Highland Retreats

Featuring breathtaking photographs of some of Scotland’s most remarkable and little-known houses, this book tells the story of how incomers adopted the North of Scotland as a recreational paradise and left an astonishing legacy of architecture and decoration inspired by the romanticized image of the Highlands. Known as shooting lodges because they were designed principally to accommodate the parties of guests that flocked north for the annual sporting season, these houses range from Picturesque cottages ornées and Scotch Baronial castles to Arts and Crafts mansions and modern eco-lodges. While their designs respond to some of Britain’s wildest and most stirring landscapes, inside many were equipped with the latest domestic technology and boasted opulent decoration and furnishings from the smartest London and Parisian firms. A good number survive little altered in their original state, and some are still owned by descendants of the families that built them. Images from the famous Country Life Picture Library and specially commissioned photographs evoke the dramatic settings and arresting detail of these houses, making the book as appealing to decorators and architectural historians as it is to travelers and sportsmen.

In this new installment of Tasha Alexander’s acclaimed Lady Emily series set in the wild Scottish highlands, an ancient story of witchcraft may hold the key to solving a murder centuries later. In the summer of 1905, Lady Emily, husband Colin Hargreaves, and their three sons eagerly embark on a family vacation at Cairnfarn Castle, the Scottish estate of their dear friend Jeremy, Duke of Bainbridge. But a high-spirited celebration at the beginning of their stay comes to a grisly end when the duke’s gamekeeper is found murdered on the banks of the loch. Handsome Angus Sinclair had a host of enemies: the fiancée he abandoned in Edinburgh, the young woman who had fallen hopelessly in love with him, and the rough farmer who saw him as a rival for her affections. But what is the meaning of the curious runic stone left on Sinclair’s forehead? Clues may be found in the story of Lady MacAllister, wife of the Laird of Cairnfarn Castle, who in 1676 suddenly found herself widowed and thrown out of her home. Her sole companion was a Moorish slave girl who helped her secretly spirit her most prized possessions—a collection of strange books—out of the castle. When her neighbors, wary of a woman living on her own, found a poppet—a doll used to cast spells—and a daisy wheel in her isolated cottage, Lady MacAllister was accused of witchcraft, a crime punishable by death. Hundreds of years later, Lady Emily searches for the link between Lady MacAllister’s harrowing witchcraft trial and the brutal death of Sinclair. She must follow a trail of hidden motives, an illicit affair, and a mysterious stranger to reveal the dark side of a seemingly idyllic Highland village.

The story of how the country house, historically a site of violent disruption, came to symbolize English stability during the eighteenth century. Country houses are quintessentially English, not only architecturally but also in that they embody national values of continuity and insularity. The English country house, however, has more often been the site of violent disruption than continuous peace. So how is it that the country how came to represent an uncomplicated, nostalgic vision of English history? This book explores the evolution of the country house, beginning with the Reformation and Civil War, and shows how the political events of the eighteenth century, which culminated in the reaction against the French Revolution, led to country houses being recast as symbols of England’s political stability.

An attempt to trace the origins of the romantic image of the Highlands, by examining the economic, military and ideological circumstances of the region's subjugation by the British state. It combines literary criticism and cultural history to produce a case study of the making of the myth.

"C. Brenden Martin examines tourism in the context of the transformation of transportation networks, urban and rural community development, and the changing role of government in regulating tourism. Martin illustrates how tourism represents a double-edged sword, cutting both ways in its impact on the region. It is a transformative force that has accelerated the modernization of the Mountain South in many ways, and yet tourism has also provided the main economic rationale for the region's cultural, historical, and environmental preservation movements."--BOOK JACKET.

Stepping Westward is the first book dedicated to the literature of the Scottish Highland tour of 1720-1830, a major cultural phenomenon that attracted writers and artists like Pennant, Johnson and Boswell, William and Dorothy Wordsworth, Coleridge, Scott, Hogg, Keats, Daniell, and Turner, as well as numerous less celebrated travellers and tourists. Addressing more than a century's worth of literary and visual representations of the Highlands, the book casts new light on how the tour developed a modern literature of place, acting as a catalyst for thinking about improvement, landscape, and the shaping of British, Scottish, and Gaelic identities. It pays attention to the relationship between travellers and the native Gaels, whose world was plunged into crisis by rapid and forced social change. At the book's core lie the best-selling tours of Pennant and Dr Johnson, associated with attempts to 'improve' the intractable Gaidhealtachd in the wake of Culloden. Alongside the Ossian craze and Gilpin's picturesque, their books stimulated a wave of 'home tours' from the 1770s through the romantic period, including writing by women like Sarah Murray and Dorothy Wordsworth. The incidence of published Highland Tours (many lavishly illustrated), peaked around 1800, but as the genre reached exhaustion, the 'romantic Highlands' were reinvented in Scott's poems and novels, coinciding with steam boats and mass tourism, but also rack-renting, sheep clearance, and emigration.