Planning Concerns
The Georgian Group – not the appropriate location for this entire facility and vision
The [Georgian] Group reiterates that we consider that these applications would cause a high degree of less than substantial harm to the significance of the Grade I listed building due to the highly detrimental and
Rob Hughes, Incola Landscape Planning, September 2024
Without a robust and transparent assessment of the impacts of the proposals informed by an understanding of the value and sensitivity of the landscape and views, the Local Planning Authority as decision makers do not
Whaleback Planning Consultancy, September 2024
The overall failings in the supplied documents regarding the assessment of significance and contribution of setting to the significance mean that the assessment of impacts is inadequate. Officers are required to be mindful of the
Wiltshire Historic Buildings Trust
The importance of the historic buildings within Salisbury Cathedral Close, individually and as a group within that historic designed landscape, cannot be overstated, as reflected in the large number of Grade I listed buildings there,
Risk to Setting & Georgian Garden
Mrs Lucinda Pitman FLS. M.Hort(RHS), Co-Chair, Walled Kitchen Gardens Network
We refer you to our previous letter (25/9/24 and attached again for reference) for a detailed explanation of the importance of historic walled kitchens as heritage assets generally – and the rarity of the garden
Dr Kate Feluś, Garden Historian
The Landscape Style garden (of which ‘Capability’ Brown is the best known designer), has been described as the greatest British contribution to European Art. Arguably this is true but, in this, it must surely sit
The Gardens Trust
…the Gardens Trust has supported the registration of the garden (including the walled garden and the forecourt) and Historic England is revisiting the registration application. However, whatever the outcome of the registration application, the special
Impact on Cultural Significance
Robin Lane Fox, FRSL, English classicist, ancient historian, and gardening writer for the FT
In the words of the current Constable & Turner exhibition, Constable’s subjects were lived reality not enchanted visions, in sharp contrast with Turner. He painted, out of love, views of gardens below the window from
Timothy Wilcox, Art Historian, writer including of “Constable and Salisbury: The Soul of Landscape”
My objections are based primarily on the siting of the Archive building, which will cause irreparable damage to the historic landscape and garden setting of Leaden Hall, particularly to the west and south. I am
Anne Lyles, former curator of 18th & 19th C British Art, Tate Britain
… It is undeniably the case that the importance of Salisbury as a location for Constable’s art comes second only to that of the area around East Bergholt in Suffolk where he was born, sharing
Michael Rosenthal, Professor Emeritus of the History of Art at the University of Warwick, a specialist in British art c.1660-1840, author of two books on John Constable and related essays, articles and catalogues.
Constable’s landscapes were (at least, arguably, until very recently) central to conceptions of our national culture, even perceptions (albeit contested) of national identity. That one can still prospect the scenes he painted round Salisbury is