romantic by the early tourists). In 1984, Cadw took over responsibility for the site, which was Grade I listed from 29 September 2000. The arch of the Abbey's watergate, which led from the Abbey to the River Wye, was Grade II listed from the same date. In the visual arts Evidence of the growth of interest in the Abbey and the visitors attracted to it is provided by the number of painters who arrived to record aspects of the site. The painters Francis Towne (1777), Thomas Gainsborough (1782), Thomas Girtin (1793), and J.M.W. Turner in the 1794–95 series now at the Tate and the British Museum, depicted details of the Abbey's stonework.J.M.W. Turner: Tintern Abbey, west front; the ruined abbey, overgrown with grass and bushes... British Museum, Collection online Accessed 14 October 2017 So did Samuel Palmer (see Gallery) and Thomas Creswick in the 19th century,Thomas Creswick (1811–1869) "Part of the Ruins of Tintern Abbey" Calderdale Metropolitan Borough Council, at artuk.org Accessed 14 October 2017 as well as amateurs such as the father and daughter named Ellis who made a watercolour study of the refectory windows in the second half of the century (see Gallery). About that period too, the former painter turned photographer, Roger Fenton, applied this new art not only to detailing a later stage in the decay of the building, but used the quality of light to emphasise it. Visiting artists also focused on the effects of light and atmospheric conditions. Charles Heath, in his 1806 guide to the abbey, had commented on the "inimitable" effect of the harvest moon shining through the main window. Other moonlit depictions of the abbey include John Warwick Smith’s earlier 1779 scene of the ruins from across the river and Peter van Lerberghe’s interior of 1812, with its tourist guides carrying burning torches, which shows the abbey interior lit both by these and by moonlight. Once the railway had arrived in the vicinity, steam excursions were organised in the 1880s to Tintern station so as to view the harvest moon through the rose window. Earlier in the century, the light effects made possible by transparencies (a forerunner of the modern photographic negative) had been deployed to underline such aspects of the picturesque. Among those described in the novel Mansfield Park (1814) as decorating its heroine’s sitting room, one was of Tintern Abbey. The function of the transparencies was to reproduce light