Notable Houses of Great Britain (Heritage Trail Explores)

THE HERITAGE TRAIL explores ..... Notable Houses of Great Britain

Written by Linda Lee Photographs by Laurie Jonas

www.theheritagetrail.co.uk The Home of Britain’s heritage on the web

published by HERITAGE TRAIL PUBLICATIONS LTD England

Copyright © 2004 Heritage Trail Publications Ltd Linda Lee & Laurie Jonas All rights reserved Trademarks: Multimap is a trademark of Multi Media Mapping Limited

Other titles in series Castles of Great Britain Vol I Manor Houses of Great Britain Vol I Abbeys & Priories of Great Britain Vol I Maritime Heritage of Great Britain Pleasure Piers of Great Britain Vol I Stately Homes of Great Britain Vol I Industrial Sites of Great Britain Castles of Great Britain Vol II

ISBN 1-904877-04-4

Cover illustration Batemans, the home of Rudyard Kipling, East Sussex

Table of Contents Introduction Abbotsford Anne of Cleve’s House Ashdown House Batemans Boscobel House Burn’s Cottage Castle Drogo Cragside Birthplace of D H Lawrence Dr Johnson’s House Gilbert White’s House Great Dixter Hall Place & Gardens Hardy’s Cottage Hughenden Manor Jane Austen’s House Birthplace of J M Barrie Kettles Yard Lyddington Bede House Milton’s Cottage Moseley Old Hall Plas Newydd Ranger’s House Rydal Mount Sezincote Smallhythe Place Standen House The Grove Townend Woolsthorpe Manor

5 7 10 13 16 19 22 25 28 31 34 37 40 43 45 48 51 54 57 60 63 66 69 72 75 78 81 83 86 89 92

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Introduction he classification of ‘notable house’ is a generic term used to describe any property that is considered to be noteworthy. These properties are as diverse in size, style, and location as indeed are many of their former occupants. Some houses have been included because they are of particular architectural significance, perhaps being designed by one of the noted architects of the period. In several instances the building itself will be especially appealing, and it will also have the added bonus of being linked to an historic event or incident. Royal, political and religious associations are commonly found in this category, along with a few eccentricities and ‘fantasy’ homes of the wealthy.

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lacing the onus on people, rather than property, a quite different picture emerges. Here past classical and contemporary artists, literary giants, scientists, naturalists and Victorian entrepreneurs are all to be found. Each one of them born into different circumstances, making their backgrounds and their houses as individual as the legacies they leave. There are the Birthplaces of the famous to investigate, the romantic retreats from where prose and poetry was composed, and the rural manors that offered the ideal environment for conducting research into projects that inevitably had such a profound effect on the world. At the other extreme, examples of quite ordinary families living in modest dwellings, but having the most extraordinary stories to reveal, are included.

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rom castles to cottages, and farmers to monarchs, this book highlights the fascinating circumstances surrounding many of Great Britain’s notable properties and people. Combined with the historical facts are well-known legends, tales of romance, genius, intrigue, and notoriety, and even the occasional hint of mystery. The majority of these properties are not necessarily associated with priceless collections, lavish furnishings, or even vast estates, but

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each one contains a wealth of interest that may not be apparent from a cursory glance. very county, several cities, hundreds of towns, and many villages throughout Great Britain can muster a ‘notable house’ so the handful of examples in this book are merely a taste of what there is to be found. Of course, unlike those featured, they will not all be publicly accessible for most of the time. With the popular heritage ‘open’ weeks and weekends, however, more and more properties become available for exploration at least once during the year.

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Abbotsford

hen Sir Walter Scott purchased the small farmstead located on the peaceful banks of the River Tweed in 1812, he had great plans for the property. Firstly, he changed the name of the house from Cartleyhole to ‘Abbotsford’ - deemed more appropriate in the romantic mind of Sir Walter, as the farm stood on land formerly owned by the monks of Melrose, and a ford used by them was situated in close proximity to the house. He had also planned to substantially enlarge the old property to accommodate his family and servants from the outset, but this work was not put in hand until 1818. Lastly, Scott had extended his original landholding of 110 acres to some 1400 acres by 1820.

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ventually, in 1822 the farmstead was completely demolished to allow for the construction of the main block of his new home. Scott’s inspired design, incorporating castle turrets, several architectural features from Melrose Abbey, and replicas of ecclesiastical statues, was both extremely artistic and very personal. The grand ‘medieval’ mansion was eventually ready for occupation in 1824. Revered as the figurehead of the romantic historic

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movement in English literature, Sir Walter Scott certainly fashioned his home after a similar style. fter studying law at university, Scott became an Advocate, but there was another side to the man that seemed to flourish after his marriage in 1797. Maybe it was through the support and encouragement of his wife, or perhaps his own fulfilment and happiness brought the more artistic side of his nature to the fore. Whatever the reason, from then on his time was divided between his legal duties as Clerk of Sessions, and his writing and editorial commitments. He had already started the famous series of Waverley novels before moving to Abbotsford, but the majority of his published works were written in the ground floor study he had personally designed. With his success as a novelist, and his reputation as an excellent host, the impressive library and spacious entrance hall at Abbotsford proved ideal for Scott’s busy schedule of entertaining.

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ir Walter Scott was a great collector of historic relics, and a stunning assortment of old guns, swords, knives and keys can be found ceremoniously displayed in the armoury. It is fascinating to make a thorough investigation of all the knick-knacks and assorted memorabilia present in the house just to appreciate how diverse his interests and associations were. Some are obvious connections, such as Rob Roy’s purse and gun, but the more obscure include a lock of Prince Charlie’s hair, one of Robert Burn’s tumblers, and a hunting bottle that belonged to James VI. The library is magnificent, not only for its huge collection of volumes, but also for the heavily moulded ceiling. Much of the inspiration for this unusual interpretation came from the Rosslyn Chapel, a fifteenth century church on the outskirts of Edinburgh that he had visited and adored. One of his earliest poems, The Lay of the Last Minstrel, makes haunting references to the Chapel, and served to encourage a great deal of noteworthy visitors to the church.

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oday this beautiful old house is still occupied by Scott’s descendants, and an almost tangible presence lingers on of the great artist and historical collector that Sir Walter personified. His esteemed literary colleagues and admirers are also remembered at Abbotsford, as well as the many Royal visitors, including Queen Victoria and King George V, who visited the house after Scott’s death.

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ith extensively planted grounds, and a delightful walled garden, the atmosphere at Abbotsford is uncannily ‘monastic’. This haven of tranquillity will certainly leave a lasting impression, and there can be little doubt that Sir Walter Scott and his family enjoyed an idyllic lifestyle here nearly 200 years ago.

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Open :

OS Grid Reference : NT 508343

Late March-end October Daily

Melrose Roxburghshire Scotland TD6 9BQ

Tel : +44 (0)1896 752043 Owned by The Maxwell-Scott Family Web site: n/a Find exact location using Multimap

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Anne of Cleve’s House

efore the Dissolution of the monasteries this traditional Wealden type building had been owned by Lewes Priory and, until the early twentieth century, was known as the Porched House. The core of the house dates from the fifteenth century, but the chequer-work flint porch was added in 1599, at about the same time as the two upper floors of the western range. It is a remarkable example of medieval and late Elizabethan craftsmanship, where many of the original features of the building have been well preserved.

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he property had been granted to Thomas Cromwell soon after the Dissolution in 1537, but reverted to Crown ownership again when Cromwell was executed in 1540. In the following year, the house was given to Anne of Cleves as part of her settlement when her marriage to Henry VIII was annulled. She was granted nine Sussex manors in total, but it is doubtful that she ever visited the ‘Porched House’in Southover, and even less likely that she ever stayed there. After her death in 1557, the house once again became the property of the Crown, until it was sold on three years later.

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hroughout the next 350 years the house changed hands countless times, and the accommodation was altered to provide three separate units. For most of the time ‘Anne of Cleves’ house was occupied by tenants, much as it had been in her own lifetime. Eventually, in 1923 it was given to Sussex Archaeological Society who have since repaired and re-modelled the premises to provide a living museum within the walls of the original building.

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n abundance of exposed timber beams, white plastered walls, and richly carved oak furniture help preserve the atmosphere of a substantial dwelling house, whilst displays of local artefacts create an historical insight into the surrounding area. On the ground floor several finds are exhibited from excavations carried out at Lewes Priory, including some beautiful pieces of carved stonework. As the property once formed part of the monastic estate, and probably incorporates some quarried materials from priory buildings destroyed after the Dissolution, it is an appropriate and poignant reminder of the house’s origin.

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he kitchen presents a fairly typical scene of the medieval era, and the table crafted from locally-quarried marble, together with the Sussex brick floor, complete the authenticity of the period. Four beautiful early eighteenth century tapestries depicting Chinese scenes hang in one of the upper rooms, and several examples of Victoriana can be found in display cases in the Long Gallery. The Lewes Room is dedicated to people and events associated with the town, and a further gallery has been added to record the history of the iron industry, an important part of Sussex life for several centuries.

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utside to the rear of the house is a small garden containing several traditional plants and trees. From this viewing point, the visitor is offered an alternative view of this fascinating building, much altered over time yet seeming to have retained its original identity and charm. Today run as a museum, the house incorporates

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much of local interest as well as displaying the many facets of its own interesting history. It has many links to the old priory and the medieval way of life, has a complex architectural history, and is famously associated with the luckiest of Henry’s wives.

Open :

OS Grid Reference : TQ 410096

March-end October, daily Nov-end February, Tues-Sat Closed 24-28 Dec

52 Southover High Street Lewes Sussex BN7 1JA

Tel : +44 (0)1273 474610

Owned by Sussex Past Web site: www.sussexpast.co.uk Find exact location using Multimap

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Ashdown House

midst the rolling Berkshire downs, Ashdown House commands a high and solitary position in an area steeped with ancient legends. Probably built in the early 1660s, after Lord Craven had his estates restored to him by Charles II, this strange Dutch-style house was allegedly created as a refuge for Elizabeth of Bohemia (the ‘Winter Queen’), affording her some protection from a London that was stricken with plague.

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uilt on the site of a former hunting lodge, Ashdown is thought to be the work of Captain William Winde, a favoured architect of Lord Craven, and one-time Usher to the Winter Queen. More weight is added to this assumption by consideration of the fact that Winde spent his early years in Holland, and the architecture has a heavy Dutch influence. Furthermore, when Winde later made a tour of France, he came across the work of the great seventeenth century architect, Francois Mansart. The uncanny similarity between Ashdown and the chateau in Normandy, designed by Mansart, must surely be more than a coincidence. But there are also hints of other building influences, particularly those of Sir Roger Pratt.

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Consequently, Ashdown was constructed from an amalgamation of ideas, styles, and borrowed features, to create a property that is stunning in a quietly understated way. Locally quarried chalk gives a beautiful creamy colouring to the main body of the house, while moulding and detail are enhanced with Bath stone. tanding tall and narrow, not unlike an over-sized doll’s house, the loftiness of Ashdown is lessened by the two rectangular flanking pavilions. Although detached, as they were originally built some twenty years after the main house had been completed, during Victorian times a long curving corridor joined the pavilions to the house. At the same time an extension to the front entrance was created, but both structures were later removed. Few other alterations were made to Ashdown over the years, possibly due to the fact that the house was rarely occupied on a permanent basis after the eighteenth century. An extensive programme of repairs was undertaken in the mid-twentieth century, as army occupation during World War II and years of neglect afterwards, had left Ashdown House in a state of near dereliction.

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he house passed through many descendants of the same family until it was bequeathed to the National Trust in 1956, but it remains significantly a memorial to the 1st Earl of Craven. He was utterly devoted to Elizabeth, the sister of Charles I, and they developed a life-long friendship. Several properties built by Craven seem to have had some association with Elizabeth, whether it be romantic fiction, or fact. It seems unlikely that she ever saw any of these houses, and even less likely that she actually lived in them, because she died in 1662 - possibly before even Ashdown was started. Despite the anomalies, there are several portraits that Elizabeth left to Lord Craven after her death, along with her most treasured stags’ antlers which she had brought from Bohemia when she went into exile at The Hague. These are now displayed in the house, having been acquired by the National Trust from Coombe Abbey in 1979.

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ublic access to Ashdown House is restricted to the entrance hall, massive central staircase, and the cupola leading onto the roof. On a beautiful day, the views across the estate are breathtaking, and on the west side of Middle Wood it is possible to make out a site known as ‘Alfred’s Castle’, where a domestic defended settlement was discovered.

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he tale of Ashdown House is one littered with intrigue, scandal and disgrace but the only way to reap the full benefit of its fascination is to take the guided tour, study the portrait collection, and enjoy the lively commentary supplied.

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Open :

OS Grid Reference : SU 282820

April-end October Wed & Sat pm (only by guided tour)

Lambourn Newbury Berkshire RG16 7RE

Tel : +44 (0)1793 762209

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Batemans

urrounded by the wooded landscape of the Sussex Weald, Bateman’s is an idyllic spot in the Dudwell Valley. Owned and loved by Rudyard Kipling for 34 years, Bateman’s became his sanctuary. A member of his family once said “the house stands like a beautiful cup, on a saucer to match”, and this is a very fitting description of the pale stone house and its idyllic environment.

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n inscription of ‘AD 1634’ over the front door is probably an indication of the origin of Bateman’s, and certainly the first known occupation of the house was towards the end of the seventeenth century. It is documented that John Britten, an iron dealer, was living at the property then, though whether he was responsible for building is uncertain. It is generally believed that the house was built by a Wealden ironmaster and, as there several forges in the valley, that is quite possible. It is also, perhaps, not a coincidence that many Sussex ironbacks and firedogs remained in the house.

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ateman’s is constructed largely of local sandstone, with the tiles of the hipped roofs and six chimneystacks made from Weald clay. Internally, the staircase and wood panelling are solid oak, traditional in this part of the country because the oak tree grows in such abundance. Locals nicknamed it ‘the Sussex Weed’. Mullioned windows, pilasters, and the rounded arch of the porch give a hint of the Renaissance. The front entrance is not symmetrical, as there is a gabled wing on the south side, but not on the north. On the outer left-hand pier of the porch are the carved initials of the family, giving visitors the first indication of the sense of fun that prevailed in the Kipling household.

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hen Rudyard Kipling sought a calm haven after the death of his young daughter, Bateman’s provided the perfect solution. Together with his American wife, Carrie, they finally purchased the house in 1902, despite having seen it for sale two years earlier. Although the seclusion the house offered was perfect, the home comforts at that time were few. There was no electricity, no running water upstairs, and no bathroom. One of the modern conveniences that Kipling had no intention of installing, however, was a telephone. As well as giving a homely feel to the house, the abundance of open fireplaces proved extremely useful to Kipling, providing a useful means of disposal for the manuscripts that he did not want the world to see.

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he heart of Kipling’s house was the study, where favoured friends were invited to sit whilst he worked. His collection of books cover a fascinatingly broad range of subject matter, from rat catching to manures, and from gates and fences to bridges. It is known that when Kipling had tired of his guests, he liked to take them into the garden to look at the sundial. After noticing the inscription “it is later than you think” they, hopefully, took the hint to be quickly on their way! Kipling’s overwhelming desire for peace and seclusion did not affect his obvious joy of entertaining, and many visitors were warmly welcomed over the years. Family

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members, business men, journalists, and authors appear among the numerous ‘lunch’ guests in Kipling’s Visitors Book, including Stanley Baldwin who was his cousin, and three times Prime Minister. hen the house was first purchased by Kipling it included some 33 acres of ground, but by 1928 the estate had grown to over 300 acres. The gardens on this substantial plot were arranged with money he had received from winning the Nobel Prize. Today the visitor can still enjoy the terraced lawns, the walled garden, the working watermill, and his beautiful 1928 Rolls Royce, as well as the many personal possessions remaining in the house moreorless as he left them on this death in 1936.

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Open :

OS Grid Reference : TQ 671238

April-end October Sat-Wed

Burwash Etchingham East Sussex TN19 7DS

Tel : +44 (0)1435 882302

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Boscobel House

here can be few people who have never heard the famous story about Charles II, linking his escape from the Roundheads with the spreading branches of an old oak tree, but most are unlikely to recall where this event happened. After his defeat at the Battle of Worcester in 1651, Charles needed to reach London quickly, but circumstances forced a change of plan and he had to find several places to shelter along the route, before eventually fleeing to France.

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ne of the places he found loyalty and hospitality during this dramatic episode was at Boscobel House. Arriving in the early hours of the morning, he stayed for a short while in the house but no longer than it took to eat a simple meal of bread, cheese and ale, before seeking cover in the branches of the vast oak tree in the woods close by. Following a most uncomfortable day in the tree, Charles returned to Boscobel House, where he was fed, groomed and given a decent bed for the night before continuing with his journey. From that moment, this noble tree was known as ‘The Royal Oak’ and many public houses have chosen to commemorate

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this significant moment in British history by so naming their establishments. ven by today’s standards Boscobel is situated in a remote part of the Shropshire countryside but, once located, the house and setting are simply idyllic. A small but very active duck pond, sheep grazing the surrounding pastures, noisy geese and chickens, are all present to welcome the visitor in genuine country fashion. The delightful black and white house bordering this farmyard bustle was built in the early seventeenth century as no more than a modest lodge. Today, a nineteenth century farmhouse fronts the original building, making it appear substantially larger, and the contents and decor generally reflect the period restoration.

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evertheless, Boscobel House does contain several mementoes relating to the time of Charles II, and there is much carved oak work to admire. Since its royal ‘claim to fame’ the house has experienced changing fortunes. Immediately after the event, Boscobel held an almost ‘shrine-like’ appeal, attracting a great number of visitors inclined towards the romantic notion. In noticeable contrast, before the end of the eighteenth century much of the building’s historic character had been destroyed and it became an ordinary working farm where callers were rare. In 1812 a spark of sentimentality returned, when a certain Walter Evans decided to try and recreate Boscobel’s glorious appearance at the time of the King’s brief stay. From the mid-1800s the house enjoyed something of a revival, and visitors once again flocked to Shropshire to follow the adventures of Charles II. From 1984 Boscobel House came within the care of English Heritage, and the property has now been completely refurbished and restored back to its early nineteenth century appearance.

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espite its modest proportions, Boscobel is undoubtedly a most intriguing property, and one that conceals the importance of a significant piece of history in the making. Had Charles II been

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captured here by the Commonwealth troops, the whole course of history might have been altered. The site of the celebrated oak is now marked by a descendant of that same tree, standing about 150 yards from the house and enclosed within iron railings. bout half a mile beyond Boscobel lie the remains of White Ladies Priory, another significant site in the plight of King Charles. In fact, it was to the large timber-framed house at White Ladies that Charles was first taken to shelter in the early hours of the morning. Nothing has survived of the house, but it is interesting to walk down the lane and discover the missing piece of the jigsaw in this famous tale.

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Open :

OS Grid Reference : SJ 838082

April-end October Thurs-Mon (but daily June-Aug inclusive)

Brewood Bishop’s Wood Shropshire ST19 9AR

Tel : +44 (0)1902 850244

Managed by English Heritage Web site: www.english-heritage.org.uk Find exact location using Multimap

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Burn’s Cottage

respectfully small and simple cottage, situated at the edge of the road along a busy route through Alloway, denotes the fairly insignificant start to life of a boy who was to become Scotland’s most-renowned literary figure. It was here, just two miles outside of Ayr, that Robert Burns was born in 1759 to William and Agnes Burnes, the first of seven children to be raised in near poverty. His father was a market-gardener from Kincardineshire, who had built the traditional two-roomed cottage with clay walls and a thatched roof on his newly acquired plot of land a few years earlier. It was probably unimaginable to him then that this would in time become one of the most visited dwellings in the world.

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he cottage was home to Burns only until he was seven years old, but the appeal of this authentically restored building is enhanced by the adjacent museum exhibiting original manuscripts and other personal memorabilia. From this treasured and diverse collection, a funny, romantic and lovable genius begins to emerge, urging the visitor to discover more about his short life. Having never made the fortune he desired from his publications, Burns was

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employed as an Excise Officer in Dumfries for the final five years of his life, and numerous artefacts and ‘tools of the trade’ from this period are also displayed in the museum. is adolescence was spent working as a farmhand, but Robert was always more inspired by literature and music. By the age of 15 he had composed his first song, and during his lifetime he had contributed in some way to more than 360 Scottish folk songs. Probably one of his best remembered works is the tale of ‘Tam O’Shanter’, a darkly comical verse written in the latter part of his life and based on childhood memories of folk legends and places in Alloway.

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lessed with such a wonderful sense of rhythm, all of his earliest poems took the form of songs. Whereas many artists find it easier to begin with the lyrics and compose a score around them, Burns was far better at adding the words to a tune he had first composed in his head. Among his favourite subjects were women, always taking the opportunity to pen a verse about his latest ‘love’. His passion for whisky and women is well documented and, during his wild and carefree years, Burns fathered several illegitimate children. But it was with Jean Armour that he finally embarked on marriage at the age of 29, having already become the father of her twins three years earlier. Jean was actually giving birth to their ninth child, a boy, on the day that Robert Burns died.

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espite being adapted for use as an alehouse during the nineteenth century, the old cottage as seen today is very much as it would have been when first built. Still smelling strongly of burnt peat logs and smoke, and with the a heady mustiness of warm damp straw, the cramped cottage presents a vivid picture of life as endured by the young Burns’ family. A ‘byre’ or animal shed leads into a simply furnished sitting room, barely big enough to accommodate the family of six. The only other room, now referred to as the ‘kitchen’, was the main living, eating and sleeping area. It

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has been recreated to give an exact representation of its appearance on the day Robert Burns was born, the original box-style bed taking pride of place. hen Robert Burns was buried in 1796, an estimated 10,000 people attended to pay their respects. In 37 years he had succeeded in making an enormous impact on Scotland and its people, and his immortalisation can be better understood with a visit to the Burns National Heritage Park. This splendid area comprises not only the old cottage and museum, but also includes the Tam O’Shanter Experience, the Burns Monument, and other modern visitor facilities.

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Open :

OS Grid Reference : NS 335190

All year, daily

Murdoch’s Lane Alloway Ayr KA7 4PQ

Tel : +44 (0)1292 443700 Managed by Burns National Heritage Park Web site: www.burnsheritagepark.com Find exact location using Multimap

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Castle Drogo

ne of the last great homes to be built in England, this unique twentieth century ‘mock’ castle springs into view above the wild beauty of Dartmoor. This was the creation of Julius Drewe who, fired by the discovery of his ancestral history, declared that he wanted to build not just a grand home but a castle, appropriately portraying his line of descent from Drogo, a Norman baron. By a fortunate coincidence, one of Drewe’s cousins was rector of Drewsteignton (the parish named after Drogo de Teigne in the twelfth century), and the first plot of land was purchased from him in 1910 in readiness for Drewe’s eccentric plans.

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aving been aware of Sir Edwin Lutyens’ recent remodelling of Lindisfarne Castle, Drewe secured the services of this

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outstanding architect to design his own dream castle. Lutyens, better known for his inspired memorials and elaborate restoration of stately homes, accepted this strange commission but remained unconvinced about Drewe’s ideas for a modern ‘medieval’ castle. Despite any earlier misgivings, Lutyens became intrigued with this challenge and, during his long journeys to India where he was supervising the building of the Viceroy’s house, he would spend hours mulling over the plans for Castle Drogo. After many amendments to the original design, the Drewes were able to move into their new home in 1927, but the house was not finally completed until 1931. Sadly, it was the same year that Julius Drewe died. s founder of the Home and Colonial Stores, Julius Drewe had made his fortune early and retired from the business in 1889 while still a relatively young man. The following year he married and, by 1900, the family had moved into Wadhurst Hall, inheriting an abundance of fine tapestries and exotic Spanish furniture, which they took with them to Castle Drogo. Externally, the flat granite walls of Drewe’s fantasy house appear rather daunting and featureless, and the interior depicts a similar austerity. Nonetheless, it is the medieval simplicity, enhanced with a touch of Edwardian elegance, that provides the character of the house and makes it all the more dramatically pleasing. Rooms are arranged over five different levels, rather than on specific floors and the overall effect is one of continuity and spaciousness in an irregularshaped building.

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ew of the walls, apart from the main living areas where wood panelling was introduced, are decorated with anything more than a lick of distemper, but the graceful lines created by vaulted ceilings, rounded arches and vast windows provide an adequate and uncluttered vista. One room in the castle has been set aside as a shrine to the Drewe’s eldest son, Major Adrian Drewe, killed in action during the First World War at the age of 26.

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his extraordinary and fascinating house was gifted to the National Trust in 1974, the first twentieth century house to come into the Trust’s possession. The decision to accept such a modern property was made on the grounds of the quality of building, as much as for its surrounding environment.

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Open

OS Grid Reference : SX 721900

Mid March-early November Wednesday-Monday

Drewsteignton Nr Exeter Devon EX6 6PB

Tel : +44 (0)11647 433306 Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Cragside

irst envisaged as a country lodge and weekend retreat for William Armstrong, this fabulous, eye-catching mansion was developed over 15 years, with the help of Norman Shaw. Much of Shaw’s architectural work, described as ‘Free Tudor’, has remained unchanged since the second half of the nineteenth century and presents a fascinating mix of mellow, local stone with bold ‘Cheshire-style’ black & white half-timbering. The elevated position of the house, along the edge of a vast rock face, only serves to emphasise the character and irregular charm that Cragside symbolises. Towards the end of the nineteenth century many alterations and additions were made, overseen by both Armstrong and his great-nephew William Watson, who was by then living at Cragside and managing the estates. Meanwhile, in 1893, Lord Armstrong purchased Bamburgh Castle.

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fter his death in 1900, Lord Armstrong’s great-nephew inherited all the estates and interests of his great-uncle. The newly created 1st Baron Armstrong of Cragside and Bamburgh, and his wife, enjoyed all the comforts of their inherited wealth for

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several years. When Armstrong became involved in some lucrative business deals, things subsequently took a downhill turn and by 1908 he had incurred serious debts. Consequently, many of his great-uncle’s prized possessions were put up for sale, and in 1977 the house and a large portion of the estate at Cragside, passed into Treasury hands in part settlement of death duties. oday, managed by the National Trust, Cragside offers the opportunity for visitors to gain some understanding of Lord Armstrong’s incredibly inventive and scientific mind, as well as to share his appreciation of fine art and craftsmanship. Although trained as a lawyer, Armstrong had a naturally inquisitive and innovative nature that led him into engineering. Probably most renowned in the fields of artillery and hydraulic power, Cragside was the first house to be lit by hydroelectricity. It was Armstrong himself who built the lakes, the turbines and the power house to provide this source of water power. There was a hydraulic lift installed, and several domestic machines in the laundry and kitchen all powered by water. These inventions may do little to inspire the less technologically-minded, but the beautifully decorated Morris interiors are certainly something to marvel at.

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ncluded among the many unexpected and delightful features of Armstrong’s house are the exotic suite of Turkish Baths situated beneath the Library, and the Victorian Billiard Room on the gallery level. Perhaps the area of the house most significantly altered during Lord Armstrong’s occupation was the private wing, once housing a museum and observatory. Before 1880 the museum had been converted to ‘the Gallery’, where Armstrong proudly displayed the best of his art collection. When the new drawing room was added some four years later, the gallery doubled up as a grand passage.

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ragside is an amazing property in the most delightful grounds, but it is the massive scale of everything that remains

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memorable. A vast estate covering some 1,700 acres comprises substantial lakes, a gigantic rock garden, and a pinetum boasting the tallest Douglas Fir in England. But at the heart of all this stands the grandiose and revolutionary Victorian mansion, built as an expression of Armstrong’s wealth and genius. He had harboured fond memories of Rothbury from many childhood holidays spent there, and it is fitting that Cragside now stands as a memorial to him.

Open :

OS Grid Reference : NU 073022

April-end October Tues-Sun, & BH Mons

Rothbury Morpeth Northumberland NE65 7PX

Tel : +44 (0)1699 620333

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Birthplace of D H Lawrence

t 8a Victoria Street, Eastwood, David Herbert Lawrence was born in September 1885, the third son of a coal mining family. The house, now attached to a museum, has been left pretty much as it would have been furnished when the Lawrence family occupied it, and offers a clear representation of life in a small mining community towards the end of the nineteenth century. However, this is just one of several houses in the locality that Lawrence grew up in, as his mother was always trying to improve their social standing and consequently they moved frequently.

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rom the outset, Lawrence’s life was fraught with problems. As a child he was very sickly, suffering from bronchitis, and spent a lot of time at home with his mother who encouraged him to read.

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When he was allowed a little freedom from the house, his time was spent exploring the countryside, and this no doubt fuelled his imagination. Lawrence treasured these moments, and many of the observations he made during those walks became an integral part of his novels and, to a lesser degree, his paintings. Throughout his adolescence Haggs Farm became a favourite haunt. It was the home of Jessie Chambers, and it was with her help and encouragement that Lawrence managed to get some of his earlier work published. oon after he qualified as a teacher in 1908, Lawrence left his beloved Eastwood to teach in Croydon, but only two years’ later his mother died and this had a drastic effect on his own state of health. Following a period of difficult circumstances, and intense suffering as a result of his mother’s death, he gave up teaching in favour of a full time literary career. This change of direction in his life was greatly enhanced in 1912 when he decided to elope with a university professor’s wife, Frieda Weekly, and they wandered through Europe for a couple of years. With a broadening of his horizons, Lawrence’s artistic talents flourished and it was during this time that he completed his third novel ‘Sons and Lovers’. Touched with the variety that travel brought, and often able to spend time in climates better suited to his poor health, Lawrence tended to follow a nomadic lifestyle. In 1930, aged only 45, he died of TB whilst living in France.

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lthough Lawrence had a great affection for Eastwood, a place responsible for the early development of his creative mind, his vitality, and his characterisations, the feeling of the local inhabitants was not reciprocated. The scandal of his elopement with an older married woman, and the outrage caused by some of the extremely controversial (often sexually explicit) material included in his books, was absolutely unforgivable in the eyes of this staid Victorian community.

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he humble abode in Victoria Street has retained its character and authenticity from the Lawrence family’s era largely due to the last occupant of the house. For nearly 70 years the same lady resided alone at the house, having little money or inclination to touch the fabric of the place. For a more in-depth look at the notorious life of D H Lawrence, the museum makes a good starting point from which to follow the ‘Blue Line’ literary trail around Eastwood. Several old haunts and houses in the area that triggered powerful emotions, and provided the inspiration for Lawrence’s prolific works, have been highlighted.

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Open :

OS Grid Reference : SK 466470

All year, daily Closed 24 Dec-1 Jan

Durban House Heritage Centre Mansfield Road Eastwood Nottinghamshire NG16 3DZ Tel : +44 (0)1773 717353

Managed by Broxtowe Borough Council Web site: n/a Find exact location using Multimap

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Dr Johnson’s House

beautiful early eighteenth century private house, now entirely surrounded by commercial premises and offices, stands behind Fleet Street and away from the main stream of bustling London tourists. It was from this inconspicuous residence that Dr Samuel Johnson founded and wrote articles for ‘The Rambler’, and later compiled the first comprehensive English dictionary published in 1755.

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ettling in the City from the age of 27, Johnson lived at no less than 17 different addresses in London throughout his lifetime, but the house in Gough Square is the only one still in existence today. Attracted to the house in 1749, mainly for its close proximity to the printers he used, Dr Johnson rented the property for the next

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10 years. His wife, some 20 years his senior, died there just three years later. When Johnson died in 1784, his black servant received the majority of his estate for his years of faithful service. Dr Sameul Johnson was buried in Westminster Abbey. s the son of a Staffordshire bookseller, Johnson was never a wealthy man and, despite working long and hard on his dictionary and other literary works, there never seemed to be sufficient money available. During the three years it took to produce the dictionary in the garret, Johnson employed six clerks to stand writing at a long desk. Three years after publication of his great work, Johnson finally reaped the reward of his labours, being offered a handsome pension by King George III. This enabled him to live the rest of his life in relative comfort.

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hen Johnson left the house in 1759 it continued to be occupied for the most part of the next 150 years, but used variously as a hotel, a print shop, and a storehouse. As a consequence of several changes of ownership and use, the house was not maintained to any standard and when it came onto the market in 1911, it was in an advanced state of dereliction. Cecil Harmsworth, a Liberal MP, purchased the house and instigated a programme of sympathetic restoration and essential repairs. The house is now considered to be a close representation of the period when Dr Johnson was living there. With a large basement kitchen, a dining room and a parlour on the ground floor, two rooms on the first floor which could open up to provide one large space, and a further three rooms (including the garret) at the top of the house, it was indeed a typical house of the mid eighteenth century gentleman. The garret required substantial restoration as a result of severe damage sustained during air raids over London between 1940 and 1942.

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here are numerous paintings in every room of the house, each one having a personal association to Dr Johnson, and through

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these it is possible to build up a picture of this generous man who was a brilliant scholar, lexicographer, and master of the literary circle of his time. What might initially seem a rather dull and ordinary house from the exterior, turns out to be a fascinating insight into the life and times of a well respected, well connected, and rather extraordinary man.

Open :

OS Grid Reference : TQ 314813

All year Daily, except Suns

17 Gough Square London EC4A 3DE

Tel : +44 (0)20 7353 3745

Owned by Dr Johnson’s House Trust Web site: www.drjh.dircon.co.uk Find exact location using Multimap

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Gilbert White’s House

he Oates Memorial Museum and the Gilbert White Museum are both incorporated in the former home of Gilbert White, an appealing and spreading house known as ‘The Wakes’. Situated at one end of the High Street in the tiny village of Selborne, the original house dates from the sixteenth century but was extensively altered and enlarged some 200 years later when Gilbert White inherited the property he had grown up in. Purchased by Professor Bell in 1844, the house was further extended with a ground floor library, and this has been utilised to exhibit some of the artefacts recovered from Selborne Priory.

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cclaimed throughout the world for his innovative approach to the study of natural history, the Reverend Gilbert White’s book, ‘Natural History & Antiquities of Selborne’, has not been out of print since it was first published in 1789, and the original manuscript is displayed in the Bell Library of the house. During White’s occupation the house would have been very dark and drab, and this environment has been authentically recreated to provide visitors with an understanding of the difficult conditions under

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which this great naturalist produced his brilliant work. Only a few pieces of furniture in the house actually belonged to Gilbert White, the majority of items having been installed to give the flavour of an eighteenth century gentleman’s home. n the first floor, and at the opposite end of the house to the bedchamber, is a large gallery dedicated to two adventurous members of the Oates’ family. These young men, daring explorers of their time, both died as a result of their intrepid lifestyles. Captain Lawrence Oates is well remembered for his final declaration to his companions, “I am just going outside, I may be some time”. This signalled Oates’ death during the notorious expedition to the South Pole with Captain Scott in 1912, when all five members died in tragic circumstances. Several old photographs, documents and miscellaneous relics from the ill-fated expedition now on display, are quite moving. Lawrence’s uncle, Frank Oates, was a naturalist and a Fellow of the Royal Geographical Society. His great ambition was to see the Victoria Falls but, having achieved this, he died of fever on the return journey in 1875. A collection of the natural history specimens he gathered during the journey were saved, and are now on display.

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he union of Gilbert White and the Oates family was purely coincidental, although now seen together seems an entirely natural course of events. Robert Washington Oates was attempting to find a suitable venue in which to display his family memorabilia at the same time that ‘The Wakes’ was being offered as a memorial to Gilbert White. A mutually beneficial arrangement meant that all three celebrated men could be commemorated under one roof.

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xternally, the front of the house appears to comprise of the usual village tea shop, a small cottage, and a bookshop all joined together - which indeed it is - but the rear of the property presents a thoroughly charming picture of an olde worlde country cottage with large, rambling grounds. Gilbert White was an

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enthusiastic and innovative gardener, paying particular attention to the design elements. It is gradually being restored and recreated to the eighteenth century garden that White meticulously documented. Apart from his own garden, he also spent a lifetime investigating and improving the splendid, historical countryside around him. The long, steep ‘zig zag path’ in close proximity to the house, was actually dug by White. It is quite a climb, but the marvellous views will more than compensate for the physical effort required to reach the top.

Open :

OS Grid Reference : SU 741336

All year, daily Closed 24 Dec-1 Jan

The Wakes High Street Selborne Hampshire GU34 3JH Tel : +44 (0)1420 511275

Owned by Oates Memorial Trust Web site: n/a Find exact location using Multimap

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Great Dixter

passing glance at this evocative country house might give the impression that this was a grand rambling manor with medieval origins, but all is not quite as it seems. Formerly known as just ‘Dixter’, the greatness alluded to in its present title is more than a clue to the amazing transformation that the original fifteenth century hall house underwent in the early years of the last century. Almost from the time the first house was completed in the 1450s, it saw a succession of different owners and tenants, and probably experienced many periods of vacancy and neglect.

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n 1910 Nathaniel Lloyd purchased Dixter, the outbuildings and the land for £6,000. Born in Manchester, Lloyd achieved success and wealth through his colour printing company, and by 1909 he

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was able to exchange his business life for more leisurely pursuits. Already renting a property in the area, and enjoying the local golf facilities and the country shoots, it seemed a natural step for him and his wife to buy their own place in this beautiful part of the country. Something of an antiquarian himself, Lloyd had specific ideas of how he wished to enlarge and modernise the living accommodation at Dixter, but did not want to lose sight of it’s origins. Knowing the reputation that Edwin Lutyens had acquired for his sympathetic restoration work, Lloyd was convinced that by working with him they could produce something very special, but traditional. he deciding factor in the form that the ‘new house’ would take was the purchase of a derelict sixteenth century timber house in nearby Benenden, which was systematically dismantled, transported to Northiam, and re-erected as an integral part of the Dixter property. Using local materials and traditional building methods, the two old farmhouse style buildings were ingeniously joined together with a third section to provide extra accommodation. Lutyen’s work was so brilliantly authentic that the finished house of ‘Great Dixter’ looked as though it had been standing untouched since the early sixteenth century. Enthused and enlightened by this building experience, Nathaniel Lloyd became a self-taught architect, and many buildings in the locality are the result of his designs.

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n internal tour of the house takes in the impressive fifteenth century great hall, one of the largest surviving timber-framed halls in the country, the cosy low-ceilinged parlour, and the spacious first floor solar. Other rooms are shown to the public when the present owner is not using them. There is a surprising and refreshing mix of decorative styles, clearly demonstrating that both traditional and contemporary styles can live in harmony without creating a gaudy mis-matched effect.

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ompleting the whole picture was an important aspect of Lutyen’s designs. When the residential part of the project had taken shape, he concentrated on the layout of the gardens using the original outbuildings to ingeniously bring together all the elements. Now well established, these fabulous gardens are a delight throughout every season of the year, and remain a constant source of pleasure through the continuing work of Christopher Lloyd, the celebrated gardener and author.

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Open :

OS Grid Reference : TQ 817251

April-late October Tues-Sun, pm only

Northiam Rye East Sussex TN31 6PH

Tel : +44 (0)1797 252878

Owned by Christopher Lloyd Web site: www.greatdixter.co.uk Find exact location using Multimap

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Hall Place & Gardens

ow exposed to the constant roar of traffic from the busy arterial road running adjacent to its grounds, this beautiful Tudor mansion once stood at the heart of an extensive estate. Records going back to the thirteenth century confirm that an earlier manor house was located on the estate, but all traces of this have long since vanished. Sir John Champneys, a former Lord Mayor of London, began the house c1537 using stones that may have been quarried from the ruins of a local abbey. His son completed the stone section of the building, and the Champneys remained at Hall Place for more than a century.

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hen it was sold to Robert Austen in 1649, he extended the house at the southern end with a brick structure, thereby giving the house its distinct ‘split’ appearance. The Austen family line came to an end in 1772, and the property passed to Sir Francis Dashwood, well-known as a member of the notorious Hellfire Club. The Dashwoods rarely resided at Hall Place, preferring to remain at West Wycombe Park in Buckinghamshire and letting out the accommodation on their Bexley estate to various tenants. For a

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century and a half the Dashwood’s owned Hall Place, but for the majority of that period it was used as a school. Following a general restoration of the property during the 1870s, it was subsequently leased out to a number of private tenants. Lady Limerick was the last tenant to reside at Hall Place, living there from 1917 until her death in 1943. She was a popular local figure who loved to entertain, counting among her invited guests the future King. The unusual topiary garden was initiated by Lady Limerick, and remains as a unique legacy of her time. As part of the Coronation celebrations in 1953, the topiary was extended to include mythical and heraldic figures, forming a line known as the ‘Queens beasts’. fter the Second World War, during which time Hall Place was taken over by American troops on a special secret assignment, the house again reverted to use as a school. As a Grade I listed building, it has now been fully restored by the local council and is home to the Bexley Museum. Throughout the year many exhibitions depicting local history are held in the house, and a mass of archive documents are regularly on display. Learn about the occupants, both human and spiritual, and consider the legendary associations with Dick Turpin and the Black Prince. Encompassed by awardwinning gardens and parkland, and with the River Cray meandering gently through the grounds, it is perhaps difficult to imagine an age when highwaymen were terrorising the area.

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Open :

OS Grid Reference : TQ 502743

All year, daily Except Suns Nov-Feb

Bourne Road Bexley Kent DA5 1PQ

Tel : +44 (0)1322 526574 Managed by Bexley Heritage Trust Web site: www.hallplaceandgardens.com Find exact location using Multimap

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Hardy’s Cottage

wo hundred years ago, in the remote and wild setting of the Dorset heathland, John Hardy built a small ‘cob and thatch’ cottage for his family. The Hardy’s were a firm of simple country builders, using old-fashioned materials and traditional methods, and the original three rooms of the cottage show far more quality of workmanship than the later extensions. But this cottage did not acquire a place among England’s famous houses for the skilled craftsmanship employed in its construction. This accolade came some four decades later, when the builder’s great grandson arrived in the world.

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ith memories of an extremely contented childhood spent at the cottage, and the added bonus of its location in the heart of the countryside, Thomas Hardy was well-placed to gain an understanding of life and the beauty of nature. This rich source of easily accessible information provided much of the material for his poetry and novels. Two of his most famous works were actually written during his time at the cottage. ‘Under the Greenwood Tree’ contains many descriptions of the cottage, the local church, the

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village folk, and vistas that he was familiar with throughout his early years. ‘Far From the Madding Crowd’ was written using similar real life situations. In 1874 Hardy married, eventually building his own home just a few miles from his Birthplace, but he frequently visited the family home right up to the time of his death. areful restoration work has returned the cottage to it’s appearance at the end of the nineteenth century, but it is possible to distinguish the original core of the cottage from the later extensions. Deep window-seats were a typical feature of this style of simple country cottage, and Thomas Hardy made full use of them. Using this vantage point in his own room, he would observe and record the seasonal sights and sounds of the countryside, recollecting every little detail to incorporate in his books and poems. Even while he was working in London as an architect, Hardy would constantly look forward to returning to get back to his idyllic rural retreat, to recharge his batteries and seek renewed inspiration for his writing.

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y 1912 the family cottage had been vacated. Both parents had died, and Hardy’s brother and sisters had all moved to a larger house. During the next 35 years the cottage was rented to a number of local tenants, but this in no way prevented Hardy from looking after the old property right up to the time of his death. He would often visit the tenants and make recommendations for its repair and upkeep. Thomas Hardy adored this little cottage so lovingly built by his great grandfather, and could not bare the thought that it should ever be abandoned or neglected. It always remained a special place - a safe haven in troubled times, a refuge from the stresses of the City, and a major influence on his literary works. In its current state of preservation it is a tribute to the builder, and the writer, both of whom contributed in no small way to the pleasure it continues to give visitors today.

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espite being less than five miles from the busy market town of Dorchester, the cottage remains fairly isolated even by today’s standards. Surrounded by managed woodland, there are several trails and footpaths that wind through the trees and over the heath leading to Hardy’s cottage. Remaining partially hidden by the tall beech trees, the property has changed little over the years, and the flourishing old cottage garden continues to attract a huge variety of butterflies and birds.

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Open :

OS Grid Reference : SY 728925

April-November Thurs-Mon

Higher Bockhampton Nr Dorchester Dorset DT2 8QJ

Tel : +44 (0)1305 262366

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Hughenden Manor

his very unpretentious eighteenth century country house is not architecturally outstanding, but the rather ordinary external shell does conceal an extraordinary insight into the life of Queen Victoria’s favourite Prime Minister. This was the home of Benjamin Disraeli from 1848 until his death 33 years later, and is now displayed as a museum dedicated to his political career.

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israeli loved trees, and when he purchased the Hughenden estate he was delighted with the surrounding landscape of woodlands. The fact that his home was buried deep in a secluded part of this lush valley in the Chilterns, yet only minutes from High Wycombe, also greatly appealed to him. When the old Norman estate was granted to Sir Robert Dormer in the sixteenth century, the family built a set of almshouses beside the church. In 1737, when Charles Savage acquired the site, he transformed the farmhouse into a gentleman’s residence, and this was subsequently gothicised by John Norris in the 1840s. Several years after Disraeli had purchased Hughenden Manor, Edward Buckton Lamb was commissioned to soften and ‘romanticise’ the house after a

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Jacobean fashion. Attempting to break the flat, square starkness of the external façade, the mid eighteenth century brickwork was revealed, a parapet of battlements and pinnacles were added, and some unusual brick features enhanced the window surrounds. Disappointingly, for the Disraelis, this typical Victorian restoration merely resulted in an extension of the gothic style already introduced in the house by Norris. Meanwhile, Mrs Disraeli concentrated her efforts into reorganising the gardens, and these have been beautifully restored to her original designs after being lost early in the twentieth century. pon Disraeli’s death, his nephew extended the house, thoroughly modernised it, and radically changed the layout of several rooms. Since being left to the National Trust, it has gradually been restored to reflect the amosphere of the midVictorian home that Benjamin and his wife had such a deep affection for. This is most apparent in Disraeli’s study, one of the rooms that has remained least altered in the house. It was the hub of Disraeli’s life, from where he conducted much of his political work, his personal correspondence, and his novel writing. Towards the end of his life he practically lived in only this one room. The Hughenden library was probably his favourite place. Books had always played a great part in his life, and here Disraeli could relax and enjoy his vast collection of volumes. So strong was his affinity with books that Disraeli even claimed to have been born in a library.

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hen Queen Victoria visited Hughenden in 1877 Disraeli made special arrangements to have the legs reduced in height on one of the dining room chairs. This was a thoughtful touch, and one that shows a very human understanding of the potential embarrassment that may have been caused to his royal friend, should her legs have been allowed to swing about freely in mid air.

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part from the abundance of personal memorabilia, there are an overwhelming number of portraits on display throughout the

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house showing family, literary friends, society colleagues and members of the Royal Family. Disraeli began to assemble this ‘Gallery of Friendship’ after his wife’s death, wanting it to represent a pictorial history of his life. From looking at some of the famous people portrayed, he clearly succeeded in making his mark during the Victorian era. What is unquestionably clear is that he was proud of his family and background. His wife described him as a genius ‘whose whole soul is devoted to politics and ambition’. He may well have been, but Benjamin Disraeli also truly loved his wife and his beautiful home, spending as much time with both as his career allowed.

Open :

OS Grid Reference : SU 866955

March, Sat & Suns only April-end October Wed-Sun

High Wycombe Buckinghamshire HP14 4LA

Tel : +44 (0)1494 755565

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Jane Austen’s House

mile outside of Alton lies the pretty little village of Chawton, where a large red-brick house prominently displays a plaque to indicate that this was once the home of Jane Austen. Built in the seventeenth century as a posting inn, and later converted to the farm bailiff’s cottage, this house formed part of the Chawton estate inherited by Jane’s brother, Edward. Following the death of her father, Jane moved into the peaceful village house with her sisters, her mother and a family friend in 1809. She was delighted with her new home, finally feeling settled and contented after years of moving around and living in busy towns. Here she could relax and concentrate once again on her writing, surrounded by the security of this wonderful community environment.

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oday the house is a museum, founded by Mr T Edward Carpenter and dedicated to the short life of Jane Austen. Much of the house was altered after the Austen family departed, when it was converted for use as three farm worker’s cottages. Carpenter carried out the necessary repairs and refurbishment in order to return it to a close resemblance of the accommodation it would have

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afforded during Jane’s occupation. Similarly, the furniture is largely representative of that period rather than the Austens’ original pieces. The exception is Jane’s own small ‘writing table’ which has been returned to the dining parlour where her novels ‘Mansfield Park’, ‘Emma’ and ‘Persuasion’ were created. Soon after Jane had moved into Chawton, she revised her most famous works of ‘Sense and Sensibility’ and ‘Pride and Prejudice’, and this surely reflects the calmer state of mind she was enjoying in this idyllic spot. onsidering the modest size of the house, it contains a surprisingly comprehensive history of the Austen family as displayed by the numerous letters, personal documents, pictures, and many first editions of Jane’s novels. Losing her life at a relatively young age to some terrible strain of kidney disease, it is amazing to witness the wealth of artistic talent that this humble lady managed to release in her 42 short years. Apart from her writing, Jane was an expert needlewoman and an accomplished pianist. Several examples of her skilled needlework are on display, together with a neatly written manuscript music book. Should she have survived to old age, it is difficult to contemplate just how many more inspiring novels she might have written, or what other unfulfilled talents would have manifested themselves.

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he garden was a favourite place of Jane’s when she needed some fresh air, but it was her mother who regularly attended to her large vegetable garden, and kept the orchard and shrubbery under control. Even though the grounds are not nearly as extensive today, the pretty sweet-smelling borders are very reminiscent of a traditional old English country garden. In the courtyard to the rear of the house is an old well and some outbuildings, including the granary and the bakehouse, the latter now housing Jane’s donkey carriage.

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hawton presents a rare opportunity to become totally immersed in the life of an inspired and famous novelist, with an almost overpowering sense of being able to re-live her time there. Eternally remembered by way of an engraved plaque over her final resting place in Winchester Cathedral, Jane Austen’s spirit most definitely lives on at Chawton.

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Open :

OS Grid Reference : SU 708376

All year March-end Nov, daily Dec-end Feb, Sat & Suns only Closed 25-26 Dec

Chawton Alton Hampshire GU34 1SD

Tel : +44 (0)1420 83262 Owned by Jane Austen Memorial Trust Web site: www.janeaustenmuseum.org.uk Find exact location using Multimap

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Birthplace of J M Barrie

ntering the timeless world of ‘make-believe’ through the enchanting story of Peter Pan has been experienced by children and adults alike the world over. But it is only with the benefit of a visit to the little weaver’s cottage in Kirriemuir, where the creator of this endearing boy character was born, that it is possible to gain a better understanding of how and why this magical tale evolved.

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he joyous occasion of James Matthew Barrie’s Birth in May 1860, the ninth of ten children, coincided with a rare family event - a delivery of new furniture. On that day a set of six Victorian hair-bottomed chairs arrived at the Barrie’s home, because Margaret Ogilvy had been saving hard to furnish the new parlour which was to become available when her husband moved the tools of his trade

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to a nearby shop. In the close-knit linen-weaving community money was never in abundance, and the two-up two-down cottages had to accommodate a handloom and store, as well as living space for a growing family. M Barrie spent his first eight years learning about life among the hard-working, poorly paid weaving community, and it was from early memories of this background that much of his work developed. His mother became his greatest inspiration. She would relate stories of her own childhood, ensure that he had plenty of opportunity to read for himself, and encourage him to expand his imagination by writing his own tales of adventure. When his brother died suddenly at the age of 13, it had a devastating effect on the family. Barrie’s mother cherished the memory of David as a boy throughout her life - in her mind he never grew older, only everyone else around her did. These unfortunate circumstances appear to be a significant factor in the creation of the two main characters of the Peter Pan story. Wendy could so easily have been Barrie’s own mother, and the ever-youthful Peter Pan a portrayal of his late brother as seen through his mother’s eyes. A further connection between the childhood home of Barrie and his famous tale exists in the communal wash-house to the rear of the cottages. Not only was this the young lad’s first ‘theatre’, but also the original idea for the ‘Wendy’ house.

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eaving for the bright lights of London in his early 20s, Barrie never forgot his humble upbringing and used to return regularly to Scotland. After his death in 1937, some of his furniture and personal possessions were rescued and given to the National Trust for Scotland. With the restoration and reconstruction of the cottage, it now bears a close resemblance to the time when the Barrie family occupied it. Two of the original chairs purchased by Barrie’s mother on that memorable day in 1860, add a certain poignancy to the place. The return of Barrie’s own artefacts to his small childhood home, ensure that it stands as a lasting memorial to the

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famous novelist and dramatist. Becoming engrossed by the wealth of memorabilia, family portraits and drawings here, it is all too easy to slip into that ‘Never-Never’ world and forget about the trials and tribulations of adulthood.

Open :

OS Grid Reference : NO 388542

April-end September Friday-Tuesday Daily during July & August

9 Brechin Road Kirriemuir Angus DD8 4BX

Tel : +44 (0)1575 572646 Managed by The National Trust for Scotland Web site: www.nts.org.uk Find exact location using Multimap

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Kettles Yard

o the discerning visitor of impressive mansions and stately homes, a quite ordinary country cottage with a tiny garden may seem a little out of character to be worthy of note. The property is in fact an amalgamation of four cottages, located on the outskirts of the university City of Cambridge, but the architecture here is not nearly as significant as the ‘inside story’ on its former residents.

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rom the early age of 15, Harold Stanley (‘Jim’) Ede was besotted with paintings, studying first at Newlyn Art School and then later at Slade in London. He became a curator at the Tate Gallery and formed many important connections with the art world, but always preferred to write about the work of other artists rather than continue with his own. With guidance from Ben and Winifred Nicholson, he learned a great deal about the role of art in the context of everyday life. His knowledge of modern art was further expanded and influenced with the help of many other artists, including Kit Wood, David Jones, and Alfred Wallis. Meanwhile his varied collection of artwork was increasing, not only with paintings, but with sculpture, glass, ceramics, and furniture.

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esigning from the Tate in 1936, Jim and his wife Helen moved to Morocco, where they had a house built on the outskirts of Tangier. Throughout the Second World War they travelled extensively across the United States, making a considerable contribution to the Allied War Relief with funds raised as a result of Jim Ede’s lecture tours. In 1952 the Edes moved to France, but within two years he was planning to create a ‘homely’ arena where others could share his own love of art. Aimed particularly at young students, Ede’s vision was to provide an environment that they would find far less intimidating than a public gallery or museum, and one where they would be free to express themselves. The ultimate dream of finding some kind of stately home that he could open up for the enjoyment of art in a domestic setting, proved unrealistic with his limited funds. When they arrived in Cambridge there was no spreading mansion with romantic grounds to be had with their money, just a row of four near-derelict cottages in the heart of a bustling city.

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subsequent remodelling and renovation of the cottages provided a modest sized house with an interesting layout to accommodate his treasured works of art. In 1957 Jim’s original concept came to fruition, and his ‘open house’ sessions began every afternoon of term, with him acting as the personal tour guide. Recognised by Cambridge University as something innovative that needed to be encouraged and continued, the Edes presented their home and contents to the university in 1966. By 1970 a large first floor extension had been built over the walkway to house the everincreasing collections, and a new exhibition gallery had been created. This soon became a major centre for contemporary works of art.

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im and Helen retired to Scotland in 1973, and the house has remained virtually untouched since that time. Kettles Yard is not about the investigation of a great house in terms of ancestral ownership (of which there appears to be none), nor concerned with

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the discovery of any architectural importance. It is essentially a means of understanding the creativity and tastes of a man who had the desire to share with others his continuing experiences in the world of visual art. Reflecting those diverse tastes among the light and space of domesticity was a unique venture, and a fascinating achievement by Jim Ede. y ringing the doorbell, today’s visitor can still enjoy the same informal approach that Ede created in this refuge of ‘living art’ over half a century ago.

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Open :

OS Grid Reference : TL 446591

All year, pm only Tues-Sun, & BH Mons

Castle Street Cambridge CB3 0AQ

Tel : +44 (0)1223 352124

Managed by University of Cambridge Web site: www.kettlesyard.co.uk Find exact location using Multimap

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Lyddington Bede House

o set the scene, visualise a picture postcard village with rows of pretty limestone cottages, and an ancient parish church and graveyard situated in an elevated position overlooking the small community. Giving a splendid visual impact to the old churchyard, a further terrace of medieval buildings seem somehow incomplete. The architecture is distinctly ecclesiastical, but the purpose is not at all evident from first sight. Further investigation of this mysteriously appealing little complex, however, reveals a fascinating building with an equally intriguing history.

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erhaps as much as 200 years before the remains of the present building existed, a vast hall had been constructed on the same site by an early fourteenth century bishop. The manor of Lyddington had been closely associated with the Bishops of Lincoln almost since the Norman invasion. Initially, only farming activities were carried out in the vicinity, but soon the bishops were enjoying the seclusion and peace of this location, and began to stay for short periods. By the early years of the thirteenth century, Lyddington’s popularity had grown to such an extent that it became recognised as

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an important place for conducting business matters, and its status was then equal to that of a bishop’s palace. n due course the building of a grand medieval residence evolved, each bishop making his own contribution to the palace over the years. The final remodelling was more of an extensive rebuilding programme carried out in the last years of the fifteenth century, and continuing through the first decades of the sixteenth century. When the property was seized by the Crown in 1547, so the long line of influential occupants at Lyddington ended. What remained of the palace was eventually passed to Lord Burghley in 1600, and his son founded Jesus Hospital. This was a charity providing shelter (almshouses) and clothing for a twelve poor men and two women in the community. In return for his generosity, Lord Burghley expected the chosen inhabitants to be usefully engaged in some handicraft, and regularly attend church services.

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aving salvaged one wing of the original Bishop’s Palace, 12 small rooms were created to house the men, with another room on the ground floor to accommodate the warden. It is believed that the two women were given rooms on the first floor, and the great palatial chamber became the common room for the ‘bedesmen’. Little trace of the sumptuous residence can be found in the existing almshouses, but some of the stained glass bearing the arms of various bishops remains in the large windows, and sections of an intricately carved wooden ceiling cornice have survived remarkably well in the great chamber.

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hese almshouses, latterly known as the Bede House, and constructed from the eastern end of the old palace, were used to house pensioners for some 300 years. It somehow seems very fitting that a grandiose building offering such luxurious accommodation, afforded only to the princes of the church, was then ingeniously transformed to provide modest housing for the poorer servants of God.

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ometime before 1930 the property was vacated, and subsequently acquired by the State. Following a major restoration programme, the Bede House was opened to the public, and is now regularly maintained by English Heritage. Although the former bishop’s palace is contained within a relatively compact area today, the grounds extended to several hundred acres in the Middle Ages. To the north of the property were pastures, orchards and fishponds, and to the north-west lay a great deer park. Only traces of the fishponds have survived as earthworks.

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Open :

OS Grid Reference : SP 876970

April-end October Thurs-Monday

Blue Coat Lane Lyddington Rutland LE15 9LZ

Tel : +44 (0)1572 822438

Managed by English Heritage Web site: www.english-heritage.org.uk Find exact location using Multimap

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Milton’s Cottage

he significance of this delightful timber-framed cottage in the pretty village street of Chalfont St Giles could almost be passed by. Only a small sign protruding from the brick chimney stack indicates that this was once the home of the great Englishman, John Milton. Leaving their London house in 1665 to escape the Plague, Milton and his wife took up tenancy of the roadside cottage in the summer, but remained there for less than one year. In any other circumstances, such a short period of occupation would infer a very tenuous connection, but Milton established firm roots within the community. It is also the only house ever occupied by Milton that is still in existence. Perhaps most importantly of all, the cottage was where he completed his great poetic masterpiece ‘Paradise Lost’, and where the seeds were sown for ‘Paradise Regained’.

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rom his early school days, Milton was recognised as an unusually studious and serious young man with a love for the romantic and artistic works of the world. Known primarily as one of the greatest English poets of all time, Milton was also a master of languages and an enthusiastic historian. For some 20 years he put aside his poetry to take up the Puritan cause during the Civil War, publishing numerous pamphlets about religious and civil liberties, and acting as a government translator of important Latin documents. By the age of 43 Milton had lost his sight, but continued working with a passion for the Commonwealth. During the next ten years he became thoroughly disillusioned, his relentless work appearing to have given him few comforts in his life. Instead, he suffered blindness, temporary imprisonment and near poverty for his strong beliefs.

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eciding to settle for a more sedentary life, away from the political and religious controversies of the time, Milton returned to his first real love - poetry. It was whilst living at the cottage that Milton completed the epic ‘Paradise Lost’, and had the idea for the sequel given to him by his former pupil and neighbouring friend, Thomas Ellwood. As the only home of his to survive, and the place where his most renowned work was revived, this late sixteenth century cottage developed an indelible association with John Milton. It is shown today much as it would have appeared over 300 years ago when Milton first arrived. A fairly basic home with few furnishings, now set out as a museum to his life and works. This modest Grade I listed cottage is delightful enough for its architectural history but, when combined with the fact that it now houses some of the world’s most profound literary works, it is quite overwhelming.

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o the side and rear of the property are surprisingly large, wellstocked gardens, featuring many of the plants, flowers, trees , and herbs referred to in Milton’s poems. As the only garden in the Chilterns to be listed Grade II, the serenity and magnificence of this

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fragrant cottage garden offers the visitor a perfect resting place for contemplating the many facets of John Milton.

Open :

OS Grid Reference : SU 987933

March-end October Tues-Sun, & BH Mons

21 Deanway Chalfont St Giles Buckinghamshire HP8 4JH

Tel : +44 (0)1494 872313

Owned by Milton Cottage Trust Web site: www.miltonscottage.org Find exact location using Multimap

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Moseley Old Hall

hen Charles II arrived at Moseley in 1651, he would have found a delightful half-timbered house remotely situated in dense woodland. ‘Mr Pitt’s new Hall at Moseley’, as it used to be referred to, takes on a very different appearance now. The external timberwork was clad in red brick during Victorian times, and the Elizabethan windows were replaced by casements. Far from being isolated or concealed, the Old Hall today has virtually been consumed by the spreading environs of Wolverhampton.

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uilt in 1600 by Henry Pitt, it was the home of the Whitgreaves, a local Staffordshire family descended from generations of lawyers and MPs. Mostly Catholics and Royalists, as were so many of the influential families in the Midlands during this period, the most noted Whitgreave was Thomas ‘the Preserver’. It was with his assistance that Charles II was able to continue the journey that eventually led to his exile in France for eight years. Following a wet, cold trek during the night from Boscobel, Thomas greeted a very weary and hungry Charles at daybreak. Offered dry clothes, food, and a proper bed, the fleeing King was secreted in the priest

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hole at Moseley Old Hall for two days whilst planning the route for his escape. The original four-poster bed used by Charles stands in the King’s room, a room formerly occupied by the family’s Catholic priest. In the adjoining Dressing Room an informative exhibition has been set up, comprising books and a miscellany of items associated with this memorable escapade. rranged on three floors, there is public access to approximately half of the house. Notably, there are several pictures of Charles II displayed throughout the house, constantly reminding the visitor of Moseley’s vital role in the making of history. On the first floor, in ‘Mr Whitgreave’s room’, a portrait of Thomas as a young man proudly hangs over the fireplace. It was from this study that Thomas watched Charles’ devastated, beaten army beginning their retreat to Scotland. The prominence of heavy exposed timbers, dark wood panelling, and hefty pieces of oak furniture, somewhat overpower the house with an eerie dinginess. This dull atmosphere is relieved in part with the brighter appearance of the attic rooms and the chapel. A lovely view of the reconstructed seventeenth century Knot Garden can be had from the little bedroom window on the top floor.

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escendants of the Whitgreave family owned the house until 1925, and during that time made few structural changes, apart from encasing Moseley within brick walls. After the 1820s, it appears to have been abandoned as the family home, the Whitgreaves preferring to reside at their new Regency style home built approximately half a mile from the Hall. After the sale of the estate, the Old Hall continued to be used as a farmhouse, despite its state of general disrepair, and the effects of subsidence. In 1940 the new owner, Will Wiggin, attempted to renovate the property but was unable to complete his task with the onset of the Second World War. By the time the property and one acre of land was transferred to the National Trust in 1962, Moseley Old Hall had been virtually stripped of its contents, and was suffering from serious neglect.

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Within a year, restoration work had enabled the house to be opened to the public. Now regularly maintained, and furnished with generous donations relative to the period of the house, Moseley offers a fair representation of the house that was visited by Charles II in his hour of need.

Open :

OS Grid Reference : SJ 932044

Late March-end Oct Wed, Sat ,Sun & BHs Early Nov-mid Dec Sunday only

Moseley Old Hall Lane Fordhouses Wolverhampton WV10 7HY

Tel : +44 (0)1902 782808

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Plas Newydd

n the tranquillity of a parkland setting, high above the town of Llangollen, the charming black and white cottage-style house attracts as many visitors for the appreciation of its architecture as it does for satisfying a curiosity about the former occupants. Indeed, one can imagine the society tongues wagging some 200 years ago with the shocking revelation that two ladies, openly showing their affection for each other, had chosen to live inseparably in this quiet little town.

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ady Eleanor Butler was the daughter of a wealthy landowner, educated in a French convent, and lived at Kilkenny Castle in Ireland. Sarah Ponsonby was less fortunate, having been orphaned as a young child and left without an inheritance. The two women first met in Kilkenny when Sarah was only 13 and Eleanor was 29 but, despite their age difference, they developed a close friendship which eventually led to their decision to elope to England and spend their lives together. Ten years later, after one failed attempt to escape from Ireland, they arrived in Wales to search for a home that would afford them the seclusion they desired.

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n the summer of 1780 they rented a little cottage called Pen-yMaes. Not only did they change the name of the house to Plas Newydd, which simply means ‘new hall’, but Eleanor and Sarah transformed the building into a fantasy of timber and stained glass. With a passion for oak carving, the ladies filled the cottage with all sorts of elaborately worked panels, many of them brought as gifts by visiting friends, and these continue to add a fascination to the property. The front porch, supported by two early seventeenth century bedposts, was particularly special to them and they christened this amazing creation by holding a ‘porch-warming’ party for a selective group of friends.

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iving amid much speculation as to their relationship, and often seen dressed in strange masculine clothes, Eleanor and Sarah remained at Plas Newydd for the rest of their lives. Affectionately known as ‘the Ladies of Llangollen’, the two women received a great deal of attention throughout their 50 years in this small Welsh village. They also became very much part of Regency society, entertaining many influential visitors, all carefully recorded in their diaries. One very famous and frequent visitor was the Duke of Wellington, and the ladies carved their initials together with the year 1814 on the wooden fireplace mantle in his memory. As avid readers themselves, their guests would also include several notable names from the literary world, including William Wordsworth, Sir Walter Scott, and Richard Sheridan.

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las Newydd today is a much extended and embellished late nineteenth century house, but remaining at the heart of the building is the heavily gothicised home created by the eccentric ladies. Although the house contents were sold after their deaths, it is well documented that most of the furniture pieces were of heavy, dark oak. Such an overwhelming amount of solid woodwork in the compact areas of the cottage must have created an almost suffocating gloominess. Then, perhaps, amid the love, conviviality and entertaining during the ladies’ lifetime, this rather sombre

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background was less significant. The Local Authority are endeavouring to trace some of the original items of furniture to reinstate them alongside the diaries, letters, newspaper articles and personal possessions that Eleanor and Sarah kept so meticulously. evered by the local community, written about in the gossip columns of newspapers, and immortalised by poets of the day, the ‘Ladies of Llangollen’ have certainly maintained a romantic curiosity over the years. A visit here is quite a unique experience. There is the shock and scandal surrounding these two eighteenth century friends to understand, the transformation of an unpretentious little cottage into their eerily gothic hideaway, and a glimpse of the remaining gardens once so imaginatively created by the ladies.

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Open :

OS Grid Reference : SJ 219414

Easter-October Daily

Hill Street Llangollen Denbighshire LL20 8AW

Tel : +44 (0)1978 861314 Managed by Denbighshire County Council Web site: n/a Find exact location using Multimap

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Ranger’s House

s a Crown property, this elegant house became a ‘grace and favour’ residence for the Ranger of Greenwich Park in the early nineteenth century, and it has subsequently been known as the Ranger’s House. But the history of the red brick villa began more than 100 years prior to this.

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t the beginning of the eighteenth century the land skirting the Royal Park, and opening out onto Blackheath, was not only a prestigious location but one much favoured by gentlemen seafarers because of it’s proximity to the River Thames. It was here that Admiral Francis Hosier built his house, thereby improving his social circle and maintaining his important financial connections. As a serving officer, it seems unlikely that Hosier enjoyed much

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time in his home during the 27 years he lived at the property. From an inventory taken after his death, the house appeared to contain some fine walnut furnishings, but little else in the way of decorations, ornaments or personal memorabilia. hen the 4th Earl of Chesterfield inherited Ranger’s House from his brother in 1748 he was indifferent to the modest proportions, and would have preferred a retreat further ‘up river’ which, by then, had become the more fashionable outskirts of London. However, he immediately set about transforming the comfortable but sombre villa into a substantial country house, enlarging and remodelling the accommodation to provide sufficient areas for entertaining, as well as a range of rooms for the servants. Most summers would be spent here on Blackheath, overlooking the great park at the back of his house, and he eventually became very attached to the place, remaining there for 25 years until his death. The Earl’s impressive extension was a room of massive proportions built primarily to house his growing collection of Old Masters. Now superbly restored, The Gallery is a fine example of Palladian architecture with a fine coffered ceiling and three enormous bays, creating light and space.

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en years later the Ranger’s House was bought by a barrister, who further extended the property with a north wing. Just seven years later he died, and by 1807 the house was occupied by George III’s sister who remained there until her death in 1813. By 1815 it had become the official residence of the Royal Park’s Ranger, succeeding the Queen’s House in Greenwich Park which had since fallen into a state of disrepair. Until the end of the century the Ranger’s House was inhabited by various minor royals and distinguished Crown servants, and that was the last time it was used as a home.

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he Council purchased the house in 1902, subsequently demolished the portico, and converted the interior to changing

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rooms for use by the local athletics clubs. By the 1920s it was being used as tea rooms, and finally it was requisitioned by the army during the Second World War. With many of the outbuildings knocked down, and others derelict through bomb damage, the future of the Ranger’s House looked uncertain. Under pressure from local lobbying, the Council restored the house in 1960 and used it for historical exhibitions. From then on, it has gone from strength to strength and is now fully restored and furnished as it might have been in the Admiral’s day. Additionally, it now boasts the ‘Wernher Collection’, an outstanding collection of medieval and Renaissance works of art.

Open :

OS Grid Reference : TQ 388769

June-end August Wed-Sun, & BHs

Chesterfield Walk Blackheath London SE10 8QX

Tel : +44 (0)20 8853 0035

Managed by English Heritage Web site: www.english-heritage.org.uk Find exact location using Multimap

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Rydal Mount

he great nineteenth century English poet, William Wordsworth, was born in Cockermouth, and lived in the Lake District for most of his life. His most favoured home was Rydal Mount, spending the last 37 years of his life in this idyllic spot overlooking the serenity of Rydal Water. Originally a sixteenth century yeoman’s cottage, the house was enlarged during the mid 1700s to provide a substantial family home. Though little altered over the last 150 years, this charming property remains the home of Wordsworth’s descendants.

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t was in 1813 that William Wordsworth moved to Rydal Mount, following the tragic loss of two of his children whilst living at The Old Vicarage in Grasmere. Wishing to put some distance between them and the sad memories of a young son and daughter, the extended Wordsworth family, including William’s sister and his sister-in-law, arrived in Rydal. Inside, the house is simply but tastefully furnished, and the labyrinth of rooms within this comfortable old cottage display many personal possessions, family portraits, and numerous extracts from letters, poems, diaries and

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other documents. The ‘study’ used by Wordsworth was a converted attic room, thought to have been created in the late 1830s, but this seems to have been the only structural change made to the house throughout his lifetime. Never finding it easy to sit at a desk to work, or remain indoors for any length of time, it is doubtful that Wordsworth spent too much of his time in this room. referring to work among the natural beauty of his surroundings, Wordsworth enjoyed the freedom of the outdoors, and the spectacular gardens created by him at Rydal Mount could not fail to inspire even the most unimaginative mind. A profusion of trees, wild flowers and cultivated flower beds are brought together by the sloping lawns, terraces and rock pools. Located at the far end of the top terrace is a summer house built by Wordsworth as his open air study. From this vantage point he could look out across the vast expanse of Rydal Water, breathe in the fresh air, and let his mind clear in readiness for the poetry to flow freely. After jotting down the words in his notebook, he would walk along the top path to stand at the edge of the fell and recite aloud his new compositions.

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s an intelligent and amusingly social man, Wordsworth delighted in entertaining many guests from the literary world, but his most distinguished visitor by far was Queen Adelaide. Welcoming the Dowager Queen to this picturesque lakeland village in 1840 produced much local excitement, and Wordsworth was proud to introduce her to his own family at Rydal Mount. His other royal association was on his appointment as Poet Laureate in 1843. On this occasion portraits of Queen Victoria and the Prince of Wales were presented to him by the Queen, and these still hang in the bedroom once inhabited by William and Mary.

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xactly 200 years from the date that Wordsworth was born, Rydal Mount was first opened to the public, and it remains a constant source of fascination because it is so revealing of the many facets of his character. Four acres of splendid grounds created by

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Wordsworth show his keen gardening skills, and hints at his interest in politics and travel can be gleaned from the house. As previously mentioned, Wordsworth made many homes in the Lake District and two of these are open to the public. By walking the mile long route from Rydal Mount, known as the ‘coffin path’, this will lead directly to Dove Cottage where he lived from 1799 until 1807. His Birthplace is much further north at Cockermouth, where the Georgian town house in Main Street has been recreated as the Wordsworth family home during the 1770s.

Open :

OS Grid Reference : NY 365063

All year, daily (except Tues in winter)

Rydal Ambleside Cumbria LA22 9LU

Tel : +44 (0)1539 433002

Owned by Rydal Mount Trustees Web site: www.wordsworthlakes.co.uk Find exact location using Multimap

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Sezincote

ecreted in the depths of the Cotswolds, an area famous for its lovely local stone cottages and its picturesque little country villages, is a wonderfully individual house most incongruous to this environment. A large turquoise onion dome is the first clue to its typically Muslim architecture, which is delightfully combined with a strong Hindu flavour. Thought to be the only Moghul building to survive in Western Europe, these imaginative designs were quite the fashion in the early 1800s, and reflected the growing importance of India within the realm. Coupled with the fact that the estate was bought by Colonel John Cockerell on his return from Bengal, it is not difficult to understand the origins of the ‘Indianised’ influence to this property.

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ohn Cockerell died only three years after buying Sezincote, and it was his brother, Charles, that commissioned a third brother, Samuel Pepys Cockerell, to create a house that would make him feel ‘at home’. Having himself worked for many years at the East India Company, the elaborate Moghul architecture would have been very familiar to Charles. The result is a harmonious blend of the

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cultural influences, creating an extremely decorative house with an impressive curving Orangery on the south side, that is both pleasing and restful to the eye. Furthermore, the exotic gardens provide a real sense of mystique and tranquillity with several water features, temples and statues, putting the house nicely into context with its surrounds. Humphrey Repton was known to have assisted in the design of the gardens, but it is unclear whether the entire project can be attributed to him. urprisingly, the internal décor reflects the popular classical style, with no hint of wishing to continue the Indian theme so apparent on the outside of the building. Literally translated, the name of the house means ‘the home of the oaks’, and the house still lies nestled in the oak-covered hills of the Cotswolds. Despite being very picturesque, the setting was a contributing factor to Sezincote’s erosion by damp. It is said that a local travelling vicar who stumbled upon Sezincote one day was heard to describe the property as “a dark and damp house in such vulgar taste”. Certainly this is not an accurate description of its appearance today. Admittedly, by 1944 when Sir Cyril and Lady Kleinwort bought the estate, the house and gardens were in a very poor condition but they subsequently devoted their time and energy into restoring Sezincote to its nineteenth century splendour. The work has continued since their daughter and her husband came to live at Sezincote, every room receiving careful, and costly, attention to detail.

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n the drawing room the huge drapes, exact replicas of the originals, have a wonderful deep tufted pelmet fringe which reportedly took one man in London a full two years to complete. Perhaps the most outrageous room in the house is the Peacock bedroom, where such a diversity of styles and influences come together in a delightfully vivid and haphazard way. The centrepiece is a four-poster, canopied bed, built around the original tent poles from Sir Charles Cockerell’s tent room, and topped with an onion dome. All the reception rooms were at one time located on the first

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floor, but during the Kleinwort’s time, the ground floor billiard room was transformed to create the family dining room. till very much a comfortable family home, with all the usual trinkets and personal artefacts associated with domesticity, it is perhaps inconceivable that this modest residence so impressed the Prince Regent in 1812. It was following his visit to Sezincote that he instigated the remodelling of Brighton Pavilion, instructing John Nash to design the fantastic oriental exterior seen today.

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Open :

OS Grid Reference : SP 183324

May, June, July & Sept only Thurs & Fri

Moreton-in-Marsh Gloucestershire GL56 9AW

Tel : n/a

Owned by Mr & Mrs D Peake Web site: n/a Find exact location using Multimap

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Smallhythe Place

magnificent close-studded building dating from the early sixteenth century, Smallhythe Place is best remembered as the last home of Dame Ellen Terry. Famously associated with Henry Irving and the Lyceum Theatre, this great Shakespearian actress purchased the old Kentish farmhouse in 1899.

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he early history of the house is somewhat vague but it is believed to have been built shortly after 1514, the year that a huge fire swept through Smallhythe destroying much of the town. During this period there was a thriving shipyard industry and the new building served as the Port House, possibly occupied by the harbour master. Reflecting the changing conditions, as maritime activities diminished and land was reclaimed for agricultural use, the house became known locally as The Farm.

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espite several structural alterations over the years, the core of the Tudor house is essentially unchanged. Smallhythe Place is a superb example of a high-quality house of the period. Externally it represents a substantial rectangular building, the upper storey

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overhanging the whole of the front elevation, with a red-tiled pitched roof and homely brick chimney stack. Inside, the main room on the ground floor is the huge heavily beamed former farmhouse kitchen. When Ellen Terry lived here she preferred to use this spacious area with a large open fireplace as a dining room. Today it resembles a cosy memorial room, where numerous portraits and treasures of past performers are displayed. In one of the rooms upstairs, a collection of some of the lavish costumes worn by Ellen Terry during her acting career are exhibited, and in another her wonderful times at The Lyceum are remembered. The simplicity of her bedroom, shows a more private and sentimental side to this woman, wife and mother. his delightful country house is appealing for many reasons, not least that it was once home to a famous Victorian actress for nearly thirty years. Other visitors may simply wish to admire the stunning architecture of a bygone era, wander through the cottage grounds, or experience the magic of the small theatre in the Elizabethan barn.

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Open :

OS Grid Reference : TQ 893300

Early March, Sat & Sun only Late March-early Nov Sat-Wed

Smallhythe Tenterden Kent TN30 7NG

Tel : +44 (0)1580 762334

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Standen House

inding through the wooded lanes of the Sussex Weald makes a very pleasant approach to this well-positioned and secluded house, built at the end of the nineteenth century. Carefully designed to blend in with the natural landscape, Standen is a modest country house displaying the quality of traditional materials and fine craftsmanship that were the hallmarks of the Arts and Crafts Movement.

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n 1890 James Beale, a successful lawyer who in his later years was looking for a place in the country, bought the old farms situated on a hillside to the south of East Grinstead, and bordering Ashdown Forest. This was a perfect location for his sporting activities, provided good access to his offices in London, and it afforded a pleasant environment for his large family to enjoy. Knowing examples of Philip Webb’s work, through neighbouring houses in Holland Park where they had previously lived, the Beales invited him down to Sussex to advise on the design of their new home. They were convinced that Webb’s ideas would closely match their own concept for a traditional, comfortable yet stylish home.

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y incorporating the medieval cottage and the existing farm buildings into his innovative project, Webb created a wonderfully unpretentious but imaginative house. It was spacious, light and welcoming on the inside, with an external warmth that invited visitors to explore the craftsmanship of its structure. Mellow brickwork, hand-made red clay tiles, and oak weatherboarding perfectly complemented the materials and vernacular style of the earlier farmhouse, which adjoined the new house by way of a covered archway. Completing the vision of a typical country scene, all the buildings are grouped around a ‘village green’ at the front of the site, and there is a large courtyard area to the rear of the house.

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nternally, Standen House serves as a permanent exhibition to one of the finest examples of the Arts & Crafts Movement. Not only was Philip Webb the designer of the building, but he was also responsible for designing and positioning the furnishings and fittings. The finishing touches, including the wallpapers, carpets, tapestries and curtains, were introduced by William Morris and his company. He was a close friend of Philip Webb, and held the same fascination for the preservation of nature and architecture which greatly influenced his work with textiles and soft furnishings. Some of the patterns Morris produced specifically for embroidery were worked by Mrs Beale and her daughters, who were accomplished needlewomen. Together with Webb’s wall panelling, artistic chimney-pieces and unusual copper light fittings, the effect is simple but stunning. Although this elegant Victorian country house was bequeathed to the nation initially for its architectural significance, it has an unrivalled appeal to anyone interested in the Arts & Crafts Movement. The total effect is enormously pleasing to the eye, and one that induces a noticeably calming effect, resulting mainly from the ‘natural’ influences and the general state of unclutteredness.

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he diverse gardens began to evolve even before the house was completed, with the initial plans being drawn up by a London landscape gardener, G B Simpson. These were modified and extended once Webb became involved because, always taking the holistic approach, he insisted that the gardens should enhance the style of the house. Mrs Beale, also a keen gardener, was allowed to express her personal preferences, and made many revisions to the planting during her life.

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Open :

OS Grid Reference : TQ 389356

Late March-end October Wed-Sun

West Hoathly Road East Grinstead Sussex RH19 4NE

Tel : +44 (0)1342 323029

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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The Grove

his is not simply a story about a house, but more a memorial to the family who breathed life into its walls, and made it a place of nostalgia for generations to come. In 1840 the property was little more than a holiday cottage for Duncan Gibb and his family from Liverpool, but two decades later it became their permanent home, Duncan being forced to retire to this smaller property on the Isle of Man as a result of his diminishing wealth.

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orn in Scotland, Duncan Gibb was lured to Liverpool as a young man eager to make his fortune. By 1830 he was a successful shipping merchant, and a well respected figure among his Tory colleagues. At 38 years old, financially secure, and of good civic standing, Duncan decided it was time to marry. Janet Blake, aged 21, was also from an eminent shipping family and the union was blessed. Four years later Duncan built a new ship named ‘Blake’ in honour of his acceptance into Janet’s family. They lived in a mansion in the suburbs of Liverpool, and had seven children in all, although two boys did not survive. Following his purchase of the cottage on the outskirts of Ramsay, Duncan Gibb secured

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several acres of farmland. Meanwhile, the house was being extended to accommodate his growing family. In 1867, less than five years after he retired to The Grove, Duncan died leaving his home inhabited by his widow, three daughters, sister-in-law, and his only son, Duncan. hen Duncan ‘junior’ died aged only 48, he left a wife, two daughters and a son. It was his daughters, Janet and Alice, that came to live at The Grove with their grandmother, remaining there for the rest of their lives. Some years after Janet Blake’s death, her grandaughters were summoned by their Auntie Janet Douglas and requested to abide by a bizarre agreement. They were asked to make a promise never to leave The Grove, and not to marry, in order that they could continue to look after the house, the garden, and the pony. The sisters seemed to manage well enough, enjoying a full and active social life until the outbreak of the First World War. Subsequently their finances became stretched, but with an unending resourcefulness, and a strong commitment to their family home, they continued to maintain a frugile lifestyle. As a result of the difficult financial circumstances, there were no funds available for decorating or re-furnishing, and the house remained virtually unchanged for a century. Alice died in 1971, aged 90, followed by her sister Janet three years later who died shortly after her 96th Birthday.

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he elderly sisters were keen to save the beloved home built by their grandfather, and made provision for it to be preserved as a museum after their deaths. Since it was acquired by the Manx nation, The Grove has represented an important way of life created by one family until its natural demise. As buildings go, the house is not necessarily regarded as one of architectural importance, and it is certainly not grand. But the miscellany of personal knickknacks and mementoes to be found in the house make this an unusual legacy of Victoriana, epitomising a typical way of life for ladies of their means. Little did Alice and Janet realise how much

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their personalities and lifestyle had on the atmosphere of this rather dour house. Outside, the family had kept a variety of animals, these becoming an integral part of the Gibbs daily routine, and several farmyard fowl and sheep are still supported at The Grove Rural Life Museum.

Open :

OS Grid Reference : SC 444956

April-end October Daily

Andreas Road Ramsey Isle of Man IM8 3UA

Tel : +44 (0)1624 648000

Managed by Manx National Heritage Web site: www.gov.im/mnh Find exact location using Multimap

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Townend

artially hidden in a natural basin of the typical lakeland contours sits a unique yeoman’s cottage that was home to the Browne family for over 400 years. This humble dwelling never witnessed occasions of lavish entertaining for noted members of society, never had titled gentry or famous artists as it’s occupants, and is without any priceless art collections to adorn it’s walls. The fascination surrounding Townend is based on the ambition, pride and determination of an established local farming family who set out to better themselves, and their social standing, whenever the opportunity arose.

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tarting out as a tiny ‘one up, one down’ stone cottage built in the late sixteenth to early seventeenth century, the property was first extended with a kitchen soon after George Browne married. Legend has it that when his prospective in-laws, who were local gentry living at Grizedale Hall, visited the basic little cottage where Browne wanted to accommodate their daughter, they were nothing short of horrified. Their initial reaction was to prevent the marriage from going ahead but, after some negotiation, they did eventually

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agree to the union, with a proviso that George Browne extended his property after a suitable fashion. This marriage became the foundation for the family’s climb up the social ladder, the Browne successors following the trend to make judicious alliances. Consequently, as the family’s wealth gradually increased so did the accommodation at Townend. hroughout the generations, the Brownes were locally renowned as skilled wood carvers and, when the estates passed to the last George Browne during the Victorian era, his contribution of decorative wood panels was extremely impressive. Every room in the house has some elaborately carved pieces worked by the accomplished hands of this George Browne and, as an antiquary, he was also instrumental in the preservation of his ancestral possessions. The last member of the Browne family to live at Townend was his spinster daughter, Clara, who remained there until her death in 1943 at the age of 77. By all accounts she was a very hardy woman, managing all the chores and surviving alone in this remote location for the best part of 29 years, without the convenience of running water, electricity or sanitation.

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xternally, the cottage is a fine representation of the Lake District’s vernacular architecture, a solid, stone and slate house of compact proportions. The basic, uninspiring façade belies a complex history of building for which few accurate records exist. Internally, the arrangement of rooms has altered many times as each new extension was built, and as the individual needs of the everexpanding families changed. What is abundantly clear is that it was at all times a moderately comfortable home, albeit humble, and one that the Brownes of each generation were proud to live in. Their possessions may not have held any great monetary value, but everything was cared for, and many of the family skills are demonstrated throughout the house. Apart from the obvious carpentry and joinery work, many of the books in the library were bound by the family.

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ven today this intriguing house is not easily accessible but, having wound a way along the steeply rising lanes, there can be few visitors who would not be envious of Townend’s idyllic situation perched high above Lake Windermere.

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Open :

OS Grid Reference : NY 407023

April-end October Tues-Fri & Sun, & BH Mons

Troutbeck Windemere Cumbria LA23 1LB

Tel : +44 (0)1539 432628

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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Woolsthorpe Manor

ess than a few minutes from the busy A1, and only some seven miles south of the town of Grantham, the undisturbed little village of Woolsthorpe can be found. Still surrounded by farmland, this typical seventeenth century limestone manor house blends seamlessly into the locality. Nothing obvious sets it apart from other properties nearby except, at one time, it was home to the brilliant scientist, Sir Isaac Newton.

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he Newton family had been yeoman farmers in Lincolnshire for several generations, and when this old medieval farmhouse with grazing land came on the market, Newton’s grandfather purchased it in 1623. As the original building was little more than a derelict shell by this time, it is believed that Mr Newton put construction work in hand to provide his son with a modest home as a wedding present. Sadly he died six months after the marriage, leaving his wife pregnant. Isaac Newton was born prematurely on Christmas Day in 1642, and was raised by his grandparents at Woolsthorpe Manor until he reached the age of 12.

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ften lonely, he would amuse himself by doing simple experiments and making models to try and understand the effects of wind speed and force. From an early age he showed unusual interest in a number of mathematical and scientific problems, as well as developing an understanding of astronomy. Little trace of the many sundials he constructed as a boy remain at Woolsthorpe, but of the two that have survived one can be seen in the nearby church at Colsterworth, and the other at the Royal Society in London. Following his grammar school education, Newton was destined to return to his widowed mother and become a farmer. Recognising that Isaac’s abilities were not suited to the land, his uncle suggested further education, and in 1661 he went to Cambridge University.

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pending most of his life working at his laboratory, Newton only ever returned to his home when the university was closed by the plague in 1665. During the next eighteen months at Woolsthorpe, the majority of Newton’s mathematical conclusions were achieved, and much of his pioneering work in many other fields took root. Dedicated to his work, Newton never married, and did not return to the family home even after he inherited it on his mother’s death. Woolsthorpe Manor was sold a few years after his own death in 1727. The Turnors, another farming family, made a few initial modernisations to the property, but they subsequently let Woolsthorpe to tenant farmers for a further 200 years and very few alterations were carried out thereafter.

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y the time the Royal Society had acquired and presented Woolsthorpe Manor to The National Trust in 1942, the house was in a considerable state of disrepair. Wishing it to stand as a lasting memorial to Sir Isaac Newton, the house was thoroughly restored to its early seventeenth century appearance. Although none of the furniture displayed ever belonged to the family, there is some visible evidence of Newton’s occupation. To picture him as the archetypal ‘mad professor’ is neither difficult nor unreasonable,

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and he was known to have made a habit of using various walls in the house as ‘doodling pads’. Fragments of this graffiti can be seen in several areas, some attributable to this scientific genius, and others clearly not. The barn has been utilised as the Science Discovery Centre, where visitors can get to grips with many of this experiments and theories. enowned worldwide for his theory on gravitation, Newton had pondered over a falling apple in the orchard at Woolsthorpe one sunny afternoon. Standing in the little orchard garden opposite the west front of the house is a gnarled old apple tree, allegedly rooted from the remains of the infamous tree that Newton would have been familiar with.

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Open :

OS Grid Reference : SK 924244

March & October Sat & Sun only April-end Sept Wed-Sun, & BH Mons

23 Newton Way Woolsthorpe-by-Colsterworth Nr Grantham Lincolnshire NG33 5NR Tel : +44 (0)1476 860338

Managed by The National Trust Web site: www.nationaltrust.org.uk Find exact location using Multimap

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