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Built in 1702–1705 by an unknown architect for Judge John Coxe, with one wing added in 1923, the small house forms a perfect square of side 46 feet (14 m), with sash windows, tall chimneys, hipped roofs and gate piers and railings. It is a Grade I listed building and has been praised by architectural historian Mark Girouard as perfectly exemplifying the early eighteenth-century formal house in miniature. It comprises four floors, including a tall basement and an attic floor. Inside, much of the early eighteenth-century panelling survives, as do original stone fireplaces. A fine staircase runs from basement to attic.
The house, in 35 acres (14 ha) of grounds, has four reception rooms, eight bedrooms, and four bathrooms.
The grounds have recently been re-developed with a series of new gardens, including a refurbished traditional flower garden in keeping with the original arts and crafts backbone of vistas and hedges.
Source: Wikipedia
Rear views of buses are not really my thing, however that rule gets broken every now and again and 18285 was zapped as it passed me on Wilmslow Road.
'Nether' refers to the Hall's 'lower' position in the village, compared to a superior Pakenham Hall that previously stood near Pakenham Wind Mill. Pakenham Hall was occupied by the Lord of the Manor of Pakenham - firstly the Abbot of Bury St Edmunds and then the Spring family - while Nether Hall was originally the seat of the de Pakenham family, ancestors of the Earl of Longford.[2] Nether Hall passed to Edmund de Pakenham in 1292, and when he died in 1332 to his widow, Rohais, or Rosia de Pakenham. After her death in 1352 it passed to her son, Edmund, and thence to his widow, Mary de Pakenham in 1360.[3]
The Manor of Nether Hall remained in the possession of the de Pakenham's for about six descents. Theobald de Pakenham, the last holder, died without male issue. His daughter, Margaret, married Sir William de Bardwell, the standard bearer to the Edward, the Black Prince. Nether Hall Manor then came into the possession of Bury St Edmunds Abbey. Following the Dissolution of the Monasteries it was acquired by Thomas Bacon and his son, George, who died in 1579. It then passed to his son and heir, John. This same Thomas Bacon, a member of a branch of the famous Bacon family of that era, was seated at Hessett. It was then purchased by the mercantile Bright family, who occupied Nether Hall for one hundred and sixty-four years. Robert Bright, the purchaser, is noted chiefly for the building of Newe House which was completed in 1622. He erected it originally to be his own residence; and his eldest, married son, Thomas lived in Nether Hall. Nether Hall remained in the possession of the Bright family until 1765.[4]
Mary Bright, daughter of the fourth Thomas Bright, was the last of the name to inherit Nether Hall. She married Edmund Tyrell, of Plashwood Hall, Haughley, in 1744, and the estate was inherited by their son, Edmund Tyrell, after the death of his father. This son, who had also inherited Plashwood Hall, sold the Nether Hall estate to George Chinery, of Bury St. Edmunds. In 1807 he left the Nether Hall estate to his nephew, the Rev. William Bassett, who was Rector of Thurston. His son, William C. Bassett succeeded by entail and was residing in Nether Hall in 1857. The Nether Hall Estate changed hands again in 1886 when it was purchased by William Hardcastle for £38,000. He never lived in Nether Hall, and he very soon sold it to Sir Edward Greene, 1st Baronet, the Member of Parliament for Bury St Edmunds.[5] When his son, Sir Raymond Greene, 2nd Baronet, died in 1920, the whole Estate was sold by his heirs to Mr A.J. Edwards, and then to the Martin family who modernised the interior of the building. Under the Martins Nether Hall became a country club of the Kristina Martin Charitable Trust. Nether Hall thus became a Country Club within the Trust. Mr Martin sold Nether
The 13th century All Saints church sits opposite the similarly constructed 17th century manor house.
The church is a redundant church in the care of the Churches Conservation Trust since 1973
Early 17th Century, with 19th Century modifications - Grade II Listed Building
House with various farm outbuildings in the Washburn Valley, seen here on a very cold foggy morning
Built in 1698 by Judge John Coxe, a notorious hanging judge. Coxe's son hanged himself in one of the rooms; his ghost is rumoured to haunt the house.
The Judge's treasured stallion and blacksmith are also claimed to have been seen rushing through the main gates to the grounds as the anniversary of their deaths approaches around January each year.
The Kents managed to knock the previous owners down to £300k when they bought it due to the supernatural residents. The small house forms a perfect square of side 46 feet, with sash windows, tall chimneys, hipped roofs and gate piers and railings.
Near Stroud, Gloucestershire
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The origins of the hall date to the 11th century. William Peverel, illegitimate son of William the Conqueror, held the manor of Haddon in 1087, when the survey which resulted in the Domesday Book was undertaken. The Vernon family acquired the Manor of Nether Haddon by the 13th century marriage to the Haddon heiress.[2] Though it was never a castle, the manor of Haddon was protected by a wall from 1195, when Richard Vernon received permission to build it.[citation needed]
Haddon Hall's long gallery c.1890
Dorothy Vernon, the daughter and heiress of Sir George Vernon, the owner of Haddon Hall, married John Manners, the second son of Thomas Manners, 1st Earl of Rutland in 1563. Sir George disapproved of the union, describing his daughter's suitor as "the second son of an impoverished Earl." In addition, the Manners were Protestants, and the Vernons were Catholics. According to legend, 18 year old Dorothy eloped with Manners during a wedding party for her older sister. However, they must have later reconciled with Sir George, as the couple inherited the manor.[3] Their grandson, also John Manners of Haddon, inherited the Earldom on the death of his distant cousin the seventh Earl of Belvoir Castle.
The 9th Earl, when made Duke of Rutland in 1703, moved to Belvoir Castle, and his heirs used the Hall very little, so it lay almost in its unaltered 16th-century condition, as it had been when it passed in 1567 by marriage to the Manners family. In the 1920s, the 9th Duke realised its importance and began a lifetime of meticulous restoration, with his restoration architect Harold Brakspear. The current medieval and Tudor Haddon includes small sections of the 11th-century structure, but mostly comprises additional chambers and ranges added by the successive generations of the Peverel, Avenel, Vernon and Manners families. Major construction was carried out at various stages between the 13th and the 17th centuries. The banqueting hall (with minstrels' gallery), kitchens and parlour date from 1370 and the St. Nicholas Chapel was completed in 1427. For generations, whitewash concealed and protected their pre-Reformation frescoes. There is a 16th-century Long Gallery.
A plan of Haddon Hall[1]
Courtice Pounds as John Manners in Haddon Hall
Poster: 1906 production of Dorothy Vernon of Haddon Hall
The estate at Haddon Hall, Derbyshire
The 9th Duke created the walled topiary garden adjoining the stable-block cottage, with clipped heraldic devices of the boar's head and the peacock, emblematic of the Vernon and Manners families.
[edit] Layout
The hall stands on a sloping site, and is structured around two courtyards; the upper (north-east) courtyard contains the Peverel or Eagle Tower and the Long Gallery, the lower (south-west) courtyard houses the Chapel, while the Great Hall lies between the two. As was normal when the hall was built, many of the rooms can only be reached from outside or by passing through other rooms, making the house inconvenient by later standards.
[edit] In literature and the arts
The hall has figured prominently in a number of literary and stage works, including the following, all of which describe the Vernon/Manners elopement:
A light opera, called Haddon Hall, with music by Arthur Sullivan and a libretto by Sydney Grundy, premiered in London in 1892.
A novel called Dorothy Vernon of Haddon Hall was written in 1902 by American Charles Major and became a best seller.
A play of the same name, based Major's novel, was written by American playwright Paul Kester. It debuted on Broadway in 1903.[4]
Fred Terry and his wife Julia Neilson adapted that play for London, calling it Dorothy o' the Hall, where it played in 1906.[5][6]
A 1924 film, starring Mary Pickford, was adapted by American screenwriter Waldemar Young (grandson of Brigham Young) from the Major novel.[7]
The Hall features in Philip Hensher's 2008 novel, The Northern Clemency[citation needed]
Frederick Booty, the English watercolourist, painted Haddon Hall several times, including pictures of the peacocks in the gardens.[8]
[edit] In cinema and television
The interior and exterior of the home (including the Long Gallery) were used in 1986 as Prince Humperdinck's castle in The Princess Bride. Franco Zeffirelli chose Haddon Hall as the location for his 1996 film of Jane Eyre, and the Hall featured in the 1998 film Elizabeth. It also appeared in the 2005 film version of Pride & Prejudice. Since then, it has appeared on television in 2006 as Thornfield Hall in Diederick Santer's 2006 BBC version of Jane Eyre and was so used again 2009[9] and in Cary Fukunaga's 2011 film of Jane Eyre.[10]
The hall was the setting for A Tudor Feast at Christmas, a BBC2 documentary recreation of a Tudor banquet (first broadcast Christmas 2006) by the team of academics from Tales from the Green Valley.[11] In 1990, Haddon Hall was the set for the castle of the giants at Harfang in the BBC's adaptation of The Silver Chair, one of C.S. Lewis's Chronicles of Narnia.
Kilmartin Glen is an area in Argyll not far from Kintyre, which has one of the most important concentrations of Neolithic and Bronze Age remains in Scotland. The glen is located between Oban and Lochgilphead, surrounding the village of Kilmartin.
There are more than 350 ancient monuments within a six mile radius of the village, with 150 of them being prehistoric. Monuments include standing stones, a henge monument, numerous cists, and a "linear cemetery" comprising five burial cairns. Several of these, as well as many natural rocks, are decorated with cup and ring marks.
The remains of the fortress of the Scots at Dunadd, a royal centre of Dal Riata, are located to the south of the glen, on the edge of the Moine Mhòr or Great Moss. The Kilmartin House Museum of Ancient Culture is located within the village itself, and aims to interpret the rich history of the glen.
A half-timbered cottage painted traditional Suffolk-pink in the picture postcard village of Cavendish, Suffolk.
The weathered gritstone of Nether Tor above Edale
A scan from a slide, taken on a Rollei 35LED, in the early/mid 1980's.
Nether Lypiatt Manor a compact, neo-Classical manor house near Stroud in Gloucestershire.
The small house forms a perfect square of 46 feet on each side. Reputedly purchased by the businessman and Labour Life Peer Lord Drayson for £5.75 million in 2006.
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Flirck
Judge Francis Morgan, d1558, and other family members, by the Hollemans workshop. He was judge who passed sentence on Lady Jane Grey in 1553 and is said to have gone mad as a result : detail
St Nicholas
Church of England
Early 13th century church, located in the centre of the village, and listed as one of Simon Jenkin's 'England's Thousand Best Churches'.
Chancel
South West Window
17th century Flemish glass.
(Detail)
From Elizabeth Zimmerman's Knitter's Almanac, September chapter, "Nether Garments".
Knit circa 1993-1994.
"...even the shy housewife likes to slip them on under her slacks to go to the store on exceptionally cold days. I have been known to pull them on under a housedress, add boots, my warm coat, and woolly cap and mittens, and trot comfortably to the A&P, looking (almost) like everybody else." - EZ
Holes in the left leg and ankle despite hardly ever being worn. (Moths?)
Now what? Darn the holes, or cut them off above the knees for knicker length longies to be worn under a skirt?
Flint with rottenstone in the Pennsylvanian of Ohio, USA.
Flint is the "official" state gemstone of Ohio (actually, there's no such thing as "official" anything). "Flint" is sometimes used as a lithologic term by modern geologists, but it is a synonym for chert. Flint and chert are the same - they are cryptocrystalline, quartzose sedimentary rocks. Rockhounds often assert that flint is high-quality while chert is low-quality. Some geologists assert that "flint" implies a biogenic origin and "chert" implies a chemical origin.
Many cherts do have a chemical origin - chert nodules are moderately common in some limestone units. The nodules form during diagenesis - pre-existing silica components in the carbonate sediments are dissolved, mobilized, and reprecipitated as chert masses. Some cherts do have a biogenic origin - for example, radiolarian cherts (rich in radiolarian microfossils) or spicular cherts (rich in siliceous sponge spicules).
The most famous flint deposit in Ohio is Flint Ridge, in Licking County. At this locality, the Middle Pennsylvanian-aged Vanport Flint is exposed in several places. The geologic literature on the Vanport Flint is relatively sparse, with inaccurate, incomplete descriptions and characterizations. For example, the literature describes the Vanport as a sheet of flint at Flint Ridge - it's actually a meganodule horizon. Other descriptions refer to the chert as the remains of siliceous sponges. In reality, siliceous sponge spicules are quite scarce in Vanport samples.
Two graduate student projects during the 2000s, conducted at two different universities, had very different conclusions & interpretations about the origin of the Vanport Flint. A 2003 study concluded that chert at Flint Ridge is biogenic in origin. A 2006 study concluded that the chert is chemical in origin.
Modern flint knappers value the Vanport Flint for being multicolored and high-quality (= very few impurities). With artificial heating, the flint is more easily knapped into arrowheads, spear points, and other objects. Prehistoric American Indians quarried the Vanport Flint at many specific sites on Flint Ridge. Old Indian flint pits can be examined along hiking trails in Flint Ridge State Park ("State Memorial"). Many authentic Indian artifacts found in Ohio (arrowheads & spearpoints - "projectile points") are composed of Vanport Flint.
The brownish-and-whitish material at the bottom of this sample is flint with weathering spherulites (= subspherical small pits). The rough-looking, dark brown material at top is rottenstone, also called tripoli. It forms by long-term weathering. The rottenstone also consists of numerous, closely-spaced, weathering spherulites - they superficially resemble oolites (= sand-sized, subspherical, well-rounded, concentrically layered, calcium carbonate grains that form by back-and-forth rolling from wave action in shallow water).
Stratigraphy: Vanport Flint, Allegheny Group, upper Middle Pennsylvanian
Locality: Nethers Flint Quarries - flint pit in the woods on the southwestern side of Flint Ridge Road, eastern Flint Ridge, far-western Muskingum County, east-central Ohio, USA (vicinity of 40° 00.137’ North latitude, 82° 11.544’ West longitude)
They're all around us. Don't blink or you'll be away to the nether regions or time and space where they will feed on your remaining years as you live out your life rather normally just in the past.
Yeah I'm starting to think the Weeping Angels were more of a nuisance. I say nuisance but really I mean terrifyingly scary nuisance. They pulled you out of you own time and dropped you decades in the past where you'd just live your life out as normal. Really wish I knew about sports, then being trapped in the past would be a bit more lucrative. Oh Apple. Yes I could buy an apple. I bet they'd be even tastier back then without all the chemicals in them but still it's no replacement for oodles of cash.
But there's always old reliable.
RUN!!!
Actually I think I might just let them catch me. You really can't go travelling with the Doctor without a heavy regime of cardio and aerobics to ensure you make it to the end of the trip. That's probably why it's always fit looking people that go flying off through the universe with him.
Still not running though.
Gargoyles seen in the courtyard at Haddon Hall!
Haddon Hall is Grade I listed.
SK 26 NW PARISH OF NETHER HADDON HADDON ROAD
2/28 (North Side)
29.9.51 Haddon Hall
GV I
Large double courtyard, fortified manor house. Seat of the Dukes of Rutland
and built by the Vernon family. Fragments of C12 work but mainly of two periods
with the upper courtyard built mainly in the second quarter of Cl4 and the lower
courtyard built mostly in C15, but also with major refashionings and alterations
of C16 and C17 and a major restoration between 1920 and 1930, supervised by Mr
Leonard Stanhope, the Clerk of Works. Limestone and gritstone rubble and ashlar
gritstone with gritstone dressings and quoins. Leaded roof, mostly hidden by
embattled parapets with ridgeback copings, roofs and parapets mostly C20.
Numerous stone ridge and side wall stacks, mostly C20, some with crenellated tops,
plus massive late C15 external stacks to west side of Great Hall and, possibly
C14, corbelled out stone stacks to north walls. Two storeys with four storey
north-west gatetower, and three storey eastern Peveril Tower and north-east
lodgings to upper courtyard. Double courtyard plan on sloping site with upper
courtyard to north-east and lower courtyard to south-west. Upper courtyard has
Peveril's Tower, the original entrance, and the state bedroom to east range, Long
Gallery to south and the present Duke's apartments to north, whilst the lower
courtyard has the continuation of the private apartments and the north-west entrance
tower to north, offices and lodgings to west and the Chapel and the Earl's Bedroom
to south, between the two courtyards the Great Hall and its service rooms.
North elevation has late C15 entrance tower to west with C14 kitchen range to east
and beyond the Duke's apartments, mostly C17 but much restored. Entrance tower
has steps up to moulded, shallow pointed arch with hoodmould and double studded
oak doors. To west a slit window and beyond an ornate ashlar, stepped buttress with
relief carving to upper part. Above door a blank plaque with hoodmould and 3-light
cavetto moulded mullion window with pointed lights and incised spandrels, set in
ovolo moulded recess with hoodmould. Above again similar plaque, but decorated with
upturned acorns, and similar 3-light window. Similar blank plaque and window over
with large coat of arms immediately above, breaking through the moulded stringcourse
with gargoyles,on to the parapets. Beyond the C14 stacks to east, a Cl7 wing with
range of recessed and chamfered mullion windows. Attached to west corner of tower
an embattled ashlar wall with four-centred arched doorcase with hoodmould, under
large coat of arms of the 'Kings of the Peak', which has to either side a carved
frieze of the Vernons family shields. West side of tower has polygonal staircase
turret to south corner, corbelled out at first floor level.
Garden front to south of limestone and gritstone rubble with gritstone quoins and
continuous moulded sill bands to first floor windows and continuous moulded eaves
stringcourse. Four bay, early C17, section to east with advanced square, two
storey bay flanked by canted, two storey, bay windows with another window to east,
and attached to west a five bay C16 section, much refashioned in C17, with the Chapel
beyond to west. Eastern section has a range of recessed and ovolo moulded, double
transomed windows to Long Gallery at first floor level with recessed and chamfered
windows below. Lower section attached to west with two storey canted bay window
with large carved crest on parapets, beyond. To west again three, first floor,
oriel windows, each with recessed and ovolo moulded mullion and transomed windows,
central oriel with double angled sides. To extreme west, the Chapel, set at a
different angle, with Perp 5-light east window, two flat headed Perp chancel windows,
C13 lancets in the south aisle and C15 cusped clerestorey windows. To opposite
side of the Chapel in the lower courtyard stands a C15 octagonal bell turret with
cusped Y-tracery arches to all sides at the top. Attached to east end of the Chapel
the remains of C14 timber walling, now mainly enveloped in the late C16 rebuilding
of the Earl's Bedroom which has mullion and transomed canted bay windows at first
floor level. Great Hall to east range of the lower courtyard has C14, 2-light,
low transomed, windows with central quatrefoil over cusped lights, to either side
of late C15 external stack. To north C15 three storey porch and to south projecting
parlour wing.
Interior - the Chapel has two bay arcades of double chamfered pointed arches,
that to north on C15 capital and polygonal column, that to south on mutilated
late C12 scalloped capital and column. Fine 'grisailles' wall paintings to nave
and early C17 oak pews and furnishings, inscribed 'GM 1624'. C15 stained glass
to east, north and south windows, east one inscribed 'Ornate pro animabus Riccardi
Vernon et Benedicte uxoris eius qui fecerunt anno dni 1472'. Below east window
a C14 Nottingham alabaster reredos, introduced in C20. C12 plain circular font
with C17 cover of double curved scrolls meeting at central knob and 1894 marble
tomb to Robert Manners, with figure of dead boy to top and coats of arms and heads
of family to sides, to south side of nave. Opposite a C15 stoop on octagonal stem
with crenellated top. Great Hall has C15 timber screens passage with cusped
panelling and gallery over, also arched braced roof dated 1923, C16 panelled lobby
to south through to parlour and C16 panelling to the walls; large cavetto moulded
fireplace to west and four,four-centred arched doorcases to north of screens
passage, eastern one opens on to the staircase up to the gallery, whilst the other
three lead to the kitchen, pantry and buttery, all have original oak studded doors.
C14 kitchen has two massive segmental fireplaces, impressive C17 oak kitchen
furniture and C16 chamfered cross beam roof supported near centre by braced wooden
pier. Bakehouse beyond to east with breadovens and dough troughs, with slaughter
house beyond again to east. Parlour to south of the Great Hall has its original
cl500 painted ceiling, and panelling throughout,dated 1545, with carved frieze
next to ceiling. Above is the Earl's Bedroom, refashioned in C17, when plasterwork
frieze and ceiling, and panelling inserted. Beyond this room to west another
apartment with the remains of C14 timber walling still visible. Long Gallery
and State Bedroom to east, both C17. Long Gallery has classically inspired
panelling, hugh windows and plasterwork ceiling. State Bedroom beyond, has fireplace
with elborate plaster overmantle similar to those at Hardwick. Sources see
Country Life CVI (1949) December 23, pp 1884, 'Haddon Hall' by Christopher Hussey,
The Royal Archaeological Institute Journal Vol 118, 'Haddon Hall and Bolsover
Castle', pg 188 by P A Faulkner and the National Ancient Monument Review Vol I
'The reinstatement of Haddon Hall' by John Swarbrick pg 135.
Listing NGR: SK2348566368
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.