Letters open the doors to the multitude of readings and misreadings in the Gothic world. Narratives within narratives draw to attention its own artificiality and the question of whether there can be an original sequence of events behind what is narrated. The use of problematic embedded narratives illustrates an anxiety about the increasing ease of communication and whether more information really means knowing more. This links the idea of letters to modern communication and technology. Anything, including words, can be reproduced. Some letters and entries, instead of being handwritten, are now type-written which displaces the personal touch of the writer from the reader and handwriting can no longer be a measure of authenticity. These fragments also call to attention the reliability of information in an age where information is becoming increasingly available, as seen from the inclusion of newspaper reports in Dracula and the fact that distance is no longer a barrier to words. In other words, what has happened is always fragmented and there can be no complete reading of events. However, as the paths of these letters are always dubious, it calls to attention its own in-authenticity and hence the potential for a misreading since we are never always sure if what we are reading is accurately represented. There are letters that are not replied in Frankenstein, letters that may not have reached their destination, letters of secrecy in Jekyll and Hyde, letters that chronicle events-these letters attempt to present to us an understanding of what happened, reiterated with the supposed advantage of retrospect and an over-arching perspective that is allowed by the passing of time. It is linked to a reading of words as well as a misreading. Letters while seemingly presenting objectivity on one level through the assumed tone of factuality, are also simultaneously open and subject to interpretation. 12v–13r.Letters to a phantom sister, wills, transcript, journal entries, newspaper entries Gothic narratives are punctuated with embedded writings in the form of letters and entries that are both a pastiche and fragmented, the sum total of which makes up the complete text. Gallois, so-called Naives Hours, 1839 – 42, Paris. Heures françoises et latines pour Madame L. The Naives book of hours, on the other hand, was commissioned by Jules Gallois, Count of Naives, for his wife, as a devotional work, though also supporting his claim to descend from noble medieval ancestors.
The Missal was presented in 1844 to the Count of Chambord, then head of the House of Bourbon, by the Legitimist Ladies of France, who were in favour of a return to monarchy. Two high-end French manuscripts stand out as relatively recent acquisitions: the Naives Hours and the politically-charged Chambord Missal. Pugin and Phoebe Traquair are present in the library, but also some manuscripts reflecting the popular taste for illumination in Victorian England, such as illuminated addresses commissioned for ceremonial occasions, and instances of amateur illumination. Owing to the time and circumstances of its foundation, the museum holds examples of manuscript illumination exemplifying the revival of interest for anything medieval in the 19th century.
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