| Summary: | The antiquarian interior as defined in this thesis is an interior in which the whole character is created by furnishing with ancient objects although these are frequently mixed with modern objects. : Whilst in theory an antiquarian interior could be in any historical style, those discussed here are mainly in the Mediaeval or Renaissance style. The objects used to furnish such interiors are drawn from the whole range of the decorative arts, for instance -furniture, stained glass, armour, metalwork, carved wood and stone. Though easel paintings playa part in such interiors, they have not been discussed here though their visual contribution can be seen in the illustrations. The introduction deals with antiquarian interiors before 1780 in Britain and continental Europe and many of the continental examples provide~ models for the later British examples. The second chapter describes and discusses the antiquities trade in Britain and Europe from the point of view of the supply of objects for the furnishing of antiquarian interiors. The role of the collector as the impresario in the creation of interiors appropriate for showing off his collection to best advantage emerges clearly in the case studies in chapters three to seven. The interiors discussed were created at Strawberry Hill, Fonthill Abbey, Abbotsford, Charlecote Park and Goodrich Court. The dates of their creation overlap one with the other to cover the period from 1780 to 1850. Though architects and craftsmen are seen to playa part in the creation of these interiors, it is the collectors themselves, aided and abetted by the antiquities brokers, who emerge as the key figures in this process. Most of the illustrations were chosen to document fully the interiors described. Though these singular interiors are often so complex and various as almost to defy analysis, the concluding chapter attempts to draw several general conclusions •
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