Part 2: Through a reading of the works of Horace Walpole, this book shows the ludic as a mode of play unconditioned by any preconceived judgment or intended outcome. As bourgeois taste is increasingly tasked with dispelling the material conditions of risk, uncertainty, violence, and death that underwrite Britain’s growing colonial wealth, it becomes increasingly hostile to funniness – any kind of oddity, proclivity, or quirk that disrupts an engineered sense of safety, stability, and predictability in the lived world. Borrowing from Brian Massumi’s theorization of “ludic play” between dogs, I invoke eighteenth-century philosophy’s interest in “animal spirits” to show how Walpole coordinates his own ludic scenes. Ludic play, I offer, is a technique for strategically disorganizing the rituals and conceits of civility and good taste, retooling them from techniques of disavowing violence to a means of grappling with violence in its most diffuse and ever-present forms.

Horace Walpole is pivotal to the early Gothic Revival as the author of what has long been hailed as the first Gothic novel, and as the creator of the most influential of all early Gothic Revival houses. This essay explores his intuitively imaginative response to Gothic, and how his love of the decorative profusion and allusive richness that it could offer was played out in his novel The Castle of Otranto (1765) and his play The Mysterious Mother (1768) – as well as in in his ‘castle’ at Strawberry Hill. That house, with its subtle management of scale, colour and light, and in the suggestive riches of the collection it contained, created a heady mixture of fantasy and atmosphere, displaying an historically informed but archaeologically unrestrained imagination. These are qualities that it shared with Walpole’s Gothic fictions. There is hardly a feature of Gothic romance that does not appear in Otranto, and its gloomy castle, predatory patriarch and pursued virgin, along with the guilt-tormented Countess and evil friars of The Mysterious Mother, like the Gothic battlements and evocative interiors of Strawberry Hill, engendered a lasting and pervasive progeny.

The Gothic Revival is generally considered to have begun in eighteenth-century Britain with the construction of Horace Walpole’s villa, Strawberry Hill, Twickenham, in the late 1740s. As this chapter demonstrates, however, Strawberry Hill is in no way the first building, domestic or otherwise, to have recreated, even superficially, some aspect of the form and ornamental style of medieval architecture. Earlier architects who, albeit often combining it with Classicism, worked in the Gothic style include Sir Christopher Wren, Nicholas Hawksmoor, William Kent and Batty Langley, aspects of whose works are explored here. While not an exhaustive survey of pre-1750 Gothic Revival design, the examples considered in this chapter reveal how seventeenth- and eighteenth-century Gothic emerged and evolved over the course of different architects’ careers, and how, by the time that Walpole came to create his own Gothic ‘castle’, there was already in existence in Britain a sustained Gothic Revivalist tradition.