Abstract
Abstract The iconography of Stourhead is still far from being incontrovertibly established, despite the work of Kenneth Woodbridge on this subject. 1 Presented at greatest length in Landscape and Antiquity: Aspects of English Culture at Stourhead (Oxford: Oxford University Press, 1970); ee also The Stourhead Landscape (London: National Trust Guidebook, 1982). His iconographic theory concentrates on the Aeneid, finding, with the help of paintings by Claude Lorrain and Salvator Rosa, parallels between the garden features and parts of Virgil's epic poem, in an elaborate allegory. This view has recently been questioned, first by James Turner, and more searchingly by Malcolm Kelsall. 2 James Turner, ‘The structure ofHenry Hoare's Stourhead’, Art Bulletin, LXI, 1979, pp. 68-77; Malcolm Kelsall, ‘The iconography of Stourhead’, Journal of the Warburg and Courtauld Institutes, Vol. 46, 1983, pp. 133-143. This questioning has cast doubt over Woodbridge's initial interpretation.
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