It is commonplace to observe that English Romantic‐era culture was marked by a pervasive fascination with Britain's Celtic, Roman, Saxon, and medieval past, and it is thus fitting that antiquarian research and writing would be prominently represented in the published works of the period. Romantic antiquarianism took its place within, and (as will be evident shortly) largely concluded, a longstanding discursive tradition in English letters that had begun with such writers as William Camden and John Stow in the sixteenth century, was continued by Roger Dodsworth, John Aubrey, and others in the seventeenth century, and that reached its most influential form in the works of Henry Bourne, William Stukeley, Richard Gough, Francis Grose, John Brand, Joseph Strutt, and others in the eighteenth and nineteenth centuries. As a mode of writing, antiquarianism is widely varied, defined more by the approach to its subject matter – a fascination with ancient artefacts, documents, and cultural practices – than by any distinctive formal characteristics. That said, antiquarian writing does present several identifiable generic features: it tends to be anecdotal and often collectively written as the author/compiler passes along whatever received information or illustrative tales have happened into his ken; its organization tends to be associative rather than, for example, the chronological or causal narratives of history proper; it tends to be more descriptive than polemical, probably because it typically foregrounds the actual literary, documentary, and archeological discoveries of the antiquary rather than treating such artefacts as evidence in a more comprehensive historical or philosophical argument. Indeed, the ancient documents, monuments, and artefacts described in antiquarian writing are usually presented as though they are intrinsically significant and therefore do not require the framework of a more elaborate intellectual context or historical thesis.