to Louisa, was that? Yes,

yes.

I mean these are great recreational landscapes and people very much believed that you had to walk a certain amount every day and ride a certain amount every day for your health and so they were always built into their design.

This is where the path would have gone and the reasons on this side is so you can look back at Castletown across the water.

The 18th century is always looking for the house with a sheet of water, with lawns and then with trees.

and so they're moving away from the aesthetic of the straight avenue and the focus on the house on axis and towards a more oblique and in a way more calculated composition and because it's then it's thought to be more like nature itself the French or the Dutch who are so good at topiary or controlling nature, that's connected with autocratic regimes or with political systems that have no representation by the people.

And so British nationalism starts to frown upon, particularly through Horace Walpole, I think, starts to frown upon the control of nature and an aesthetic that favours highly controlled environments.

Today, in this beautiful place, it also stands as something of an emblem for the reality of the 1840s, a wretched history that would unfold outside the walls of these enclaves.