M O V E M E N T

portions of snow that are untouched between the main naturally-occurring traffic routes. On these patches of snow, children build their snowmen as this is naturally where there is the most snow. Thus, in the same way, naturally emerging traffic routes have informed the placements of monuments, fountains and snowmen alike, equally the natural landscape when adhered to informs the picturesque.8

I will be using the principles he has established concerning the relationship between plazas, monuments and buildings. Rules such as; the centre of plazas should kept free and public squares should be enclosed entities, in order to analyse how these components present the Picturesque within S.R.J drawings and to test how these three principals influence or create picturesque conditions.9

MOVEMENT

The experience of the picturesque typically involves transitioning from one place to the next, this movement through space can be considered to be picturesque as it produces variety in visual experience.10

Yes, it is possible to experience a picturesque setting whilst static. However, this is not how we experience space or places that are picturesque. We have to arrive at them, move through them and leave them. It is this variety and position in space that is implied in relation to what has or will be travelled through which is what we experience in the picturesque. Thus, making movement an integral part of the experience of The picturesque.

Therefore, for the purpose of this dissertation, movement within SRJ drawings will be considered as pictures that suggest a place of transition. I will be using this principle to analyse whether Sydney R. Jones’ work is suggestive of movement within the picturesque representation of the city in London Triumphant.