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Lyttleton's
View of Halifax: Microscopic Cosmos
by Alexandra E. Carter
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Lyttleton Military Art
Training
Lyttleton would have received instruction in the technique of
topographical drawing at the Royal Military Academy because it was
considered an essential part of the curriculum for both army and
naval officers. The former were required to make pictorial documents
of land physiognomy while the latter concentrated on coastal
formations and shoreline indentations. The importance attached to
the discipline of drawing is evident from an abstract of the Academy
records:
The above qualifications (Mathematics, English and French) are
indispensable at the time of examination; but the
future studies of each Candidate will be very materially forwarded if he
is learned to draw before he is received as a Cadet. (15)
The training at the Academy also included "putting perspective
in practice by copying from nature...then ...proceeding to take
views about Woolwich and other places; which teaches them at the
same time to break ground and form the eye to the knowledge of
it." (16)
The watercolour painting included in the military programme was more
than an occupational skill for many officers like Lyttleton: they
continued to practise their technical drawing skill as a
recreational and creative hobby throughout their lives. The boredom
of peacetime militia was one reason for the copious production of
watercolour sketches of early Canada; the officers helped fill
leisure hours by sketching on their own as well as instructing
young ladies and others interested in this most fashionable
occupation. (17) In addition, there was the desire of colonial
residents to include art of any style in their surroundings and
specifically whatever art was popular in England at the time. In the
nineteenth century, English art was largely dominated by the
development of the water-colour.
Fortunately the drawing masters of the training schools were among
the most able artists in the field: Paul Sandby, who taught at
Woolwich from 1768 to 1799, was recognized in his own day as the
"father" of British watercolours. He was succeeded by his
son, Thomas Paul (1791-1811), so the Sandby tradition had far
reaching influence; it was fortunate that the members of the family
were as versatile as they were talented, thus averting the
possibility of every trainee becoming a copy-artist of the master's
style.
It is this tradition of stylistic freedom that encouraged
Lyttleton to investigate various approaches and media in the small
oeuvre known today. The rest of his works extant seem to be limited
to three water-colours, two lithographs and one drawing for
engraving. (18)
Lyttleton's Oeuvre
Lyttleton's watercolour of The House of the Honourable James
McNab, now in the Provincial Museum of Nova Scotia (fig. 4), is
an especially fine architectural rendering of his father-in-law's
residence, probably in the early 1850s.
Two works by Lyttleton were exhibited in the Nova Scotia section of
the International Exhibition held in London in 1862: the catalogue
lists Sketch of Halifax and American Winter Scene under
Lyttleton's name. Presumably these were felt to be consistent with
the purpose of Nova Scotia participation as explained in the
preface: "to bring the capabilities of the province to the
notice of the world, and as a record that may be of service on
future occasions when Nova Scotia will be called to take her place
among her sister colonies at the Great Exhibition of the mother
country." (19) The present location of Winter Scene remains
unknown.
The Sketch of Halifax is not identified, but Lyttleton
drew another smaller, distant view, c. 1853, taken from McNab's
Island, which is now also in the Royal Ontario Museum (fig. 5). His
sketching position in this instance appears to have been nearer the
northern tip of the island, within slightly closer proximity to the
city. A lithograph was published from this smaller version, by firms
in both London and Boston, c. 1862 (fig. 6). It seems unlikely that
Lyttleton would exhibit this smaller view, which was almost a decade
old in 1862, especially considering the promotional intent of the
entire display. For these reasons it is possible that the Halifax
watercolour exhibited in London is the panoramic view described
earlier and it may be dated plausibly to the early 1860s (fig. I).
It is interesting to compare the lithograph, c. 1862, and the
original watercolour on which it is based. The two scenes are
mirror-images, with the exception of a figure of two ladies and a
gentleman in the centre foreground which is omitted in the
reproduction. This is unfortunate because the style of the ladies'
dress provided local colour as well as important information on
the current Victorian taste in Halifax for costumes with many layers
of petticoats and overskirts. These prompted the historian Thomas
Raddall to remark that the well-dressed Haligonianne en route to
church was similar to "a perambulating cabbage with a
whalebone core." (20) The group of figures to right of center are
identified as Captain Hugonin with his daughter, and Will Lyttleton,
son of the artist. (21)
The two watercolour views from McNab's Island are similar in
orientation, and one can immediately recognize the foreground
terrain with the Hugonin house nestled into the gentle slope of
the hill and the harbour reaching to the city on the opposite
shore. The three striking physical characteristics of the wide view,
which we may loosely call the Panoramic View of Halifax, for
the purpose of clarity (fig. I), are the actual dimensions and the
unusually broad proportions of this watercolour, 31.9 x 76.8 cm
(12-9/16 x 30-1/4 in.), as well as the remarkable vista it includes:
the detail (fig. 3), which is a little more than the central third
of the Panoramic View of Halifax, more closely
approximates the scope of the 1853 work; the dimensions of the
latter are 32.4 x 48.2 cm (12-3/4 x 19 in.) and identical with those
of the lithograph.
The drawing in the Public Archives of Nova Scotia to which Piers
drew attention is not important for this study as it features a
view of the 1850 Halifax tire which does not bear directly on the
subject of the panorama. (22)
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