Painted in the period from 1880-1910, this picture (mixed media) captures the romantic imagination's conception of Stonehenge in its landscape. While the artist has used his discretion: accentuating the slopes; increasing the size of the stones; and removing all traces of the roads (clearly to be seen in Constable's earlier treatment), the abuse is neither too extreme nor, it could be contended, unsympathetic to the character of the monument in its landscape. The bucolic image of the sheep and dog was repeated on numerous images (e.g. Turner perhaps Fidler depicts descendants of the same flock!).

At a time when we still await the outcome of the public inquiry into the future for the A303 and the proposed changes to the road layout around Stonehenge, it is worthwhile to reflect on the value to be obtained from an enhanced integrity of the prehistoric landscape in terms of public enjoyment, understanding and engagement. For us Fidler's image serves to convey some of these values - a photo taken from a similar but not identical perspective reveals the current intrusion and 'noise' created by the modern world.