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Notes
1. Philip Webb quoted in Adrian Forty, Words and Buildings. A vocabulary of modern architecture (New York, Thames & Hudson, 2000), p. 34.
2. Robert Smithson, The Collected Writings, ed. Jack Flam (Berkeley, Univ. of California Press, 1996), p. 159. See also the discussion of Smithson and the picturesque in Yve-Alain Bois, ‘A Picturesque Stroll around Clara-Clara’, 29 October (1984).
3. Letters from England, ed. Jack Simmonds (London, Cresset Press, 1951), p. 165.
4. Les Délices de la Grande Bretagne, p. ii.
5. Roger de Piles, Cours de Peinture par principes (Paris, 1708), quoted in The Genius of the Place. The English Landscape Garden 1620–1820, ed. John Dixon Hunt and Peter Willis (2nd ed., Cambridge, MA, MIT Press, 1990), pp. 112–118.
6. See Emily T. Cooperman & Lea Carson Sherk, William Birch. Picturing the American Scene (Philadelphia, PA, Univ. of Pennsylvania Press, 2010), pp. 25, 179, 181–182.
7. Joseph Spence, Observations, Anecdote and Characters of Books and Men, ed. James M. Osborn, 2 vols. (Oxford, Clarendon Press, 1966), I, pp. 252–253.
8. See Ian J. Lochhead, The Spectator and the Landscape in the Art Criticism of Diderot and his contemporaries (Ann Arbor, MI, UMI Research Press, 1982).
9. In this very famous image (see ) of Pope's garden, the rustic, somewhat rococo temple featured centrally, and John Harris believes that it was itself an invention by Kent himself for Pope's place and therefore a distinct articulation of ownership and friendship.
10. All of Birch's engravings for his country seats and their descriptive texts are available in a modern edition, William Russell Birch. The Country Seats of the United States, edited and with an introduction by Emily T. Cooperman (Philadelphia: University of Pennsylvania Press, 2009).
11. Les Délices de la Grande Bretagne, p. x.
12. Ibid., p. vi.
13. The Elements of Architecture, opening of Part Two: here from Reliquiae Wottonianae (1651), p. 271.
14. Emily T. Cooperman and Lea Carson Sherk, op cit., p. 54.
15. See my discussions and illustrations of these items in The Picturesque Garden in Europe (London, Thames & Hudson, 2002) and my essay, ‘Folly in the Garden’, The Hopkins Review (new series), I/2 (2008).
16. See Cooperman and Lea Carson Sherk, op cit., p. 38. I have discussed this aspect of Collins’ poetry in The figure in the Landscape. Poetry, Painting and Gardening during the Eighteenth century (Baltimore, MD, 1976), pp. 165–174.
17. There is much discussion of this ‘middle way’ in eighteenth-century British culture: of interest with regard to landscape is the philosophical perspective on the ‘right mean’ in the garden ha-ha, and in works by David Hume: Giancarlo Carabelli, Il filosofo sull'altalena [The philosophy of the see-saw] (Ferrara, 1991).
18. This is too complicated to explore here: but publication of Gilpin's picturesque tours, which appeared from 1782 onwards, show him to be interested, albeit intermittently and discursively, in a historical as well as topographical focus, in the word and the image; and Repton was increasingly drawn to responding to the social and political demands of the sites he designed, and he was attacked by both Price and Knight for essentially ‘giving up’ on the true religion of the picturesque — see in this respect my ‘Sense and sensibility in the landscape designs of Humphry Repton’, Studies in Burke and his Times, 19 (1978).
19. Emily T. Cooperman and Lea Carson Sherk, op cit., p. 54.
20. A Treatise on the Theory and Practice of Landscape Gardening (4th ed., 1849), p. 63.