Abstract
AbstractThis article investigates the relationship between time and architecture in the writings of early theorists of the Picturesque movement in Britain. In doing so, it details how William Gilpin (1724–1804), Sir Uvedale Price (1747–1829), and Richard Payne Knight (1750–1824) engaged with processes of decay, accumulation, and historical reflection in their deliberations over how Picturesque scenes were formed. As well as showing how temporality suffused texts which were foundational in defining the Picturesque aesthetic, the article contributes to discussions of how the mutability, duration, and process were expressed and valued in art at the turn of the nineteenth century.
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