until Rolt's death in 1974. Author The 1950s were Rolt's most prolific time as an author. His best-known works were biographies of Isambard Kingdom Brunel, which stimulated a revival of interest in a forgotten hero, George and Robert Stephenson, and Thomas Telford. His classic study of historic railway accidents, Red for Danger, became a text book for numerous engineering courses. Rolt produced many works about subjects that had not previously been considered the stuff of literature, such as civil engineering, canals and railways. In his later years he produced three volumes of autobiography, only one of which was published during his lifetime. Rolt also published Sleep No More (1948) a collection of supernatural horror stories featuring ghosts, possession and atavism. These were modelled after the work of M. R. James, but used industrial settings such as railways instead of James' "antiquarian" settings. The Penguin Encyclopedia of Horror and the Supernatural described Sleep No More as "An exceptionally original collection of ghost stories ... Rolt had the special talent of combining folkloric spontaneity with artful sophistication." Several of Rolt's stories were anthologised; they were also adapted as radio dramas. His "Winterstoke" (1954) is a unique perspective on the development of modern Britain from the Feudal system via the dissolution of the monasteries. Achievements and honours He was vice-president of the Newcomen Society, which established a Rolt Prize; a trustee and member of the Advisory Council of the Science Museum; a member of the York Railway Museum Committee; an honorary MA of Newcastle; an honorary MSc of the University of Bath (1973) and a Fellow of the Royal Society of Literature. He was a joint founder of the Association for Industrial Archaeology, which has an annual Rolt lecture. He helped to form the Ironbridge Gorge Museum Trust. A locomotive Tom Rolt on the Talyllyn Railway, the world's first preserved railway, was named in his memory in 1991. Rolt observed the changes in society resulting from the industrial-scientific revolution. In the epilogue to his biography of I. K. Brunel he writes two years before C. P. Snow makes similar statements about the split between the arts and sciences: Men spoke in one breath of the arts and sciences and to the man of intelligence and culture it seemed essential that he should keep himself abreast of developments in both spheres. ... So long as the artist or the man of culture had been