How tourism split a house from the estate: Warwick Castle, Warwickshire

Warwick Castle, Warwickshire (Image: Gernot Keller/Wikipedia)
Warwick Castle, Warwickshire (Image: Gernot Keller/Wikipedia)

A small advert tucked away in a recent Country Life marks the final split of a house from it’s estate. With the sale of the parkland associated with Warwick Castle in Warwickshire, another house loses control over an important asset – though this separation is very much tied up with the history of the opening of country houses to tourists, and this castle in particular.

Country house visiting is perhaps thought of as a more modern phenomenon but Warwick Castle was one of the first houses to be truly exploited as a tourist attraction with visitors coming in significant numbers from 1815 onwards. The growth of the industrial Midlands in the Victorian era and consequently a growing middle class seeking excursions, shifted the pattern of ‘show-houses’ (that is, ones regularly open to the public when the family were absent or on specific days) northwards, away from the more aristocratic 18th-century London-Bath axis.  The Midlands were particularly well provided for with many houses open to the public from the 1850s including Eaton Hall, Chatsworth House, Haddon Hall, Newstead Abbey, and Belvoir Castle amongst perhaps a hundred.  This reached a peak in the 1880s when the most popular houses would receive tens of thousands of visitors a year, reflecting a popular interest in the houses of ‘Olden Time‘ as popularised by writers such as Joseph Nash and Sir Walter Scott.

Warwick Castle, with it’s prized medieval origins, was particularly popular – to the extent that not opening it was considered unthinkable.  That the public expected to be allowed to see inside these houses could be shown in a comment in the Daily Telegraph in 1871 which said:

An Earl of Warwick who would make his whole castle his own in the spirit of an inhospitable curmudgeon, who would shut out all eyes but his own from the feast within those walls, is a being so opposed to every English tradition that it is difficult to realise him.

For the aristocratic owners, economics certainly played a stronger role than any sense of public generosity.  For some, having a popular house in the country was no inconvenience as, such as at Dunster Castle in Somerset, it was remarked in 1845; ‘The owner, an inveterate Bachelor, lives in London and hardly ever comes here‘.

Especially convenient for trippers from Birmingham and the nearby resort of Leamington Spa, Warwick Castle was hosting as many as 6,000 visitors per year in 1825-26 and when the Earl of Warwick’s housekeeper died in 1834 she was said to have left £30,000 earned from tips.  Yet it was the devastating fire of December 1871 which firmly moved the castle from being simply a home to a business. The fire destroyed the family apartments but luckily left the oldest parts of the castle untouched.  The Earl of Warwick’s financial situation meant that he simply could not afford to restore the house to its former glory, a prospect which scared the local tradespeople, fearing the loss of the tourist trade and so a restoration fund was created.  However, to ensure the Earl’s pride was not dented it was presented as recognition of the burden he bore as owner of a national treasure.

However, a furious response from no lesser figure than John Ruskin marked the start of a backlash, saying ‘If a noble family cannot rebuild their own castle, in God’s name let them live in the nearest ditch till they can‘.  Behind this was the growing social democratic movement which moved from support of national treasures privately-owned towards a more socialist belief that national assets ought to be owned by the ‘people’.  The purchase of Aston Hall by Birmingham Council in 1864 as a public museum and park was no doubt playing on the minds of both certain radical sections of society and Lord Warwick – though for different reasons.  The appeal eventually raised £9,000 which paid for restoration by Anthony Salvin but the importance of opening the house as an attraction was highlighted as a way of not only funding costs but also as a way of keeping the public happy that they had ‘access’ to what they now felt of as ‘theirs’.

From this point, the house was never really a private home again.  The Earl and his son embraced the tourist industry but in 1885 closed the castle for a year to re-organise the showing on a more commercial basis.  Gone were the old servants acting as guides; in came professionals paid for by the one shilling admission tickets.  The new system was a success, with 20,000 visitors in the first full year of the new regime.  The new domestic arrangements were confirmed by the 5th Earl who inherited in 1893 and preferred to live at his wife’s estate Easton Lodge in Essex.  In the same year, the castle staged its first historical pageant, which was repeated on a grander scale in 1906.  The 6th Earl, who took over in 1924, further promoted the tourist business, pushing visitors to a peak in 1930 of over 80,000.  Even during the war years, there were over 10,000 visitors in 1943-44, and numbers had recovered to their pre-war peak by 1949-50.

All this increasingly showed that the wider estate, for all its charms – landscaped by Capability Brown in 1747 and much admired by Horace Walpole, it was considered secondary to the primary purpose of the enterprise; to get people into the castle. When the 8th Earl decided to abandon Warwick Castle once and for all in 1978, selling it to the Madame Tussauds group which underlined just how much a tourist attraction it had become, the estate was included but farmed by tenant farmers leaving the grounds as a mere sideshow.  The 679-acres now under offer (guide price: £3m) is the bulk of the estate bar a few acres around the castle.  Land and house have been separated as assets and are unlikely to be reunited. This leaves a house without control of the setting which, although sidelined, has been an important part of what made it into such a popular tourist attraction, and leaving fans of our country houses sad that another has been split up in this way.

Property details: ‘Warwick Castle Park, Warwickshire‘ [John Shepherd]

For more history on country house tourism I can strongly recommend ‘The Fall and Rise of the Stately Home’ by Peter Mandler which proved very useful in relation to this article.

Houses as hospitals: the country houses in medical service

Hatfield House, Hertfordshire (Image: Amy Lloyd/flickr)
Hatfield House, Hertfordshire (Image: Amy Lloyd/flickr)

Our country houses have always been adaptable as changing fashions or functions required they accommodate new ways of living or roles.  One role which quite a few houses have taken on is that of hospital – either privately or as a fully-fledged part of the NHS – though this use has not always been sympathetic.  However, as the modern health service centralises to larger sites it seems some country houses are re-emerging to become homes again.

Hospitals were traditionally monastic, centred on the abbeys and convents but these were obviously scarce.  The ill were treated in large dormitories although some established houses in the country away from the main abbey to care for the mentally ill.  However the dismantling of the religious orders during the Reformation from 1536, meant that increasingly the burden for care of the pauper sick fell to secular civic bodies, with towns creating their own hospitals.  This model persisted until the 17th-century when private benefactors became increasingly prominent, donating funds and buildings for the care of the ill.

One of the earliest country houses to be converted was the partially completed Greenwich Palace. Originally a Tudor royal house, it had become derelict during the English Civil War, so in 1664 Charles II commissioned John Webb to design a replacement but which was only partially completed.  It was this building which Queen Mary II, who had been affected by the sight of the wounded sailors returning from the Battle of La Hogue in 1692, ordered to be converted to a navel hospital in 1694, to the designs of Sir Christopher Wren and Nicholas Hawksmoor and later Sir John Vanbrugh.

Possibly inspired by the royal example, other country houses were donated or converted for use as hospitals.  However, it quickly became apparent that they weren’t particularly suitable with one Irish physician, Edward Foster, complaining in 1768 that ‘In general, Houses have been rented for Hospitals, which are as fit for the Purposes, as Newgate for a Palace‘.  By the 1850s hospital design was beginning to emerge as a distinct branch of architecture -Florence Nightingale wrote to an officer of the Swansea Infirmary in 1864 saying that a hospital was a difficult to construct as a watch; no building ‘requires more special knowledge‘.  From this time, the country houses themselves became less important than the space they offered with the house itself being used as accommodation or offices. However, for the treatment of respiratory illness the clear country air was considered part of the cure with houses being acquired as tuberculosis sanatoria such as at Moggerhanger Park in Bedfordshire originally designed by Sir John Soane for the Thornton family.

The First World War necessarily required country houses to come back into medical use due to the terrible consequences of the strategy of attrition through trench warfare in WWI which created large numbers of wounded.  Without a national health service there were fewer hospitals able to cope with the seriously disabled or even those simply convalescing.  Many country houses were pressed into service, their clean country air and fine grounds considered most helpful to rest and recuperation. During WWII, fewer houses were used as military hospitals as changes in military tactics led to many fewer casualties than expected.  However, a significant number were used either by the military or as civilian replacements for urban hospitals which it was feared would be bombed.

Hatfield House, Herts - King James Drawing Room as a hospital ward in WWII
Hatfield House, Herts - King James Drawing Room as a hospital ward in WWII

For country house owners, given the possible options of who might take over their house, the bed-ridden were infinitely preferable to the bored squaddies who wreaked such havoc at other houses (apparently housing art treasures was first preference, evacuated schools second, hospitals third).  This reality plus a genuine sense of wanting to help led to many owners voluntarily turning over their houses as hospitals including the Earl of Harewood offering Harewood House, Lord Howard of Glossop Carlton Towers, Lady Baillie lent Leeds Castle and the 4th Marquess of Salisbury offering Hatfield House as he had done during WWI.  On the civilian side, Brocket Hall in Hertfordshire became a maternity hospital as was Battlesden Abbey in Bedfordshire, Stockeld Park and Farnley Hall, both in Yorkshire. Cholmondeley Castle in Cheshire became a Royal Navy Auxiliary Hospital, treating ‘cases of good morale, who are suffering from nervous breakdown usually as the result of operational stresses’.

After the war many houses were returned to their owners in such terrible disrepair that unfortunately hundreds were demolished.  Others continued in their wartime roles with some such a Poltimore House in Devon becoming hospitals after the war when two local GPs recognised the need for more bedspaces and so took over the old seat of the Bampfyldes until it was nationalised after the creation of the NHS in 1948.  There were also many War Memorial hospitals, founded by public subscription after WWI, which often made use of a country house. The nationalisation of these hospitals gave the NHS many of the country houses it has today – although it is relatively few overall as less than 5% of all their buildings are grade II* or grade I listed.  Of the historic ‘therapeutic’ landscapes it manages, seven are included on the English Heritage Register of Parks and Gardens of Special Historic Interest in England.

However, sometimes these country houses and their settings can escape and revert to being homes, either through conversion or, if the houses has been lost, replacement.   Bretby Hall in Derbyshire, built between 1813-15 by Sir Jeffry Wyatville for the Earl of Chesterfield, was an orthopaedic hospital until the 1990s when the main house was converted into flats, as was the High Victorian Wyfold Court in Berkshire.  Harewood Park in Hertfordshire was demolished in 1959 after use as hospital in WWII but the estate has been bought by the Duchy of Cornwall with proposals for an elegant and very impressive new Classical house by Craig Hamilton Architects.  A similar plan has been put forward for the 57-acre site of the former Middleton Hospital in Yorkshire with the permission requiring the demolition of various redundant buildings from its former use to restore the site.

Sadly though, sometimes the NHS fails to adequately look after the houses it has in its care.  As the trend has moved towards large, new hospitals so the historic elements have been overlooked or abandoned as new hospitals are built elsewhere. As funding for new hospitals is not dependent on the sale of the old site and the house, sadly they can be neglected or subject to inappropriate development as has been the case with the grade-II listed Stallington Hall in Staffordshire, which became a home for the mentally ill in 1928, but after it closed has been vandalised and neglected with a housing development built inappropriately close to the house across the lawn, forever ruining it as a country house –  a poor payback for years of public service.

Related story: ‘Developers draw up plan for country house‘ [Ilkley Gazette]

Background information: ‘Reusing historic hospitals‘ [Institute of Historic Building Conservation]

As predicted; Cherkley Court, Surrey now for sale

Cherkley Court, Surrey
Cherkley Court, Surrey

When the doors to Cherkley Court in Surrey closed to visitors in December 2009, it was thought that low visitor numbers had proved it uneconomic to keep the house and gardens open.  However, as predicted by a commenter to my original blog post [thanks Andrew], Cherkley Court is now for sale and has been launched with a double-page centre spread in the Sunday Times Home section today [19 Sept 2010].

If one was to try an define what might constitute a perfect trophy estate in Surrey, Cherkley Court might well tick most of the estate agents’ criteria.  The grade-II listed house, built c1870 (and rebuilt after a fire in 1893), is a four-storey, chateau-style mansion extending to over 24,000 sq ft with home cinema and five grand reception rooms, with nearly 400-acres of gardens and parkland.

The house is now for sale following a 7-year, £10m restoration of the house and grounds orchestrated by the architect Christopher Smallwood and David Mlinaric, the interior designer.  The house became a famous venue for parties under the ownership of Max Aitken (later Lord Beaverbrook) and his wife Gladys who lived there until her death in 1994.  It was her death which sparked a bitter legal dispute between beneficiaries of the will which has forced the sale.

So if you have £20m and don’t mind the restriction on not landing your helicopter in the grounds, have a word with Savills.

Property details: ‘Cherkley Court, Surrey‘ [Savills]

Listed building description: ‘Cherkley Court, Surrey

Developer shows sense; Ruperra Castle for sale

Ruperra Castle, Newport, Wales (Image: Savills)
Ruperra Castle, Newport, Wales (Image: Savills)

Run-down or derelict country houses are often an enticing prospect for a developer, especially where the house still retains some land, on which they can propose ‘enabling development’.  In theory this is the correct use of this exemption but frequently the developer will suggest too many houses or ignore the fact that the house has too little land to avoid any development compromising the setting of the house.  When this happens, it is often the house which suffers as the developers wait for appeals or a change in policy whilst allowing the house to deteriorate further.  So in the case of Ruperra Castle in Wales it’s encouraging that the owner has decided to bow out giving someone else the chance to restore this architecturally interesting house.

Ruperra is an early example of the ‘mock’ castles which became fashionable in the Elizabethan and Stuart eras and were an example of life imitating art as the idea of these houses drew from the ‘pageant castles’ as featured in court entertainment of the time.  These stage castles formed the centrepiece to the royal ‘masques’ and were laden with allegorical symbolism as they might be populated by damsels (signifying virtue) but successfully defended against attacking knights (signifying baser desires).  Works such as Edmund Spenser’s The Faerie Queen (published in 1590 and 1596) also fed a fashion for chivalry and heraldic forms. Importantly, the long period of domestic peace during Elizabeth’s reign meant that the design of houses moved from being primarily military and defensive to more simply domestic with the look of a house increasingly dictated by aesthetics.

Ruperra wasn’t quite the first of it’s type; that distinction could be said to be held by houses such as Michaelgrove in Sussex built for the Shelley family in 1536 (dem. 1830s), and Mount Edgcumbe in Devon, built between 1547 – 1554, which also were not fortresses and featured a square or rectangular central block with drum or square towers on each corner.  This was followed by the fabulous Wollaton Hall in Nottinghamshire, begun in 1580, which was an altogether more grandiose statement of power but broadly followed the same layout – as did Hardwick Hall, although in an adapted form. However, the Renaissance ornamentation of Robert Smythson‘s design at Wollaton contrasted dramatically with more austere designs of the true ‘mock’ castles which harked back to the earlier simplicity of decorated castles such as Herstmonceaux Castle in Sussex, begun in 1440, with its many windows and regularised defensive elements (such as the arrow loops) making them almost decorative.

Lulworth Castle, Dorset (Image: Matthew Beckett)
Lulworth Castle, Dorset (Image: Matthew Beckett)

The design for Ruperra Castle was clearly based on that for Lulworth Castle, just 100 miles away in Dorset, and built between 1603-05.  Always called a ‘castle’ but built with the instruction from Lord Howard of Bindon that it ‘prove pretty’, it was never military.  Indeed, Thomas Gerard writing in 1630 described it as ‘well seated for prospect and pleasure; but of little other use’. Bought by the Weld family from Lord Howard it remained their family seat until a devastating fire in 1929 completely gutted the interior – as it remains today, although the building itself has been restored.  Another house thought to have been built around 1612 is Compton Bassett House in Wiltshire (dem. c1929) which clearly shared a similar layout although the corner turrents were square.

The builder of Ruperra Castle was Thomas Morgan (b.1564 – d.1632), who made his fortune as the Steward for the Earls of Pembroke at Wilton House, Wiltshire.  Morgan would have been regularly exposed to court life and would have been very aware of the latest architectural fashions.  Hence when he came to build his own house, which was finished in 1626, he deliberately drew on the latest architectural fashions and created one of the first of the ‘modern’ country houses.  The layout was a significant departure as the rooms were orientated to the outside to make the most of views – hence Ruperra’s elevated site chosen for its beauty rather than defensibility.  Interestingly the ‘castle’ design seemed to fall quite quickly from favour and so there are few other examples of this type – though one late example was Beaurepaire Park in Hampshire built in 1777 (sadly burnt down in 1942).

Ruperra Castle remained as part of the Morgan’s vast Tredegar estate and was traditionally used to house the eldest son before he inherited Tredegar House, the family’s principal seat.  The castle originally had dormers but these were removed during the rebuilding after a fire in 1785 and replaced with the crenellations there today.  It was last inhabited during World War II when a searchlight battery requisitioned it and they were there when the terrible fire caused by faulty wiring broke out in 1941.  Despite best efforts, the house was completely gutted and was eventually sold, along with the rest of the 52,000-acre Tredegar estate in 1952.

Since then, constant promises of restoration have come to nothing and it has steadily deteriorated, most dramatically when, in 1982, the south east tower largely collapsed.  Sold to the current vendor, Mr Ashraf Barakat, in 1998 he had hoped to convert the house into 11 flats and build 18 more houses in the 14-acre grounds that remained with the house.  After a final rejection at a public enquiry in 2009, Mr Barakat has now, wisely, put the still grade-II* listed Ruperra Castle on the market for £1.5m, rather than holding on and letting the house deteriorate further.  This should not be considered a development opportunity, so hopefully now someone with deep pockets will come forward to restore, as a single family house, this architecturally important building.  Its rescue would once again connect the modern history of country house design in Wales, bringing life back to a house which, when it was built, was the most sophisticated in the country.

Property details: ‘Ruperra Castle, Lower Machen, Gwent, Wales‘ [Savills]

More on this story:

More information:

Credit: I’m indebted to the prior work of Mark Girouard (‘Elizabethan Architecture‘ 2009) and the late Andor Gomme for their knowledge of Elizabethan architecture.

For the polo enthusiast; for sale – Cowdray Park House, Sussex

Cowdray Park House, West Sussex (Image: Knight Frank)
Cowdray Park House, West Sussex (Image: Knight Frank)

Despite a house having been in the family for over a hundred years, sometimes it can seem the most rational choice to sell.  For the current Lord Cowdray, the idea that he might saddle his heir with what he considers a burden has led to his decision to put the impressive Cowdray Park House up for sale.

If you mention Cowdray often the first house which springs to mind are the atmospheric ruins which are all that are left of one of the grandest Tudor houses in the country.  The fire in September 1793 destroyed not only a large part of the house but also many priceless and historically important artefacts including William the Conqueror’s sword and also the roll-call of those present at the Battle of Hastings.   Just two weeks after the fire the 8th Viscount Montague drowned whilst swimming in the Rhine, forcing the title to a distant descendent of the the 2nd Viscount, who died childless, extinguishing the Viscountancy.

The tragedies continued – the 8th Viscount’s sister inherited but both her sons died whilst swimming off Bognor in 1815.  The three daughters who then inherited in 1840 eventually decided to sell and it was bought by the 6th Earl of Egmont for £300,000.  The current Cowdray Park House dates from 1878 when the 7th Earl, who had inherited the estate in 1874, massively enlarged the Keeper’s Lodge to create the house we see today.  A large rambling, but very picturesque creation, it obviously has taken its cues from houses such a Knole and Penhurst with their varied rooflines and many courtyards.  The grounds had been previously landscaped by Lancelot ‘Capability’ Brown between 1768 and 1774 with the ornamental gardens laid out in the early 18th-century.

The house was bought in 1908 by Sir Weetman Pearson who was created Viscount Cowdray in 1917.  Sir Weetman was a brilliant engineer who not only built the Blackwall Tunnel under the Thames but also had extensive oil interests in Mexico.  The house then passed through the Pearson family with few changes until the 3rd Viscount, in pursuit of his passion for polo, created one of the premier polo grounds in the country within the 16,500-acre estate.

Yet being a titled aristocrat living in a 16-bedroomed, 44,000 sq ft house in the middle of a fine estate proved to not be what the current Viscount hoped for after he inherited in 1995.  In May 2009 it was announced that he and his wife and son were to move out of the main house and into a smaller house on the estate, Fernhurst, where they had lived before inheriting.  The 2009 plan involved finding someone to take a long lease and create a hotel and spa in the house but the wider economic circumstances have forced this plan to be abandoned.    Unwilling to continue managing such a large house, with all the attendant issues with staffing and maintenance, the Viscount has decided to sell, putting it on the market, with 110-acres, for £25m, whilst retaining the rest of the estate including the world-famous polo grounds.  Renting the house out, he says, would just be delaying the decision.

Speaking to the Sunday Times in 2009 when he announced his plans, Viscount Cowdray admitted that “I’m not the sort of person who feels hugely attached to things, and it’s a big house.” and later speaking to the Observer that same year he said “I have worried whether I will be leaving Perry a wonderful asset or a noose around his neck. I fear it is likely to be the latter,”.

Whilst the arguments put by the Viscount seem rational it does seem a shame to divorce the house from the estate.  The Cowdray estate has long adapted to changing circumstances but to dismember it seems to be a short-term solution which his son may, with hindsight, regret when he comes to take over, as it leaves one of the most significant estates in Sussex without a principal house.

*Update* Remarkably, Cowdray Park House is unlisted so any buyer has the opportunity to make any changes they wish – and I’m willing to bet they won’t be good.  Knight Frank are touting this as a benefit but perhaps representations ought to be made to Chichester District Council to nominate it for listing using this form.

More details: ‘Cowdray Park House on sale for £25m‘ [Chichester Observer]

Property details: ‘Cowdray Park House, West Sussex‘ [Knight Frank]

The Cowdray Estate