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Whole generations of schoolchildren were brought up on text-books with reproductions of 'And When Did You Last See Your Father?', The Boyhood of Raleigh and Flora Macdonald's Farewell to Prince Charles: 'Will ye no come back again?' Yet these paintings and so many others depicting the Wounded Cavalier, King Charles and Nell Gwyn, Alfred and the cakes - creations by Frith, Millais, Ford Madox Brown, Benjamin West, Cope and Ward - have been ignored or despised by art historians and critics under the modernistic influence. 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What explains our obsession with country houses - from the National Trust to Downton Abbey?  Why do we still dream of a place in the country?  In this delightul book Roy Strong explores the definition of Englishness. 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The great formal gardens of Tudor and Stuart England are a totally lost art form. Swept away by the exponents of the landscape style in the 18th century, they are now seen in the form of Victorian re-creations around the ancient manor houses of England. But before Repton, Capability Brown and Henry Wise, England had been open to all the impulses that made the Renaissance garden. Up to the outbreak of the Civil War in 1642, the response had been some of the most legendary garden complexes of Renaissance Europe: Henry VIII's Hampton Court, Burgley's Theobalds, Lord Pembroke's Wilton. Intertwined with this story, which touches on the history of politics, art, architecture, literature and ideas, are some of the great figures of the age: Robert Cecil, Francis Bacon, Inigo Jones, Lucy Harington, Countess of Bedford, Charles I and Henrietta Maria, John Evelyn and Andrew Marvell. 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Sir Roy Strong, widely recognized for his expertise in both art history and garden history, surveys garden pictures ranging from Elizabethan miniatures to eighteenth-century alfresco conversation pieces, from suites of paintings of a single garden to amateur watercolors. He inquires into the origin of the English garden picture genre, its development prior to the invention of photography, its greatest exponents, its reliability as historical evidence of actual gardens, and its place within the larger European tradition of picturing the garden.  The English, Strong observes, were slow in picturing the reality of their gardens. Until well into the Stuart age, the garden in art served as a symbol, and only gradually did this give way to the impulse to record the facts of contemporary garden-making. In the backgrounds of portraits of Jacobean and Caroline garden owners, the garden is no longer an emblem; it becomes instead a document demonstrating the owners’ pride in their gardens made in the new Renaissance manner. By the Georgian age the garden has moved from the back to the foreground of pictures, and whole families place themselves amid the glory of their self-fashioned landscapes. Both house and garden at this point assume a separate identity, each calling for an individual record. And by the nineteenth century, the author shows, the garden detaches itself from owner and house to be recorded for its own sake, as a single image at first, and later in a series. With some 350 fully annotated illustrations, this lovely book offers a unique record of three hundred years of English gardens and what they meant to those who owned and portrayed them.    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