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| Thomas Jones View with the Dome of S. Maria degli Angeli, Naples 1783 drawing, with added watercolor Morgan Library, New York |
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| Lady Maria Calcott Spanish Steps, Rome 1819 drawing British Museum |
In late 1820, very shortly after Lady Maria Calcott made her drawing, John Keats hired rooms in the building seen at right, hoping to escape the northern winter and slow his decline from tuberculosis. A few months later, in early 1821, at age 25, this is where he died.
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| Benjamin Robert Haydon Drapery Study for St John 1822 drawing (study for painting, The Raising of Lazarus) British Museum |
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| John Constable Study of Clouds and Trees 1830 watercolor British Museum |
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| Henry Dawson The Major Oak 1844 oil on panel Nottingham City Museum |
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| David Cox Wind, Rain and Sunshine 1845 oil on canvas Aberdeen Art Gallery, Scotland |
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| Peter De Wint Still Life with Broom before 1849 drawing, with added gouache Yale Center for British Art |
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| William Edward Frost Artist painting in Studio with Observers ca. 1850 drawing, with colored chalks British Museum |
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| Alfred William Hunt Mount Snowdon through Clearing Cloud 1857 watercolor on paper Getty Museum, Los Angeles |
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| Joseph Noel Paton Michelangelo with his sculpture Night ca. 1860 oil on canvas Paisley Museum and Art Galleries, Scotland |
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| Frederic Leighton At the Fountain ca. 1891-92 oil on canvas Milwaukee Art Museum |
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| James S. Ogilvy Garden Court and Temple Fountain ca. 1900-1910 watercolor and gouache on paper Morgan Library, New York |
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| Harold Gilman In Gloucestershire 1916 oil on canvas Leeds Art Gallery, West Yorkshire |
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| Charles Pears London 1932 oil on canvas (for reproduction as poster) National Railway Museum, York |
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| Wilfrid De Glehn Salisbury Cathedral from a Field above Wilton 1935 oil on canvas private collection |
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| John Piper Rievaulx Abbey, Yorkshire 1942 watercolor on paper Yale Center for British Art |
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| John Piper Cartoon for a Stained-Glass Window 1981 acrylic paint on paper Wiltshire Museum, Devizes |
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| Edna Ginesi Flowers 1953 oil on canvas Leeds Art Gallery, West Yorkshire |
The British Church
I joy, dear mother, when I view
Thy perfect lineaments, and hue
Both sweet and bright.
Beauty in thee takes up her place,
And dates her letters from thy face,
When she doth write.
A fine aspect in fit array,
Neither too mean nor yet too gay,
Shows who is best.
Outlandish looks may not compare,
For all they either painted are,
Or else undressed.
She on the hills which wantonly
Allureth all, in hope to be
By her preferred,
Hath kissed so long her painted shrines,
That ev'n her face by kissing shines,
For her reward.
She in the valley is so shy
Of dressing, that her hair doth lie
About her ears;
While she avoids her neighbour's pride,
She wholly goes on th' other side,
And nothing wears.
But, dearest mother, what those miss,
The mean, thy praise and glory is
And long may be.
Blessed be God, whose love it was
To double-moat thee with his grace,
And none but thee.
– George Herbert (1633)