This chapter shows how antisemitism built on Christian anti-Judaism, including blood libel accusations but also the appearance of Christian philosemitism. Documents show Zionism was a reaction to antisemitism as well as to the rise of nationalism and also benefited from Christian restorationism.

The Stone-Campbell Movement combined the evangelical revivals of the American frontier, the Enlightenment philosophy of John Locke, Thomas Reid, and Francis Bacon, and the democratic ideals of the United States. The “restoration plea” of early Stone-Campbell leaders emphasized four interrelated themes: restoration, unity, missions, and eschatology. Early leaders believed that the restoration of the teachings, practices, and terminology of the New Testament church would lead to visible unity in an increasingly divided Christianity, which in turn would aid global missions and usher in the millennium. They thought restoring the New Testament church would promote greater faithfulness to God and individual freedom of conscience, as Christians would be united around the teachings, practices, and terminology of Scripture alone, not those promoted by later teachers or found in creeds of human origin. Today the movement represents the ongoing desire in American Protestantism for a Bible-based, mission-oriented, non-denominational Christianity.

This chapter discusses the continuities and contrasts between ‘Romantic Gothic’ and ‘Victorian medievalism’, focusing on the figures of Robert Southey and William Morris. Bringing together the perspectives developed in Morris’s conservationist activities with the Society for the Protection of Ancient Buildings and his utopian romance, and Southey’s ‘black letter’ works of 1817, it argues for the early and late nineteenth-century presence of an alternative ‘history of the Gothic’. This is Gothic as what Morris called a ‘style historic’, articulated either side of the 1840s and the rise of historicism in architecture and ‘medievalism’ in literature. Where Morris ultimately chose a harder-edged Nordic ‘Gothic’ over the ‘maundering medievalism’ of Tennyson and Rossetti, Southey consistently avoided the category, despite being present at its inception with his review of the 1817 work in which the word ‘medieval’ first appeared. Revising received critical and semantic histories of ‘Gothic’ being subsumed by the medieval, the chapter explores the articulation and the ongoing significance of a more granular, aphasic and rhizomatic approach to the art and culture of the Middle Ages.