ABSTRACT

The central paradox of the picturesque is that the means to achieve picturcsqueness lies not in pictures, or any kind of views, but in the plan. The picture stands upright facing us like the elevation of a building, and picturesqueness in architecture is often thought to be a concern for the appearance of buildings. In fact, the innovation of the picturesque lies in putting the issue of how the building comes into appearance before the question of what the building looks like. For pictorial qualities such as Sir Uvedale Price's 'intricacy' and 'variety' to be abstracted from painting and applied to the view of gardens and buildings, a rotation was required, and the study of pictures that Price and Richard Payne Knight recommended led architects to look into the plan.