Johnson’s critical relationship with Thomas Warton is the subject of this chapter. The chapter examines their respective approaches to the writing of poetical history. Warton, as antiquarian, brings old poetry into the light; Johnson brings out the present value of poetry already known. Warton reads past societies through their lost literatures and by measuring the rational relation of historical causes to historical effects; Johnson’s concern is poetry as a source of pleasure and consolation. Warton is often highly digressive as a poetical historian; Johnson is frequently condensed, direct and economical. But the two friends also have much in common, not least their focus upon the literary past as such. This is recalled in Johnson’s work on the Harleian Library catalogue; his sense of the history of the language is manifest in his Dictionary etymologies and his glosses on Shakespearean language. As critics and poetical historians, they share a sense of poetry’s improvement over time. Warton’s audience is in the main the curious reader; Johnson’s is the common reader. But this implies no diminution in the curiosity Johnson brought to the poetical past.

The eighteenth and early nineteenth centuries saw a revival of interest in Welsh language and culture, and the chapter addresses this as it was reflected in music. The period saw flourishing activity from scholars and musicians in collecting, publishing and performing Welsh ‘traditional’ music, supported by newly formed Welsh and London-Welsh cultural societies. A number of important publications sought to capture Welsh music and present it to a wider public - particularly a fashionable London public - notably, Blind Parry’s Antient British Music (1742) and Edward Jones’s Musical and Poetical Relicks of the Welsh Bards (1784); while a more direct reflection of the Welsh oral tradition is found in the work of collectors such as Iolo Morganwg, John Jenkins ‘Ifor Ceri’ and Maria Jane Williams. Amidst this activity, two apparently contradictory but in fact related ideas were being pursued, sometimes simultaneously: an idea of the place of music in the deep antiquity of Welsh culture, and an idea of music as an expression of Welsh identity in modern Britain.

The wedding of Francesco de’Medici and Giovanna of Austria was accompanied by processions and art that celebrated Florence’s history and its cultural and artistic achievements. Vincenzio Borghini and Giorgio Vasari worked with Duke Cosimo on the program. New paintings on Florentine history in the Palazzo Vecchio led Girolamo Mei to write a treatisethat challenged Borghini’s assessment of the city’s history, using evidence that included the writings of Annius of Viterbo. They exchanged letters that raised issues about the use of ruins and other non-textual evidence. Borghini went on to write Discorsi on Florence’s history and traditions that also explored methods of studying the past; he wrote on medieval coinage, on families and family crests, the nature of nobility, and more. Borghini argued that traditions and social practices develop and change like languages. Many typically Florentine customs, he suggested, developed in parallel with the formation of the city’s government in the thirteenth century.

The changing market for rare books forms the focus of this chapter, looking at the impact of the French Revolution not just on the dispersed libraries of the old regime, but the emergence of new ways of classifying and consuming historic editions. It identifies the expanded market for rare books from the 1790s: both the resourceful dealers who were able to exploit the demand for works by historic printing houses, and the restless bibliophiles who scavenged across the city on the hunt for rare editions. It reconsiders why this period saw the rise of the so-called bibliomaniac, as well as the growth in new ways to classify rare books (via bibliography) and new forms of bibliophile sociability. Touching on key figures such as Charles Nodier, Guilbert de Pixéricourt, Antoine-Augustin Renouard and Arthur-Marie-Henri Boulard, the chapter argues for a mode of book collecting that was self-consciously anachronistic, seeking to celebrate the pre-revolutionary world of elite learning.