Halt, who goes there? The arrival and departure of landowners private and privileged railway stations

Station platform with Queen Victoria and Prince Albert about to board Royal Train (possibly en route to Scotland). (At Maiden Lane temporary terminus before the opening of Kings Cross Station, c1850). (Image © Science Museum Group Collection Online)
Station platform with Queen Victoria and Prince Albert about to board Royal Train (possibly en route to Scotland). (At Maiden Lane temporary terminus before the opening of Kings Cross Station, c1850). (Image © Science Museum Group Collection Online)

In September 1872, Queen Victoria was invited to stay at Dunrobin Castle in Scotland, seat of the Dukes of Sutherland. She naturally travelled by train, having used them for long-distance journeys since 1842. After being met by crowds at Inverness, her train left on the final leg in the late afternoon.

Just after passing the head of the Cromartie Firth, her afternoon tea was unexpectedly interrupted as the train stopped at Bonar Bridge station. Here, she records in her diary, ‘the Duke of Sutherland came to the door in such a curious get up, that I did not at first recognize him. He had been driving the engine since Inverness, but only appeared now on account of this being the boundary of the Sutherland railway.‘. The Sutherland being a private railway line which the Duke had conceived, financed and now enjoyed the privilege of running across his lands.

Such power and enthusiasm, stoked by immense wealth, were often the hallmarks of the development of the Victorian railway network. With it came the curious demands of landowners and aristocracy for the network to accommodate their personal needs, with the provision of not only private waiting rooms, platforms, and stations, but also entire railway lines.

Dunrobin Station for the Duke of Sutherland at Dunrobin Castle (Image: private collection)
Dunrobin Station for the Duke of Sutherland at Dunrobin Castle (Image: private collection)
Map showing position of private Dunrobin Station just to the north of Dunrobin Castle, seat of the Duke of Sutherland. (Map © OS six-inch 1888-1913 Sutherland CV, Surveyed: 1904, Published: 1907 from the National Library of Scotland)
Map showing position of private Dunrobin Station just to the north of Dunrobin Castle, seat of the Duke of Sutherland. (Map © OS six-inch 1888-1913 Sutherland CV, Surveyed: 1904, Published: 1907 from the National Library of Scotland)

Across the network, private train stations served royalty, aristocracy, industry, and the military. The control and influence of the landowners had an immense effect on the overall development of the railways, arguably more so than any other interest group. In the 1830s, the aristocracy were almost all opposed to the railways but attitudes changed as opportunities arose, resulting in the widespread granting of privileged access and rights to the railways.

This foundation for this article is based on research by others but focuses on the landowners and significantly expands the list of known instances. Importantly, it goes beyond just the better known private stations and identifies where landowners secured their own prerogatives regarding the use of the network in some way. The full list (PDF linked at the end of the article) runs to 114 examples; 72 in England, 33 in Scotland, 4 in Wales, and 5 in Ireland, across 57 different railway lines.

Definitions and caveats

One of the challenges of cataloguing is ensuring that there is consistency and clarity, so below are the definitions I have used:

  • Private station: a place on a railway line with one or more buildings, restricted to a specific group of people, to enable them to get on or off a train
  • Private halt or platform: an unstaffed location on a railway line with either no buildings or only temporary structures but with a platform, restricted to a specific group of people, to enable them to get on or off a train
  • Private waiting room: a purpose-built waiting facility, restricted to a specific group of people, within a station which otherwise remains open to use by the general public
  • Station of convenience: an otherwise publicly accessible facility on the network but where the location is known, or there is convincing circumstantial evidence, to have been determined by a local landowner

Based on these definitions, my research shows where there is evidence that the siting, service, or facilities of the stations were influenced by the proximity or power of the local landowner.

This research was just for my own interest so there are methodological challenges. I have not checked every station, though I did review all 16,000+ entries in Butt’s ‘The Directory of Railway Stations’ (1995) for references to the names of country houses or locations where I know one exists (or did exist) and other related books. I have also spend hours traversing the railway lines on the Ordnance Survey 1888-1913 maps via the brilliant National Library of Scotland website. My knowledge of Welsh and Irish geography and houses is not as extensive as for England and Scotland so other examples have almost certainly been overlooked. I am also definitely not a railway historian but I do love railways.

Map showing position of Eynsford station, Kent, which is positioned a significant distance from the village of that name. Note also the route skirts the eastern edge of the Lullingstone estate. (Map © OS six-inch 1842-1952 Kent Sheet XVII.SW, Revised: 1895, Published: 1897 from the National Library of Scotland)
Map showing position of Eynsford station, Kent, which is positioned a significant distance from the village of that name. Note also the route skirts the eastern edge of the Lullingstone estate. (Map © OS six-inch 1842-1952 Kent Sheet XVII.SW, Revised: 1895, Published: 1897 from the National Library of Scotland)

Also, there are the ‘possibles’. This is where although there’s no evidence of privilege, a station just appears to be closer to an estate than its urban namesake. For example, Eynsford station which is noticeably south of the village it’s named after but close to the lodge entrance for the Lullingstone estate. There is almost a gravitational distortion where the power of a local estate has pulled the station towards (or pushed it away from) it by varying degrees. These types have been added to a separate list as too circumstantial (but if someone has the GIS skills, they may be able to identify other anomalies). Also, I have not examined primary documents such as railway company or landowner correspondence.

For the landscape historian, it would also be interesting to compare maps of the estate drives before and after the arrival of the railways to determine if an owner took advantage of the new connections to change the introduction to the estate and house, and the subsequent impact on the development of the parkland and the impact on landscape design (approaches from stations, hiding lines or making a feature of them). An examination of appropriate sales particulars may also indicate the relative importance given to these facilities, especially compared to other attributes.

If someone has a list of railway company directors, cross-referencing their country houses may highlight others as it seems to have been a relatively common perk. Also, it’s hard to show where there was a negative influence; the landowner who did not want the railway near them and so forced the line away from what perhaps might have been the optimum route. Anyway, if someone did want to take it further, these are all good branch lines to explore.

Making tracks

The earliest history of railways can be traced to landowners, though not for the carriage of themselves. The first wagonways were created to assist with the extraction of mineral resources from their estates and transportation to shipping hubs. There is some dispute as to the earliest but one of the best developed was the Wollaton Wagonway. Constructed in 1603-04 by Huntington Beaumont, in partnership with Sir Percival Willoughby, it hauled coal from the Strelley mines on the latter’s Wollaton Hall estate.

"First Class carriages, Second class carriages. Northumberland Engine. Planet Engine" Science Museum Group Collection Online (1943-343 Engraving)
First Class carriages, Second class carriages. Northumberland Engine. Planet Engine” Science Museum Group Collection Online (1943-343 Engraving)

The very first fare-paying passenger service in the UK – though using horses, rather than steam power – was the Oystermouth Railway at Mumbles, south Wales in 1807. The first railways in the modern incarnation to carry passengers and freight were the Stockton & Darlington, which opened in 1825, and the Liverpool & Manchester, which opened in 1830.

The Stockton & Darlington was proposed as a challenge to the Earl of Strathmore’s proposal in 1818 for a canal from his Evenwood colliery to the river near Stockton, using the statutory powers of compulsory purchase to acquire the necessary land. Commercial interests in the places bypassed by the Earl’s canal considered building their own canal but were persuaded to consider the then revolutionary idea of a public tramway or railway (they hadn’t decided which, even when the Stockton & Darlington Railway Bill was put before Parliament in early 1819). In an early sign of the influence of landowners, Lord Eldon opposed the bill due to the loss of substantial ‘wayleaves’ income paid by canals to cross his land, until they agreed substantial compensation. The Earl of Darlington opposed the idea due to the potential negative impact on his foxhunting and so the route was duly altered to avoid his favoured coverts.

The bill finally received Royal Assent on 19 April 1821, duly authorising a line with a total distance of 36.75 miles, which included a main line of 26.75 miles from the Witton Park colliery to Stockton-on-Tees. From this foundation, what’s particularly remarkable about the development of the railway is the scale and pace. By 1852, there were over 7,000 miles of rail track in England and Scotland, and by 1875, over 70 percent of the ultimate total route mileage had been laid. To emphasise the value of the rail industry, the gross revenue in the period 1870-75 was £254.1m, just slightly ahead of the equivalent revenue for the coal industry at £248.7m.

From the start of the idea of transportation using fixed routes – whether roads, canal, or rail – the power of the owner or occupier of the land has been paramount. This has had a profound impact on the pattern of land use across the country, initiating or accelerating urban growth, or stifling it. The routes ultimately took the path of least resistance; be it geographic, political, legal, or financial. It’s hard to underestimate the profound effects that these decisions have had in the shaping of the country as it is today – the towns which became cities, those which missed out, and the patterns of land usage which affects every aspect of our lives.

Railways: friend or foe?

With any revolution, the outcome is often simultaneously reviled and glorified. The sinuous spread of the railways across Britain and Ireland from the 1820s was both of these and more. At first, it was a dirty, noisy, dangerous contraption. Loathed by the poet William Wordsworth, he lamented in an 1845 sonnet its ‘rash assault‘ on ‘thou beautiful romance Of nature‘. Three decades later, John Ruskin’s contemptuous descriptions of his fellow travellers in Letter 69 of ‘Fors Clavigera‘ did little to add any glamour, describing how ‘The rest of the crowd was a mere dismal fermentation of the Ignominious.‘. By contrast, no lesser figure than the artist J.M.W. Turner looked at these same engines and painted a projection of power and grace.

Joseph Mallord William Turner Rain, Steam, and Speed - The Great Western Railway 1844 Oil on canvas, Turner Bequest, 1856 NG538 (© The National Gallery)
Joseph Mallord William Turner Rain, Steam, and Speed – The Great Western Railway 1844 Oil on canvas, Turner Bequest, 1856 NG538 (© The National Gallery)

As the prestige of the railway grew anyway, not least through the patronage of Queen Victoria, so too did the opportunities, especially for well-connected landowners. Certainly, there was the chance for investment and profit. Beyond that, perhaps one of the most attractive was to bring convenience and pre-eminence to those who could bend the tracks to their will. It was the opportunity to appropriate a public good for private benefit through their influence on the infrastructure of the burgeoning rail network.

The manipulation of the power of the network took various forms. From the heights of entirely private stations endowed with powerful legal rights to halt trains, to the creation of exclusive facilities at otherwise public stations, the power also manifested in the overt influence of siting stations to create new approaches to their country estates.

Obstruction and opportunity

In the early days, the main concern for the landowner was how to avoid the dreaded statutory powers of compulsory purchase which had forced the canals through their lands. This meant that the railway surveying parties were often met with outright hostility and occasional violence (see ‘The Battle of Saxby’ aka ‘Lord Harborough’s Curve‘). Where physical methods were unsatisfactory, landowners often deployed their greatest weapons – their wealth and the law.

Stapleford Park, Leicestershire
Stapleford Park, Leicestershire (Image © Stapleford Park)

George Stephenson, and his son Robert, were two of the most successful and prolific railway engineers of the era. They stated that the ideal railway should follow the most level route, which could be constructed the most economically, but which should avoid the park and gardens of country estates. In reality, it was rarely possible to satisfy the first two requirements given the resources employed in the protection of the third.

Each proposed railway required two key components; an Act of Parliament to authorise the development and operation, and substantial capital, of which a portion had to be deposited when the draft Act was laid before Parliament. These Acts were a hostage to the demands of the often hostile landowners who sought to either include their every demand or very generous financial terms, which, if the bill passed, would satisfy them (win!), or increase the build costs for the railway to point where it became uneconomic to continue (win!). For example, the Duke of Cleveland opposed the Northern Counties Union Railway but agreed to sell his land for £35,000 above its market value, knowing that it would likely bankrupt them. It did and delayed the railway reaching Barnard Castle for over ten years.

If they objected to the railway for aesthetic reasons, they might demand an expensive features which benefited them such as a tunnel to hide the line (Marley Tunnel on the South Devon Railway for Sir Walter Carew at Marley House, the Haddon Tunnel on the Midland Railway for the Duke of Rutland at Haddon Hall, or the Gisburn Tunnel on the Blackburn-Hellifield line for Lord Ribblesdale at Gisburne Park). Alternatively, an elaborate ornamental bridge such as the two on the Coventry-Leamington line: one for the Gregorys of Styvichall Manor, and the second for Lord Leigh at Stoneleigh Abbey, or the particularly fine example on the Shugborough estate for Lord Lichfield.

Ornamental bridge which carries the Trent Valley railway line over Lichfield Drive. The figures on the plinths are of lions and seahorses, supporters of the Earl of Lichfield's coat of arms.
Ornamental bridge which carries the Trent Valley railway line over Lichfield Drive. The figures on the plinths are of lions and seahorses, supporters of the Earl of Lichfield’s coat of arms. Photo taken c.1860-70 by Edward King Tenison (1805-1878) (© Staffordshire Arts & Museum Service)

However, as the railways became more powerful and wealthy and socially acceptable, smarter landowners saw an opportunity to influence the development of the railway, bolster their local prestige, and also make substantial amounts of money.

Others were more amenable. When George Stephenson proposed a route for the London & Birmingham railway through Uxbridge, Amersham & Aylesbury, every affected landowner rejected it. However, the Countess of Bridgewater at Ashridge Park, summoned Stephenson and suggested that the line followed the Grand Junction Canal through her land at Berkhamsted and Tring. Scottish landowners often supported the railways as a means to more easily transport their coal and provide quicker and easier access to their remote houses. The Duke of Devonshire provided land for free to the Cromford & High Peak Railway, and in actual Devon, Sir Thomas Acland gave his land in the north of the county as it increased the value of what he retained, and Sir John St Aubyn was as generous in the south. In Essex, Lord Taunton actually returned £15,000 of the £35,000 he had received when he realised that the effect of the railway on his estate was less than anticipated.

‘This train will be calling at…your house’

Wealth is power, and power is best demonstrated through its use. Being able to have a train line or station built to serve your country house and securing rights to demand that the public service be altered to your whims is a very piquant demonstration of both.

Private railway lines

Many ducal estates appeared to have been somewhat allergic to the railways, with them neither running through their land or even that close. This can be seen in Nottinghamshire, where the Thoresby, Welbeck, and Clumber estates cover an area of almost almost 100 square miles without a line running through it. The Duke of Atholl objected to almost all railways, and specifically, the Perth & Dunkeld Bill of 1837, primarily to protect his income from the tolls on the Dunkeld bridge. The Duke of Buccleuch’s vast Scottish estates blocked almost every route from Carlisle to Edinburgh and Glasgow. Eventually, a line was created but he forced it to be over 1.5 miles from Drumlanrig Castle and via a (undoubtedly expensive) 0.75 mile tunnel.

By contrast, the Duke of Marlborough took after the Duke of Sutherland and privately financed his own line; the 4-mile branch line, the Blenheim and Woodstock, which connected his seat at Blenheim Palace to the Great Western Railway at Shipton-on-Cherwell. The Blenheim and Woodstock ran privately from 1890-1897, before being absorbed into the Great Western, though it eventually closed in 1954. The Duke of Sutherland’s Railway was longer, both in distance, at 17 miles, and operating privately, from 1870 until 1884, when it became part of the Highland Railway and which is still part of the Far North line today.

Map indicating the route of the Blenheim and Woodstock branch line (Map © Ordnance Survey Oxfordshire XXVII.NW, Revised: 1898, Published: 1900)

Private stations

Private lines were clearly a very expensive indulgence and the creators seemed happy to eventually pass responsibility for them to existing, larger operators. Although they lost some of the prestige of having their own exclusive line, they also would have no longer been liable for the undoubtedly substantial running costs. After all, a wealthy person doesn’t remain one by spending money. Other, perhaps wiser, landowners took the ‘have your cake and eat it approach’ by requiring stations to be sited for their convenience and their exclusive use. They occasionally also enjoyed legally enforceable powers to stop trains on the lines provided by the public operators who wished to take their routes across their land.

However, the first private station was a mere wooden shed, opened in 1838. It seems that Sir John Tyssen Tyrell was the first to demand such a right when the Eastern Counties Railway (ECR) sought to use part of his estate are Boreham House, Essex, for the route of their new line. He also secured the right that he could stop any train which passed through. This agreement remained in force until his death in 1877 when, in perhaps an expression of frustration at these type of arrangements, the ECR demolished the wooden shed within a day or so of his funeral, thus rather emphatically terminating the arrangement.

Coloured print Boreham House, Essex, seat of Sir John Tyssen Tyrrell, who had the first private railway station in 1828.
Coloured print, dating from 1831, of Boreham House, Essex, seat of Sir John Tyssen Tyrrell, who had the first private railway station in 1838. (Image source: http://www.ancestryimages.com/)

These stations are fascinating examples of the power of land ownership. Some ownership was subtle, others more overt, and Seaham Hall station was definitely the latter. The arrival of the railway to Seaham was part of an ambitious plan to transform the seaside village into a major harbour, primarily for the shipping of coal from the Durham coalfields. The coalfields were originally part of the vast inheritance of Lady Frances Anne Vane-Tempest of 65,000 acres which included large tracts of County Durham. After her marriage to Charles William Vane, 3rd Marquess of Londonderry in 1819 (who had to take her surname as part of the deal for her inheritance), they developed the idea of a more efficient and integrated approach to the extraction and transportation of coal.

Seaham Hall was originally the seat of Sir Ralph Noel (who, coincidentally had also taken his wife’s surname to qualify for a substantial inheritance), but was acquired by the Vanes in 1821 for £63,000 (equivalent to £5.7m at 2021 values) at what was intended to be the gateway to their domain. With their extensive control of the land required to develop the railway across the entire county, agreeing to a private railway station was a small indulgence in deference to their influence.

However, the family only used Seaham Hall infrequently as they owned other properties including the palatial Wynyard Hall in the same county but also time at Mount Stuart in Northern Ireland. The station opened in 1875 as part of the Londonderry, Seaham, and Sutherland Railway, with the Marquess enjoying the right to ‘to stop other than express trains within reasonable limits‘. This right was retained until 1923 (though only exercised four times between 1900-23) when the line came under the control of the London & North Eastern Railway who requested this privilege be extinguished. Once this was agreed, the station was closed.

Detail of map showing Seaham Hall Station (left) and its close relationship to Seaham Hall, Northumberland (© OS six-inch 1888-1913 – Durham XIV.SE, Revised: 1895, Published: 1898)
Seaham Hall Railway Station (taken before March 1969). Image © Dr C.W. Gibbs / Historic England

For those who were directors of railway companies, a private station was a considerable perk of the job. George Hudson (b.1800 – d.1871) was famed as ‘The Railway King’ due to his extensive influence over the Midlands rail network. Initially, he was lauded for financing and pushing the creation and ambitions of the York and North Midland Railway (YNMR). Ultimately, both his finances and reputation were ruined through his dubious practices. His achievements included facilitating the railway connecting London and Edinburgh, making York an important railway junction, and merging smaller railway companies to create the Midland Railway.

Hudson was a strategic thinker who saw possibilities, which included how to stymie his rivals. One example was leasing a competing line, the Leeds and Selby Railway, for £17,000 per year and promptly shutting it to ensure trains had to use his route via Castleford. Another example was his purchase of the Londesborough Hall estate, just north of the town of Market Weighton, Yorkshire, which despite its small size, was the junction for no less than four branches of the North Eastern Railway.

Detail of map showing Londesborough Park and the private station building (renamed to Avenue House after closure) with the NER line marked in red (Map © Ordnance Survey – Yorkshire CXCIV.SW, Revised: 1908, Published: 1911)

The estate was purchased in September 1845 for the substantial sum of £500,000 (c.£52m – 2021 value) partly to frustrate the plans of a rival, George Leeman, to build a line from York to Market Weighton, and partly as an investment for his sons. With the new line running from Market Weighton to York, completed in 1847, Hudson wanted to add his own private station and so had one built at the end of a grand avenue of trees to the west of the house on that line. As Hudson’s dubious empire collapsed around him in the late 1840s, one of the accusations was of inappropriately having used NER’s own money to build the station without authorisation and formed part of their claim against him which totalled £750,000. Londesborough Park was sold in 1850 to help pay his debts and the private station closed in 1867. The station building was renamed Avenue House and survived as a private home until it was demolished in the 1960s. Remarkably, where there was once four lines, there are now none connecting to Market Weighton.

Relatively few owners really wished for the expense of building and maintaining a full station, so some opted for a cheaper version.

Private halts or platforms

The halt was usually a rather primitive structure, often scarcely more than a small platform and shed to serve as a waiting room – though some were more substantial. However, that didn’t mean they wouldn’t be invested with substantial powers to command that the mighty locomotives stop there as they would the grandest metropolitan station, but with the advantage of substantially lower running costs.

Some of the remotest examples of private railway use were in the Scottish Highlands. With very infrequent usage, there was little need for a substantial building – though those having to wait in the rain may have disagreed. At the most basic level, the station was simply a raised wooden platform, long enough for a carriage or two, with a rough access drive to rejoin the nearest road. Yet, these platforms were vital in securing the agreement of the landowner to allow the railway to cross their land.

For those with a little more investment in their comfort, a small wooden building was often considered sufficient to meet their needs. For others, they blurred the lines between the halt and a station.

At the latter end of the scale, Avon Lodge Halt, Dorset, is perhaps one of the more infamous over a dispute as to when is a train service not ‘ordinary’. The halt was one of two built to secure the agreement of James Howard Harris, 3rd Earl of Malmesbury, for the Ringwood, Christchurch and Bournemouth Railway, which opened in 1862, to cross his land. As with most of these agreements, it was included in the legislation authorising the construction of the railway, giving it full legal force. Specifically, Section 27 of the Ringwood, Christchurch and Bournemouth Railway Act 1859 states that:

That the company shall erect and for ever maintain a lodge at the point where the railway will cross the occupation road numbered 29 on the plans deposited for the purposes of this Act in the parish of Ringwood, being the northern entrance to Avon Cottage, and the owner or occupier for the time being of Avon Cottage shall at all times have the right of exhibiting at that lodge a road signal, being a red flag by day and a red lamp at night, for the purpose of stopping any “ordinary” train to set down or take up passengers; and whenever such signal shall be visible in reasonable time for the purpose, the company shall cause any such ordinary trains to stop at such point, and shall take up and set down passengers accordingly.

Avon Castle, Hampshire, for which Avon Lodge Halt was built (Image source: Alwyn Ladell / Flickr, used under Creative Commons licence: Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0))

However, just a year after it had opened, in June 1863, Avon Castle and the halt were for sale. No copy of the sales particulars seems to be available but one can imagine they extol the virtues of the halt and the associated legal powers. The house and halt sold that year to John Edmund Unett Philipson Turner-Turner for £14,300 and it would be fascinating to know how much of the value was attributed to the halt and the associated privileges.

The arrangements continued until March 1873 when a dispute arose as to the meaning of the word ‘ordinary’. In that year, the London and South Western Railway had started an express Bournemouth-London service. Having to stop at Avon Lodge would delay it to such an extent, and inconvenience the other passengers, as to make it commercially unviable. As stated in the legislation, the owner of Avon Castle had the rights enabling the ‘stopping any “ordinary” train‘ and Turner went to court to force the railway to give him the power over the express. However, in January 1874, the judge disagreed that ‘ordinary’ applied to the express service so the Turners had to to satisfy themselves with local trains.

Ordnance Survey map from c.1894-95 showing Avon Castle – then known as Castle Hotel – and the Lodge station (Image ©  Hampshire & Isle of Wight LXX.SE, Revised: 1895 to 1896, Published: 1898)

Despite this setback, Turner continued to push the boundaries of his powers under the legislation. The original privilege was clearly intended to apply to the owner and their family. However, during the early 1890s the house became a hotel (as shown on the Ordnance Survey map). To what was probably the considerable irritation of the train company, the hotel made it a feature that trains would be stopped at their private station – an odd democratisation of the original aristocratic privilege. The Turner family sold up in 1901, and due to dwindling passenger numbers, the station was closed in 1935.

Advert from Hampshire and Isle of Wight Illustrated for Avon Castle Hotel, Hampshire, including that ‘Trains stopped at Private Station’ (Image source: Alwyn Ladell / Flickr, used under Creative Commons licence: Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0))

Private waiting rooms

For those who wished to avoid the expenditure of ownership but still have some physical manifestation of their power, a private waiting room was an expedient solution. It carved out something private from the public space, creating a sense of ownership through often luxurious fittings and exclusive access.

Private waiting rooms could be combined with the latent power of having influenced the siting of the station. One imagines that those locally would have been acutely aware of the abstract power which had created the physical presence of the station so the idea of a permanent reminder of that power within the station buildings wouldn’t have seemed so surprising.

Photo of Alton Towers station showing the two-storey private waiting room (left platform) for the Earl of Shrewsbury. Eventually a lift to the house was built to make delivering luggage quicker (© Private collection)

When Clifton & Lowther station, Cumberland, opened in 1846 on the Lancaster & Carlisle Railway (part of the London & North West Railway), it was the nearest for the Earl of Lonsdale at Lowther Castle. The line displays all the characteristics of landowner influence; a line which curves eastwards around the entire parkland with most of it hidden in a series of cuttings with the station carefully sited away from the main north/south axial views from the castle. The price the Earl extracted for the station was the right to stop any train which was due to pass through, even if it wasn’t scheduled to stop there. In 1862, the Eden Valley line opened, providing a better alternative for cross-Pennine passengers. This led to a reduction the number of trains using Clifton & Lowther, though it didn’t close to passengers until 1938. However, a new station, Clifton Moor, was opened on the new line in 1862, it featured a dedicated private waiting room for the Earl and his guests. It’s not known how often the station or the right to stop trains was used but the station closed to passengers in 1962 with the Earl’s waiting room converted into a private house.

View of the Earl of Lonsdale’s private waiting room at Clifton Moor station, Cumberland, on the Eden Valley Railway (1961). (Image © Brian Johnson from disused-stations.org.uk)

The private waiting room enabled a degree of subtle, yet paradoxically overt, ownership by the landowner over an station, acting as yet another reminder of their local influence.

Station of convenience

Perhaps the wisest owners were those who were happy to share the facilities but by the mere fact of choosing the location of the station, secured the greatest personal convenience for themselves.

A majority of these stations were the product of the nineteenth-century, but a handful were created at the turn of the twentieth-century, demonstrating the continuing power of the landowners. One of the most notable was the station at Acton Turville, Gloucestershire, in 1903. The actual name of the station was Badminton after the nearby stately home of the Duke of Beaufort. Given the heavy financial demands of many landowners, the Great Western Railway must have been delighted when His Grace agreed to provide the land required for the railway for free. The only requirement was for a station at Badminton to provide access for the Duke, family and guests and that express trains were required to stop should any of this exclusive group wish to alight. The station was a late arrival, opening in 1903, but featured a suitably plush, red-carpeted waiting room with ducal crest. However, the GWR’s delight had turned to frustration by 1963, as due to the immense inconvenience of having to stop express trains and also otherwise low passenger numbers along the line, British Railways asked Parliament to set aside the agreement. However, Parliament upheld it and so despite closing all the other stations on the line, Badminton retained its passenger service until 1968, when the Duke finally agreed to cede his rights, making it one of the last to enjoy such privileges.

For the landowner who prioritised convenience over exclusivity, simply enjoying the privilege of placing a station at the most convenient position was sufficient. Though they had to share the facilities with the public, the absence of financial responsibility and the overt class divisions meant that these stations were perhaps the most egalitarian of these arrangements.

For some landowners, this was a chance to rethink the landscape of their estates. Owners traditionally considered the approach via the roads and estate drive, owners may now have to consider how to hide the train itself whilst creating access and a suitable sense of arrival for their guests. For some, this was as simple as extending or creating a road and adding a new gate such as Station Lodge leading from Brodie Castle, which faced Brodie station when it opened in 1857 on the Inverness and Aberdeen Junction Railway.

Map showing position of Brodie Station, which was opposite the appropriately named Station Lodge for the Brodie Castle estate (Map © Ordnance Survey six-inch – Nairnshire Sheet II.SE, Revised: 1904, Published: 1906 from the National Library of Scotland)

Similarly at Newstead Abbey, a grand avenue of trees emphasised that the approach from the station was an important element of the grandeur of the estate.

Extract of map showing Newstead Abbey (top right) with Newstead station (bottom left) and the entrance lodge guarding the grand avenue (Map © Ordnance Survey six-inch – Nottinghamshire XXXIII.NW, Revised: 1899, Published: 1900 from the National Library of Scotland)

Another example shows the lengths to which a landowner would go to when creating a sense of arrival. At the now demolished Blankney Hall, Lincolnshire, the owner, Henry Chaplin, had the option of simply taking his guests along the public roads, from Blankney & Metheringham Station, which opened in 1882 on the Great Northern and Great Eastern Joint Railway. Instead, he created a parallel access road which ran for almost a mile on his land, grandly demonstrating his estate and also providing a higher degree of privacy.

Detail of map showing Blankney & Methingham station (top right) and Blankney Hall (bottom left) and the two approaches; blue for public roads, red for private access drive (Map © Ordnance Survey six-inch Lincolnshire LXXXVII.NE, Revised: 1904, Published: 1906 from the National Library of Scotland)
Streetview of Station Road, Metheringham, on the left, with the still extant gateway to the Blankney Hall private drive on the right (© Google, image capture: November 2021)

Influencing the siting of stations to the landowner’s convenience seems to have been the most common approach; a powerful but quiet means of both exerting and exhibiting power.

Ireland

Prior to the Irish War of Independence, which ended in the creation of the Irish Free State in December 1922, the railways on the island of Ireland were managed and integrated with the rest of Great Britain. The history of the railway in Ireland ran broadly in parallel with that of the mainland. The Dublin and Kingstown Railway (D&KR) was built in 1834 with dozens of other companies being formed in the following decades. At its peak, by 1920, the rail network extended to 3,500 route miles. The process for the authorisation for the development through the use of Parliamentary legislation and so too came the demands for landowner privileges, though much fewer than elsewhere with only five identified so far.

How to catch a train (station)

The exact discussions by which these concessions were raised, negotiated, and agreed are not obviously unavailable, though there are probably meeting notes in a rail company or landowner’s archive somewhere. The negotiations would have been probably conducted by the land agent for the estate and the family lawyers, under the direction of the landowner.

The era was heavily influenced by those with wealth, those who controlled access to land, and those who had parliamentary influence. For a majority of these private stations and concessions, conveniently those who secured such privileges often had at least one of these three – and sometimes all of them.

Although the 1832 Reform Act had abolished the ‘rotten boroughs’, for many landowners, their control of large areas of a particular location often enabled them to secure their local parliamentary seat, to neatly complement their country seat. These concessions – particularly a private line or station, with stopping rights – required legislation, and landowners who were also MPs were in a prime position to ensure that such amendments were drafted favourably, included in the draft bills, and supported by fellow MPs.

Another important factor was that the financing of the development of the railway was provided entirely by private capital. For those able to commit substantial amounts, their status as an investor could be enhanced with a directorship of the railway company.

So, the wealth which enabled someone to become a landowner (and therefore provide the vital permission for the line to cross their land), also enabled them to be able to invest enough to become a director, whilst sometimes also being an MP. These overlapping spheres of influence can be seen in the total number of MPs who were also directors of a railway company:

Parliamentary periodDirectors as MPsAs a percentage of total MPs
186515722% (of 713)
1868-8412416% (of 783)
1885-918312.5% (of 663)
1892-19057310% (of 740)
1906-14425.7% (of 739)
Number of railway company directors who were also Members of the House of Commons (Source: Appendix 14, ‘Railwaymen, Politics & Money‘ Vaughan, Adrian)

From the number and widespread distribution of these privileges, it seems that they were quite a common and accepted perk of their support – or at least acquiescence – where the route crossed their land.

The last train will be departing…

Given the significant inconvenience and obvious inequality and inconveniences that these privileges created, their long-term survival was always unlikely. A combination of the amalgamation of the train operating companies, the professionalisation of the service, and the introduction of external capital, all diluted the leverage that created and sustained these special arrangements.

The contractual rights were well known and easily referenced in the debates in the Houses of Parliament on the British Railways Bill. Clause 34 was specifically included to target those covenants ‘requiring that company to provide and to maintain a station for the use of the vendor of the land’, of which the Minister, John Hay, claimed that the Railways Board had said there were over 100 in the Western Region alone. The rights of the landowners were in some ways considered more with frustration and amusement than any great outrage. John Dugdale (Labour MP for West Bromwich, 1941-1963) rather wryly dismissed the situation saying:

“I am not entering into the question of the Duke of Beaufort’s agreement. I am sure we are all sorry for him. Apparently he is a very distressed man. It is a sad thing; here is this great gentleman who unfortunately finds that there is no railway station between Swindon and South Wales at which a train will stop and he has to go in his motor car to Swindon. It is a great hardship for him, and we are distressed that it could happen to him…”

(Debate 26 February 1963, column 1165)

Though the Duke of Beaufort managed to protect his rights until 1968, the British Railways Act of 1963 finally ended almost all such indulgences. At a stroke, it removed an extensive, complex, and eccentric pattern of privilege, created by the unique circumstances of the birth and growth of the railways.

The list

>> List of private or privileged train lines, stations, and facilities [PDF, 702KB]

Are there others?

Almost certainly. For the reasons outlined in the methodology, there will be others which relate to country houses which I’ve missed. So if you are aware of them (or any mistakes), please do feel free to share your knowledge in the comments and I’ll update the list below accordingly.


Selected bibliography | Credits

Also, credit to all the enthusiasts and experts who have contributed to Wikipedia, Railscot, and numerous individual websites, whose help has been invaluable.

Inflamed passions: organised violence against UK country houses (part 1/3) – Priestley Riots 1791

In the fresh night air, they made their way across moorland and parkland towards a number of darkened country houses, their fierce determination matched only by their inexperience as ‘terrorists’. The flames from their arson attacks engulfing the country houses of their political opponents signalled a calculated escalation; attacks on property to further their cause.

Frustration is often at the root of violence and, without a release valve, the impulse to retaliate escalates. Property is inherently symbolic and can simultaneously embody beauty, power, wealth, status, but also hierarchy, division, oppression and domination.

This article looks specifically at instances where country houses suffered destruction as an outcome of organised violence. The targeting of country houses in the UK in peacetime in this way is rare but such bursts of architectural iconoclasm are not unknown and span centuries of anger. This was intended to be a short article, but it turns out that it will now be published in three parts as there’s a bit more than I thought. Each part will focus (mostly) on one violent campaign: one driven by religious differences, one political anger, and one democratic inequality.

For context though, let’s start with the two obvious campaigns which resulted in the destruction of country houses; the English Civil War and the Irish War of Independence.


English Civil War (1642-1651)

War has often led to tragic wholesale destruction. However, it’s worth noting that during the English Civil War, although it is estimated that between 150-200 country houses were destroyed (and many others were damaged), the destruction was broadly linked to military considerations such as the actual or potential use as a barracks or defensive structure, rather than wanton vandalism.

When the royalist Sir William Campion identified that Chilton House, Buckinghamshire might be used as a parliamentary garrison, he wrote ‘my fancy this morning did much envite mee to set fyre to the house’. Instead, Sir William was ordered to pull down the outer walls and remove the doors, leaving it intact but uninhabitable (c.f Besselsleigh, Oxfordshire). However, when, in 1645, the royalists withdrew from Campden House, Gloucestershire, they burnt it down to prevent any possible future use.

Campden House, Gloucestershire, burnt down in 1645 by royalist troops (Image © British Library ref: Maps K.Tops.13.75.3)

This controlled approach, for political and legal reasons, was evident on both sides. As the long-term intention was to occupy, rather than destroy, the orders to target attacks and undertake measured actions limited the authority of commanders to raze towns and buildings. To keep the common soldiers of both side in line, the orders issued to prevent indiscriminate destruction threatened transgressions with the death penalty.

Aesthetic considerations were also a factor. The activities of the parliamentarians were directed by the Committee of Both Kingdoms (1643-1649) which issued instructions that certain houses be protected as far as possible, including Burghley House, Cowdray, Chatsworth House, and Hardwick Hall. Specifically, in response to a request in 1646 for permission to burn down High Ercall House, Shropshire, the committee stated that, in general, it did not ‘think it fit that all houses whose situation or strength render them capable of being made garrisons should be pulled down. There would be then too many sad marks left of the calamity of this war.’.


Irish War of Independence

The most prominent example of an organised campaign of country house destruction is the sustained campaign in Ireland in relation to the struggle for independence.

Between 1919-1923, 275 houses were destroyed (Dooley, Terence – The Decline of the Big House in Ireland: A Study of Irish Landed Families. Dublin: Wolfhound Press, 2001) to deny the use of the houses as garrisons, or in symbolic reprisal; either as symbols of the Anglo-Irish aristocracy or for attacks by British forces. Professor Dooley and others such as The Irish Aesthete (Robert O’Byrne) have well-documented this campaign, and they have covered it far better than I could (e.g. ‘…it seems everything we love goes’: The burning of Castleshane, 15 February 1920‘).

Moore Hall, County Mayo, before being burnt down on 1 February 1923 – source: ‘When Moore is Less’ – The Irish Aesthete

Beyond these periods, the country house has been targeted in at least three distinct occasions; the first, a localised religious pogrom, but one which focused on destroying property, rather than lives.

The Birmingham Riots of 1791 (aka: the Priestley Riots)

‘House of the Rev. Dr. Priestly and Elaboratory, Fair hill’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

Birmingham in the 18th-century was notoriously riotous. The people rose up in relation to high food prices (1766, 1782, 1796, 1800), and targeting religious minorities (Dissenters in 1714 and 1715, Quakers and Methodists in 1751 and 1759, and Catholics during the Gordon Riots in 1780). Into this febrile atmosphere, there was the usual tensions of the ages, which corruption, prejudice and alcohol could only exacerbate.

The swirling currents of international events often cause waves which break on distant shores.  The French Revolution in 1789 caused deep concern in England across all levels of society, predictably more for the church and aristocracy. This led to heightened fears around activities which may be seen to sympathise with such radical ideas. For some, though, the radicalism aligned with their own intellectual spirit of curiosity; as willing to explore new political ideas as they were the physical world.

On 14 July 1791, in the Royal Hotel, Birmingham, a dinner was held by a group of the city’s prominent intellectuals, scientists and industrialists. Many were connected with the Lunar Society, an informal social club which met each full moon, whose membership encompassed a broad range of interests. Chief among them was science, and one of the leading members was Joseph Priestley (b.1733 – d.1804), a chemist perhaps best known as being credited with the discovery of oxygen.

Ticket for the dinner at the Royal Hotel celebrating the second anniversary of the storming of the Bastille on 14 July 1791. (Image source: en.wikipedia.org/wiki/Royal_Hotel,_Birmingham (Public Domain))

Priestly was complex figure and combined his extensive scientific knowledge with a deeply-held Christianity and contentiously attempted to combine the two. He brought a scientific sense of discussion to theology, tolerating ideas other than his own, which led to his part in the founding of Unitarianism. Perhaps most controversially, he also was a strong supporter of the French Revolution.

Engraving of the Royal Hotel in Temple Row, Birmingham, in 1800.  Drawn by T. Hollins and engraved by F. Eginton. (Source: Staying in Style: The Hotel – Birmingham in the Long Eighteenth Century)

Priestley, along with others, had organised the 14 July dinner to celebrate the storming of the Bastille, which marked the start of the French Revolution. The event was blamed as the cause of the riot, but in reality this was merely a pretence, for there had been a long-running friction between the established church and dissenters. Those attending the dinner had sensibly proposed the first toast to ‘Church & King’ to express their loyalty and had left some hours before. Priestley, speaking later, reported that:

“When the company met, a croud [sic] was assembled at the door, and some of them hissed, and shewed [sic] other marks of disapprobation, but no material violence was offered to any body. Mr. Keir, a member of the church of England, took the chair; and when they had dined, drank their toasts, and sung the songs which had been prepared for the occasion, they dispersed. This was about five o’clock, and the town remained quiet till about eight. It was evident, therefore, that the dinner was not the proper cause of the riot which followed: but that the mischief had been pre-concerted, and that this particular opportunity was laid hold of for the purpose.”

Whipped up by local agitators, who provided both incendiary pamphlets and alcohol, a mob arrived that evening at the Royal Hotel, eventually smashing every window. The crowd were persuaded to move on by the proprietor, Thomas Dadley, but, either as directed specifically or of their own volition, decided to target the places of worship, businesses, and houses of those Dissenters who had been attending the dinner, whose names had been published in local newspapers.

The riots are considered one of the most documented events in Birmingham history, with both sides producing their accounts, including ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July)‘. Written in a tone which suggests disapproval of the actions of the mob, it also blames those attending the dinner for their apparent disloyalty to King and country. The follow account draws on this report for the factual elements of the account.

The mob moved on, their violence now destroying nearby religious meeting houses associated with Priestley. The local magistrate, who had been inciting or restraining the mob depending on the account, now realised that there was no controlling them. Their targets were now the Dissenter’s homes, both in the city, and in what was then the surrounding countryside (these areas having subsequently been engulfed by the growth of the city).

‘Rioters Burning Dr. Priestley’s House at Birmingham, 14 July 1791’ by Johann Eckstein (Image source: Wikipedia / Susan Lowndes Marques Collection). Some artistic liberty has been taken as the attack was at night.

Thursday 14 July

The first country house to be targeted was Joseph Priestley’s in nearby Fair Hill (which is today, Sparkbrook), less than two miles from the Royal Hotel. A plaque affixed to the side of the 1960s house which currently occupies the site commemorates that this was once a place of renown. On learning that the mob was heading in their direction, Priestley and his wife fled. Their son William bravely remained, but the house and laboratory were ransacked and burnt, the content either stolen or destroyed, including ‘the most truly valuable and useful apparatus of philosophical instruments that perhaps any individual in this or any other country, was ever possessed of.’

The rioters then appear to have decided that this was a sufficient achievement for the day and dispersed – but their work was not yet complete and they met again the next day.

Friday 15 July

The rioters had now split themselves into two groups, one to target the Dissenters houses and property in Birmingham, whilst the second group formed raiding parties to target their country houses in the nearby areas.

‘Baskerville House, the Residence of John Ryland Esq’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

On Friday 15 July, the destruction continued with Baskerville House, on Easy Hill (now Broad Street) being attacked around 2pm. As had become part of the modus operandi of the mob, they ransacked the house for valuables, food, and drink, and then set it alight. Unfortunately, several of the most inebriated attackers failed to escape the house as it was burnt and were killed.

‘Bordesley Hall, the Seat of John Taylor Esq’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

At the same time, a separate group of rioters, descended on Bordesley Hall. It was rebuilt in grand style in 1757, replacing a nearby medieval moated manor house, for the button manufacturer and banker John Taylor who spent some £10,000 on his works. He had emparked 15 hectares of land and laid out an ornamental pool on the brook with an island, bridge, and grotto. Exotic shrubs and swans were imported to complete the scene. When the crowd arrived, ‘There five hundred pounds were offered them to desist, but to no purpose, for they immediately set fire to that beautiful mansion, which, together with its superb furniture, stables, offices, green-house, hot-house, etc. are reduced to a heap of ruins.’ (Matthews).

It was rebuilt but demolished in 1840 when the estate was sold off for housing development.

Saturday 16 July

As the violence moved into the third day, the pretence that this was just the frenzied actions of a spontaneous mob was clearly false as more houses were destroyed by groups of men and women, sent with specific intent.

‘The mob being now victorious, and heated with liquor, everything is dreaded’

A.B. Matthews’ ‘The riots at Birmingham, July, 1791, pg. 5
‘The House of William Hutton Esq, Saltley’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

Their next target was the home of William Hutton, bookseller and paper warehouse owner, but also a significant figure in Birmingham history, having published the first history of the city in 1781. His success enabled him in 1769 to build a small country house called Red Hill House in Washwood Heath, approximately three miles from Temple Row.

He later recorded that, ‘The triumphant mob, at four in the morning, attacked my premises at Bennet’s Hill, and threw out the furniture I had tried to save. It was consumed in three fires, the marks of which remain, and the house expired in one vast blaze. The women were as alert as the men. One female, who had stolen some of the property, carried it home while the house was in flames; but returning, saw the coach-house and stables unhurt, and exclaimed, with the decisive tone of an Amazon, ‘Damn the coach-house, is not that down yet? We will not do our work by halves!’ she instantly brought a lighted faggot from the building, set fire to the coach-house, and reduced the whole to ashes.’

‘The House of George Humphrys Esq, Spark Brook’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

Meanwhile, back in Sparkbrook, where the ruins of Joseph Priestley’s house were probably still smouldering, the mob returned, marching on the substantial Sparkbrook House. Home to furniture retailer George Humphrys, ‘He had prepared for a vigorous defence, and would most certainly have been victorious, for he had none but rank cowards to contend with.’ (Hutton). It was reported that, ‘The people who demolished Mr. Humphrys’ house, laboured in as cool and orderly a manner as if they had been employed by the owner at so much per day.’ (Matthews).

‘Moseley Hall, the Residence of Lady Carhampton’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

Their next target was Moseley Hall, also owned by John Taylor, whose other property, Bordesley Hall, had been burnt down the previous day. In a rare vignette of compassion, as Moseley Hall had been rented to the elderly dowager Lady Carhampton (mother of the Duchess of Cumberland), she was given a grace period to enable her belongings to be removed before the fire was started. Curiously, the mob offered genuine assistance to help her do so and protected her belongings in the four waggons it took to take them to safety.

‘The house was spacious; and the conflagration appeared from the town most tremendous. The fury of the mob being directed against this fine building, did not proceed from any hatred to the Lady, but because it was the property of Mr Taylor, whose other houses have been burnt down’

A.B. Matthews’ ‘The riots at Birmingham, July, 1791. pg. 7

Also razed as Kings Heath House, in King’s Heath (approx. four miles from Temple Row), owned by John Harwood. To the north-east, Wake Green House, in Wake Green, owned by Thomas Hawkes was similarly destroyed (though first having earlier sheltered Joseph Priestley as he fled the attack on his home).

‘The House of William Russell Esq, Stowell Green’ – drawn by E.H. Witton for A.B. Matthews’ ‘The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham.)’ (Birmingham: Arthur Bache Matthews, 1863)

William Russells’ house was the final target of the day, though the family had left earlier in the day. William remained to face the mob, but it was claimed that ‘Some pamphlets, of an inflammatory nature, and a private printing press, being found in the house of Mr Russell, were the cause of its being burned.’. (Matthews)

Sunday 17 July

The mob was reported to now be around 2,000 strong. More were joining each hour, including ‘several thousand’ miners from Dudley, Woodside, and Wednesbury, with one fearful estimate that the numbers could, or had already, reached ten thousand. It was clear that the campaign was not just limited to country houses; all property of Dissenters was targeted, including town houses, commercial premises, meeting houses, and mills. By now, those seeking to stop the violence had called on the military to oppose the mobs as they feared that the entire town and others nearby, including Kidderminster, were going to be destroyed, but also that costs of repairs for existing damage would lead to significant tax increases.

The pace of destruction now slowed and the only country houses targeted (but not destroyed) were Ladywood House, the home of Harry Hunt, and Hay Hall at Hay Mills, the home of Joseph Smith.

Edgbaston Hall was the home of Dr William Withering, the noted botanist, who, though not a Dissenter, was known to be a friend of Priestley, therefore his house became of interest to the mob. Luckily for him, his staff were able to delay the mob’s attacks until 64 men of the 15th Regiment of Dragoons arrived from Nottingham to successfully oppose the rioters.

Total losses from the attacks were estimated at £80,000 (approximately £144m on an income value calculation), of which, John Taylor portion was the most significant, totalling £25,000 (approximately £45m – income value).

Monday 18 July

With soldiers continually arriving in Birmingham, the scene became even more tense as the rioters had by now looted several sword factories and were partially armed. In skirmishes, the rioters had actually successfully defended themselves against the soldiers, who retreated to await reinforcements. Later, with the addition of significant numbers of troops, the will of the mob was checked – or, as it was put in a rather understated report:

‘…the magistrates, and some of the principal gentleman of the neighbourhood, explained to them the illegality of their proceedings, and informed them of the immediate and subsequent consequences thereof, which had the desired effect; they dispersed in several small parties, and left the town in possession of its former tranquillity.’

With the riot over, the good townsfolk of Birmingham went back to their usual lives. Protected by the same establishment who had instigated the violence, there appears to have been few consequences for those involved beyond the hangovers and deaths by misadventure and violence, which accounted for some sixty rioters. For those targeted, their lives were forever changed. Many left whilst some rebuilt their lives – but the shadow of violence is one which clouds a life long after it has passed. Joseph Priestley never lived in Birmingham again, moving first to London, before settling in Pennsylvania for the last ten years of his life.

So ended one of the most organised and destructive spasms of peacetime violence against country houses in the UK. The country house was to remain at peace until four decades later, political (rather than religious) anger was to again place them in danger.

Conclusion

Remarkably, the country house was then to remain almost sacrosanct, safe from targeted campaigns of destruction for another half-century until, again, anger spurred action. Part II examines this second outbreak of violence and the country houses it touched.


Further reading

  • Panic on the Streets of Birmingham: July, 1791 (Secret Library Leeds)
  • The Birmingham Riots 1791 (William Dargue – A History of BIRMINGHAM Places & Placenames from A to Y)
  • The riots at Birmingham, July, 1791. (An authentic account of the dreadful riots in Birmingham, occasioned by the celebration of the French Revolution, on the 14th of July, 1791, etc. Views of the ruins of the principal houses destroyed during the riots at Birmingham. Vues des ruines, etc’ / [preface by A. B. Matthews] (Birmingham : Arthur Bache Matthews, 1863).

#Repton200: Humphry Repton, landscape gardener – and architect?

Although principally known as a ‘landscape gardener’ – a job title he invented even if the role was already well-defined – Humphry Repton was clearly a man who understood that an estate was a composition of many parts and that architecture had a vital role to play in the success of his schemes. The challenge in assessing Repton’s contribution to architecture is that of his collaborations; what sprang from his inventive and knowledgeable mind, and what came from those he worked with, including his sons, John and George, and also that leading proponent of the Picturesque, John Nash.

Detail from Humphry Repton by Henry Bryan Hall, published by Longman & Co, after Samuel Shelley (1839) (NPG D5801 © National Portrait Gallery)
Detail from Humphry Repton by Henry Bryan Hall, published by Longman & Co, after Samuel Shelley (1839)
(NPG D5801 © National Portrait Gallery)

Humphry Repton (b.1752 – d.1818) had a lifelong passion for gardening, but it was not his first career.  After starting in business as a general merchant in Norwich, which failed, Repton decided to retire to the countryside and live with his sister and husband in Sustead, near Aylsham, in Norfolk.  With his father’s prosperity and sister’s indulgence, he developed his interest in botany and gardening.  After a brief period in 1783 as private secretary in Ireland to his neighbour William Windham of Felbrigg (he resigned after a month), Repton took a cottage near Romford, Essex, and decided to focus on turning his interest into a career.  Fortunately, circumstances meant that he was well placed to do so with his deep horticultural knowledge, his superlative skills as a watercolourist, which he used to create his visions in his beautifully produced Red Books, plus opportune timing, with the death of Lancelot ‘Capability’ Brown in 1783 creating a gap for someone with Repton’s grand ideas.

Although the setting of a house was a key consideration for any architect of the era, few  thought of themselves as landscape gardeners (Decimus Burton (b.1800 – d.1881) was something of an exception).  However, those who were of that profession seemed to not only have an opinion on architecture but also apparently felt confident that they could also practice in this as well as their primary domain. For Repton, although not trained as an architect, he saw architecture as ‘an inseparable and indispensable auxiliary‘ to his efforts. Repton was usually brought in after the house was complete and his plans would be presented in one of his famous Red Books, leather-bound volumes of his ideas for a specific property, in which he set out his vision of the landscape as it was, including the current house.  In it, Repton would often include his criticisms of what was there and include his suggestions for sympathetic alterations which would better enable the house to fit within his vision.

Detail showing example of possible changes to example house - Plate III of Repton's 'Sketches and hints on landscape gardening' (1794)
Detail showing possible changes to example house – Plate III, State B from Repton’s ‘Sketches and hints on landscape gardening‘ (1794) – source: copy held by University of Wisconsin and kindly shared online

A measure of Repton’s boundless confidence in his own abilities can be seen in whom he felt able to criticise for their architectural efforts, including Sir John Soane, probably the leading architect of his era.  Repton was commissioned to create a landscape at several of Soane’s commissions, usually appearing a year or two after completion, including at Mulgrave Castle, Moggerhanger House, Aynhoe Park, Holwood House and Honing Hall. In the case of the latter house, Soane had made extensive alterations in 1788, and in Repton’s Red Book, produced in 1792, he criticised Soane’s work saying:

The proportions of the house are not pleasing, it appears too high for its width, even where seen at any angle presenting two fronts; and the heaviness of a dripping roof always takes away from the elegance of any building above the degree of a farm house; it would not be attended with great expence to add a blocking course to the cornice, and this with a white string course under the windows, would produce such horizontal lines as might in some measure counteract the too great height of the house. There are few cases where I should prefer a red house to a white one, but that at Honing is so evidently disproportioned, that we can only correct the defects by difference of colour, while in good Architecture all lines should depend on depths of shadow produced by proper projections in the original design. (1)

In the illustrations in the Red Book for Honing Hall, Repton boldly showed the house, not as it was, but with his suggested improvements. Repton had form for his criticisms of Soane, having been asked, in 1790, to review the newly completed Tendring Hall, Suffolk, (demolished 1955) where he wrote:

…had I been previously consulted the house would neither have been so lofty in its construction nor so exposed in its situation.

For a man with no formal architectural training to be so forthright in his judgements gives a sense of Repton’s confidence in his own abilities.  Luckily (for Repton), it’s likely that the notoriously sensitive Soane never saw these criticisms and they maintained cordial relations for many years. Repton’s comment about rarely preferring a red house to a white one is also corroborated by other Red Books, including the designs for Stansted Hall, and Rivenhall Place, in Essex and Hatchlands Park, Surrey.

Images showing proposed exterior changes from H. Repton's Red Book for Hatchlands Park, Surrey (1800)
Images showing proposed exterior changes from H. Repton’s Red Book for Hatchlands Park, Surrey (1800) – source: The Morgan Library & Museum

Repton’s architectural contributions are often overlooked as he was never enough of an architect to be considered as one, and, in general, those primarily interested in his landscapes are insufficiently interested in his architecture.  A prime example of this (not mentioned in Colvin, or Stephen Daniels’ book, except buried in an endnote) is Repton’s vision for Port Eliot, Cornwall, the seat of Lord Eliot.  In 1792, in one of his earlier commissions, he was brought in for his advice on the estate. Repton assumed the role of architect and provided, in the Port Eliot Red Book, a broader set of broadly Gothic proposals which brought house, church, estate and even the nearby town into his remit. This expansive approach to his brief was a challenge for Sir John Soane who was asked in 1794 to contribute his ideas – but now within a Gothic framework set by Repton (a style to which Soane was hostile), whose designs had found a level of favour with Lord Eliot, and which he adapted.

One of the key questions when considering the architectural improvements suggested by Repton is to what degree they were his and what had been conceived by his eldest son John Adey Repton (b.1775 – d.1860). J.A. Repton had been a pupil to William Wilkins where he developed a profound understanding of Gothic architecture.  He had then moved in 1796 to the office of John Nash, with whom the elder Repton had established an arrangement to pass on any architectural commissions in exchange for 2.5% of the cost of the work – an agreement which Nash failed to honour, leading to the partnership being terminated in 1800.

Nash has a chequered reputation professionally and this extended to those in his office, including J.A. Repton but left to become his father’s assistant when the agreement between Nash and his father ended.  Nash was unfortunately a champion of the Picturesque but not of his assistants; he never acknowledged J.A. Repton’s significant contribution in various schemes. Unfortunately, John was to suffer the same issue to a certain extent with his father, though he was later clearly credited for his assistance ‘in the architectural department‘ for designs for a number of houses including Stratton Park, Scarisbrick, Panshanger, and others.

Detail from Port Eliot Red Book showing the house as found (© Eliots of Port Eliot)
Detail from Port Eliot Red Book showing the house as found (© Eliots of Port Eliot)

Detail from Port Eliot Red Book showing the proposed changes to the house (© Eliots of Port Eliot)
Detail from Port Eliot Red Book showing the proposed changes to the house (© Eliots of Port Eliot)

In the Port Eliot Red Book, eighteen of the drawings are signed by the son and are probably his designs, however the scheme as a whole is attributed to the elder Repton, though he may have been angling for this to be a major commission for his son. Unfortunately for the Reptons, their grand vision for Port Eliot was never going to be realised, mainly due to financial constraints, though Soane was to provide an alternative scheme which he diplomatically managed to agree with Lord Eliot – much to Repton’s chagrin, later writing:

my beautiful plan for Port Eliot…my design for bringing together the house and the Abbey did not suit the fancy of my fanciful friend [Soane] (who knows but little about Gothic) so the plan was totally changed.

Repton’s architectural work was significant enough to merit inclusion in Howard Colvin’s seminal reference work, ‘A Biographical Dictionary of British Architects 1600-1840’.  The most important was the work at Welbeck Abbey in 1790 to remodel the east and west fronts (and the Red Book contains designs for an entirely new house) but the other entries are relatively insignificant – minor works in 1792 at Honing Hall, the enclosing of the courtyard at Sarsden House in 1795 to create a domed ‘hall of communication’, and a new entrance to Uppark in 1805. Beyond that, his association with John Nash meant he had an insight into the ‘cottage orne’ style and which Repton used in his design for a new ‘lodge of a new and singular description‘ comprising two thatched cottages on the Isle of Wight, one either side of the road.

Lodges at the entrance to Mr Simeon's grounds on the Isle of Wight, designed by H. Repton (Image from 'A New Picture of the Isle of Wight' by W. Cooke (1808)
Lodges at the entrance to Mr Simeon’s grounds on the Isle of Wight, designed by H. Repton (Image from ‘A New Picture of the Isle of Wight‘ by W. Cooke (1808)

Beyond that, his architectural contributions were mainly the designs within the books on landscape gardening.  The most important of these were ‘Sketches and hints on landscape gardening : collected from designs and observations now in the possession of the different noblemen and gentlemen, for whose use they were originally made : the whole tending to establish fixed principles in the art of laying out ground’, published early in his career in 1794, and the posthumous collection published in 1840, ‘The Landscape Gardening and Landscape Architecture of the late Humphry Repton’.

So, can Repton be considered an architect as well as a landscape gardener? On balance, his position seems to be more that of ‘frustrated architect but successful critic’. Repton doesn’t seem to have been able to establish a reputation as an expert on architecture, possibly because his commentary was often only available in the Red Books, with their naturally limited circulation. Also, his work was usually after the house was already built and often only recently finished, meaning the owner was unlikely to consider making significant changes very quickly, leaving few opportunities for him to showcase the talents he clearly thought he had.

However, his work was influential on the practices of contemporary and later architects, forcing them to acknowledge that their buildings did not exist in splendid isolation and had to be considered as whole; a three-dimensional, interactive, ever-changing landscape painting. Open, expansive parklands had the effect of placing the building on a visual plinth, majestic but with an aloof air. Repton firmly brought all the elements together, blending both Gothic with greenery and the Palladian with the planting.  His architectural contributions reflect this sensitivity and with more opportunities he may have been even more influential in the field of architecture, much as he dominated the landscapes represented so beautifully in his famous Red Books.


Further reading:


Sources:

(1) – Humphry Repton, Red Book for Honing Hall [1792], quoted in ‘The Surprising Discretion of Soane and Repton’ by Gillian Darley, in the Georgian Group Journal vol. XII 2002


Apologies for the long gap between articles – happily, just after I posted the last one in September 2017, our beautiful son was born. Mother and baby were, and remain, fine and his sister clearly loves him. However, as anyone with experience of small children knows, they’re justifiably demanding and, combined with having a day job, it’s meant I haven’t had the time to write, but as he gets a little older hopefully I should now be able to again…at least in some capacity, though they’ll remain sporadic.  Tweeting is easier to do regularly, so please do follow @thecountryseat and @lostheritage.  OK, on with the show…


Greeks bearing gifts: Nicholas Revett, Trafalgar Park and the Origins of UK Neo-Classicism

William Blake poetically argued that it was possible to ‘To see a World in a Grain of Sand’; in the miniature is a reflection of something much greater.  With that in mind, to look upon the manifest beauties of a house such as Trafalgar Park in Wiltshire, it could seem strange to argue that one of the most important aspects of it is, in fact, a small hallway in the north wing. Yet, this hallway is one of the earliest architectural examples which form the genesis of neo-classicism; one of the most recognisable and prolific architectural styles which has proved to be enduringly influential in the design of country houses and also has come to dominate civic architecture.

Trafalgar Park, Wiltshire (Image © Savills)
Trafalgar Park, Wiltshire (Image © Savills)

Neo-classical architecture permeates our built environment; banks, council and government buildings, and particularly country houses.  Drawing on the ancient monuments of Greece, the structured, hierarchical designs provided a convenient vocabulary that institutions, the state, and individuals could use to express their permanence and place in the natural order of society. Of course, this is the interpretation and not an objective set of laws but neo-classicism’s rationalist perspective, with its reliance on mathematical rigour, gave the impression that architecture and society both shared an underlying harmony in their precision and structure.

The Classical language of architecture had arrived in England through the widely admired and imitated Vitruvian principles as interpreted in Andrea Palladio’s I quattro libri dell’architettura. Inigo Jones had adopted this language and had created the foothold for the new style with his the Queen’s House in Greenwich (1616) and Banqueting House in Westminster (1619). However, his sources were Italian; the great monuments of Rome as measured and shown by Palladio. For some, though, this was derivative as the earliest Classical monuments were in Greece.

It ought to remembered that the fashion for the neo-classical was one which swept across Europe, not just the UK. As a rejection of the seemingly frivolous Rococo movement, it sought to instil a more high-minded set of ideals across the arts. To do this, writers such as Johann Joachim Winckelmann (regarded as one of the fathers of neo-classicism), stated that ‘The only way to become great is to imitate antiquity’. This required no mere slavish copying but a profound understanding obtained through study which enabled principled use of the Classical architectural language. Books such as Piranesi’s Le Antiquita Romane, a series of topographical views of Rome published in 1748, determined to prove the glory of Rome. However, others such as Richard Dalton (Museum Graecum et Aegyticum, 1751), le Comte de Caylus (Recueil d’Antiquities Eygyptiennes, Etrusques, Grecques et Romaines, 1752) and Julien David Le Roy (Les Ruines des plus beaux monuments de la Grece, 1758) argued for the superiority of the Hellenic originals.

Les Ruines des plus beaux monuments de la Grece (1758) - J.D. Le Roy
‘Ruines d’un Portique Dorique’ from Les Ruines des plus beaux monuments de la Grece (1758) – J.D. Le Roy

If true knowledge of Classical architecture required detailed study the options were limited unless fortunate enough to be able to undertake the arduous and expensive Grand Tour. The Society of Dilettanti, formed in the 1730s as a scholarly drinking club for aristocrats and others who had visited Italy, deliberately sought to influence fashion by sponsoring a more rigorous approach to the recording of the ancient ruins. Scholars had realised the value and fame which could be garnered from publishing books on the ruins they had visited but these were often the Roman versions of the Grecian originals and were often more decorative than accurate delineations.

Antiquities of Athens (Vol I) - James Stuart and Nicholas Revett (1762)
Antiquities of Athens (Vol I) – James Stuart and Nicholas Revett (1762)

In contrast, the most successful and influential of these publications was Antiquities of Athens by James ‘Athenian’ Stuart and Nicholas Revett, published in three folios in 1762, 1787 and 1794. Sponsored by the Society of Dilettanti, their approach produced detailed, measured architectural drawings from which other architects could accurately reproduce Grecian details. Stuart and Revett were both better known as connoisseurs of painting rather than as architects, but having lived in Rome for ten years prior to their departure in 1751 for Athens, they had a thorough knowledge of Roman artefacts.  This was crucial in establishing the authority of Antiquities of Athens when the first folio was published in 1762.

James Stuart (1713-1788) became known as James ‘Athenian’ Stuart on the reputation he established. He originally started his artistic career as a painter of fans and he was to continue with this work even after becoming an architect – the large allegorical ceiling painting in the tapestry room at Hagley Hall, painted in 1758-59, is one notable example. However, having established his fame, his drinking and erratic work habits meant that although he had a steady stream of work, patrons were sometimes reluctant to commission him, leaving his reputation somewhat diminished.  This is in contrast to his early years when having arrived in Rome in 1742, he established himself as judge of pictures, acting as a guide to aristocrats on their Grand Tour. In this manner he met Revett when he accompanied him, along with Matthew Brettingham and Gavin Hamilton, to Naples in 1748. That same year, he and Revett drafted their first Proposals for publishing an Accurate Description of the Antiquities of Athens, which, once accepted by the Society who became their sponsors, enabled them to undertake their investigation.

Nicholas Revett (1721-1804) was the second son of minor Suffolk gentry, his father being John Revett of Brandeston Hall. At the age of 21, Nicholas left Suffolk and moved to Rome to study under Marco Benefial, an important early neo-classical painter. It’s unclear where Revett was tutored in the precise skill of architectural drawing but clearly as a man of some talent and training he was undoubtedly proficient and it was he, not Stuart, who was principally responsible for the measured drawings of the monuments. According to one account in the Gentleman’s Magazine of March 1778 ‘Mr Stuart first caught the ideas of that science, in which (quitting the painter’s art) he afterwards made so conspicuous a figure.’  So why is the pupil known better than the master?

One of the key reasons is that although Revett’s name appeared on the title page, before publication he had sold his interest to Stuart after editorial differences.  Secondly, Revett, as a gentleman with a private income, wasn’t under the same financial pressure to practice and so his executed architectural commissions are scarce, primarily working for his friends. One such in his circle was Henry Dawkins; owner of Standlynch, later renamed Trafalgar Park.

Portico (added in 1766), Trafalgar Park, designed by Nicholas Revett (Image © Matthew Beckett)
Portico (added in 1766), Trafalgar Park, designed by Nicholas Revett (Image © Matthew Beckett)

This commission, in 1766, was limited but Revett drew on his knowledge and the rich seam of material he had accumulated to produce a fine portico, based on the Temple of Apollo, Delos. Revett’s skill was in being able to take the elements of the temple and extend it to create a sophisticated composition. In addition to this, Revett was tasked with creating a vestibule at the junction of the north wing.  Within this limited space, Revett chose to create a miniature six-column temple apparently based on the Establishment of the Poseidoniasts, also at Delos, representing one of the (and possibly the) earliest interior use of Greek neo-classical architectural features.

North Vestibule, Trafalgar Park, Wiltshire (Image © Savills)
North Vestibule , Trafalgar Park, Wiltshire (Image © Savills)

Detail of Trafalgar Park floorplan showing north vestibule layout (Image © Savills)
Detail of Trafalgar Park floorplan showing north vestibule layout (Image © Savills)

Revett contributed few other architectural examples, working mainly for friends such as Dawkins at Standlynch. Other commissions including adding a grand Ionic portico to the west front of West Wycombe Park, Buckinghamshire, for Sir Francis Dashwood in 1771, and later the Temple of Flora and the Island Temple between 1778-80.  Revett’s only other notable contribution is the church at Ayot St Lawrence, Hertfordshire, for Sir Lionel Lyde in 1778, which he designed as a temple with small, detached wings, linked with a columnar screen. James Lees-Milne thoroughly disliked it saying ‘It is stark, cold and foreign to its surroundings, in fact admittedly unsympathetic to its ostensible purpose as a christian conventicle in a small and humble parish. Quite frankly it was meant to be enjoyed as an ornamental temple of a nobleman’s park in a focal view from the mansion.’ Which is correct – and probably exactly what Revett had intended.

So if Revett has the garland for earliest neo-classical interior, who can claim the earliest exterior use? Although Antiquities of Athens was published in 1762, the drawings were at the disposal of Stuart and Revett.  The earliest Greek revival building is agreed to be the garden temple at Hagley Hall, built for Lord Lyttelton in 1758-59, which Stuart designed was based on The Hephaisteion in Athens. However, in 1985, Giles Worsley identified the earliest use of a Greek architectural element in a building as being two years earlier in 1756 when Earl Harcourt, a prominent member of the Society of Dilettanti, was rebuilding Nuneham House, Oxfordshire. Although the architect of the house is noted as Stiff Leadbetter, Lord Harcourt asserted such influence that the house can be regarded as more by the former than the latter.  Writing to a friend he stated that,

I have not placed my Venetian windows under an arch. Instead of springing the arch or compass point of the Venetian window from the cornish as other people have done, I have boldly adventured to follow a design of an old building which I have seen among Mr Stuart’s drawings of Athens, where the arch or circular part springs from the architrave itself, which, besides having a very good effect, obviates an objection which upon some occasions had been made to Venetian windows, that the light is too high in the room.

Harcourt’s inspiration for his variation on the standard Venetian window was Stuart’s drawing of the Aqueduct of Hadrian, a structure largely ruined when he visited and demolished by the end of that century. Stuart would go on to use this form of the window at only three other houses; once at The Belvedere, Kent, c.1775, once at the Prospect House, Wimpole, Cambridgeshire, c.1775, and once at Montagu House, London, c.1775-82, though unfortunately all these have now been demolished.

(left) Aqueduct of Hadrian from Antiquities of Athens (1794) (Image source: Aikaterini Laskaridis Foundation Library) | (right) Nuneham House, Oxfordshire (1754) (Image © Isisbridge on flickr)
(left) Aqueduct of Hadrian from Antiquities of Athens (1794) (Image source: Aikaterini Laskaridis Foundation Library) | (right) Nuneham House, Oxfordshire (1754) (Image © Isisbridge on flickr)

The 1750s and 1760s saw the idea of architecture drawn from classical sources, whether Greek or Roman, become more widespread.  The birth of Greek neo-classicism in the UK can, in part, be traced to these examples and the men behind them, the wider adoption of this stylistic source was relatively slow. Neither Stuart nor Revett appeared to wish to be the figureheads for a new fashion, simply content to work as much as they wished, with Stuart taking more but his delivery tempered by his dissolute habits. Different strands of neo-classicism were being picked up by more ambitious architects such as Robert Adam, who had undertaken his own Grand Tour to Italy and Croatia and whose publication in 1764 of the Ruins of the Palace of the Emporer Diocletian at Spalatro gave his a scholarly foundation from which to launch his own style of neo-classicism which soon supplanted the previous Burlingtonian standard.

The overlooked North Vestibule at Trafalgar Park represents the quiet experimentation which was to plant seeds of the Hellenic neo-classical movement. This would find its true expression in the late-Georgian era when evangelists such as Thomas Hope would create a resurgence in interest and further burnish the reputations of both Stuart and Revett; men whose unequal fame has obscured the contribution which Revett made in enabling architects, regardless of experience or first-hand exposure, to all claim antiquity as their source.


Sales particulars: Trafalgar Park, Wiltshire – 33 acres, £12m (Savills.com)

Introduction to neo-classicism: ‘Style Guide: Neo-classicism‘ [V&A Museum]

A Hollandaise Source: Henry Holland’s Benham Park, Berkshire

As the costs of owning a country house mounted in the early-twentieth-century and eventually overwhelmed the finances of many families, so they sought alternative uses for their houses. Whether as a care home, school, or any of other myriad uses, few houses or their estates endured the experience unscathed. For those used as offices, the particular indignity of large, modern additions obliterated the immediate setting of a house, occasionally driving it into obscurity. Few who suffered this fate have ever escaped, yet a rare and beautiful survival – Benham Park in Berkshire – has not only escaped, but been wonderfully (partly) restored and is now offered for sale.  What is most remarkable though about this house are its connections to some of the most famous names of Georgian architecture, including Lancelot ‘Capability’ Brown, a young Henry Holland, and an even younger John Soane.

Benham Park, Berkshire (Image © Savills)
Benham Park, Berkshire (Image © Savills)

Nestled in a lush parkland, Benham Park is significant as a formative experience, in different ways, for both Holland and Soane; a house where the two would each contribute in different ways, each gaining experience which would serve them well in the future. The noted architectural historian Dorothy Stroud declared Holland ‘a designer of perception and originality’. Her tireless research underpins much of what is known about Holland and his work.

Detail of Henry Holland (1745-1806) Image © National Portrait Gallery
Detail of Henry Holland (1745-1806) Image © National Portrait Gallery

Henry Holland (b.1745 – d.1806) was one of the leading architects during the reign of George III. Today, his reputation has been overshadowed by his contemporaries who were more willing to engage in courting public notice, such as by exhibiting their work at the Royal Academy, which Holland never did. Chiding a friend in 1789, he stated ‘Pray no more public compliments to me. I began the world a very independent man and wish to hold it at arms length…I find myself already more the object of public notice than suits my disposition or plan of life’.

Henry Holland was the son of Henry Holland (1712-1785 – to avoid confusion, the father will be referred to as ‘the elder Holland’, any other mentions of Holland are the son) of Fulham. A successful master builder, he built many important houses in the middle years of the eighteenth-century and worked with architects such as Robert Adam, executing his alterations to Bowood in Wiltshire in 1761 and, in the same year, working at Ashridge House, Hertfordshire.  It was this latter commission which was to prove singularly important as it established a professional relationship between Holland senior and Lancelot ‘Capability’ Brown (b.1716 – d.1783), a landscape architect still revered today for his skill and imaginativeness. Brown’s particular ability was to be able to envision a whole landscape as it would be after the planting had reached maturity – to see its ‘capabilities’.

He was also noted architect, with even his rival Humphrey Repton praising the ‘comfort, convenience, taste, and propriety of design in the several mansions and other buildings which he planned’. The houses include Croome Court, Worcestershire (though the design may have been provided by Sanderson Miller), Corsham Court in Wiltshire (1761-64), Broadlands in Hampshire (1766-68), Fisherwick Park in Staffordshire (1766-74 – dem. 1814-16), Redgrave Hall in Suffolk (c.1770 – dem. 1946), Claremont House in Surrey (1771-74), and Cadland in Hampshire (1775-78 – later much enlarged – dem. c.1955).

Fisherwick Park, Staffordshire, painted by John Spyders (1786)
Fisherwick Park, Staffordshire, painted by John Spyders (1786)

Although the initial connection was with the elder Holland, Brown would become central to both the professional and personal life of the younger Holland.  Although he never undertook a Grand Tour, his education was more practical, working with his father in the family business. Holland displayed aptitude and skill, taking on more responsibility but also his talent for design was becoming clear.  With his father’s connections, Holland was taken on as architectural assistant in 1771 by ‘Capability’ Brown who would, in time, hand over much of his design work to Holland, who would use these earlier designs as inspiration.  The closeness and respect between the two can be gauged by the marriage of Henry Holland to Brown’s daughter, Bridget, in 1773. Professionally, a measure of the level of joint enterprise between Colvin notes that Claremont and subsequent houses are jointly attributed to Holland.

Benham Park was an easy commission of Brown to secure, though it was likely that he was primarily thinking of his new partner when doing so. The probability that Brown would be commissioned was high as he was already working for the owner of the estate, William Craven, 6th Baron Craven (b. 1738 – d.1791), on another country house for him, Coombe Abbey, Warwickshire. Apparently under pressure from his wife, Elizabeth Berkeley, Lord Craven wrote to Brown saying ‘Lady Craven wishes to make some alterations here and to begin immediately’. Holland and Brown submitted their designs for a house in September 1773 using a similar pattern to Brown’s previous work with a neoclassical, two-storey main house with grand central portico.

Benham Park, Berkshire (Image © Savills)
Benham Park, Berkshire (Image © Savills)

The house was built between 1774-75, the final result a sympathetic marriage between an elegant yet imposing house and the Arcadian pleasures of a sculpted landscape.  Despite these fine attributes, Benham has been rather overlooked in the histories of both Brown and Holland with the latter clearly learning important lessons from one who designed with practicality in mind, but not to the exclusion of an element of drama. However, Holland was not without his own influence as Stroud notes that from the time he joined Brown’s office, the interior design evolved from a more robust Palladian character to the more restrained yet elegant style which was Holland’s hallmark. Claremont, Cadland, and Benham all display this style, indicating that although the shell of the house was more the work of Brown, the interiors were to Holland’s designs.

What’s remarkable about Holland was his almost precocious drive to build on a grand scale. Backed by his father’s capital and expertise, Holland leased in 1771, aged 26, eighty-nine acres of what is now Chelsea and Knightsbridge, including what is now Cadogan Place, and proceeded to speculatively design and build houses based around a miniature park or garden square. This high profile activity brought Holland his first major solo design for Brook’s club in Mayfair, London, a haunt of the Prince Regent and Whig aristocracy. This would lead to the Prince commissioning two major buildings from Holland; Carlton House and Brighton Pavilion. These two commissions plus Holland’s speculative building cemented his position within the highest social strata, creating future opportunities.

Undated print of Henry Holland's Brighton Marine Pavilion of 1786-87 (Image source Khan Academy)
Undated print of Henry Holland’s Brighton Marine Pavilion of 1786-87 (Image source Khan Academy)

Other significant commissions included the the refurbishment in 1787 of Althrop, Northamptonshire, for the 2nd Earl Spencer, including a full re-casing of the red-brick house in white mathematical tiles with stone dressings, a re-design of the gardens, and inside, a re-ordering of the accommodation including the creation of the noble triple libary, divided into sections by screens of Ionic columns. Another Whig patron was Francis, 5th Duke of Bedford, who had Holland complete some minor works to Bedford House before commissioning more extensive work, also in 1787, at his main house at Woburn Abbey. Holland was back at Broadlands in 1788 creating a new vestibule and inner hallway, the entrance marked by a new grand portico. In 1795, after a sojourn into theatres, Holland returned to grand country houses, with the rebuilding of Southill Park in Bedfordshire for Samuel Whitbread, of brewing fame. Again, as with Althorp, this was a refurbishment to the point of rebuild; the house encased, the accommodation extended and a new portico added. His last commission was again from Lord Spencer in 1801 to rebuilt his Wimbledon house, which had earlier burnt down, with a sophisticated villa in a severely plain style both inside and out. Sadly, this was demolished in 1949.

'Rebuilding of Southill' (1797) by George Garrard (Image © University of Texas)
‘Rebuilding of Southill’ (1797) by George Garrard (Image © University of Texas)

Benham Park was also important for another young, aspiring architect, Sir John Soane. As a young apprentice, Soane had joined Holland’s office in 1772 as a junior. At Benham, Soane was given the task of measuring up to create the final bills, a task he was to repeat at other locations, giving him a valuable insight into not only the process of building but also the business aspects. Although, sadly, almost all Holland’s papers and drawings were posthumously destroyed by his nephew, one of Holland’s account books is preserved in the Soane collection. Soane seems to have retained it as a valuable record and tool when setting up his independent practice. Benham therefore provided practical, aesthetic and business training to the young architect who no doubt admired Holland’s neo-classical approach before evolving his own distinctive response and style, which was to establish him as one of the leading architects of his age.

Benham Park in 1904 (detail) - note the large servants wing to the left, now demolished (Image source Stockcross History via Wikipedia)
Benham Park in 1904 (detail) – note the large servants wing to the left, now demolished (Image source Stockcross History via Wikipedia)

Benham survived largely unaltered into the twentieth-century until 1914 when the pediment was removed from the portico and replaced by a balustrade. This was echoed at the roof level where the pitch was lowered and obscured  by a pierced stone balustrade. The servants quarters were removed at the same time due to their poor condition. The house and estate remained with the Sutton baronets until 1982 when it as bought and converted into offices in 1983, with additional office blocks built next to the house. These were thankfully demolished as part of the latest restoration of the house and estate.

Benham Park - looking out over the lake (Image © Savills)
Benham Park – looking out over the lake (Image © Savills)

Benham Park, (Grade II*), is now offered for sale with 130 glorious acres for £26m. Inevitably for a house of such grandeur situated so close to London, there are approved plans for the house to become a ‘wellness’ centre with a huge (though thoughtfully designed) extension to the side and rear.  For me, as ever, this is a house which would be best served by being returned to it’s original purpose, that of a family home. For a new owner, they could revel in the knowledge that the house and landscape had been conceived by one of the great Georgian partnerships of Brown and Holland.  Standing under the portico today, much as where they and the young John Soane must have once stood, the latter on the cusp of his era-defining career, looking out at Brown’s landscape, they can appreciate this rare combination of architectural genius – truly a prize worth such a princely sum.


Estate agent particulars: ‘Benham Park, Berkshire‘ [Savills]

Brochure (PDF): ‘Benham Park, Berkshire‘ [Savills]

Listing description: ‘Benham Park‘ [Historic England]


Please note: Savills very kindly provided the images and brochure but had no input into the text.

A Sleeping Beauty: Ombersley Court, Worcestershire

The temptation when Country Life magazine arrives each week is to flick through the properties and make tabloid-esque comparisons about how a detached Regency villa in Dorset with space for a family, chickens, and an excitable spaniel, could be had for the price of a tatty flat in London. Yet sometimes these comparisons seem almost too unreal when faced with the exemplary beauty of a country house like Ombersley Court, Worcestershire, which, along with 39 beautifully wooded acres, has just been put up for sale for just £3.5m; the price of a 3-bed terrace house in Chelsea.

Ombersley Court, Worcestershire (© Savills)
Ombersley Court, Worcestershire (© Savills)

Tucked away in a quiet corner of Worcestershire lies a house which, either through deliberate privacy or convenient obscurity, is little known to the world. Yet Grade-I listed Ombersley Court is one of the finest houses in Worcestershire, arguably even in the wider region, due not only to the sublime architecture and surrounding estate, but also the fine collection of paintings and artwork. The estate has long been the seat of the Sandys family who acquired the manor in the late sixteenth-century. The current house was originally built for the 1st Lord Sandys (b.1695 – d.1770) between 1723-26, replacing earlier monastic buildings on the site.  The house was designed by Francis Smith of Warwick (b.1672 – d.1738), one of the leading regional architects and, working with his brother William (b.1661- d.1724), ‘one of the most successful master builders in English architectural history’ (Colvin).

‘Smith of Warwick’, as Francis was more commonly known, was a clients ideal contractor due to his famous honesty and reliability, able to deliver buildings on time and on budget. His reputation spread amongst the Midlands gentry and aristocracy with almost all his work within a fifty-mile radius of Warwick.  Such was his standing that even the fractious Duchess of Marlborough (who had famously fallen out with Vanbrugh over Blenheim), demanded that for her house in Wimbledon, Surrey, ‘that Mr Smith of Warwickshire the Builder may be employed to make Contracts and to Measure the Work and to doe everything in his Way that is necessary to Compleat the Work as far as the Distance he is at will give him Leave to do’ (1732-33).

Smith’s solid reliability also manifested itself in his repetition of his well-developed plans and designs for houses, creating a distinctive style which is quite recognisable as his own. Broadly, this would be a three storey house with the centre section either projected or recessed, consistent fenestration, and relatively sparse external decoration, usually only decorative stone dressings such as keystones, quoins or balustraded parapets. This consistency was perhaps a double-edged sword, with the Hon. Daines Barrington stated in a letter in 1784, that although ‘all of them (are) convenient and handsome […] there is a great sameness in the plans, which proves he had little invention’.

Yet, this is to overlook that Smith was, at heart, a successful commercial builder whose understanding and appreciation for architectural ornament and variety was inevitably tempered by his determination to deliver the commission on time and on budget. As the architectural historian Sir Howard Colvin highlights, the core design is that of a standard seventeenth-century house such as Belton House, Lincolnshire, but with stylistic updates as fashions evolved.  ‘Smith’ houses such as Umberslade, Alfreton, and Wingerworth all share this readily accessible style, one which married domestic practicality with exterior grandeur.

Perhaps Smith’s greatest achievement was the tragically now-ruinous Sutton Scarsdale, Derbyshire; a house with a facade so stately as to rival Chatsworth. Built for the 4th Earl of Scarsdale in 1724, Sutton Scarsdale was one of the finest houses in the country. Although the form is familiar, the masterful control of a palisade of pilasters and columns topped with Corinthian capitals, gives it a gravitas, whilst the detailing such as the scrolled window surrounds to the projecting wings hint at Renaissance motifs; Fausto Rughesi (Santa Maria in Vallicella, 1605/06) filtered through William Talman (design for Thoresby House, 1685, – shown in Vitruvius Britannicus, C1, Pl.91) and James Gibbs (to whose designs Smith was building Ditchley Park, Oxfordshire, 1722).

derbyshire-Sutton_Scarsdale_Hall_circa_1900

One regret with Ombersley Court is that although the form and plan of the house and much of the superb unaltered early-Georgian internal decoration is still Smith, the exterior is now not his. The original design featured a hipped roof, and what looks to be pilasters, giving it the recognisable ‘Smith’ characteristics.  This was lost when the existing brick was refaced with ashlar in 1809 by the architect John Webb for Mary Sandys, the Marchioness of Downshire. In fairness though, this was a lucky escape as John Nash prepared a much more ambitious scheme in 1808, which proposed adding a two-storey pavilion to each side, linked by a seven-bay screen of giant Ionic columns, though this seems to have been rejected on cost.

Ombersley Court - proposed alteration by John Nash, 1808
Ombersley Court – proposed alteration by John Nash, 1808

One of the glories of the house are the interiors and especially the plasterwork and carving. With a desire for privacy which was rarely breached, few had seen the exceptional decorative work, except through the lens of a Country Life profile by Arthur Oswald in 1953. This extolled the virtues of many aspects including The Chippendale Room which featured bamboo framed silk wall pieces, remarking that ‘it is uncommon to find a Regency example as complete as this or as charming’. The rest of the house struck a careful tone of stately refinement; enough decoration to proclaim wealth and taste, but never excessive.

Ombersley Court - Hallway (© Savills)
Ombersley Court – Hallway (© Savills)

Ombersley Court - Drawing Room (© Savills)
Ombersley Court – Drawing Room (© Savills)

Ombersley Court - Morning Room (© Savills)
Ombersley Court – Morning Room (© Savills)

With the death of Lord Sandys in 2013 the house passed to Lady Sandys but following her recent death, concerns were raised and rebutted via letters in Country Life that this wonderful house would be forced (for complicated reasons) to become a care home; a fate which would have despoiled this jewel of a house. Instead, for the first time since it was built in 1724, it has been placed on the market. This is a house created by one of the finest craftsmen of the early-Georgian period, with connections to a wider, distinct Midlands architectural tradition which epitomises all that one would hope to see in a country seat. As an important house which deserves respect, one hopes that the new owner will appreciate this remarkable situation and that perhaps the best approach would simply be to buy the house and contents and perhaps another couple hundred acres to truly secure an Arcadian ideal, one which would be hard to better anywhere in the country.


Sales particulars: Omblersley Court, Worcestershire [Savills] – £3.5m with 39 acres

Listing description: Ombersley Court, Worcestershire [British Listed Buildings]

Guided missel: the rise of the country house guide book

‘Dear Picture Editor for the 2017 National Trust Handbook

National Trust Guide Book 2017
National Trust Guide Book 2017

Yours is a challenging job. Faced with selecting one cover image to represent the National Trust for an entire year and with the myriad opportunities presented by having over two hundred country houses (unfortunately now minus Clandon), hundred of thousands of acres of countryside, and 775 miles of coastline, such a welter of natural and man-made beauty makes your task both enviable and daunting.

It’s therefore somewhat odd that the 2017 image is a close-up of a couple and their slightly disdainful-looking dog getting caught in a wave on a beach. The lady in the couple looks distinctly unhappy, the chap is possibly saying a swear word. Perhaps the oddest thing about it is that the bloke is wearing a bowler hat. For a walk on a beach. Of course, you would know that the bowler was created in August 1849 by the famous London hat-maker, James Lock, for the Coke family at Holkham Hall to help protect their gamekeepers from branches; both those attached to trees and those wielded by poachers. Holkham Hall, awkwardly, is not one of the many country houses (minus Clandon) under NT care so this image is, on many levels, a bit silly.

For next year, may I personally suggest a country house. Though I fear that they, as a class, appear to somewhat out of favour in the upper echelons of the NT, hopefully by appearing on the cover of the handbook, it may remind them that they are custodians of one of the finest groups of country houses one could dream to care for in perpetuity (minus Clandon).’

Guide books have long been a source of fascination for those who visit country houses. Topographical guides have been written for hundred of years to help those of us fascinated by country houses to determine which we might be able to gain entry to and revel in, whether in splendour or shabbiness.

Country house tourism is not a modern phenomenon.  Whether pilgrim or royalty, the idea of visiting houses was an ingrained part of the tapestry of life in the Middle Ages for providing hospitality.  One key difference can be seen in the preferences of Henry VIII who largely visited his own houses compared to Elizabeth I who frequently visited those of her favoured courtiers. Thus the concept of the country house (or palace) being built as much for display and prestige as the more mundane practicalities of large scale domestic occupation became a core characteristic of aristocratic life.

An Historical Account of Corsham House in Wiltshire, the seat of Paul Cobb Methuen [1806]
An Historical Account of Corsham House in Wiltshire, the seat of Paul Cobb Methuen by John Brittan [1806]
In the Georgian era, the burgeoning wealth of the expanded upper classes afforded increased leisure opportunities for travel and cultural pursuits. Their desire to assimilate themselves into the attitudes of the existing aristocracy fuelled a natural curiosity about their lives and tastes.  With frequent wars on the Continent often thwarting the traditional Grand Tour destinations, travellers now looked more domestically to visit their extended families and their friends. Even without the wars, it’s likely that the opportunities for women to travel were more restricted and to visit other ‘good’ families in their homes would have been an acceptable way for them to broaden their knowledge and tastes, thus cross-pollinating ideas, styles and fashions.

However, a family’s immediate social circle might contain only a limited number of contemporaries with whom they would be comfortable lodging.  Therefore, when visiting an area, either as a family guest or staying in accommodation, for example during the Season in Bath, day trip visits to other country houses was a favoured activity.  Despite the expectation that an owner would, as part of their duty to better society, open their house, the key question was how to find them and to determine whether they would even be amenable to visitors, no matter how genteel. Much as today, in fact, and hence the birth of the country house guidebook.

Opening Times in 'An Historical Account of Corsham House in Wiltshire, the seat of Paul Cobb Methuen' by John Brittan [1806]
Opening Times in ‘An Historical Account of Corsham House in Wiltshire, the seat of Paul Cobb Methuen’ by John Brittan [1806]
By the latter part of the eighteenth-century, an infrequent stream of visitors had become something of a torrent, if not a flood. Houses near large conurbations were particularly susceptible as Horace Walpole found at his charming neo-Gothic villa at Strawberry Hill, near Twickenham, described as ‘the prettiest bauble you ever saw’.  Writing to his friend Sir Horace Mann in July 1783, Walpole complained that ‘I am tormented all day and every day by people that come to see my house, and have no enjoyment of it in summer.’  Areas with a higher density of fine houses, which were within a day or two ride of a city or existing tourist destinations, such in as Norfolk, Derbyshire or Wiltshire, were soon part of an unofficial British Grand Tour. This was a natural progression for a society structured around the idea of circuits; domestically through suites of rooms and socially through visiting friend’s houses and at functions and balls.

Shirburn Castle, Oxfordshire (J. Skelton, 1825)
Shirburn Castle, Oxfordshire (J. Skelton, 1825)

As the idea of country house visiting grew, so did the need to manage the number of visitors and their conduct whilst in the houses. Some simply refused access – a galling experience for those who might have travelled long distances such John Byng, who despite being just a civil servant, toured widely.  On being refused access to Shirburn Castle, Oxfordshire, he splenetically cried ‘Let people proclaim that their great houses are not to be view’d, and then travellers will not ride out of their way with false hopes.’ Owners increasingly favoured knowing when visitors may appear and so started having set days of admission. By 1760, Chatsworth was specifically open on two days per week. In 1774, Walpole, though ‘very ready to oblige any curious persons with the sight of his house and collection’ started personally issuing tickets and rules for good conduct.

The internal tours of country houses were usually conducted by the housekeeper who would provide rich accounts of the history of the building and family and details about the works of art – and sometimes the information was even true.  Unfortunately many myths about a family’s history and unwarranted artistic attributions for paintings are likely to have been started by the imagination of the unwitting guide. As the hobby of visiting grew in popularity so too did demand for more accurate accounts; giving birth to the new concept of the guidebook. The earliest from the 1730s-40s were more for reference at home rather than from a carriage and usually focused on individual houses, giving a history,  a catalogue of art works and sometimes a plan for the route to take through the house. These quickly spawned more democratic versions from competing booksellers, sometimes for the same property such as Benton Seeley’s ‘A Description of the House and Gardens…at Stow‘ (first published 1744, totalling twenty-two subsequent editions)

'Plan of the Library Story' from 'The Peak Guide; containing the topographical, statistical, and general history of Buxton, Chatsworth, Edensor, Castlteon [sic], Bakewell, Haddon, Matlock, and Cromford' by Stephen Glover of Derby [1830]
‘Plan of the Library Story’ from ‘The Peak Guide; containing the topographical, statistical, and general history of Buxton, Chatsworth, Edensor, Castlteon [sic], Bakewell, Haddon, Matlock, and Cromford’ by Stephen Glover of Derby [1830]
The guidebooks were both guide and tutor, ushering the visitor through an agreed route around a house but also providing sometimes detailed entries on each individual art work with the expectation that the visitor would view and gain a deeper understanding. This can be seen in ‘The Peak Guide‘ by Stephen Glover [1830] where the entry for the most significant house in the county, Chatsworth, runs to a generous thirty-seven pages. Starting with a description of the immediate vicinity, the bulk of the text runs to great detail on the Cavendish family, the architectural history (including the architects, painters, plasterers, even the plumber’), and the expected walking tour of the house.  A typical entry reads

The second Drawing-room is 36ft by 30ft hung with Gobelins’ tapestry, representing the Death of Ananias and Sapphira, Peter and John healing the cripple, and Paul and Barnabas at Lystra. In an oval compartment in the ceiling is painted the discovery of Mars and Venus. In this room are the following portraits, viz. William, first Earl of Devonshire, in his state robes, ascribed to Mytems; and declared by Mr. Walpole to be one of the finest single figures he had ever seen. Two fine whole-length portraits, said to be the Earls of Pembroke, with pointed beards, whiskers, vandyke sleeves and slashed hose; James, Duke of Ormond, and an Earl of Devonshire, in the costume of the seventeenth century

The level of detail created almost the sensation of a virtual tour, allowing those who could afford a copy of the book, or at least get access to one, the chance to imagine inhabiting the palaces and houses which may be socially or physically out of reach.

Guidebooks have evolved continuously as the requirements of owners and visitors have demanded. Early National Trust books were written by noted historians such as John Cornforth and maintained the seventeenth-century principle of guidance and education. However more recent editions have dispensed with much of the in-depth information in lieu of more pictures of daffodils or scones (and let’s not even get started on the paucity of information about the houses on the National Trust website *sigh*). Happily, other private owners have created lavish books very much in the form of those earlier versions – Woburn Abbey, Bedfordshire, and Boughton, Northamptonshire, are notable examples.

Whatever their role, the guidebooks are an essential component to the experience of the country house. Without them, the rooms would simply be an anonymous store of gilded treasures, without context or understanding. The books remain the key which unlocks the secrets of the houses; the owners and their motivations, their collections and tastes.

Handbook reviews

Hudson's Historic Houses & Gardens, Museums & Heritage Sites 2017
Hudson’s Historic Houses & Gardens, Museums & Heritage Sites 2017

Hudson’s Historic Houses & Gardens, Museums and Heritage Sites 2017

Content (design/layout): Having now been published for 30 years, the Hudson’s guide is a unique oracle for identifying ‘historic houses & gardens, museums and heritage sites’ for your visiting pleasure. In slightly-larger-than-A4 format, this is a book to be enjoyed as much at home, with full-page entries for leading houses, enhanced by full-colour photos. Bonus features include interviews and number of interestingly varied articles (including location filming / James Paine / The Clive Collection / Indian influences on the Royal Pavilion) and thematic guides such as dog friendly sites, events venues, and which properties have guided tours. If there is any criticism it’s that some of the smaller entries for houses read as though it were copied from their usual leaflet and sounds a little off-key.  However, given the comparatively almost lavish space, most sites have an informative, rather than purely functional, write-up with history and details on the art and architectural features.

Comprehensiveness: Unrivalled – the guide is invaluable when in an unfamiliar area and need to plan days out. It includes private properties, National Trust, HHA, plus other heritage sites.

Convenience: The larger-than-A4 format and number of pages means this is not one for the pocket and would be a bit hefty to carry all day. That said, the design means that planning your itinerary is both practical and a pleasure.

Verdict: Even if you get other member handbooks for free, for those wanting more detail or looking to visit a broader range of heritage sites, the Hudson’s guide is unequalled and definitely worth the modest investment. (Available on Amazon or all good bookshops)

*Transparency notice: Hudson’s did send me free copy to review but had no editorial input to any part of this blog post and I’d buy a copy anyway.

National Trust Members Handbook 2017

Content (design/layout):  As the product of many years of refinement, the guide is an excellent way to plan your visits. Set out with listings by county, each property or location has a brief write-up though some properties eclectically get more space and further details. All the useful information is in there including opening times and facilities. Bonus content includes a clever themed index highlighting which properties tick boxes for ‘Adventure playground, boat hire, bicycle hire, camping and caravanning, gardens, ghosts, and industrial heritage’. Note that neither ‘art’ nor ‘architecture’ make the cut as categories. Ghosts though, do.

Comprehensiveness: Unsurprisingly, it only covers National Trust properties.

Convenience: About the dimensions of a paperback novel so easy to leave in the glove box of the car or add to a rucksack.

Verdict: A benchmark for member organisation guides – one that marries convenience to practical information to help plan visits. Just wish it felt able to give equal billing to the houses and their contents as much to the playgrounds and cafes.

Historic Houses Association Friend’s Handbook / English Heritage

Unfortunately I’m not a member (there are limits to funds and time, you see) so I haven’t seen a copy of the latest version – but if said organisations would like to send me this year’s edition, I’ll add details to this page.

Other suggestions

If anyone can suggest other guides (either members or general) then please do comment below.

Find out more

An Indian takeaway: Sezincote, Gloucestershire

We long for an ‘Indian Summer’, whilst sitting in a bungalow drinking tea, eating curry followed by a sorbet and later having a toddy and going to bed in our khaki pyjamas. There are many words, phrases, foods and customs Britain has adopted from our interactions with India, but strangely, despite its strong and vibrant architectural history, the tide of architectural style has been largely one way; Western traditions flowing east, with only scant examples of the ebb bringing Indian influences back. Except, that is, in one small corner of Gloucestershire where the remarkable Sezincote stands as a unique monument to the influence of India – but also leaving the question as to why the Indian (also known as Hindoo or Mughal) style failed to find wider acceptance.

Sezincote House, Gloucestershire - entrance front
Sezincote House, Gloucestershire – East Front

UK country houses have always been a magnet for other influences, the interiors vying with each other to embody ‘fashion’ and be seen to reflect the culture and stature of the owners.  With the advent of travel, particularly what would become recognised as the Grand Tour, architectural styles from across Europe including Roccoco, Classical, Baroque and Palladianism would also find a ready home, being easily adaptable to the English physical and intellectual climate.  Further afield, imperial trade in the late 17th-century carried home Chinese, Persian and Indian influences and evidence of both can be widely found in porcelain, furnishing, fashion and art. Daniel Defoe noted Queen Mary’s ‘love of fine East India calicos‘ which led to an increased popularity for imported textiles, much to the chagrin of domestic mill workers.

"East India House" by Thomas Malton the Younger (1748-1804), (Wikipedia / Courtesy of the Paul Mellon Collection, Yale Center for British Art, Yale University, New Haven, Connecticut.
“East India House” by Thomas Malton the Younger (1748-1804), (Wikipedia / Courtesy of the Paul Mellon Collection, Yale Center for British Art, Yale University, New Haven, Connecticut.

Behind this trade was a British firm which grew to wield power never equalled and with an ability generate wealth in a way few have; the East India Company (EIC).  On the strength of resurgent national confidence following the defeat of the Spanish Armada in 1588, merchants gained permission from Queen Elizabeth I to sail to explore the opportunities of the Indian Ocean, with the first ships sailing in 1591. After three abortive attempts, they succeeded in 1600 and the Queen granted the newly formed EIC a 15-year monopoly on trading with the East Indies. After besting their Dutch, French and Portuguese competition both militarily, diplomatically and eventually financially, by the mid-1700s, control of trade in India was under the control of the EIC.

This control was exercised through the EIC’s own staff and enforced by its private army creating a pseudo-state-like entity which offered the chance for rank, prestige and to create a fortune. Back in Britain, many looked at the usual prospects of joining the clergy, law or military service as a dim comparison against the possibilities of India.  As the financial opportunities of India became apparent, so the attractiveness of a position there increased amongst the aristocracy who came, saw, and administered, with the intention of taking their new fortunes home to establish themselves or boost their status in society.

Yet, from an architectural viewpoint, for all the interaction and extended immersion in the rich Indian culture, the complex and beautiful architecture was largely ignored as an appropriate style for country houses back in Britain. This was in stark contrast to the European styles which came back to Britain, like burrs on the coat-tails of the aristocratic Grand Tourists. This makes the domed, florid Sezincote, nestled deep in the Gloucestershire countryside all the more exceptional.

Originally a small 15th-century manor house, it was bought by the Earls of Guildford in 1692 and survived largely unchanged until bought by Colonel John Cockerell in 1775 – but he was not the author of the final version of the house. Sir John was a friend and had been part of the military staff of Warren Hastings, the former Governor-General of Bengal, who was building his own house at nearby Daylesford, and Cockerell probably had the help of his friend, or at least his agent, William Walford, in selecting the estate. In 1797, Cockerell wrote to Walford saying ‘I have many conceits and fancies in regard to Seasoncote [his spelling] for a residence…‘. In reality, the plans were a conventional Georgian remodelling with Sir John looking for someone to complete ‘the plain sort of work I shall mostly want‘. Building work was well under way by 1798 but at the end of the year came to a rather unexpected stop with the death of Sir John.

The half-finished house was inherited equally by his brothers, Charles and Samuel, and his sister. Charles had also made a fortune in India through a combination of official positions and private trading and, having bought out his sibling’s shares in the house for a total of £38,000, decided to embark on a much more radical vision. Seemingly unconstrained in his imagination, Charles decided (in collaboration with Thomas Daniell and his nephew William, the famous painters Indian topographical pictures), to clothe his Georgian house in full Indian robes.

Indian fireplace, Daylesford House, Gloucestershire (Image from 'Country Houses of Gloucestershire' by Nicholas Kingsley (1992, Phillimore & Co)
Indian fireplace, Daylesford House, Gloucestershire (Image from ‘Country Houses of Gloucestershire’ by Nicholas Kingsley (1992, Phillimore & Co)

The architect for this grand plan was S.P. Cockerell, his brother, whom Colvin described as ‘original and inventive‘ and this commission would certainly give free reign to both those attributes. Interestingly, this was not Cockerell’s first experience of designing with Indian motifs as he had been employed in 1789-93 to remodel the nearby unfinished Daylesford House, the newly acquired seat of the controversial former Governer-General of Bengal, Warren Hastings. Facing numerous charges of embezzlement, cruelty and abuse of power from 1788-95 (of which he was later cleared), perhaps unsurprisingly the exterior does not laud his Indian experiences, except for a hint in the west front which features a curved bay topped with a copper dome with a ball and spike decoration. Inside, although Hastings owned an exquisite set of gilt ivory Indian furniture, the decoration was restrained though it featured a remarkable fireplace, carved by Sir Thomas Banks in 1792, which depicts an Indian sacrificial scene and Indian female figures on either side.

Daylesford House, Gloucestershire (Image © altitudepix.co.uk)
Daylesford House, Gloucestershire (Image © altitudepix.co.uk)

At Sezincote, Cockerell had a much less restrained brief and so was able to fully embrace the Indian architectural language but whilst still firmly rooting it in the ideal of the Picturesque – that ability to surprise. The design though is not just collection of Indian forms and details; this is a house built at a time of great interest in this new culture and with a client both well versed in the country and its buildings and with a genuine respect for them. Drawing on both Muslim and Hindu motifs, it reflected such impressive buildings as Humayun’s mausoleum of Emperor Akbar’s mother in Delhi (especially the roof shape of the small turrets), and Sezincote’s entrance front bears some echoes of Akbar’s own mausoleum with the double-height arch.

East Front, Sezincote (Image © Cotswold Journeys)
East Front, Sezincote (Image © Cotswold Journeys)

The south facade is the most playful and graceful; a delicate blend of Anglo-Indian to create something unique in British architecture.  Dominated by a canted bay, the windows are shaped into peacock fantails such as seen in the Jaipur palaces, the chajja or wide over-hanging eaves create shade, with the corners punctuated by chattris, or small minarets, the green balcony railings imitating Indian jali work. The main dome is striking in both its shape and dominance whilst still being proportional to the overall design. The main house then joins the grand curved sweep of the Orangery (possibly to follow the landscape, possibly shaped like a scimitar), with its continuation of the peacock windows, terminating in an elegant pavilion.  It should be noted that the interior was pure Greek Revival, again emphasising the application of Indian design being in the Picturesque tradition of decoration, rather than slavish copying.

Orangery and Pavilion, Sezincote (Image © Sezincote Estate)
Orangery and Pavilion, Sezincote (Image © Sezincote Estate)

Fashion being what it is, news of the building of this extraordinary house travelled far, even reaching the Prince Regent.  The earlier popularity of William Hodges ‘Select Views in India’ (1783) and the six volumes of Daniell brothers ‘Oriental Scenery‘ watercolours (completed 1808), this helped created the brief flourishing of the Anglo-Indian style.  The Prince Regent, ever one for fashion, visited the still unfinished Sezincote in 1807 (probably at the suggestion of Humphrey Repton who was working there) and was so duly taken with this fantasy (supported by one of Repton’s famous Red Books), he resolved to indulge as well and so his new pleasure retreat in Brighton externally adopted the same, creating the iconic Brighton Pavilion.

Hindoo Temple, Melchet Park, Wiltshire c.1800 (Image © British Library)
Hindoo Temple, Melchet Park, Wiltshire c.1800 (Image © British Library)

However, the Anglo-Indian fashion failed to gain widespread popularity beyond the ephemeral (and hidden) interior decorations and fabrics. Architecturally, there were a few examples. In the City of London, George Dance the Younger created one of the early Indian-Gothic designs in 1788 with his entrance to the south front of the Guildhall. Dance also added unspecified Indian elements to Stratton Park, Hampshire (built 1803-06, dem. 1963) for Francis Baring (who made a fortune with the EIC) and at Coleorton Hall, Leicestershire (built 1804-08). It made appearances in various architectural pattern books (e.g. Robert Lugar and Edmund Aikin), leading to some quite isolated ancillary buildings appearing to be influenced by it; a Hindoo temple at Melchet Park, Hampshire, (c.1800) and further afield such as in Ireland with the Copper Lodge, Portlaw, (probably built 1820s, dismantled 1970s), and the Dromona Gate, Co. Waterford, built in 1861.  Back in England, perhaps the most impressive was the dramatic conservatory at Enville Hall, Staffordshire, built in 1854, which mixed Gothic and Indian, and which was sadly blown up for demolition practice during WWII.

Conservatory, Enville Hall, Staffordshire (Image © Historic England)
Conservatory, Enville Hall, Staffordshire (Image © Historic England)

So, despite the inventive opportunities, the widespread cultural exposure and even an element of Royal patronage, why did the Anglo-Indian style not become more popular for country houses?

Probably the most influential element was timing – but also a number of other more negative factors. Fashion is part inspiration, but also heavily dependent on there being a space in popular taste for it to expand into. Although Britain had been involved in India since 1600, achieving the dominant position had been a struggle with a heavy price paid by all participants; financially, militarily but also directly in the mortality rates of the colonial staff sent to this still largely unknown place.

Often, those who were sent to make their fortunes in India were second or third sons, who may have been in the shadow of their elder brother who stood to inherit.  Although the position of Viceroy was considered a significant honour, it was sometimes coveted for the financial advantages it offered to the incumbent: the substantial salary, the state-funded lavish lifestyle and the chance to rent out your own home back in the UK. Also, unless they made their own significant fortune, their time in India was perhaps considered an exotic distraction, possibly combined with ‘moral’ difficulties, considering the stories of the taking of local ‘wives’ and the adoption of local dress and customs, as reflected in the pejorative phrase of ‘going native‘. The ongoing military operations, the accusations of mismanagement, and the reports of massacres by both sides can only have added to the sense that Indian culture and British involvement was not one to be celebrated.

From an architectural perspective, just at the time that the EIC had established its dominance in the mid-18th century, the popularity of Chinoiserie was in ascendance, boosted by Thomas Chippendale’s ‘The gentleman and cabinet-maker’s director‘ (1754) and the architect William Chambers’ influential book ‘Designs of Chinese Buildings, Furniture, Dresses, Machines and Utensils‘ (PDF, 15mb) in 1757.  As mentioned before, this fashion culminated in the Prince Regent’s Oriental extravagance, the Brighton Pavilion, completed in 1823, inspired by Sezincote.  However, the unpopularity of the Prince may well have meant that what he favoured, was unfashionable. As fashion was swept along by Gothic Revival and Neo-Classicism, the Anglo-Indian style was politically difficult, architecturally challenging, and increasingly unattractive.

'Designs of Chinese buildings, furniture, dresses, machines, and utensils' - William Chambers (1757) (© Warburg Library)
‘Designs of Chinese buildings, furniture, dresses, machines, and utensils’ – William Chambers (1757) (Image © Warburg Library)

This makes Sezincote all the more remarkable; the determined vision of Charles Cockerell, an educated man who revelled in his experience in the beauty of India, realised with great care and skill. It is also a reminder that architecture is often a product of fashion and both are closely linked with wider society. Today though, thanks to the loving restoration of the Kleinwort family, who bought the estate in 1944, both the house and gardens have been restored back to their former glory; a vision of India, unique in the UK.


For a more in-depth history:

To see Indian influences in the UK:

  • Sezincote, Gloucestershire – gardens often open, house used for events.
  • Powis Castle, Wales – former home of a Viceroy with extensive collection of artifacts.
  • Elvedon Hall, Suffolk – if you can get in on a rare visit, Elevedon was once owned by the Maharaja Dulap Singh and has some impressive Indian rooms added in the 1890s.

Why the long gap between posts?

I last posted in May 2015 on the devastating fire at Clandon Park. In June, I then moved house with the expectation that after a couple of months I’d be unpacked and able to start again. Unfortunately, as with any house, the renovations took far longer than expected (and it’s only a small 1930s semi!) and I’ve had to be very hands-on. More significantly, my father, who had been ill for a while, deteriorated in January and sadly passed away. This blog, in part, exists because he fully supported my interests and enabled me to start collecting books to indulge my passion for country houses, so, for this and many other reasons, I will always be grateful to him.

Reflections on the loss of Clandon Park, Surrey

Loss is mainly regret that we will never see something, or that we have known it and will never see it again.  Where the loss is of something of beauty, which embodied ideas, history, culture, it takes on many facets. Fire is a destructive, cruel enemy, consuming all in its path; caring not for the value – either great or small – simply taking whatever it can as fuel for its avaricious need to grow. On 29 April 2015, as the fire at Clandon Park took hold we hoped for the best – yet sadly, less than twelve hours later, all that remained was a gaunt, blackened shell. The loss was not just the building and its beautiful interiors and contents, but also what it represented to UK architectural history.

Clandon Park, Surrey (Image: Matthew Beckett)
Clandon Park, Surrey (Image: Matthew Beckett)

News breaks now on social media, the first photos and reports of huge plumes of smoke spreading much as the flames did; slowly at first, rapidly growing. Quickly it became clear that the fire had reached the roof and that the rooms on the ground floor of the south side had already gone – the Green Drawing, Palladio, Hunting, Prince Regent.  Each a small gem in themselves, their contents the result of decades of collecting and curation. As the floors above collapsed, it became clear that this was a very serious situation and thoughts immediately are to hope that, first, everyone is safe, but, secondly, how far would the fire go? Sadly, it soon became clear that the entire house was to be consumed in the inferno.

Clandon Park on fire, 29 April 2015 (Image: © Andrew Blondell / BBC Surrey)
Clandon Park on fire, 29 April 2015 (Image: © Andrew Blondell / BBC Surrey)

Why was Clandon Park important? It wasn’t just the history and collections.  Most importantly, the design of the house was a key transitional link between two defining periods of British architectural history; the Anglo-Baroque and the Palladian. The house, both interior and exterior, was designed by a Venetian architect, Giacomo Leoni, and built between 1723-29.  Both the architect and the dates are key to understanding why the house was so significant.

Clandon Park on fire - two-thirds of the house was now on fire (Image: © Oliver Dixon)
Clandon Park on fire – two-thirds of the house was now on fire (Image: © Oliver Dixon)

Giacomo Leoni (b.1686 – d.1746) played a key role in bringing the ideas of Palladio to the UK through the publication of that architects’ ‘I Quattro Libri dell’Architettura (which he called ‘The Architecture of A. Palladio, in Four Books’). Although not an entirely accurate recreation (Leoni wasn’t above adding his own improvements) the instalments (published between 1715-20) were a huge success, casting the ideas of the Palladian ideal deep into the aspirational hearts of the British aristocracy.  Leoni’s edition remained the primary source of the nascent Georgian Palladianism until (prompted by Lord Burlington) Issac Ware produced a more accurate translation in 1738.

Clandon Park on fire - the flames reached the north side (Image: © Alex Greenwood)
Clandon Park on fire – the flames reached the north side (Image: © Alex Greenwood)

For all his intellectual influence, Leoni’s physical output was relatively meagre for a 45-year career – his earliest designs were for an unexecuted rebuilding of Wrest Park in August 1715 for the 1st Duke of Kent. His first completed work was in London in 1721, Queensberry House, 7 Burlington Gardens, for John Bligh, Lord Clifton, which featured an antique temple front, a reduced version of which appears on the south front of Clandon Park. Leoni’s output was mainly country houses; he designed eleven but only nine were completed (the two unfinished houses being Carshalton Park and Thorndon Hall) of which four have been lost already (Moulsham Hall – dem. 1809, Bold Hall – dem. 1901, Burton (or Bodecton) Park – fire 1826, and Lathom House – dem. 1929/1955).

Comparison of Leoni's 7 Burlington Gardens and south front of Clandon Park (Image: 7BG: Wikipedia / Clandon: Matthew Beckett)
Comparison of Leoni’s 7 Burlington Gardens and south front of Clandon Park (Image: 7BG: Wikipedia / Clandon: Matthew Beckett)

This left just four completed house which survived into the 21st-century; Lyme Park (c.1725-35), Alkrington Hall (1735-36), Wortley Hall (1743)- and Clandon Park (1723-29).

The brilliance of Leoni’s design for Clandon had survived almost unchanged as it had remained in the Onslow family until being handed to the National Trust in 1956. Where Clandon excelled was that the exterior was early-Anglo-Palladian; chaste, restrained decoration, subtle temple motif, but this was married with one of the greatest of the Anglo-Baroque rooms, the Marble Hall (the plasterwork of which Sir Simon Jenkins thought better than the similar room at Houghton Hall), and other rooms rich in beauty. This contrast between the quiet exterior and the exuberant interior is what made Clandon so important as the link between two of the most significant trends in British architectural history.

Marble Hall, Clandon Park (Image: Matthew Beckett)
Marble Hall, Clandon Park (Image: Matthew Beckett)

So, what next? The incredible staff and volunteers of the National Trust swiftly put into place the plans they never hoped to have to use and clearly, the efforts are being directed to the care of the salvaged contents and an examination of what can be recovered from the debris.   Investigations will be undertaken and conclusions reached as to the cause but looking to the future the options are the same as ever; rebuild, re-use, or ruin.

Marble Hall, after the fire (Image: © John Millar / NT Picture Library)
Marble Hall, after the fire (Image: © John Millar / NT Picture Library)

As a nation, we have fetishised ruins for centuries with castles, abbeys, fortifications and now factories celebrated for their managed decay. We have enough derelict country houses (far too many, truth be told), so to consign another to that sad, lonely fate would miss the chance to grasp a recoverable beauty and miss the opportunity to demonstrate and inspire through an educational process around the reconstruction.

The Landmark Trust’s inspired recent work at Astley Castle, Warwickshire, to create a modern living space in a shell created by a fire in 1978, shows that ruins can be re-used intelligently and with great aesthetic success.  However, Astley Castle was a smaller house and also without the spectacular interiors which once graced Clandon Park.

Uppark, Sussex (Image: © Matthew Beckett)
Uppark, Sussex (Image: © Matthew Beckett)

So the remaining option is rebuilding and restoration.  As has been shown at Uppark, Sussex, which also suffered a serious (though not quite as devastating) fire in August 1989, it is possible to restore the house back to as it was before.  This is not pastiche as it’s not conjectural – we have extensive, detailed records of the interiors and, combined with salvaged fabric, it is possible to recreate what was there.  As Sir Simon Jenkins argued in the Sunday Times (03/05/2015), it would be unthinkable not the reinstate the great Marble Hall – because we can.

Modern care and conservation means that the rate of losses of country houses has dropped from the hundreds each year in the 1950s to barely a handful and these are almost always due to fire. All those we have – that which survived this far – are fragile and it’s an uncomfortable truth to understand that they will not last forever.  As the painter Salvator Rosa once wrote:

All our works is fallen and sicken
Nothing is eternal
The Colossei die, the Baths
The worlds are dust, their pomp a nothing…

Rather than despair, we should celebrate and enjoy the architectural heritage which is still available to us and care for it for future generations. The original Clandon Park is lost; that patina of age, the individual details which only it knew are no more. Although the contents have been largely lost, resurrection is the most appropriate option as the main shell of the house has survived – the sterling work of the fire service has saved at least one half of Leoni’s vision. Modern craftsmen with ancient crafts, honed at Uppark, Hampton Court, and Windsor Castle, can recreate the beauty of the interior.  It won’t be the original but from our shock at the loss can come awe at the artistic skills that can recreate such wonders as the Marble Hall.

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Gallery of images of the aftermath: ‘Clandon Park fire 2015‘ [National Trust Picture Library]

Statement: ‘Fire breaks out at Clandon Park, Surrey‘ [National Trust]

A mansion tax is a pox on all our country houses

It’s a widely accepted principle that even if trying to achieve a noble goal, it is not a justification to do harm in doing so.  Whether one is trying to fund the NHS or provide kittens and puppies for all, if ever such an ill-thought out idea as a mansion tax is introduced, it is likely that the law of unintended consequences will find myriad ways to demonstrate itself.  In few sectors will the damage be greater than in that of our nation’s cultural and architectural heritage where decades of hard work and conservation of our country houses will be sacrificed to play a short-term political game.

Beaudesert Hall, Staffordshire - demolished 1935 due to demands of heavy taxation (Image: Lost Heritage)
Beaudesert Hall, Staffordshire – demolished 1935 due to demands of heavy taxation (Image: Lost Heritage)

Let me make clear that this objection is not party political – I would object as vigorously regardless of whoever tried to propose it. Obviously the devil is in the detail but if we assume a tax levied on homes valued at £2m or more at 1% of the property value to be paid annually there are many obvious and profound flaws with the idea – below are a few of them:

  • Fallacy of numbers: there are more expensive houses than there are rich people who could afford the tax. Many houses which would be affected have been inherited thus exchanging the large liquid capital requirements of purchase for the more manageable (though not insubstantial) cost of on-going maintenance.
  • Value suppression: a house valued at £2m will immediately not be worth £2m when a mansion tax is introduced (thus reducing the projected tax receipts).  This will lead to a very hard ceiling on house prices, stagnating the market far below that level as it will prevent others trading up by imposing a disproportionate penalty on anyone purchasing over that price level. Think of all the disadvantages of the current crude banding of Stamp Duty, but magnified.
  • Incentive to neglect: if your house is worth just over £2m, there is a benefit to allowing your property to deteriorate so that it can be assessed at being below the threshold. But how often will they be valued? Will it lead to a cycle of neglect and repair to coincide with this? Who will wish to improve their property for fear that it will push it over the punitive threshold?

Perhaps the greatest threat is to the contents of country houses; the art, sculpture, books, tapestries which combine in such an intangible emotive way to create that atmosphere unique to each.  When the financial effects of the 1870-80s agricultural depression began to be felt, the first items to be sold were the contents – the Titians, Rubens, Caxtons, Shakespeares, Nollekens, Canovas were taken from their pride of place and sent to auction or dealers, the resulting funds merely delaying the inevitable sale of the house.  If we thought the National Lottery Fund was sorely stretched at the moment to acquire for the nation the occasional fine work which appears at auction, there is little chance of them being saved if the volume increases, meaning they will, in many cases, go overseas. Additionally, if the best works have already been sold, then death duties will be a final hammer blow to shatter the cultural and historical unity of the country house, with nothing left to sell or offer in lieu.

This type of crude taxation has been tried before and it is always heritage which pays the price.  The many gaunt shells of Scottish country houses, such as Dalquharran Castle or New Slains Castle, which were un-roofed to avoid punitive taxes are sad testament to the folly of this approach.  Supporting a mansion tax is to accept a probable return to an era where empty country houses become derelict – ironically coming so soon after the 40th anniversary of the ‘Destruction of the Country House’ exhibition. The National Trust will not be able to take them on without an endowment and English Heritage are sorely underfunded already – leaving either neglect or a hope for an influx of foreign wealth to purchase these houses. Without a local owner living there full time, there are likely to be fewer jobs reducing tax revenues and, with the dearth of rural jobs, leading to higher numbers relying on the State for assistance or an exodus to larger urban areas, further damaging the rural environment.

Dalquharran Castle, Ayrshire - built by Robert Adam c1785-1790, un-roofed 1967 (Image: RCAHMS)
Dalquharran Castle, Ayrshire – built by Robert Adam c1785-1790, un-roofed 1967 (Image: RCAHMS)

Perhaps there could be exemptions for houses which are open a certain number of days a year or which support useful charitable activities but the danger is that these would be used to justify an idea that is inherently wrong.

This article is deliberately painting a rather bleak picture, partially because there is a real likelihood of any of these outcomes, but also to emphasise just how badly-thought out this crude idea is.  It offers no benefits except as a bone to be thrown to a few class warriors but it should seriously worry anyone who cares about the UK’s cultural, artistic and architectural heritage.  Owning a country house is a responsibility, not only as a home for the owner and their family, but one owed to society as a whole.  It is inevitable and right that tax should be raised to pay for the society we hope to live in, but to wilfully sacrifice four centuries of heritage is an immoral and culturally destructive way to do so, no matter how noble the intended reason.