Throughout the eighteenth and early nineteenth centuries, turnpike trusts and, later, the railways, improved the safety and comfort of domestic travel across Britain. The public’s appetite for natural beauty, fuelled by works such as Gilpin’s Three Essays (1792), prompted many to leave their parlours and to venture north to the Lake District, Peak District, and Yorkshire, or west into Wales. New publications emerged to guide them on their travels and many recommended excursions to country houses and gardens. Highbrow histories and antiquarian studies were slowly succeeded by publications for modern travellers, in the form of picturesque tours, handbooks, road books, and eventually, railway guides. Works such as A Picturesque Tour of Yorkshire and Derbyshire by the late Edward Dayes (1825) promised an itinerary of ‘sublime and picturesque scenery’ and many adopted overtly poetic language in their description of both natural and man-made landscapes. For those still unable or unwilling to travel, an increasing number of elaborate engravings reproduced the sights encountered for vicarious consumption, often alongside an author’s personal appraisal of their aesthetic appeal. Within such a format, Brown’s landscapes reached new readers, but also came under renewed scrutiny.