developed an interest in recording the origins, language and customs of Britain's Gypsy Travellers. Focused around the activities of the Gypsy Lore Society (GLS), established in 1889, they became preoccupied with the foreign ancestry of British Gypsies and with developing theories about their 'pure bred' nature, which often tied blood lines to Romany language use and 'proper' nomadic living. The Gypsy caravan, which had only made its appearance in the 1830s as a result of the improving road system, became central to settled society's image of 'the Gypsy', in part through paintings, such as those of the prominent GLS member Augustus John. Fed by an outpouring of writings on the subject from the 1880s, popular imagination saw Gypsies as a people who turned up out of the blue, camped on commons or byways in their bow-topped caravan, grazed horses, sold pegs, perhaps 'tinkering', 'here today and gone tomorrow'. Just as the producers of My Big Fat Gypsy Wedding promised 'unprecedented access', so too did numerous gypsiologists spend a summer living with a group of Gypsy Travellers gaining an insight into 'the secret people' before writing a book about their experiences. Crucially, such Gypsies were always portrayed as 'pure blooded' or 'true' Romanies, largely untouched by modern, industrialised Britain. As one gypsiologist, Arthur Symons, wrote in the early 20th century: Why ... are we setting ourselves the impossible task of spoiling the Gypsies? ... they stand for the will of freedom, for friendship with nature, for the open air, for change