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From the 1750s to the very last years of his life, Paul Sandby made frequent visits to Windsor. His elder brother, Thomas, served as a draftsman to the Duke of Cumberland in the early 1740s and was appointed Deputy Ranger of Windsor Great Park in 1747. This family connection, paired with a growing public interest in the castle—featured in travel guides—certainly explains why Sandby produced such a considerable number of Windsor views during his career. After collaborating with his brother on a set of eight engraved views of Windsor Great Park in the mid-1750s, Sandby pushed further his pictorial exploration of the castle, depicting it from every possible vantage point and at various angles. He exhibited eight views of Windsor Castle at the Society of Artists between 1763 and 1768. The present work, made around that time, is part of a set of four views of the castle in gouache in the Paul Mellon Collection (YCBA). Sandby’s Windsor subjects enjoyed great popularity, and he made several copies in gouache, watercolors, and oils, illustrating his versatility in multiple media. One such copy is a later version of the Norman Gate in the Royal Library, dated 1780, and of comparable dimensions (Oppé, 1947, nos. 13, p. 22). As is often the case with these replications, Sandby made some minor changes, such as removing the figures on the right and slightly modifying the garden’s shape. These views, taken altogether, provide vivid and charming architectural records of Windsor and its vicinity. They also suggest the extent to which, as an author quipped, “Windsor was Sandby’s bread and butter” (Robertson, 1987, p. 227).