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Webster's Revised Unabridged Dictionary, published 1913 by G. & C. Merriam Co.
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Light shone into dark corners, then, is something we can look forward to from this city's museums--leaving room, one trusts, for a bit of that atmospheric, gothic gloomth that Bruges does so well.
Since the suffix -th ceased to be productive after the Middle English period, Walpole's coinages greenth, blueth and gloomth clearly display "non-productive creativity" in the sense of Bauer (2001: 64).
There's also the pure Gothic of the scenes in Dracula's Transylvanian castle, saturated with cobwebs, dark shadows and general gloomth (a term coined by Horace Walpole, the great pioneer of Gothic culture), but it's the lively depiction of Whitby (where Stoker plotted part of the novel) that won my heart.
Backgrounds of grey or faintly inscribed Gothic tracery on white paper evoke the atmosphere of 'gloomth' that Walpole created, and recall his remark that 'my castle is built of paper'.
We encounter' gloomth' in the hall and armoury--spaces that inspired Walpole's 1764 Gothic novel, The Castle of Otranto--and in the refectory, which was part country-house dining room and part monastic eating room.
--The exhibition design has too much 'gloomth' and not enough colour
(Norway did not have its own art academy, let alone a national gallery.) Norway had been partially recorded topographically and a few intrepid Danish artists had undertaken minor painting tours, but despite the 18th century's fascination with Alpinism and 'gothick gloomth', Norway's vertiginous peaks and thundering torrents remained undiscovered by the European Romantic movement, and unpainted.
He exclaims in a letter to Horace Mann, a diplomat at the court of Florence with whom he corresponded for 40 years, "'You suppose my garden is to be Gothic too!" That can't be; Gothic is merely architecture; and as one has a satisfaction in imprinting the gloomth of abbeys and cathedrals on one's house, so one's garden, on the contrary, is to be nothing but riant, and the gaiety of nature'.
Visitors would have then participated in a guided tour by the housekeeper (or Walpole himself if they were important enough) of the antiquarian contents of the interior, eventually emerging, after experiencing a series of Gothic spaces, from the 'gloomth' of the monastic interior with an increasing sense of history, into the 'greenth' of the garden.
The 'gloomth' (a Walpolian term) of the hall and staircase was recreated around a figure of an angel from late-15th-century France and an exquisite suite of parade armour, recently discovered in a German collection, that originally took pride of place in a specially designed niche on the staircase.