Gothic: Four Hundred Years of Excess, Horror, Evil and Ruin 086547544X, 9780865475441

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GOTHIC

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In this

lively

and provocatiVF^ipbk, Richard

Davenport-Hines

traces the history of the gothic

from the seventeenth century to the

sensibility,

present day.

The

birth of gothic can be said to

date to the eruption of Vesuvius in 1631, an event

new landscape and inspired

so powerful it created a

the desolate and savage scenes depicted by the

painter Salvator Rosa.

With

their precipices,

ruined castles, dark caves, and contorted trees, they

provided the ori^nal visual and imaginative frame

of the genre. In England, under Rosas influence,

William Kent created the

when he

first

planted a dead tree

gothic garden

on the grounds of

Kensington Palace. Castles and country houses built like castles are

another manifestation of the gothic imagination: in real

life,

in pictures,

and in gothic

are usually places of fear

stories.

They

and amdety, none more so

than in Mitchelstown in Cork, where one family lived

up

stories

to their

home, inspired by and inspiring

of murder, sexual degeneracy, eccentricity,

madness, decay, and ruin.

Whatever the medium dening,

literature,

—

art, architecture,

tion,

filmmaking,

photography,

music, clothing design—gothic

is

gar-

about exaggera-

about immoderation. This revelatory history

ranges across genres and eras, taking in figures as various as

Lord Byron, Francisco Goya, Edgar

Allan Poe, Jackson Pollock, David Lynch, and

The Cure as it probes our ongoing fascination with "twisted and punished desires, barbarity, caprice,

base terrors and vicious

life."

t*

>«ii

Civic Center New Books 700. 4164 Davenport Davenport-Hines, R. P. T. (Richard Peter Treadwell) 1953Gothic four hundred :

DATE DUE OCT

DEC

^mig a m: 2


ed in a historical

and

to the

latterly

reflecting irrational-

anti-humanism. Images of power have always been

meanings of gothic revival s\Tnbolism: the power of natural forces

over man, man's po^ver over nature, the power of the autocrat, the mob, the scienfor

tist;

much

one's psyche, mentalists is

of the twentieth centur}', the

and

and

in the 1990s the invasive

child-care vigilantes.

often reiterated

by goth

dence and mutuality of

vsTiters.

'tops'

power

power

of inward goblins to torment

of health police, religious funda-

The suggestion

that submission

and ^bottoms' - provide one

does in\ersion, as signalled by the

is

empowering

Dominance and subordination - the interdepen-

fact that the

of gothic's themes.

pagination of a recent collection of

essays, Gothic: Transmutations of Horror in Late-Twentieth-Century Art, runs front. Gothic's

duces both sion: all

its

protean qualities and the obsession of

to

its

practitioners with transgres-

goth wTiters worth an\- attention are forever returning to that immorality authority-,

and thus provides power-systems' neces-

dark antitheses.

Decay provides by

back

estrangement from the dominant cultural values of every age pro-

which defies or subverts ruling sary-

So

its

subject-matter too.

architectural ruins, erecting

The

original British goths

sham-medieval abbeys and

were fascinated

castles as dilapidated

features of landscape gardening intended to evoke the effects of Salvator Rosa's

landscaf)e pictures. Later goths in their age:

monks

created by .\nn Radcliffe and

ruin, as in the stories of

Sade and the etchings of Goya;

moral ruin, as

Matthew Lewis; corporeal

have focused on the ruin that seemed most pressing

in those evil

hereditary' emotional ruin, as in

Poe or Faulkner; the

bv Frankenstein's monster or the

ethical void of

socio-political ruin represented

Edward Hvde.

Gothic's obsession

GOTHIC with decay, and

its

tradition of political negativity,

eth century an aesthetic of defacement.

It

produces

makes

it

graffiti

at the

end of the twenti-

- sometimes uncouth,

in

other instances witty or intelligent - defying or decrying complacently rationalistic

though ostensibly intended

social controls which,

harmony, actually enforce a regime of

trivialised

sameness.

Power, transgression, ruin and the death-instinct notes dreadful supremacies. For the gothic revival castle, the

house

awe

to

newly revived

of Argyll,

aesthetic

Catholic peasantry

became more menacing

new economic and

futile at resisting

became

theatres for sham-feudal

Horace Walpole with futility

who

built at Inveraray the first

provided the imagery for a power

in the 1790s;

and helplessness

Piranesi

and William Beckford used gothic imagery

social conservatives

These

and

his

of tough-guy castle-owners

mock power.

In other sites

if

Roman

castles instead

melodramas played out by mad Anglo-Irish

his toy gothic fort. Strawberry Hill,

nothing

The Inveraray

but gothic symbolism

political forces.

gothic to

is

arouse dread. Gothic con-

Irish nobility, particularly after the unrest of the

proved

ment. Gothic

all

Scottish peasantry after the 1745 Jacobite rebellion.

model was imitated by the

about the

Duke

an idealised humanist

to restore

camp

goths.

gothic novel

had already inverted

and other moods during the eighteenth century to express notions of

punish-

not hostile to progressive hopes. Lewis and Radcliffe were

who,

like

Mary

achieved their most dramatic effects fearful ugliness of Frankenstein's

ary monsters engendered by

Shelley, deplored revolutionary excess

when

monster

depicting the horror of

recalls the

Edmund Burke and

images of

mob

rule.

and

The

horrific revolution-

other commentators on French

proletarian excess. Similarly, Charles Brockden Brown's Wieland (1798) - 'our pre-

mier American-gothic novel', as Joyce Carol Oates

calls

it

- constitutes a painful

repudiation of progressive ideals and revolutionary hopes; and Wordsworth,

admiring neo-gothic Lowther Castle, built for Lord Lonsdale during the Napoleonic Wars, had no doubt that 'ye Towers and Pinnacles' symbolised

backward-looking thoughts' in an epoch of

futile,

'the strength of

deluded democratic hopes.

Visual and literary depictions of vampires provided another line of gothic imagination. These culminated in 1897 in

Bram

Stoker's

Count Dracula, who connotes

every kind of transgressive excess, not only sexual but those of monopoly capitalism, according to Franco Moretti's brilliant Signs Taken for Wonders. sees Stoker's creation as specially, magnificently threatening:

McGrath too

PROLOGUE' Dracula

between

is

committed

life

to

nothing

less

and death, and the creation of

relationship to time, to nourishment,

Satan, his real father, Dracula 's cal

than the breakdown of the distinction

arrangements

and

a race of

undead beings whose own. Like

to sunlight mirrors his

argument

is

with God, and with the biologi-

God made for humanity.

Correspondingly, the undead in a gothic novel of the 1990s defy God's arrange-

ments

for

humanity:

marks

All three bodies bore the tions.

of various piercings, tattoos

Living so long in the same unchanging flesh

were compelled

to

change

human bodies - wrinkles, ish hair. Molochai,

methods

it

themselves.

wattled

Twig and

flesh,

Zillah

and

made them

Age did

its

own

random sproutings

scarifica-

restless;

they

decorating of

of coarse yellow-

were much more pleased with

their

own

of decoration: silver rings, intricate patterns in ink, or raised flesh.

The late-twentieth-century gothic preoccupation with transgressive decoration of

cosmetic surgery (though

body

it is

arrangements for humar\kind; nises that demoralisation

is

surfaces

body mutilation

or

not just a counter-cultural version of

is

certainly that).

it

fetishistic

It

also registers dissent

from God's

expresses our self-disgust and death-wish;

one of the most effective modes of seduction;

it

it

recog-

declares

that adult acts of self-reinvention are ultimate acts of freedom, certainly as enriching

and

liberating as searching for

an inner true

self

through anxious introspection, or

seeking a heavily mediated identity based on childish experience and childish perception.

Schlock has always been a part of gothic too. The ture of the eighteenth century stories

Edmund Burke might

as sources of the sublime,

has been soap-operatic.

and

tic plots.

and thus It

of the

Germans

extol pain,

or of Walpole's

danger and

of higher ethical forces, but

terrible objects

facile

by manipulating stereotypical characters

television soap-opera Melrose Place has

much

most gothic output

has supplied entertainment, shocks,

factitious intensity

The

schaiierromantik litera-

were the multitude of English gothic

trash; so

and novels written under the influence

misunderstood novel.

thrills

was

German

been called

'a

in

emotional

mechanis-

gothic serial for

the cyber age', but there have been tens of thousands of dismal pre-cyber age equivalents in printed form. Occasionally, the direness of the times has

provoked

a

GOTHIC painter or writer to use gothic effects to express fear, horror, disintegration or perversity,

even

if

who have sometimes

the greatest of the artists

work have always been much more than goth

their

The gothic

pursued

style

and furniture Revival

for its

own

sake - for

its

gothic's

with

preoccupations

artifice.

and inversion

excess

Salvator Rosa, the sometime street-actor

English gothic landscaping, understood

and withered

as a performance.

life

who

enlist

provided

trees that inspired

The eighteenth cen-

the gothic revival began in Britain undsr Rosa's indirect influence,

rightly called 'the age of dressing up'

play-acting transgressive better

founded the notorious club theatricality of

Our

or Faulkner, say.

atmosphere, vocabulary

distinct

power,

the visual imagery of caves, storms, remote places

when

Goya

artists:

not just ephemeral, but calamitously boring.

is

[melo]drama and

tury,

gothicised elements of

Edmund

Ideas of the Sublime

the gothic revival,

by the biographer

known

Lord Le Despencer, the

whose essay

A

Medmenham

and Beautiful (1757) provided the

began with a mild

earliest theoretical text of

for

as

Fanny Bumey and

- the landscapes laid out by

theatricality

Vanbrugh and William Kent around Esher

Abbey. The

Philosophical Enquiry into the Origin of

was noticed by such contemporaries

Hazlitt. Gothic effects

Dashwood, who

as Sir Francis 'Hell-Fire'

for libertines at neo-gothic

Burke,

of

was

Henry Pelham and

Duke

the

of

Newcastle, the prime minister brothers, were backdrops (or fetes champetres - but in literature

and painting gothic soon became an

intense, stressful genre intended to

compel

vehement response. Gothic's excess

is

a

atmosphere, architects,

its

decor are

Two

all theatrical.

almost operatic;

of the

its

intensity, its

most important gothic revival

William Kent in the eighteenth century and Augustus Welby Pugin in the

nineteenth, both

worked on

stage scenery,

atrical effect in their buildings. (In this

and used

book, Pugin

its

is

techniques to powerful the-

counted as a goth because he

displayed the true excess of passionate character, and was an overdrawn ation acting out a tragic destiny: his buildings to a medievalist's Christian Utopia rather

decay; his aesthetics elevated the

power or

interiors,

of

Contemporary Art

contrast,

hark back

than a dystopia of transgression and spirit rather

new in

gothic curated

than celebrating secular

by Christoph Grunenberg

at the Institute of

Boston in 1997 collected together numerous goth pho-

tographs, pictures and installations of the last decade,

macabre or

by

on human degradation.)

feasting

The exhibition

human

and

self-cre-

intellectually exciting.

One

characteristic

is

all

by turns

shared by

all

beautiful,

the

most

'PROLOGUE' impressive exhibits - a quality fundamental to revival gothic since Kent meticu-

dead

lously planted

Abigail Lane's

The

on the grounds

trees

Incident Room', with

almost submerged in

and the

soil,

its

of Kensington Palace - theatricality.

wax body

of a

murdered

Tony

thrilling installations of

woman

lying

Oursler, Sheila

Pepe and Jeanne Silverthome are as immaculately contrived pieces of stage-setting

Abbey (designed

as houses like Milton

Lord Dorchester by Chambers) or

for

Ashridge (designed by Wyatt for Lord Bridgwater). The suicides of goths have been

With

theatrical too.

careful stagemanship

greatest gothic film director,

end of

his

swimming-pool

Dont Go Near

James Whale, Hollywood's

drowned himself by hurling himself

in 1957 after leaving

the Water. In a

paroxysm

on

earliest

and

into the shallow

his bedside table a

book

entitled

of self-contempt Ian Curtis, the lead singer

of Joy Division, a post-punk industrial goth band,

hanged himself from

a clothes

rack in 1980 to the sound of Iggy Pop's The Idiot playing over and over again, stuck in a record groove.

Gothic

is

burlesque

an evasive genre. From the

Goths

traits.

period of

and continuous, requiring the

sive inner self as proof of health

and good

thing,'

acts.

'It is

by imitation

Edmund Burke

far

more than by

whether high-minded emulation, or low-grade

form of copying.

He welcomed

compliance with which

all

men

this

has displayed

assertion of one true cohe-

we

precept, that

human

'a

existence

stylistic imitation:

some intermedi-

histrionic stunts, or

mimetic existence as

learn every-

forms our man-

'this

he recognised that

yield to each other',

human

and incessantly re-devised

constructed out of innumerable acts of social, emotional and

ate

it

identity as a serious

declared in his essay on the sublime:

ners, our opinions, our lives.' Like a true goth, is

revival

citizenry. Instead goths celebrate

identity as an improvised performance, discontinuous

by styhsed

its

human

bourgeois sense of

reject the

business, stable, abiding

earliest

species of mutual

and thus 'one

of the strongest

links of society'.

Goths believe that 'the

wants

world

to

in mistrust.

is

They

appear what

because

we

is

to plate 6 of Los Caprichos

is

not;

is

feigned.

Everybody

everybody deceives, and nobody knows anybody.' is

always

inflicted

by

a

power

in

some way supe-

never submit to pain willingly', and that death represented the

highest idea of pain of

pain

Goya's caption

a masquerade; face, dress, voice, everything

Burke recognised too that 'pain rior,

feel like

all.

For Burke and the goths

who have

imitated his thinking,

inseparable from power, and our attitude to our superiors should always

GOTHIC include an element of dread. In consequence, revival gothic

acknowledges that paranoia can be a sane response. remain

secretive,

and

a

little afraid,'

reflects the

'It

vampire

a genre

is

which

was most important

who

is

to

one of the few sur-

vivors in the most captivating of the

many

human

one has few chances of sanity or fulfilment

blood.

It is

a goth intuition that

novels of the 1990s about drinking

pretending to be an integrated part of humanity; happiness and survival depend

upon

vulnerable, hopelessly isolated individuals deploying evasive tactics.

similation of Sade's characters its

mildest,

shows

goth

this

most seductive expressions

lie

trait at its

in the

most ruthless and

camp concealments

Beckford.

of

The

dis-

horrific;

Walpole and

i

Goths unfortunately seldom rank sanity or calm among the highest aesthetic achievements; nor do gothic's millions of contemporary staged extremism, and vicarious or

artistic

consumers. They

strictly ritualised

experiences of

the dreadful Other. This taste connects gothic to sado-masochism.

Too much has

like carefully

been made

in the twentieth century of the erotic

turies

knew

sexual

acts.

acts

interest in unbridled or

its

was power

central focus

were merely means

status. Their chief

gothic; earlier cen-

were more enduring, variable and life-enhancing

that there

Despite

meanings of

extreme passions, revival gothic's

relationships; as in Sade's 120 Journees de Sodome, sexual to display

economic authority,

when he

with gossip about an aristocratic contemporary called Delaval,

bed with

a

young man; Delaval punished

buggering the young

man

an

act of

but the assertion of superior power as

its

purpose.

More

recently Foucault claimed that

old as Eros' but

'a

massive cultural

S&M was

fact

regaled his friends

who

surprised his

his usurper with

contempt by

domination which had not eroticism

in

forcibly

and superior

class control

purpose was acting out roles of domination and subordination

rather than erotic fulfilment. Walpole understood this

mistress in

acts than

'not a

name given

which appeared precisely

to a practice as

at the

end of the

eighteenth century, and which constitutes one of the great conversions of Western imagination'.

The American

ous emergence of

critic

Mark Edmundson has argued

that the simultane-

S&M and gothic literature was not coincidental:

'you cannot have

Gothic without a cruel hero-villain; without a cringing victim; and without a terrible place,

S&M

some is

locale,

hidden from public view,

where Gothic,

in a certain sense,

——

imagery has often been used

---^^—--^^-^—

to illustrate the

in

which the drama can unfold

wants

power

to go.'

The

truth

relationships

is

.

.

.

that gothic

which have preoc-

^^— ^——^^^^-^^—^^—-^— 8

PROLOGUE' cupied philosophers. Universal principles of order - the necessity for rulers and subordinates, the interdependence of superiority and inferiorit)^ - rested for centuries

on the Aristotelian paradigm of master and

In the eighteenth century

sla\'e.

that monstrously self-absorbed philosopher Jean-Jacques

and virtue

the traditional anhthesis of vice

into a

new

Rousseau reformulated

opposition of Self against

Others in varying degrees of dependence and antagonism.

At the turn of the eighteenth century into the nineteenth Hegel propounded a

new

theor\' of the relationship

extorts recognition of his

domination

is

his superiority

risking

Sla\'e.

He argued

powers by threatening violence on the

that the tyrant

sla\e,

but that this

only theoretical or superficial. In practice the Master cannot enforce

by constraining or

what he

killing others

desires most: recognition.

control, but actually

aware of

between Master and

without outraging proprieties and

The Master believes himself

depends upon the Slave

for his status;

dependence, their power-relationship

this

Slave's fear of the Master - like the

S&M

is

free

and

in

once the Slave becomes inverted.

The Hegelian

l^ottom' cringing before the 'top' - devel-

ops into more empowering and exhilarating emotions. Horace Walpole's pioneering gothic novel The Castle of Otranto (1764)

is

an extended camp

through with ideas about power-relationships which altogether less frivolous

works

of

joke;

recall those

may seem enormous,

in the 1990s, gothic

shot

Rousseau and Hegel.

although

has sustained a strong

late twentieth

one pop band, Depeche Mode,

at least

adapted a phrase from Phenomenology of Mind for Still,

it is

developed in the

The distance between Hegelian philosophy and mass culture of the century

but

a

song

title,

'Master and Servant'.

re\'ival. It pro\'ides graffiti

denounc-

ing 'today's moral climate (cloudy, with a fascist storm front threatening)', as the

southern gothic novelist Poppy Z. Brite in 1993 described the post-Reaganite culture in

which Tomb

of the

Unborn

is

the

title

of not a goth fantasy but anti-abortion propa-

ganda, 'complete with color shots of shredded fetuses in puddles of their Since the 1980s Britain and the

USA

own

gore'.

have been increasingly influenced by funda-

mentalist groups representing not just decerebrated, evangelical Christianity, but

therapeutic religions and harsh, exclusive sects like Kleinianism. (Mark in Nightmare on

pro\ocative

Main

section

Street: Angels,

Sadomasochism and

Edmundson

the Culture of Gothic

has a

on reco\'ered memory syndrome as gothic melodrama.)

American fundamentalists,

as Christoph

ban from museum displays, gallery

Grunenberg has described, ha\e fought

to

exhibitions, television, the Internet, magazines.

GOTHIC

CD

lyrics

and videos 'everything

that disturbs the

uncompromising doctrine

of

an

imaginary nuclear family, the dream of a caring, non-violent society, the Puritan

repugnance of sex

(or better even:

no sex

at all

- "Just say no!") and an obsessive

preoccupation with physical and mental cleanliness'. They fear the fragmentation of

human

experience and recoil from the reality of

tive hell-fire preachers, they suffer

diversity of rules, loves, fears

isolation. Like old exploita-

an intolerable perplexity when confronted by the

and play by which other people prefer

hate soaps like Melrose Place where there serial disruption (Sunset Beach

human

is

no homeliness, no

to live.

They

reconciliation, only

even had a long-running storyline about a villainous

trapping a victimised 'bottom' in traditional gothic subterranean confinement

'top'

and another about

a generous millionaire called

ganger named Derek). For them,

all

ing, alcohol, secrets. Their cultural

excess

aim

is

Ben haunted by an

want

deviant: they

to infantilise, cleanse

is

evil

doppel-

to extirpate

and

smok-

control.

New gothic's resurgence has been provoked by the fundamentalists' sanitary controls.

risk

Gothic art has always disclosed the terrors of a world where there

and nothing

delight.

It

delivers

when even

human

is

protected.

It

is

a constant

demonstrates the trick of turning anguish into

an enduring message about the existence of original

sin at a time

practising Christians are reluctant to mention this doctrine of innate

wickedness.

It

has supplied consumers with choices as varied as the 'gothic

western' of Richard Brautigan's novel The Hawkline Monster (1974), the rap-album Ghetto Gothic (1995)

gothic

named

murk

Batman

of

'Porno'

made by the pioneering black film-maker Melvin Van Peebles, the shades of Hard Candy nail varnish brand-

films, the metallic

and 'Pimp', or innumerable goth

tion of serial killers into the gothic aesthetic

sites

on the

which began

Internet.

The incorpora-

in the 1880s has

become

almost the leading characteristic of the genre since the 1980s (Anne Rice's vampires

and witches are

serial killers, after all).

one example of gothic's cultural

murders and the

serial killers

This preoccupation with serial homicide

infiltration: in the last

just

ritual

have attained an iron hold on mainstream entertainment in

USA. Stephen King has nearly 250 million copies

mercial supremacy, as

twenty years satanic

is

Edmundson notes,

fright novels for adolescents

is

of his

books

in print; his

com-

challenged only by R. L. Stine, author of

with such gratifying

titles

as Cheerleaders: The First Evil.

Gothic consumers prefer art and entertainment to be morale-sapping, not bracing or comforting. Does this

mean

that

humanity has become

sick

and

sad, as the family-

values and child-centred controllers plaintively reiterate, or that their brand of 10

'PROLOGUEsanitised infantilism Evil,' as

All

is

insufficient for the

human

spirit?

'We can no longer speak

of

Jean Baudrillard has recently complained:

we

can do

is

discourse on the rights of

weak, useless and hypocritical, Enlightenment belief

its

of

good

is

pious,

supposed value deriving from the

Good, from an idealized

... All the talk is of the

prevention of violence: nothing but

power

- a discourse which

in a natural attraction of the

view of human relationships

depressive

man

security.

This

power

intentions, a

is

minimizing of

Evil, the

the condescending

that can

dream

and

of nothing

except rectitude in the world, that refuses even to consider a bending of Evil, or an intelligence of Evil.

Goths choose

to stand

on the giddy edge

of things: they take the riskiest path

up

the volcanic slopes to peer into the crater. Like satirists, they are reactive, seek to

provoke rors,

reactions,

and seldom respect progressive

from Matthew Lewis and Ann Radcliffe in the 1790s, through Shelley's post-

Napoleonic Frankenstein, to the

Dr

ideals. Their great literary hor-

Jekyll

and

Mr Hyde and

late- Victorian

climax of Stevenson's Strange Case of

Stoker's Dracula, have

proved the most resounding and

pervasive British literary influences on global culture and mass entertainment in the twentieth century. In the secrets

USA,

too,

American

literary gothic's obsession

with family

and hereditary doom has altered - arguably poisoned - the mainsprings

people's emotions and domestic peace. At the end of a century

when

the therapeutic

claims of affirming loudly and shamelessly one's personal truth have

hackneyed, goths

still

offer exciting

insist that there is

much

tinues to haunt us

all.

of

become so

but uncomfortable alternatives. They ceaselessly

that should

make us ashamed. The

11

gothic imaginahon con-

CHAPTER ONE

Une specire sijill wnl nauni us Except for us, Vesuvius might consume

utmost earth and know-

In solid fire the

No pain To

(ignoring the cocks that crow us

die).

This

From which we The

is

a part of the

shrink.

total past felt

And

nothing

vet,

up

sublime except for us.

when destroyed.

Wallace Stroens

The

St Gotthard, like other catastrophes,

and seems never

where dusk

to

be over. For some

and boredom came

suffocation

fell

hme

becomes unbearable slowly

thev blinked in and out of minor tunnels;

to their climax

and lessened; one was

in sheets of rain. Unwilling, Cecilia

in Switzerland,

could not avert her eyes from

all

that

magnificence in wet cardboard: ravines, profuse torrents, crag, pine and snow-smeared precipice, chalets

upon

their brackets of

hanging meadow.

Elizabeth Boiven

NAPLES:

AN EVER-MOVING PICTURE

Vesuvius has always evoked

from 1500

until 1631.

escent since

1500,

terror.

The only interlude

The volcano had been somnolent and

it

by many

w^as believed

for

in

its

intimidation lasted

almost five centuries, qui-

that

its

were

fires

extinct.

Neapolitans descended daily by tortuous paths to the luxuriant green bottom of the crater.

Woodmen worked

roamed

there;

the dense

woods

flourishing on the lava

herdsmen tended animals grazing on succulent

soil;

grass.

wild boar

The

walls at the bottom of the ab\'ss were pierced with ca\"ems through which w^histled eerily. Late in 1631 there

adjacent wells

fell

mysteriously.

were earthquakes

Around

found the woods gone and the chasm

walked across from one side

1

December an

level to the

to the other

in the \icinity

wind

and water

early visitor to the

in

summit

brim with \olcanic matter. He

apparently neither 13

crater

awed

at the

magnitude

GOTHIC

A

of the event nor apprehensive of danger.

alarmed by demons growling gious ceremonies.

On

above the volcano;

later that

summit glowed with

whom

later local

peasants were

they tried to placate with

reli-

the night of 15 December, a bright star appeared glinting

evening a lightning flash struck the mountain while

a deep red.

tures ignited in flames;

morning

mountain

in the

few nights

Then smoke billowed out

huge stones were hurled from the

of the mountain; crater. In

pas-

its

Naples on the

saw an extraordinary cloud shaped

of the sixteenth the populace

its

like a

gigantic pine tree hanging over Vesuvius. Still

no one understood the

had made

a

long study of the volcano, went to his library and read them Pliny's

first-hand account of the

Vesuvian eruption of ad

There,' said Braccini, as he

79.

shut the book, 'there, in the words of sixteen centuries ago, today.' Earthquake shocks

ple choked

came

faster,

concussions

on the sulphurous stenches;

no premonition

of danger.

their fear

Around noon

boomed

was

all

depicted what you see

is

ever

like the blast of

became

many

was enveloped

the city

relics, his

loudly, peo-

was

had

in darkness; the

a roaring

sound

furnaces; tongues of lightning flashed continuously; the

appalling; Naples

went wild with

to venerate the city's

blood was found

to

patron

saint,

Cardinal Archbishop

terror. Its

ordered the Sacrament to be celebrated throughout the

was organised

more

the worse for having

houses, according to Braccini, swayed like ships at sea; there

crashes

who

terror threatening them, until the abbot Braccini,

but

A

city.

when

solemn procession

the priests

went

to his

be liquefied and bubbling. The suffocation of Naples

was, however, supposedly halted by the miraculous intervention of San Gennaro the

moment when

authorities sent

his relics

drummers round

pollution of gross pleasures half a mile

above

its

from the

usual

were being carried out

level.

coast,

and

to the cathedral square.

at

The

the city beseeching the people to forsake the

selfish vices.

Next day the sea receded

and then swept back

in a

Seven tongues of lava poured

huge wave

down the

for nearly

to a point

mountainside

high

at terri-

ble speed, destroying villages, killing thousands of people (one wiping out a

reli-

gious procession). The lava flow soon reached the sea, which for days resembled a boiling cauldron. Pliny's account of the destruction of

the Vesuvian eruption of

ad

79;

Pompeii ensured the enduring notoriety of

but the violent paroxysm in 1631 hugely impressed

contemporary imagination: the

terrible violence of

and

humanity

lightning, the puniness of

Nature, the symbolism of storms

in everything except

14

its fears,

the horrors

STILL WILL

THE SPECTRE from whose ghastliness humanit}^

HAUNT US-

protected by proscription and custom. John

is

Evelyn's emotions fourteen years later on beholding Vesuvius were typical: 1 layd

my

my

on

selfe

stupendious

pit

&

belly to looke over .

.

.

Some

spectacles in the World.'

who

there are

others of Purgatory, certainelv

it

into that

maintaine

human

fascination,

have been compared

off,

Mouth

its

power

momentous

of hell

in the centre

to excite emotion,

and the whole

and tremulous

shifting

as the

its

In the early nine-

whereof rose a flame,

downward, with

selfe,

description of Vesuvius:

to a crest of gigantic feathers, the

high-arched, and drooping

it

most horrid

of the

whole

the crater arose a vapour, intensely dark, that overspread the

background of the heavens;

tain,

the very

Vorago, a

terrible

were continuous.

existence

teenth centurv' Lord Lvtton wrote a similarly

From

it

&

frightfull

must be acknowledged one

The volcano's

parabolic implications about

most

that

diadem

.

.

of the

.

might

moun-

the hues delicately shaded

plumage on

a warrior's hel-

met. The glare of the flame spread, luminous and crimson, over the dark and

rugged ground ... increase the

An

oppressive and sulphurous exhalation served to

gloomy and sublime

on turning from the

terror of the place. But

mountain, and towards the distant and unseen ocean, the contrast was wonderfully great; the heavens serene

eyes of Divine Love.

It

was

and of Good were brought

At the time

Two

Sicilies

in

if

city after Paris.

after incorporation into the

away from

It

Hapsburg empire. The Spaniards

rituals of the viceregal court rather as

These nobles built

as the

fine palaces,

had been ruled since 1503

their estates

French aristocracy into the elaborate etiquette and Versailles.

and calm

Xaples was the capital of the Kingdom of the

and the second European

and

still

one view.

the lawless provincial nobility

the duties

blue, the stars

the realms of the opposing principles of E\il

of the 1631 eruption

by Spanish viceroys

drew

as

and

and enmeshed them

in

Louis XIV later drew the

political

impotence of court

life at

kept rich retinues about them, bickered

over protocol and adopted the austere black clothes of their masters. As well as

being a centre of political power and aristocratic display, Naples was a rich port inhabitants tas in

were exempt from many

Europe and celebrated

destruction of 1631

for the

was an outburst

taxes) set

beauty of of

among some its

gardens.

of the

most exciting

One consequence

(its

vis-

of the

sumptuous rebuilding and ornamentation

Neapolitan churches with an attendant flowering of the 15

arts.

of

The Spanish authori-

GOTHIC ties

were, however, unable to suppress the bands of brigands swarming through the

surrounding countryside in search of plunder and leaving desolahon

Naples excited raptures and fears antiquity

and gave them

a

new way

Englishmen, fed their veneration of

in visiting to

in their trail.

use their eyes. The castle of St Elmo, occu-

pied by the garrison enforcing Spanish power, was visited in 1645 by John Evelyn: 'built

on an excessive high

Citty,

which

rock,

whence we had an

lyes in shape of a Theatre

upon

Citty; the

delicious fields

and meadows. Mount Vesuvius smoaking

most divertisant

&

.

.

.

full of

Gallys,

doubtlesse one of the

power and

considerable Vistas in the World'. This pictorial

were

persistently associated with Naples

by the

picture'.

To John Meade Falkner,

a Victorian

who

he was interested in a naval arsenal

for the prosaic reason that

the-

English. In the cen-

tury after Evelyn's visit 'the city and bay of Naples' were to

ever-moving

one

a steep hill

Other of stately palaces, Churches, Monasteries, Castles, Gardens,

ships, the

atrical quality

Mounting

the Sea brinke'.

he 'considerd the goodly Prospect towards the Sea, and

and

prospect of the whole

intire

Ann

Radcliffe 'an

visited the district at

Puzzuoli on the

north of the bay, 'the panorama of the most beautiful spot on earth, the Bay of Naples, with Vesuvius lying on the far side liant

.

.

was unreal

some

as a scene in

bril-

dramatic spectacle'.

Naples and late

.

its

surrounding vistas enriched the English visual imagination

seventeenth century and gave a

new

in the

gothic aesthetic to the English-speaking

world. The antecedent imagination in this process

is

that of a proud, scornful

Neapolitan painter called Salvator Rosa (1615-73). After Rosa's death his creative ideas were intellectualised

by an

artistic,

invalid English nobleman,

Anthony

Ashley Cooper, third Earl of Shaftesbury (1671-1713). Shaftesbury's ideas were popularised

by the poet Alexander Pope (1688-1744), who disseminated

the visual

and the picturesque; Pope's version

a

new

of Shaftesbury's doctrines

images were then given solid form by the architect and landscape

sense of

and Rosa's

artist

William

Kent (1686-1748). This process would have been impossible without the new for Continental travel that

taste

developed among the English of the seventeenth century

and without the new fortunes

that enabled

16

them

to collect

works

of art.

'

THE SPECTRE

STILL WILL

HAUNT US'

SALVATOR ROSA: THE FASCINATION OF HORROR Salvator Rosa

was

of Naples, in 1615.

bom in He

the small village of Arenella, situated high abo\'e the

retained the Neapolitan dialect and

and always regarded Naples

as a paradisiacal place,

mannerisms

all

his

Bay life,

though he reviled some of

its

customs. After his father's early death, he was deserted by his mother and endured

uncongenial charity schooling.

He had

a truant disposition,

and used

to sketch

with

burnt sticks on the walls of his bedroom. Once he was severely whipped for thus decorating the walls of a chapel. the

sumptuous sybaritism

Sade

in

He was

simultaneously estranged and tempted by

Naples - 'aU

later wrote, 'ever\' other

tinsel

and

frippery, like

its

population,' as

people ha\'e used the Neapolitans to establish a

power; they alone have remained weak-willed and

listless.

Destined for the priesthood, Rosa became a novice in a local monaster)^ where he acquired the classical learning later manifest in his paintings and poems, but earned the enmity of the priests.

An

At the age of

sixteen, in 1631 (the year of the great

engraving of Salvator Rosa's Landscape with Cave, owned by William Kent.

17

GOTHIC Vesuvian eruption), he abandoned his novitiate and took there

no other

is

ambush and

pope and

religion than this of

the dragon's den,' he

'If

cardinals, let us to the dragon's

quoted as saying.

is

to the Calabrian hills:

It

was fundamental

to the

English admiration of Rosa that he had repudiated monkish submission by vanishing into 'wild but splendid regions

.

.

.

which modern

art

had not yet

quote his Irish Protestant biographer Lady Morgan in 1824. peril

.

.

.

they were alluring to one, who, lonely and proud in

and the is

Many romantic

terrific'

rumoured

to

stories

spirit,

could find in the of the sublime

have been invented about Salvator Rosa. He

have joined a bandit gang.

handsome and

friend of Masaniello, the

and

'Full of difficulty

and endless combinations

trackless solitude of Nature, magnificent

violated', to

Dumas

reckless

an insurrection against the Viceroy and was

represented him as an intimate

young fisherman who

briefly installed as

in 1647 led

an arbitrary sover-

eign in Naples. After a few days' rule, the fisherman-prince suffered a nervous

paroxysm, tearing

off his clothes

Rosa praised Masaniello, but the story of the

a volley of assassins' bullets.

Compagna roamed

della Morte, a

band

during a diatribe from the pulpit, and was killed in

of Neapolitan artists including Salvator

Rosa which

the city murdering Spanish soldiers, appears to be mythical.

Rosa began painting before leaving Naples to Florence. In

both places he was a poet,

as a painter. Like every ambitious

for

Rome

about 1635;

satirist, salonnaire

baroque

artist,

and

later

he moved

street actor as well

he chiefly produced portraits and

sacred or classical history paintings. To the latter he imparted coded messages: his picture of Diogenes the Cynic crouched in his barrel rejecting the conversational

overtures of Alexander the Great, conqueror of the world,

own misanthropy and contemptuous independence were important

in his

work.

He asked

was

a declaration of his

of patrons. Literary images

poet friends for ideas, and pillaged the writ-

ings of Stoic historians for images to paint. Indeed, he called himself a Stoic and identified himself with

Timon

of Athens: his satire La Guerra

is

constructed as a dia-

logue between himself and Timon on the subject of despotism. His famous portrait in the garb of a philosopher emphasises that

self-

he was in earnest about moral

philosophy. In keeping with this character, he

was keen

umphs

man anguished by the prevailing cor-

of the virtuous. His scorn

ruption,

and

was

that of a

to praise Virtue

and the

tri-

his ethical ardour contributed to his isolation. Fellow painters resented

his courting of literary intellectuals

Moreover, his

artistic

who in

turn mistrusted his ethical pretensions.

ambitions were baffled by contemporary consumer 18

tastes.

THE SPECTRE STILL WILL HAUNT US'

He

avidly desired commissions to paint complex allegorical and historical paintings

- Fortune and The Death ofRegulus are ambitious examples of

this line of

work - but

and Roman patronage was unre-

the papacy's prestige

was declining

liable. Failing to find

powerful patrons, he popularised his work by selling pictures

what would now be

to

called the

in his lifetime

middle

classes.

The

traditional forms of landscape

painting which had emerged from the Middle Ages - decorative, with historic allusions artists

were being superseded by new

produced paintings

in

A

styles in the seventeenth century.

few

which the landscape looked more important than the

people or objects. Claude Lorrain (1600-82) gave the genre of landscape painting parity with historical figure painting;

painted directly from

life,

though a keen student of nature, he seldom

preferring idealised poetic landscapes evoking a Virgilian

golden age removed from the crudities of nature or of the bamboccianti (painters of

condescending

little

pictures of everyday

painting savage and desolate scenery. ity

He saw

Rosa's supreme

picture.'

though, was in

the misery of the earth

'what they abhor in real

The Roman connoisseurs exasperated him

landscapes, always, always,

mockery

admirers. to a

my

and

human-

of

He

He

too:

insulted his clients, telling one

brickmaker as they work

work was

death,

whereupon he became

international.

now

(it is

to order'.

who made

the

his friends

round

Although by the

Englishmen started buying

in the National Gallery in

its

it

at their

late

1660s the

'to

demand

his pictures only after his

first

Lord Spencer and hung

the climax

it

was

when he took

covered with a curtain, which he

nearby an old

coffin so that a sinister confederate

to write a forgery or inscribe a

raged

It is

the quintessence of a

On its far left a foul hag is directing a blindfolded

to the centre of the picture;

from

in a lifetime habit of

London). In Rosa's lifetime

his private gallery. De'Rossi kept

gothic image, excessive yet evasi\'e.

half-dragged

small

a specifically English, or perhaps British, taste.

aside with a flourish at the end of each tour.

young innocent

my

suggestions for a picture

Roman collector Carlo de'Rossi and provided

owned by

would draw

'always they want

own works and

His Scene of Witchcraft, for example, was bought by the

Althorp

they like to see in a

and entrenched him

despised some of the best of his

for his

life

small ones.' The success of these pictures seemed a

of his high intellectual ambitions,

angry disdain.

at

gift,

represented in the harsh Calabrian landscape, and scorned the clients of the bam-

boccianti as sentimental fakers:

go

life).

man

supports a skeleton

can force the skeletal fingers

prophecy. In the background a coolly menacing white

veiled figure holds candles. This last figure recalls the shrouded, festooned people 19

GOTHIC

who surround the Virgin Mary in the frescos of Mantegna; but the clothing of Rosa's figure also evokes the

wrappings of a

mummy and a leper. The hag, the old man and

the shrouded attendant are villainous-looking figures constituting a tableau of decep-

and

tion

betrayal.

They are oblivious

to

everyone surrounding them: indeed, though

there are several distinct groups of people in the picture, tion to

and

any

other. This

fantasies,

The centre

and

is

Salvator Rosa's reminder of the inwardness of people's fears

their potential for secret tawdriness.

of the picture

corpse hanging from

dominated by

is

bough;

its

Christian values. The dead tree

near

its

base, as there

grown from

mouth

was

in

a sapling taken

after his death.

is

a withered tree-trunk with a grimacing

this central

image presents a

a negative of the tree of

most pictures

from the

life.

total inversion of

There

is

a skull lying

of the Crucifixion, for Christ's cross

tree of life

The corpse evokes the

man is damned,

though, as a suicide, the dead

by a

none pays the slightest atten-

which had been planted traitor

Judas

in

who hanged

was

Adam's himself;

his remains are being offered incense

woman who represents an inversion of Mary Magdalene. A witch meanwhile is

severing the hanged man's toe-nails for use in her potions. In the foreground under the corpse a

naked

girl

gazes into a mirror before which she holds a

little

wax model

man which is reflected opaquely in its glass; behind this girl an uglier naked woman gapes and gasps with stupid prurience at the distorted reflection of the miniature. The

women their

are

hunched and

intent figures

engaged

envy and slyness more repellent than

much

gothic literature,

their lust.

power commanding

the

is

in acts of manipulative possession, Illicit

desire,

their attention.

which subsumes

To

their right, a

crone squeezes entrails into a mortar and grinds with a bone as her pestle. Behind the crone a knight in armour sets knight, though,

man wreathed held out to

is

bowed

as a poet,

him by

in submission,

who

On

bizarre monsters; they are the a vicious face clutches a is

a white rabbit crouching in a

and

in turn takes a

in this picture,

circle;

the

being beaten with a broomstick by a

bloody heart pierced on a swordpoint

the right of the picture

two witches approach riding

bad women who disrupt fertility and nurture: one with

swaddled innocent baby who must be

signalled

by lurid blue and golden

Rosa perhaps had burlesque intentions

busy

is

magic

a bearded necromancer. Behind the poet there rears a hideous

predatory bird skeleton.

approach of dawn

fire to

streaks

sacrificed.

The

on the horizon.

in Scene of Witchcraft: the viciousness is so

and the old people and crones such

potentially comical figures,

with their grimacing faces reminiscent of the speciality of NeapoUtan 20

street theatre.

THE SPECTRE STILL WILL HAUNT US' Even

in the direst extremities of the gothic imagination the evasiveness of

and parody

is

never

far

away. There

certainly a burlesque element to Salvator

is

Rosa's witchcraft poem. 'La Strega', or 'The Witch',

who

use infernal spells on the lover

tells

has forsaken her.

of Phyllis, try

'I'll

herbs and nuts that stop the celestial wheels.' She

lays, strange

summon

for her spells to

burlesque

who

magic lists

threatens to

plots,

unholy

the ingredients

the forces of iniquity: 'A magic ring, icy streams, fish,

alchemic draughts, black balsam, ground powders, mystic gems, snakes and owls, putrid blood, oozing guts, dried

mummies, bones and

blacken, horrid cries that

She intends

'when the

false

and 'sung on it

may have

prime

terrify.'

image burns/so burns the

a dark evening

to

grubs, fumigations that will

burn the wax image of her

real one'. This

by a powerful soprano

tingled the spine'. Spine-tingling

is

a

or,

poem was

set to

music,

perhaps, by a counter-tenor,

prime gothic

effect; or rather a

modern world.

effect of gothic in the

Rosa was the precursor of every gothic

revivalist

down

to the

end

of his millen-

nium. 'He had not the sacred sense ... he saw only what was gross and should not suspect Salvator of wantonly

Ruskin wrote of him.

'I

constantly painting

does not prove he delighted in

it

lover, for

in that horror, fascination.'

When New York

it;

he

felt

terrible,'

inflicting pain.

the horror of

it,

His

and

gallery glitterati in the 1990s stand

before Joel Peter Witkin's photograph of an old, bald man's severed head, taken

from a hospital mortuary, lying neatly horror of

it,

and

in the centre of a salver of salad, they feel the

in that horror, fascination.

They become part

of the gothic experi-

ence: Witkin's photographs are like Rosa's witchcraft paintings in twentieth-century accents. tal to

Rosa provided images

originate in

uncanny. 'Of

all

for feelings that

any epoch or nation. They were

men whose work I have

the idea of a lost

spirit,'

life

irrational, pessimistic, fearful

ever studied, he gives

Ruskin continued.

baseness, the last traces of spiritual

whom

were too ubiquitous and fundamen-

'I

me most

distinctly

see in him, notwithstanding

in the art of

Europe.

He was

and

the last

all

his

man

to

the thought of a spiritual existence presented itself as a conceivable reality.'

This spiritual awareness entailed both inescapable, oppressive mystery and a sense of the puniness of

wrote, 'The Specter

human power. As

still

will

haunt

us, in

the

some shape

our cool Thoughts, and frighted from The interest in the supernatural

famous waterfall

was

Enghsh connoisseur Lord Shaftesbury or other:

Closet, will

and when driven from

meet us even

at

Court/ Rosa's

reflected in his personal response to landscape. 'The

of the Velino', he enthused in 1662, 21

was 'enough

to inspire

GOTHIC the

most fastidious brain with

its

mountain precipice and

a half-mile

Rosa was crucial

to the

teenth-century England.

down

horrid beauty: the sight of a river hurtling

column

raising a

emergence of

a

new

of

foam

fully as high'.

sense of the pictorial in late-seven-

As Margaret Jourdain

described.

The works

of Salvator

Rosa, with their savage scenery of rocks, cascades and blasted trees, opened English

eyes to the picturesque qualities of the wilder kind of scenery; and the wide landscapes of Claude Lorrain, diversified by ruined temples and other fragments of the

antique world, were adopted as setting the standard for the pictorial qualities of

park landscape.' Rosa's precipices, withered

armed

strangely

affinity for artist

who

solitaries

never delighted French collectors, with their national

settled in mid-eighteenth-century Italy to paint Salvatorian

Loutherbourg,

this

much

who

in 1771.

work

of his

painted Salvatorian

Supposedly

it

early Rosa picture sold to the

banditti,

was during

Duke

three travellers are maltreated

level

is

a

and

trailing ivy

at Knole), in

a

an

which

narrow rocky

on the surrounding

literal exercises in

Brownlow Colyear,

Lord Portmore and the

banditti at

still

Bandits,

remote and desolate building.

such pictures could be read as

rich grandfathers.

Rosa learnt

by Attack by

typified

of Dorset in 1770 (and

Attacks by bandits were a real menace.

wounded by

it is

de

to live in his best market,

his bandit adventures that

crevice: characteristically there are stunted trees

At one

moved

and robbed while riding through

and on the high outcrop there

views of the

to British tourists: Philippe-Jacques

landscape style that the English so relished:

crags,

outlaws and bold,

Watteau, Fragonard and Boucher. Claude-Joseph Vernet, the French

Neapolitan coast, sold

London,

pitiless

trees,

last

Duke

Gensano while on the grand

the

young

of Ancaster, tour,

story-telling.

heir to

who was

was one

two

fatally

of their

most

poignant English victims. But Salvatorian bandit landscapes produced more complicated evocations.

with spiritual

Ann

fears, its

Radcliffe's

ode

'Superstition' connects Salvatorian landscape

human figures with

lost souls:

Enthron'd amid the wild impending rocks. Involved in clouds, and brooding future woe.

The demon Superstition Nature shocks.

And waves her sceptre o'er the world below. Around her

throne,

amid

the mingling glooms.

Wild - hideous forms are slowly seen 22

to glide,

THE SPECTRE STILL WILL HAUNT US' She bids them

And

fly to

shade earth's brightest blooms,

spread the blast of desolation wide.

Lord Lytton's account of Rosa similarly presented the bolic: 'His

banditti figures as para-

little

images have the majesty, not of the god, but the savage;

imagination, and compels

most wild and

fantastic

it

to follow him, not to the heaven, but

upon

earth.' In

more conventional

sories of scene kept

yet the

monarch

down, and

of the

made

if

to

seems

shadow.

that

is

man, and the soul

that the exile

acces-

from paradise

is

mountain, the waterfall, become

and the man himself dwindles

to reign

all

outward world'. By contrast

in the landscapes of Salvator, the tree, the

the principal,

show

through

and the mere

the prominent image;

cast back, as

he grasps the

painters, Lytton declared

in his gothic novel Zanoni (1842), set largely in Naples, 'the living

that lives in him, are studiously

...

supreme, and

its

to the accessory.

true lord to creep beneath

Inert matter giving interest to the

its

The matter stupendous

immortal man, not the immortal

man to the inert matter. A terrible philosophy in art!

THOMAS BURNET AND THE SUBLIMITY OF MOUNTAINS Until the late seventeenth century literary evocations of landscape remained, with

few exceptions, descriptive vation.

Landscape

lists

with

lives.

meant

that Shakespeare

was used

to

symbolise character

came from property and power. Limitations on

and Dryden probably never saw

a

mountain

than direct; he seems entrenched in the contemporary view that wild

Nature must be tamed. 'High

objects',

he wrote in 1667,

'attract the sight;

but

it

up with pain on craggy rocks and barren mountains, and continues not long

on any

object,

which

is

wanting in shades of green

to entertain

it.'

His revulsion was

shared by travellers too. John Evelyn in 1746 found the Alps 'strange, horrid full',

in their

Dryden's opinion of rugged landscape suggests that his knowledge was theo-

retical rather

looks

evocative power, individuality or obser-

in seventeenth-century poetry

or to indicate the amenities that travel

little

and

their

mountain people with

of gigantic stature, extreamly fierce

The English response influence of

to

Thomas Burnet

their goitres 'ougly, shrivel'd

and

&

deform'd

drastically revised

.

.

under the

(1635-1715). Early in the reign of King Charles left

.

rude'.

mountain scenery was

young Cambridge clergyman, he

& fire-

II,

as a

England as the travelling companion of Lord 23

GOTHIC Wiltshire (afterwards

Duke

first

of Bolton).

It

cannot have been an easy journey.

Wiltshire 'would take a conceit not to speak one word, and at other times he

not open his

mouth

changed the day erties to himself,

such an hour of the day, as he thought the

till

and often hunted by

into night,

many

of

which were very disagreeable

came when

consolation for Burnet

torchlight,

those wild, vast mountains captivated his imagination.

would think himself

in

an inchanted Country, or

and took

to those

their party crossed the

air

was

all

would

pure; he

sorts of lib-

about him/

One

Alps and Apennines,

for

A stranger

carri'd into another

World;

Every thing would appear to him so different to what he had ever seen or imagin'd before

.

.

.

Rocks standing naked round about him; and the hollow

Valleys gaping under him; and at his feet in the midst of

Summer. He would hear

it

may

be,

an heap of frozen Snow

the thunder

come from below, and

see the black Clouds hanging beneath him.

After long meditation, in the 1680s he published The Sacred Theory of the Earth

(expanded and treatise

influentially republished in 1691).

remain impressive.

has a fin de

It

Posterity of the First

Men, and

early on. His subject

is 'the

greatest revolution

and the

The passion and

siecle quality:

fain into the

'We

intensity of his

are almost the last

dying Age of the World,' he declares

greatest thing that ever yet

hapned

in the world, the

greatest change in Nature'.

Burnet argued that the earth had originally resembled a giant, unblemished,

smooth egg: smooth Earth were the

In this

Generation of Mankind; fresh

and

fruitful,

it

and not

first

Scenes of the World, and the

had the beauty

of

first

Youth and blooming Nature,

a wrinkle, scar or fracture in all

its

body; no Rocks

nor Mountains, no hollow Caves, nor gaping Chanels, but even and uniform all

And

over.

the Air

was calm and

of vapours, a

the smoothness of the Earth serene;

none

first

shell,

when God

Heavens so

of those tumultuary motions in ours:

and

too;

conflicts

'Twas suited

to

innocency of Nature.

But the catastrophe described in the sin,

the face of the

which the Mountains and the Winds cause

golden Age, and to the

human

made

destroyed the

Bible, the

human

immense inundation

to cleanse

race save for Noah, crushed the earth's

according to Burnet. The shell fragments were scattered as mountain ranges, 24

THE SPECTRE STILL WILL HAUNT US' whose

first

appearance was Very gastly and

'nothing but great ruines; but such as

show

To Burnet mountains were

frightful'.

a certain Magnificence in Nature; as for

human

which we are so apt

to dote

from old Temples and broken Amphitheatres of the Romans'. The moral

was

vanities

'What

clear:

rude

a

upon/ Burnet's explanation and symbol of the

a

century

later,

identified

our World

is,

mountain scenery

in all

horror as product

its

such terrain was punitive of desire, a reminder of

Fall:

obliterates the perverse

Half

Lump

and the

how God

transgressive.

mountain scenery was

still

terrifying in

potential for acci-

its

dents, but already touristic - a terrain for jaunts and cultural associations. 'Mount

Cenis

and

.

its

upon

.

.

carries the permission

horrors were accompanied by too

their beauties,'

moments among the

mountains have of being

much danger

Thomas Gray wrote from

the crags

travelling with Gray, described

them

I

The woods

to

mountains of Savoy as

La Grande Chartreuse

as

I

my

looked downwards from of the

sunk amidst

frightful crags,

it,

cliff,

answered

my

'precipices, felt

'seized

and the

path, that

What

will

be

hung midway between

the base

of the torrent

ideas of those dismal abodes, where, according to

in Beckford:

were bound.

'I

am

filled

with Futurity.

make me

tremble.

my Life? what misfortunes lurk in wait for me? what Glory?' new

perception of trees as well as of mountains. In the

lamentation of the naturalist William shall

have

for

one

Lawson

what dead arms! withered

in 1618,

'How many

lively, thriving tree, three, four,

twenty-four evil-thriving, rotten, and dying ness!

of the

torrents rushing with

attended by mystery and sublimity - They

Salvator Rosa inspired a

wherein you

by the genius

and the pale willows and withered roots spread-

Mountain scenery excited the philosopher is

mountains, torrents,

of the caverns below; every object,

druidical mythology, the ghosts of conquered warriors

That Awful Idea

most solemn,

ever beheld'. Horace Walpole,

was horrid and woeful. The channel

and summit

ing over

gloom

'the

in 1778:

are here clouded with darkness

additional violence are lost in the

time to reflect

as 'lonely lords of glorious desolate

wolves, rumblings, Salvator Rosa'. William Beckford

when travelling

me

and thundering waterfalls he relished

prospects': the 'prodigious'

place'

to give

the French Alps in 1739; but at other

most romantic, and the most astonishing scenes

who was

frightful rather too far;

trees:

what

have we,

nay sometimes

rottenness!

tops! curtailed trunks!

25

forests

what

what loads

hollo w-

of mosses!

GOTHIC drooping boughs and dying branches.' Lawson deplored dead wood; but the next century's Englishmen were taught by Rosa to see decay differently. 'What

more

is

beauhful', asked the clergyman William Gilpin, 'than an old tree with a hollow trunk? or with a dead arm, a drooping bough, or a dying branch?'

He

cited 'the

works

of

Salvator Rosa' as proof of the beauty of ruined trees:

These splendid remnants of decaying grandeur speak style of

some

to the imagination in a

eloquence which the stripling cannot reach; they record the history of

storm,

some

blast of lightning, or other great event,

grand ideas

to the

landscape and, in the representation of elevated subjects,

which

transfers

its

assists the sublime.

Shakespeare had used forest imagery memorably, but forestry had a special role in the gothic imagination.

and hope Their left,

Thus the woods

of

Ann

Radcliffe personified the misery

of her heroine incarcerated at Udolpho: tall

heads then began to wave, while, through a forest of pine, on the

onwards over

the wind, groaning heavily, rolled

the

wood

below, bend-

ing them almost to their roots; and as the long-resounding gale swept away, other woods, on the right, seemed to answer the 'loud lament'; then others, further

still,

softened

it

into a

murmur,

that died in silence.

Rosa's images became the staple landscape of gothic literature, as in Sheridan Le

Fanu's story 'Mr Justice Harbottle': 'under a broad moonlight, he saw a black stretching lifelessly

from

in the air, standing here

right to

left,

and there

with rotting

in groups, as

if

trees,

moor

pointing fantastic branches

they held up their arms and twigs

like fingers, in horrible glee at the Judge's coming'.

THE AESTHETE EARL OF SHAFTESBURY Salvatorian landscapes excited the literary imagination.

ary history that James Thomson's

poem Autumn

a

It is

(1730)

is

commonplace

of

liter-

Salvatorian. Smollett in

1766 imagined a picture that he wished Salvator Rosa had painted: 'amidst the

darkness of a tempest, he would have illuminated the blasphemer with a flash of lightning

by which he was destroyed:

his countenance, distorted

the

fire,

later.

this

by the horror

would have thrown

a dismal

of the situation, as well as

and rendered the whole scene dreadfully picturesque'.

Hartley Coleridge (1796-1849) admired the Salvatorian 26

style:

gleam upon

by the

Two

effects of

generations

THE SPECTRE STILL WILL HAUNT US' Such shaggy rocks, - such dark and ruinous caves, such spectre-eyed, pent-headed shape, as

trees,

human

wreathed and contorted into hideous mimicry of

by the struggles

if

of

human

ser-

spirits incarcerated in their trunks,

such horrid depths of shade, - such fearful visitations of strange

-

- such

light,

horrid likenesses

Of all

the misshaped half-human thoughts

That solitary nature feeds

were surely never congregated

any

in

during the early-twentieth-century nadir of the gothic imagination, Rosa's

Later,

was

reputation suffered an eclipse, and he facile

local spot.

by the

associated

intelligentsia

sensationalism of mass culture. 'Salvator Rosa's romanticism

and obvious,' Aldous Huxley wrote etrates

below the

surface.

If

'He

in 1949.

is

he were alive today, he would be

author of one of the more bloodthirsty and adventurous comic only the histrionics in Rosa, and never noticed the

The most

influential literary imagination

Anthony Ashley Cooper,

.

the indefatigible

.

strips.'

Piedmontese

dome

top: a

that of

on a European

opens with a detailed description

city of

Turin with the Alps to the north-

He climbed

churches to

Milanese church roof offered another Alpine

of Florence cathedral he

Vast extent with a Multitude of Buildings of

& so amazing to my Consideration

is

It

west and the great plain of Lombardy to the north-east.

view the panoramas from the

Huxley saw

spirit.

third Earl of Shaftesbury. In 1688 he left

of the vistas surrounding the

never pen-

caught by Salvatorian images

tour and recorded his peregrinations in a diary.

horizon and from the

.

pretty cheap

is

who

a melodramatist

with the

that

all

sorts

encompassed

Country of

Lying so Pleasantly

must esteem

I

'a

it

to the

a

Eye

as one of the finest sights

I

ever had'. Naples provided the climax of his Italian explorations. About the cata-

combs and Vesuvius he was

how macabre mind

it

must be

especially graphic.

for peasants to

of being Buried alive ...

summit

of the volcano filled

Middle of

this

him with

Bottom another

steep within which

was

fear at this sight, but

& may

approaching the volcano he

yet serve

them

for their

horror. 'The terriblest of

from

the Raging Mouth.' 'the

felt

occupy lava houses which 'may put 'em

Hill rising

he descended

On

it

Exactly

Some

of his

in

grave stones'. The

all

was

to see in the

Round and prodigiously companions retreated

in

mighty precipice' and stood awestruck. The 27

GOTHIC significance of the sight stayed with

him always; indeed he returned

desperate attempt to recover his health in 1711 and two years

on

later,

Naples in a

to

his deathbed,

arranged for Paolo de Matteis to paint him as a dying philosopher, lying on a divan

with a calm but melancholy look, surrounded by busts, antiquities and drawings,

room dark except

the

for a

window through which one can

see Vesuvius, his

hand

from a book as he recognises the spectre of death advancing on him.

falling

Shaftesbury became the foremost English theoretician of aesthetics of his genera-

He desired a broad readership and

tion.

work on

aesthetics:

set himself this rule

when planning his final

'Nothing in the text but what shall be easy, smooth and polite

reading, without seeming difficulty, or hard study; so that the better and gentler

rank of painters and

artists,

and town

sort of country

the ladies, beaux, courtly gentlemen,

wits,

suaded they comprehend, what

way

from one

that images

tions

combining

to

talkers

there written in the

is

may comprehend, text.'

Shaftesbury enjoyed the

good

He preached

aesthetic.

society

that the arts civilise

would produce good

He proposed beauty

nature in the early eighteenth century. to

moral

virtues; hence, the finer a

man's

superiority. For Shaftesbury the aristocracy

and devised an

art

system which had a paramount influence on attitudes

mentary

or be per-

enriched those of another and watched their associa-

form a greater

societies, believed that a

ethical

art

and notable

and more refined

to art,

beauty and

of

form as comple-

artistic taste, the

higher his ethical

were the

elect;

the aristocrat

who

aspired to ideal good must acquire sensitive appreciation and discrimination in

matters of 'Virtue

many that

and

Ann

His opinion can be summarised in a phrase of

taste.

taste are nearly the

same, for virtue

is little

of his generation Shaftesbury regarded with

had brought

his country to civil

war

more than

all

Radcliffe's:

active taste.' Like

dismay the sectarian fanaticism and inveighed

in the seventeenth century,

against 'Enthusiasm' as a corrosive, ugly sentiment leading to intolerant miseries.

He

thought that

ill

humour caused

atheism, and that good

humour was not only

the

foundation of piety but a bulwark against Enthusiasm. Shaftesbury would seem a self-indulgent,

timid

philosopher,

unctuous movements of his political;

rejoicing

own mind,

if

too

visibly

in

his benevolence

the

large,

had been

smooth,

essentially

but religious feelings and visual sensibility were equally integrated in his

system. Shaftesbury's favourite seventeenth-century painter

was exempted from Shaftesbury's

mistrust of 28

was Nicolas

Frenchmen by having

Poussin,

who

THE SPECTRE STILL WILL HAUNT US'

Rome

fled to

Rosa

(as

with detestation of his country, which

made him and

Salvator

have been assured by the old virtuosos and painters there) so good

I

friends: the latter being a

trymen as

his satires

the latter over-soured

malcontent Neapolitan dissatisfied with his coun-

show. Both these by the

and mortal enemy

way were

honest moral men,

of the priests.

Shaftesbury bought two pictures by Salvator Rosa from the estate of Lorenzo Onofrio,

Grand Constable

describing

how

a 'rock in the

mous

as

its

He gave

a long analysis of

landscape came to be dominated, after false

most stupendous manner

should

it

of Naples.

be.'

.

.

.

majestic, terribly

one of them,

starts of drafting,

impending,

by

vast, enor-

was

Rosa's 'natural ambition', to quote Shaftesbury,

'to

adorn' his pictures 'with those wild savage figures of banditti, wandering gypsies, strollers,

vagabonds,

etc., at

which he was so

excellent'. Shaftesbury's disjointed

influential philosophical treatise Characteristicks of

(1711)

was

Men, Manners, Opinions, Times

ostensibly the quintessence of reason, moderation

and calm

sense; yet

has passages with both the excitement of Burnet and Salvatorian menace.

what trembling Steps poor Mankind tread the narrow Brink he exclaimed of the Alps (which here were emblematic of

Ruin of the impending Rock; with upwards, and seem

to

human

its

He

approaching Period'.

of the

Garden

itself

the deity fore

is

the

He

stressed

believed that as the world

how

with

Precipices!'

'From

and see the their 'the

Roots

wasted

make them

was only

it

Ground which

which hang with

only as a noble Ruin, and

think

the flawed ruins

of Eden, the beauties of nature should be chequered with irregulari-

and deformities. His philosophy was

ties

after 'em.'

'See!

anxieties).

of Torrents underneath,

falling Trees

draw more Ruin

Mountains shew them the World of

Sound

deep

of the

whence with giddy Horror they look down, mistrusting even bears 'em; whilst they hear the hollow

but

deistic

and thus

heretical:

revealed through natural phenomena, and that

human

he believed that

reason can there-

form an adequate notion of God. The God revealed by Nature was wild, ardent

and punitive. Shaftesbury acknowledged the Passion

growing

in

me for Things of a

the Conceit or Caprice of

upon

Man

that primitive State.

irregular

unwrought

itself,

where neither Art nor

has spoil'd the genuine Order, by breaking in

Even the rude

Grotto's

Graces of the Wilderness

natural kind,

and broken

Rocks,

Falls of

the

mossy

waters, with

Caverns, the all

the horrid

as representing Nature more, will be the 29

more

GOTHIC engaging, and appear with a magnificence beyond the formal Mockery of princely Gardens.

COLLECTORS AND GRAND TOURISTS Shaftesbury's decision to collect art

was not unusual

in his time. In the seventeenth

century art-collecting became virtually obligatory for European

new

Indeed, a

tion.

collectors standing

men

of high posi-

genre of painting, the 'gallery picture', celebrating individual

among

their collections,

was inaugurated

at this time.

Monarchs

like Christian

IV of Denmark (ruled 1588-1648), PhiUp IV of Spain (ruled 1621-65)

and Charles

of

I

England (ruled 1625-49) and

collecting artefacts. Cardinal

their

powerful citizens spent fortunes

Mazarin shortly before

his death

was seen

shuffling in

a fur-lined dressing-gown through his gallery, gazing in turn at his Correggios Titians.

'He stopped

side, then the other,

from the depth of

What

am

trouble

going

.

.

.

I

every step, for he was very weak, and turned

at

and casting a glance on the

his heart, "All this

must be

left

suffered to acquire these things!

Farewell dear pictures that

I

I

first to

object that caught his eye,

behind

and one

he said

[Ilfaut quitter tout cela]

will never see

.

.

them again where

loved so well and which have cost

me

.

I

so

much".' In England, Thomas Howard, fourteenth Earl of Arundel (among others),

An international

amassed

a notable collection of pictures in the seventeenth century.

traffic in

valuable, beautiful or venerable objects developed. John Evelyn

by Lord Mulgrave the Banqueting

was taken

to the sale of the Earl of Melfort's collection of Italian pictures at

House

in Whitehall in 1688: 'Divers

were there who bought

pictures, deare

more

of the greate Lords

&c

enough: There were some very excellent

Paintings of V: Dikes, Rubens, Bassan.' Collections were neglected, dispersed, lost or re-formed.

A

Lord Pomfret's house, Easton Neston,

visitor to

'old greenhouse' containing ful fine statue of Tully,

vestal virgins with less

new

remnants of Arundel's

found an

in 1736,

collection, including 'a

wonder-

haranguing a numerous assembly of decayed emperors,

noses, Colossuses, Venuses, headless carcasses,

and

carcass-

heads, pieces of tombs and hieroglyphics'. The prime minister, Sir Robert

Walpole, spent over £100,000 collecting pictures, including four by Salvator Rosa,

two by Claude and these transactions of

pounds

five

by Gaspard Poussin. The

were trumpeted

potential

in the art world. 'This

the richer for Vandyke's hand,

country

whose works

is

many thousand

are as current

gold in most parts of Europe,' wrote Jonathan Richardson in 30

economic benefits of

An

money

as

Essay on the Theory

THE SPECTRE STILL WILL HAUNT US'

A gallery picture of a seventeenth-century collector displaying his possessions: Archduke Leopold William,

the

Hapsburg governor of the Netherlands, with

the

Count of

Fuensaldana, painted by David Teniers.

of Painting (1715). In The Science of a Connoisseur (1719) Richardson anticipated

tourism:

We know

the advantages that Italy receives

fine pictures, statues

famous

in that

and other curious works of

way, as her riches

that

is

shall share

was accelerated and enriched

(1697), terminating the

and a grand

war

that

alliance of the

the temporary conditions of

our country becomes if

with

for the pleasure

be had from the seeing and considering such

This process

side

we

from the concourse of foreigners

to

art: If

will enable her to be,

gentry are lovers and connoisseurs, arising

from her possession of so many

in the

had been waged

our nobility and

Italy in the profits

and improvement

rarities.

aftermath of the Treaty of Ryswick since 1689

between France on one

Holy Roman Empire, England, Spain and Holland.

European peace, the grand tour became part 31

In

of an

GOTHIC English gentleman's preparation for pleasures,

and drank or copulated

and were ruined still

more conscientiously studied

until they

dropped.

A

seeking only sensual

few

fell

in

came

health since she arrived at I

be

'dull,

blase sur tout

Grand

out;

tourists

Rome; Lord Leitrim attacks,'

dreary Dandies that

before they have either

grew

all

but died

or observed'.

insular or vindictive,

and devoted

teracting telling

and

made up

of course

and jealous

me

endeavouring

new emblem

found. These virtuosi were the

noisseurs, with a taste for fine arts

statuary

and

lay hold of

was

erratic:

some

collectors

Pictures, prints

and drawings,

by the new

tourists

all

coun-

and

whose

Other

intelligent

which they

collections of paintings,

at aesthetic values.

were pretentious,

Of

course,

gullible or mediocre; but

which enriched the national culture

and sent back

tale-

any unfortunate

treasures

as well as sculptures, manuscripts

familiarised people with sights

wholly

of British cultivation: gentlemen con-

antiquities,

others enriched their houses in a style

collected

to

and medals were formed with an attempt

their taste

is

and contending elements,

became captivated by the foreign

travellers

Sir

Rome,' the Duke of

for

Naples diary. 'The society there

of very different

all

both

their energies to the false

who may come there, and drag him within the vortex.'

and enquiring

&

of each other - all intriguing, caballing, whispering

among themselves -

Englishman

in his

at Florence;

yawn one's path at every step, who affect

friendships of holidaymakers. 'Lord Garlies leaves

English,

is

Lady Morgan reported from Naples,

felt

Buckingham and Chandos noted

'Lady Spenser

Lady Charlemont has not enjoyed one day's

myself have had billious

where she found

compose;

to

the manners, politics or economies of the foreign

A good number spent their time preoccupied with their health.

Charles and

with gamblers,

and returned home to become prim, wearisome parliamentari-

returning worse than she

to

Some went abroad

some youths met musicians, and pretended

at cards;

countries they visited, ans.

life.

too.

and books, were

to England. This influx of foreign art

and views they would never

anticipation of intending travellers. Italian landscape art

was

see,

and excited the

a provocative novelty:

English visitors to Italy returned with a taste for views.

Charles Talbot,

Duke

of

forth with the intention of

Shrewsbury (1660-1717), was one

making

a special study of the arts. Repeatedly during the

1690s he sought permission from King William

and was

finally

until 1705,

of the earliest to set

III

to resign his

high responsibilities,

permitted to go abroad in 1700. For three and a half years, from 1701

he was based in Rome.

He

studied the buildings and spectacles around 32

HAUNT US-

'THE SPECTRE STILL WILL

him and developed lake,

a taste for the picturesque. Visiting, for example,

he recorded, 'standing

the round, tators

.

.

some

in the

at the

would make

it

a

collected Italian art for his English houses -

some

good

you are becoming such Master' to teach villages of

bought 3 pictures of

'I

who

a virtuosi'. In

him about

the

for

Sal.

Rosa and

such connoisseurs as

Rome, Shrewsbury employed an

monuments and

Howe

seriously than Captain Richard

Damer

Shrewsbury

was, so he told Shrewsbury, Very glad to hear

palaces,

Campagna. He was older than most English

friend called

the coaches go

all

effect in a picture.'

Luca Giordan [and] a landskip of Poussin' - and

of

Lord Somers and Lord Halifax,

more

we saw

artificial

shape of boats, other coaches standing on the brink as spec-

this is a fine sight,

.

edge of Piazza Navona

an

and

to

visitors,

'Architect

guide him about the

and took

his studies

Howe) and

(afterwards Admiral Earl

a

'two true-bom Englishmen were in the great

at the Uffizi:

shewn

gallery at Florence; they submitted quietly to be

a

few of the

pictures.

But

seeing the gallery so immensely long, their impatience burst forth, and they tried, for a bet

who

should hop

first to

the

end

of

it.'

(The Uffizi Gallery by 1819 was a

'noisy English lounge, filled with the desoeuvres of a Brighton circulating library'.)

Shrewsbury was

also taught the Italian language

by

a Florentine.

He

studied and

analysed the views carefully, and after returning to England, remodelled his house at

Heythrop

in Oxfordshire

on the

Borghese and the grounds partly on those

Villa

of the Villa Aldobrandini at Frascati. Building

designs for his baroque palace were by English architect to have studied in tated:

by 1718

Camaby the

it

Haggerston, planned his

improvement

become

of his

Thomas

Archer,

who was

then the only

Shrewsbury's example was widely imi-

Italy.

was unexceptional

began around 1706; some of the

that a

minor Northumberland baronet.

visit to Italy

Sir

so as to discuss with local architects

house and grounds. The broken magnificence which was

integral to the gothic imagination fascinated the English in Italy.

to

The mor-

bidness in their approach was exemplified by two young gentlemen called Blathwayt,

ous

whose grand tour

... in visiting

.

.

.

in 1707 took

them

the remains of the superb

the Magnificence of the Ancient Romans'.

to

Rome, where they were

Monuments

of the

The Catacombs held

'assidu-

Grandeur and

a horrible fascination

for the English brothers:

that

a

is

not very surprising for young

Company

of four

Men who had

German Gentlemen were 33

lost

of

heard

there for

it

said,

some

that

time,

GOTHIC previously, with their Guide:

who would

not have appeared again, had

been that Trumpeters and Drummers were led there several times;

sound

the

of these instruments of

way again to

get out, but

all

war would enable them

had been done

that

it

not

to see

if

to find the right

in vain.

labyrinths, the despair of incarceration -

Dark and gloomy caves, subterranean

all

these are staples of the gothic imagination.

THE SCIENCE OF THE CONNOISSEUR The Englishmen journeying enlarged

imagination.

the

Richardson in his Essay on Italy.'

for

and the landscape

to Italy,

'Would the

exclaimed the painter Jonathan

God,'

to

brought back,

art they

Art of Criticism (1719),

'I

had

seen, or could yet see

Bishop Berkeley similarly recommended travel to Alexander Pope as a

way

any poet to store his

mind with strong images

of nature.

Green

fields

and groves, flow-

ery meadows, and purling streams, are no where in such perfection as in

England; but

if

you must come it is

you would know lightsome days, warm suns and blue to Italy;

and

to enable a

describe rocks

and

precipices,

absolutely necessary that he pass the Alps.

Imaginative

men began to conceive designs of buildings and parkland that emulated John Vanbrugh, writing in 1709 about the parkland seen from the

pictorial art. Sir

north front of Blenheim Palace ('has

Need

man to

skies,

of

all

Little

Variety of Objects

... It

therefore Stands in

the helps that can be givenn'), advised, 'were the inclosure

Trees (principally Thicket so that

Firrs,

all

wou'd make One

Yews and

the Buildings

of the

.

Hollys) Promiscuously Set to .

.

might Appear

Most agreable Objects

in

Two

grow up

fill'd

with

in a

Wild

Risings amongst 'em,

that the Best of

it

Landskip Painters can

Englishmen brought back from

invent'.

The

had

opponents. Lewis Theobald, the poet and dramatist whose stupidity pro-

its

voked Pope

taste for the pictorial that cultivated

to write The Dunciad,

complained

in 1717 that artworks

Bunglings and imperfect Representations of Nature; but the Pride

made by

his Fellow-Creature

Man.

How

often shall

were by the Eyes, and fox'd with Admiration, upon

we

is

were

Italy

'but

poor

that they

were

see a rational Soul

hung

as

it

a fine Piece of Painting?'

Such ignorance exasperated Jonathan Richardson. "The great and chief ends of 34

THE SPECTRE STILL WILL HAUNT US' painting are to raise and improve nature; and to communicate ideas/ he declared in

An Argument

his .

.

pleasing,

.

when we

see

what

is

He

preferred 'pleasing ideas

by consideration

their novelty or variety, or

terrible in themselves, as

murders, robberies'. For Richardson, the

battles, 'a

Behalf of the Science of a Connoisseur.

whether by

ease and safety,

of

in

new

power and

reputation'. Painting

was

first

was

aesthetic

among

own

storms and tempests,

natural tendency to reform our manners, refine our pleasures,

wealth,

of our

a manifestation

and increase our

the arts: 'history begins,

poetry raises higher, not only embellishing the story, but by additions purely poetical:

Sculpture goes yet farther, and painting compleats and perfects, and ...

utmost limit of

human power was

for his generation,

in the

communication of

and

a faculty to be trained

strengthened intelligent people, though

it

ideas'.

cultivated;

the

imagination,

enlarged and

it

might scare or humiliate the stupid.

Richardson was neither the greatest promoter of the effective populariser. This role

Human

is

was taken by an

new

aesthetic nor

altogether quirkier

its

most

and greater man,

Alexander Pope.

The symbolic power

endured

of Naples

into the twentieth century. Curzio

Malaparte's superb account of soldiers stationed there at the end of the Second

World War presents of

which Naples

is

the city as the 'very spirit of

the mysterious image, the

Europe -

naked

that other, secret

ghost'.

Europe

Watching a gaggle of

ragged, hungry boys seated on a parapet, with Vesuvius looming in the distance,

American friend about the

the Italian narrator talks with his sonal,

uncanny powers

that underlie

inscrutable, imper-

human suffering:

That cruel, inhuman scene, so insensible to the hunger and despair of men,

was made purer and 'There

is

no

less real

by the singing

kindliness,' said Jack, 'no

of the boys.

compassion

in this

marvellous

Nature.' 'It is

malignant,'

'Elle

aime nous voir

'It

stares at us

'Before

hates

said.

'It

hates us,

said Jack,

'I

they

it is

our enemy.

of frozen hatred

full

It

hates men.'

Jack in a low voice.

souffrir,' said

with cold eyes,

men because

'It is

I

it,'

I

feel guilty,

and contempt.'

ashamed, miserable.

It is

not Christian.

It

suffer.'

jealous of men's sufferings,'

liked Jack because he alone,

I

said.

among 35

all

my

American

friends, felt guilty,

GOTHIC ashamed and miserable before sea, those islands far is

not Christian, that

scene

was not

which men are Naples

away on it

lies

the horizon.

He

of that sky, that

alone realized that this Nature

outside the frontiers of Christianity, and that this

the face of Christ, but the left

inhuman beauty

the cruel,

image of a world without God,

in

alone to suffer without hope.

in the last half of the twentieth century

36

still

delivered

its

insistent message.

.

'CHAPTER TWO'

-.

28 Paolo de Matteis.

J.

E.

Sweetman,

PRO 30/24/21/240.

'Shaftesbur\^'s Last

& Courtauld Inst., XIX (1956),

Warburg

110-16; Robert

Commission', journal of \^oitie.

The Third Earl of

Shaftesbury, 1671-1713 (1984), 412-14.

28 'Nothing

in'.

Benjamin Rand,

ed., Antliony, Earl of Shaftesbury:

(1914), 8-9.

28 'Virtue and'. Radcliffe, Udolpho, 29 'fled

to'.

Rand, Shaftesbury,

first

book, chapter

15.

391

5.

Second Characters

GOTHIC 29 'rock

Rand, Shaftesbury,

in'.

156.

29 'natural ambition'. Rand, Shaftesbury, 156. 29 'See! with'. Shaftesbury, Characteristicks: 'The Moralists: a Rhapsody', vol. (1723), part 3, sect.

1,

II

389-90.

29 'the wasted'. Shaftesbury, 'A Letter concerning Enthusiasm', vol.

29-30 'the Passion'. Shaftesbury, The Moralists,

ii,

1, sect. 2,

14-15.

393.

30 'He stopped'. Jonathan Brown, Kings and Connoisseurs (1995), 187-88. 30 'Divers more'. Evelyn Diary, V, 145. 30 'old greenhouse'.

WC,

IX, 5.

30 'This country'. Jonathan Richardson, Works (1773), 8-9. 31

'We know'. Richardson, Works,

273.

32 'Lady Spenser'. R. Warwick Bond, The Marlay Letters (1937), 398-99. 32 'Lord Garlies'. The Private Diary of Richard, Duke of Buckingham and Chandos, KG,

I

(1862), 254.

33 'standing

at'.

Johnny Madge, 'A Virtuoso

in

Rome', CL, 27 January 1983, 232-33.

33 'two true-born'. Charles Rogers, Boswelliana (1874), 239.

33 'noisy English'. Bond, Marlay, 391. 33 Haggerston. Jeremy Black, The British and the Grand Tour (1985), 224.

33-34 'assiduous'. Nora Hardwick, 34 'Would 34

to'.

34 'has

Little'.

The Grand Tour (1985), 96.

Richardson, Works, 162.

PC,

'to store'.

ed..

222.

I,

Kerry Downes,

Sir John

Vanbrugh (1987), 348;

John Vanbrugh,

Sir

Works, IV (1928), 30.

34 'but poor'. Lewis Theobald, The Censor,

34-35 'The

great'.

II

(1717), 51.

Richardson, Works, 247.

35 'pleasing ideas'. Richardson, Works, 246. 35

'a natural'.

Richardson, Works, 334.

35 'history begins'. Richardson, Works, 263.

35-36 'very

Chapter

spirit'.

Curzio Malaparte, The Skin (1952), 44-i5,

48.

Two

Throughout

this

chapter

the Arts of Georgian

I

owe

a

heavy debt

England (1978). 392

to Morris Brownell, Alexander Pope and

SOURCES 37

'little

III

38

Aesopic'. Charles Gildon in 1718, quoted

by W. H. Auden, Complete Works,

(1996), 141.

painted'. PC, 168.

'a

38 'A

tree'.

Joseph Spence, Observations, Anecdotes and Characters of Books and Men,

I

(1966), 255.

Mahon,

38 'His poor'. Lord

Letters of Philip

Dormer Stanhope,

Earl of Chesterfield,

II

(1892), 463.

38

'I

feel'.

38 'lying

PC,

in'.

1,

163.

PC,

1,

185.

38 'seething brains'. Shakespeare, Midsummer Night's Dream, act 39 'the Greeks'. 39

'My

Thomas Hobbes,

Days'. PC,

1,

are'. Spectator, no. 477.

39 'Pope

in'.

'I

Mahon,

have'. PC,

II,

Chesterfield,

II,

true'. Sir

'a certain'. Sir

fine'.

2.

II, 3.

William Temple, Works,

Henry Wotton,

40 'the sweetest'. Temple, Works, 40 'very

lines 4, 8.

463.

III

(1814), 227-28.

40 'With mazy'. John Milton, Paradise Lost (1667), book 40

chapter

1,

31.

39 'very innocent'. PC,

39-40 'The

I,

scene

163.

39 'there

39

Leviathan (1651), part

5,

4, lines

239-43.

Reliquiae Wottonianae (1672 edn), 64. II,

Christopher Morris,

236-38.

ed..

40 'houling wilderness'. Daniel Defoe,

The Journeys ofCelia Fiennes (1947),

A

Tour through

the

9.

Whole Island of Great

Britain, III (1738), 55.

41 'Our forefathers'. Spectator, no. 419. 41 'during the'.

W. H. Auden,

Forewords and Afterwords (1973), 116-17.

41 'leading step'. Horace Walpole, 'On in

Modem Gardening', in Anecdotes of Painting

England, IV (1828), 264-65.

41 'Hedges'. Willian Shenstone, Works, 41 'that idea'. Spence, Observations,

I,

(1773), 125.

II

254.

41 'All gardening'. Spence, Observations,

I,

252.

41 'stark mad'. Pope, Poems, 831. 41

'My

Building'. PC,

42 'with

all'.

42 'From

II,

44.

PC, IV, 261-62.

the'.

PC,

II,

296.

393

GOTHIC 42 'images

Alexander Pope,

reflect'.

42 'each of. John Butt,

'Epistle to

Mr. Jervas',

line 20.

The Poems of Alexander Pope (1963), 121.

ed..

42 'Nothing can^ PC, IV, 201.

42 'You must'. Christopher Hussey, The Picturesque (1927), 128. 43 'Whatever yet

.

.

The

.

nearer'. Elizabeth

Manwaring,

Italian

Landscape in

Eighteenth Century England (1925), 20.

43 'The Gardens'. PC,

II,

237-39.

45 'You may'. Spence, Observations,

1,

252-53.

45 'gloominess and'. Spectator, no. 419.

Thomas Warton,

45 'elegance of.

Poetical Works,

I

(1802), 68-95.

46 'These moss-grown'. Pope, 'Eloisa to Abelard', lines 142-43. 46 'mould'ring tow'r'. Pope, 'Eloisa to Abelard', line 243. 46 'Lord Radnor'. WC, XXXVII, 348. 46 '£10,000 of. Barbara Jones,

46 'was

not'.

'a true'.

47

'the few'.

PC,

I,

PC,

'little

II

(1797), 65-67.

231.

I,

319. I,

505-11.

47 'most expensive'. PC, 47

and Grottoes (1974), 145.

Richard Graves, Columella,

47 'No people'. PC, 47

Follies

1,

432.

island'. Correspondence between Frances, Countess of Hartford (Afterwards

Duchess of Somerset), and Henrietta Louisa, Countess ofPomfret,

47 'Mansion

suitable'.

Benjamin Ferry, A.N.W. Pugin

I

(1805), 7-8.

(1865), 13.

48 'dingy meannness'. The Times, 22 August 1930, 12c; compare

Sir

Nikolaus

Pevsner, The Englishness of English Art (1956), 167-68.

48 'the country'. Arthur Mee, Hertfordshire (1965),

48 'The

finest'.

48 'bom

in'.

49

'I

write'.

Elizabeth Bowen, The Heat of the

PC,

I,

finest'.

III,

II,

Day

(1977), 228-29.

(1949), 99-101, 115.

500.

515.

49 'Magician'. PC,

49 'The

Munby, The Hertfordshire Landscape

Lionel

49 'almost my'. PC,

68.

\

115.

Christopher Hussey, 'Cirencester House - The Park', CL, 23 June

1950, 1880.

49 'there

is'.

Torrington Diaries,

I,

259.

49 'very romantic'. James Lees-Milne, Earls of Creation (1962), 46. 394

SOURCES

.

50 'Let not'. Pope, 'Epistle to Richard Boyle, Earl of Burlington', lines 53-58, 61-64.

50 'wild Goth'. PC,

III,

417.

51 'only twice'. Michael Wilson, William Kent (1984), 39. 51 'lessened himself.

Mahon,

Chesterfield,

(1892), 352.

I

51 'had been'. Transactions ofWalpole Society, XXII (1934), 56;

cf.

73,

139^1.

52 'antico-modemo'. Earl of Ilchester, Lord Hervey and His Friends (1950), 116. 52 Royal masquerades. R. Nisbet Bain, Gustavus

III

and His Contemporaries,

1746-1792(1894), 220-21. 53 'Kent

is'.

PC,

III,

67.

53 'the greatest'. PC, IV, 153. 53 'Mr Pope'. Spence, Observations,

I,

250.

54 'frequently declared'. Mason, The English Garden (1811), notes to book

54 'Low

in'.

Spenser, Faerie Queene,

54-55 'execrable'.

WC,

book

I,

canto

ix,

I.

lines 294-99.

IX, 116.

55 'figures issuing'. Walpole, Anecdotes, IV, 228. 55 'the costumes'. Wilson, Kent, 152.

55

'I

have'. Spence, Observations,

1,

256-57.

55 'He had'. Walpole, Anecdotes, IV, 270. 55 'rich glades'. Wit and Wisdom of Benjamin Disraeli, Earl of Beaconsfield (1883), 195-96.

55 'was attempting'. Margaret Jourdain, The Works of William Kent (1948), 76. 56 'who but'. William Marshall,

A Review of Landscape (1795),

56 'Mr. Kent'. Spence, Observations,

1,

158.

405.

57 'where any'. Walpole, Anecdotes, IV, 266, 279.

57-58

'How

picturesque'. Walpole, Anecdotes, IV, 278-79.

58 'An open'. Walpole, Anecdotes, IV, 280. 58 'Landskip should'. Shenstone, Works, 58 'England's greatest'. Jourdain, Kent,

II,

1.

58 'possessed by'. Cleanth Brooks and A.

Thomas Percy and William Shenstone 58-59 'The place'.

Sir

280-81.

F.

Falconer, eds.. The Correspondence of

(1977), 64.

Walter Scott, Prose Works, XXI (1836), 101-2.

59 'something quite'. John Harris, 'Esher Place, Surrey', CL, 2 April 1987, 95. 60 'sullen Mole'. Pope, Poems, 207. 60 'Kent invented'. Sir Nikolaus Pevsner, Surrey (1971), 57-58. 395

GOTHIC 60 'Esher's peaceful'. Pope, 'Imitations of Horace'. 61

The day was'.

]NC, X, 72-73.

Chapter Three

The Gothic'. Henry Fielding, Tom Jones

62-63

Mark Girouard,

63 'power houses'.

(1749), chapter 4.

Life in the English

Country House (1978), 2-3.

64 'Spenserian'. Sir Nikolaus Pevsner, Wiltshire (1975), 304. 64

your'. Kerry

'If

Downes,

64 Lord Stawell. George Stawell, 65

'I

dream'. H. C. Foxcroft,

II,

'a

66

'It

ed.. Letters of Mrs. Elizabeth

Montagu, IV (1813), 238.

]NC, X, 262.

get'.

very

Quantock Family (1910), 120-21.

263.

65 'As king'. Matthew Montagu,

66

A

A Character of the Trimmer {19^6), 96-97.

65 'accursed mediocrity'. PC,

65 'We

Vanbrugh (1987), 272.

Sir John

WC,

pretty'.

IX, 285.

looketh'. Foxcroft, Trimmer, 102.

66-68

'I

am'. Correspondence between Frances, Countess of Hartford (Afterwards Duchess

of Somerset), and Henrietta Louisa, Countess ofPomfret,

68 'The situation'. Lord Lyttelton, Works,

68-69 'Adjoining

is'.

Andrews,

C. B.

ed..

III

1,

299-300.

(1776), 346-47.

The Torrington Diaries,

69 'Castle Air'. Sir John Vanbrugh, Complete Works, IV (1928), 69

'a great'.

69 'To

be'.

Roger North,

William Shenstone, Works,

69-70 'Methinks 70

'My

Lives of Norths,

there'. Gentleman's

notion' ...

70-71 'highly

'I

took'.

finish'd'.

Samuel

II

I

I

(1934), 348.

14.

(1742), 272.

(1791), 189.

Magazine, IX (1739), 641.

Kliger, The Goths in England (1952), 8-9.

Marjorie Williams, ed.. The Letters of William Shenstone (1939),

253.

71 'revived gothic'. Sir

72 'Arbury

is'.

Sir

Roy

Strong, The Story of Britain (1996), 325.

Nikolaus Pevsner and Alexandra Wedgwood, Warwickshire

(1966), 67-68, 71.

;

Chapter Four

94

'If

r.

Charles Maturin, preface to The Milesian Chief (1S12).

94-95 'The craze'.

Mark Girouard,

'Charleville Forest', CL, 27

September 1962,

95 'The whole'. Terence de Vere White, The Anglo-Irish (1972), 95-96. 396

710.

SOURCES' 95 'the most'. Lord Gilmour of Craigmillar, Riots, Risings and Revolutions (1992), 424.

95-96 'ferocity of. Charles Ross, Cornwallis,

96 'All good'.

II

Correspondence of Charles, First Marquess

(1859), 355, 358.

Thomas Pakenham, The

96 'Bland, passionate'. Viscount

96 'The

ed..

castle'.

Year of Liberty (1969), 272.

D'Abemon, An Ambassador of Peace,

John Trotter, Walks through Ireland

I

(1929), 88.

(1819), 232-33.

97 'whimsical capricious'. Countess of Ilchester and Lord Stavordale, The Letters of Lady Sarah Lennox,

97

'to exhibit'. R.

99 'affray

Letters,

'to the'.

Mark

1778-1820 (1937), 113.

Letters, 99.

99 'which unites'. Murray's Handbook for Travellers 100

and

(1901), 154.

II

Warwick Bond, The Marlay

Bond, Marlay

at'.

Life

Bence-Jones,

A

Guide

to Irish

in Ireland (1912), 364.

Country Houses (1988),

82.

100 'diplodicus'. Bond, Marlay Letters, 119.

100 'by

far'. Sir

Herbert Maxwell, The Creevey Papers (1923), 630.

100 'Mania'. Death certificate, Uxbridge, 14 July 1851.

100 'Brain Disease'. Death certificate, St Thomas, 22 January 1864. 101 'gouty degeneration'. Death certificate, the Palace subdistrict of Brighton, 29

June 1875. 101 'What

102

'1

a'.

Rosamond Lehmann, 'An Absolute

years 1828

103 'huge, ungainly'. 103 'the

Faerie'.

'In a'.

Anthony

A

Tour

'Now

104 'wild

England, Ireland and France in the

157-58.

Richmond

(1860).

Elizabeth Bowen, Bozueji's Court (1942), 181.

Young,

to'.

in

in Ireland (1925),

Trollope, Castle

Ireland, 161-62.

104 'The plan'. Bowen, Bozven's Court,

Ralph Wardle,

7.

ed.. Collected Letters of Mary Wollstonecraft (1979), 123.

Irish'. Wollstonecraft Letters, 122, 126.

104 'The family'. Wollstonecraft

104-6

xli.

& 1829, II (1832), 23.

102-3 'The road'. Arthur Young,

104

TLS, 6 August 1954,

was'. Marie-Louise Begg, ed.. The Synge Letters (1996), 142.

102 'The tutor'. Prince von Piichler-Muskau, Tour

103-4

Gift',

'If all'.

De

Letters, 141.

Boigne, Memoirs,

106-7 'The Peers'.

Sir

1,

120-24.

Jonah Barrington, Personal Sketches of His

198-99.

107 'had married'. Piichler-Muskau,

II,

26.

397

Own

Times,

I

(1827),

GOTHIC 107

Pakenham, Year

'for the'.

of Liberty, 191.

107 'very proud'. Wollstonecraft 108 'must

solicit'.

Letters, 140.

Lord Kingston

to

Lord Clare, 6 July 1819, Add. ms 40268,

f.

163.

108 'the rude'. Trotter, Ireland, 312.

108 'One of. Sir Robert Peel to Lord Kingston, 23 January 1823, Add.

ms 40353,

f.

245.

108 'These

ms 40355,

Kingston to Peel, 14 March 1823, Add.

old'.

f.

91.

109 'Build me'. Aubrey de Vere, Recollections (1897), 53.

109 'sorely disappointed'. Piichler-Muskau,

109-10

'It is'.

Anthony

'I

am'.

De Vere,

112 'The house'.

De

21-22.

Trollope, Castle Richmond,

110-11 'A most'. Lady Chatterton, Rambles

111-112

II,

in the

I

tl860), 5-6.

South of Ireland,

II

(1839), 3-9.

Recollections, 54.

Vere, Recollections, 54-56.

113 'They were'. Bowen, Bowen's Court, 190. 113 'labouring under'. The Times, 23 July 1833, 6a and 6b. 113 'Complainant then'. The Times, 113

'a long'.

1

April 1848,

The Times, 12 September 1860,

8c.

8f.

114 'one of. Murray's Handbook (1912), 445.

114 'Wind raced'. Bowen, Bowen's Court, 323-24. 114 Irish irregulars. The Times, 3 July 1922, 10b.

Chapter Five In this chapter (1996),

115

'I

but

have followed certain suggestions

WC, XXXV,

to'.

is'.

Timothy Mowl, Horace Walpole

The Failure of Gothic (1987).

355-56.

Walpole, The Mysterious Mother, act

115-16 'Providence'. W. 116 'power

in

my supreme debt is to Elizabeth Napier,

have'.

115 'Learn

I

S.

III,

scene

iv.

Lewis, ed.. Memoranda Walpoliana (Farmington, 1937),

Leo Tolstoy, second epilogue

to

War and

117 'are conscious'. W. H. Auden, 'The Double Focus',

Peace.

Common

Sense, IX (1940),

25-26.

118

'a

person'.

118-19

'It is'.

WC, XXXV,

236.

Richard Wollheim, preface to Adrian Stokes, The Invitation

(1965), XXX.

119

'little

intrigues

.

.

.

first dear'.

WC,

IX, 3.

398

in

Art

16.

SOURCES 119 Very dark'. Y^C, XXX, 294.

119 'rode most'. V^C, XVII, 91. 119 'One

119-20 120

'I

'I

.

.

.

'I

XVIII, 199.

WC, XXXV,

here'.

have'. ]NC,

120 'so nervous'.

120

WC,

very'.

XXX,

42-43.

86.

WC, XXV,

49, 201.

wake'. \MC, XXXI, 35-36.

WC, XXXV,

120 'my other'.

52.

120 'hero'. ]NC, XII, 289. 120 'After

that'.

WC, XX,

41.

120-21 'We had'. V^C, XVII, 411-12. 121

'I

dressed'. ]NC, XVIII, 167.

121 'You my'.

121-22

'I

WC, XXX,

have'. V^C,

122'Ihad'.

41.

XXX, 43-44.

WCXXX,

173.

122 'ingratihide'. ]NC, XXX, 178-79.

122 'constantly ridiculed'. V^C, XXXIX, 530. 123 'Perhaps those'. Walpole, Memoirs of the Reign of King George

123 'Literature

.

.

is'.

.

Sire'.

(1846), 370.

YJC, X, 176.

123 'Learning never'. \NC, 123 'How,

11, II

XXXV,

226.

YJC, XXXXII, 163.

123 'The Uncle'. Y^C, XXXXII, 339, 341. 124

'I

hope'.

WC, XXV,

124 'horror'. Y^C,

XXXV,

124 'Religion has'.

124

'I

124

'My

always'.

451. 178.

WC, XXXV,

WC, XXXVII,

dearest'.

354.

170.

WC, XXXVIII,

93.

124-25 'There was'. Sir William Anson,

ed..

Autobiography and

Correspondence of Augustus Henry, Third Duke of Grafton

125 'one of.

WC, XXXV,

Memoirs of King George 'scurrility'.

HI,

III

A

Reply

to the

(1894), 4.

WC, XXXVIII, 437-38.

125 "Tis amazing'.

(1898), 140-41.

297.

125 'by nature'. William Guthrie,

125

KG

Political

WC, XXX,

43.

399

Counter-Address (1764), 6-7; Walpole,

GOTHIC 126 'This dating'. Mowl, Walpole, 182, 186.

126

'I

had'. Walpole, Memoirs of King George

126

'I

have'.

126

'My heart'. WC, XXXXI,

126 'an

age'.

WC,

WC,

'a little'.

127

'to build'.

127

'I

have'.

127 Tmagine

47.

X, 192.

WC, XX,

WC,

XXV,

WC, XXXVII, 439-iO.

WC, XXXVII,

127

5.

XII, 453, 461;

WC,

is'.

269.

111.

XII, 371.

WC,

the'.

' .

XII, 380-82.

128 'you enter'.

Duncan Tovey,

128 'introduced

a'.

Gray

Letters,

ed..

The Letters of Thomas Gray,

not'.

WC, XXVIII,

(1900), 102.

233.

131 'A few'. Samuel Kliger, The Goths 'it is

II

248.

I,

WC, XXXV,

131 'bastard Gothic'.

131

150.

X, 177.

127 'Brobdignag combs'. 127 'There

111, II,

in

England (1952), 27-28.

6.

131 'He liked'. Lytton Strachey, Characters and Commentaries (1933), 40. 131 'the Grecian'.

WC,

XII, 127.

131

'I

have resumed'. WC, XXXV,

131

'I

do'.

Mowl,

131 'He turns'.

Walpole, 119.

Thom Gunn,

132 'Strawberry

Hill'.

132 'They

WC,

132

'I

allot'.

waked'. WC,

133 'pictures of.

161.

I,

WC,

Collected

WC, XXXV,

Poems

(1993), 57.

227.

XXII, 270, 276. 88.

XXII, 271.

133 'Gothic runes'. Sir William Temple, 'Of Poetry', part

133

'I

have'. PC,

133 'For

133-34

the'.

'a

II,

Works,

II

(1754), 339-40.

202-3.

Edith Morley, ed., Hurd's Letters on Chivalry and Romance (1911), 110.

Gothic'. Morley, Hurd's Letters, 115, 117.

134 'There would'. James Beattie, 'The Minstrel', book

134 'the

II:

castles'.

James

Beattie, Dissertations,

II

I,

lines 284-306.

(1783), 278.

135 'The impulses'. Tobias Smollett, preface to Ferdinand Fathom (1753). 135

'I

question'. Maturin, preface to Fatal Revenge (1807).

135 'loves grief.

WC, XXXIX,

94.

400

SOURCES 135 'm\ imagination'.

Lady

Man

Coke, Journals, HI (1892), 225.

135 She was'. Lewis, Memoranda Walpoliana, 10.

135-36 'some of.

WC, XXVm, 6.

136 This world'.

WC, XXXH,

WC, XIX, 386.

136 'died extremely^.

136 'presque

taut'.

136 'What's

the'.

315.

WC,

ffl,

261.

WC, XXXV, 32.

136'WeshaU'.WC,X,184. 136 'fanq^s

gale'.

Walpole's dedicatory sonnet to Lady

Mary Coke.

136-37 'duped'.

WC, XXVm, 5.

137 'dashed

Castle ofOtranto (hereafter CoO), chapter

137

to'.

1.

Tower and'. CoO, chapter 3.

138 'What!

is'.

CoO, chapter

5.

138 'W alpole's comic'. Elizabeth Napier, The Failure of Gothic (1987), 82-83.

138-39 'uttered

a'.

CoO, chapter

139 'WeU, my'. Gothic

140 'Well, but'.

1.

Stories, 16-17.

Ann Radcliffe, The Mysteries ofUdolpho (1794), fourth book, chapter

14.

140 'Oh, transport'. CoO, chapter 140 'Amazement!', CoO, chapter 140 'Ah me'. CoO, chapter 140 'O speak'. Gothic

1.

3.

5.

Stories, 19.

140 'even- mark'. Nathan Drake, Literary Hours,

I

(1820), 278.

140 the silence'. Tobias Smollett, The Adventures of Ferdinand Count Fathom (1753), chapters

XX and XXI.

141 'toward the'. Drake, Hours,

141

'I

could'. VVC,

1,

13S-39.

XXXV, 575.

142 'A wretched'. Parliamentary Debates (19 April 1779), col. 598.

142 'A due'. Parliamentary Debates (30

March

1779), coL 594.

142 'violation of. Maturin, Melmoth, 90. 143 'the hateful'. Marquis de Sade, Vie Gothic Tales (1990), 137.

144 'Love, supposed'. Maturin, preface to Fatal Revenge (1807).

144-45 'Mrs. 145 'even

in'.

S'.

Lady Holland, Journals, 211-12.

Drake, Hours,

1,

105-6. 401

GOTHIC 145 'More than'. James Lackington, Memoirs (1791), 243. 146

'Sir

146

'trash'.

Bertrand'. Gothic Stories (1799),

Lady Holland, Journals,

146-47 'Edwin neither'. Gothic 147 'She had'.

Ann

6.

41.

Stories,

50-51.

Radcliffe, Posthumous Works,

I

(1833), 6, 13.

148 'This was'. Radcliffe, Udolpho, 30. 148 'the Shakespeare'. Drake, Hours, 148 'Charming

as'.

148 'Virtue

WC, XXXVIII,

148 'show

148

is'.

Jane Austen, Northanger Abbey (1818), chapter 25. 130-31.

Charles Brockden Brown, Wieland (1798), chapter

the'.

'a striking'.

148^9

1.

Clara Reeve, The Old English Baron (1777).

'In reviewing'.

Ann Radcliffe, A

149 'His family'. Gothic

Stories,

Sicilian

Romance

(1790), chapter 16.

41-42.

149 'the drama'. Maturin, Melmoth, 149

273-74.

I,

pt. Ill,

chapter

12.

'to be'. Radcliffe, Italian, III, x.

149-50 'the man'. William Faulkner, Absalom, Absalom! (1936), 120.

Chapter Six In this chapter

owe

I

a great debt to

Ronald Paulson, Representations

of Revolution

(1789-1820) (1983), and Nigel Glendinning, Goya and His Critics (1977).

152

'free people'.

Comte de Volney, The Ruins,

or a Survey of the Revolution of Empires

(1791), chapter 19.

152-53

'I

have'.

Lord Gilmour of Craigmillar,

Riots, Risings

and Revolutions (1992),

15-16.

153 'The whole'.

154

'If

Macbeth'.

Edmund

Burke, Works,

WC, XXXV,

155 'who can'. Memoirs of the

III

445-46. Life of Sir

Samuel Romilly,

156 'Absurd and'. Lady Holland, Journals, 156

'to revolutionize'.

(1901), 521.

II,

II

(1840), 4.

16.

Correspondence of Charles, First Marquis Cornwallis,

II

(1859),

358, 383.

156

Edward

FitzGerald. Stella Tillyard, Citizen Lord (1997).

157 'the ruffians'. Annual Register for 1803, 311. 157 'drawn'. Charles Maturin, Melmoth 162 'Like

the'.

the

Wanderer (1820), volume

Ronald Paulson, Representations of Revolution 402

3,

chapter

(1983), 335-37.

12.

'SOURCES' 165 'the body'. Fred Licht, Goya: The Origins of the Modern Temper

in

Art (1979),

148.

165 'stopped

165 'What

Holland, Joimmls,

to'.

is'.

II,

69.

John, chapter 18, verses 38-39.

165 'the Revolution'.

Simon Schama,

165-66 'essential

Licht,

to'.

Modem

Citizens (1989), 714.

Temper, 167-69.

166 'was only'. John Ruskin, Works,

XXXVH (1909),

166-67 'unique'. Joris Karl Huysmans,

A Rebours

53.

(1884), chapter 9.

167 'the greatest exponent'. Andre Malraux, Saturn (1957), 128. 167

man'. Guillaume ApoUinaire in 1909, quoted Geoffrey Gorer, The

'this

Ideas of the

Marquis de Sade (1953),

Life

and

17.

168 'The chateaux'. Donald Thomas, The Marquis de Sade (1992), 20, 41. 170 'that

Marquis de Sade, The Gothic

dirty'.

Tales (1990), 176.

171 'design'd rather'. Thomas, Sade, 25.

172 'The rabble's'. Coventry Patmore, Poems (1928), 424-45. 173 'Murderers,

jailers'.

Sade, Aline

173 'The true laws'. Sade,

173 'Personal

interest'.

et

Valcours, iv,

6.

Juliette (1968), 481.

Sade,

Juliette,

253-54.

173 'bigotry, mummer\''. Sade, Gothic Tales, 174.

173

'I

raise'.

Sade,

Juliette,

173 'The pious'. Sade, 173 'You keep'. Sade,

396-37.

Juliette, 630. Juliette, 930.

174-75 'such infamous'. Sade, Gothic, 169-70. 175 'The great wars'. Sade, 120 Days of Sodom and Other Writings (1966), 176 'Caves, underground'. Simone de Beauvoir, 'Must Days, 37.

177

177 'the 177

Sade,

'for those'.

'a

final'.

Juliette, 236.

Gorer, Sade, 81.

man'. Sade,

Juliette, 210.

177 'He degraded'. Sade,

177-78 'As 178 'he

is'.

178 'kings 178

'it is'.

for'.

Sade,

Sade, are'.

Sade,

Juliette, 378.

Juliette,

Sade,

Juliette, 236.

255.

Juliette, 933.

Juliette, 860.

403

1.

We Bum Sade?', quoted

110

GOTHIC 178 'the new'. Sade, 'Reflections on the Novel', in 120 Days, 108-9.

180 'the two'. Margaret Baron- Wilson, The

Life

and Correspondence ofM. G. Lewis,

I

(1839), 77.

180 'M.G.L.'. Louis Peck,

A

Life of Matthew G.

180 'Lord Kerry'. Baron-Wilson, Lewis, 181

'I

181

'a

Matthew Lewis, The Monk

rent'.

Monster'. Lewis, Monk,

III,

i,

was'. Lewis, Monk,

'It

182

'his desires'.

182-83 'darted

II,

iv,

Lewis, Monk,

(1796), part

III,

chapter

iv,

412, 415.

I, ii,

65-67, 84, 90-91.

276-77. 300.

III, i,

Lewis, Monk,

their'.

132.

301.

182 'Ambrosio rioted'. Lewis, Monk, 182

1,

Lewis (1961), 52.

183-84 'They forced'. Lewis, Monk,

III,

v, 442.

III, iii.

184-85 'Did you'. Edward and Lillian Bloom, eds.. The Piozzi

Letters, II (1991), 411.

185 'talk rather'. Robert Wilberforce and Samuel Wilberforce, The Wilberforce,

185

'lust'

.

.

II

Life of

William

(1838), 183-84.

'ravisher'. Peck, Lewis, 35.

.

185 'O exquisite'. Radcliffe, Romance of the Forest (1791).

186 'his mind'. Lord Stavordale, ed.. Further Memoirs of the Whig Party, 1807-1821, by Third Lord Holland (1905), 379.

186

'I

heard'.

188 'Dream Shelley,

Mary Shelley, Frankenstein

that'.

I

Paula Feldman and Diana Scott-Kilvert,

'I

189 'We

eds..

The Journals of Mary

(1987), 70.

188 'Nothing could'.

188-89

(1818), chapter 13.

Mary Shelley,

History of a Six Weeks' Tour, 1817 (1991), 14.

was'. Muriel Spark, Child of Light (1951), 4-6.

talk'.

190 'unable

Shelley, Journal,

1,

126.

Shelley, Frankenstein, chapter

to'.

5.

190 'race of. Shelley, Frankenstein, chapter 20. 191 'he

left'.

191 'nearly

Shelley, Frankenstein, chapter 24.

in'.

Shelley, Frankenstein, chapter

191 'electricity,

or'.

7.

Marilyn Butler, introduction to Shelley, Frankenstein

(1993), xix.

192 'Voltaic agency'. Sir James Murray, Electricity as a Cause of Cholera (1849),

192 'Thanks

May 192

'is

to'.

Peter

Popham,

'Art, Science

1997, 21c.

madly'. Shelley, Frankenstein,

letter

II.

404

and

4, 9.

Self Abuse', The Independent, 24

'SOURCES' 192

'We

hear'.

'A Methodist', 'Caution against a Growing Immorality of Principle',

Gentleman's Magazine (1801), 398-39.

193

'I

ought'. Shelley, Frankenstein, chapter 10.

193 'All men'. Shelley, Frankenstein, chapter 17. 193 'Do your'. Shelley, Frankenstein, chapter 10.

chapter

193

'I

193

'a fiendish'.

194

'a race'.

Shelley, Frankenstein, chapter 20.

194

'I,

like'.

Shelley, Frankenstein, chapter 16.

will'. Shelley, Frankenstein,

10.

Shelley, Frankenstein, chapter 20.

Chapter Seven In this chapter

have a general debt

Jonathan

to

Scott, Piranesi (1975).

Rosemary

forthcoming biography of Pugin will be unsurpassed.

Hill's

195

I

'It is'.

Maturin, Melmoth

the Wanderer, 207.

196 'as from'. Algernon Swinburne, 'Ode to Mazzini', lines 137-38. 196

'Remember

the'.

Thomas Chalmers,

196 'the severity'. 196 'Has

W.

it'.

Alfred Tennyson, 'Voyage of Maeldune', line 118.

Gladstone, Diary,

E.

Works, VII (1841), 357. (1974), 250-51.

III

197 'As he'. Samuel Taylor Coleridge, 'The Devil's Thoughts', lines 34-37. 197

'It is'.

197

'I

Charles Baudelaire, preface to Les Fleurs du Mai (1855).

don't'.

197-98 'by 200

'If

r.

Robert Musil, The

the'.

Man

Hyatt Mayor, Giovanni

Aldous Huxley, Prisons

200 'designs

Without Qualities,

(1953), 236.

Battista Piranesi (1952), 4.

(1949), 31.

Arthur Samuel, afterwards

for'.

I

first

Baron Mancroft,

Piranesi (1910),

107-8.

200-1 'instead of. Mayor, Piranesi, 201 'authentic pedigree'.

16.

Angus Hawkins and John

Powell, eds.. The journal of John

Wodehouse, First Earl of Kimberley for 1862-1902 (1997), 138. 201 'Salvator Rosa'.

202 'Many years'.

WC,

XXXIII, 547.

Thomas De Quincey,

Confessions of an English Opium-Eater (1822;

1927 edn), 117-18. 203 'metaphysical

203^

prisons'.

'The walls'.

Fonthill,

I

Huxley, Prisons, 21-22, 24-25.

Guy Chapman,

ed..

The Travel Diaries of William Beckford of

(1928), 96-98.

405

GOTHIC 206 'Amongst

207

have'.

'I

Chapman,

the'.

Beckford Travel Diaries,

Boyd Alexander, The Journal

1787-1788 (1954),

I,

Ix.

of William Beckford in Portugal and Spain,

13.

207 'Unhappy Vathek'. Louis Crompton, Byron and Greek Love (1985), 120. 208 'Phipps

bid'.

Wilfred Dowden,

Kathryn Cave,

ed..

ed..

The Journal of Thomas Moore,

I

(1983), 69;

The Diary of Joseph Farington, VIII (1982), 2887-88.

208 'impudent Phipps'. Boyd Alexander,

Life at Fonthill,

1807-1822 (1957), 274.

208 'hopeless spectators'. Huxley, Prisons, 23.

208 'imprudence

in'.

David Hartley, Observations on Man

208 'the dwarf. Alexander, 208

'How tired'.

(1791), part

242.

II,

Fonthill, 110.

Alexander, Beckford

208-9 'To pay'. Lewis Melville, The

in Portugal, 41.

Life

and

Letters of William Beckford of Fonthill

(1910), 31-32.

209

'I

209

'a certain'.

had'. Melville, Beckford, 142.

209-10

'In the'.

210 'The

210-11

Letter to

after

September 1784.

Beckford, Vathek, an Arabian Tale (1786), circa finem.

rising'.

'it's

Samuel Henley

Alexander,

really'.

Fonthill, 119.

Alexander,

Fonthill, 81.

211 'Some people'. Alexander, Fonthill, 128. 211

'all this'.

211

'I

was

Alexander,

Fonthill, 153-54.

seduced'. Alexander, Fonthill, 152.

211 'Walpole hated'. Melville, Beckford, 299. 211 'Strawberry

Hill'.

Harold Brockman, The Caliph

211-12 'The very'. Alexander,

of Fonthill (1956),

xii.

Fonthill, 109.

212 'glorious parks'. Marquess of Huntly, Milestones (1926), 53-54. 213 'the Destroyer 215 'When

his'.

.

.

.

this monster'.

Anthony

Martin Briggs, Goths

'a

Vandals (1952), 140, 157.

Dale, James Wyatt (1956), 166.

216 'The park'. Prince Piichler-Muskau, Tour, 216

&

III

(1932), 199-201.

conservatory'. Pugin, True Principles of Pointed or Christian Architecture (1841),

96.

216-17 'an abbey'. Clayre Percy and Jane Ridley, eds. The

Letters of Edwin Lutyens to

His Wife Lady Emily (1985), 166.

Wagnerian'. Nikolaus Pevsner and

217

'this

217

'the beau'.

Nikolaus Pevsner,

Edward Hubbard,

Leicestershire

406

Cheshire (1971), 208.

and Rutland (1984),

97.

SOURCES' 217

The ball'.

Robert Rhodes James,

217 'An amusing'. John Vincent,

ed..

ed.. Chips (1967), 21.

The Crawford Papers (1984), 272.

217 'Let wealth'. Lord John Manners, 'England's Trust', part

III,

lines 231-32.

219 'the crosses'. Charles Maturin, Melmoth the Wanderer (1820), 392. 219 'while

Melmoth, 531.

I'.

219 'simplicity of. Melmoth, 111.

219

'I

was'. Melmoth, 91.

219 'The whole'. Melmoth, 76. 219 'There was'. Melmoth, 94. 219

'In Catholic'.

Melmoth, 165.

220 'He possessed'. Melmoth, 196-97. 220 'that despair'. Melmoth, 197-98.

220 'Clap me'. Melmoth, 212-3.

220-21 'mine 221

'It

Melmoth, 225.

is'.

was'. MWmof/z, 240.

221 'In

this'.

Henry

Blyth, The Pocket Venus (1966),

223 'harmony, symmetry'. John

Newman and Nikolaus Pevsner, Dorset

Montagu Bream,

223 'Next week'.

6.

Recollections of a

Man

(1972), 244.

of No Importance,

III

(1888),

21.

223-24

'at

much'. Benjamin Ferrey,

Life of A.

N. Welby Pugin (1861), 61.

224 'Pugin's etchings'. Kenneth Clark, The Gothic Revival (1928), 138. 224 'perfectly convinced'. Ferrey, 88. 224 'You

are'.

Ferrey, 262.

224-25 '"Happy" exclaimed'. Chapman, Beckford Travel Diaries, 225 'the man'.

J.

Mordaunt Crook,

'Catholic

II,

43.

Myths by Moonlight', TLS, 15

July 1994,

18.

225 'walls, towers'. Nikolaus Pevsner, Staffordshire (1974), 56; Dennis

Gwynn,

Shrewsbury, Pugin and the Catholic Revival (1946).

226 'The world'. Crook, 'Catholic Myths', 226 'the

illusion'.

A.N.W. Pugin, The True

18.

Principles of Pointed or Christian

Architecture (1841), 59-60.

226 'Treatise upon'. A. H. Clough, Poems (1974), 73-74, 91.

407

Lord

GOTHIC Chapter Eight

Among

several heavy debts in this chapter,

I

must specify Nina Auerbach, Our

Vampires, Ourselves (1995), James Twitchell, The Living Dead (1981), Paul Barber,

Vampires, Burial and Death (1988)

228 'that

if.

and Nicholas Powell,

Fuseli:

The Nightmare (1973).

Robert Latham and William Matthews, eds. The Diary of Samuel Pepys,

IX (1976), 32-34, 49.

229 'the suicide'. Arthur Friedman, ed.. Collected Works of Oliver Goldsmith,

II

(1966),

452.

229-30 230

'a

tremble'.

'I

Henry

Tom Jones

Fielding,

(1749),

book

7,

chapter

7.

personal'. Sheila Fletcher, Victorian Girls (1997), 196.

230 'The body'. Annual Register 1823 (1824),

82.

231 'the more'. James Hogg, Private Memoirs and Confessions of a

Justified

Sinner (1824;

1969 edn), 242. 231 'that

232

fool's'.

'Is he'.

Emily Bronte, Wuthering Heights

(1847), chapter 17.

Bronte, Wuthering, chapter 34.

232 'how anyone'. Bronte, Wuthering, chapter

34.

232 'The dead'. Paul Barber, Vampires, Burial and Death (1988), 197. 234 Countess Bathory. Tony Thome, Countess Dracula (1997). 234 'from Medreyga'. Gentleman's Magazine (1732), 681.

234-35 'Vampire

in'.

235 'though

WC,

236 'We

not'.

are'.

PC,

W, 227.

XXXIII, 508.

John Knowles,

236

'that Fuseli's'. Peter

236

'Terrific and'.

ed..

The

Life

Tomory, The

Knowles,

Fuseli,

II,

Life

237

'All his'.

237-38 'So 238-39 239

the'.

'a

Knowles,

John

on'.

Joliffe,

Fuseli,

III,

Fuseli, III (1831), 102.

and Art of Henry Fuseli (1972),

92.

102-3.

236 'fused ancient'. C. Nicholas Powell, 236 'Envy,

and Art of Henry

Fuseli:

The Nightmare (1973),

96.

140.

Neglected Genius (1990), 22, 40.

Erasmus Darwin, 'The Botanic Garden', pt

'satirical Invective'.

corrupt'. Goldsmith,

II,

canto

3, lines

51-76.

The Craftsman (1732), 751.

CW,

II,

329.

239 'Rulers who'. Percy Bysshe Shelley, 'England in 1819', lines 3-6.

239 'Castle Spectre'. Correspondence of Charles, 240 'But

first'.

First

Marquis Cormvallis,

II

(1859), 418.

Byron, The Giaour, lines 755-64.

240 'Certain vague'. Sheridan Le Fanu, In a Glass Darkly (1872): 'Carmilla', chapter 408

7.

SOURCES 241

'I

wiir. Leslie

Marchand

ed., Byron's Letters

& Journals, hereafter BLJ.

241 1 am'. BLJ, IX, 62. 241

They say'.

BLJ, IX, 108.

241 'Shakespeare

and Otway'.

241 'The great'. BLJ,

242 'From 242

'a

his'.

109.

III,

David

BLJ, VII, 194.

L.

MacDonald, Poor

Polidori (1991), 5.

most'. Lord Broughton, Recollections of a Long

242 'What

is'.

MacDonald,

Life, II

(1909), 16.

Polidori, 70-71.

242 'Poor Shelley!'. BLJ, X, 69. 242 'There was'. MacDonald, Polidori, 102; Franklin Bishop, Polidori! (1991), 54. 242

Bishop, Polidori!, 67.

'will be'.

243 'A cursed'. Peter Graham, ed., Byron's Bulldog (1984), 270-71. 243 'Lord Byron'. MacDonald, Polidori, 180. 243 E. M. Butler, Byron 243

& Goethe (1956), 55, 112.

Don'. Christopher Frayling, Vampyres (1991),

'ce

9.

243-44 'man of. Alan Ryan, The Penguin Book of Vampire 244

Stories (1988), 1-6.

BLJ, IX, 45.

'a material'.

244-45 Grey de Ruthyn. Louis Crompton, Byron and Greek Love (1985), 70, 82-84, 217, 230-31.

245-46

'irresistible

246 'Being

a'.

246 'disgust

powers'. John Polidori, The Vampyre and Other Works (1991), 5-20.

Harriet Martineau, Autobiography,

at'.

247

'a

Thomas Medwin,

love'. Polidori,

247 'there

are'.

shabby'.

(1877), 82.

Polidori, Vampyre, 33.

246 'Poor Polidori'.

247 'The

I

Conversations of Lord Byron,

I

(1824), 139-40.

Vampyre, 39.

Poe, 'Berenice'.

Mary

Elizabeth Braddon, 'Good

Lady Ducayne',

in

Ryan, Penguin

Vampires, 139.

248

'"If there's'". F.

Marion Crawford,

'For the Blood Is Life', in Ryan, Penguin

Vampires, 190.

248

'"I

must"'. James Rymer, Varney the Vampyre, or the Feast of Blood (1845), 151.

250 'On Monday'. The Times, 12 June 1860, 8e.

250 'A great'. The Times, 29 July 1839,

7e.

250 'passionate, studious'. Poe, 'Oval Portrait'.

250-51 'A giant'. Lord de Tabley,

'Circe', lines 22-38.

409

GOTHIC 251 'Remorseless by'. John Paget, Hungary and Transylvania,

251 'For

Lord Lytton, 'The Vampire',

the'.

252 'Capital

(1839), 68-71.

lines 42-46.

Karl Marx, Das Kapital, chapter

is'.

I

X

(1990 edn, 342).

252 'one of. Nina Auerbach, Our Vampires, Ourselves (1995), 41. 254 'My

father'.

Le Fanu, 'Carmilla', chapter

254 iDy way'. 'Carmilla', chapter

2.

255 'Twelve years'. 'Carmilla', chapter

255

'

"I

have"

'.

'Carmilla', chapter

3.

5.

255-56 'She used'. 'Carmilla', chapter

4.

256 'Carmilla became'. 'Carmilla', chapter

256 'A sharp'. 'Carmilla', chapter

258-59 'He 259 'You 259

is'.

are'.

Bram

15.

Stoker, Dracula, chapter

3.

his'.

chapter 13.

Dracula (1897), chapter 15.

259-60 'the sweetness'. Dracula, chapter 260 'Arthur placed'. Dracula, chapter 260

7.

Dracula (1897), chapter 10.

'as if. Dracula,

259 'holding

1.

'In constructing'.

16.

16.

Auerbach, Vampires,

83.

261 'The future'. D. L. Burn, The Economic History of Steel-Making (1940), 304. 261 'The most'. Geoffrey Searle, The Quest for National Efficiency (1971),

1.

261 'we have'. Dracula, chapter 18.

261 'the wonderful'. Dracula, chapter 26.

262 'young man'. Christopher Frayling, Vampyres (1991), 301. 262

'this

man'. Dracula, chapter

262 'ShaU

I'.

4.

The Complete Peerage, IX (1936), 534-55.

262 'He sucks'. Franco Moretti, Signs Taken for Wonders (1988), 91.

262 'The only'. Dracula, chapter

4.

262 'they cannot'. Dracula, chapter 263 'We found'. Dracula, chapter

18.

26.

263 Bume-Jones. The Times, 22 June 1926, 21. 263 'A 263

fool'.

Rudyard Kipling's Verse

'as business'. Kipling, Verse,

263 'He bore'. Dracula, chapter

(1982), 220. Italics in original.

299-300.

13.

263-64 'an America'. Ewart Grogan, From Cape 410

to

Cairo (1902 edn), xiii-xiv.

'SOURCES' 264

The

occurrence'. Moretti, Signs, 96.

264 'A brave'. Dracula, chapter 27.

Chapter Nine

266-67

'Life

267 'There 267 'the

is'.

are'.

old'.

Nathaniel Hawthorne, Works,

Hawthorne, Works,

I

(1965), 41.

II

(1962), 40-41.

William Faulkner, Absalom, Absalom! (1936),

82.

267 'isolated puritan'. Faulkner, Absalom, 93. 267 'mean incidents'. Hawthorne, Works,

II,

153.

267 'most wild'. Edgar Allan Poe, Works,

III

(1978), 849.

267 'connected 268

'if

r.

W. M.

at'.

Henry James, Notes and Reviews

(1921), 110.

Elofson, ed.. The Writings and Speeches of Edmund Burke,

III

(1996),

325.

268 'men

the'. P.

J.

Marshall and

J.

Woods,

A.

eds..

The Correspondence of Edmund

Burke, VII (1968), 62.

268 'men of. Hawthorne, Works,

II,

44.

268 'had contributed'. Parliamentary Debates, 20

(4

May

268 'subvert[ing] every'. Parliamentary Debates, 35 (16 268 'men of. Parliamentary Debates, 35 (16

May

May

1800), col. 250.

1800), col. 275.

268 'the honourable'. Parliamentary Debates, 35 (23

May

268 'Domestic unhappiness'. Parliamentary Debates (16

Donna Andrew, '"Adultery-a-la-Mode":

1779), col. 601.

1800), col. 281.

May

Privilege, the

1800), col. 263; see

Law, and Attitudes

to

Adultery, 1770-1809', History, 82 (1997), 5-24. 269 'The doctrine'. Henry James, 'Hawthorne' (1879), chapter

4.

269 'headache which'. T. Walter Herbert, Dearest Beloved (1993), 50.

269-70 'You

say'.

John

Ward Ostrom,

ed..

The Letters of Edgar Allan Poe,

II

(1966),

356.

271

The place'. Hawthorne,

Works,

1,

11.

271 'this grim'. Faulkner, Absalom, 109. 271 'The atmosphere'. The Education of Henry

Adams

(1907), 7, 25, 48.

271 'He greatly'. Louis Sullivan, The Autobiography of an Idea (1924), 49-50.

272 'The building'. George Nash, The

Life of Herbert

Hoover,

I

(1983), 5-6.

272 'grim mausoleum'. Faulkner, Absalom, 60. 272 'A Bible-belting'.

Poppy

Z. Brite,

Drawing Blood 411

(1993), 25.

^^—-——---—-—-———

GOTHIC 272 'the dairymaid'. Edith Birkhead, The Tale of Terror (1921), 197.

272-73 'They had'. William Hazlitt, Works, VI (1903), 386. 273

'It is'.

273

'a

Leslie Fiedler, Love and Death in the American Novel (1967), 28.

supreme'. Joyce Carol Gates, Haunted (1994), 304.

273 'what have'. William Faulkner, The Sound and the Fury (1929), 87-88.

274 'whatever

Faulkner, Sound, 224.

I'.

274 'the dungeon'. Faulkner, Sound, 148. 274

'to trail'.

Bertram Wyatt-Brown, The House of Percy

(1994), 355.

274 'why psychoanalysis'. David McClelland, The Roots of Consciousness (1964), 127-28.

275 'His seniors'. 'American Gothic Novelist', TLS, 3 March 1950, 134. 275 'hot hidden'. Faulkner, Sound, 275 'Although Brown's'.

275

'a

Emory

78.

Elliott,

Revolutionary Writers (1982), 224-25.

country'. Faulkner, Absalom, 111.

176 'The empire'. Charles Brockden Brown, Wieland and Memoirs ofCarwin the Biloquist (1991 edn), 10.

276

'his features'.

276 'degenerate

Brown, Wieland, 25-26.

into'.

Brown, Wieland,

43.

276 'expatiate on'. Brown, Wieland, 49.

276

'little

community'. Brown, Wieland,

68.

277 'imp of mischief. Brown, Wieland, 140.

Brown, Wieland,

150.

277 'Very powerful'. Hyder Rollins,

ed..

277 'Bloodshed

is'.

277 'He was'. Hazlitt, Works,

X

The Letters of John Keats,

(1904), 311.

278 'have no'. Herbert, Dearest Beloved, 185. 278

'I

thank'.

Hawthorne, Works, XVIII

(1987), 531.

279 'A young'. Hawthorne, Works, XI (1974), 270.

279 'insane hatred'. Hawthorne, Works, XI, 272. 279 'A scene'. Hawthorne, Works,

II,

273.

279 'The countenances'. Hawthorne, Works,

279

'I

II,

276-77.

have'. Faulkner, Sound, 67.

280 'The very

fact'.

280 'persecuting

Faulkner, Absalom, 96.

spirit'.

Hawthorne, Works,

280 'No aim'. Hawthorne, Works,

1,

1,

10.

412

9.

II

(1958), 173.

'SOURCES' 280 'A strange'. Hawthorne, Works, 281 'so Roger'. Hawthorne, Works,

281 'when

a'.

Hawthorne, Works,

116.

1,

1,

124.

138.

1,

281 'was ornamented'. Hawthorne, Works,

Hawthorne, Works,

II,

261.

281 'chaotic'. Hawthorne, Works,

II,

250.

281

281

'a rusty'.

'a theatre'.

Hawthorne, Works,

II,

11, 14.

217.

II,

281 'sombrely theatrical'. Faulkner, Absalo7n, 35, 38, 40. 281 'The iron-hearted'. Hawthorne, Works,

II,

281-82 'more extensive'. Hawthorne, Works, 282 'fed

.

.

from'.

.

282

'In this'.

282

'in all'.

282

'I

Hawthorne, Works,

Hawthorne, Works,

Hawthorne, Works,

II,

18.

37.

II,

38.

II,

23.

II,

make'. Hawthorne, Works,

15.

II,

91.

282 'reformers, temperance-lecturers'. Hawthorne, Works, 282 'the

gift'.

Hawthorne, Works,

II,

282 'the hard'. Hawthorne, Works,

II,

48.

dreams'. Hawthorne, Works,

184.

II,

282 'We are ghosts!'. Hawthorne, Works, 'his

II,

II,

169.

170.

282 'had worn'. Hawthorne, Works,

II,

282 'animal'. Hawthorne, Works,

116, 118.

II,

123.

282 'Might and wrong'. Hawthorne, Works,

283-84

'all

Poe's'.

84.

71.

282 'expressive of. Hawthorne, Works,

282

II,

II,

243.

Susan Archer Weiss, The Home

Life

ofPoe (1907), 132.

284 'This death'. Lois and Francis Hyslop, eds, Baudelaire on Poe (1952), 101, 284

'a

hero'.

N. Bryllion Fagin, The Histrionic Mr. Poe (1949), 191.

284 'morbid melancholy'. Poe, Works, 285 'The career'. Poe, Works,

II,

285

'I

thrill'.

Poe, Works,

am'. Poe, Works,

III,

285 'one of. Poe, Works,

III,

that'.

Letters,

I,

57-58.

955.

853.

II,

156-57.

285 'gloomy, gray'. Poe, Works, 286 'was

26.

29.

285 'the ludicrous'. Ostrom, Poe

285 'we

II,

II,

209.

Fagin, Histrionic Poe, 61-62. 413

^—^^^^^^^—^—

GOTHIC 286

'I

am the'.

Poe, Works,

427.

II,

286 'my hereditary'. Poe, Works,

286-87 'with brute'. Poe, Works, 287 'perverseness 287 'Essentially

670.

II,

288-89 'The external'. Poe, Works, Poe, Works,

tastes'.

'in unutterable'.

II,

671.

673.

II,

289 'His vestures'. Poe, Works, 289

852.

III,

Fagin, Histrionic Poe, 65.

288 'There were'. Poe, Works,

289 'The

446.

447-48.

II,

Poe, Works,

is'.

the'.

II,

II,

Poe, Works,

675.

II,

676-77.

290 'Hoffmann-Barnum'. Robert Baldick,

ed.. Pages from the

Goncourt Journal (1962),

100.

292 'Miserable, blind'.

292-93

'a

My rendering of Tales from Hoffman

tower'. Sir Walter Scott, Works, XVIII (1835), 311.

294 'There was'. Poe, Works, 294 'Hate

is'.

II,

416-17.

D. H. Lawrence, Studies

in Classic

294 'Quentin had'. Faulkner, Absalom, 295

(1951), 221.

'a constitutional'.

Poe, Works,

295 'enchained by'. Poe, Works,

II,

II,

American Literature (1924),

85.

12.

402.

403.

295 'put by'. Oxford English Dictionary, XVII (1989), 265. 295

'I

296

'a

perceived

.

.

.

Porphyrogene!' Poe, Works,

II,

406-7.

new'. Baldick, Goncourt Journal, 19-20.

296 'the deep'. Faulkner, Absalom,

9.

296 'the principles'. Faulkner, Absalom, 116.

297

'to gratify'.

Bertram Wyatt-Brown, The Literary Percys (1994),

25.

297-98 'has murdered'. Wyatt-Brown, Percys, 29-30. 298

'a

baronage'. Joseph Blotner, Selected Letters of William Faulkner (1977), 216.

298-99 'accomplish

the'.

Faulkner, Absalom, 182.

299 'the inexplicable'. Faulkner, Absalom, 299 'realized 299 'the

at'.

evil's'.

97.

Faulkner, Absalom, 181.

Faulkner, Absalom, 18.

299 'rotting portico'. Faulkner, Absalom, 136.

299

'like a'.

299 'while

Faulkner, Absalom, 65.

he'.

Faulkner, Absalom, 72-73. 414

—^—^—^—^^^^^—— SOURCES ^^—^^^^^^^^^^^^— 299

'it

was'. Faulkner, Absalom, 248.

300

'a

nigger'. Faulkner, Sound, 73.

300 'decayed mansion'. Flannery O'Connor, The Complete Stories (1971), 405-20.

Chapter Ten

302-3 'There

'The Fear of Mobs', The Spectator, 13 February 1886, 219.

is'.

304 'The premise'.

Mark Edmundson, Nightmare on Main

Street (1997), 10-11.

305 'what we'. Christoph Grunenberg, ed., Gothic (1997), 218.

305 'Carefully, with'.

Edgcumb Pinchon and Odo

Stade, Viva Villa! (1933), 374-75.

306-7 'draws aside'. Carl Theodor Dreyer, Four Screenplays (1970), 116-19. 307 'Hell

Isak Dinesen, Seven Gothic Tales (1934), 30.

is'.

307 'The obvious'. Richard Davenport-Hines, Auden (1995), 272. 308 'two hand-writings'. Bradford Booth and Ernest Robert Louis Stevenson,

308

'a

gothic gnome'.

308 'morbid

308 'My

.

life'.

.

RLS

ethics'.

.

V (1995), Letters,

RLS

Mehew,

122.

V, 163.

Letters,

V, 212-13.

Robert Louis Stevenson, Dr Jekyll and

Mr Hyde, and Other Stories

145.

308 'Man

is'.

Stevenson,

310 'My devil

.

.

.

The

Stories, 61.

spirit'.

Stevenson,

310 'the brute'. Stevenson,

Stories, 75.

310 'horror of. Stevenson,

Stories, 76.

310 'not only'. Stevenson, 310 'that the main'. RLS 310 'an age'. RLS

310 'manly

Letters,

sensibility'.

RLS

310 'disgrace'. Stevenson,

Letters,

Stevenson,

311 'committed 311

'it

to'.

V, 80-81.

Stories, 68.

Stories, 11.

310 'You must'. Stevenson, 'It is'.

V, 150.

V, 288.

310 'the coming'. Stevenson,

311

Stories, 70-71.

Stories, 77.

Letters,

Stories, 34.

Stories, 20.

Stevenson,

Stories, 60.

was'. Stevenson, Stories, 61.

311 'brutish, physical'. Stevenson, Stories, 70.

311 'the balance'. Stevenson,

eds. The Letters of

Stories, 68.

415

(1992),

GOTHIC 311

To cast'.

Stevenson,

311-12 'So long'. RLS 312 'M. Zola'. RLS

Stories, 69.

V, 28.

Letters,

Letters,

V, 311.

312 'the only'. Daniel Pick, Faces of Degeneration (1989), 166.

RLS

312 'the ugliest'.

312 'To me'. RLS

Letters,

V, 149.

V, 171.

Letters,

312 'pale and dwarfish'. Stevenson, 313 'with ape-like'. Stevenson, 313 'His

terror'.

Stevenson,

Stories, 15-16.

Stories, 23.

Stories, 76-77.

314 'the increase'. 'The Whitechapel Horrors', The Spectator, 6 October 1888, 1353.

314 'Homosexuality

is'.

Jeffrey Miller, ed.. In Touch: The Letters of Paul Bowles (1994),

42.

314

'in air.

Liverpool Record Office, diary of fifteenth Earl of Derby, 29 December

1884.

314-15

common'. Henry Keene, 'The Disorder

'a

of the Age', National Review, XI

(1888), 796.

315 'silenced, gratified'.

315 'Dr. 315

Letters,

Oscar Wilde,

Jekyll'.

Stevenson,

'evil'.

RLS

V, 312.

Plays, Prose Writings

and Poems (1991),

75.

Stories, 64.

315 'very gentle'. Sheridan Le Fanu, In a Glass Darkly (1993), 37 (hereafter Le Fanu). 315 'agitation of. Le Fanu,

7.

316 'accentuated by'. Le Fanu, 30.

316 'always urging'. Le Fanu,

316-17 'from what'. 317 'the

F. S.

32.

Oliver, The Endless Adventure,

age'. Paris Review, Writers at Work,

W (1977),

III

(1935), 170.

13, 17.

317 'God alone'. Isak Dinesen (Baroness Blixen), Seven Gothic Tales (1934), 317

'in pictures'. Paris

Review, 14.

317 'This season'. Christopher Isherwood, 317

'a fantastic'.

321

'evil,

321-22

'I

am'.

Diaries,

I

(1996), 800.

Paris Review, 18.

odious'.

321 'His fame'.

14.

Henry James, Complete

Wanda Corn,

Tales, XII (1964), 226.

Grant Wood (1983), 48^9.

Guy Wyndham,

ed.. Letters of George

Wyndham, 1877-1913,

23-24.

322 'Mr Bram'. Punch, vol. 172, 23 February 1927, 218. 416

1

(1915),

I

'SOURCES' 322 'horrors

.

.

.

perpetrated'. Connoisseur, vol. 81 Ouly 1928), 184.

322 'The Gothic'. 322

'a

New

Statesman,

1

December

1928,

Museum'. Edith Wharton, The Gods Arrive

323 'ogre's

castle'.

Henr\^ Channon,

Tlie

supplement

x.

(1932), 95, 125.

Ludwigs of Bavaria (1933), 102-3.

323 'They have'. Robert Rhodes James, ed.. Chips (1967), 40.

323 'At Castlemallock'. Anthony Powell, The Valley of Bones (1964), 171-72. 323 'they passed'. Carol Thatcher, Belozv the Parapet (1996), 64.

324 Vile, hateful'. Harry Moore,

ed., TJie Collected Letters

ofD. H. Lawrence (1962),

28-29.

324 'the harsh'. John Buchan, Memorx/ Hold 324 'glazed brick'. Evelyn Waugh, 325 'endeavoured

to'.

A

the

Door (1940),

35, 53.

Liandfid of Dust (1934), chapters 2,

James Lees-Milne, Prophesying Peace

325 'For Freud'. Edmundson, Nightmare,

5.

(1977), 108.

32.

325 'sensational horror'. Grunenberg, Gothic, 156.

327

'Life was'.

Richard 0\Tr\', The Penguin Historical Atlas of the Third Reich (1996),

328 'many Germans'. Viscount D'Abemon, Ambassador of Peace, 328 'mass desires'. Siegfried Kracauer, Trom Caligari

I

8.

(1929), 12.

to Hitler (1947), 5-6.

329 'Der Doppelganger'. Otto Rank, Psychoanalytische Beitrage zur Mythenforschung 1912

bis

1914 (1919), 26S-70.

329 'the quaUt}^'. Sigmund Freud, Works, XVII (1955), 236. 329 'swung back'. Freud, Works, XVII, 248. 329-31 'immaculate respectability'. D'Abemon, Ambassador, U, 214. 331 'The bourgeois'.

Max Horkheimer and Theodor Adomo,

Dialectic of

Enlightenment (1973), 155.

333

'a

general'. Cecil King, Diary, 1965-1970 (1972), 271-72.

334 'Power based'. Kracauer, Caligari, 163-64.

337

'I

see'.

Mark Gatiss, James Wlmle

337 'James's

(1995), 74.

feeling'. Gatiss, Whale, 113.

337 'Thunder

rolls'.

The Times, 25 Januar>' 1932, 10b.

338 'Karloff the Uncann\ 341 'Mrs. Radcliffe'.

'.

Gatiss, Whale, 89.

Graham Greene, The Pleasure-Dome

(1972), 22.

341 'On our'. Elizabeth Mavor, ed.. The Grand Tours ofKatherine Wilmot (1992), 56-57.

342 'The middlebrow'.

Graham Greene, Mornings

417

in the

Dark (1993), 248.

GOTHIC Chapter Eleven

343

'art transferred'. Philip Rieff,

344

'It

was'.

345 'being

Mervyn Peake,

a'.

Poppy Z.

Fellow Teachers (1975), 137.

Titus Alone (1970), 225.

Brite:

The

HORROR Interview by Nancy Kilpatrick, from

Horror, #1 (January 1994): http://www.negia.net/~pandora/pzbIVI.html. All Brite quotations in this chapter not otherwise attributed

come from

this source.

345 'The dominant'. Clement Greenberg, 'The Present Prospects of American Painting and Sculpture', Horizon,

345 'Hohensalzburg'. Randall 345 'When T.

Mary Jarrell,

Jarrell,

XVI

(1947), 24.

The Complete Poems (1969), 86-91.

ed., Randall Jarrell's Letters (1985), 217.

345 'The most'. Greenberg, 'Prospects', 24.

346 'He began'. Ellen Landau, Jackson Pollock (1989), 146. 346 'psychotechnics'.

Rieff, Fellow Teachers, 137.

347 'wizard'. Ernest Thesiger, Practically True (1927), 182.

347 'an

old'.

James Lees-Milne, Ancestral

347 'Mr Ernest'. Hilary Spurling, 349 'Hke

a'.

Voices (1975), 61.

Secrets of a

Woman's Heart

(1984), 32.

Thesiger, Practically True, 142.

349 'Always remember'. Thesiger, Practically True, 134. 349

'but, r. Spurling, Secrets, 32.

349 'my

face'.

352 'For

a'.

Thesiger, Practically True, 13.

Beloit Daily

News, 22 March 1997.

353 'The women'. Daily Herald, 2

November

1962, 611.

353 Highgate cemetery. The Times, 30 September 1970,

4c.

353 Twenty-seven per cent. Paul Barber, Vampires, Burial and Death, 353 Sixty-nine per cent. Edmundson, Nightmare, 354 'What we'.

Tim Cornwell, 'Shopping and

4.

80.

Sucking', Independent on Sunday, 8

February 1998, 1/16. 354-55 'dozens of. 'Disney's Vampires', Sunday Times, 28 September 1997, 1/23. 355 'Most of. Harold Macmillan, Riding the Storm (1971), 350-51.

356 'She epitomizes'. Nina Auerbach, Our Vampires, Ourselves (1995), 57-58. 359 'brain-numbing nonsense'. 360 'Too much'. 360-61 361

Brite,

Drawing

Brite, Lost Souls, 161.

'a fried'. Brite,

'in no'. Brite,

Drawing

Drawing

Blood, 82-83.

Blood, 71.

418

Blood, 36.

.

SOURCES 361

The secretive'.

362 'horror

is'.

The Standard Times, 2 December 1996.

Brite, Exquisite Corpse, 159.

362 'some pathetic'. Brite, Exquisite Corpse, 159. 363 'Born on', http://www.negia.net/~pandora/cfbio.html.

364 'violently childish'. Mick Mercer, Gothic Rock Black Book (1988), 10-11. 365 'Scratch pictures', http:/ www.cs.cmu.edu/

— visigoth/music/bauhaus/

antonin-ar taud html .

366 'The songs'. Robert Smith/http://miso.wwa.com/~anaconda/press/ A7.html. 368 'trademark shock'.

I'.

'In the

mood

compare Melody Maker, 7 March

1996, 10/21;

368 'When

Andrew Smith,

1992.

USA

could'. Chris Rodley, Lynch on Lynch (1997),

370 'asked

May

Brite, Lost Souls, 31-34.

370 'Whenever you'. Paul A. Woods, Weirdsville 'I

Sunday Times, 5

Robert Smith,http://miso.wwa.com/~anaconda/press/ 198.html.

368-69 'Nothing had'.

370

again',

the'.

Woods,

8.

Weirdsville, 172.

371-72 'There wasn't'. Woods, Weirdsville, 375 'Balenciaga took'. Ian Phillips, 'The The Independent, 6

(1997), 8-9.

May

9.

Man Who Turned Madonna into a Goth',

1998, 17.

376 'At times'. Edmundson, Nightmare, xiv.

378 'We stand'. Patrick McGrath and Bradford Morrow, The 379 'Violence

is'.

New

Gothic (1991), xiv.

Victor Bockris, The Life and Death of Andy Warhol (1998), 366.

379-80 'pinheads, dwarfs'.http:/ /v^rww.sirius.com/~aether /photo/ witkin.html. 381 'We're only'. Interview with Douglas Foght of Laat. http://vpro.nl/htbin/

scan/www/vpro-digitaal/laat-map. 382 'Art cannot'. John Deedy, Auden as Didymus (1993), 34. 382 'Make

it'.

Interview with James Hobbs. http://www.biblio.co.uk/etour/

chapfeat.html.

382 'are packed'. Alan Jackson, 'Charm Offensive', The Times, 22

November

1997,

M/42. 382-83 'We

are'.

Chapman

manifesto,

'We Are

Artists' (1994).

Foght/Laat interview.

383 'We made'. Foght/Laat interview. See also the Institute of Contemporary Arts exhibition catalogue Chapmanworld (1996), with essays

Douglas Fogle and Nick Land. 383

'liberal slag-bitch'.

Hobbs

interview. 419

by David Falconer,

GOTHIC 383 'Man has'. Friedrich Nietzsche, The Gay Science, trans, by Walter

Kaufman

(1974), 115.

383-84 385

'I

'Effigies are'.

William Ian Miller, The Anatomy of Disgust (1997),

love'. Friedrich Nietszche,

Thus Spoke Zarathustra, trans, by R.

(1961), 3.

420

J.

27.

Hollingdale

iPiclure Greoils Black-and-white illustrations An engraving of Landscape zuith

Cave by Salvator Rosa. (© The Board of Trustees of the

and Albert Museum)

Victoria

17

Archduke Leopold William with the Count

by David Tenniers. (Prado

of Fuensaldana,

Museum, Madrid. Photo: AKG London, Erich Lessing) A stage design by Inigo Jones. (Devonshire Collection, Chatszvorth. Institute of Art,

Illustration

London)

44

by William Kent

Trustees of the Victoria

Another

31

Photo courtesy Courtauld

illustration

for

an edition of Spenser's Faerie Queene. (© The Board of

and Albert Museum)

by William Kent

for

53

an edition of Spenser's Faerie Queene. (© The

Board of Trustees of the Victoria and Albert Museum)

The gothic eyecatcher

at Alfred's Hall.

(Country Life Picture Library)

A sketch of Pomfret Castle. (Vie Bodleian Library, The

east front of

Arbury

The drawing room

at

56

University of Oxford. Ms.

60

(^ugh Maps. 22 f. 398a)

71

Arbury. (Country Life Picture Library)

71

Hagley Hall sham feudal

(©AT Kersting

ruins.

A view of Inveraray Castle.

73

)

(Mary Evans Picture Library)

78

Painting of Alnwick Castle by Canaletto. (Private collection.Photo: Bridgeman Art Library)

The medieval abbey church The entrance The gallery

at Milton.

(Country Life Picture Library)

at Charleville Forest.

98

(Country Life Picture Library)

99

(Country Life Picture Library)

Kingston Caves. (From Rambles

in the

South of Ireland, Vol.

II

103

by Lady Chatterton, 1839)

Photo: Bridgeman Art Library)

128

A Description of the Villa at Strawberry Hill by Horace

Walpole, 1774. Courtesy of the British Library)

The chapel

in Walpole's

garden

at

Strawberry

129 Hill.

(From

Strawberry Hill by Horace Walpole, 1774. Courtesy of the petit

110

front of Strawberry Hill. (Guildhall Library, Corporation of London.

Staircase at Strawberry Hill. (From

Un

83

87

of Charleville Forest. (Country Life Picture Library)

A view of Mitchelstown castle. The north

67

(Country Life Picture Library)

Hall.

souper a

Los Chinchillas

la

Parisienne

by Goya,

by

plate 50

A Description of the Villa at 130

British Library)

Gillray. (The Trustees of the British

from Los Caprichos 1796-8. (The

Museum)

Trustees oftlie British

155

Museum)

161

The Sleep of Reason Produces Monsters by Goya, plate 43 from The Disasters of War 1810-13. (Photo:

AKG, London)

163

The Great Deeds against the Dead by Goya, plate 39 from The Disasters of War (Photo:

AKG, London)

164

421

-

PICTURE CREDITS

A contemporary illustration of The Monk. (Courtesy of the British Library) Frontispiece from

Mary

Plate VII, second state from Carceri Plate X, second state

View

179

Shelley's Frankenstein. (Mary Evans Picture Library)

from

Carceri

by

by

187

Piranesi.

198

Piranesi.

199

of Fonthill in 1824. (From Delineations of Fonthill

and

its

Abbey

by John Rutter, 1823.

Courtesy of British Library)

Long entrance

at

in the

House

213

(Country Life Picture Library)

Fonthill's central staircase.

The throne

205

Ashridge. (Country Life Picture Library)

214

of Lords. (Courtesy of the Gentleman Usher of the Black Rod.

Photo © Angelo Hornak) A suicide's burial. (Mary Evans Picture Library)

222

The opening of the

233

coffin.

231

(Mary Evans Picture Library)

Front cover of Varney the Vampire. (Mary Evans Picture Library)

Cover Still

of La Police Illustree, 6

May 1883.

from Tod Browning's Dracula

249

(Mary Evans Picture Library)

253

(1930). (Ronald Grant Archive)

257

Eighteenth-century missionary church, near Baton Rouge. (© Gillian Darley/ 270

Architectural Association) Still

from The Masque of the Red Death

(1964). (Ronald Grant Archive)

A plantation residence from Godley's Lady Book, Still

from Carl Dreyer's Vampyr

288

298

1876. (Architectural Association)

(1932). (Ronald Grant Archive)

An illustration from The Strange Case ofDr Jekyll and Mr Hyde. A still from Fritz Lang's M (1931). (Photo © AKG London)

306

(Mary Evans Picture

Library)

Allusion to Fuseli's The Nightmare in James Whale's Frankenstein (1931). (Ronald Grant Archive)

from James Whale's Frankenstein (1931). (The Movie Store

Still

of laboratory

Still

from Tod Browning's Freaks

309

330

Collection)

(1932). (Ronald Grant Archive)

335

336 339

Ernest Thesiger in The Bride of Frankenstein (1935). (Ronald Grant Archive)

348

The graveyard scene

349

in The Bride of Frankenstein (1935). (Ronald Grant Archive)

Robert Smith of The Cure. (© Still

from David Lynch's Blue

Anthony-Noel

Tom Sheeham)

367

Velvet (1986). (Movie Store Collection)

372 380

Kelly. (The Independent/Dfli^irf Rose)

COLOUR PLATES The Eruption of Vesuvius by Pierre-Jacques Volaire. (Musee des Beaux Arts, Nantes. Photo:

AKG, London)

Scenes of Witchcraft

by Salvator Rosa. (Bridgeman Art

Conway Castle by Julius

Library)

Caesar Ibbetson. (Bridgeman Art Library)

Satan Devouring one of his Children

by Goya. (Prado Museum, Madrid.

Photo: Bridgeman Art Library)

The Nightmare by Fuseli.

(Freies

AKG London) (Photo: AKG London)

Deutsches Hochstift, Frankfurt. Photo:

Wood engraving illustration for Bram Stoker's

Dracula.

Unattributed portrait of Vlad the Impaler. (Collection Schloss Ambras, Innsbruck. Photo:

AKG

London/Erich Lessing)

Great Deeds Against the Dead (Saatchi Collection

by Jake and Dinos Chapman.

© 1994 Dinos and Jake Chapman) '422'

9nJ^ex Page numbers

Abercom, 8th

Hannah 219

Arendt,

Earl 58-9

Adam, Robert 64, 80, 82, Adam, William 80, 82

83, 85, 86, 92, 201

Argyll, Archibald Campbell, 3rd

Duke

Arnold, Matthew 302

Addams, Charles 376 (TV

Family, The

art-collecting 30, 32 series)

376

Addison, Joseph 45

Ashridge

7,

212, 213, 215-17, 218, 226

Astbur\', Ian 366

Adlestrop Park 71

Auckland, Lord 268

Adomo, Theodor 331 Age of Melancholy 45 Age of Reason 3

Auden, W. H.

41, 117, 171, 307, 337, 382

Austin, Jane 148

Australian Vampire Information Association

alcoholism 307, 311

353

Aldiss, Brian 358

Alfred's Hall 43, 60 All Soul's College,

Alnwick Castle

Bacon, Francis 37, 369

Oxford 124

60, 83, 83, 85-6

Alraune (film) 312

Raymond's Castle 149

Badminton House

49, 52, 57, 61,

Court 323

Bailiff's

Alton Towers 225

Balchin, Nigel 266

American gothic 266-74

Balenciaga, Cristobal 375

egalitarianism 275

bamboccianti 19

egocentricit)' 269

banditti 22, 23

life

273-4, 294, 303

Banqueting House, London 30

Mrs Anna

fiction 267-8, 272-3

Barbauld,

psychoanalysis 274

Baring-Gould, Sabine 251

Puritanism 267, 270-72, 274

Barrie,

Southern 296-301

Barrington, Sir Jonah 106

Amiens cathedral Amis, Martin

62,

J.

M.

Warhol's Dracula (film) 356, 379

Andy

Warhol's Frankenstein (film) 379

228, 349

Bath Olivers 42 Bathory, Elizabeth 234, 251 Bathurst, 1st Earl 38, 49, 65, 73, 79

Anne, Queen 66

Batman (comic,

ApoUinaire, Guillaume 167

bats,

Arbury Hall

Battle

60, 71-2, 71, 72

Thomas

33,

Laetitia 145-6

Barry, Sir Charles 215, 225

2

364

Andy

Archer,

69

Bage, Robert 274

Althorp 19

family

of 4,

65, 78-83, 135

Adams, Henr\' 271 Addams

in italics refer to illustrations.

65

film) 10, 375

Sumatran 250

Abbey 76

Baudelaire, Charles Pierre 197, 302

423'

INDEX Bauhaus (goth band)

361, 364-5

Bolsover Castle 64

Bayham Abbey 68

Bolton, 1st

Bayly, Lewis 270

Bonaparte, Joseph 158

Beattie,

of 24

Bonaparte, Napoleon see Napoleon Bonaparte

James 134

Beaufort, 1st

Duke

Duke

of 49, 52, 69

Boswell, James 84

Dion

Beauvais cathedral 2

Boucicault,

Beauvoir, Simone de 176

Boughton 57

Beckford, Louisa 206

Bowen, Elizabeth

Beckford, Peter 206 Beckford, William life

4, 8,

Bowles, Paul 314

25

Braccini,

Dreams, Waking Thoughts and Incidents

Vathek 146, 168, 203,

Abbot 14

Braddon, Mary Elizabeth 247

Bram

203-4, 206

A History of the Caliph

Stoker's Dracula (film)

Beckmann, Max 326

Bray 47

of 216

Brenton,

Bedlam 227

Howard

246

Bride of Frankenstein (film) 338, 347-51, 348,

Belvoir Castle 213, 217

349, 370

Bentley, Richard 131

Bridgeman, Charles

Berard, Cyprien 243

Bridgewater, 7th Earl of

Berkeley,

George 34

Brite,

Bernard of Clair\'aux,

Mead

Poppy

Z. 9, 345, 359-60, 361, 362

Lost Souls 354, 360, 368-9

Bronte, Emily

Birr Castle 101

Wuthering Heights 231-2, 264

Black Room, The (film) 340-41

Brooke, Henry

Blackheath 69 Blackstone, Sir William 156

Gustavius Vasa 70

Brown, Capability

Robert 45

34, 42, 47,

48, 58, 86, 90

Brown, Charles Brockden 273, 274-5

Blake, William 302

Edgar Huntly 275

52

Wieland

Blixen, Karen, Baroness

4, 148,

276-7, 278, 282

'The Monkey' 315, 317-20, 374

Browning, Tod 334, 338, 352

'The Roads around Pisa' 307, 317

Buchan, John 323, 324

Seven Gothic Tales 317-20

Buckingham,

1st

Duke

Buckingham,

1st

Marquess

Bloch,

57

212, 215, 217, 218

Exquisite Corpse 314, 361-2

Priory 65

Blenheim Palace

7,

Drawing Blood 272, 360

St 304

Berry Pomeroy 63

Blair,

41, 49-50,

Bridgewater, 8th Earl of 218

Berlin, Isaiah 3

Berry

358

Brampton Bryan 83 Brautigan, Richard 10

204, 206, 208-10, 220

Duke

48, 103, 114, 235

To the North 13

204-8, 210-12, 220

Bedford,

247, 248

Iwan 175

of 239 of 96

Blood for Dracula (fihn) 356, 379

Buckingham and Chandos, Duke

Bloodlines newsletter 353

Buckingham and Normanby, Duke

Blue Velvet (film) 358, 360-61, 369, 371-5

Buckingham Palace 47-8

Boccaccio, Giovanni 176

Burger, Gottfried

body mutilafion

Burges, William 221

5

Bolingbroke, Henry St John, 1st Viscount 42,

Burke,

Edmund

of 32

of 47

August 235

1, 4, 5,

267-8, 316

Philosophical Enquiry into the Origin of our

70 424'

INDEX Ideas of the Sublime

and Beautiful

6, 7, 63, 85,

171, 201 Reflections on the Revolution in France 151,

7,

20-21, 54, 55, 139, 141, 284, 331-2

Burlington, 3rd Earl of 38, 51-2, 53, 65, 70

Burlington House,

Bume-Jones,

London

Sir Philip

Thomas

Burnet,

51

263

23-5, 29

The Sacred Theory of the Earth 24

Chatsworth

40, 52, 64

Chatterton,

Lady

Chewton, Viscount 235

Churchall,

William 221, 223

Childe Harold's Pilgrimage 207

fragment 243-4

Awnsham 88

Cirencester Park 49, 73

Claremont

Clark,

Kenneth

Claude Caligari,

50, 59, 61

Claremont, Claire 189, 242-3 Claridge's Hotel 110

The Giaour 240

The (film) 327, 334

Dom Augustin 235, 239

CaLmet,

70

Clare, John Fitzgibbon, Earl of 95

B>Ton, Lord 189, 241-5, 246, 262, 357

ofDr

56,

Chute, John 120, 136, 138

Vampire Lesbians of Sodom 357

Cabinet

110-11

Christian Action Aid 379

Busch, Charles 357

Dar\'ell

Charteris, Colonel Francis 239

Chartres cathedral 2

Christ Church, Oxford 66

Tun 375

Butterfield,

King 229

Charleville, Earls of 97-101

Chiswick House

WiUiam 82

Burroughs, William 151, 165 Burton,

II,

Chesterfield, 4th Earl of 38, 39, 51

Bumey, Fanny 6 Burrell, Sir

I,

Charles

Charleville Forest 97-100, 98, 99, 101

153-4, 193, 315

burlesque

King 30

Charles

224, 322

19, 22, 30, 56,

Clement

XI,

Pope

204

51

Rodham

Clinton, Hillar)-

384

Cambridge Camden Society 221

Cli\e, Colin 336-8, 347

Campbell, Mrs Patrick 263

Clough, Arthur

Camus, Albert 366

Cobham, Richard Temple, Viscount

Canaletto 57, 61, 83

Codrington, Christopher 124

Canons 52 Carlos

rV,

Cassilis,

Castle

Coke King of Spain

157, 158

Lord 83

Howard

Mary

50,

90

135, 136

243, 244

Coleridge, Hartley 26-7 Coleridge, Samuel Tavlor 185, 202

49, 50, 69

'Christabel' 239-40, 252

symbolism of 66-72

'The Devil's Thoughts' 197

Castleward 96

Cologne Cathedral 2

Brownlow 22

caves42,46, no. Ill

Colyear,

CD games 376

Compagna

Chalmers, Thomas 196

concentration

Chamberlain, Joseph 261

Conde, Prince de 168

Chambers, William

226

Campbell), Lady

Colbum, Henr>-

Castlemaine, Viscount 52 castles,

[nee

Hugh 94,

7,

89, 201,

205

Chamfort, Sebastien-Roch Nicolas 115

Chandos,

1st

Duke

Channon

III,

Henr>- 217, 322-3

of 52

Chapman, Dinos and Jake 381-3 Great Deeds Against the Dead 384-5

della

Morte 18

camps 343-4

Connoisseur, The 322

Conway, Edward,

Earl of 68

Conway, Henr\' Seymour

Conway

Conyngham, Henry, Cooper, Alice 363-4 425'

117, 124-6, 136

Castle 68 1st

Marquis 96

INDEX Coppola, Francis Ford 358

Defoe, Daniel 40, 270

Corman, Roger 290

degeneration theories 314

Comwallis, Charles,

1st

Marquess

95-6, 156

Delaval, Sir Francis Blake

8, 86-7,

120

Counter-Enlightenment 2-3

Delaval, Sir John

Courtenay, Viscount 206

de Loutherbourg, Philippe-Jacques 22

Courtenay, William 206, 207, 209, 220

de Matteis, Paolo 28

Courts of Chancery and King's Bench 59

Deneuve, Catherine 356

Hussey 86

Coventry, Lord 49

Depeche Mode (pop band) 9

Craftsman, The 238-9

De Quincy, Thomas

Craigmillar Castle 59

Confessions of an English Opium-eater 202

Crauford, John 126

De'Rossi, Carlo 19

Crawford, Francis Marion 248

Desmond,

Crawford and

Destiny (film) 327

Balcarres,

Lord 217

Crecy Tower 221 Creevey, Critical

Thomas

Earl of 105

de Tabley, Lord 100

'Circe' 250-51, 361

de Vere, Aubrey 111-12

Review 185

crossroads, burials at 230, 231

devil, belief in 197

Cruikshank, Isaac 185

Devonshire, 1st

Cull,

188

Duke

of 40, 52, 64

Devonshire House, London 52

George 113

Culzean Castle 83

Dickinson, Emily 303, 366

Cumberland, Henry Frederick, Duke of 86

Digby, Lord 43

Cunanan, Andrew 314

Digby, Sir

Cure, The (goth band) 360, 366, 368

Dinesen, Isak

Curtis, Ian 7

Disney business empire 354-5 Disraeli,

D'Abemon, Viscount 96, Dahmer,

328, 329, 331

Kenelm 43 see Blixen,

Benjamin

Karen

55, 284,

Dr Jekyll and Mr Hyde

343

(film)

338

DrMflte^(mm)327

Jeffrey 314, 361-2

Daily Herald 353

Dodsley, Robert 76

Dalton, John 192

Donegal, Lord 46

Dalziel of Wooler, Lord 366

doppelganger 286-7, 307-13, 320-21, 325,

Damer, George 88

328-9, 334

Dorchester, Joseph Damer, Earl of

Damer,John88, 136 Damer, Joseph

Damiens, Robert 172

Dorset, 3rd (film)

356

Duke

of 22

Douglas, Archibald, 1st

Duke

of 82

Danse Society (goth band) 365

Douglas Castle 82

Darcy family 66

Dracul, Vlad 232, 234, 252, 353

Darwin, Charles 315, 316

Dracula (Bram Stoker)

Darwin, Erasmus 237-8

Dashwood,

Daws

Hill

88-91, 92,

Dorchester Hotel 89

Dance, George 201

Dance of the Vampires

7,

211,213

see Dorchester, Earl of

Sir Francis 'Hell-Fire' 6

House 91

Bram

Stoker's (film, 1992)

Dracula, Horror o/(film) 356

Death Cult (goth band) 366

Dracula industry 353

de Boigne, Comtesse

Drake, Nathan 140, 145, 148

86, 105

247, 256-65, 308,

Dracula (film, 1930) 257, 334, 340, 352, 353 Dracula,

Deane, Hamilton 334

4, 11,

310, 322, 352

426-

358

INDEX Faulkner, William

Dreyer, Carl 305

Dryden, John duality,

3, 6,

149, 267, 271, 272, 274,

281,294,296,298-9

23, 38

human 286-7,

Absalom, Absalom! 280, 299

307-13, 320-21, 325, 328-

'A Rose for Emily' 273

9,334

The Sound and

Dublin Mail 257

the

Fury 273, 279, 300

Dublin University Magazine 254

Faust, Christa 363

Duddingston 58-9

Fearless Vampire Killers,

Dudley, Lord 75

Ferdinand

Dufferin and Ava, 1st Marquess of 254

Fermor, Lady Sophia 119

Dumas, Alexandre

Ferrell,

Duncan,

Dune

Sir Val

18

333

Tom

197, 200, 202-4

Rod 352, Henry

361

Jones 62, 73, 229-30

Fieldler, Leslie

273

Dungeons and Dragons (CD game) 376

Fiennes, Celia 40

Dunstanburgh Castle 84-5

films, gothic

Durham Cathedral

The (film) 356

King of Spain 158

Fielding,

(film) 371

dungeons

VII,

American

213

326, 334-41, 347-51, 356, 358, 369,

370-76 Earls

Croome 49

British 246, 355

Eastbury 50

censorship 338-40, 349, 350

Easton Neston 30

German

Eaton Hall

52, 217, 321,

325

305-7, 312, 326-34

Fisher, Terence 355

Edgehill 49, 70

Fitzgerald, Colonel

Edward

II,

Fitzgerald,

Edward

VI,

King 239 King 63

Foley,

Andrew

365

Elliott,

Lord 75

follies, castellated 49,

electricity 191-2

Elephant

Fonthill

Man, The

104-5

Florence 27, 33

Eldon, Lord 268 Eldritch,

Henry

Lord Edward 156-7, 193

(film) 370-71

Abbey

59

60, 205, 207, 210-12, 224,

Ford Castle 86

William 239

imagery

25-6, 140-41

Endsleigh 216

forest

Enlightenment, the 2-3

44 Berkeley Square, London 52

enthusiasm 28

Foucault, Michel 8

Enville Hall 60, 75, 76-7

Fowberry 87

Eraserhead (film) 370

Fox, Charles James 237

Esher Place

59-61, 81, 89, 119, 128

6,

Euston Hall 52

Evelyn,John2,

226

Fonthill Splendens 205, 209, 210

Foxe, John 270 Franchi, Gregorio 207, 210-12

15,

16,23,30

Frankenstein

Ewart Park 87

(Mary Shelley)

3, 4-5, 11,

179, 187,

188, 189-94, 243

Ewers, Harms Heinz 328

Frankenstein (film, 1910) 160, 326

expressionist painting 326-7

Frankenstein (film, 1931) 160, 334, 335, 336-8, 336, 347

Falkner, John

Meade

16

family disintegration 267-9, 276, 299, 349

Frankenstein,

Warhol's (film, 1973) 379

Frankenstein, Bride o/(film) 338, 347-51, 348,

Farquhar, John 212 fashion, goth 365, 375

Andy

349, 370

Franklin, Benjamin 152-3

,427.

29

INDEX Freaks (film) 338-9, 339

The Deserted

Frederick Louis, Prince of Wales 52

French revolution

4, 151, 153, 154-5,

169-70,

178-9, 181, 188, 193-4

Anna 274 Freud, Sigmund 236,

Village 90-91

Golem^ The (film) 312, 327, 331, 340

Goncourt brothers 290, 296 'Goodness of God' prize 218

Gordon, General Charles 302

Freud,

322, 325-6, 328

Gorges, Sir

'The Uncanny' 329

Thomas

Freudian gothic 325-6

Gort, Viscount 109

Freund, Karl 340

Gosse,

fundamentalists

Henry

Fuseli, life

3,

64

gorillas 316

9-10

Edmund

312

Gothic (film) 246

Goths

206, 224, 310

1,

Goya y Lucientes, Francisco Jose de

235

The Nightmare 162, 235-8, 239, 316

Los Caprichos

Gainsborough, Thomas 77

7,

Los Desastres de

Galeen, Henrik 331

Thomas

159-62, 262, 263, 166-7

Guerra 158, 162, 164-5,

la

Saturn Devouring

88

One

of His Sons 165-6,

194, 333

Gautier, Theophile 308

graffiti 4,

Gaveston, Piers 239

Grafton,

Genet, Jean 174

grand tour

Geneva

Grantham Town Hall 323

189, 192, 242-3

Gentleman's Magazine 69, 192

Dukes

of 52, 124-5

22, 27-30, 31-3

Graves, Richard 46, 54

King 51

George

I,

George

II,

George

III,

King

90, 125, 153

Green, Henry 101

George

IV,

King

47, 108, 109

Greenburg, Clement 345

King

graveyard poets 45, 134

52, 79,

235

Gray,

W.

25, 128, 131, 135-6

Graham 328,

Grenville,

S.

341, 342

George 125

Grenville, William, Baron 268

Ruddigore 247 Gillray,

Thomas

Greene,

Ghesquiere, Nicolas 375 Gilbert,

James 194

Greville, Charles 221

'Un petit souper a

la Parisienne' 154,

155

Greystoke Castle 70

Abel 230

Gilmour, Lord 153

Griffiths,

Gilpin, William 26

Groddeck, Georg 306, 340

Gladstone, William Ewart 196, 230

grottoes 42, 46, 111

Godwin, William

Grunenberg, Christoph

188, 191, 277

The Adventures of Caleb Williams 149, 191,

Enquiry Concerning

St Leon 191,

Political Justice

188

6,

9

Guildford, 1st Earl of 71

Gustavus

277

An

157-

264,384

gardening, landscape 40-43, 46, 56-9, 75-7

Gascoigne, Sir

3, 6,

9, 18f, 195, 266

III,

King of Sweden 52

Guthrie, William 125, 126, 132

277

Goebbels, Joseph 334

ha-has 41, 57

Goethe, Johann Wolfgang von 235, 239, 243

Haggerston, Sir

Gogol, Nikolai Vasilevich 252

Hagley Hall

Goldsmith, Oliver 229 The Citizen of the World 239

Camaby 33

49, 73, 74

Haigh, John George 352

Halesowen Grange 75 '428'

INDEX Halifax, 1st

Marquis of

Hogg, James

66

33, 65,

Hamilton, Charles 204

Private

Hamilton, Lady Margaret 206-7

Hammer

Justified

79

Holdemess, 4th Earl of 66

Palace 59

Hands ofOrlac, Vie

Thomas

Holcroft,

Films 160, 355

Hampton Court

Memoirs and Confessions of a

Sinner 231

(film) 327,

Holkham

340

Hall 52, 135

Harcourt, Lady 105

Holland, Lady 86, 144-5, 146, 156, 165

Harcourt, Lord 90

Holland, Lord 159, 186

Hardinge, George 141

Home,

Harpenden 48

Homer 38

Harris, John 59, 89

homosexualit>- 119, 120-23, 207, 211, 239, 244-

Harte, Walter 42-3

5,310-11,314,337,362

Rawdon,

Hastings, Francis

14th Eari of 83

Hawthorne, Nathaniel

1st

Marquess 95

252, 267, 269, 271, 278,

in literature 252, 356-7

Homunculus

312

(film)

303

Hoo\er, Herbert 271-2

'Anne Doane's Appeal' 278-9

Hoover, Theodore 272

Vie House of the Seven Gables 167, 17%,

Hopper, Dennis 372 Horkheimer,

281-3

Vie Scarlet Letter 268, 276, 278, 280-81, 362

Haydon, Benjamin Robert 237 Hazlitt,

WilUam

6,

Houghton Hall

Heath, Sir Edward 333

Houses 9,

116

1,

Geneva

of Parliament 215, 222, 115, 226

Howard, Brian 115

Howe,

King 290

Earl of

63,

'Le Destin' 202

350

Herder, Johann Gottfried 3

Hunger, Vie (film) 356

Hertford, Lord 135

Hurd, Richard, Bishop 133-4

Her\ey Lady 120 Her\e\-,

Lord

Hurt, John 370

52, 74,

142

Huxley, Aldous 27, 203, 208

Hewell Grange 75

Huysmans, Joris Karl 166

Hevthrop 33

Hyde, Ed\vard 3

High Wycombe 91 Hirst,

Damien

Hitler,

Arundel 30

Richard, Earl 33

Hugo, Victor

Henr\' H, King 74

Henn- \Tn, King

189, 243

50, 52, 57, 118

Howard, Thomas, 14th

helplessness 139

Henr>'

331

horror-stor\- contest,

272, 277

Hegel, Georg VVilhelm Friedrich

Max

Horror ofDracula (film) 356

H\-ndford, Lord 83

381, 382

Adolf 334

imagination 38-9

HW metaphors 358

incest 279, 294

Hoare, Sir Richard 208

Institute of

Hobbes, Isaac 298

Internet,

Hobbes, Thomas

Inveran- castle

38-9, 62

Hobhouse, John Cam, Baron Broughton 242, 243

Contemporary- Art, Boston 6

goth

inversion

3,

sites 10 4, 60, 78,

79-83

115, 122, 149-50

Ireland 94-114

Hobson, Valerie 350

caricatures of Irishmen 316-17

Hoffmann,

castles 94-5, 96-104, 108-12, 114

E. T.

A. 243, 252

'The Entail' 290, 292-3, 341

featured in Frankenstein 193

429'

INDEX hereditary knights 108

King, George, 3rd Earl of Kingston 107-13, 341

land ownership 254

King, James 114

peerage in decline 255

King,

rebellions 95-6, 101, 107, 114, 156-7

King, Sir Robert 102

Henry 257

Irving, Sir

104-6

King, Robert, 2nd Earl of Kingston 102-7, 378

Isherwood, Christopher 317, 337

King, Robert, 4th Earl of Kingston 113

'The Horror in the Tower' 325-6 Islay,

Mary

King, Stephen 10

Archibald Campbell, Earl of 49

Kingston Caves no. Ill

Kingston church, Dorset 223

Italian architectural influences 33-4, 51, 65

Kinnaird, Douglas 262

Rudyard 263

Jack the Ripper 313, 331

Kipling,

Jacob, Hildebrand 43

Kirchner, Ernst

James, Henry 267, 269

Knole 21

Ludwig 326

'The Jolly Corner' 320-21

Kokoschka, Oskar 326

'The Private Life' 287

Kracauer, Siegfried 328, 334

James

I,

Jarrell,

King 239

Krafft-Ebing, Baron Richard

Jervas, Charles 42

La Fontaine, Jean de 228

Jones, Inigo 44, 44

La Police

Jourdain, Margaret 22, 55, 58

Lackington, James 145

Jovellanos,

253

Lafayette,

Marquis de 154

Lamb, Lady Caroline 244-5

judicial cruelty 171-2, 195 see also

Illustree

Lacock Abbey 71

Caspar Melchor de 158-9

Anthony 228-9

Joyce,

von 310

Randall 345

punishment

Lamballe, Princesse de 170 Lanchester, Elsa 337

Kafl%

\ V

"^ \

\

RICHARD DAVENPORT-HINES is

the author of five books, most recently Auden.

His

articles

and reviews have appeared

publications, including The

in

many

(London) Times, The

Times Literary Supplement, The Observer, and The Independent.

He lives in London.

AUTHOR PHOTOGRAPH BY ROBIN FARQ.UHAR-THOMSON

PRESS RAUS AND GIROUX

•^>'^

^A.r.,,i-

^'i\

•(,

FROM THE ENGLISH REVIEWS

PRAISE FOR GOTHIC

[A] wealth of perverted romanticism

all

.

Gothic

a marvellous and very likely

is

the best productions of the gothic sensibility, Gotbic

macabre and fi-equently exhilarating. of eccentrics rivals,

.

—RUTH RENDELL, the daily telegraph

definitive work.

Like

.

—

painters, aristocrats

It

has wild enthusiasms

and film

is

also passionate,

a glorious cast list

...

directors, all variously

sodomising

being vicious to peasantry or drowning themselves in swimming pools:

Davenport-Hines has an unerring eye for the grotesque, and many of the anecdotes here are worthy of Poe

.

.

.

The book is

-TOM

provoke and entertain.

Davenport-Hines ...

never dull ...

is

interest: it is

Gothic

is

not just

an exhilarating movement to which he

— BEVIS

wants to belong.

never ceases to

HOLLAND, the observer

parti pris, a card-carrying Gothicist.

something that engages his

It

HILLIER, literary review

PRAISE FOR AUDEN Less a chronological biography than a synchronic meditation on the central

themes of Auden's

—ALFRED CORN

life.

THE NEW YORK TIMES BOOK REVIEW (FRONT PAGE)

Engaging end to end.

—HUGH KENNER, THE

WALL STREET JOURNAL

By turns bright and breezily witty, darkly but shrewdly profound. —JAMES BOWMAN, THE NATIONAL REVIEW

^MK.