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“Functional Picturesque”: Richard Payne Knight and Uvedale Price in Herefordshire’, the Georgian Group Journal, Vol

Brilliana Harley, ‘“Functional ”: and Uvedale Price in ’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 135–158

text © the authors 2016 ‘Functional Picturesque’: Richard Payne Knight and Uvedale Price in Herefordshire

b r i l l i a n a h a r l e y

Richard Payne Knight and Uvedale Price pioneered inextricably entwined. Knight, born at Wormsley, a rebellion in design in the late eighteenth grew up as a neighbour to Price at Foxley; they century. These two Herefordshire squires rejected the became friends, began managing their estates at prevalent and popular style of Lancelot ‘Capability’ similar times, and constantly referred to one another Brown, and used the estates they had inherited in letters. Price often informs us of Knight’s activities to stamp their own Picturesque imprint on the and he records Knight being ‘very much fatigued’ by Herefordshire landscape. This article uses Knight’s a Snowdon climb.2 Their published works respond and Price’s writings, together with first-hand to each other, and Knight dedicated The Landscape, observations of a number of other estates and parks in a didactic poem, to Price. Close links with other Herefordshire, to argue that their Picturesque legacy Herefordshire gentry, and their geographical had a far more lasting impact than ‘Capability’ isolation, meant that ideas and practitioners were Brown’s more celebrated influence. It also includes a shared. The Knight family was related to Thomas study of their close involvement in the management Johnes, who lived and carried out improvements and financial organisation of their estates to show at Croft and Hafod (Cardiganshire/Dyfed), that their concept of the Picturesque was both and owned Stanage (Radnorshire/Powys) at one functional and driven by aesthetics. point. As David Whitehead has pointed out, Knight commissioned Thomas Hearne (1744–1817) to paint erefordshire’s remoteness offered an ideal a series of watercolours at Downton Gorge between Hsetting in which Knight (1751–1824) and 1784–6.3 Hearne did the same at Moccas from Price (1747–1829) could develop their theory and c.1788–89, possibly on Knight’s recommendation. practice of the Picturesque. In a letter of 1818 to Lord Price’s correspondence tells us of visits to friends’ Aberdeen, Knight referred to ‘the wagon of estates, such as the Oxfords at Eywood, and the the 17th, which reaches London about the 24th’.1 This Cotterells at Garnons.4 The same local architects eight-day journey to London helped preserve the were often used: Anthony Keck designed the interior unspoilt nature of the county. While Knight and Price of Kentchurch Court (1773) and built Moccas Court encouraged their aristocratic friends to visit, they (from 1775), and Thomas Farnolls Pritchard made were not inundated by visitors. A similar exclusivity plans for Downton (1772), Kinsham Court (1760s) remains today: Foxley is a private estate and Downton and the interior of Croft (1765).5 In addition, James Gorge is protected by Natural . Sheriff surveyed Downton and Garnons.6 Both The county’s isolation also meant that the Knight’s and Price’s affinity with their estates and intellectual and social lives of the landed gentry were their love of Herefordshire is reflected in their

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Fig. 1. The ‘Jack of Kent’ oak, Kentchurch. reluctance to leave the county. Price wrote to Lord the north ridge of the valley and its gnarled and Beaumont, on 23 April 1803, saying ‘that it seems as weathered trunk gives it a prehistoric air. The wild, if the place [Foxley] cannot part with me’; he had untamed quality of the park appears unchanged; planting and bark peeling to do, and soon London the knotted hawthorns decked with mistletoe, the would be ‘so hot and dusty and so empty.’7 venerable trees, and the deer create a medieval Herefordshire not only had a close-knit character. Price was a friend of Sir Harford Jones, community of influential people; its rich heritage father-in-law and adviser to John Lucy Scudamore, of ancient deer parks also provided the perfect and, references to Price in the correspondence conditions for the birth of Knight’s and Price’s of Harford-Jones’ wife Lucy suggest he visited Picturesque theories. Evelyn Shirley listed eleven Kentchurch.10 It is hard to imagine that this wild ancient deer parks in 1867, and Joseph Whitaker in local scenery was not an inspiration to Price. 1892 fourteen, making Herefordshire exceptionally A section from his Dialogue is reminiscent of the well off in terms of ‘bosky’ scenery, ‘sylvan present-day walks up the thorn-filled and bracken- residences’ and wild parkland.8 Whitaker described covered valleys around the house: Kentchurch as having ‘some fine old trees in the ‘They found themselves in a neglected part of the park, especially an oak, a yew, and a Scotch fir; park, full of old, ragged thorns, that grew among a very hilly […] mistletoe grows on the old thorns in few stag-headed oaks. They got entangled in this wild profusion.’9 The oak he referred to, the ‘Jack of Kent’ scene, and could not distinguish any pathway in the 11 oak (Fig. 1), is still a truly majestic sight. It crowns long, coarse grass.’

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Fig. 2. Sweet chestnut avenue, .

Ancient deer parks and their distinctive trees are a enclosed in a way that made it conducive to the principal element of the Herefordshire landscape. Picturesque. Even today, when walking in the parks The parks at Moccas and Croft still boast venerable at Brampton Bryan or Gatley, one follows rough trees. Croft is striking for its ancient sweet chestnut paths through woods, waving cornfields, luxuriant avenues (Fig. 2). The northern avenue marches meadows and ascends steep inclines, rather than towards , an Iron Age hill fort. The simply following field hedgerows. The heavily avenues today are a riotous assembly of bulbous wooded landscape of Herefordshire contributed protrusions and bedraggled branches (Fig. 3); to its enclosed nature. At the beginning of The perhaps Knight, demonstrating inspiration for Landscape Knight referred to ‘wide domains’, ‘low his Picturesque vision in the local landscape, was sequester’d plains’, ‘high mountain’s brow’, ‘water’d referring to one of these sweet chestnuts when he meads’, ‘fertile fields’, ‘narrow glade’, and ‘craggy asserted that the finest tree ‘for a painter’ was at cliffs’; with the varied Herefordshire landscape on Croft.12 Equally, Price valued trees with ‘large knots his doorstep we can assume that he took inspiration and protuberances’, which ‘add to the ruggedness of from it.14 Besides its diversity, the topography of their twisted trunks’.13 Herefordshire is crucial: Downton Vale was created Herefordshire’s natural scenery was, and still from the overflow of the glacial Lake Wigmore.15 The is, hugely varied; a patchwork of pasture, orchards, power of nature was clearly important to Knight, and arable, woodland and forest, scattered with rivers, perhaps his gorge, carved by nature alone, influenced hidden valleys and hilly terrain. It was divided and his dislike of artificial water. He labelled a man-

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income to the area. ’s iron industry was booming at Coalbrookdale. Richard Knight, Knight’s grandfather, purchased Bringewood Forge in 1694 and produced vast quantities of iron. The Woolhope Transactions of 1869 commented on its high quality and lingered on ‘the picturesque effects produced’ by the ‘column of sparks rising high above the woods’; this along with the smoke would have appealed to Knight’s Picturesque vision.19 The inheritance of ancient parks, the diverse and beautiful natural scenery, and the enclosed nature of Herefordshire’s landscape, provided Knight and Price with a springboard for their Picturesque aesthetic: ideas which were in sharp contrast to those of ‘Capability’ Brown (1716–83), whose popular and fashionable landscape style had swept through England from the 1760s. Knight and Price rejected Brown in both their writings and their practice. Knight and Price were the owners, and designers, of their estate improvements; unlike Brown therefore they were able to engage with their projects indefinitely.20 Price asserted that ‘a professed improver’ would ‘torture’ the grounds, Fig. 3. Detail of tree, Croft Castle. and Knight urged that a landowner might lay out his own improvements and protect his ‘favourite plants’ and ‘native haunts’.21 In his correspondence with Aberdeen, Knight spoke of his ‘parental made river ‘an impostor’ with ‘false pretensions’.16 affection for the place [Downton]’ and described a Furthermore, the rugged nature of Herefordshire waterfall as ‘a plaything’.22 This intimate language assisted Knight’s and Price’s quest for the wild, reflects his familiarity and affinity with Downton. which Charles Greville confirmed in his memoirs Brown, in contrast might go to an estate only once, when he compared the Downton area to the rough later sending pupils. A letter of 1766 from the Earl countryside of Derbyshire: ‘it is as wild as the walk of Coventry at Croome Court (), over the hill at Chatsworth’.17 suggested that he considersed it unlikely that Brown In the late eighteenth and early nineteenth would visit him there despite his imploring ‘I don’t centuries, increased tension with France and steep know that Croome ever stood more in need of you.’23 tariffs on foreign imports meant that English timber Knight’s and Price’s familiarity with their estates was in high demand for shipbuilding material. An and the surrounding countryside contributed to advertisement in the Journal from 1795 their keen affinity for ancient features and local announced an auction sale of oak timber from Stoke villages. They campaigned for the preservation of Park, which was ‘fit for Navy’ purposes.18 The monuments, whereas Brown often swept them from industrial revolution brought further sources of view. At Croome, Brown demolished the village and

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Fig. 4. Landscape, church and house, Croome Court.

church, rebuilding another church in a better position Whilst the modestly born Brown never travelled (Fig. 4). The park at Foxley offers a contrast to this abroad, Knight and Price were members of the Brownian method, as attractive clusters of cottages landed gentry, and could afford the time to embark still remain there. However, it is worth noting that on a Grand Tour. Knight’s trips to Italy (c.1767 and Knight’s and Price’s practice was not always in line 1776), arguably helped shape his Picturesque vision. with their writings. In about 1780 Price destroyed the He made a trip to Syracuse in Sicily, where the formal gardens and upper terrace at Foxley. But he ‘Ear of Dionysius’ cavern fascinated him.26 It may later heavily criticized his decision, describing how he have inspired Knight’s ‘Hermit’s Cave’ at Downton ‘doomed it and all its embellishments […] to sudden (Fig. 5), also hewn from the rock and with similarly and total destruction.’24 He admitted he had been unadorned shadowy caverns. Price, too, had taken in by Brownian trends. Knight too campaigned travelled just before he took control at Foxley. His for the preservation of old terraces, managing to save ‘picture gallery’ in the woods (Fig. 6) – window-like those at Powis Castle, Welshpool (Montgomeryshire/ views out to the west, formed by careful trimming Powys), which were almost destroyed by William – must owe something to his travels and paintings Emes, a follower of Brown.25 seen en route. Brown, however, was a professional

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Fig. 5. Exit to the ‘Hermit’s Cave’, Downton.

Fig. 6. The ‘picture gallery’ of views out to from the woods, Foxley.

and could not afford to experiment in the same way. Moreover, his lack of travel may account for the relative lack of variety in his . Knight and Price had the advantage of exposure to European art; paintings were of key importance to their Picturesque ideas. They advocated that landscape designers should learn to see in the manner of painters. Knight owned an extensive art collection, including ’s View of La Crescenza (1648–50, Metropolitan Museum of Art. New York). The castle in this painting, a combination of classical and medieval architecture, partially concealed by woodland, is very close in style to Downton (Fig. 7). Knight looked to Claude’s and Poussin’s portrayals of and concluded that ‘the best style of architecture for irregular and picturesque houses […] is that mixed style.’27 He felt this type of architecture harmonised with the wild, unruly local landscape. Knight’s and Price’s knowledge and appreciation of painting is reflected in their desire for a well-

t h e g e o r g i a n g r o u p j o u r n a l v o l u m e x x i v    ‘ f u n c t i o n a l picturesque ’ : r i c h a r d pay n e k n i g h t & u v e d a l e p r i c e i n herefordshire blended landscape, rather than a dislocated one. One can sense Knight’s agony as he describes how Knight called for ‘one beauteous, nicely blended Brown, despite these ‘unlimited powers of design whole,/ to charm the eyes and captivate the soul’, as and expense’, built a house appropriate for a town opposed to a solitary ‘lump, encumbering the land, square or street, rather than ‘an embellishment’ to a load of inert matter, cold and dead.’28 Downton the surrounding scenery.30 There is, however, an occupies an unspoilt sequestered vale; the Castle, argument that Knight’s practice did not completely designed by Knight himself,29 does not dominate follow his principle of subtly integrated house and the landscape, and in fact from some angles it is scenery. Richard Colt Hoare of Stourhead visited swallowed from view. We might question what Downton in 1799 and noted that ‘the want of trees Brown would have done with a similar opportunity; near it [the Castle] has rather a naked appearance’.31 judging from other examples, he might have cleared Timothy Mowl also comments on the ‘meticulously undergrowth by the Teme, dammed the river and manicured landscape’ in Sheriff’s survey of c.1780 flooded Downton Vale to make a lake. In Brown’s (Fig. 8). But Knight only began his improvements in landscapes the house often perches majestically the late 1770s, and, as Price repeated, ‘time only, and on an exposed spot while the park sweeps around a thousand lucky accidents’ were essential for the it, adorning and enhancing the house rather than Picturesque effect.32 being its equal. In his Inquiry Knight talks about It has been claimed that Foxley is a less dramatic ‘the only place’ where Brown was employed as the Picturesque site than some in the area and that it architect and the improver, possibly Croome Court, lacks ‘painterly qualities’,33 but one can argue against one of the few places where he occupied both roles. this. One of Price’s main improvements there was

View of from ‘Castle Bridge’.

t h e g e o r g i a n g r o u p j o u r n a l v o l u m e x x i v    ‘ f u n c t i o n a l picturesque ’ : r i c h a r d pay n e k n i g h t & u v e d a l e p r i c e i n herefordshire the creation of the ‘picture gallery’ of views to Hay Foxley and the surrounding landscape than it is at Bluff and the Wye Valley. Price prided himself on his Downton. Fences now divide the park, together with ‘mixture of extensive distances with near views’.34 An the remnants of wartime hospitals, and the house especially Picturesque view looks out to the Skirrid was destroyed in 1948. However, standing in the mountain in the distance (Fig. 6); the fields and footprint of the house, albeit now surrounded by woods form a middle ground and the hanging foliage conifers, it is just possible to imagine the relationship a foreground. These outward-looking views at between house and landscape. Views of the house Foxley contrast with Knight’s more inward-looking by James Wathen and later Arthur Smith also aid views contained by the winding Downton Gorge. interpretation.37 They show that it was semi-tucked This comparison shows how both men embraced away amongst trees, rather than completely exposed. and worked with their surrounding landscape. Knight and Price encouraged variety in a Knight and Price are quick to dismiss Brown for landscape, as well as congruity between house his ignorance of paintings and resulting inability to and scenery. Clearly with Brown in mind, Knight judge Picturesque effects. Knight says the Brownian dismissed ‘shaven lawns’ that ‘creep’ around style is ‘the very reverse of the picturesque’, and the house ‘in one eternal undulating sweep;’38 Price declares that Brown was ‘bred a gardener’ and Price rejected ‘the tameness, monotony, and […] had ‘nothing of the mind, or the eye of a painter’.35 unnaturalness’ of modern gardening.39 Brown’s Price, in a similar vein to Knight, stressed the park at Berrington (Fig. 9) reflects his ideal of a importance of an integrated landscape; he accused great expanse of pasture that Knight and Price Brown of making everything ‘distinct and separate’ had so criticized. Aided by unobstructed views, and causing ‘extensive mischief.36 It is more difficult the beholder is struck by the extent of the owner’s nowadays to visualise the relationship between uncultivated land and, therefore, his wealth. Brown

Fig. 8. James Sheriff’s Survey of Downton Estate. c.1780. (Reproduced with kind permission of David Davenport)

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Fig. 9. View of the lake and house, Berrington. usually worked with a flatter terrain; the hidden He dismissesd the school of Brown and its ‘meager Herefordshire landscape was arguably unsuited efforts of art’, and rejected the many ‘specimens of to his style. Price claimed that his ‘most inveterate bad taste’ on the ‘road from Ludlow to Worcester’ defect’ was the ‘want of variety and intricacy’, with their ‘red brick houses’.43 He was probably asserting that the banks of a lake or river should be referring to Berrington, on this route and built of ornamented with rocks, roots, ivy and weathered local red sandstone. As opposed to his emphasis on by ‘time and accident’.40 We can see this at Foxley, the ‘safe and convenient’ at Garnons, which he had where Price’s ‘hydromania’ led to the creation of earlier landscaped (Fig. 11), Repton prioritised ‘the seven pools.41 The ‘Black Pool’ (Fig. 10) could not wild and shaggy Genius of Stanedge [sic] (Fig. 12).’44 offer a starker contrast to Brown’s sweep of glassy Walking along Repton’s west drive to Stanage the water at Berrington (Fig. 9). As you stumble upon it viewer is indeed struck by the backdrop of craggy today, in its hidden location, you feel you are making hills and the chattering stream. Repton is of course a new discovery. borrowing from the natural scenery around Stanage, The dominant influence of Knight and Price overlooking the Welsh hills, but Stanage is only eight in Herefordshire, rather than that of Brown and miles from Downton and Croft, and I would argue his followers, is demonstrated by the number of that here Repton was swayed by Knight’s practice. extant Picturesque parks, and also by the work of The ravine-like dell by the drive, with its gurgling (1752–1818). Knight’s Landscape stream, reminds the viewer of Downton Gorge, the and Price’s Essay widely disseminated their beliefs; falls evoking the constantly changing sound of the their Picturesque legacy must be owed in part to river there. Repton drew attention in his Red Book these publications. In his Red Book for Stanage (Fig. 13) to the variation in sound from the ‘gentle (1803), Repton asserted that it would be most trickling of a small rill, to the dashing roar of a ‘judicious’ to follow ‘the example set at Downton’.42 more copious stream.’ True to Repton’s word, the

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Fig. 10. The ‘Black Pool’, Foxley.

Fig. 11. View of the park and house, Garnons.

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Fig. 12. The wild landscape around Stanage and the Welsh Hills, Radnorshire. protruding stones in the main fall agitate and break There are, of course, some places where Repton the water. Here Repton now strove for a productive departed from Knight’s and Price’s practice. He Picturesque landscape, which Knight and Price did not believe that painting and gardening were had so keenly advocated in their publications; in ‘sister arts’ as they advocated.47 Furthermore, he felt The Landscape Knight had proposed ‘let utility their Picturesque was often impractical, claiming improvement guide’, 45 while Repton suggested that, due to living ‘amidst bold and Picturesque destroying the fern in one area to make the grass scenery’, the two had been made ‘insensible to the more productive for sheep.46 of milder scenes.’48 However, between the Some of Repton’s Red Books for less dramatic production of the Garnons and Stanage Red Books, landscapes followed Knight’s principles even further. the Picturesque debate had come to a head through The Red Book for Wanstead House, Essex (1813) the correspondence and publications of Knight, suggested reinstating the seventeenth-century formal Price and Repton, and it clearly influenced Repton’s gardens, which had been destroyed by Brown. practice in Herefordshire. Repton considered such gardens to be integral to The Picturesque legacy in Herefordshire, the historical character and the grandeur of the besides being demonstrated in the work and palatial house; such reverence for association is truly Red Books of Repton, can be examined by close Picturesque. It is clearly not only the topography of inspection of several parks. Berrington is the only a place but also its history that influenced Repton’s proven Brown landscape in the county, though he Picturesque theory, and most importantly that of was also recorded visiting Eywood (August 1775) Knight and also, to a rather lesser extent, Price. and Moccas (1778).49 There are certainly Brownian

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Fig. 13. Repton’s Stanage Red Book, 1803, recommended falls by the west drive, Stanage. (Reproduced with kind permission of Jonathon Coltman-Rogers) elements at each park, as in the three artificial pools was a long-term friend of Lady Oxford, and probably and the seemingly augmented mound on the back recommended the painter Thomas Hearne to his drive at Eywood, and the smooth, gently undulating friend, George Cornewall. First-hand observation park to the south front of the house at Moccas. But reveals that Picturesque additions supplement these these elements are overpowered by Picturesque landscapes. Knight and Price both encouraged additions, and it is hard to imagine that Knight and a piecemeal, gradual programme of landscaping Price were not also consulted. A letter from John executed by owners, and lauded venerable old Harvey of Ross, the agent of Thomas Symons, avenues and formal gardens. At Moccas, Cornewall owner of The Mynde, reflects the local loyalty to carried out improvements until he died in 1819.53 the Picturesque. Commenting on Gloucestershire He dedicated a chapter of his account books to the nurseryman Edward Wheeler’s 1798 planting plans garden and landscape improvements,54 and was at the Mynde, he records that ‘I took the liberty the kind of involved and conscientious owner that of overseeing to him that in the county where Knight and Price called for. Hearne’s watercolours, Mr Uvedale Price and Mr Rd Payne Knight (the like his Downton views, amplify the landscape’s first Gentlemen Professors) reside, he must be Picturesque mood. The painting of Brobury Scar particularly correct in his taste and education.’50 at Moccas (Fig. 14) is especially striking. Although Price visited his friends, the Earl and Countess of today slightly shielded in parts by undergrowth, it Oxford, at Eywood in August 1808.51 He was also a is still a dramatic feature in the landscape (Fig. 15), friend of the Cornewall family at Moccas.52 It is likely and is particularly striking as the early morning sun that Knight visited both Eywood and Moccas too: he illuminates its red soil. The view to the Scar was

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Fig. 14. Thomas Hearne’s View of Broburry [sic] Scar, c.1788–89, Moccas. (Reproduced with kind permission of the owners of Moccas)

Fig. 15. View of Brobury Scar, Moccas.

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Cascade’ at Hafod (Fig. 17) with its rickety bridge crossing the fierce Ystwyth, resembles that in Hearne’s drawing ‘The River Teme at Downton’ (1785–6, V&A; Fig. 18) and strongly suggests that Knight’s Picturesque principles influenced Johnes.57 The ‘Fishpool Valley’ at Croft, a deep ravine-like vale with artificial pools, is also reminiscent of Downton Gorge. The trees planted by Johnes at Croft – willow, poplar, ash – are generally fast- growing, suggesting they were planted for instant effect, and his obvious desire for dense undergrowth chimes with Knight’s emphasis on ‘undiscover’d shade’.58 Paths wind down the valley along a chain of pools; at the north end is a grotto-like shelter; the stonework, uncontrived and rough, is similar to that of Knight’s ‘Hermit’s Cave’ (Fig. 5 and Fig. 19). Another example of Knight’s influence can be seen at nearby Kinsham Court, which Whitehead calls ‘an uncelebrated shrine to the picturesque’; the house and walks are arranged to take in views of the Lugg wending its way through the steep valley.59 Fig. 16. Tufa-lined path and tunnel A similar reciprocal relationship is apparent at in the woods, Eywood. Kentchurch. The ancient deer park surely inspired Knight and Price; however, they in turn left their clearly landscaped, possibly by Repton, who is said mark on the place. Knight recommended Kentchurch to have advised at Moccas in the 1790s, and probably to Lord Aberdeen as an excursion from Warwick,60 laid out the terraces on the river front.55 At Eywood, and it is unlikely he would suggest a place he had the woodland walk between the house and walled not visited himself. Both Price and his gardener, garden is equally Picturesque: here tumbledown Cranston, were friends of Sir Harford Jones.61 tufa-lined paths lead to a tunnel (Fig. 16). David Whilst Scudamore drew a large income from selling Whitehead suggests that much of what exists today Kentchurch timber in the 1790s, he left the oak – shrubberies, irregular pools, and single trees rather in the park untouched.62 This rings true with the than clumps – suggest that Brown never worked Picturesque principles of aesthetics combined with there.56 The striking outline of the occasional cedar production. Whitehead also describes Harford Jones’s ornaments the skyline; Price lauded cedars and we agent, Thomas Tudor, who exhibited seventeen see them also at Foxley. pictures at the Royal Academy in the early 1800s, The ancient park at Croft Castle was an as ‘firmly entrenched in the picturesque camp’.63 inspiration for Knight, but it also demonstrates his Tudor’s painter’s eye, and his knowledge of the area, own imprint. He was a cousin of , combined with the family’s friendship with Price, help the owner both of Croft and of Hafod, perhaps the explain the Picturesque qualities of Kentchurch. best example of Picturesque landscaping in the The Picturesque legacy of Knight and Price country. James Edward Smith’s View of ‘Cavern is also reflected in the park at Whitfield. Edmund

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Fig. 17. James Edward Smith’s View of ‘Cavern Cascade’ at Hafod, 1810, from Joseph Constantine Stadler,, Fifteen Views Illustrative of a Tour to Hafod, in Cardiganshire, London, 1810. (Reproduced with kind permission of the University Library, Cambridge)

Fig. 18. Hearne, The River Teme at Downton, 1785–6. (Reproduced with kind permission of the Victoria and Albert Museum, London)

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Bolton Clive, a friend of Price’s, carried out improvements there from 1796,64 and Henry Graves Bull confirms that he ‘visited much’ and aided the improvements.65 Bull also mentions the clumps and walks laid out by Brown earlier, but which were ‘long since lost from the better taste of Mrs E. B. Clive’ and her Picturesque planting.66 It is interesting that Bull, writing roughly seventy years after the flourishing of the Picturesque, still speaks of it more favourably (of ‘better taste’) than the style of Brown, reinforcing a sense of the primacy of the Picturesque in Herefordshire. Mature cedars, which both Knight and Price loved, embellish the grounds today, and the caption for a photograph in the Woolhope Transactions (1868) of a Lebanon cedar ‘growing luxuriantly’ notes that it is 69 years old.67 Planted, therefore, in 1799, it may have been one of Price’s suggestions. Knight’s and Price’s idiosyncratic Picturesque Fig. 19. Entrance to the ‘Hermit’s Cave’, Downton. landscapes involved constant attention, with piecemeal additions, manipulation of the senses, and a functional, agricultural emphasis. With chip of some wood I was cutting’.72 Correspondence an untrained eye one might think Knight’s and between Knight and Aberdeen in 1821 reveals that, Price’s landscapes a simple wilderness; indeed despite injury and resulting convalescence due to a their published writings generally advocated this sawing accident, his primary concern was still for the uncultivated image. Price dictated ‘neglect’ and maintenance of his walks.73 ‘accident’ as necessary to show nature ‘in her most Knight and Price criticised Brown’s parks for picturesque state’;68 Knight too propounded ‘rude their ‘unnaturalness’. One might dismiss their work neglect’.69 Their Picturesque vision, however, as similarly contrived. However, their landscapes went far beyond this romantic ideal; they worked were controlled in an entirely different way: they and developed the Herefordshire landscape as if concentrated on heightening and cherishing nature from a raw material to a finished product. Price, as opposed to removing or banishing it. This is whilst carving his ‘picture gallery’ of views in corroborated in Knight’s Landscape: the woods, described how he ‘cut to the nearest twig’.70 Knight described his days of ‘improving’ ‘Or teach proud man his labour to employ in numerous letters; in one, to Lord Aberdeen, he To form and decorate, and not destroy; dwelt on ‘wandering through my romantic woods Teach him to place and not remove the stone plowing […] and executing improvements every On yonder bank, with moss and fern o’ergrown’74 morning.’71 Ironically both men had accidents whilst executing their improvements, reflecting their active Knight reinforced the point in a footnote: ‘profiting involvement in their estates. In 1815 Price told a by accident, is very different from leaving everything friend that he ‘received a blow on my eye from a to accident; and improving by neglect, is very

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Fig. 20. The ‘Switchback Tunnel’, Downton. different from neglecting’.75 Admittedly, Knight was each sense in isolation. The ‘Hermit’s Cave’ (Fig. 19) advocating control over landscape, but he did so awakens most of our senses. A wall appears on our by optimising what was already there. Their style, walk and progressively gets higher, all sight and sound especially Knight’s, concentrated on all of the senses of the river is lost and we are forced to concentrate on of the viewer, whereas Brown’s manner arguably the gloom ahead. As you tiptoe through three echoing focused mainly, or solely, on vision. We do not just caverns you clutch at the cold rough stone walls and see Knight’s Picturesque vision, but hear and feel it suddenly a teasing sheath of light darts through an too. Perhaps in the days of the working furnaces at oculus-like opening in the biggest chamber. As you Bringewood, with plumes of smoke, one could even emerge into the daylight you are rewarded with the smell it? As Nicholas Penny notes, this is one of the sound of the river and dazzling dappled light. Knight areas in which Knight and Price differed; Price did was concerned with confusing the senses in order to not think that the senses should be contemplated create a greater impact; sections of the path force you individually.76 Although he was apt to criticise to scurry up steep banks, turn befuddling corners and Burkean aesthetics, Knight dedicated a chapter of his trip over tangled tree roots. The ‘Switchback Tunnel’ Inquiry to ‘Sensation’ and elaborated on each sense. (Fig. 20) is another ingenious device. The door has This seems to recall elements of Burke’s theory of now gone, but the remaining hinges give us a sense of the , in which he laid down ‘the eye is not the excitement that the door, concealing the walker’s the only organ of sensation, by which a sublime view, would have brought. The tunnel forces us to passion may be produced’.77 turn back on ourselves and, on exit, ascend some Knight’s Burkean influence is still discernable steps. Not only has the river become increasingly at Downton, where we are often forced to consider rapid and noisy, but also we are dramatically high

t h e g e o r g i a n g r o u p j o u r n a l v o l u m e x x i v    ‘ f u n c t i o n a l picturesque ’ : r i c h a r d pay n e k n i g h t & u v e d a l e p r i c e i n herefordshire above the water. Knight strove to engineer his visitors’ line with Nathaniel Kent’s personal advice to Price experience in order to see nature at its most exciting. and his Hints to Gentlemen of Landed Property. Knight wanted to evoke fear and mystery by For Kent ‘the labourer is one of the most valuable manipulating views, experiences and our senses. members of society; without him the richest soil This is also the case at Foxley, although to a lesser is not worth owning’.84 Price made two surveys of extent, for here one experiences curiosity and wonder the estate (1770 and 1774); the second, by Kent, led more than fear and mystery; for Price ‘the effect of to a reorganization of the estate and consequent the picturesque is curiosity’.78 Walking in the woods expansion and increased income.85 Between 1770 today one might stumble upon a crumbling stone and 1774 the acreage of Foxley increased from structure; was it a cold bath like the one at Downton? 860 to 1425 acres.86 Price’s Picturesque clearly It is certainly in the right kind of location, somewhere encompassed the agrarian demands of the estate as for visitors to happen upon and contemplate. well as aesthetics. The landscapes of Knight and Price are not It has been suggested that Price’s Essay is unkempt wildernesses; they are both Picturesque in more applicable to a working estate than Knight’s character and functional agrarian landscapes. This Landscape; Stephen Daniels claims that Price’s theme also runs through Arthur Young’s Tours of Essay is more ‘a primer of estate improvement’ England and Wales. Young meticulously details the than Knight’s.87 This may be true of Knight’s The acreage, rent and farming methods of estates, but Landscape, although he does make comments such he also incorporates highly evocative descriptions as ‘let the rich plains with wavy corn be deck’d’.88 of landscapes. He lauds landowners who take an However, Knight’s private letters and James Sheriff’s active role in their estates, for example the valuable survey of Downton estate are more revealing, ‘husbandry of the Marquis of Rockingham’ makes although less attention has been paid to them.89 him ‘a patriotic nobleman’.79 He stresses that, like Downton was larger than Foxley and yielded twice agriculture, the art of adorning grounds speaks ‘of a the income, owing to the industrial forge as well as wealth, a refinement – a taste, which only great and the agricultural and forestry income.90 A letter of luxurious nations can know’.80 Whether consciously 1812 to Lord Aberdeen records Knight ‘attending or not Young binds together agricultural methods diligently to my farm’ and even announces that he is with landscape improvements; this relationship is ‘more attached to the stock of it than farmers usually further developed by Knight and Price. are.’91 Sheriff’s meticulously detailed survey of all It has been argued that Price’s grandfather and thirty-nine farms on the estate (c.1780) reveals the father were responsible for most of the improvements type of farming – arable, pasture, meadow, copse, at Foxley, including the Ragged Castle, and that wood – and the acreage of each farm (Fig. 20). Price carried out relatively little himself.81 But he Knight also seems to have followed the advice of had great skill and interest in land management, and Kent. Kent thought that the destruction of small this was one of his main contributions to the estate. farms was an ‘absurd custom’; Knight retained a He informed Lord Abercorn, on 21 December 1800, number of them.92 Kent also propounded that it was that his Foxley pools ‘will pay me ample interest for ‘undoubtedly proper, and beneficial to a country’ the money I paid’.82 This reflects the importance of to vary the size of farms. Knight’s farms did indeed productivity and income for Price. In addition, the vary in size, from thirty acres (Rees Farm) to 154 welfare of his farmers and labourers was important acres (Kinton Farm). Moreover, Kent had suggested to him, referring to them as ‘a bold yeomanry, their that tenants ought to possess half an acre of land for country’s pride’.83 These views were very much in their own fruit, vegetables and perhaps a pig. The

t h e g e o r g i a n g r o u p j o u r n a l v o l u m e x x i v    ‘ f u n c t i o n a l picturesque ’ : r i c h a r d pay n e k n i g h t & u v e d a l e p r i c e i n herefordshire majority of Knight’s farms included one or two acres Herefordshire today remains unspoilt; off the at least for the farmers’ own supplies; in fact Knight’s tourist route, it is un-trampled and many of its parks farmers were generally allocated a garden, a fold and are still hidden secrets. Downton, for example, an orchard or meadow. One might argue that this managed by Natural England, is difficult to access system had existed for generations, but Knight had and heavily protected; consequently the trees and been at Downton for at least ten years by the time grass are overgrown, and truly reflect ‘rude neglect’. of Sheriff’s survey (c.1780), and was presumably Knight praised such a veneer of unkempt landscape; influenced by Kent’s ideas even if only indirectly however, we know from his private letters and the through Price. At the very least he preserved the Downton Estate catalogue that his landscape was favourable farm conditions there, and the role of a far from untrained. In fact both Knight’s and Price’s benevolent landlord. landscapes demonstrate a functional, productive The idea of Knight as a philanthropic landlord Picturesque. Perhaps today Knight would suggest is reinforced by his will, in which he stated that a few trims and snips at Downton to reinstate some 300 pounds should go to the poor of Downton and of his views. Price’s ‘picture gallery’ at Foxley still the surrounding area. 93 He also allocated weekly remains intact, perhaps thanks to the dedicated allowances to some of his servants. The deeds of involvement and careful forestry of the current Downton also provide a fascinating insight into owner. In many cases the ancient families still remain the management of the estate.94 Numerous land at these estates, as at Garnons, Kentchurch and exchanges are recorded, indicating Knight’s active Stanage; Moccas has only recently been sold. Such role in striving to acquire the surrounding landscape. continuity generally results in preservation and We can also see Knight’s involvement in the gradual piecemeal improvements, as Knight and management of the forge; in the early 1780s there are Price encouraged. accounts for charcoal, as well as repairs and a lease The 300th anniversary of ‘Capability’ Brown’s exists to William Downing of Strongworth Forge birth will be celebrated in 2016 nationwide; the and Benjamin Giles of Hope.95 Along with farm and figure of Brown will be increasingly in the public eye. land rental, forestry and the resulting profit from However, the legacy in Herefordshire is undoubtedly the timber trade was critical to Knight’s ‘functional one of Knight, Price and the Picturesque. The setting Picturesque’. Frank Messmann’s assertion that could not have been a better foundation for their Knight’s dedication of Book III of The Landscape ideas; the remote location, the ancient deer parks, to the relationship between trees and landscaping the emphasis on enclosure and agriculture, and on is ‘tangential’ and has little relevance to Picturesque natural scenery, all inspired their Picturesque theory beauty and landscape gardening, is misleading.96 and practice. Knight and Price had a lasting impact In a letter to Samuel Nash of 1772, Knight said that on the area, which can be seen to this day at Croft, he had ordered 20,000 Scotch firs, 8,000 other Eywood, Kentchurch, Kinsham, Moccas, Whitfield, trees and 200 rose trees to be planted behind the and Stanage, as well as at Downton and Foxley. We house.97 This letter reflects his aesthetic concerns have only to compare these wild and exciting places (the rose trees) as well as his keen early interest in to Berrington, the one proven Brown landscape the Downton timber market. Moreover, many of his in the county, to realise that, in Herefordshire, the leases are ‘excepting’ his tenants’ rights to timber Picturesque protagonists emerge victorious. and with maintained ‘right of ingress and egress’, meaning that he intended to enter the land to manage the timber.98

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appendix

Below is a short introduction to each estate in Garnons: belonging to the Cotterell family since alphabetical order: 1791; Repton laid out landscape improvements and suggested the house be rebuilt in the Picturesque Berrington Hall: a late eighteenth-century Henry style, which it was in 1855–22 to designs by William Holland house with a ‘Capability’ Brown park, built Atkinson. by Thomas Harley. Hafod: a remote estate near , Wales, Croft: a medieval castle extensively remodeled owned by Thomas Johnes, who built a new around 1765, owned by the Croft family until the house (now destroyed) and laid out grounds in a mid-eighteenth century. From 1746 Richard Knight Picturesque manner in the 1780s. of Downton lived at Croft with his daughter, Elizabeth, and his son-in-law, Thomas Johnes. Kentchurch Court: a late medieval manor house The old park boasts ancient sweet chestnut avenues. and deer park. The Scudamores have lived at Kentchurch since the fourteenth century Croome Court: Worcestershire, house and park designed by ‘Capability’ Brown in the mid- Kinsham Court: a rural retreat owned by Lady eighteenth century. Oxford, who laid out improvements by the river.

Downton: inherited by Richard Payne Knight in Moccas Court: owned by the Cornewalls from the 1771. He built the castle between 1774–1778 and seventeenth century. A Robert Adam and Anthony executed improvements alongside Downton Gorge. Keck house (late eighteenth century) with an Knight published The Landscape, a didactic poem, ancient deer park, as well as a Brownian park, and in 1794, and An Analytical Inquiry into the Principles later, arguably Picturesque, additions, probably by of Taste in 1805. Repton.

Eywood: the eighteenth-century house is now Stanage: an estate eight miles from Downton once destroyed. Some think Lancelot ‘Capability’ Brown owned by Thomas Johnes, bought by Charles (1716–1783) designed the park, though this is not Rogers shortly before 1800. In 1803 Repton visited proven; the landscape features some Picturesque and designed a Red Book for suggested landscape elements improvements.

Foxley: inherited by Uvedale Price in 1768. He Whitfield: Lady Catherine Stanhope landscaped carried out improvements and reorganised the the park from 1775; Edward Bolton Clive carried out estate from the early 1770s. Price wrote Essay on the further Picturesque improvements from 1796. Picturesque in 1794.

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Map of Herefordshire:map of herefordshire parks and estates: parks discussed and estates discussed

SHROPSHIRE

44 1 55

WORCESTERSHIRE 1010 33 12 77

Leominster Kington Bromyard

Whitney-on-Wye

2 6 8 Hereford 11

Ledbury

1313 Wormbridge WALES 9 9 Ross-on-Wye

Whitchurch 10km GLOUCESTERSHIRE 6m

1 Downton 6 Moccas Court 11 Croome Court 2 Foxley1. Downton 7 Eywood 12 Berrington8. Garnons Hall 3 Croft2. Foxley 8 Garnons 13 Whitfield9. Kentchurch 4 Hafod3. Croft 9 Kentchurch Court 10. Kinsham 5 Stanage4. Hafod 10 Kinsham Court 11. Croome 5. Stanage 12. Berrington 6. Moccas 13. Whitfield 7. Eywood t h e g e o r g i a n g r o u p j o u r n a l v o l u m e x x i v    ‘ f u n c t i o n a l picturesque ’ : r i c h a r d pay n e k n i g h t & u v e d a l e p r i c e i n herefordshire

acknowledgments 6 Downton Survey, HRO, BL 35. The survey has My foremost thanks go to David Watkin for his a pencil date of 1780; Garnons Survey, Garnons attentive supervision and invaluable help in the Estate, 1784. formation of the dissertation on which this article 7 Stephen Daniels and Charles Watkins, ‘Picturesque Landscaping and Estate is based. I am also hugely grateful to John Munns, Management: Uvedale Price and Nathaniel Kent my patient Director of Studies at Cambridge, and at Foxley’, in Stephen Copley and Peter Garside Midge Gillies, who was a great support. I owe (eds), The Politics of the Picturesque (Cambridge, special thanks to David Whitehead, whose steadfast 1994), p. 22. knowledge and encouragement has been second 8 Evelyn, P. Shirley, Some Account of English to none. The writing of this dissertation would Deer Parks with Notes on the Management of have been impossible without the kind permission Deer (London, 1867), pp. 196–198; Joseph, A. of the following Herefordshire house and park Whitaker, A Descriptive List of the Deer-Parks and Paddocks of England (London, 1892), owners: David Davenport (Foxley), Harry Cotterell pp. 69–74. (Garnons), Jonathon Coltman-Rogers (Stanage), 9 Whitaker, p. 71. Jan Scudamore (Kentchurch), Edward Clive 10 Alan Brooks and Nikolaus Pevsner, The (Whitfield), Sue Wood (Kinsham Court) and the Buildings of England: Herefordshire (New Haven owners of Moccas Court and Eywood Park. I would and London, 2012), p. 382; Whitehead and like to thank Barney Rolfe-Smith for an enlightening Associates, Kentchurch Parkland Plan, MS copy, tour through Downton Gorge, Charles Watkins for unpaginated (2012). I am grateful to the author for allowing me access to this work. his insight and Andy Bates for his computer mastery. 11 uvedale Price, Essays on the Picturesque as Finally, I am grateful to my parents for their general Compared with the Sublime and the Beautiful park enthusiasm. All photographs were taken by the (and, on the use of studying pictures, for the author in Herefordshire unless otherwise stated. purpose of improving real landscape), (1810: reissued Farnborough, 1971), III, ‘A Dialogue on the Distinct Characters of the Picturesque and the Beautiful’, p. 368. 12 BL, Add. MS 43230, f.318: Jul. 28, 1818. 13 Price, Essays, I, p. 26. 14 Richard Payne Knight, The Landscape: A Didactic Poem in Three Books (2nd ed. 1795: reissued Farnborough, 1972), p. 2. endnotes 15 Nicholas Stephens, ed., Natural Landscapes 1 British Library (BL), Add. MS 43230 (Aberdeen of Britain from the Air (Cambridge, 1990), Papers), f.320: 1818. p. 155. 2 Price to Sir George Beaumont, in Charles 16 Richard Payne Knight, An Analytical Inquiry Watkins and Ben Cowell, Letters of Uvedale into the Principles of Taste, (London, 1805), Price (Walpole Socety LXVIII, 2006), p. 131. p. 223. 3 David Whitehead in Transactions of the Woolhope 17 The Greville Memoirs 1814–1860, Lytton Strachey Naturalists’ Field Club, 57 (2010), p. 45. and Roger Fulford (eds), IV (London, 1938), 4 Price to Sir George Beaumont, in Watkins and p. 182. Cowell, ‘Letters’, p. 284. 18 Advertisement in the Hereford Journal, Mar. 11, 5 A letter from Samuel Nash to Knight informs us 1795. of Pritchard’s work at Downton. Herefordshire 19 Transactions of the Woolhope Naturalists’ Field Record Office (HRO), T74/414: Nov. 2, 1772. Club (Hereford, 1869), p. 57.

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20 Charles Watkins and Ben Cowell discuss Price’s 41 Price to Lord Aberdeen, in Watkins and Cowell, close involvement and management of the Foxley ‘Letters of Uvedale Price’, p. 45. estate in their chapter ‘The Improvement of 42 Red Book (RB), Stanage, ‘Character’. A Real Landscape’, in Uvedale Price: Decoding the facsimile of the Red Book is preserved at Stanage Picturesque (Woodbridge, 2012), pp. 46–60. (private collection). 21 Price, Essays, I, p. 332; Knight, The Landscape, 43 Ibid. p. 40. 44 RB, Garnons (private collection), ‘Conclusion’; 22 BL, Add. MS 43230, f.320: 1818.; Ibid., f.314: RB, Stanage, ‘Approaches’. The Red Book is Nov. 2, 1817. illustrated in Stephen Daniels, Humphry Repton: 23 BL, Add. MS 69795, f.8: Nov. 3, 1766. Landscape Gardening and the Geography of 24 Price, Essays, II, p. 119. Georgian England (New Haven and London, 25 Scourfield, Robert, and Richard Haslam, 1999), pp. 117–9. The Buildings of Wales: Powys (New Haven and 45 Knight, The Landscape, p. 40. London, 2013), p. 249. 46 RB, Stanage, ‘The Park’. 26 Expedition into Sicily: Richard Payne Knight, 47 Price, Essays, III, Repton’s ‘A Letter to Uvedale ed. Claudia Stumpf (London, 1986), p. 51. Price, Esq.’, July 1, 1794, p. 19. Jakob Philipp Hackert’s sketch The Interior 48 Ibid., p. 20. of the Cavern Called the ‘Ear of Dionysius’ at 49 Dorothy Stroud, (London, Syracuse (1777, ) augments the 1975), pp. 225 and 233. The Eywood visit has no Sublime description offered by Knight; Hackert record of payment or plans. David Whitehead depicts a gloomy cavern towering above two comments on the surviving ancient avenue in inconsequential human figures. the park, which Brown, most likely, would 27 Knight, Inquiry, p. 219. have clumped or felled, and concludes that his 28 Knight, The Landscape, pp. 14 and 16. engagement at Eywood is doubtful. According 29 Andrew Ballantyne, Architecture, Landscape to Brown’s account book he visited Moccas and Liberty: Richard Payne Knight and the and made plans (costing £100), but George Picturesque (Cambridge, 1997), p. 240. Cornewall’s meticulous account books contain 30 Knight, Inquiry, pp. 221–222. no direct reference to him, and a James Wathen 31 Timothy Mowl and Jane Bradney, Historic sketch of 1788 shows no executed Brownian Gardens of Herefordshire (Bristol, 2012) p. 144. improvements. 32 Price, Essays, III, p. 31. 50 David Whitehead, in Stephen Daniels and 33 Timothy Mowl, Gentlemen and Players: Charles Watkins (eds), The Picturesque Gardeners of the English Landscape (Stroud, Landscape: Visions of Georgian Herefordshire, 2000), pp. 163 and 170. (Nottingham, 1994), p. 23. 34 Price to Lord Abercorn, in Watkins and Cowell, 51 Whitehead, A Survey of Historic Parks and ‘Letters’, p. 86. Gardens in Herefordshire, (Hereford, 2001), 35 Knight, The Landscape, 18; Price, Essays, I, p. 156. p. 243. 52 Nicholas Thompson, ‘Moccas Court, 36 Price Essays, III, ‘A Letter to H. Repton, Esq. Herefordshire’, Country Life, Nov. 25 1976, p. 1556. on the Application of the Practice as well as the 53 Brooks and Pevsner, op. cit., p. 514. Principles of Landscape-Painting to Landscape- 54 HRO, J56. Gardening, p. 107. 55 Thompson, p. 1556. 37 views of Foxley painted by Arthur Smith, 1906, 56 Whitehead, ‘Eywood and Capability Brown’, owned by David Davenport. pp. 14–16. 38 Knight, The Landscape, p. 31. 57 Joseph C. Stadler, Fifteen Views illustrative of a 39 Price, Essays, II, p. 9. Tour to Hafod in Cardiganshire: James Edward 40 Ibid., p. 60. Smith, No. 5. (London, 1810).

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58 Knight, The Landscape, p. 69. 80 Ibid., xi. 59 Whitehead, Historic Parks and Gardens in 81 Watkins and Cowell mention the Ragged Herefordshire, p. 235. Castle and date it to between the 1720s and 40s 60 BL, Add. MS 43230, f.70: July 7, 1810. in Uvedale Price: Decoding the Picturesque, 61 Whitehead and Associates, Kentchurch pp. 11 and 18; Mowl and Bradney assert that any Parkland Plan, unpaginated. improvements at Foxley, between 1746 and 1761, 62 Ibid. are likely to have been supervised by Price’s 63 Ibid. David Whitehead discusses the father in Historic Gardens of Herefordshire, picturesque qualities of the house maintained p. 141. by ’s restorations from 1795 in his 82 Copley and Garside, The Politics of the chapter ‘Rebuilding a Career: John Nash Picturesque, p. 19. in Herefordshire 1790–1800’, in Geoffrey 83 Price, ‘Thoughts on the Defence of Property’, Tyack, John Nash: Architect of the Picturesque in Politics of the Picturesque, p. 16–17. (Swindon: English heritage, 2013), pp. 23–5. 84 Kent, Hints to Gentlemen of Landed Property 64 Brooks and Pevsner, p. 670. (London, 1775), p. 228. 65 Henry G. Bull, ‘A Report of the Remarkable 85 Also discussed in Watkins and Cowell, Uvedale Trees at Whitfield’, inTransactions of the Price: Decoding the Picturesque, pp. 47–58. Woolhope Naturalists’ Field Club (1868), p. 259. 86 Daniels and Watkins, ‘Picturesque Landscaping 66 Ibid., p. 259. and Estate Management’, p. 29. 67 Ibid., p. 254. 87 Clarke and Penny p. 84; Daniels, Humphry 68 Price, Essays, III, ‘A Letter to H Repton, Esq.’, Repton, p. 115 p. 40. 88 Knight, The Landscape, p. 40. 69 Knight, The Landscape, p. 40. 89 Sheriff Survey, HRO BL35. 70 Watkins and Cowell, ‘Letters’, p. 1. 90 Daniels, Humphry Repton, p. 116. 71 BL, Add. MS 43230, f.47: Undated. 91 BL, Add. MS 43230, f.148: Sept. 28, 1812. 72 Ibid., p. 53. 92 Kent, op. cit., p. 206. 73 BL, Add. MS 43231, f.25–26: Oct. 15, 1821. 93 HRO T74/247: Oct. 30, 1814. 74 Knight, The Landscape, p. 40. 94 HRO T74. 75 Ibid., p. 48. 95 HRO T74/163: Sept. 29, 1784. 76 Michael Clarke and Nicholas Penny (eds.), 96 Frank Messmann, Richard Payne Knight: The The Arrogant Connoisseur: Richard Payne Twilight of Virtuosity (The Hague, 1974), p. 81. Knight (Manchester, 1982), p. 86. 97 HRO T74/414: Sept. 25, 1772. 77 Burke, p. 82. 98 HRO T74. 78 Price, Essays, I, p. 87. 79 Arthur Young, A Six Months Tour Through the North of England, 4 vols., (London, 1770), I, p. 307.

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