Textbooks teach architecture as conveniently divided into styles and periods, but in reality styles overlap. At the turn-of-the-twentieth century there were three major architectural and decorative movements in the United States: the Aesthetic Movement, the Arts and Crafts Movement, and the American Renaissance Movement. This thesis shows how superficial stylistic labels can be by comparing two very different-seeming houses of the early twentieth century: The Hapke-Geiger House of ca. 1912 in Chesterfield, Virginia, based on a Gustav Stickley Arts and Crafts design, and the Hunton House of 19 14 in Richmond, Virginia, designed in the American Renaissance style by Noland and Baskervill. These homes are very different from one another, but they have three major similarities: They each use an established plan with no essential connection to the building's supposed style, they mix styles, and they have similar kinds of porches. This thesis will pursue these issues to go beyond the superficial stylistic labels and examine how the three major movements of the time are interrelated.

Blackwood's Edinburgh Magazine was arguably the most important and widely published literary magazine of the nineteenth century. Its readership extended from Britain to America, shaping literary tastes across the Anglophone literary marketplace. BEM wrote two reviews of Nathaniel Hawthorne's fiction during the author's most prolific years. The first was published in 1847 and contained a lengthy reflection of the state of American literature that prefaced its review of Mosses from an Old ManseM. In 1855, BEM reviewed Hawthorne's novels. The language of these reviews encouraged BEM's transatlantic readership to interpret Hawthorne in a very particular light: a dark, intense, and deeply psychological Hawthorne. In other words, BEM promoted a version of Hawthorne that would ultimately stick and become the standard Hawthorne adopted by twentieth-century historians of the "American Renaissance." I argue that BEM's reviews reveal a relationship with American literature predisposed to appreciate a dark, symbolic, gothic literature, and that Hawthorne, like Irving before him, succeeded in becoming one of the greatest writers of mid-nineteenth-century American literature because he was able to appeal to and please a transatlantic, and particularly a British, audience. By transcending geographic boundaries, at least in BEM's reviews, Hawthorne was ironically identified as an iconic "American" writer.

Blackwoods Edinburgh Magazine was arguably the most important and widely published literary magazine of the nineteenth century. Its readership extended from Britain to America, shaping literary tastes across the Anglophone literary marketplace. BEM wrote two reviews of Nathaniel Hawthornes fiction during the authors most prolific years. The first was published in 1847 and contained a lengthy reflection of the state of American literature that prefaced its review of Mosses from an Old Manse. In 1855, BEM reviewed Hawthornes novels. The language of these reviews encouraged BEMs transatlantic readership to interpret Hawthorne in a very particular light: a dark, intense, and deeply psychological Hawthorne. In other words, BEM promoted a version of Hawthorne that would ultimately stick and become the standard Hawthorne adopted by twentieth-century historians of the œAmerican Renaissance. I argue that BEMs reviews reveal a relationship with American literature predisposed to appreciate a dark, symbolic, gothic literature, and that Hawthorne, like Irving before him, succeeded in becoming one of the greatest writers of mid-nineteenth-century American literature because he was able to appeal to and please a transatlantic, and particularly a British, audience. By transcending geographic boundaries, at least in BEMs reviews, Hawthorne was ironically identified as an iconic œAmerican writer.

For the purpose of this study, metaphor is defined as a comparison which is not literally true. Such a comparison may be explicitly stated, as in a simile, or it may merely be implied, as in synecdoche, metonymy, hyperbole, or personification. In each case the primary or tenor image, a person, place, object, or idea in the novel, is compared to a secondary or vehicle image, a person, place, object, or idea not literally the same as the tenor image. The body of data on which this investigation is based consists of over fourteen thousand metaphors taken from Melville's nine novels. Each of these metaphors has been classified on the basis of its vehicle image. There are eight general categories, and tables are provided which show the number of metaphors in each category in each novel and the frequency with which the metaphors in each category occur in each novel. Overall, his metaphors suggest that Melville's vision of life was more often pessimistic than optimistic. They also reveal his growth as a writer. In the later novels, metaphors generally are more original than those in the early novels and are more skillfully related to his major themes.