Works
Gough was a precocious child, and at twelve had translated from the French a history of the Bible, which his mother printed for private circulation. Aged fifteen he translated Abbé Fleury's work on the Israelites; and at sixteen he published an elaborate work entitled Atlas Renovatus, or Geography modernised. In 1773 he began an edition in English of William Camden's Britannia, which appeared in 1789.
Meantime he published, in 1786, the first volume of his work the Sepulchral Monuments of Great Britain, applied to illustrate the history of families, manners, habits and arts at the different periods from the Norman Conquest to the Seventeenth Century. This volume, which contained the first four centuries, was followed in 1796 by a second volume containing the 15th century, and an introduction to the second volume appeared in 1799.
Among the minor works of Gough are An Account of the Bedford Missal (in manuscript); A Catalogue of the Coins of Canute, King of Denmark (1777); History of Pleshey in Essex (1803); An Account of the Coins of the Seleucidae, Kings of Syria (1804); and "History of the Society of Antiquaries of London," prefixed to their Archaeologia.
Read more about this topic: Richard Gough (antiquarian)
Famous quotes containing the word works:
“Words are always getting conventionalized to some secondary meaning. It is one of the works of poetry to take the truants in custody and bring them back to their right senses.”
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“His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
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“The slightest living thing answers a deeper need than all the works of man because it is transitory. It has an evanescence of life, or growth, or change: it passes, as we do, from one stage to the another, from darkness to darkness, into a distance where we, too, vanish out of sight. A work of art is static; and its value and its weakness lie in being so: but the tuft of grass and the clouds above it belong to our own travelling brotherhood.”
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