ACKNOWLEDGEMENTS

My thanks go to all those kind friends who suggested views, corrected entries or offered hospitality on my travels. There are dozens of them, too many to list here, and they stretch the length and breadth of England. I can only apologise for not always including their favourite views. I thank Andrew Goudie for help with geology and John Wright with botany. Daniel Crewe at Profile, Trevor Horwood and my brother Tom were astringent editors of the text, fighting to keep my enthusiasm in check and my occasional anger at bay. They were the embodiment of rigour.

I was greatly assisted in my travels by the National Trust and its local staff, and by the ever fertile photographic archive. The Trust remains the best repository of knowledge and concern about the landscape in Britain. I also must thank Country Life and its photographer Paul Barker for being, as often before, a keen and helpful collaborator. The magazine is a true bastion of all that matters in England’s countryside. May it last forever! Cecilia Mackay was a superb picture researcher.

Books on England’s landscape are legion. I cannot include those on individual sites or regions (other than the unmissable Wainwright), though they are sometimes mentioned in the text, but I found these more general works helpful:

Bryson, Bill, et al., The English Landscape, London, 2000

Burke, Edmund, A Philosophical Enquiry into the Origins of the Sublime and Beautiful: And Other Pre-Revolutionary Writings [1757], Harmondsworth, 1998

Clark, Kenneth, Landscape into Art, London, 1949

Drabble, Margaret, A Writer’s Britain: Landscape in Literature, London, 1979

Fortey, Richard, The Hidden Landscape, London, 1993

Goudie, Andrew and Rita Gardner, Discovering Landscape in England and Wales, London, 1985

Hardyment, Christina, Writing Britain: Wastelands to Wonderlands, London, 2012

Hoskins, W. G., The Making of the English Landscape, Leicester, 1955

Mabey, Richard, The Common Ground, London, 1980

Mabey, Richard, Flora Britannica, London, 1998

Macfarlane, Robert, The Wild Places, London, 2007

Mount, Harry, How England made the English, London, 2012

Muir, Richard, Reading the Landscape, London, 1981

Rackham, Oliver, The Illustrated History of the Countryside, London, 2003

Sinclair Iain, Lights out for the Territory: 9 Excursions in the Secret History of London, London, 1997

Wainwright, A., Memoirs of a Fellwanderer, London, 1993

PICTURE CREDITS

4 Corners Images: 236-237 (Colin Dutton), 263 (Olimpio Fantuz/SIME); Adam Burton: 82-83; Alamy: 15 (V&A Images), 28-29 (JLImages), 31 (Kevin Britland), 77 (James Osmond), 122-123 (Tony Watson), 132-133 (Tony Peacock), 145 (Greg Balfour Evans), 170 (Blackout Concepts), 189 (David Martin Hughes), 201 (Peter Barritt), 215 (Barry Morgan), 258-259 (Nick Bodle), 281 (Darryl Gill), 334 (Stephen Chung); Alan Ranger: 40-41; Andrew Whitaker/Northern Horizons Photography: 309; Angie Latham/www.celtic-photography.co.uk: 194-195; Anna Dillon/www.annadillon.com: 115 (Looking over Ellesborough, 2012, Oil on Board. From The Ridgeway Series); Ashmolean Museum, University of Oxford, on loan from a Private Collection: 125; Ben Pipe: 68-69; Betty Stocker: 174; Bridgeman Art Library: 33 (Butler Institute of American Art, Youngstown, Ohio), 38 (Agnew’s, London), 53 (Ashmolean Museum, University of Oxford), 58 (Victoria Art Gallery, Bath and North East Somerset Council), 88 (Private Collection © The artist), 96 (Private Collection), 154 (National Gallery, London), 156 (Stapleton Collection), 212 (Devonshire Collection, Chatsworth / Reproduced by permission of Chatsworth Settlement Trustees), 330 (Lady Lever Art Gallery, National Museums Liverpool), 333 (The Royal Collection © 2011 Her Majesty Queen Elizabeth I); Calderdale Metropolitan Borough Council: 234; Chris Ceaser: 10, 270; Collections Photo Library: 63 (Brian Shuel); Corbis: 43 (Radius Images), 71 (Peter Lewis), 128-129 (Pawel Libera), 243 (Quentin Bargate), 264 (Anthony West), 279 (Image Source); Edward Fury: 178, 190-191; Getty Images: 20 (James Osmond), 46 (David Wall), 51, 102 (Matt Cardy), 204-205 (Guy Edwardes), 240 (Richard I’Anson), 267 (Keith Wood), 314-315 (Oli Scarff); Hovis Marketing Archive at The History of Advertising Trust/www.hatads.org.uk: 99; istockphoto: 158; The J. Paul Getty Museum, Los Angeles: 299 (Thomas Girtin, Durham Cathedral and Castle, c.1800, watercolour over pencil heightened with gum arabic, 37.5 x 48.9 cm); James Grant/www.jamesgphotography.co.uk: 220-221; Joe Cornish: 245, 250; John Robinson: 276-277; Kris Dutson/www.southernscenicphotography.co.uk: 90 – 91; Mary Evans Picture Library: 217; Metropolitan Museum of Art/Art Resource/Scala, Florence: 316 (Joseph Mallord William Turner, View of London from Greenwich, 1825); McCoy Wynne: 288-289; Michelle & Jonathan Rousell: 117; National Trust Images: 60 (Charlie Waite), 80 (Joe Cornish), 139 (John Millar), 152-153, 306-307 (Arnhel de Serra); New Forest National Park Authority: 136 (James Brown); Norfolk Museums & Archaeology Service, Norwich Castle Museum: 162; Paul Barker: 35, 74, 108-109, 165, 186-187, 207, 228-229, 247, 253, 272, 283, 286, 323, 327; Penny Daniel: 118; Penny Hurt LRPS: 180; Peter Noyce: 111; Peter Styles: 198; Rhys B M Jones: 183; Richard Wheeler: 218, 223; Roger Clegg: 302-303; Science & Society Picture Library/NRM/Pictorial Collection: 49; Shutterstock: 93; Simon Fraser: 294; Stephen Spraggon: 86; © Tate, London 2013: 141 (Eric Ravilious, The Vale of the White Horse, c.1939), 231 (James Ward, A View of Gordale, c.1812-14); TBC (Monument): 318; Terry Yarrow: 65, 173;