‘”The park wall must be continued around the farm for the safety of the woods, which I observed were shamefully mutilated by the natives, & also for the preservation of game.”
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The Type-Setter is to be found in transit. He is either running upstairs from the editorial sofa to the observatory in the attic where the Professor contemplates the works of Humphry Repton, or downstairs in the other direction. Orders from the editor fly one way, rebuttals and refusals fly the other. ‘Rush! Rush! Always rush!’ he can be heard to say. It is his business to transmute the sparks and ferocities of his colleagues into the honeyed purr of mutual delight.
Oofy here: Editorial: Tell me if it’s the same for you: when I hear a fellow speaking. What they say makes perfect sense. Beautifully expressed. A treat. When I think of saying anything m’self, I get plenty of phrases alright. Jumbled up though. Can’t work out which comes first.
A gloss from the Type-Setter: those to whom I am a stranger, and there will be many, may not know that I have a fear of flies, and hence a great aversion to the outside. It is to this trait – a craven giving way to a childish fear – I will admit as much – that our Editor alluded in note 1821. There is an irresistible allure in the editorial role that I have undertaken. It brings Humphry Repton’s landscapes to life through the medium of his sketches, without the trouble of seeing them for themselves, or exposing myself to the open air.
The Professor produces his notes of on the Gothic (he prefers ‘Sondergothik’ – that late form of Gothic peculiar to Central Europe which speaks to the romantic, fantastical and sometimes overwrought soul of the Czech nationalist),
‘Humphry Repton was perfectly happy to work with the inspired idiosyncracies of Gothic design that James Wyatt provided for Norris Castle.