![]() Fawe Park featured in 'The Tale of Benjamin Bunny'. ![]() Her third book, 'Squirrel Nutkin' had background views based on Derwentwater,Ĭatbells and the Newlands Valley. Published 'The Tale of Peter Rabbit' in 1902. Rawnsley encouraged her to publish, and eventually Frederick Warne Made greetings cards of her pictures, and started a book. Rawnsley encouraged her drawings, and when back in London Beatrix To Crosthwaite Church just outside Keswick. They still kept in touch with Rev Rawnsley, who after 5 years at Wray, moved She watched squirrels in the woods, saw rabbits in the vegetable gardens of the big Beatrix loved Derwentwater,Īnd explored Catbells behind Lingholm. The unspoilt beauty surrounding the holiday home.įor the next 21 years on and off, the Potters holidayed in the Lakeĭistrict, staying once at Wray Castle, once at Fawe Park, twice at Holehird and nine times at Lingholm, by Derwentwater, famous now for its rhododendron gardens. On the need to preserve the natural beauty of Lakeland had a lasting effect on the young Beatrix, who had fallen in love with Her parents entertained many eminent guests, including Hardwicke Rawnsley vicar of Wray Church, who in 1895 was to become one of the founders of the Beatrix was 16 when theyįirst stayed here. ![]() Her parents took her on three month summer holidays to Scotland,īut when the house they rented became unavailable, they rented Wray Castle near Ambleside in the Lake District. Many animals which she kept as pets, studying them and making drawings. She lived a lonely life at home, being educated by a governess and having little contact with other people. Is remembered there for her work as a conservationist and an agriculturalist, although outside the Lake District her greatįame still rests of her lovely creations for children.īeatrix Potter was born on 28 July 1866 in South Kensington, After her successful career as anĪuthor and illustrator, Potter embarked on a second career, this time as a sheep breeder in her beloved Lake District. Partly as a result of her failingĮyesight, Potter produced new work only occasionally after her marriage at the age of 46. Into a child's hand, and each page of written text should have an illustration to go with it. Potter believed that children's literature should be for children: The books should be small enough to fit comfortably Rather, her innovative philosophy of children's literature wrought changes that one can still see in books being produced Illustrations and the charm of her stories that have placed Potter at the acme of the "golden age" of children's literature. They would no doubt look just like Potter's drawing for The Tale of Two Bad Mice). While her illustrations have none of the gilded ornateness of the Pre-Raphaelites, their influenceĬan be seen in the meticulous attention to detail in her reproduction of nature (if mice wore dresses and carried brooms, John Everett Millais, the Pre-Raphaelite painter best known for Ophelia, was a friend of Potter's familyĪnd encouraged her work. She brought to her work her governess-supervisedĬhildhood study of plants and animals, from which she gathered so many of the structural details that are evident in even Which commissioned her to illustrate a volume of children's verse in 1893. Potter's first professional work, in 1890, was for a German greeting card firm, ![]() Peter Rabbit became available to a wider audience, and over the next 10 years, Potter wrote and illustrated 20 more booksįor children, including The Tale of Benjamin Bunny (1904), The Tale of Tom Kitten (1907), The Roly-Poly Pudding In 1901, Arthur Conan Doyle (one year before he was knighted)īought one of the few hundred privately printed copies of The Tale of Peter Rabbit for his children.
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