Gothic Antiquity: History, Romance, and the Architectural Imagination, 1760-1840 provides the first sustained scholarly account of the relationship between Gothic architecture and Gothic literature (fiction; poetry; drama) in the late eighteenth and early nineteenth centuries. Although the relationship between literature and architecture is a topic that has long preoccupied scholars of the literary Gothic, there remains, to date, no monograph-length study of the intriguing and complex interactions between these two aesthetic forms. Equally, Gothic literature has received only the most cursory of treatments in art-historical accounts of the early Gothic Revival in architecture, interiors, and design. In addressing this gap in contemporary scholarship, Gothic Antiquity seeks to situate Gothic writing in relation to the Gothic-architectural theories, aesthetics, and practices with which it was contemporary, providing closely historicized readings of a wide selection of canonical and lesser-known texts and writers. Correspondingly, it shows how these architectural debates responded to, and were to a certain extent shaped by, what we have since come to identify as the literary Gothic mode. In both its 'survivalist' and 'revivalist' forms, the architecture of the Middle Ages in the long eighteenth century was always much more than a matter of style. Incarnating, for better or for worse, the memory of a vanished 'Gothic' age in the modern, enlightened present, Gothic architecture, be it ruined or complete, prompted imaginative reconstructions of the nation's past--a notable 'visionary' turn, as the antiquary John Pinkerton put it in 1788, in which Gothic writers, architects, and antiquaries enthusiastically participated. The volume establishes a series of dialogues between Gothic literature, architectural history, and the antiquarian interest in the material remains of the Gothic past, and argues that these discrete yet intimately related approaches to vernacular antiquity are most fruitfully read in relation to one another.

Badenoch today is a landscape of empty glens and ruined settlements, but it was not always so. This book examines the transformative events that shaped the region's destiny: climate and market forces, hunger and relief measures, sheep farms and sporting estates, agricultural improvement and proprietorial greed, and the evolution of clanship. Although this is an intensely localised study, the dramatic nature of change is explored against the wider context of events not just across the Highlands, but also within the British state and its global empire. Badenoch's journey moves from the relative prosperity of the Napoleonic Wars into the terrible post-war destitution that devastated peasant, tacksman and Duke of Gordon alike. Estate reform and 'improvement' gradually brought a degree of economic and social stability, but inevitably resulted in depopulation as people were forced off the land to seek refuge in the impoverished 'planned villages' or to abandon their Gaelic homeland for life in the Lowlands. For those with the means, however, emigration provided lucrative opportunities unimaginable at home. Through extensive use of documentary evidence, much of it previously unseen, David Taylor paints an intimate portrait of the historically neglected region of Badenoch – one that provides a compelling new perspective on Highland history.

This fascinating study examines Samuel Richardson's letters as important works of authorial self-fashioning. It analyses the development of his epistolary style; the links between his own letter-writing practice and that of his fictional protagonists; how his correspondence is highly conscious of the spectrum of publicity; and how he constructed his letter collections to form an epistolary archive for posterity. Looking backwards to earlier epistolary traditions, and forwards, to the emergence of the lives-in-letters mode of biography, the book places Richardson's correspondence in a historical continuum. It explores how the eighteenth century witnesses a transition, from a period in which an author would rarely preserve personal papers to a society in which the personal lives of writers become privileged as markers of authenticity in the expanded print market. It argues that Richardson's letters are shaped by this shifting relationship between correspondence and publicity in the mid-eighteenth century.