Free Ebook The Pinecone: The Story of Sarah Losh, Forgotten Romantic Heroine--Antiquarian, Architect, and Visionary, by Jenny Uglow
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The Pinecone: The Story of Sarah Losh, Forgotten Romantic Heroine--Antiquarian, Architect, and Visionary, by Jenny Uglow
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In the village of Wreay, near Carlisle, stands the strangest and most magical Victorian church in England. This vivid, original book tells the story of its builder, Sarah Losh, strong-willed, passionate, and unusual in every way.
Sarah Losh is a lost Romantic genius―an antiquarian, an architect, and a visionary. Born into an old Cumbrian family, heiress to an industrial fortune, Losh combined a zest for progress with a love of the past. In the church, her masterpiece, she let her imagination flower―there are carvings of ammonites, scarabs, and poppies; an arrow pierces the wall as if shot from a bow; a tortoise-gargoyle launches itself into the air. And everywhere there are pinecones in stone. The church is a dramatic rendering of the power of myth and the great natural cycles of life, death, and rebirth.
Losh's story is also that of her radical family, friends of Wordsworth and Coleridge; of the love between sisters and the life of a village; of the struggles of the weavers, the coming of the railways, the findings of geology, and the fate of a young northern soldier in the First Afghan War. Above all, it is about the joy of making and the skill of unsung local craftsmen. Intimate, engrossing, and moving, The Pinecone, by Jenny Uglow, the Prize-winning author of The Lunar Men, brings to life an extraordinary woman, a region, and an age.
- Sales Rank: #486018 in Books
- Published on: 2013-01-15
- Released on: 2013-01-15
- Original language: English
- Number of items: 1
- Dimensions: 9.34" h x 1.27" w x 6.42" l, 1.29 pounds
- Binding: Hardcover
- 352 pages
From Booklist
*Starred Review* Uglow takes such delight in her work that every page shimmers and whirls. On a mission to rescue neglected, radical English artists, such as Thomas Bewick (Nature’s Engraver, 2007), she now richly and inquisitively portrays brainy and independent Sarah Losh (1786–1853). Uglow grew up in Cumbria, Losh’s home territory, and knows well the wildly unconventional church Losh designed and built in the village of Wreay, a house of worship brimming with imagery drawn from Greek, Roman, Egyptian, Hindu, and Buddhist traditions, all shaped by Losh’s passion for fossils and science. Losh even helped craft the carved stone and wood vines, lotus flowers, dragon, butterflies, raven, bat, eagle, stork, and her favorite, the pinecone, an “ancient symbol of regeneration, fertility, and inner enlightenment.” What sort of Victorian Englishwoman would construct a pantheistic temple? Bright, willful, and soon motherless, young Losh was supported in her quest for education by her wealthy industrialist father (Uglow’s history of the family fortune is fascinating) and progressive uncle. Losh deflected her suitors to live a liberated life with her beloved sister, whose death precipitated Losh’s phenomenal surge of creativity. Uglow expertly sets Losh’s singular story within a historical context as intricately detailed and vital as Losh’s church as she shares her profound appreciation for this visionary and her “defiant celebration of life and art.” --Donna Seaman
Review
“[Uglow] quickly revealed herself to be one of the most resourceful and innovative writers in the genre . . . as in the best biographies, the question becomes not what the subject will do, but how and why she will do it.” ―Megan Marshall, The New York Times Book Review
“This mesmerizing account reveals the uniqueness of Losh's achievement while retaining its mystery.” ―The New Yorker
“[An] entrancing book . . . Always impeccable in her choice of the vivid anecdote and the memorable image with which to conjure life into the northern hillscape that she evidently loves so well, Uglow has produced a quiet masterpiece: a book to savour and treasure.” ―Miranda Seymour, The Sunday Times (London)
“In its intimate tone, its lavishly detailed depictions of Losh's creations, and its seamless interweaving of the local and immediate with the global and the timeless, [The Pinecone] is an exuberant match for the beautiful, ornate and movingly personal nature of Losh's extraordinary church.” ―Rachel Hewitt , The Guardian
“Uglow pieces together an absorbing portrait . . . Like her subject, Uglow triumphs with quiet urgency.” ―Laura Battle, Financial Times
“[An] engaging historical study . . . With her precise sense of history's intellectual and political movements, Uglow is good at explaining [the] artistic background . . . [and] illuminating subjects as diverse as the use of alkalis in industry . . . and Italian politics in the wake of the Napoleonic wars . . . Uglow's telling of [Losh's story] is clearly focused, wonderfully stimulating and surprisingly colourful.” ―Andrew Lycet, The Telegraph
“[In The Pinecone] Jenny Uglow not only proves the importance of Sarah Losh but shows what biography at its very best can do.” ―Frances Wilson, Literary Review
“A riveting story, and Jenny Uglow makes the most of it, exploring the intellectual and social background to Losh's unusual masterpiece . . . She fully explains the impetus for one of the most startling small masterpieces of nineteenth-century architecture in Britain, as well as bringing to life the admirable Miss Losh of Wreay.” ―John Martin Robinson, The Spectator
“Uglow's Pinecone, like Losh's, spins ever outwards, but is at its most beautiful in its return to small perfections, a tiny church and a little life that tells, nonetheless, an epic story.” ―Ian Kely, The Times (London), Book of the Week
About the Author
Jenny Uglow's books include prizewinning biographies of Elizabeth Gaskell and William Hogarth. The Lunar Men, published in 2002, was described by Richard Holmes as "an extraordinarily gripping account," while Nature's Engraver won the National Arts Writers Award for 2007. A Gambling Man was short-listed for the 2010 Samuel Johnson Prize for Non-Fiction. Uglow grew up in Cumbria and now lives in Canterbury, England.
Most helpful customer reviews
13 of 15 people found the following review helpful.
A Unique Architect's Unique Work
By Rob Hardy
Here is an architect you have never heard of: Sarah Losh. One of the reasons you haven't heard of Losh is that she has one fine church to represent her oeuvre. One of the reasons is that this little structure was built in 1842, and it was built in an out-of-the-way village, Wreay, outside of Carlisle in northern England. Another reason is simply that she was a woman, so she really wasn't an architect because women were not allowed to be architects. She was, however, an extraordinary woman in many ways, and now she has as full a biography as can ever be written. Jenny Uglow, who has written several outstanding books about personalities of that age and locale, has an appreciation for Losh's life and her remarkable church in _The Pinecone: The Story of Sarah Losh, Forgotten Romantic Heroine - Antiquarian, Architect, and Visionary_ (Farrar, Straus and Giroux). The book has good pictures, and concentrates on St. Mary's Church in Wreay, partly out of necessity. Losh didn't leave much documentation of her life. She wrote poetry, but none of it remains, and she kept a journal which others read and treasured and kept passages from, but she burned her journals and other documents. If she ever fell in love, or wrote love letters, we have no evidence. What she did have, and what enables Uglow to tell her story in this fullness, is a bustling family with wealth coming in plentifully from the chemistry of the Industrial Age; a time of political upheaval and Losh's own radicalism; and the little church, which shows an energetic and independent mind.
Losh got much of her education courtesy of her Uncle James, who advocated various liberal policies including education for women. He also got Sarah and her sister Katharine to Europe, where Sarah got to see churches and paintings that would influence the style of her church. Katharine suddenly died in 1835; it was a loss Sarah never overcame, but she used her grief to power her work on the church. The old church at Wreay was a relic, and she convinced the church and civic fathers that a new one was needed; they agreed, and since she was paying for it, they agreed to let her have her own way in its design. The church is a product of her own ideas and flew in the face of the Victorian revival of the Gothic style. Overall, she preferred her own version of a Romanesque design, but especially in the decoration of the church, she produced something unique. The nave is simple, almost like a small stone barn, but it is joined to a curved apse, so that it looks like a small Byzantine basilica. She was especially interested in the fossils of her area, and the ammonites, corals, and ferns were carved into the church's doorways or installed in its stained-glass windows. A plesiosaur serves as a gargoyle. Not content merely to install ancient creatures into her church, she crammed it with symbols from different creation myths, like lotus blossoms. Her pinecone, and there are pinecones all over the church, was also a symbol of reproduction and regeneration. On the arches and in the windows and on the walls are poppies, wheat, and gourds, and an eagle and a stork to hold up lecterns, and lotus-shaped candlesticks, and a baptismal font with carved lilies and lily-pads sticking out of the water. Losh herself did much of the carving. There were no memorials in the church, no depictions of saints, and almost no crosses. Her building is a celebration not of belief but of beliefs, as well as of the natural world. It is convenient to think that it signifies some sort of easy pantheism, but you can still get to Anglican services there.
That Losh could incorporate historical and natural trends in her tiny church in a little village shows the artistic importance of her work. Uglow's biography has the same merits, using the architect and her church as a mirror for the natural, religious, and scientific movements of Losh's time. Uglow thus gets to tell us about the railways, the industrial revolution, the fashions of architecture, the enthusiasm for antiquities, the Afghan war, and more. Molding the story of Sarah Losh's life from these external sources, since she left so little written documentation, is something like trying to find her within her lovely little church. Uglow writes that Losh "left stones and wood, not letters, for us to read." Losh now has a fine biography to supplement the stones and wood.
5 of 5 people found the following review helpful.
`She must have been a really great genius, and should be better known.' (Dante Gabriel Rossetti, letter to his mother, 1869)
By Jennifer Cameron-Smith
On Candlemas Eve in 1836, the Twelve Men of Wreay met to consider Miss Losh's request to make improvements on the road through Wreay where it passes the church and burial ground, to expand the churchyard. Miss Sarah Losh, then aged 50 and unmarried, was the largest landowner and wealthiest resident in her part of Cumbria, near Carlisle and close to the border with Scotland.
Miss Losh's petition was successful, and six years later she constructed a new church of yellow sandstone. While the style of this new church, called St Mary's, anticipated the Romanesque revival, it incorporated symbolism from different pasts: turtles and dragons were gargoyles, an eagle perched on top of the belfry, and the interior included `strange stained glass, bright leaves on black backgrounds, kaleidoscopic mosaics, alabaster cut-outs of fossils.' There are snakes and tortoises, lotus flowers and pomegranates. And everywhere there were pinecones - `an ancient symbol of regeneration, fertility and inner enlightenment' - carved onto the walls, into the roof beams and on the front door-latch.
`To call herself an `architect' would have been unthinkable: that was a man's profession, and she was a woman and an amateur.'
We know what Miss Losh achieved, but not really why she did it. Miss Losh destroyed most of her personal papers, and the house she lived in has long been cleared of its contents.
In this biography, Ms Uglow writes that she first saw St Mary's as a girl, and `years later crossing the road from the green in a haze of Cumbrian rain... I became curious about its creator'. Dante Gabriel Rossetti visited the church in 1869, sometime after Sarah Losh's death, and described it as `full of beauty and imaginative detail, though extremely severe and simple'.
Sarah Losh (1785-1853) was the eldest of the three legitimate children of John Losh. John Losh himself was the eldest of four surviving brothers, who made their fortune in an alkali works, and then from iron foundries and railways. Sarah and her sister Katharine became their father's heirs - examples, in Ms Uglow's words of `how the industrial revolution made some women independent.' Well, independent up to a point. In a different era, Sarah Losh might have designed and built cathedrals, but in 19th century Britain this could not be possible.
I found this book fascinating. I enjoy the way Ms Uglow writes (which was the main reason I picked up this book in the first place). In another place and time, Ms Losh might well have achieved more and different things. But St Mary's, finished in 1842 with the Pennines to the east, and the mountains of the Lake District to the west, has its own mystery and charm. The photographs included in the book are a great adjunct to the text: I wanted to see and to know more about Sarah Losh and her work.
Jennifer Cameron-Smith
5 of 6 people found the following review helpful.
A Unique Architect's Unique Work
By Rob Hardy
Here is an architect you have never heard of: Sarah Losh. One of the reasons you haven't heard of Losh is that she has one fine church to represent her oeuvre. One of the reasons is that this little structure was built in 1842, and it was built in an out-of-the-way village, Wreay, outside of Carlisle in northern England. Another reason is simply that she was a woman, so she really wasn't an architect because women were not allowed to be architects. She was, however, an extraordinary woman in many ways, and now she has as full a biography as can ever be written. Jenny Uglow, who has written several outstanding books about personalities of that age and locale, has an appreciation for Losh's life and her remarkable church in _The Pinecone: The Story of Sarah Losh, Forgotten Romantic Heroine - Antiquarian, Architect, and Visionary_ (Faber and Faber). The book has good pictures, and concentrates on St. Mary's Church in Wreay, partly out of necessity. Losh didn't leave much documentation of her life. She wrote poetry, but none of it remains, and she kept a journal which others read and treasured and kept passages from, but she burned her journals and other documents. If she ever fell in love, or wrote love letters, we have no evidence. What she did have, and what enables Uglow to tell her story in this fullness, is a bustling family with wealth coming in plentifully from the chemistry of the Industrial Age; a time of political upheaval and Losh's own radicalism; and the little church, which shows an energetic and independent mind.
Losh got much of her education courtesy of her Uncle James, who advocated various liberal policies including education for women. He also got Sarah and her sister Katharine to Europe, where Sarah got to see churches and paintings that would influence the style of her church. Katharine suddenly died in 1835; it was a loss Sarah never overcame, but she used her grief to power her work on the church. The old church at Wreay was a relic, and she convinced the church and civic fathers that a new one was needed; they agreed, and since she was paying for it, they agreed to let her have her own way in its design. The church is a product of her own ideas and flew in the face of the Victorian revival of the Gothic style. Overall, she preferred her own version of a Romanesque design, but especially in the decoration of the church, she produced something unique. The nave is simple, almost like a small stone barn, but it is joined to a curved apse, so that it looks like a small Byzantine basilica. She was especially interested in the fossils of her area, and the ammonites, corals, and ferns were carved into the church's doorways or installed in its stained-glass windows. A plesiosaur serves as a gargoyle. Not content merely to install ancient creatures into her church, she crammed it with symbols from different creation myths, like lotus blossoms. Her pinecone, and there are pinecones all over the church, was also a symbol of reproduction and regeneration. On the arches and in the windows and on the walls are poppies, wheat, and gourds, and an eagle and a stork to hold up lecterns, and lotus-shaped candlesticks, and a baptismal font with carved lilies and lily-pads sticking out of the water. Losh herself did much of the carving. There were no memorials in the church, no depictions of saints, and almost no crosses. Her building is a celebration not of belief but of beliefs, as well as of the natural world. It is convenient to think that it signifies some sort of easy pantheism, but you can still get to Anglican services there.
That Losh could incorporate historical and natural trends in her tiny church in a little village shows the artistic importance of her work. Uglow's biography has the same merits, using the architect and her church as a mirror for the natural, religious, and scientific movements of Losh's time. Uglow thus gets to tell us about the railways, the industrial revolution, the fashions of architecture, the enthusiasm for antiquities, the Afghan war, and more. Molding the story of Sarah Losh's life from these external sources, since she left so little written documentation, is something like trying to find her within her lovely little church. Uglow writes that Losh "left stones and wood, not letters, for us to read." Losh now has a fine biography to supplement the stones and wood.
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