restoration

Reflections on the loss of Clandon Park, Surrey

Matthew Beckett - The Country Seat18 Comments

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]

The finest SAVE, now for sale: Barlaston Hall, Staffordshire

Matthew Beckett - The Country Seat5 Comments
Barlaston Hall, Staffordshire (Image: Knight Frank)
Barlaston Hall, Staffordshire (Image: Knight Frank)

The wholesale destruction of UK country houses in the 1930s and 1950s was undoubtedly a tragic waste; not only of materials but also the embodied beauty and history of the hundreds of houses lost. Barlaston Hall, recently launched on the market for sale, and which was so valiantly fought for by SAVE Britain’s Heritage who famously bought it for £1, provides a case study which shows what might have been possible if circumstances had been different. How many more of our country houses might have survived to still be found nestled at the end of a tree-lined drive?

Collapse of Hague Hall, Yorkshire, due to mining subsidence, 1910 (Image: Lost Heritage)
Collapse of Hague Hall, Yorkshire, due to mining subsidence, 1910 (Image: Lost Heritage)

The plight of the country house in the 20th-century struck at both the large and the small, the grand and the intimate.  A financial crisis could, in a generation, take a family from a secure status enjoying thousands of acres to one of ruin and a forced retreat from the family seat.  For some houses the demise was swift – for sale intact one year but the following year could see sales of contents, then fixtures and fittings, and finally the materials. The alternative fate for a number of houses was a lingering demise – abandoned, at risk from thieves and the weather, to an increasingly hostile environment with threats coming from every angle, even from below.

The elegant Barlaston Hall in Staffordshire was one house which fell firmly into the latter category. A remarkable house, it represented an important development of the Palladian tradition; the moment it moved from ‘copying’ to evolving.  The house was built c.1756-58 for Thomas Mills, a local lawyer, with the design convincingly attributed to Sir Robert Taylor (b.1714-1788).

Architecture was not his first choice of career. Taylor was the son of a master mason and sculptor, also called Robert, who was successful enough to build a villa in Woodford, Essex, but who was also rather profligate.  The father managed to get his son apprenticed to the sculptor Henry Cheere and on completing his time, found his father had just enough to send him on to Rome to study.  Whilst there, his father died so he came back to find his inheritance was no more than debts, but friends enabled him to set up as a sculptor and by 1744 he was sufficiently accomplished to be commissioned by Parliament and to carve the pediment of the Mansion House in the City of London.  It became clear that he paled in the shadow of his contemporaries – Roubiliac, Rysbrack and Scheemakers – so at the age of 40 he turned to architecture.

Outside influences often act as catalysts for development. In the same way that Blenheim Palace was enriched by Vanbrugh‘s theatrical experience, so Taylor had the advantage of his earlier, if unsuccessful, sculptural career which brought a more developed sense of shape, form, and movement to his architecture.  Colvin praises him as an architect of ‘considerable originality‘ and that ‘his villas…represented a new departure in country-house architecture‘. What Taylor provided was an evolution of the strict Palladian designs of the previous generation, marrying them to a more tolerant approach that allowed the interiors to be more Rococo, with decorative plasterwork and patterns, drawing on his knowledge of the original sources in Italy. Taylor created wonderfully elegant villas for his clientèle of bankers and merchants, who needed smaller houses for entertaining rather than seats for a rural family empire.

Braxted Park, Essex - note the octagonal window frames (Image: Braxted Park)
Braxted Park, Essex – note the octagonal window frames (Image: Braxted Park)

Although Taylor undoubtedly designed many buildings, he seems to have almost conspired to make it impossible to attribute them as he left no record of his practice and also apparently never signed his drawings.  There are, therefore, large gaps in both his chronological and stylistic history but starting with his first country house, Braxted Park, Essex in 1753-6, it is clear that his skill and legendary capacity for hard graft meant a sizeable output.

Harleyford Manor, Buckinghamshire (Image: Stephen Richards via Geograph)
Harleyford Manor, Buckinghamshire (Image: Stephen Richards via Geograph)

Of particular note, in relation to Barlaston Hall, is Taylor’s design for Harleyford Manor, Buckinghamshire, in 1755. Part of a group of second-generation Palladians – along with Flitcroft, Keene, Paine, Ware, and Wright – Taylor saw Palladio as an inspiration but was not a slavish disciple.  The core principles relating to proportion and preserving a necessary elegance were respected but it was in the interpretation that they introduced variety.  At Harleyford, Taylor took a more vernacular style to the idea of the Villa Rotonda (a standalone villa with four equal fronts, allied with its landscape) but also combined with a sculptors appreciation that it should be attractive from all angles.

Asgill House, Richmond, Surrey (Image: Matthew Beckett)
Asgill House, Richmond, Surrey (Image: Matthew Beckett)

Built between 1756-58, the layout and style of Barlaston Hall clearly shows the kinship with Harleyford. The elegant simplicity of the ground floor layout with the four principal rooms pushing out into the arms of the cross with a double-height central hall clearly can be derived from the Villa Rotonda but rotated on the axis to create more interior space, as opposed to the Rotonda’s open loggias.  One of the most distinctive features is the pleasing ‘chinese’-style woodwork, with octagonal window tracery on the exterior, a pattern mirrored in the library in the bookcase doors.  For one so early in his career, Taylor was showing remarkable invention, elegance and practicality, all of which served to launch his practice, which continued for 35 years. After Barlaston, further commissions such as Asgill House (1761-64) on the riverside at Richmond, Surrey, for his friend Sir Charles Asgill, also helped establish Taylor’s reputation.

Not that any of this innovation and elegance mattered to the Wedgwood company who applied twice in the early 1980s to demolish Barlaston Hall.  The house and estate had been bought by the famous pottery firm in 1937 as part of a scheme to create a new factory and model village for their workers.  These were built some distance away but the now grade-I listed house was badly neglected with serious water damage causing it to become increasingly derelict, with ceilings and the staircase collapsing, and the structure affected by subsidence caused by coal-mining.  The house also sat across a geological fault and future mining plans risked the whole area sinking by about 40 feet.  Clearly, this was a house very much at risk.

Entrance front, Barlaston Hall, Staffordshire (Image: SAVE Britain's Heritage)
Entrance front, Barlaston Hall, Staffordshire (Image: SAVE Britain’s Heritage)

In 1981, the second application to demolish was called to public inquiry, due to the importance of the house, where the architectural conservation charity SAVE Britain’s Heritage argued the case for the preservation and restoration of the house. As Barlaston Hall had been designated as ‘outstanding’ this placed certain obligations on the National Coal Board who would be required to pay for not only repairs but also preventative measures, such as the huge concrete raft they devised to prevent further movement.  After a few days of arguments, Wedgwood decided that they would make a bold move and offer the house to SAVE for £1 on the condition that it was restored within five years or they could buy it back for £1 (after which the house would no doubt be swiftly demolished).  The then Secretary of SAVE, Sophie Andreae, immediately phoned the President, Marcus Binney (who was in the USA) with the news.  Conscious that he had to make a decision there and then, Marcus called Wedgwood’s bluff and bought Barlaston Hall.

Dining Room, Barlaston Hall, Staffordshire - 1981 (Image: SAVE Britain's Heritage)
Dining Room, Barlaston Hall, Staffordshire – 1981 (Image: SAVE Britain’s Heritage)

A few days later when Marcus was able to visit the house for the first time, the scale of the challenge became starkly apparent.  Stepping into the debris-strewn hallways, light shone through all three floors from gaping holes in the collapsed roof and 4″ cracks indicated where the subsidence was taking hold.  Although most of the fireplaces had been stolen, the good news was that much of the original plasterwork on the walls and the distinctive woodwork had survived.  SAVE immediately organised a temporary roof, after which, the house took nearly 2 years to fully dry out.  Specialist heritage builders and professionals swiftly set to work on both the structural and conservation issues.

East front, Barlaston Hall - 1981 / 2014 (Images: SAVE Britain's Heritage / Knight Frank)
East front, Barlaston Hall – 1981 / 2014 (Images: SAVE Britain’s Heritage / Knight Frank)

Although work had started well, delays in securing the necessary certificates from the Secretary of State meant that the National Coal Board then decided to try and renege on their agreement to fund the work.  SAVE sought leave for a judicial review which prompted the Secretary of State to immediately fulfil his promises, which ultimately forced the National Coal Board to capitulate from their shameful position and fund the repair and preventative works – and SAVE’s legal fees too.  With immediate funding secured, which was followed by further grants, the conservation work continued.  It was put up for sale in 1992 and bought by the current owners who have sensitively completed the restoration of this captivating and fascinating house.

That the value of a house can go from £1 to £2.3m in the space of 30 years shows that the fortunes of country houses can rise as swiftly as they fall.  Barlaston Hall not only represents an important link in our understanding of the domestic Anglo-Palladian tradition, but is also a testament to how determined action can succeed even against larger opponents.  Today, the house still stands proudly displayed from the road, a bold statement of hope and preserved beauty.

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If you would like to support the fight to preserve our architectural heritage, please do become a Friend of SAVE Britain’s Heritage.  You will receive a regular newsletter plus access to the online database of ‘buildings at risk’.  You can also follow them on Twitter: ‘@SAVEBrit‘.  I am on the Committee of SAVE.

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The sale was announced in Country Life magazine: ‘A Country House Reborn‘ [16 April 2014]

Sales particulars: ‘Barlaston Hall‘ [Knight Frank]

A more detailed account of SAVE’s fight: ‘Barlaston Hall‘ – the Wedgwood Museum also has a brief history of the house on their website but which skips over the bit where Wedgwood tried to have it demolished. For historical images, see ‘Neville Melkin’s Grand Tour of the Potteries‘.

Soane’s happy commission: Tyringham Hall for sale

Matthew Beckett - The Country Seat19 Comments
Tyringham Hall, Buckinghamshire (Image: Savills)
Tyringham Hall, Buckinghamshire (Image: Savills)

‘Six of the most happy years of my life‘ is how Sir John Soane described his commission to build what is regarded as one of his finest works: Tyringham Hall, Buckinghamshire.  Although altered, the house forms an important link in the development of both Soane’s architectural and professional skill; an ideal commission which gave full scope to his genius.  It also has the rare distinction of benefiting from another British architectural giant, Sir Edwin Lutyens, who created some of his best but also smallest work there. Now having been restored, the house is for sale; an early and clear candidate for the most important house to be sold in 2013.

Letton Hall, Norfolk (Image: Chris & Angela Pye via Flickr)
Letton Hall, Norfolk (Image: Chris & Angela Pye via Flickr)

Sir John Soane built only eighteen complete country houses, mainly between 1780-1800, so each house is an important step in tracing the evolution of his distinctive style.  Burnham Westgate was Soane’s first major remodelling (covered in an earlier blog post: ‘For sale: a Soanian springboard‘ Oct 2011) but his first entirely new house was Letton Hall, Norfolk. Built between 1784-92 for B.G. Dillingham, Soane had convinced Dillingham to demolish, rather than alter, the existing Old Hall which he had inherited that year.  Soane’s early working practices, honed through smaller commissions, emphasised extensive discussions with the client at the early stages, and the creation of a wooden model to help them visualise the proposed scheme (created in 1785 – after work had started – at the cost of £6 11s).  Letton also demonstrated several of what we regard as ‘Soanian’ architectural traits: the compact villa design, pale bricks, beautiful proportions and the cantilevered, top-lit staircase.

Stowe House, Buckinghamshire (Image: e-architect)
Stowe House, Buckinghamshire (Image: e-architect)

Soane’s practice now progressed steadily with commissions for new houses at Tendring Hall and Shotesham, along with other works on varying scales.  His growing reputation for not only excellent designs but also for completing work on time and within budget led to his name being circulated amongst the right type of clients who could provide the opportunities Soane hoped for. Drawn by his friend, Lord Camelford, into increasingly political circles, he became friends with the powerful Marquis of Buckingham, who owned two great estates at Stowe and Wotton.  In August 1792, it was Buckingham who took Soane to visit the banker William Praed at his property, Tyringham, which his wife had inherited and which was conveniently close to the Marquis, in whom rested his political and business ambitions.  Needing a house to match his intended status, Praed initially commissioned Soane to remodel the existing Elizabethan manor house. However, after some Soanian persuasion, in June 1793 he decided that an entirely new house would best serve his needs – much to the architect’s undoubted relief.

Soane displayed a particular flair when designing an entirely new house.  Although at the  core of his houses was a Palladian villa, as John Summerson notes, Soane was able to ‘…twist it into something much more complicated with sequences of shaped rooms ingeniously interlocked, and lobbies introduced to effect harmonious transitions‘.  It was this imagination which Soane brought to the Tyringham commission and which created one of his early masterpieces, with flashes of brilliance, both inside and out.

One of the first is the now Grade-I listed monumental arch gateway leading from the main road; a building of such elegance and novelty that it had Pevsner in raptures, describing it as ‘a monument of European importance…it is entirely independent of period precendent, a sign of daring only matched at that moment by what Ledoux was designing in France [e.g. Hôtel Thellusson] and Gilly in Germany‘.  Leading to the house, the drive curves gently away, allowing the house to slowly come into view.  Soane designed the approach, incorporating an elegant humpbacked bridge with balustrades which curve at each end, away from the road, creating a delicate curl.  Arriving at the house, the exterior can also immediately be identified as by Soane, with typical details including the bow-front, the beautiful proportions and the superb detailing, such as the giant Ionic columns and Greek-key frieze.

The interior was to be the finest conception of the whole scheme; a dramatic, exciting series of spaces which would have delighted the visitor.  At the core of the plan was a device which Soane would re-use in later projects but on a monumental scale; the ‘tribune’, a top-lit inner hall.  To look at the plan is to understand the level of trust that William Praed displayed in Soane as, on entering the house, the first space encountered was dramatic as it was domestically redundant: a windowless ante-chamber lit only by the front door and flanking windows behind you, and through another doorway at the far end.  Passing through the room, flanked by four columns supporting a typical Soane shallow dome, you then stepped through the doorway and into the brightly lit central tribune; a Damascene moment of drama.  Forming the top of the T to the dark antechamber, the tribune then led to either the library, the drawing room or the stairs; each decorated in a typical Soane style. Though compact, the house and estate are both impressive and manageable, the perfect combination for a rising, ambitious banker who mixed in aristocratic company.

However, the house and estate today is not the same one Soane created.  Between 1907-19, a series of unfortunate changes were made to designs by the architect Ernst Eberhard von Ihne, his decorator Florian Kulikowski and another architect, Charles Rees, who implemented Von Ihne’s plans which swept away much of Soane’s interior decoration.  They also added an ill-proportioned copper dome, a tea cosy on a champagne bottle, which has the strange visual effect of elongating the columns.  With an estate of only 59-acres, it’s unfortunate that a series of 9 or 10 houses were built to the immediate north-east of the main house. Equally sad, the most important section of Soane’s considered drive to the house is now in separate ownership; the humpbacked bridge part of the public highway and worse, the road then continues down through that wonderful arch which so delighted Pevesner (how long before some careless driver seriously damages one or the other?) – follow the drive via Google StreetView.

Bathing and Music Pavilions, Tyringham Hall (Image: Country Life Picture Library)
Bathing and Music Pavilions, Tyringham Hall (Image: Country Life Picture Library)

Thankfully what is still intact is one of Sir Edwin Lutyens‘ finest garden schemes.  Between 1924-28, Lutyens was commissioned by the then owners, the Koenigs, a family of Silesian bankers, to create a garden ‘for the recreation of spirit and body‘.  Standing each side of a huge 72m pool, once thought to be the largest of its type in Europe, are two temples; one a bathing pavilion, the other of Music.  Reminiscent of Thomas Archer‘s sublime Pavilion at Wrest Park (1709-11), Lutyens’ interpretation is pared back, less ornamented, but equally impressive – indeed, he himself thought it faultless and would apparently sit in there on his own.

The current vendor, Anton Bilton and family, has lavished millions on restoring the house and grounds (though, he confirms not as much as the £10m previously reported) since buying it for £2.5m in 2001.  However, the £18m asking price quoted in The Sunday Times Home section (28/04/13) seems ambitious; £10m-12m feels more appropriate considering the way the house and estate have been compromised with the now non-private approach, the small housing estate to the east of the main house and the loss of Soane’s original interiors.  Make no mistake, this is still a superb house and sets the bar high for any other house offered for sale this year to be considered as attractive or as interesting.

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Property details: ‘Tyringham Hall‘ – £18m, 59-acres [Savills] Strangely, there is no brochure yet and the launch, through double fold-out spread in Country Life (1 May 2013), feels a touch late.  One wonders whether the Bilton’s were offered a chance to do the Sunday Times piece before Savills were ready and took it anyway?

Excellent selection of photos:

If you wish to find out more about Sir John Soane and are in London, visit his house at Lincolns Inn Fields, which is a museum to his life and work: ‘Sir John Soane’s Museum‘

Welcome to the market: Lutyens’ The Salutation, Kent

Matthew Beckett - The Country Seat5 Comments
The Salutation, Kent (Image: Knight Frank)
The Salutation, Kent (Image: Knight Frank)

The analogy between language and architecture is one that has often been made, particularly as fluency is the key measure of success in both fields.  An immature architect can make elementary mistakes with the grammar of a building style as much as any tourist abroad can when ordering dinner. In most cases, both novice architect and linguist can be understood but when compared to the more experienced practitioner, skill and mastery come sharply into relief.  Such a lesson by a master architectural linguist has just been launched on the market; The Salutation, in Sandwich, Kent; a beautiful piece of poetry which demonstrates the fluency of the architect in the language of Classicism.

Heathcote, Ilkley (Image: Thursday Dave via Flickr)
Heathcote, Ilkley (Image: Thursday Dave via Flickr)

Lutyens’ career can largely be seen in three phases; the early years of the ‘Surrey-Tudor’, which evolved into the middle ‘Arts & Crafts’, and then the divergence into the bold ‘Classical’, and its particular variant, ‘Edwardian Baroque’.  That last switch can be seen quite dramatically in the brilliant Heathcote, Yorkshire, built 1906, where Lutyens playfully adopted and adapted the Classical motifs and style of Palladio and Scammozzi to create a wonderfully detailed villa, rich in style and quite unlike his previous work.  After the exuberance of Heathcote (which annoyed Pevsner, who although he commented that it was ‘Only a villa, but how grand the treatment!‘, also dismissed features such as the pilasters which ‘disappear’ into the continuous rustication (see ground floor either side of the windows) as ‘silly tricks‘). On a side note; Heathcote recently sold having previously been bought by a developer/vandal who wished to split the house into two, thus ruining Lutyens’ interior planning – fingers crossed the new owner is sympathetic to this wonderful house.

Lutyens was, of course, part of a longer tradition starting with the first English classical architects practising around the time of Sir Christopher Wren in the mid-17th Century including Hugh May, William Samwell, and Roger Pratt. These pioneers displayed a similar skill in Anglo-Classicism producing buildings such as Cassiobury House (May), the first Eaton Hall (Samwell) and the revolutionary Coleshill (Pratt).  Classicism has long had a place in British architecture, despite other fashions, and has shown its versatility in being used for all sizes of house, from palaces to the smaller country retreat – and it was in this latter requirement that Lutyens was commissioned to build The Salutation.

Located on the site of an old inn of the same name, it was built in 1911-12 in the Queen Anne style as a retreat for Gaspard Farrer, a partner in Barings Bank, and his two bachelor brothers. Lutyens’ clients were typically those who had made money in the decades either side of 1900; that high-point of the country-house lifestyle when staff, materials and labour were relatively cheap. If there is a ‘criticism’ of Lutyens it’s his generosity with regards to space with hallways, alcoves, and large staircases, such as at The Salutation where an extended landing serves as an overflow from the library.  Yet, each space serves a purpose in the plan, typically framing views along axes or as part of a route to the principal rooms which Lutyens often incorporated into houses.

Great Maytham, Kent (Image: Stephen Nunney via Geograph)
Great Maytham, Kent (Image: Stephen Nunney via Geograph)

The exterior of the house is a smaller derivation of his earlier and much grander Great Maytham, built 1910, for the Liberal MP, H.J. Tennant.  Following the exuberance of Heathcote (which most commentators seem to think came very close to pomposity), Lutyens took a more restrained path through Classicism (compared say, to Richard Norman Shaw at Bryanston House for Viscount Portman) and Great Maytham can be seen as a larger version of Samwell’s Eaton Hall, built 1675, or the smaller Puslinch in Devon, built 1720, with the latter showing clear similarities with The Salutation.

East terrace, The Salutation, Kent (Image: Country Life Picture Library)
East terrace, The Salutation, Kent (Image: Country Life Picture Library)

The plan of The Salutation is based on the Palladian 3×3 grid but, importantly, Lutyens is able to adapt and amend this without losing the beauty of the proportions.  Gavin Stamp comments that, for Lutyens, his houses were ‘essentially romantic creations; that is, their form is determined by a picture in the architect’s mind‘ and another writer H.S. Goodhart-Rendel compared his ability to that of Wren in that they both had ‘the sculptor’s capacity of making beautiful shapes‘.  Country Life magazine said that it was a ‘dazzlingly suave yet restrained reinterpretation of the old Georgian idiom‘. It was this ability to combine a profound understanding of the Classical rules of architecture with originality which marked Lutyens out as one of the great architects.

To be given a measure of the importance the house, in 1950, it was the first 20th-century building to be given a Grade-I listing.  However, The Salutation suffered in the later 20th-century with the 1980s a particularly difficult time. Repeated attempts by developers were made to either split those graceful internal spaces into apartments or simply demolish it entirely and build on the 3-acre site, over which Lutyens (and possibly his long-term collaborator Gertrude Jekyll) had spent so much time and care crafting.

The Salutation from the garden (Image: Knight Frank)
The Salutation from the garden (Image: Knight Frank)

Salvation for The Salutation came in the form of Dominic and Stephanie Parker who bought it in 2004 for £2.6m and have subsequently spent £3m on its restoration and who now run it as a luxury B&B. Now for sale at £4.5m, for someone with the budget, this could again be a superb home; combining the finest elements of the last boom of the country villa, designed by one of the greatest architects Britain has produced.  For the rest of us, if you’d like to see and experience staying in one of Lutyens finest small houses, I’d suggest booking soon.

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Sale particulars: ‘The Salutation‘ [Knight Frank]

If you’d like to stay; you can book through their website: ‘The Salutation‘

Video of Mr Parker talking about his decision to buy: ‘The Salutation was ‘like finding a diamond in a river‘ [2009, Kent Online]

Watch the Parker’s competing in a B&B TV competition: ‘Four in a bed‘ [Channel 4]

For more on Lutyens, I recommend Gavin Stamp’s ‘Edwin Lutyens Country Houses‘ [Amazon]

Support the legacy: ‘Lutyens Trust‘

Listing description: ‘The Salutation‘ [British Listed Buildings]

Bylaugh Hall: the hidden history to a remarkable restoration opportunity

Matthew Beckett - The Country Seat10 Comments
Bylaugh Hall, Norfolk (Image: Chesterton Humberts)
Bylaugh Hall, Norfolk (Image: Chesterton Humberts)

Many country houses we can visit today are innately interesting; the design, the contents, the occupants, all tell a tale.  Sometimes though there are houses with a much richer past which not only have an immediate story to tell but also a much more complex history, one fascinating for anyone with an interest in how these houses came to be created. One such house which was recently launched – and amusingly described on Rightmove as a ‘60 bedroom detached house for sale‘ – is the remarkable Bylaugh Hall in Norfolk, an engineering marvel and architectural delight, which had a forced birth through litigation, which wasn’t wanted by the first owner, and where credit for the design hasn’t truly been given to the right architect.

Bylaugh is remarkable in many ways; some obvious, others less so.  Even its genesis came from beyond the grave as the controversial inherited wish of the last owner, Sir John Lombe Bt (b. c1731 – d.1817), a man whose fortune came from the family’s silk throwing mill in Derbyshire.  The Lombe’s were established Norfolk gentry whose original estate was at Great Melton, centred around Melton Hall (built in 1611 by the Anguish family) but now a ruin having been first tenanted and then, by the end of the 19th-century, abandoned.

Allegedly won by Sir John in a skewed card game, the Lloyds had owned the Bylaugh estate for a number of years, and even if the story is false, it was legitimately Sir John’s by c1796.  The Lombe’s were unusual in that their wealth largely came from industry, and one which was located outside of the county, but they quickly used their fortune to create the fourth largest estate in Norfolk, at over 13,000-acres by 1883.

Whatever house was already at Bylaugh was insufficient for Sir John so he resolved to build an entirely new one.  However, the house he had in mind was not the house which was built.  Sir John must have had a fair idea that he would not survive to see his grand plan to fruition but he certainly wasn’t going to let mere death cheat him of his ambition.  Having placed £20,000 in trust for the express purpose of building the house – though without approving a design – he died in 1817 (unmarried and childless), leaving his estate and his firm directions to his brother Edward. Here, the family history becomes a little complicated as Edward was his half brother, the product of an affair with a Norwich doctor’s wife.  Edward adopted the Lombe surname but was reluctant to take on the grand role envisioned by his late brother – which is perhaps why Sir John’s will was so prescriptive, and which led to a quite extraordinary court case.

Edward Lombe disputed with the executors of the estate the instruction to build the new house.  However, Sir John had been quite clear, including this fascinating clause in his will:

And whereas it is my wish and intention that a mansion house and suitable offices fit for the residence of the owner of my estate shall be erected on some convenient spot in the parish of Bylaugh in the county of Norfolk either in my lifetime or after my death and that if I shall not erect the same in my lifetime then that my said trustees shall forthwith after my death erect the same according to such plan as I shall in my lifetime approve of or if I shall die before such plan shall be prepared and completed then according to such plan as the trustees or trustee for the time being under this my will with the consent of the person for the time being beneficially entitled to the immediate freehold of my said manors &c under this my will shall think proper to adopt adhering as closely as possible situation and other incidental circumstances being considered to the plan of the house now the residence of Robert Marsham esquire at Stratton Strawless in the said county of Norfolk. (source)

Yet Edward resisted, delaying the start of the build for years by arguing with the executors, Mr Mitchell and Mr Stoughton, and stating that even if they built the house he wouldn’t live in it.  Finally, in 1828, he went to the Court of Chancery and demanded that the money, now having grown to £43,000, be placed with it and a judgement made as to whether he could overturn the provisions of his brother’s will. The case was still undecided in 1839, by which time the fund had grown to over £63,500, when Edward again pressed his case, with a decision finally being made in 1841 – against him.  The Vice-Chancellor said:

It appears to me to be impossible to read this passage in the will without seeing that there is in the plainest language an express trust for the erection of the mansion house which the trustees are forthwith after his death to commence and to proceed with the erecting of. I cannot conceive any words more plain.

Stratton Strawless Hall, Norfolk - pre 1960 (Image: 'The Country Houses of Norfolk' by David Clarke)
Stratton Strawless Hall, Norfolk – pre 1960 (Image: ‘The Country Houses of Norfolk’ by David Clarke)

Which rather settled that. In the meantime, the executors had not been idle in their duties – but they weren’t as obedient as they might strictly have been.  Sir John had clearly stated that the house was to follow ‘as closely as possible‘ Sir Robert Masham’s house at Stratton Strawless; a three-storey (now two), strictly classical, almost Palladian house with a Tuscan-columned porch.  However, the executors ignored this provision and with possibly an eye to emphasising the esteemed family line and to help the new house blend in with the other seats in the area, they chose to create a historical ‘Jacobethan’-style house – but even that is not the one we see today.

Interestingly, although the current Bylaugh is rightly described as being designed by Charles Barry the younger and his partner, Robert Robinson Banks, few are aware that in 1822 the trustees had originally asked another noted architect, William Wilkins (b.1778 – d.1839), to draw up a plan, and his design showed a remarkable stylistic similarity to the one actually built 27 years later.

Unexecuted design for Bylaugh Hall by William Wilkins, 1822 (Image: Public Record Office MPA. 66.1 / 'William Wilkins, 1778-1839' - R.W. Liscombe)
Unexecuted design for Bylaugh Hall by William Wilkins, 1822 (Image: Public Record Office MPA. 66.1 / ‘William Wilkins, 1778-1839’ – R.W. Liscombe)

Although a noted proponent of the Greek Revival, Wilkins, like many an architect, was well-educated in other styles and could turn his hand if asked. Clearly inspired by the style of ‘Prodigy‘ houses such as Burghley and Longleat, he also drew on elements of buildings he had seen and studied – for example, the polygonal domes capping the raised central hall are copied from the Porta Honoris at Gonville and Caius College, Cambridge, on which Wilkins had written a scholarly article for the esteemed ‘Vetusta Monumenta‘ in 1809. Although each façade was similar, the entrance front was enlivened by a projecting centre bay above the door which was on the piano nobile, reached by an elegant split stair.

The plan of the house was also modern, rejecting a rambling layout, and firmly following the Palladian 3×3 grid on the ground floor.  Centred around a double-return staircase, this was an innovative layout for an early Victorian design – though one Wilkins the classicist would have been entirely comfortable with.  Essentially, he had designed a Palladian villa, dressed in the architectural garb of the ‘Jacobethan’ style.

Bylaugh Hall today (Image: Chesterton Humberts)
Bylaugh Hall today (Image: Chesterton Humberts)

Bylaugh Hall, as attributed to Barry and Banks in 1849, was perhaps better described as an updated version of Wilkins earlier plan – the core 3×3 layout remained, as did the external style, though some of the details such as the raised central hall and domes were removed, and the central staircase replaced by a saloon.  The construction did display some innovation, being one of the earliest steel-framed buildings and was considered a success with one rather giddy local newspaper exclaiming ‘Neither Holkham nor Houghton, those Norfolk wonders, can compare with it for either appearance or comfort‘.  Such wild exaggeration aside, this was a house at the forefront of domestic convenience and was commended in The Builder for having no corridors in the main block, which maximised the space.  It was completed in 1852 at a cost of £29,389, and by 1869 it was reported that £38,000 had been spent on the project, which would have included further works on estate buildings and landscaping (see photos of the house and grounds c1917).  An interesting aside is that during the delay in starting the money had grown to quite a considerable sum, more than enough for all the works.  Edward Lombe applied for the remainder but the Court demanded it be spent on bricks and mortar and so a 4-mile perimeter wall was constructed to satisfy this.

Ruined shell of Bylaugh Hall before restoration (Image: The Burrell Partnership)
Ruined shell of Bylaugh Hall before restoration (Image: The Burrell Partnership)

It seems that no descendent ever loved the house.  By 1878, the then owner, Edward Henry Evans-Lombe, was renting the handsomely Classical Thickthorn Hall, before buying Marlingford Hall, whilst selling off outlying parts of the estate.  In 1917, Bylaugh Hall and the 8,150-acre estate were put up for auction in 140 lots but Edward sold it whole for £120,000, and the hall and 736-acre park were subsequently sold to the Marsh family.  Used by the RAF in WWII, it was sold in 1948 to a new owner who unsuccessfully planned to turn it into a nursing home.  At that nadir of country houses generally, a familiar pattern started; parts of the house were demolished and in June 1950 a 350-lot demolition sale was held which stripped the interiors of the house, creating a gaunt and sad shell.  So it remained until, in 1999, the house and a lodge was sold to a local sculptor who dreamt of fully restoring the house but with insufficient funds he was forced to restore just the Orangery (article by the engineers with lots of photos), intending it to be a wedding venue.  Other parts of the main house were parcelled up as investments and rebuilt but the plan faltered and then failed, leaving the partially restored house we see today.

So Bylaugh Hall is a house paid for by a man who never got to see it, with a design chosen by two men who ignored the last wishes of the patron, with credit for that design going to two men who relied heavily on another architect now obscured, for a beneficiary who really didn’t want it in the first place. A brilliant story richly illustrating the fascinating complexities of our country houses.

So what should happen to this superb house? Interestingly, the 557-acre Pavilion farm which surrounds the east and south of the house, and includes one of the original lodges, is also for sale, providing the opportunity for the right person to combine them both.  It would require real vision – the restoration work at Bylaugh Hall may be sound but the aesthetics are dire.  Given the budget, much of the existing restoration should be stripped right back and the interiors given the lavish attention they demand.  This is a house which cries out for sumptuous plasterwork and panelling, for grand rooms with fine wallpaper and filled with artworks and quality furniture. With the funds and the vision to take advantage of this rare opportunity, a restored Bylaugh Hall, combined with the farm and more land later, could once again create one of the finest estates in Norfolk.

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Property details

1917 auction catalogue:

Listing description: ‘Bylaugh Hall‘ [British Listed Buildings]

The estate office: country houses as corporate headquarters – and Barrington Hall, for sale

Matthew Beckett - The Country Seat5 Comments
Barrington Hall, Hertfordshire (Image: Hamptons)
Barrington Hall, Hertfordshire (Image: Hamptons)

In many ways, a country house was often the headquarters of a business relating to both the estate and the affairs of the family who lived there.  This role was to be mirrored in the latter half of the 20th-century as firms sought to adopt the prestige of stately homes and set up their offices in the many country houses which were then available. What grander statement could a company make to clients and investors than to invite them to visit their stately offices?  Yet times changed, and over the years companies found it harder to justify such lavish accommodation, leading to a steady trickle of houses being sold – and the latest is Barrington Hall, Hertfordshire.

Shalford Park, Surrey (Image: (c) Allianz Insurance Plc via Shalford Village)
Shalford Park, Surrey (Image: (c) Allianz Insurance Plc via Shalford Village) – click for an excellent history of the house

The Second World War ushered in the modern era of offices in country houses.  With little by way of aerial bombing, few firms saw the need to move out of London and other cities in World War I, however, this danger had dramatically increased by 1939.  Faced with the significant logistical challenges in moving their vital paper-based records and operations, the late 1930s saw a number of companies actively scouting out possible alternatives, with country houses an ideal choice due to their size and seclusion.  This new lease of life enabled some houses to escape the demolisher’s pickaxe, such as at Shalford Park in Surrey.  A solid, well-proportioned Georgian house, the result of a rebuild of an older house in 1797, had been sold to Guildford Borough Council in 1938, but primarily to protect the land from development, with the intention that the house be demolished.  However, a lease was granted to the Cornhill Insurance Company (later part of Allianz Inc) who moved there in 1939, creating dormitories on the upper floors.  Cornhill were to remain at Shalford Park until 1955, but unfortunately the condition of the building had significantly deteriorated, and combined with it being in the ideal location for a new local water treatment works, meant that the house was demolished.

Wrest Park, Bedfordshire (Image: English Heritage)
Wrest Park, Bedfordshire (Image: English Heritage)

One house which fared only slightly better from this type of arrangement was the beautiful Wrest Park, Bedfordshire.  A fanciful French château, it was built in the 1830s to the accomplished designs of the owner, Thomas de Grey, 2nd Earl de Grey, and features some of the finest, and earliest, Rococo Revival interiors in the country – of particular note is the spectacular staircase.  The house was sold in 1939 for £25,000 by John G. Murray to the Sun Insurance Company (later Sun Alliance) who bought it in anticipation of war. They promptly moved there from London once war had been declared, having made plans to ‘…alter the stable block and erect huts in the grounds for sleeping quarters, together with washing facilities and air-raid shelters … the stable block was the first area to receive our attention. The whole of the East Wing and the upper storey of the West Wing were to be converted for sleeping accommodation with toilet and washing facilities. The middle connecting section was also to be similarly altered, but it was later decided to make part of the upper storey into a communal long room.‘. Such scenes were undoubtedly repeated in many a country house – though such a use was preferable to the treatment meted out at the hands of enlisted men or children.

Cranbury Park, Hampshire (Image: Angus Kirk via flickr)
Cranbury Park, Hampshire (Image: Angus Kirk via flickr)

Other houses had the good fortune to secure relatively benign tenants for the duration of the war. The imposing Stratton Park, Hampshire, was built between 1803-06 by George Dance the Younger for Sir Francis Baring, Lord Northbrook, a founder of Barings Bank. Although it had been sold following the death of his descendent, Francis Baring, 2nd Earl of Northbrook in 1929, the house was bought back by Barings Bank in 1939 as their base for the duration of the conflict (though sadly it was demolished in 1960 by a later Baring who had bought it after the war).  The choice of house was possibly influenced by the fact that the Bank of England had decamped to the nearby beautiful Cranbury Park, also in Hampshire – and, coincidentally, also designed by George Dance the Younger, but built in 1780.  This little known house, still lived in today by the Chamberlayne family who commissioned it, has particularly impressive interiors; the hall and ballroom were described by Pevsner as an ‘unforgettable experience‘. Compared to the horrors of the bombing in London, what a strange pleasure it must have been to be stationed in such an environment.

Banqueting House, Wrest Park, Bedfordshire (Image: English Heritage)
Banqueting House, Wrest Park, Bedfordshire (Image: English Heritage)

The extensive alterations to even such an important house as Wrest Park indicated the level of damage such intensive use could bring to buildings which had not been designed for such a purpose.  The post-war era held many threats to country houses and use as offices saved many from the wave of destruction which led to the demolition of so many in the 1950s.  In 1949, Wrest Park was sold to the Ministry of Works, who leased it to the National Institute of Agricultural Engineering, later called Silsoe Research Institute which inflicted even more stress on the house and estate.  Although Simon Jenkins included it in his book ‘England’s Thousand Best Houses‘, he wrote that ‘The [Institute’s] outbuildings spoil the approach avenue and its abuse of the interior is dreadful.  The best of the reception rooms, the library, is packed with modern bookcases and computer equipment. Other rooms are cheaply kitted out for lectures and seminars.  It is like a Soviet academy of sciences camped in a St Petersburg palace.’. Thankfully the Institute closed in 2006 and the ground-floor rooms of the house (sadly, office space remains), along with the superb gardens and Thomas Archer‘s sublime Baroque banqueting house have been expertly restored by English Heritage.

Hursley House, Hampshire (Image: Sarah Graham via Panoramio/Geolocation)
Hursley House, Hampshire (Image: Sarah Graham via Panoramio/Geolocation)

The pressure to create more space is often the cause of the most damaging changes to a country house.  Simon Jenkins’ criticism of the additional buildings at Wrest Park can similarly be levelled at the extensive construction which has taken place at Hursley House, Hampshire, home of IBM UK.  The house itself was originally built between 1721-24, with ‘gentleman architect’ Sir Thomas Hewett acting as architectural consultant for Sir William Heathcote, and with further major reconstruction in 1902-03 to create the imposing Queen Anne house which appears in various marketing materials.  What the images don’t show is the huge campus (of fairly ugly buildings) which has sprung up so close to the house since IBM took over the site in 1958. A more intelligent approach to the siting of extra accommodation can be seen at the Computer Associates site at Ditton Park, Berkshire, where the new office buildings have been placed a sensitive distance from the main house.  If their priorities changed, the house could be sold and could resume a comfortably independent existence even if the offices remained in use.  Such a change might once have been expected at Donington Hall, Leicestershire, which served as the headquarters for the airline BMI for many years until the recent merger made it redundant.  Sadly, it’s actually unlikely that anyone would chose to live there as there would be no peace and quiet as the parkland has long been converted into the Donington Park race circuit, just half a mile south of the house.

Barrington Hall, Hertfordshire (Image: from "A New Display of the Beauties of England" (London : 1776-1777))
Barrington Hall, Hertfordshire (Image: from “A New Display of the Beauties of England” London,  1776-1777) – click to see full size image

Sadly, it is uncommon for a house, once it has been used as offices, to escape such a fate being made permanent.  The alterations and additions can render the house a soulless shell with the grounds ruined beyond the possibility of economic rescue.  However, some have survived this role remarkably intact and, if the possibility presents itself, offer a remarkable opportunity to rescue a house and bring it back to the glory of being a single family home.  One such example is Barrington Hall, Hertfordshire, which has had something of a chequered history.  The original house (above) was built between c1735-40 for John Barrington to designs by John Sanderson (b.? – d.1774), a man who Colvin wrote was described as a competent ‘second-generation Palladian’, who worked on an impressive roster of houses including Hagley Hall, where he proved to be an accomplished designer of rococo decoration, Kelham Hall (burnt down 1857), Kirtlington Park, Pusey House, Langley Park, Copped Hall, and Kimberley Hall.

Barrington Hall, Hertfordshire (Image: Hamptons)
Barrington Hall, Hertfordshire (Image: Hamptons)

Barrington Hall remained unfinished (despite the engraving above) and was uninhabited for 128 years due to, what the estate agents refer to as, ‘bizarre and unfortunate events‘ (anyone with more details please do post a comment!). The house was eventually restored in 1867 by George Lowndes, a distant relative of John Barrington, who employed the Lincolnshire architect Edward Browning to remodel it in a Jacobean style. The changes created an attractive house with a varied and interesting form, featuring a series of handsome architectural details such as the ‘Dutch’ gables, quoins and a miniature ogee turret.  The house was bought by the Gosling family in 1903 who had merged ‘Goslings Bank‘ to create Barclays & Co in 1896. It was then sold in 1977 to the British Livestock Board who converted it to offices and then subsequently sold in 1980 to CPL Aromas LTD, a family perfumery firm who seem to have had some challenging times following an ill-fated public listing in 1994, which they reversed in 1999.  Having remained at Barrington Hall it now seems that the company has reviewed its requirements and decided that a stately home is a luxury no longer required.

Although originally offered several months ago for £5m (with 32.85-acres), it seems possible that a serious, but lower, offer could be successful.  It would probably take at least £2m to restore this fascinating house, creating the rich and lively interiors which it needs to match the exterior and bring it back to life, but whoever did so would have the pleasure and pride of having rescued an interesting country house from the drudgery of corporate service.

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Sales website: ‘Barrington Hall‘ [Hamptons] – which, by the way, is a pretty weak effort.  Nice photos but quite lacking in details.

Listing description: ‘Barrington Hall‘ [British Listed Buildings]

Know any more? If you’re aware of any other country houses of a similar size to Hursley House, Ditton Park, or Donington Park, please post a link (ideally) to a Google Map aerial view in the comments below.

N.B.: an earlier article on this blog (‘Converting country houses from commercial to residential: a sound investment?‘) looked at a few other examples including Gaddesden Place, Hertfordshire, now the headquarters for Xara software, and Benham Valance, Berkshire.

A country house at risk of demolition: Winstanley Hall – and how you can help save it

Matthew Beckett - The Country Seat6 Comments
Winstanley Hall, Lancashire (Image: Paul Barker / SAVE Britain's Heritage)
Winstanley Hall, Lancashire (Image: Paul Barker / SAVE Britain’s Heritage)

That the headline above is even possible today is shocking; that it almost came with the acquiescence of English Heritage is even worse.  The wealth of Britain allowed the creation of thousands of wonderful country houses; stores of learning, art, literature, music and much more.  Yet hundreds have been lost, the contents scattered, the fixtures and fittings sold for a fraction of their worth and the history and visual value of these beautiful buildings lost to the demolisher’s pickaxe.  Many a country house has been restored from a serious state of dereliction, so for demolition to even be proposed is to be deplored. Winstanley Hall, near Wigan, has long been a cause for concern but a new campaign, run by SAVE Britain’s Heritage, hopes to quickly raise the funds needed to rescue this fascinating house.

The Country Seat blog is an off-shoot of my earlier interest and research into the lost country houses of England.  Initially sparked by the ruins of Guys Cliffe House in Warwickshire, I have been building on the remarkable work of Peter Reid, John Harris and Marcus Binney who produced an initial list of nearly 1,200 houses which had been lost since 1800.  This list formed the backbone of the ground-breaking 1974 exhibition at the Victoria & Albert Museum in London which dramatically brought home the shock that so much of our architectural heritage had been lost already and the then legal constraints were insufficient to stop it continuing. My list now totals over 1,800 houses which have been lost since 1800 – every county has been affected and each has their own sad roll-call of losses.

Hall of Lost Houses, from the 1974 Destruction of the Country House exhibition at the V&A
Hall of Lost Houses, from the 1974 Destruction of the Country House exhibition at the V&A
Uppark House, Sussex - on fire, 30 August 1989 (Image: National Trust)
Result of a bad workman and his tools: Uppark House, Sussex – on fire, 30 August 1989 (Image: National Trust)

Houses can be lost for a number of reasons but two of the main causes are fire and finances. Country houses are unfortunately particularly susceptible to fire; the wooden construction, the flammable contents, the open fires and the restoration work which often brings careless workmen with their blowtorches.  Beyond mitigating the risk, preventing these devastating blazes has always been a challenge.  Yet, diminishing or insufficient finances are equally pernicious but harder to combat as the decay can quietly take place over generations, with the realisation of the seriousness only coming too late.

Many houses were traditionally supported by their estates but the agricultural crisis of the 1880s led to a reduction in income which was largely staved off through the sale of contents, until, in the early 20th century, this was no longer sufficient and the houses themselves were demolished – at a stroke removing the running costs and raising funds through the sale of the materials.  This continued through that century, spiking in the 1920-30s and again in the 1950s, reaching a nadir in 1955 when a significant house was being demolished every five days.  This fascinating video below shows rare footage of a country house in Kent, Pickhurst Manor, as it was destroyed in the 1930s:

The impact of the ‘The Destruction of the Country House‘ exhibition cannot be over-stated in heritage terms. It can be said to have jump-started the heritage movement, creating the current mass interest in country houses which can still be seen today in the popularity of the National Trust and the many individual owners who open their houses to the public. It also led to the formation of SAVE Britain’s Heritage, which has since then been one of the countries most effective campaigning charities; saving not just country houses, but working to find viable uses for a broad range of historic buildings including factories, churches, offices, and, most recently, terraced housing threatened by the wasteful and pointless Pathfinder Scheme. In the interests of transparency: I am involved with SAVE as a member of the Committee which is consulted about current cases, but this post was not written at their request and the views expressed are my own.

Winstanley Hall, Lancashire - print
Winstanley Hall, Lancashire – print showing the original Elizabethan house

Which brings us to the Grade-II* Winstanley Hall. One of only three surviving Tudor buildings in that borough, the house was built shortly after James Bankes, a London goldsmith, bought the estate in 1595.  The core of the Elizabethan house, with its two projecting wings, can still be seen on the garden front of the house, thought the original gables were replaced by parapets during alterations designed by Lewis Wyatt in 1818-19.  It was Wyatt who created the new entrance tower to the west with its Ionic portico and his work can still be seen inside with some surviving plasterwork and the fine cantilevered staircase.  What makes Winstanley particularly interesting is that it contains layers of work but with each grafted onto the last making the house quite ‘readable’.  A new wing to the south-west was added in 1780, with further changes, marked by keystones, in 1843 and 1889.

The stable court is especially fascinating architecturally as it contains a range of different styles, chosen at the whim of the owner; Meyrick Bankes II.  This delightfully eccentric but still functional range of buildings reflect his life as a well travelled, well educated man and includes Norman, Tudor, and Baroque motifs (and even his own likeness) in the masonry which creates a varied design which adds to the charm of the setting.  The visual interest of the courtyard, combined with the house, really does set Winstanley apart as many houses have lost one or the other of these core elements which make up an estate.

The house started declining in the 1930s and was last occupied in the early 1980s, with the parkland being open-cast mined during the post-war period and later the M6 being built along the edge of the parkland.  However, the parkland has now been restored and the road, which is some distance to the west of the house, is hidden in a cutting and by banks of trees, resulting in the Winstanley estate forming a precious rural space on the edge of Wigan, still approached from the east along a long, secluded drive which dips in between romantically landscaped woodland.

When the family sold up, the house and 10-acres were bought by a local developer who submitted a scheme which proposed enabling development, even though, as Green Belt land, it was unlikely to succeed.  With the failure of this scheme, the house remained unused, sliding further into dereliction to the point where another scheme was suggested which would have involved the conversion of the buildings in the courtyard but would have resulted in the demolition of the main house – and it’s this shocking scheme which English Heritage almost approved in 2011 (though EH, to be fair, also cannot be praised highly enough for their saving of Danson House and Apethorpe Hall – which is still for sale, by the way).

Proposed restoration of Winstanley Hall (Image: Huw Thomas / SAVE Britain's Heritage)
Proposed restoration of Winstanley Hall (Image: Huw Thomas / SAVE Britain’s Heritage)

SAVE stepped in and prevented the demolition and has been working with leading consultants to draw up plans for emergency repairs but also to find a long-term, sustainable solution which not only preserves the house through re-use but also brings the other buildings in the complex to life.  The leading country house conversion architect Kit Martin along with the Morton Partnership, a leading firm of heritage surveyors, have been working with Roger Tempest of Broughton Hall (who has a track record of creating business space in estate buildings), in conjunction with the Landmark Trust, and the Heritage Trust for the North West, who have been consulted about creating heritage training skills opportunities.  The overall aim is to create a community which is not just residential but also hosts businesses and events, with public access via an exhibition space and café.

How you can help: English Heritage have agreed a major grant of £217,000 for the emergency works but SAVE urgently needs to raise a £50,000 contribution.  Any donation, large or small, will help rescue this wonderful house and estate and help prevent the loss of yet more of our heritage.  Since 1974 no house of this size or quality has been lost, so, if you can, please do help.

Ways to donate:

  • Online via the SAVE website
  • Phone: donate £3 or £5 by texting RESTORE3 (for £3) or RESTORE5 (for £5) to 70500. (This will cost £3 or £5 plus your standard message rate and 100% of your donation will go to SAVE Britain’s Heritage.)
  • Cheque: made payable to ‘SAVE Britain’s Heritage’ and sent to SAVE Britain’s Heritage, 70 Cowcross Street, London, EC1M 6EJ.

Thank you!

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Full SAVE campaign brochure: ‘Help us Save Winstanley Hall‘ [PDF – SAVE Britain’s Heritage]

Photos of the house in better days ‘Winstanley Hall: gallery‘ [SAVE Britain’s Heritage]

A very unofficial tour: ‘Winstanley Hall‘ [YouTube]

A view of the interior: ‘Winstanley Hall‘ [WiganWorld]

Aerial view of the house and outbuildings: ‘Winstanley Hall‘ [Bing]

Listing description: ‘Winstanley Hall‘

Higher (country) seats of learning: country houses and current courses

Matthew Beckett - The Country Seat16 Comments
Keele Hall, Staffordshire - now Keele University (Image: simon3k via flickr)
Keele Hall, Staffordshire – now Keele University (Image: simon3k via flickr)

Perhaps one of the most traditional images of university is that of the hallowed, ancient spires of Oxford and Cambridge.  The idea that wisdom is a product of experience can create a sense that perhaps historic surroundings might impart some of that wealth to those studying.  Of course, this isn’t always the case but, for various reasons, country houses formed the historic core of a number of new universities. There are now several courses (listed in a new page called ‘The Study‘) which examine UK country houses and their place in the architectural, artistic and cultural tapestry of our society.

Although country houses have a long tradition of becoming schools for those up to the age of 18 (a topic touched on in a previous post: ‘School’s out: seats of learning for sale‘), the requirements for higher education present a much tougher set of challenges.  To create a successful, broad-spectrum university requires a significant number of buildings, particularly for subjects such as engineering and the sciences.  The Robbins Report in 1963 recommended an expansion of higher education and was a catalyst for the establishment of a new wave of universities, often colloquially known as ‘red-brick’ (coined, apparently, by the University of Liverpool, inspired by their Victoria Building which is built from a distinctive red, pressed brick.).  Yet, many of these new universities could not be accommodated in already crowded city-centres and so the search was on for suitable locations.

Country houses were an obvious option; space, good locations, existing infrastructure, uncontaminated grounds – often landscaped, and easy to purchase as a single entity. Although by the 1960s, the tempo of the brutal country house demolitions of the 1950s had slowed, many a house owner was faced with a building often still suffering from the damage and neglect of WWII requisitioning, wider economic problems and a society increasingly unsympathetic to the landed classes.  To sell or even donate a house to an educational establishment seemed to be a solution to the problems which beset them.

Reed (formerly Streatham) Hall, Devon (Image: University of Exeter)
Reed (formerly Streatham) Hall, Devon (Image: University of Exeter)

The ancient universities were housed in purpose-built facilities, the glory of the architecture often designed to reflect glory on the patron – be he king or cardinal.  The 19th-century university was often founded on industrial wealth and wishing to keep their trophies prominently displayed, the patrons ensured that the buildings were mostly urban-based in the cities.  So the earliest country house to become part of a university actually happened quite late; Streatham Hall was donated to the University College of the South West of England, based in Exeter, in 1922 by Alderman W.H. Reed, a former mayor of the city.  The house, surrounded by an arboretum of rare and beautiful trees collected from around the world by the Veitch family, was renamed Reed Hall to honour the benefactor and became the core of the new university as the first student accommodation, with new buildings rising around it.  The house is still there today at the centre of the campus and is used as an events and conference centre.

Keele Hall, Staffordshire - garden front (Image: Mr Ush via flickr)
Keele Hall, Staffordshire – garden front (Image: Mr Ush via flickr)

One owner who was probably grateful for the solution offered to him was Ralph Sneyd, owner of Keele Hall, Staffordshire.  Designed by that foremost of Victorian architects, Anthony Salvin, the house had been praised by William Eden Nesfield as one of the best-planned houses of its time, which may have been a back-handed compliment as later writers have decided that the garden front is generally criticised for being ‘too long for its height‘ (J. Allibone) and the ‘entrance front is confused rather than pictureseque‘ as, by this time, ‘His gift for calculated asymmetry was already on the wane‘ (M. Girouard).  The interior, however, was regarded as very well-designed for the needs of the bachelor Mr Ralph Sneyd (b.1793 – d.1870) who had commissioned it in the early 1850s, with a series of rooms to cater for the male pastimes of the Victorian gent.  Although let to Grand Duke Michael of Russia between 1901-10, it was nevertheless in decline by 1939. During WWII, the house was requisitioned and became a transit camp for troops with numerous huts and buildings appearing on the estate but the family had already moved out as financial struggles, which had started in 1902, made the house too expensive to be their home. After the war, Ralph Sneyd (the nephew of the one who had commissioned it) was probably more than happy when the local council bought the house and much of the estate for £31,000 in 1948.  The main house and the wartime buildings formed the core of the new university, allowing it to open relatively quickly in 1949.

Lamport Hall, Northamptonshire (Image: Mike Higginbottom / Interesting Times)
Lamport Hall, Northamptonshire (Image: Mike Higginbottom / Interesting Times)

Other universities also took this route and re-purposed country houses or their estates (year is date it started being used):

Another notable country house linked to a university is Lamport Hall, Northamptonshire, an important, grade-I listed house which was once home to the Isham family until 1979 when Sir Gyles Isham, the 12th (but not the last) Baronet, bequeathed it, plus the contents and estate, to a charitable Trust.  That trust now runs the house as an education and conference centre which has long been a partner for the Centre for the Study of the Country House based at the University of Leicester.

Harlaxton Manor, Lincolnshire (Image: stemurphy4 / flickr)
Harlaxton Manor, Lincolnshire (Image: stemurphy4 / flickr)

Perhaps the most spectacular of houses to be used is Harlaxton Manor in Lincolnshire, which, since 1971 has been the British campus of the University of Evansville, Indiana, USA (though Stanford University had taken it over in 1965).  The exterior is a riot of gables, chimneys and decoration by Anthony Salvin, though the interior now enjoyed by generations of American students was by William Burn after Salvin and the owner, the wonderfully named Gregory Gregory, fell out. As a smaller outpost, it has not only been preserved with few external additions but also holds the tantalising prospect that, if the university decides it is surplus to requirements, could once again become a stunning country home. Also of note is the impressively restored Herstmonceux Castle in Sussex which was given to the Queen’s University of Canada in 1993.

Attingham Park, Shropshire (Image: Jonathan Davies / wikipedia)
Attingham Park, Shropshire (Image: Jonathan Davies / wikipedia)

Of course, it wasn’t just the formal universities who made use of country houses to become seats of higher education.  One of the best known is the beautiful Attingham Park, Shropshire, which was an adult education centre from 1946 until 1971.  Owned by the Lords Berwick, it was the 8th, and last, Thomas, who bequeathed it to the National Trust. However, the college was run by the decidedly New Age, Sir George Trevelyan who mixed serious study with rather more mystical pursuits.  One of Sir George’s greatest successes was the creation of the Attingham Summer School in 1952 which, through the Attingham Trust offers “…specialised study courses, primarily for people professionally engaged in the field, on country houses, their collections and settings, and on the history and contents of English royal palaces.“.  The courses still run today – though they do require rather deep pockets to attend. Dillington House in Somerset became an adult education centre in 1950, operated by North Somerset Council but still owned by Lord Cameron of Dillington.

And so it continues.  The latest is that grade-II* Hestercombe House in Somerset has been handed over to a Trust who not only wish to restore the house and fascinating gardens – with Georgian, Victorian and Edwardian phases including work done by Gertrude Jekyll – but also to establish, subject to HLF funding, a Centre for Landscape Studies.  This, it is anticipated, will host conferences, courses and hopefully become a national archive for conservation management plans.  Country houses are still proving their value with the house and grounds forming the justification and catalyst for new educational ventures.

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New on The Country Seat: ‘The Study‘

There is a new section called ‘The Study‘ where I hope to be able to keep an up-to-date list of courses at recognised UK educational institutions which are focused on, or have significant sections relating to, our wonderful country houses.  Please do let me know if you are aware of any I have undoubtedly missed, or any future updates.  I’m particularly keen to hear from institutions to make sure that we can try and generate interest in the long term for the more substantive degree and masters courses.  Feedback always welcome.

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News stories:

Houses of gods: country houses converted to religion and the sale of Hawkstone Hall

Matthew Beckett - The Country Seat10 Comments

The 1920s and 30s may be remembered for many things, but it probably wouldn’t be for having any great public affection for the grand houses which had so dominated the landscape agriculturally, economically and politically.  Faced with the reality of the long slump in revenue from the land and wider economic difficulties, country house owners found themselves between the rock of their own financial situations and the hard place of a nation broadly unsympathetic to their difficulties.  Many an owner may have offered up a prayer for some form of divine intervention to alleviate their situation – and the miracle which appeared which saved their house, though not their lifestyles, was religious orders purchasing these grand piles for their ministries.  With the recent launch on the market of the impressive Hawkstone Hall in Shropshire, the cycle turns again, as it looks like the wealthy will rescue the religious.

Hawkstone Hall, Shropshire (Image: Gerard Carroll via flickr)
Hawkstone Hall, Shropshire (Image: Gerard Carroll via flickr)

A nobleman’s residence in the medieval period was often a castle but this dramatically changed following Henry VIII’s Dissolution of the Monasteries between 1536-41.  The aftermath created one of the greatest transfers of land (in the 1530s, they were estimated to hold approx 16% of England) and property as the riches of these institutions were either given to favoured courtiers or sold, creating instant country estates.  Yet, at that time, they were seen more as industrial units; great agricultural establishments which brought in great wealth, with the beautiful priory churches often stripped for their materials. However, for some owners, the buildings were a fine opportunity to create a house – and what better way of creating the impression of an ancient family than with an ancient seat, especially if it came with prized feudal rights.

Lacock Abbey, Wiltshire (Image: Arnhel de Serra / National Trust)
Lacock Abbey, Wiltshire (Image: Arnhel de Serra / National Trust)

The suppression of the monasteries and convents brought to an end many of the longest standing communities but did give a boost to the secular, non-defensive country house. Many older houses today, both large and small, can trace their origins back to monastic roots, including (a small sample, admittedly):

Mapledurham, Oxfordshire (Image: scoutjacobus via flickr)
Mapledurham, Oxfordshire (Image: scoutjacobus via flickr)

Of course, there is a long history of country houses being used for religious purposes as many recusant families continued practising their Catholic faith at great risk to themselves both financially and physically, such as at Mapledurham in Oxfordshire or Hintlesham Hall in Essex.  This secrecy led to the creation of many ingenious methods of hiding not only the chapels (either in attics such as at Ufton Court, Berkshire, or by being disguised as bedrooms) and items of their faith but also the priests themselves, usually in ‘priest holes‘ which could be concealed behind panelling and walls (e.g. at Harvington Hall – still owned by the Archdiocese of Birmingham), in chimneys, under fireplaces and so on.

Despite Catholic worship becoming legal again in 1791, there were still restrictions on Catholics in public office until 1829, and it was still viewed with some suspicion. A further influx in the 1790s was due to the French Revolution which forced many orders back across the Channel.  For any order seeking to establish itself, it was certainly easier to take over a country house as it would often meet their requirements in terms of seclusion and accommodation but without the challenges of trying to build a new convent or monastery. One of the earliest was the purchase of East Bergholt Old Hall, Suffolk which was bought in the 1850s but there have been many others since, including:

Mentmore Towers, Buckinghamshire (Image: EPR Architects)
Mentmore Towers, Buckinghamshire (Image: EPR Architects)

Catholics may have had the longer history but others have also taken the same route. Perhaps the most famous of these was the spectacular Mentmore Towers, Buckinghamshire, designed by Joseph Paxton and built between 1852-54 for the Rothschilds, which was bought by the followers of the Marharishi Yogi to serve as the UK headquarters for the World Government of the Age of Enlightenment. This followed the scandalous refusal by the then Labour government to accept it for the nation with its incredible collections in lieu of just £2m inheritance tax and the subsequent sale which netted several times that. Others include:

There don’t appear to be any clear records of which houses have been used as convents/monasteries so it remains anecdotal (there’s probably a good PhD topic in there somewhere) but it’s possible that hundreds of houses have served in this use, especially if convent schools and retreats (e.g Capernwray Hall and Kinmel Hall) are included. For many of these, it’s likely that this alternative use saved them from joining the ranks of those demolished.

For the past 85 years, grade-I listed Hawkstone Hall has been a seminary and also a retreat for Catholic clergy.  The house was originally built in 1720 for Richard Hill (b.1655 – d.1727), a traveller and diplomat who had made a fortune through what was described as ‘lucrative arithmetick‘, and consisted of just the main block.  The design of this section is quite unique, certainly to the area, and pre-dates designs later shown in Campbell’s ‘Vitruvius Britannicus‘ published in 1715-25.  Although it shares certain elements with other houses (Buckingham House, Chatsworth – east front), neither the listing description nor Colvin have details on the original architect so it is open to conjecture as to who designed it and where they got their inspiration (if anyone does know/have any suggestions, please do add a comment below or contact me).

Hawkstone Park, Shropshire (Image: Peter-snottycat via flickr)
Hawkstone Park, Shropshire (Image: Peter-snottycat via flickr)

Hawkstone was then inherited by his son Sir Rowland Hill, 1st Baronet (1705–1783), who added the wings as part of an enlargement in 1750, but who also, more importantly, started the landscaping for which the estate was to become famous.  Taking advantage of a natural rocky outcrop, Hill created a series of walkways on the cliffs, view points and follies which attracted many visitors.  This grew to such an extent that Sir Richard Hill, 2nd Baronet (b.1733 – d.1808) wrote the first guidebook for the park and also built the ‘Hawkstone Inn’ to cater for the visitors. Such was its reputation that Dr Samuel Johnson came to see and was duly impressed, remarking on “…the awfulness of its shades, the horror of its precipices….“. Johnson also commented that he thought there ought to be more water and so Sir Richard commissioned landscape designer William Emes, who created the Hawk River which still flows to the north-west of the house.  Hawkstone Park had become one of the most popular attractions in the country by the time of his death in  1808 and remained so under the care of his brother, Sir John Hill, 3rd Baronet (b.1740 – d.1824), who inherited.

Sadly, it was to be the next generation who sowed the seeds of the families financial troubles.  The house and park were inherited by Sir Rowland Hill, 4th Baronet Hill of Hawkstone, 2nd Viscount Hill (1800–1875) who, through extravagance or mismanagement, lost much of the family fortune. Inside, he commissioned, between 1832-4, various alterations including a new drawing room from Sir Matthew Wyatt, whilst in the grounds he carved a hugely expensive new drive through a cliff and built The Citadel, a strange castle-like dower house.  He even toyed with the idea of relocating the entire house to the other side of the river.

Such spending was always likely to lead to difficulties and the 3rd Viscount, Rowland Clegg-Hill, (b.1833 – d.1895), never managed to re-establish the fortune and was bankrupt by the time of his death.  This forced a sale of the contents and then the splitting up of the estate in 1906.  The park, with the many follies, tunnels and caves, was sold off and is now run as part of the Hawkstone Park hotel. The Hall was bought by George Whitely, later Baron Marchamley of Hawkstone, a wealthy mill and brewery owner and MP, who made minor alterations; reducing the height and length of the projecting wings and to the interior.

The house was then sold to the Roman Catholic Redemptorists who have remained there until a recent review of their activities prompted them to put the house, with its 7-acres of gardens and 81-acres of grounds, up for sale for £5m.  Any purchaser looking to make this a home again will need to demolish the ugly accommodation block tucked away behind the left wing and will also have to consider what they wish to do with the large chapel which was added in 1932; perhaps if bought by a non-religious family it would make a superb music room.  For a house which exhibits such architectural interest and grandeur, it seems like a fair price and one hopes it will attract someone willing to invest to recreate what could be one of the finest homes in Shropshire.

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Property details:

News story: ‘Hawkstone Hall goes up for sale with a £5m price‘ [Shropshire Star]

Official website: ‘Hawkstone Hall‘

Country House Rescue – Series 4: Craufurdland Castle, Ayrshire

Matthew Beckett - The Country Seat3 Comments
Craufurdland Castle, Ayrshire (Image: Craufurdland Castle)
Craufurdland Castle, Ayrshire (Image: Craufurdland Castle)

The style of country houses enjoys huge variety, be it Classical, a Palladian essay in symmetry, or perhaps Gothic, decorated with tracery and spandrels, or an old timber-framed hall house, beams twisted with age, but perhaps one defining feature common to all is their almost complete departure from the need for defence.  The ancient seat of the lord was often, by necessity, a muscular castle yet, by the 16th-century, England was enjoying a peace which rendered such concerns redundant.  Yet Country House Rescue’s visit this week (19 July, 20:00, Channel 4) to Craufurdland Castle in Ayrshire is a reminder that the need for one’s home to offer protection from assault continued much later in Scotland and the Border regions, leaving a rather special legacy of still inhabited tower houses and castles.

The first castles erected by the Normans were often simply a ‘motte and bailey’ design with timber defences which required frequent replacement as they deteriorated.  This led to the building of more durable stone castles which also gave greater scope for a more decorative appearance – though many features, such as the crenellations and arrow slits, were also part of the very lethal defences (a good English example of this is Wingfield Castle in Suffolk – decorative but deadly).  The accommodation for the lord and his family took second place to the military requirements and had to adapt to fit in.  Yet, the relative peace enjoyed in England by the 15th-century meant that some were abandoned as the owners sought greater comfort outside the massive walls.

Map of tower houses in Great Britain and Ireland built between 14thC - 17thC
Map of tower houses in Great Britain and Ireland built between 14thC – 17thC (Source: RCAHM in ‘The Decline of the Castle’ by M.W. Thompson)

By 1311, Robert I of Scotland felt secure enough to mount regular raids south, not with the intention of capturing and holding land but simply to pillage it.  With Edward II distracted by his own difficulties, a fortified house became a necessity and it has been estimated that around 270 tower houses were built.  These strong towers look to be keeps of the type associated with southern castles but they are distinctive in that they lack the usual gatehouses, corner towers, moats and defensive curtain walls.  Typically these towers were twenty to sixty feet square and between two to five storeys high, and although often rectangular, often had annexes added giving an ‘L-shaped’ (e.g. Muchalls Castle) or ‘Z-shaped’ plan (e.g. Castle Fraser). They often featured bartisans (turrets), had raised main entrances protected by grills (called a yett), and crenellations – all good enough to defend against at least a raid, if not a full scale siege. One of the largest examples of these type of houses is Comlongon Castle in Dumfriesshire; built in the 15th-century with its turrets and machiolations and walls 12-foot-thick at the base.

Comlongon Castle, Dumfriesshire (Image: Comlongon Castle)
Comlongon Castle, Dumfriesshire (Image: Comlongon Castle)

Construction of these houses increased from the 14th-century (as opposed to a decline in the south) but the point of most interest is that they were still being built in significant numbers in the 17th-century (e.g. Craigievar Castle; completed in 1626), by which time the English nobility were embracing a very different style for their homes.  The towers described above were contemporary to the courtyard houses and halls with cross wings being built in the more peaceful English counties where such defensive concerns were irrelevant (see the map above).  The concerns of the late-medieval gentry were in ensuring that their accommodation reflected the appropriate social hierarchy.  A survey in 1387 of Keevil Manor, Wiltshire (linked image shows house as rebuilt in 1580) includes a list of rooms including a hall, a capital chamber, smaller chambers, a chapel, kitchens, buttery etc – but no mention of martial defences, only a gatehouse which was as much for show as security.  This was still the case by the mid-15th century as shown by another survey, this time of Shute House in Axminster, which again was planned around a series of courtyards but was essentially outward facing (NB. the surviving portion of the house is now owned by the National Trust and can be rented for short breaks). For an international contrast; Rambures Castle, Somme, in northern France was also being built around the beginning of the 15th-century – but the French had a completely different social attitude towards castles, granting them much higher status than any other form of noble residence.

Shute House, Axminster c18th-century (Image: Charmouth history website)
Shute House, Axminster c18th-century (Image: Charmouth history website)

Between 1500-1700, the English architectural tradition clearly branches away from the military-based residence and firmly embraces the principles of the country house as we would understand and recognise them today.  Whilst in England, houses took on first the influence of Palladio via Inigo Jones, then through the English Baroque, then into Georgian, it is only at this point, following the Act of Union in 1707 which established sustained peace, did the Scottish architectural narrative start significantly to pick up the more relaxed forms of the country house (though Drumlanrig Castle – built between 1670-1690 – would be difficult to describe as defensive).

Ironically, in the Victorian era, the new fashion for all things Scottish led to a resurgence of interest in the older forms of ‘Scots Baronial’ architecture. This was then wrapped up in layers of romanticism in the popular writings of Sir Walter Scott, leading owners to commission houses they thought were ‘authentically’ Scottish. The results were often spectacular; creating picturesque visions of turrets, battlements, gatehouse and the instantly identifiable bartisan turrets.

Old tower, Craufurdland Castle (Image: 'Famous Scottish Houses - The Lowlands' by T. Hannan)
Old tower, Craufurdland Castle (Image: ‘Famous Scottish Houses – The Lowlands’ by T. Hannan)

So where does Craufurdland Castle come in this history? Interestingly, it has a stake in the earliest forms of the authentically Scottish tower house but also features later additions. The Craufurd family have lived on this site since 1245 but the core of the castle is said to date from the 11th-century.  The tower to the right of the central block on the west end is the oldest part, just three windows pierce the thick walls, but was later altered to add crenellations and a roof with crow-stepped gables.  The main entrance is dominated by a 19th-century addition; a grand entrance added between 1830-40 (architect unknown) with a Gothic doorway with the family coat of arms set in a panel above it, leading up to an imposing tower with small corner turrets.  The large ecclesiastical windows give the impression that one is looking at a small church.  The interior today tries to make a virtue of the lack of ancestral clutter. The house was rented out for many years and the current generation have taken a more modern approach to the decor which unfortunately doesn’t always match up to the beautiful and imposing rooms in which it has been placed.

Craufurdland Castle before 19thC alterations (Image: RCAHMS)
Craufurdland Castle before 19thC alterations (Image: RCAHMS)

With nearly 800 years of history behind them, the current owner, Simon Craufurd, has had an especially heavy responsibility passed to him.  This is a Category-A listed castle with rich associations to many of the leading figures of Scottish history, wonderful stories of a tunnel which thwarted the attacking English, and a tale of helping King James I fight off a gang of bandits.  The family again appear to be willing to listen to Simon Davis as evinced by the new website, launched to coincide with the broadcast, which lists many activities available including accommodation, mountain bike trails, mud running (!), a dog hotel, a cafe, fisheries, and even burials.  This is a determined attempt at diversification – perhaps one of the broadest seen so far in Country House Rescue, and the Craufurds will hopefully build sustainable businesses to ensure that this fascinating house and family are able to remain together for future generations.

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Official website: ‘Craufurdland Castle‘

Want to stay there? Craufurdland Castle: Accommodation

Follow them on Facebook: ‘Craufurdland Castle‘ [facebook.com – login required]

Official listing: ‘Craufurdland Castle‘ [RCAHMS]

Country House Rescue – Series 4 [Channel 4]

Country House Rescue – Episode 6 [Channel 4]