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Excerpt from The Letters of Horace Walpole, Vol. 14 of 16: Fourth Earl of Orford Arranged The Duke and Duchess of Buccleuch, they say, came through Holland, and going to visit a chief burgher, found cannon planted before his door, and did not stay to leave a card How Lord George Gordon must long to be there and burn a street or two! Most of Mr. Cunningham's anecdotes, to be sure, are not new at present, Madam, but they would have been so twenty years ago, and at least confirm much of what has come out recently. Some, I doubt, have been castrated; indeed, I have heard so - nay, am sure for in one paragraph a siege or town is mentioned, and refers to the preceding paragraph, in which not a syllable of it is said: clumsy enough. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Excerpt from The Letters of Horace Walpole, Vol. 8 of 16: Fourth Earl of Orford; 1783 1787 Do not think, my best Lord, that I forget or neglect the very kind and favourite invitations from Nuneham, but I weigh my own incapacities, and how likely I am to be an encumbrance. Theresult of my meditations is, that, as I can neither entirely resign my own satisfaction, nor purchase it with clogging you and Lady Harcourt, nor abstain from visiting the additional beauties of Nuneham, before they are in the sere and yellow leaf; I have determined to offer myself in the beginning of September. In the morning I can drive out with you; and as the days will then be short, I shall not be the cause of your being in the house, and consequently can enjoy your company without having it on my conscience to have shortened your walks, in which I am not able to join. If this scheme will inter fere with none of your Lordship's, you will be so good as to let me know your commands at your leisure. By your note to Mrs. Clive, I learn that Miss Fauquier is with you, and Mr. Whitehead, and so I hope they will be in September if you admit me. Where Mr. Mason is, I am ignorant, which is pretty much the state of my intelligence about everybody and everything, except my own calamities, which consist in having had a little gout, and in having a little more rheumatism, from having been able to bear not so much clothing as our ancestor's old jacket or fig leaf in the excessive heat, and from being overrun with all the languages of Babel, who come to see my house from morning to night. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Drawing together landscape, architecture and literature, Strawberry Hill, the celebrated eighteenth-century ’Gothic’ villa and garden beside the River Thames, is an autobiographical site, where we can read the story of its creator, Horace Walpole. This 'man of taste' created private resonances, pleasure and entertainment - a collusion of the historic, the visual and the sensory. Above all, it expresses the inseparable integration of house and setting, and of the architecture with the collection, all specific to one individual, a unity that is relevant today to all architects, landscape designers and garden and country house enthusiasts. Avoiding the straightforward architectural description of previous texts, this beautifully illustrated book reveals the Gothic villa and associated landscape to be inspired by theories that stimulate 'The Pleasures of the Imagination' articulated in the series of essays by Joseph Addison (1672-1719) published in the Spectator (1712). Linked to this argument, it proposes that the concepts behind the designs for Strawberry Hill are not based around architectural precedent but around eighteenth-century aesthetics theories, antiquarianism and matters of 'Taste'. Using architectural quotations from Gothic tombs, Walpole expresses the mythical idea that it was based on monastic foundations with visual links to significant historical figures and events in English history. The book explains for the first time the reasons for its creation, which have never been adequately explored or fully understood in previous publications. The book develops an argument that Walpole was the first to define theories on Gothic architecture in his Anecdotes of Painting (1762-71). Similarly innovative, The History of the Modern Taste in Gardening (1780) is one of the first to attempt a history and theory of gardening. The research uniquely evaluates how these theories found expression at Strawberry Hill. This reassessment of the villa and its associated l