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  • This watercolor was made shortly before Skelton's trip to Italy, from which he was never to return. It belongs to a set of eight views of Canterbury and its vicinity, of which four are in the Paul Mellon Collection (ycba). Harbledown was the last village that pilgrims encountered before arriving at the ancient cathedral city of Canterbury, one and a half miles away. From atop the hill on which Harbledown is located (“Bobbe up-and-down” as the village was once referred to by Chaucer in his “Canterbury Tales”), pilgrims would have an unimpeded view of the cathedral. The road at the forefront of Skelton's composition is known today as the old Pilgrims Way, linking London to Canterbury. Hardly recognizable amid its densely wooded surroundings is the church of St. Nicholas, or “Harbledown hospital” (the subject is given by Skelton himself on the sheet's verso), still referred to nine hundred years later by locals as “The Leper Church,” or leper's hospital. This lazaret, with its adjoining almshouses (many of which have not survived), was a mandatory stop for early kings en route to Canterbury. “Harbledown” perfectly demonstrates Skelton's mastery in color variations. His inclination toward the observation of nature is suggested by an inscription on the old mount which reads: “Harbledown, A village near Canterbury./.J: Skelton 1757./.N: B: Drawn immediately after a heavy Summer-Shower.” His use of the method of “tinted drawing,” a technique that consisted of adding washes of colors over penciled outlines, is precise without being rigid; a full spectrum of greens and browns is exploited to effectively convey a damp atmosphere. As with other compositions in the Canterbury series, the artist represented Harbledown in a panoramic format in which the sense of depth is suggested by a wandering path.
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  • This watercolor was made shortly before Skelton's trip to Italy, from which he was never to return. It belongs to a set of eight views of Canterbury and its vicinity, of which four are in the Paul Mellon Collection (ycba). Harbledown was the last village that pilgrims encountered before arriving at the ancient cathedral city of Canterbury, one and a half miles away. From atop the hill on which Harbledown is located ("Bobbe up-and-down" as the village was once referred to by Chaucer in his Canterbury Tales), pilgrims would have an unimpeded view of the cathedral. The road at the forefront of Skelton's composition is known today as the old Pilgrims Way, linking London to Canterbury. Hardly recognizable amid its densely wooded surroundings is the church of St. Nicholas, or "Harbledown hospital" (the subject is given by Skelton himself on the sheet's verso), still referred to nine hundred years later by locals as "The Leper Church," or leper's hospital. This lazaret, with its adjoining almshouses (many of which have not survived), was a mandatory stop for early kings en route to Canterbury. Harbledown perfectly demonstrates Skelton's mastery in color variations. His inclination toward the observation of nature is suggested by an inscription on the old mount which reads: "Harbledown, A village near Canterbury./.J: Skelton 1757./.N: B: Drawn immediately after a heavy Summer-Shower." His use of the method of "tinted drawing," a technique that consisted of adding washes of colors over penciled outlines, is precise without being rigid; a full spectrum of greens and browns is exploited to effectively convey a damp atmosphere. As with other compositions in the Canterbury series, the artist represented Harbledown in a panoramic format in which the sense of depth is suggested by a wandering path.
  • This watercolor was made shortly before Skelton's trip to Italy, from which he was never to return. It belongs to a set of eight views of Canterbury and its vicinity, of which four are in the Paul Mellon Collection (ycba). Harbledown was the last village that pilgrims encountered before arriving at the ancient cathedral city of Canterbury, one and a half miles away. From atop the hill on which Harbledown is located (“Bobbe up-and-down” as the village was once referred to by Chaucer in his Canterbury Tales), pilgrims would have an unimpeded view of the cathedral. The road at the forefront of Skelton's composition is known today as the old Pilgrims Way, linking London to Canterbury. Hardly recognizable amid its densely wooded surroundings is the church of St. Nicholas, or “Harbledown hospital” (the subject is given by Skelton himself on the sheet's verso), still referred to nine hundred years later by locals as “The Leper Church,” or leper's hospital. This lazaret, with its adjoining almshouses (many of which have not survived), was a mandatory stop for early kings en route to Canterbury. Harbledown perfectly demonstrates Skelton's mastery in color variations. His inclination toward the observation of nature is suggested by an inscription on the old mount which reads: “Harbledown, A village near Canterbury./.J: Skelton 1757./.N: B: Drawn immediately after a heavy Summer-Shower.” His use of the method of “tinted drawing,” a technique that consisted of adding washes of colors over penciled outlines, is precise without being rigid; a full spectrum of greens and browns is exploited to effectively convey a damp atmosphere. As with other compositions in the Canterbury series, the artist represented Harbledown in a panoramic format in which the sense of depth is suggested by a wandering path.
  • This watercolor was made shortly before Skelton's trip to Italy, from which he was never to return. It belongs to a set of eight views of Canterbury and its vicinity, of which four are in the Paul Mellon Collection (ycba). Harbledown was the last village that pilgrims encountered before arriving at the ancient cathedral city of Canterbury, one and a half miles away. From atop the hill on which Harbledown is located (“Bobbe up-and-down” as the village was once referred to by Chaucer in his “Canterbury Tales”), pilgrims would have an unimpeded view of the cathedral. The road at the forefront of Skelton's composition is known today as the old Pilgrims Way, linking London to Canterbury. Hardly recognizable amid its densely wooded surroundings is the church of St. Nicholas, or “Harbledown hospital” (the subject is given by Skelton himself on the sheet's verso), still referred to nine hundred years later by locals as “The Leper Church,” or leper's hospital. This lazaret, with its adjoining almshouses (many of which have not survived), was a mandatory stop for early kings en route to Canterbury. “Harbledown” perfectly demonstrates Skelton's mastery in color variations. His inclination toward the observation of nature is suggested by an inscription on the old mount which reads: “Harbledown, A village near Canterbury./.J: Skelton 1757./.N: B: Drawn immediately after a heavy Summer-Shower.” His use of the method of “tinted drawing,” a technique that consisted of adding washes of colors over penciled outlines, is precise without being rigid; a full spectrum of greens and browns is exploited to effectively convey a damp atmosphere. As with other compositions in the Canterbury series, the artist represented Harbledown in a panoramic format in which the sense of depth is suggested by a wandering path.
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  • Bibliograpic reference :: John Baskett, Paul Mellon's legacy, a passion for British art : masterpieces from the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 2007, pp. 260-61, no. 42, pl. 42, N5220 M552 P38 2007 OVERSIZE (YCBA)
  • Bibliograpic reference :: Scott Wilcox, British watercolors, drawings of the 18th and 19th centuries from the Yale Center for British Art, Hudson Hill Press, New York, 1985, no. 2, pl. 2, ND1928 W533 1985 (YCBA)
  • Component of series :: Views of Canterbury and Its Environs
  • Dimension height :: 20.3cm
  • Dimension height :: 26.0cm
  • Dimension width :: 52.7cm
  • Dimension width :: 59.7cm
  • Exhibition :: An American's Passion for British Art - Paul Mellon's Legacy
  • Exhibition :: British Watercolors - Drawings of the 18th and 19th Centuries from the Yale Center for British Art
  • Exhibition :: Paul Mellon's Legacy : A Passion for British Art
  • Exhibition :: The Line of Beauty : British Drawings and Watercolors of the Eighteenth Century
  • Located in :: New Haven
  • Located in :: Not on view
  • Located in :: YCBA, 222, C 3, S- 3
  • Located in :: Yale Center for British Art
  • Object type :: drawing
  • Object type :: watercolor
  • Subject Concept :: buildings
  • Subject Concept :: church
  • Subject Concept :: fences
  • Subject Concept :: hospital
  • Subject Concept :: houses
  • Subject Concept :: landscape
  • Subject Concept :: road
  • Subject Concept :: town
  • Subject Concept :: trees
  • Subject Concept :: village
  • Subject Place :: England
  • Subject Place :: Harbledown
  • Subject Place :: Hospital of St. Nicholas Harbledown
  • Subject Place :: Kent
  • Subject Place :: United Kingdom
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  • ...
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  • Yale Center for British Art, Paul Mellon Collection
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  • Harbledown, a Village near Canterbury
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