page_title: Netley Abbey
section_title: In literature and art
hierarchical_section_title: Netley Abbey / In literature and art
caption_attribution_description: English: A pair of gentlemen visit the ruined south transept in 1776. Of particular interest is the high vault of the church, which has since collapsed.
context_page_description: Netley Abbey is a ruined late medieval monastery in the village of Netley near Southampton in Hampshire, England. The abbey was founded in 1239 as a house for monks of the austere Cistercian order. Despite royal patronage, Netley was never rich, produced no influential scholars nor churchmen, and its nearly 300-year history was quiet. The monks were best known to their neighbours for the generous hospitality they offered to travellers on land and sea.
  In 1536, Netley Abbey was seized by Henry VIII of England during the Dissolution of the Monasteries and the buildings granted to William Paulet, a wealthy Tudor politician, who converted them into a mansion. The abbey was used as a country house until the beginning of the eighteenth century, after which it was abandoned and partially demolished for building materials. Subsequently the ruins became a tourist attraction, and provided inspiration to poets and artists of the Romantic movement. In the early twentieth century the site was given to the nation, and it is now a Scheduled Ancient Monument, cared for by English Heritage.
context_section_description: Soon after the abbey had been allowed to fall into ruin, it began to attract the attention of artists and writers, and was a popular subject throughout the eighteenth and nineteenth centuries. In 1755, the antiquarian Horace Walpole praised the ruins in his letters following a visit with the poet Thomas Gray, claiming they were "In short, not the ruins of Netley, but of Paradise". In 1764, George Keate wrote The Ruins of Netley Abbey, A poem, which showed a romantic appreciation of the ruins and evoked sympathy for the life formerly led there by the monks. He prefaced his poem with a heartfelt plea for the preservation of the remains. 
  Keate was followed by other romantic poets including William Sotheby (Ode, Netley Abbey, Midnight, 1790). Sotheby's view of the abbey was gothic; he peoples the ruins with spectral processions and ghostly Cistercians. Nor was he the only one; in 1795 Richard Warner wrote a potboiler entitled Netley Abbey, a Gothic Story in two volumes, featuring skullduggery at the abbey during the middle ages. Dark deeds before the Dissolution also appeared in the section of Richard Harris Barham's Ingoldsby Legends (1837–1845) covering Netley. This complex satire pokes fun at the medieval church and the monks (whom he accuses of having walled up an erring nun in one of the vaults and ensuring God's revenge upon them) and the tourists who crowded contemporary Netley, while at the same time showing appreciation of the beauty of the ruins.
  Netley Abbey, an Operatic Farce, by William Pearce, was first performed in 1794 at Covent Garden. The set of the first production featured an elaborate mockup of the abbey ruins seen in the moonlight.
  The earliest surviving depiction of the abbey is by the engravers Samuel and Nathaniel Buck, who specialised in landmarks and great ruins. Their engraving (1733) shows the church of the abbey much as it is today, with the exception of the high vault of the south transept still present. The picture has notable errors and was clearly done from memory and rough sketches. The most famous artist to paint the ruins was John Constable, whose 1833 painting of the west end of the church shows it among trees.
caption: A pair of gentlemen visit the ruined south transept in 1776. Of particular interest is the high vault of the church, which has since collapsed.
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