A gloss from the Type-Setter: while some will know me as the Nonesuch, the man of immaculate taste, there will be those still unaware of my contrary distaste for the beasts, and other such objects of the field, and hence a great aversion to the outside world. It is to this trait – it has been called a craven surrender to a childish fear, I will admit as much – that our Editor alluded in note 1821, and it has warmed me to my editorial role – whatever difficulties the post may bring to my posture, they are as nothing to the shock of flies on an otherwise impeccable and doubly pressed silk shirt. Allow me then to bring Humphry Repton’s landscapes to you through the medium of his sketches, without the trouble of muddy boots, cow-berries and barb-wire in the crotch.
As promised in my recent note 1820 therefore, I now append the Professor’s submission for 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.