at the twin parish of
76:
in his mid-twenties, but ceased parochial work a few years later. He never painted for money, and after his death his art disappeared from public view and was largely forgotten, although the impact of his architectural writings lingered into the following century.
1221:(a paper delivered to regional architectural societies in 1848 and 1849, and published subsequently in book form with additions). London: John Henry Parker, 1850. In it Scott argues that "Conservatism", however difficult to implement strictly, "should be the
1204:, which argued that restoration must conserve a building's authentic style and that any reconstruction had to be based on incontrovertible evidence. See Chris Miele, "E. A. Freeman and the Culture of the Gothic Revival" in: G.A. Bremner and Jonathan Conlin,
426:
Gradually the tide turned, however. The Cambridge Camden Society (known as the Ecclesiological Society from 1845) tempered its more uncompromising architectural doctrines, and Scott himself came to champion "faithful" restoration of ancient churches.
246:. In both the 18th and 19th centuries artists were regularly commissioned to provide drawings of particular places (for owners of country seats, Grand Tourists, collectors, or publishers of "picturesque" views or reports of antiquarian expeditions).
1359:
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While there were many advocates on both sides - the Gothic Revivalists and the "anti-Gothic party" - the Gothicists were ultimately more influential in writing the history of the period, and the mid-19th Century came to be known as the age of the
518:
has nearly 200 works as part of the Ian and Eileen Cooke Bequest Collection (awaiting cataloguing), as well as 59 watercolours mainly related to the building of the Chapel at Caerdeon, the only church which Petit designed (in 1861-2).
1262:
There is circumstantial evidence of Petit's influence on William Tite's design for the domed church of St James in Gerrards Cross (see Philip Modiano, "My Favourite History Place: St James Church, Gerrards Cross", in:
1271:, op. cit., pp. 12-17). An example of Petit's influence further afield is St John's College Chapel, Auckland, built in 1846 to a design "partly gathered from Mr Petit" at the initiative of the Bishop of New Zealand,
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References to Petit became increasingly cursory and sometimes misleading. For instance, in a study of 19th century writers on architecture, Sir Nikolaus Pevsner referred only to Petit's first book. Nikolaus Pevsner,
1371:
1158:
Contrasts: Or, A Parallel Between the Noble Edifices of the Fourteenth and Fifteenth Centuries and Similar Buildings of the Present Day. Shewing the Present Decay of Taste. Accompanied by Appropriate Text
388:. This battle continued for the rest of Petit's life. Petit published over 25 articles, delivered at least as many speeches, and authored five volumes of individual speeches and one other major book,
416:
in 1877, and on this point he and the antiquarians, archaeologists and architects who supported his position were eventually successful, although only after much intrusive restoration had been done.
434:
Petit demonstrated what he meant in practice on only two occasions: when he drew up the architectural designs for his house outside Lichfield and a chapel at Caerdeon, north-west Wales (see below).
1443:
182:
Petit's artistic style divides into two main periods, though with considerable variety and experimentation in both. Most of Petit's early work is set in Britain, and especially in or around
218:
Egypt and Syria (1865). In this latter period, Petit produced architectural sketches to support his speaking and writing, and little of his work was executed with a high degree of finish.
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considers Petit "an artist whose work, particularly in the medium of watercolour, reaches the highest peaks of innovation and virtuosity, worthy of comparison with that even of Turner".
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294:
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Scott gave a (conciliatory) account of his correspondence with Petit some years later in: George Gilbert Scott, "Some Account of the Restoration of St Mary's Church", published in:
486:
The chapel was criticised by Petit's detractors for not having the required Gothic components and resembling "something between a large lodge gate and a lady's rustic dairy".
198:, before quitting full-time work to focus on his art and architectural interests. In the 1830s he also made three or four trips to Europe in preparation for his first book.
222:
transcriptions of architecture, but conveyed the effect of buildings in their surroundings: the dignity of the rural church or the awe-inspiring cathedral in its setting.
367:
322:. Delamotte was one of the leading proponents of photography as it emerged in the UK, and recognised as one of the leading teachers of watercolour art and photography.
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A huge cache of his work was held by descendants until the 1980s when it was sold, mainly in regional auctions, in large lots mixed with poorer work by his sisters.
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41:
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An analysis of Emma Petit's collaboration with her brother is to be found in Philip Modiano, "The Revd JL Petit (1801–1868) and the beauty of churches", in:
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He also influenced designs for other buildings, as well as providing indirect inspiration for other architects. He contributed to some alterations in
234:
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143:, in 1828, but they never had children. His two brothers also died childless as did four of his seven sisters. His father had been the incumbent at
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Petit's advocacy of careful preservation and non-intrusive restoration of medieval buildings came a generation in advance of the founding of the
1463:
116:, where the family name had been Petit des Etans. Petit's great-great-grandfather, Louis Petit (died 1720), had fled to England after the 1685
26:; 31 May 1801 – 1 December 1868) was an artist and architectural historian whose paintings of buildings and landscapes, almost exclusively in
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Views of the Church of St Mary at Stafford by The Late John Masfen, Jun., With an Account of Its Restoration and Materials for its History
577:
452:. The strivings of the opposition camp, especially Petit, have been downplayed despite their important counterbalancing role at the time.
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concerning St Mary's, the main church in Stafford, was lost, and many other restorations added neo-Gothic features to old churches.
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John Venn and J.A. Venn (Ed.), Alumni Cantabrigienses, vol. 2, part 5. New York: Cambridge University Press, 2011, p. 101.
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More on Petit's immediate forebears and family (albeit containing some factual errors) can be found in Petit's obituary in
506:, as well as holding several regional society positions such as Secretary of the Lichfield Diocesan Architectural Society.
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120:, attaining the rank of Brigadier-General in the British army. Petit's grandfather was the physician and Fellow of the
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35:
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57:, and are frequently marked by a sketch-like immediacy that places his work outside the mainstream of 19th century
333:(1871), he included Petit alongside the work of a roll call of 10 of the great professionals of the age including
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was widely praised in many quarters, but faced harsh criticism from the followers of Pugin, grouped around the
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architect who fancies he can supply what its original designer has omitted, or correct what he has planned!
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315:
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has a set of 151 watercolours removed from an album, mainly of South Coast views, dating from ca. 1840.
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in London has an album of the illustrations used in his first book, and two additional watercolours.
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420:
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down his own role as an artistic interpreter of a given scene rather than its impartial transcriber.
132:(1774-1849). Petit's mother was the daughter of the English portrait painter and amateur architect,
893:(op. cit.) puts the dates of Petit's ordination as deacon and priest as 1824 and 1825, respectively
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283:
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several times, especially in the early 1840s, and is known to have painted over 30 Island pictures.
31:
27:
1267:, 28 June 2021); and on the school and schoolhouse at St Mark's, Malew, Isle of Man (see Modiano,
1200:
In 1846 the society welcomed a pamphlet by the historian and medievalist Edward Augustus Freeman,
96:
Petit, the eldest of 10 children of The Reverend John Hayes Petit and Harriet Astley, was born in
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30:, complemented his activities as one of the mid-19th century's leading writers and speakers on
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Proceedings at the Annual Meeting of the Archaeological Institute of Great Britain and Ireland
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trees, and at other times depicting valleys, mountains, hillsides and even individual rocks.
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125:
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329:(1854, reprinted 1870) and occasional illustrations to his articles. In Delamotte's book,
573:(ed. George Gilbert Scott Jr.). London: Sampson Low, Marston, Searle and Rivington, 1879
829:, vol. 1, 1869, pp. 220-222. An obituary of The Rev. John Hayes Petit was published in
358:
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as one of its few defenders at a time when the prevailing fashion was for neo-Gothic.
325:
Delamotte travelled with Petit on several occasions, contributing drawings to Petit's
1457:
1278:
From Palladianism to the Gothic Revival: Two Centuries of British Architectural Books
461:
183:
148:
140:
121:
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vol. 21 (new series)/vol. 24 (old series). Cambridge Camden Society: 1863, pp. 374-5
1116:
Modiano, "The Revd JL Petit (1801–1868) and the beauty of churches", op. cit., p. 44
589:
Philip Modiano "The Revd John Louis Petit – standing up to the Neo-Gothicists", in:
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1056:"'Forgotten master': English artist whose work was lost for 120 years celebrated"
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where Petit was brought up and where he would live himself for most of his life.
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Philip Modiano, "The Revd JL Petit (1801–1868) and the beauty of churches", in:
203:
58:
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pictures, this has led to confusion and further undermined Petit's reputation.
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970:
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498:, admitted ad eundem to Oxford on 21 June 1850, was a founder member of the
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34:. He was a vocal opponent of the dominant architectural orthodoxies of the
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Papers Read at the Royal Institute of British Architects, Session 1857-58
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For an analysis of Petit's early watercolour style, see: Philip Modiano,
591:
113:
1206:
Making History: Edward Augustus Freeman and Victorian Cultural Politics
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Clarke, Petit and St Mark's - A 19th Century journey on the Isle of Man
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Clarke, Petit and St Mark's - A 19th Century journey on the Isle of Man
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travel views, calling to mind some aspects of Pre-Impressionism.
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778:
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Ulverscroft Priory, Leicestershire, watercolour, 24x33 cm, 1830s
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109:
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For a comparison between Petit's and Emma's work, see Modiano,
88:, in northwest Wales, was upgraded to Grade I listing in 2018.
653:
238:
Clifton Campville, Staffordshire, watercolour, 34x23 cm, 1845
1344:. London: Longman, Brown, Green and Longmans, 1846, p. ii;
1275:(later Bishop of Lichfield, England). See Ian J. Lochhead,
1219:
A Plea for the Faithful Restoration of Our Ancient Churches
128:(1736–80), and his uncle was the barrister and politician,
814:, vol 4. London: Hamilton, Adams & Co, 1884, pp. 13-15
45:
Brussels Cathedral and town, watercolour, 24x36 cm, 1855
1411:
1350:, vol. XLV. New York: Macmillan and Co, 1896, pp. 81-82
1238:
John Louis Petit, "Remarks on Byzantine Churches", in:
757:
694:
414:
Society for the Protection of Ancient Buildings (SPAB)
68:
Born into a prominent and well-to-do family of French
758:"Rev. J L Petit – The Rev. J L Petit Society Website"
1302:"St Philip's Church, Caerdeon (Grade I) (5249)"
783:"St Philip's Church, Caerdeon (Grade I) (5249)"
522:
The Staffordshire Museum Service Art Collection and
490:Membership of learned societies and institutions
419:An early battle in the early 1840s with a young
194:. Petit worked as a curate from 1828 to 1834 at
1474:Fellows of the Society of Antiquaries of London
847:, op. cit., "Additions and Corrections", p. 525
745:Some Architectural Writers of the 19th Century.
460:Petit designed two buildings: his own house at
1131:. London: Bell and Daldy, 1871, pp. 37, 46, 74
602:, vol. 18, no. 2 (Autumn 2017), pp. 46–47
502:, where he published most frequently, and the
242:Petit holds a particular place in the British
1287:, 23 December 1854, vol. XII, no. 620, p. 650
1191:. London: John Henry Parker, 1852, pp. 15-31
904:J.L. Petit - Britain's Lost Pre-Impressionist
635:J.L. Petit - Britain's Lost Pre-Impressionist
314:Petit was a close friend and collaborator of
8:
409:titled "On Modern Repairs and Adaptations".
298:Near Bumblekyte, watercolour, 37x26 cm, 1867
84:buried. The chapel he designed in Caerdeon,
1448:John Rylands Research Institute and Library
595:, issues 55 & 56 (2017), pp. 75–98
835:, vol. 92, pt. 2, August 1822, pp. 186-187
1372:https://www.search.staffspasttrack.org.uk
1083:, vol. 18, no. 2 (Autumn 2017), pp. 46-47
943:See "Section II, Later Art" in: Modiano,
722:Learn how and when to remove this message
364:, which had appeared a few years earlier.
887:Clergy of the Church of England Database
464:, outside Lichfield, built in 1855; and
366:
349:Writings and architectural controversies
250:of topographical drawing was prevalent.
233:
40:
1146:(in 2 vols.). London: James Burns, 1841
1054:Sherwood, Harriet (15 September 2022).
735:
570:Personal and Professional Recollections
178:Artistic development and painting style
139:Petit married Louisa Elizabeth Reid in
104:into a well established and prosperous
1024:. RPS Publications: 2019, pp. 170-172
826:The Register and Magazine of Biography
885:"Petit, John Louis (1825 - 1828)" in
7:
1489:Alumni of Trinity College, Cambridge
927:. RPS Publications: 2022, pp. 35-36
906:. RPS Publications, 2022, pp. 39-49
811:Miscellanea Genealogica Et Heraldica
747:Oxford: Clarendon Press, 1972, p. 95
693:, as they are easily broken. Please
382:and their recently-founded journal,
50:and factories, and Classical ruins.
1022:Petit's Tours of Old Staffordshire
607:Petit's Tours of Old Staffordshire
494:Petit was elected a Fellow of the
405:So lamented Petit in a chapter of
174:in Essex until resigning in 1834.
72:origins, he was ordained into the
14:
1307:National Historic Assets of Wales
1244:. London: RIBA, 1858, pp. 123-136
914:(publication date September 2022)
788:National Historic Assets of Wales
645:(publication date September 2022)
318:, who became Professor of Art at
213:Folkestone, Kent, 18x24 cm, 1828.
202:Wolverhampton. Petit visited the
118:Revocation of the Edict of Nantes
1438:Dictionary of National Biography
1416:
1347:Dictionary of National Biography
1202:Principles of Church Restoration
1155:Augustus Welby Northmore Pugin,
1128:The Art of Sketching from Nature
658:
561:The Art of Sketching from Nature
470:The Reverend William Edward Jelf
359:Augustus Welby Northmore Pugin's
331:The Art of Sketching from Nature
260:The Lesser and the Greater Light
92:Family background and early life
1494:People educated at Eton College
1104:Architectural Studies in France
889:. Retrieved 4 July 2022. Venn,
504:Institute of British Architects
441:Church of Saint-Loup, Normandy,
390:Architectural Studies in France
327:Architectural Studies in France
1450:, with some of Petit's letters
1161:. London: Charles Dolman, 1836
1143:Remarks on Church Architecture
564:. London: Bell and Daldy, 1871
407:Remarks on Church Architecture
376:Remarks on Church Architecture
355:Remarks on Church Architecture
1:
1464:People from Ashton-under-Lyne
1384:https://collections.vam.ac.uk
998:, vol. 8, p. 194, 1 June 1869
808:Joseph Jackson Howard (ed.),
707:), or an abbreviated title.
689:Knowledge (XXG)'s style guide
275:travels, may have been lost.
53:His paintings were completed
24:The Reverend John Louis Petit
1396:https://archives.soton.ac.uk
555:London: Joseph Masters, 1849
466:St Philip's Church, Caerdeon
16:British clergyman and artist
1107:. London: George Bell, 1854
971:The Topographical Tradition
230:The topographical tradition
32:ecclesiastical architecture
1510:
586:London: George Allen, 1896
567:Sir George Gilbert Scott,
531:Victoria and Albert Museum
443:watercolour by Petit, 1854
164:Trinity College, Cambridge
637:. RPS Publications, 2022
623:. RPS Publications: 2022
609:. RPS Publications: 2019
551:A History of Architecture
516:National Library of Wales
1176:, vol. 2, ch. iv, p. 129
1125:Philip Henry Delamotte,
832:The Gentleman's Magazine
558:Philip Henry Delamotte,
500:Archaeological Institute
468:for his brother-in-law,
380:Cambridge Camden Society
108:family, originally from
1229:of Restoration" (p. 26)
1081:The British Art Journal
1044:, op. cit., pp. 171-172
973:. Retrieved 4 July 2022
697:by replacing them with
600:The British Art Journal
244:topographical tradition
1273:George Augustus Selwyn
1217:George Gilbert Scott,
1009:Lost-Pre-Impressionist
984:Lost Pre-Impressionist
958:Lost Pre-Impressionist
947:, op. cit., pp. 72-110
945:Lost Pre-Impressionist
537:Southampton University
526:hold 27 of his works.
496:Society of Antiquaries
444:
403:
372:
320:King's College, London
299:
289:
239:
214:
186:, his home county, or
158:Petit was educated at
46:
1398:Retrieved 8 July 2022
1386:Retrieved 8 July 2022
1374:Retrieved 8 July 2022
1362:Retrieved 8 July 2022
960:, op. cit., pp. 88-97
579:The Story of My Life,
472:, erected in 1861-2.
440:
394:
370:
297:
258:the end of his life,
237:
212:
44:
1208:. Oxford: OUP, 2015.
856:Petit's obituary in
695:improve this article
524:William Salt Library
421:George Gilbert Scott
353:Petit's first book,
151:, and they lived in
1328:The Ecclesiologist,
969:See Bruce MacEvoy,
667:Constructs such as
548:Edward A. Freeman,
477:St Paul's Cathedral
284:Andrew Graham-Dixon
1421:Works by or about
1140:John Louis Petit,
1101:John Louis Petit,
592:Ecclesiology Today
456:Petit as architect
445:
385:The Ecclesiologist
373:
300:
240:
215:
47:
1030:978-1-9164931-0-0
986:, op. cit., p. 10
933:978-1-9164931-1-7
912:978-1-9164931-2-4
875:978-1-108-03615-3
732:
731:
724:
643:978-1-9164931-2-4
629:978-1-9164931-1-7
615:978-1-9164931-0-0
130:Louis Hayes Petit
98:Ashton-under-Lyne
74:Church of England
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1432:John Louis Petit
1423:John Louis Petit
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633:Philip Modiano,
619:Philip Modiano,
605:Philip Modiano,
316:Philip Delamotte
196:Bradfield, Essex
147:parish north of
126:John Lewis Petit
20:John Louis Petit
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543:Further reading
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282:The art critic
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1266:
1265:The Historian
1259:
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1253:Ibid., p. 132
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149:Wolverhampton
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1313:20 September
1311:. Retrieved
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1223:great object
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1092:Ibid., p. 46
1088:
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1075:
1063:. Retrieved
1060:The Guardian
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858:The Register
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845:The Register
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794:20 September
792:. Retrieved
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160:Eton College
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63:
52:
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23:
19:
18:
1484:1868 deaths
1479:1801 births
1284:The Builder
704:quick guide
510:Collections
204:Isle of Man
134:John Astley
86:St Philip's
59:picturesque
55:on the spot
28:watercolour
1458:Categories
1427:Wikisource
650:References
145:Shareshill
102:Lancashire
1065:3 October
1007:Modiano,
982:Modiano,
956:Modiano,
676:loc. cit.
362:Contrasts
168:Bradfield
153:Lichfield
114:Normandy
106:Huguenot
70:Huguenot
1436:Oxford
1173:Remarks
1170:Petit,
483:shows.
172:Mistley
1225:- the
1028:
931:
910:
891:Alumni
873:
763:9 July
641:
627:
613:
581:vol. 2
335:Turner
670:ibid.
339:Prout
188:Essex
1315:2023
1298:Cadw
1067:2022
1026:ISBN
929:ISBN
908:ISBN
871:ISBN
796:2023
779:Cadw
765:2022
685:are
682:idem
679:and
639:ISBN
625:ISBN
611:ISBN
529:The
514:The
341:and
192:Kent
190:and
170:and
162:and
110:Caen
1446:at
1434:at
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112:in
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396:"
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