1 For an account of Wilton gardens in general see Christopher Hussey, ‘The Gardens of Wilton House, Wiltshire’, Country Life, 25 July and 1 August, 1963.

2 The archives at Wilton contain a design for the addition of colonnades. This may be in Herbert’s hand. It is certainly directly related to the design of the Palladian Bridge as both possess the same columnar superstructure.

3 The gatehouse was probably demolished by the 8th Earl of Pembroke after 1683.

4 At Wilton, see Harris, John The Artist and the Country House (1979), pi. 129.Google Scholar

5 Campbell, Vitruvius Britannicus, 11 (1717), pi. 67.Google Scholar

6 These can be seen in de Caus’s engraved view, seejohn Harris and Tait, A. A. Catalogue of Drawings by Inigo Jones . . . in the Library of Worcester College, Oxford (1979), pi. 9.Google Scholar

7 Bodleian Library, Gough Maps 33, fol. 19', dated 5 September 1723. The Grotto façade is now shown as a building in a walled formal garden of late seventeenth-century character to the west of the house.

8 Cowdry, Cf. Richard Description of the Pictures, Statues . . . at Wilton (1751).Google Scholar

9 Campbell, Vitruvius Britannicus, in (1725), pis 57-58.Google Scholar As this volume is something of a rag-bag, Campbell may have had this drawing available since 1717. As he is notorious for inaccuracy in detail, caution needs to be taken as to the authenticity of the gate-piers. Connor, T. P. ‘The making of Vitruvius Britannicus’, Architectural History, 20 (1977), 23.Google Scholar

10 Among the unsorted archives at Wilton, inscribed ‘R. Morriss delin.’ and ‘H. Hulsbergh Sculpsit’.

11 That designs for Pembroke House were being considered in 1723 is demonstrated by the drawing of William Dickenson’s contrasting half the house as proposed by him and half by Campbell. Wren Society, xvii, pi. xlviii; reproduced also by Draper, M. P. G. and Eden, W. A. Marble Hill House And Its Owners (1970), pi. 5.Google Scholar

12 Morris’s career seems to have started at Narford where he was acting as builder for Sir Andrew Fountaine, for works that commenced in 1718. These may have involved Campbell, but it is surely relevant that in 1715 neither Fountaine nor Herbert subscribed to Vitruvius Britannicus, and in 1717 only Lord Pembroke, Lord Herbert’s father. Morris’s involvement and Fountaine’s status as an amateur architect, first revealed in The Times, 12 June 1884, will be discussed by the author in a forthcoming article. For the latest account of Fountaine see Colvin, Dictionary (1978) , 319-20.Google Scholar

13 At Windsor, album volume 187. 1 am indebted to the Hon. Jane Roberts and her staff for kindnesses and courtesy. For Visentini in general seejohn McAndrew’s introduction to RIBA Catalogue of the Drawings Collections . . . Antonio Visentini (1974).?

14 For Consul Smith see Vivian, Frances II Console Smith mercante e collezionista (Vicenza, 1971).Google Scholar

15 Cust, Cf. L. ‘The Paintings bought by George 111 in Italy, Consul Smith and Antonio Canale’, Burlington Magazine, XXIII (1913), 162.Google Scholar

16 Didington was created Lord Melcombe Regis in 1761.

17 Windsor Volume nos 10571 (elevation) and 10570 (arch).

18 Windsor 10573B. iy Windsor 10572.

20 Windsor 10573.

21 Windsor 10568-10569.

22 Windsor 10574 (elevation) and 10575 (plan).

23 Windsor 10573A.

24 The possibility ought to be considered that this so-called Porter’s Lodge design was, in fact, submitted either to Visentini or Consul Smith for a particular situation in Venice or the Veneto.

25 It is probably a coincidence that the ground floor of the Casa Civana is also arranged as a tripartite composition.

26 What follows is based upon Colvin, op. cit., p. 560 and note and information kindly communicated to me by Sir Brinsley Ford in a letter dated 5 August 1983.

27 Confirmed when personally examined by Sir Brinsley Ford.

28 For this programme Watson, cf. Francis ‘Roger Morris and Eastbury’ in Country Life, corr. 11 February, 1949, 3 17—18 Google Scholar; Blunt, A. ‘A neo-Palladian programme executed by Visentini and Locatelli for Consul Smith’, Burlington Magazine, c (1958), 283-84 Google Scholar; Vivian, op. cit., p. 125 and appendix a; Levey, Michael The Later Italian Pictures In The Collection Of Her Majesty The Queen (1964), nos 669-76, pp. 104-05.Google Scholar

29 The Stourhead picture was recorded in the manuscript lists as of Wilbury, a very odd mistake considering that Wilbury might have been one of the pre-eminent choices for a neo-Palladian subject. Was the person who compiled the list recollecting that Wilbury had been considered, or indeed that a picture of Wilbury had, in fact, been painted?

30 Richard Dalton’s sale, Christie’s, 9-11 April 1791.

31 sale, Ventura Scopinich Milan, 6 April 1932, lot 44.Google Scholar

32 For the history of Eastbury see L. Whistler, The Imagination of Sir John Vanbrugh And His L'ellow Artists (1954), 172-73. Dodington had inherited the incomplete house in 1720, but due to the effects of the South Sea Bubble was not able to complete it before Vanbrugh’s death in 1726.

33 Kent, Designs, vol. 1, pi. 58.Google Scholar

34 See n. 29 above.

35 Colvin, loc. cit., 562; for a general article on the house see Macnaughton, A. ‘A Vanished Thames-Side Mansion’, Country Life, 6 November 1969, 1195-98.Google Scholar

36 An early eighteenth-century plan of the old house (B. M. King’s Maps 29.12.29) shows that a gallery stretching the full width of the principal storey already existed.

37 See Vitruvius, Britannicus, iv (1767), pis 26-29 Google Scholar for the rebuilt house and for Servandoni’s remarkable gallery.