As no plays are credited to Fielding's name for the ensuing months of 1735, it is a reasonable inference that the young Salisbury heiress, whose experience of London had, doubtless, included a pretty close acquaintance with the hardships of struggling genius, employed some of her inheritance to enable her husband to return to the home of his boyhood, on the "pleasant Banks of sweetly-winding Stour." There is no record of how the Stour estate, settled on Henry Fielding and his brother and sisters, was apportioned; but an engraving published in 1813 shows the old stone "farmhouse," which Fielding occupied, the kitchen of which then still remained as it was in the novelist's time, when it served as a parlour. Behind the house stood a famous locust tree; and close by was the village church served at this time, as the parish registers show, by the Rev. William Young, the original of the immortal Parson Adams of _Joseph Andrews_. [4] From a subsequent deed of sale we know that the estate consisted of at least three gardens, three orchards, eighty acres of meadow, one hundred and forty acres of pasture, ten acres of wood, two dove-houses, and "common of pasture for all manner of cattle." To the stone farmhouse, and to these orchards and meadows, commons and pastures, Fielding brought his wife, probably in this year of 1735; and memories of their sojourn at Stour surely inspired those references in _Amelia_ to the country life of 'love, health, and tranquillity,' a life resembling a calm sea which "must appear dull in description; for who can describe the pleasures which the morning air gives to one in perfect health; the flow of spirits which springs up from exercise; the delights which parents feel from the prattle and innocent follies of their children; the joy with which the tender smile of a wife inspires a husband; or lastly the cheerful solid comfort which a fond couple enjoy in each others' conversation.--All these pleasures, and every other of which our situation was capable we tasted in the highest degree."