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experiments like the royal tombs in Westminster Abbey and the flamboyant Nonsuch Palace were financed by Henry VII and VIII, but a broader impetus for architectural innovation seems not to have taken place until political culture and social change created a mid-sixteenth-century ‘classical moment’ of self-fashioning by the new Tudor courtier class. 5 A strong Gothic tradition, however, took post-Perpendicular forms in such features as staircases and bay windows. Two late medieval trends, the widespread application of battlements and the growth in number or size of towers

in Castles and Colonists

. In the next two chapters I will explore the use of the double as an uncanny allusion marker which draws attention to a text’s status as an act of repetition, to its own ‘doubling’ of its source material. The first of these paired chapters focuses on nineteenth-century texts, tracing the development of the uncanny double from the Romantic Gothic tradition through to the Victorian sensation novels of

in A familiar compound ghost