In his article entitled Gandy and the Tomb of Merlin, published in 1941, John Summerson brought to light one of the most introverted figures in the history of early nineteenth-century architecture. The essay, which begins with an analysis of one of Joseph Michael Gandy’s finest watercolour perspectives (Fig. 1), shows how the scene represented in the painting could be associated with a passage from Ariosto’s Orlando Furioso. Some years later, the same author described the architecture of ‘Merlin’s Tomb Chamber’ as ‘a version of Anglo-Norman, with some reminiscences of Roslin Chapel which Gandy had measured and drawn.’