It was soon after this book's publication, in December 1922, that Vita first met Virginia Woolf who, became a friend and, for a while in the later 1920s, her lover. Woolf wrote "" over the winter of 1927–8, an experimental, though accessible, novel which drew on the history of the house and Sackville-West's ancestors, particularly as presented in Vita's book. The Sackville family custom of following the Salic rules of primogeniture was to prevent Vita from inheriting Knole upon the death of her father Lionel (1867–1928), the 3rd Lord Sackville. As she was not philoprogenitive, this was as well, but the thought hung heavily on her at this time. Woolf gave her a fantastical version of Knole and, when Vita had read it, she wrote to Virginia, 'You made me cry with your passages about Knole, you wretch.' This sentiment may be heightened by the uses of Vita as a historical model for some of the photos in the original Hogarth edition. Three of these are, in fact, adapted from pictures at Knole: 'Orlando as a boy' from the young Edward Sackville in the double portrait; 'Archduchess Harriet' from a picture of Mary, fourth countess of Somerset in Lord Sackville's private collection and 'Orlando as Ambassador' from a portrait of Lionel Sackville, the first duke of Dorset by Rosalba Carriera. On her father's death in 1928, the house and estate went to Lionel's younger brother, Charles (1870–1962). However, if Vita had to leave Knole, "Orlando" remained; the original manuscript of what Vita's son, Nigel Nicolson called, 'the longest and most charming love-letter in literature' is there. It is perhaps fairer to see it as a work of consolation to Vita, though it is one that also contains a number of barbed comments about "Knole and the Sackvilles", with its altered versions of letters and lists:<br>