 Thank you for that. I'm very very warm welcome and it is a real pleasure to be here with us. I love this room. I've very often been sat in the audience here. Nothing really matters in this side of the desk. It is great honour. It's lovely to see so many of you. As we've already said, thanks to the exhibitions at the National Portrait Gallery ..y'r ffordd o Gainesbury's family and another at the Hogan Museum... ..while I looked at the artist's relationship with theatre... ..many of you will know more about the artist than you did a year ago. But it's still useful to refresh our minds with the essentials. Gainesbury's life can be conveniently divided into three periods... ..that are defined by place. I'm only going to speak about the second and the third... ..which cover his life from the age of 32... ..until his death at the age of 61. Of course, there are unlimited ways of looking at an artist's career. But because we're at the Antiquaries Society... ..that was established before Gainesbury was in form... ..I thought I would take a particular angle and look at maps and plans. And there's even a little bit of amateur archaeology thrown in. And this artist, perhaps more than any other... ..took enormous care to live and work in the right place... ..and in the right sort of property. As a portrait painter, he needed to net the best clients... ..but he also loved landscape. So access to the countryside mattered to him. As a consumant professional in all he did... ..he was meticulous about the conditions in which he painted. And I'm also including a few thoughts about the internal planning... ..of his studios. So after a spell of working in Ipswich... ..Gainesbury was drawn to Bath. The winter social seasoning bath attracted visitors from all over Britain. And the summers when the town was empty... ..provided the chance to focus on landscape painting. And the first map I'm going to show you... ..is Thomas Thorpe's survey of Bath and Five Miles Round... ..which was published by subscription in 1742... ..and gives in-depth information about the area in the mid-century. And by the way, if any of you want to look at this properly... ..there's a good online copy of Thorpe available... ..on the Harvard University Library website. You can see immediately that this is an area... ..quite unlike East Anglia where the painting grew up. Bath is surrounded by steep hills, patches of woodland... ..and rocky outcrops. Now Gainesbury's landscapes are flights of fancy... ..as I'm sure you know, and they're not views of real places. But elements of the terrain around Bath prompted... ..some of Gainesbury's most beautiful compositions. The Thorpe's map shows how Bath and Nestles... ..in a dip within the loop of the river Avon. And in 1742, as you can see, it was very limited in size. If we focus in a bit more, Queen Square is a distinctive landmark... ..that you can see on the left at the edge of town. If you can help Queen Square in your mind... ..when we look at a later map of 1772... ..you'll get some idea of the extraordinary expansion... ..that took place while Gainesbury was living in the town. And the cost of producing a map of this sort was significant... ..and Thorpe, very cleverly, placered his subscribers... ..by printing their names on the front of the map itself... ..rather than on the separate list. I'm sure you know, a lot of subscription lists are on the separate sheet of paper... ..and, inevitably, they get lost. Now, this is the decade before Gainesbury's arrival. But even so, several people who played a part in his career... ..here on this subscription list. The great John Wood, who designed both of the brand new houses... ..that Gainesbury occupied in Bath. John Wiltshire, who ran the lower assembly rooms. And his brother Walter Wiltshire, a carrier... ..who transported Gainesbury's paintings. And then, in the right-hand column, you can see Philip Ditcher... ..who was a surgeon and friend of Gainesbury's family... ..and whose portrait the artist painted. So, even in this one small corner of this map... ..there's a wealth of information that supports other researchers... ..into the artist's career. Now, Thorpe, which has no circus, no royal present... ..underlines for us the scale of the development in Bath... ..between 1740 and 1780. And it shows that the perception of Gainesbury... ..as a sort of gentile establishment figure... ..painting pretty ladies in a city full of tea shops... ..is really quite wrong. Bath in Gainesbury's day was an ultra-modern town... ..that was expanding at breakneck speed. It's always difficult with hindsight to see someone like Gainesbury... ..as a progressive and modern artist. But that's exactly what he was. And I believe that this is symbolised by the changing... ..in the changing physical appearance of Bath itself. Both the houses he occupied were brand new. He was, in each case, the first leaseholder. And I've been thinking about Bath as a whole at this time. You only have to scan local newspapers... ..and see the regular reports of terrible accidents... ..on building sites to get a sense of what life was like. In the midst of all this, Gainesbury suddenly acquired a clientele... ..that was much wealthier and more fashion-conscious... ..than the clientele he had known in its which. Sir Edward Turner, who you see here, for example, had recently inherited a fortune... ..and here he is showing off a new suit made of French silk briquette... ..a suit that incidentally costs more than his portrait. The frenetic building work was matched by great flourishing... ..of cultural activity. And Gainesbury met internationally famous musicians here... ..such as Carl Friedrich Barbor, who visited Bath in 1760... ..and again in 1761, and became a Gainesbury's closest friend. In this portrait, we get a sense of the colour and the brushwork... ..that became the hallmark of the artist's matured style. To see where these pictures were painted, we need to move from surveys... ..down to rooms. I like this sketch of Thomas Jones' premises in Italy... ..which he himself drew in about 1780... ..as it illustrates so clearly a painter's basic requirements. The study, or studio, in Italian... ..is what in England was called the painting room. This and the showroom in Jones' premises... ..are the two professional spaces... ..and here they're more or less equal in size. And they're approached by an anti-room at the top of the stairs. We don't know the orientation of these rooms... ..but traditionally artists favoured a north light... ..which did not alter during the day. So I think that this pan does show north and top. The painter, if right-handed, would usually work... ..with the light on his left... ..to avoid casting a shadow across his canvas. Sir Peter Leely, one of those 17th-century predecessors... ..worked in this way... ..standing or sitting six feet from his window wall... ..and six feet from his subject. I hope you can see how those plans went with there. That's where the artist is... ..this is where his subject is. So he does his work six feet in the business's canvas. And the window, as you can see, goes right up to the ceiling. This notebook... ..the diagram is copied in the 18th century... ..from a 17th-century manuscript. And it also tells us, you can see it in the writing at the bottom... ..that's a Godfrey Nella operated in a similar manner... ..but, in his case, five feet from his window wall... ..and five feet from his sitter. The notebook was compiled by portrait painter Azaz Humphrey... ..and it's also thanks to Humphrey... ..that we know how Gainsborough worked... ..when painting a full-length canvas. Humphrey saw Gainsborough at work in Bath... ..and described... ..this is my drawing, which is not me... ..I didn't do it, maybe it's from you. So Humphrey describes how Gainsborough adjusted his canvas... ..on loose strings on his stretchers... ..in other words, he didn't fix it round the edges of the stretcher... ..while he was painting the picture. He had loose strings in order to bring the head of the sitter... ..in line with the head on the canvas... ..and to bring the head to the edge... ..so that he could constantly look from subject to portrait. Once the head was painted, he could then adjust the strings... ..and bring the full width of the canvas back into play... ..and then gradually raise it as he painted the background... ..and the lower parts of the figure. It is noticeable in some of Gainsborough's earliest paintings... ..that he didn't always set the head in quite the right place... ..and the feet end up apparently close to the bottom edge. You will notice this in some of the early Gainsborough paintings. So nearly a single painting in a window in this diagram... ..goes at the very top of the wall. And it's sometimes possible to detect how a studio is lit... ..by looking at the eyes in a portrait. And this is a detail of Cornelius Johnson... ..just a lovely portrait. Anyway, it's a wonderful Cornelius Johnson... ..who is a very literal painter... ..and you can actually see in this painting... ..three upper paintings of a window reflected in his eyes. So it gives him a good indication of the kind of lighting... ..that he was using. And the lines of shutters were commonly used... ..to block or diffuse lower light. Gainsborough's portrait of Lord Amherst... ..is much more impressionistic... ..but it still shows an upper left light source. And this is a rather extraordinary example... ..in which he doesn't even make the pupils of the eyes round... ..but paints each with a single black brush stroke. A technique like this, which involves very thin paint... ..and which dates from the last decade of Gainsborough's life... ..does not allow for mistakes. Before coming to Bath... ..Gainsborough had created few, if any, full-length portraits... ..which his ambitions were such... ..that he now needed sizable premises. And within a year or two... ..he was producing numerous full-lengths... ..and even some group portraits. So where did he paint these pictures? And when I first asked myself this question... ..which was back in 1991... ..it was known that Gainsborough's first house in Bath... ..was in Abbey Street. But we had no idea what it looked like. And Abbey Street... ..which was... ..Abbey Street full-thin, what was then... ..that Duke of Kingston's estate in Bath... ..that Duke of Kingston's major London in Bath... ..and most of the land between Bath Abbey... ..and what's now the railway station... ..and you'll notice it when you go to the railway station... ..you walk down Manfred Street... ..and that's the family name of Duke of Kingston. And it was Kingston papers that gave me... ..providing surveys and accounts and so on... ..that gave me the footprint of Gainsborough's house. And that footprint... ..so you can see the house very close... ..to the south-west corner of Bath Abbey... ..and at that day the houses actually... ..joined on to the side of the abbey... ..the houses were built up against the family... ..and the footprint of the house is very distinctive... ..with very odd-looking breaks in the wall on the south side... ..and that John Harris had published in his book... ..'The Peladians', the plan and elevation of this house... ..in 1981... ..without realising exactly where it was... ..or that it was connected with Gainsborough. So at the south end of this house... ..actually incorporated a public passageway... ..to the Kingston Queen's Bards... ..which is where the visitors' buzz in the 18th century... ..went to Bath Abbey... ..and this passageway is what accounts for... ..the odd breaks in the plan... ..and you can see it there going through the house. The main room at the ground level on the north side of the house... ..was a shop with arched windows... ..on the right-hand side there... ..and this shop front I think must have looked... ..very much like... ..Larry Bubbles just hand the road from here. I think that gives us a good indication... ..of the kind of shop window that it had. In Gainsborough's house the shop was soon occupied... ..by his sister who was a millionaire and dressmaker... ..and she moved her flourishing business from Colchester... ..to this spot right in the centre of Bath... ..in order to share the house with him. And a shop such as Mrs Gibbonsran... ..obviously complimented the business that was going on... ..upstairs in Gainsborough's part of the building. So why had all memory of Gainsborough's association... ..with the Duke of Kingston's house when it's been six very busy years... ..been lost? My faith in this house is recorded in dramatic photographs... ..taken in the early 1890s. Here you can see the arcade in South Elevation... ..with the arches now locked in... ..teaturing at the edge of the newly excavated London Baths. So this is... ..so here are the arches. Residents of Aberystwyth were alarmed... ..by sons of Major Davies, the city architect... ..deaging beneath their homes... ..which shifted so that doors and windows jammed... ..and great cracks appeared in their walls. And little thought was given to the Georgian buildings... ..that were being destroyed. Gainsborough's house had in fact been built as a town residence... ..for the Duke of Kingston himself... ..and the Duke of Pineda occupied it. At the time of the demolition, one local historian... ..made a note of the fact that the carved pediment in the house... ..was all that was kept. By a sort of miracle, most of it still survives. So there is another shot of it. This is immediately before the edge of the site was demolished. So here we are, here are the loose stones... ..which I found in the Roman Bards stone store... ..under York Street. When I found them, they were just scattered around loose stones... ..but because I thought there was a strong possibility... ..that this pediment might be there... ..as it was the closest spot that it could be moved to... ..I mentioned to a lot of people to take an interest... ..and the archaeologist's team at the Roman Bards... ..had their heavy lifting equipment... ..and they put it back together again. And as you see, one element is missing. So I think that must have got broken when the house was demolished. And this is the carving. Although it's very rare that the carving on this pediment... ..is of higher quality, it's carried out in the workshop of Prince Paul... ..the sculptor brother of the painter William Paul. So this house, again it's occupied... ..was something truly grand. A building that really was a duke or status. And it tells us a great deal about Gainsborough's Outlet... ..that aspirations as a painter... ..at this relatively early stage of his career. The doors and fireplaces and all the elements... ..that house was sold at the time of demolition... ..but some of the stones from earlier streets... ..were reused in the construction of the vaults... ..under York Street. So this house has got a stone that must have been at the corner... ..with the remainder of the word Abbey Street. And here you can see Abbey Street completely demolished... ..and the New York Street on the right. This view looks in another direction from York Street... ..across the void. And within five years... ..Gainsborough's House has been replaced by the superstructure... ..at the Remabars, designed by John McKean Bryden... ..and a concert room extension of the Palmtree. And that's how it looked for when it was all new, brand new... ..and it's sort of pretty much the same. I just want to take you back a hundred years now... ..to the 1790s, the decade after Gainsborough died. And this is the detail of the watercolour... ..made by Jane W Turner when he visited Bath... ..in 1791 or 2. The watercolour is based on drawings of 1791 or 2. And the watercolour shows in this detail... ..the north face of Gainsborough's House... ..with a very old looking Venetian window. The Gainsborough master could even to light his painting room... ..a feature that not surprisingly was seen afterwards removed. Gainsborough's plan shows three standard sashes in that room on the north side... ..so a room on the right hand side on the north first one. And this arrangement was reinstated in about the 1820s. Now Gainsborough himself called his Abbey Street House... ..my house in the smoke. And while it was based there... ..the town was spreading up here in an orderly direction. And if you can see on this plan... ..remember Queen Square on the left hand side. So this is 1772... ..and it shows the circus completely built... ..and built housing walk-up streets generally north of Queen Square... ..now the whole area is built with development. And you can see on just... ..here is the new assembly rooms. And it was that social hub, the new social hub... ..to which Gainsborough now attached himself geographically. And this part of the circus... ..as soon as the north section was finished... ..Gainsborough moved up into the brand new house... ..up here in 2017. And this part of the circus offered at the back... ..the all-important north light. And here again we installed a purpose-built tripod window... ..tracing which is still visible on the outside... ..on the north elevation. And what this is... ..this is the outlier of the central window here. The lower one here. And this is now bathroom, essentially. But this was a third window on the left hand side. When you're inside the house... ..you can see it's been made into the door into the bathroom. Now the internal appearance... ..of an artist's raised window of that kind... ..can still be seen in this house in Percy Street, in London. This is number eight. This is one of the series of artist's houses... ..which were built just a few years after Gainsborough's house... ..in the circus. So it's conceivable that the idea... ..for building in and raised artist's windows... ..came through bars to London... ..because of what Gainsborough had done... ..and this one on the outside you can see. I mean it's amazing to me... ..that these windows have survived in their visual form... ..because they create a very odd sort of projection... ..in the floor above... ..because the reflective board goes right up through the ceiling... ..and gives you this sort of bulge... ..in the middle of the bubble... ..which is strongly inconvenient for the use of that room. So it's amazing that they have survived. So it was by the light of this original... ..Tripata window in the circus... ..that a number of Gainsborough's very well known portraits... ..were painted most famously blue boy. And there's a vivid count of one version... ..of David Garrett's portrait being carried away... ..by the recipient from the house in the service... ..in his chariot... ..and a chariot was a sort of speedy two-wheel... ..or strong vehicle... ..so no air-condition balance at that time. Of course at the service a number of extraordinary landscapes... ..were also painted in this studio... ..and this brings us back to... ..just brings us back easy to thought's map. Some of the travellers portrayed here... ..and in other landscapes by Gainsborough... ..from this bath period... ..appeared to be colliers... ..whose horses thronged the roads around Bath. And thought shows several coalworks... ..within the five mile radius of the town. And indeed local coal was one of the reasons... ..people came to Bath in the winter months. It was much cheaper to keep warm here than in London... ..because the coal was on the doorstep. At that time these colliers were mostly open cars... ..and because of the steep hills... ..the coal was all transported by cat horses... ..rather than cars. And Gainsborough himself speaks of putting... ..cull horses into his landscapes. And in some of his paintings... ..you can see the wooden cact settles... ..that he used to support the sacks of coal. Now in Bath the one thing that Gainsborough lacked... ..was royal catchmage. And so by 1774 he reached a point in his career... ..where he really wanted to mix with the likes of Reynolds... ..and his other competitors in London. And he made the decision to move... ..and settled in the west part of Schomburg House... ..whose son is going to be familiar to all of you. And here is an outline of Schomburg House... ..when it was pleased to look away with... ..before it was divided into three separate dwellings... ..in 1769. And the pink wash on this map indicates... ..that like most of St Genesis... ..it was part of the crown of the state. This beautiful map of St Genesis... ..is from the office of the severe Zachary Chambers... ..and is dated 1769... ..which is the year that the painter John Asley... ..took a lease on Schomburg House... ..and divided it up. And this survey helped to explain why... ..going to be settled in Palmael. And not only was this the heart of the crown of state... ..but it was where all of London's... ..exhibiting societies had their roots. And here at the eastern end of Palmael... ..is the name of Dodton. Here... ..this is Dodton. And this marks Richard Dodton's... ..great room... ..which was rented annually... ..as the first home of the Royal Academy... ..for its annual exhibitions. It was situated opposite what's now... ..the Royal Opera Arcade, for example, Market Lane. Now, in Gates was new premises. He was surrounded by professional men... ..and luxury businesses that serviced the court. His immediate neighbour on the west side... ..was Dr William Hebedham. And his house is washed in grey on this survey. And it was, in fact, the only freehold property... ..on the south side of Palmael. And in early 1780 Gates... ..painted a very fine portrait of Hebedham's daughter. And this, knowing how Gates were operated... ..this was quite possibly a gift... ..on exchange for professional services. On the other side, on the east wing of Schoenberg House... ..a succession of drapers and millioners... ..provided the kind of services... ..that Gates was a sister that offered... ..in Abbey Street in Bath. Mrs Dide, who moved into... ..while Gates was in residence... ..to the east wing of Schoenberg House... ..is still named on this billhead... ..which dates from 1840... ..on the hardings, which is the company... ..that took over Mrs Dide's shop... ..and extended and extended the property... ..into what was effectively... ..London's first department store. In fact, so severely... ..did Harding alter the architecture... ..of the west of the east wing. He knocked down walls... ..and he supported them with... ..he said he supported... ..with cast iron columns... ..which were then a new sort of liberating... ..structural material. But in fact, it had some of the disasters... ..and that whole side of the house began to subside... ..and eventually had to be demolished. So the facade that you see today... ..the left hand side, the left hand wing... ..which was hardings... ..that facade that you see today... ..was actually built in 1957. And it's jolly good. If you go and look at it, it's actually from the 1950s... ..it's an amazing bit of reproduction. I mean, it is very well done. But that left so hardings... ..between 1850 and 1950... ..that left hand section had a completely different... ..Victorian style facade. It's very, very hard when you look at the photographs. So I find that amazing... ..because in the 1950s it was not the most in line... ..with the architectural restoration. So as for the pictures again... ..regained to the Inchonbech House... ..Merry Braggs is one of a group of spectacular portraits... ..that was sent to the Royal Academy of Dalton's Rooms... ..in 1777. And these pictures didn't even have to cross the road. 1777 was a particularly important year of the gates... ..for marking the end of a foyer period... ..of self-imposed absence from the Royal Academy. And Mrs Graham is a standard full length portrait. But in London, the artist painted... ..a number of extra large characters... ..most of which actually hadn't survived... ..but this one has, and I'll show you it... ..in the Tate Store, which is really... ..just to illustrate how beat it is. It's a difficult picture to store... ..even in the Great Big Tate Store. And here is the Bailey family in the right way. So a large studio was required... ..for production of canvases like this. And in fact, a room measuring 33 feet by 21 feet... ..did exist behind Chonbech House. Now, this page from the Survey of London... ..will be familiar to many of you. And it's been used, it's long been used... ..for us on the indication to show us... ..what Gensworth's premises were like in London. And it shows us the ground floor on the left... ..and the first floor. Now, the Survey of London is an amazing publication... ..and I really reverence and turn to it all the time. But in this case, these plans are quite confusing... ..because they show the house at a number of different stages... ..of its history. In Gensworth's day, there were actually rear extensions... ..but behind all three parts of the house... ..there were three buildings at the back... ..not just one, as this plan rather suggests. And the most important thing from Gensworth's point of view... ..as a painter, is that the large, sort of spice-facing... ..picture windows, which you can see on this plan... ..were not there. These windows were inserted after 1850. And this is... ..in my book, which... ..it's not going to fly, it didn't take away. In my book, I'm going to illustrate quite a number... ..of different plans and surveys... ..which give us so much for the idea... ..of what this haemesis was really like. But obviously, since I'm not going to show you what we're doing now... ..but the image you can see now on the screen... ..is a date from 1804. And it shows, far from being a picture window at the back... ..there was a door and another... ..unspecified opening. It's not clear exactly what it was. There were not those huge windows. Another interesting detail about the house... ..is that an extra front door was inserted... ..into the west wind. This is going to the west wind, you see here. And we saw in the bath... ..that the entry inserted special windows. And here, either he, and I suspected it's him... ..but it's just possible it might have been his successor... ..as it is entrance. Which leads in a straight line from the street... ..right through to the professional rooms behind. And again, if you look at the front to the right hand side of the house... ..you can just see how the window... ..what's now a window again... ..has been at some point changed. And the brickwork under the current window... ..the pointing is slightly different. Which is when it was turned back into the window. Now, in the present, 1786, going through support of Henry Bate... ..spoke with the Mysgrifusys Hallock... ..promynarding out of going to the gallery. And I suspect that they and their picture... ..probably promynarded in and out of this extra front door... ..rather than the porch door. Now, in tracking the history of Promynard... ..the one bit difficulty that constantly comes up... ..is that the street numbering has changed... ..at the time of... ..a bit recent street rebuilds. So the street numbering changed by dating from 20 to 21. So when Gainsborough lived in Chalmwick House... ..his street number was 87... ..but you often see it in photos now, 80. So my Bible, in this respect, has been... ..Ritchivore's Math of London... ..which was made in the 1790s... ..and on which, remarkably, every house was numbered. And thanks to the amazing collections here... ..at the start of Antiquas, I can show you... ..one or two details of the forwards map. The copy here is the first edition of the map... ..which was four sections deep and eight wide... ..and here you can see it unfolded with just three sections showing it... ..and I haven't got room to share... ..or we haven't got room to unfold for four or eight months... ..because it's too big. And one of the things that, well, Spots... ..fote away looking at forwards is that there are no map buildings... ..showing behind Chalmwick House... ..or indeed NDI properties... ..or very few anyway. And this is because subscribers have to pay forward... ..an extra fee if they wanted these details to be included. In his proposal document, he invites shopkeepers and others... ..together, and I quote, ..the very trifling additional expense... ..of having the back parts of their properties included. But poor old Paul would practically never be given this. It's very good stuff. He must have been an amazing man, a poor man... ..because I think he was talking more now about his project... ..he died at the age of 43. So people would also have their businesses named for a fee... ..and again, only one or two people did so. And we saw the dividends on one side of Chalmwick House... ..at number 86. On the other side, at number 90 was James Christie... ..the famous auctioneer... ..and his company again to enjoy it and his portrait be painted. Now, Christie's great brilliant behind number 90... ..is not showing on Paul's map... ..but it certainly was there. And here, here's what it looked like. It was a very substantial room. But what Paul would does show very well... ..is the general disposition of the area before Regent Street... ..and therefore it's an absolutely invaluable record... ..of this part of London. As well as Dalton's rooms, we can see the former chapel... ..in six spring gardens that was used... ..by the Society of Artists exhibitions. And they're going to present pictures there... ..from a bath every year between 1760 and 1768... ..before the foundation of the Royal Academy. And this is the chapel that was used... ..to the Society of Artists. And the street numbering also enables us... ..to identify Sir Joshua Reynolds's house... ..in Leicester Square, number 47. Which actually, again without its outbuildings... ..which actually extended right back to Wickham Street... ..on the left. Reynolds, of course, was the first president of the Royal Academy... ..and gains was main competitor in London. And if we look at the Canada Square area forward... ..he shows the opposite room... ..that Barber and Yellen Christian Bach built... ..in the sassiest corner of the square opposite room... ..in 1774 to 5. And one of the first things he came to London... ..was to support his musician friends... ..contributing to the interior decoration of the concert room. And just in the north of this, it's the name of... ..one person who did pay to have his name added to the map... ..who was John Henry Schrader, a piano porto maker... ..who occupied number seven Prince's Street. Hang on business started by Bach's friend Johannes Sampfer. And this was a shock that Gainsborough, who was a subcompetent keyboard player... ..would certainly know. Gainsborough's association with Arbor, deep in London... ..and this sub-portrait, which now lives just around the corner from here... ..in Burlington House, was actually made as a gift for Arbor. Though in the event it was never given to him... ..as the musician died in 1787. Now, Gainsborough only lived his friend by just every year... ..and I'd like to finish by making a very brief excursion to Q... ..which is where Gainsborough is buried. This plan was made for George Williamson's book... ..or the miniature painter George Engelhardt... ..that many of the names on it are equally relevant for Gainsborough. Before 1780, when it was supplanted by Windsor... ..Q was the principal out-of-town residence for the Royal Family. And it was to Q that Arbor and Bach travelled... ..to give weekly concerts for Queen Charlotte. And it was at Q that Gainsborough's old friend Joshua Kirby... ..who was one of his first supporters of his career had settled. Kirby taught architectural drawing to King George III... ..as Prince of Wales. And after the accession, Kirby became clerk of the works... ..taking charge of all the practicalities of civilian chambers... ..of building projects in the Cure Gardens. And personally too, Kirby was the architect... ..of the enlargement of St Anne's Church on Cure Green in 1770. Now, Kirby's house on the green is shown in this map... ..as is the house two doors away... ..of Jeremiah and Mya, an intraventus. So here, this sort of triple house... ..one end is Mya and one end is Kirby. And just the size of the church, at number 25... ..is a house that Gainsborough rented between 1781 and 1784... ..as his country retreat. And that's the number 25... ..this house which still is there, fortunately. So when the rest of the royal castle decamped to Windsor... ..going to remain faithful to the Cure area... ..he actually swapped this house for one on Richmond Hill... ..next to the Red Bucking, which no longer stands... ..so he took that from 1785 as his country retreat. And the church of Cure is now a lot bigger... ..than when Gainsborough knew it... ..but it still has a surprisingly rural feel to it... ..and I think we can see why Gainsborough chose to be buried there. He lies on the north side, just over the rail from number 25... ..on Surin south side. His grave is close to Kirby's... ..as he had specifically requested... ..and it's also a very plain game... ..as he himself had instructed. Now this grave was originally... ..this stone originally just laid flat on the ground... ..and people walked across it... ..and the painter in 1865... ..the Royal Academysian Ian Ward... ..was very concerned about the sort of ill treatment... ..of Gainsborough's grave. And he himself paid to have the stone raised... ..and protected by an iron railing. And he also installed a tablet inside the church. Now the slab documents... ..sorry... ..the slab documents the fact... ..that Gainsborough's nephew and studio assistant... ..Gainsborough Dupont is buried in the same grave. And it seems to me highly significant... ..that the bones of these two painters rest together. And one of the things I've tried to do in the forthcoming book... ..is to reinstate Dupont as a keeper player... ..in Gainsborough's studio practice. But for now, I hope I can convince you... ..that cartography and archaeology... ..have a role to play in the history of the world. Thank you.