These topographical paintings were usually at least partly fictional, an expression of the owners’ pride, their ideals and hopes.
This is the north front photographed fairly recently.
Although the image is obviously a truthful record of a moment in time, the photographer has also incorporated certain conventions from the tradition of landscape painting, such as the curve of the drive in the the foreground and the mass of the tree on the right. It is a composition just as artfully contrived as the earlier painting.
The other, grander front of the house will, for most of us, be associated with the 1995 television adaptation of Jane Austen’s Pride and Prejudice starring Jennifer Ehle and Colin Firth. In that series Lyme stands in for Darcy’s country house, Pemberley.
It is below the south front of Lyme/Pemberley that Darcy, having just taken a dip in the lake after a strenuous journey on horseback, encounters the mortified Lizzie Bennet, and they have their famously stilted conversation. In this case the reality of Lyme is augmented by both literature and film.
Can we ever see a place without all these associations? Perhaps that is only possible when we are three or four years old.