An engraved view of the 'Gothic Tower At Wimple', published anonymously in 1777, carries beneath it a four stanza verse which might easily be dismissed as frivolous doggerel, typical of the eighteenth-century vogue for Gothick poetry (Fig. 1).' Artless it may be, but this mock-elegy for a glorious medieval past does much to explain why ruinous architecture so appealed to the aristocrats and antiquaries of the age. The verse demonstrates a delight in the so-called 'Theory of Association', by which architecture could be invested with moral or political significance and linked with historical or imaginary events.'
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