George Vivian was brought up in considerable luxury at
Claverton Manor in Somerset, a 16th century
estate bought and completely rebuilt by his father to the neoclassical designs
of Sir Jeffry Wyatville. Not long after inheriting his father’s estates at
thirty years old Vivian, an enthusiastic traveller, art patron, architect and
artist, made one of two tours to Spain.

At that time Spain was a little-known country in Britain
save for memories of its once formidable armada. In the 1833 when Vivian first
arrived in Spain there was growing attention on the country as it entered into
what would become a nearly decade long civil war over royal succession, ultimately
a struggle between the anciene regime and early liberals, and very much
reflecting the changes of the times. By his second visit in 1837, the
romanticism of the conflict was wearing thin and Vivian became more concerned
with capturing the architecture of convents and monasteries for posterity as he
bore witness to their demolition. From 1835-1837 the Spanish state confiscated
land and property belonging to the Catholic Church and monastic orders with the
result that many ancient buildings, once sold, were torn down.

Vivian’s drawings were interpreted by the leading
lithographers of the day Louis Hague, Thomas Shotter Boys and Paul Gauci, and
published by no less then Colnaghi and Co publishers to the Queen. The Scenery of Spain with its sweeping romantic
landscapes and elements of what would seem exotic architecture was met with
great acclaim and continues to be considered one of the finest topographical
works on Spain.