View allAll Photos Tagged overmantel
The Entrance Hall in St.Mary's House - Bramber ..
The visitor immediately senses the welcoming atmosphere of St. Mary's in this panelled room, with its beautiful 16th century parquetry overmantel. The cellars beneath are said to have inspired Sir Arthur Conan Doyle in his Sherlock Holmes story, The Musgrave Ritual.
This really is the jewel in the crown at Stokesay, the magnificent carved overmantel is stunning!
HBM!
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
The Red Drawing Room
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Listing NGR: TQ6463810388
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
--------------------------------------------------------------------------------------------
Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
—————————————————————----------------------------------
Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-
Part of the wood carving on the elaborate overmantel on the fireplace in the Long Gallery. The figure is very similar to the one on the bed several photos earlier.
The Oak Staircase
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
This is the grand fireplace in the drawing room which like most of the ground floor has wood panelling on the lower part of the walls which makes it quite cosy. The fireplace bears the motto 'Live to learn, learn to live'. Like much else of the interior, it was commissioned by Mary and George Lucy in the 19th century, a clue being in the 'GL' and 'ML' on either side of the fire surround, and indeed, the date 1831 in the central panel. Above the overmantel is a portrait of Elizabeth I, who visited in 1572.
🇫🇷 La maison Kammerzell possède 2 façades sculptées : :
1) Facade pignon, face à la cathédrale : elle est centrée sur l’Homme. Les différents Âges de la vie d’un homme se succèdent donc sur les trumeaux (l’espace entre deux fenêtres) des 2° et 3°étages. Au premier étage, sont représentés sur les montants de fenêtres les "Cinq Sens", personnifiés sous des traits féminins. Et enfin, au bas des fenêtres sont sculptés les différents signes du Zodiaque.
La façade latérale possède quant à elle une dominante plus religieuse. Ainsi dans les trumeaux(espaces entre fenêtres ) sont sculptés les Neuf Preux et les Neuf Preuses (Héros et Héroïnes, figures symboles d’honneur et de vertu ) seize musiciens sur les murets d’appui à la base des fenêtres avec notamment quelques instruments pittoresques tels que la viole, le sacqueboute ou la guimbarde.
🇬🇧 The Kammerzell house has 2 sculpted facades: :
1) Gable facade, facing the cathedral: this focuses on Man. The different ages in a man's life are represented on the overmantels (the space between two windows) on the 2nd and 3rd floors. On the first floor, the window jambs depict the "Five Senses", personified in female guise. Lastly, the various signs of the Zodiac are carved at the bottom of the windows.
🇩🇪 Das Haus Kammerzell hat zwei skulpturale Fassaden: :
1) Giebelfassade, gegenüber der Kathedrale: Sie ist auf den Menschen ausgerichtet. Die verschiedenen Lebensalter eines Menschen sind daher auf den Giebelfeldern (dem Raum zwischen zwei Fenstern) des 2. und 3. Im ersten Stock sind auf den Fensterpfosten die "Fünf Sinne" dargestellt, die in weiblichen Zügen personifiziert sind. Und schließlich sind am unteren Rand der Fenster die verschiedenen Tierkreiszeichen eingemeißelt.
🇮🇹 La casa Kammerzell presenta 2 facciate scolpite: :
1) Facciata a timpano, rivolta verso la cattedrale: è incentrata sull'uomo. Le diverse età della vita di un uomo sono raffigurate sui sovramontanti (lo spazio tra due finestre) al 2° e 3° piano. Al primo piano, gli stipiti delle finestre raffigurano i "Cinque sensi", personificati in forma femminile. Infine, nella parte inferiore delle finestre sono scolpiti i vari segni zodiacali.
🇪🇸 La casa Kammerzell tiene 2 fachadas esculpidas: :
1) Fachada a dos aguas, orientada hacia la catedral: se centra en el Hombre. Las diferentes edades del hombre están representadas en los sobremanteles (el espacio entre dos ventanas) de los pisos 2º y 3º. En el primer piso, las jambas de las ventanas representan los "Cinco Sentidos", personificados en forma femenina. Por último, en la parte inferior de las ventanas están esculpidos los distintos signos del zodiaco.
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Statutory Address 1: Herstmonceux Castle, Herstmonceux Park
Listing NGR: TQ6463810388
National Grid Reference: TQ 64652 10335
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
————————————————————
Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
—————————————————————
Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Listing NGR: TQ6463810388
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
--------------------------------------------------------------------------------------------
Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
—————————————————————----------------------------------
Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-
The Grade II Listed 8 Queen Street, in Salisbury, Wiltshire.
A three-story building originally built 1425 and known as John a Port's House.
On the inside one room has 16th Century architecture, including panelling pilasters & frieze with abstract arabesques, a fireplace with two allegorical figures and primitive relief of the Sacrifice of Isaac in overmantel.
The exterior was largely refurbished in the 19th Century including a plain shop front added to the ground floor.
Information Source:
britishlistedbuildings.co.uk/101273300-3-st-ann-street-sa...
Excerpt from www.pc.gc.ca/apps/dfhd/page_nhs_eng.aspx?id=1816:
Annandale House (Tillsonburg Museum) National Historic Site of Canada
Tillsonburg, Ontario
Address : 30 Tillson Avenue, Tillsonburg, Ontario
Recognition Statute: Historic Sites and Monuments Act (R.S.C., 1985, c. H-4)
Designation Date: 1997-09-22
Exuberant ceiling paintings, stained glass, richly decorated fireplaces and woodwork make the interior of Annandale an excellent illustration of the Aesthetic Movement. This international movement reacted against the growing use of mass-produced decorative items in house design, and instead promoted a revival of craftsmanship. Finished in 1887, Annandale reflects the taste and aspirations of E.D. Tillson, an important entrepreneur and first mayor of Tillsonburg. The exterior shows the influence of standardized house designs on Canadian architecture in the 19th century.
Description of Historic Place
The ''pattern book'' facade of this eclectic, late Victorian house belies its quite extraordinary interior. Richly decorated with ceiling and wall paintings, stained and painted glass windows, decorative metal work and woodwork, this house is an ambitious essay in the tastes introduced by the Aesthetic Movement in Canada. The designation refers to the interior and exterior of the house on original footprint and on its legal lot as of 1997.
Heritage Value
Annandale House (Tillsonburg Museum) was designated a national historic site because its interior, decorated during 1883-1887 according to principles promoted by Oscar Wilde, is one of the best surviving illustrations in Canada of the Aesthetic Movement; the house itself is an excellent example of pattern book design, which had a major impact on domestic architecture in Canada; and Annandale House provides a personal link to the late-Victorian age, when industrialization was radically changing society and "household art" was often seen as an important symbol of status and taste.
Built in 1881-1882 for local entrepreneur E. D Tillson (considered the father of Tillsonburg) in southwestern Ontario, the house was intended as the manor on Tillson’s model farm (now redeveloped for suburban housing) which drew visitors from Canada and abroad. Like the farm, the house incorporated the latest in technology and design. The Tillson’s support for the 1882 visit by renowned author and aesthete Oscar Wilde to the Mechanics Institute in the nearby town of Woodstock, proved to be a decisive influence on the interior decor of the mansion. Wilde popularized the Aesthetic Movement which encouraged bringing “art” into middle-class homes through the use of a full range of media in interior decor, ideally produced by local craftspeople. The Tillsons hired Detroit decorator James Walthew, who worked on the house from 1883 to 1887. The exterior, already under construction at the time, closely conforms to plans for “Brick villa No. 2" in Villas and Cottages: or Homes for All by William M. Woollett of Albany, New York. A modern two-storey museum wing was added to the rear of the house in 1985. The building is now operated as a museum.
Character-Defining Elements
Aspects of this site which contribute to its heritage character include:
elements which speak to its interior decoration reflecting the Aesthetic Movement, specifically the exceptional cycle of interior painted decoration featuring geometric motifs, local flora and fauna, with sympathetic finishes and decoration including parquet floors of local woods, wood carving, decorative metalwork, marble-topped radiator covers, etched and stained glass, and elaborate Eastlake-inspired chimney overmantels; elements which speak to the pattern book design of the house, specifically its lively and eclectic exterior design with square two-and-a-half storey massing enlivened by projecting bay windows, balconies, porches and steep multi-coloured slate roofs, local buff brick facing material, ornate wooden millwork decoration and the centre-hall interior plan; the landscaped, park-like setting.
Stokesay Castle near Craven Arms in Shropshire is "one of the best-preserved medieval fortified manor houses in England", according to historian Henry Summerson.
The first floor of Stokesay Castle, which formed the original entrance to the tower, contains a 17th-century overmantel or fireplace surround, reusing the original 13th-century fireplace and chimney. The beautiful carved fireplace features male and female figures, interspersed with grotesque heads.
This is in the two-storey solar or private apartments, which has one of the few post-medieval alterations to the castle, having been refashioned in the 17th century into a fine panelled chamber.
Stokesay Castle is managed by English Heritage.
The Queens Bedroom
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
ROCHESTER HIGH STREET TQ 7468 SW (Eastgate) 9/140 Eastgate House 24.10.50 GV I Formerly a large private town house, now a museum. Substantially of 1590-1, built by Sir Peter Buck, Clerk of the Acts in the Navy Board, extended and refurbished in the C17; it is possible that the house incorporates some earlier work. Main range of brick; side elevation and rear wings brick and timber framed; some rubble ragstone. Kent tile roofs. Plan: the removal of internal partitions in the C19 and the likely demolition of a range to the E makes reconstruction of the original plan uncertain. Ground floor hall entered by a porch (S) probably into a through passage (opposing entries in situ, screen removed); one room to the left (W) with high status chambers above served by an S stair turret (which forms an important element in the main front) although both turret and W rooms appear to belong to a slightly different building programme to the main range (see change in plinth details). These rooms are largely timber-framed and the side elevation (W) with much jettying forms a secondary show front towards the street. To the right of the hall is another room. A long set of windows in the rear wall, along with a rubble plinth, extend beyond the line of the present end (E) wall into what is now a low lean-to, and this must indicate that the house originally extended to the E. Until the addition of the C17 stairs (situated to the rear of the former through-passage and contained within one of 3 separately gabled wings all of the same date), it is difficult to see how the upper floors of the E and of the house were adequately served and it is probable that the now demolished E part of the house contained a second S stair turret balancing that mentioned above and thereby forming a roughly symmetrical S front. Exterior: S front: 3 storeys and attic. Asymmetrical. 2 storeyed porch is flanked by a gabled bay. The porch has a hipped roof, 1st floor windows to S and E (2 lights with double-ovolo moulded brick surround, mullion and transom); pediment over doorway with pilasters on panelled plinths; stone 4-centred arch has shields in spandrels and large bar stops set high. Each bay has a tripartite window arrangement; 2-light windows to each floor connect with a central 3-storeyed projecting bay, polygonal to left, canted to right, giving continuous glazing across the wings. All windows with timber mullions, transoms and surrounds; most of the woodwork is renewed. To the left the polygonal stair turret with single- light windows under cambered arches, all-brick moulded, moulded string-courses between floors, and projecting gabled roof. To the left again, the plain end wall of the street front, plain brick, but containing a plaque with the herladic device of the Bucj family and 2-light window under hood mould to ground. High Street elevation: 3 storeys and attic, all jettied, with 2 gables. Brick end well corbelled and moulded with a decorative zig-zag vertical strip to 1st floor. Uninterrupted 14 light ground floor window with king mullion, set high under jetty. Similar to 1st and 2nd floors but here broken by - at 1st floor - a 7-light oriel on console brackets and - on 2nd floor - 2 3- light oriels. These long ranks of windows set very high to each floor are presumably intended to light the fine plaster ceilings: see interior. 2-light gable wall windows, decorated bargeboarding and apex and pendants. To the left the side wall of the W rear wing considerably later (see masonry joint and absence of plinth); brick, 2 storeys, with 4-light windows to each floor (that to the 1st floor slightly projecting). Diamond leading. String course. rear: 3 gabled wings, half-hipped upper storeys and attic; 2, 3 and 4-light windows to 1st floor (that to E wing with large mullions, lighting stairs), 2-light windows to gable walls. Interior: although considerable amounts of woodwork, including the porch inner door, are brought from elsewhere, there is some fine plasterwork, and the stone fireplaces appear to be in situ. Hall: wall panelling, fire- surround with pilasters, panelled overmantel with caryatids (not in situ) and inserted ceiling beams. Doorways with cyma moulded surrounds and bar stops set high. Right-hand room with ovllo- moulded ceiling beams; wall panelling, fireplace with stone surround with pulvinated frieze, and Jacobean overmantel not in situr. Open well stairs, C17, turned balusters, square-section newels with finials. 1st floor. Right-hand room with dentil cornice, some panelling and simple fire surround with fluted pilasters. Chamber above hall with fine fire surround (not in situ) with fluted term pilasters and elaborate panelled overmantel. Wall panelling. Between these two rooms is a pierced wooden panel designed to distribute borrowed light: evidence for others exist elsewhere. The most significant interiors are in the W rooms where good plaster ceilings survive to all floors. These are single-ribbed with a variety of geometric patterns (quatrefoils, diamonds, squares etc) with stylised foliage, and heraldic devices. The heraldry (and a rebus to 2nd floor) indicate that they date from Buck's time (ie the 1590s) and as such are a remarkable set of early plasterwork ceilings. Stone fireplaces with 4-centred arches, dated 1590 and 1591. In the attic is some simple line-drawn patternwork on plaster (much remains to be exposed). Side purlin roof; the High Street range is separately roofed.
Note: The single storeyed 3-window range to the rear of Eastgate House and the 2 storeyed 3-window range with which it connects (Charles Dickens Centre) are included in this listing for group value only.
This is the panelled dining room at Newstead, another Victorian creation. The overmantel would certainly have been a conversation piece, with its rows of relief medieval figures. It's quite modest in size and very cosy thanks to the panelling, but quite close to the great hall if a grand dinner was being held.
ROCHESTER HIGH STREET TQ 7468 SE (EASTGATE) 10/85 No 168 24.10.50 GV II* House now shop. Early C19 facade to mid C18 rebuilding, with mid C17 rear refaced c.1700. C18 wings beyond. Flemish bond gault brick facade, Kent-tile roof. 3 storey, 3 bay facade. Ground floor with tripartite late C20 Edwardian style shop front and classical door surround to left. 3 first and 3 second floor 12 pane sashes in reveals with glazing bars under flat rubbed brick arches. First floor has 3 semi-circular framing rubbed brick arches with impost band; coped parapet with cornice band. Stack at west. C.1700 rear elevation has Flemish bond red brick 3- storey wing with parapet, sashes with glazing bars and 2 c.1900 casement cross windows. Further C18 gabled wing and lower C18 wing. C20 first floor addition beyond an earlier ground floor. Interior: front build has first floor panelled room of early C18, 2 field panelling, box cornice. Shuttered window enbrasures. Lugged marble fireplace, early C19 grate, plaster bar-relief Aeneas bearing Anchises from burning Troy. Second floor room in front build has early C19 grate, possibly ex situ early C17 mantel of 3 panels with lozenges etc. Behind front build is early C17 dogleg staircase with carved string, 3 urn and stem balusters per tread, swept handrail, panelling to dado level only, Tuscan column newels. Stairs have box cornices to ground and first floor landsing only. rear chamber 1st floor has early to mid C17 style and muntin panelling, dentil cornice, overmantel with pilasters. Rear chamber second floor similar, without overmantle. Second rear chamber at 1st floor has early C18 service stair with urn and stem balusters, square newels. Position of canted tie beams with 4-centred chamfere mouldings suggests incorporation of an earlier hall in this build.
The Garden Gallery
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
Au trumeau du portail, une statue de la Vierge sans enfant. Cette statue a pu échapper à la destruction en 1793, mais l’enfant Jésus qu’elle portait a été brisé. On dit que c’est l’épouse de saint Louis, Marguerite de Provence, qui aurait servi de modèle au sculpteur. Les six grandes statues des piédroits détruites à la Révolution n’ont pas été reconstituées au XIXe siècle, lors de la grande restauration menée par Eugène Viollet-le-Duc. La partie inférieure du tympan, le linteau, représente des scènes de l’enfance du Christ. Ces sculptures sont parmi les plus belles œuvres sculptées sur ce thème. Elles montrent le rôle de Marie dès l’enfance de Jésus. Les quatre scènes représentées sont la naissance de Jésus dans une humble crèche, l’offrande au temple de Jérusalem après la naissance de Jésus, la persécution des enfants par le roi Hérode et la fuite en Égypte de Joseph et Marie pour protéger l’Enfant.
La partie supérieure du tympan présente le très populaire Miracle de Théophile, un des « Miracles de la Vierge » dont le Moyen Âge tardif était friand. Il s’agit d’une histoire « faustienne » du Moyen Âge. Théophile, clerc de l’évêque d’Adana en Asie Mineure, était jaloux de ce dernier. Pour le supplanter, il vend son âme au diable. Le pacte est consigné sur un parchemin que ce dernier emporte. Avec l’aide du diable, Théophile parvient à humilier son évêque. Mais il se repent et, ne sachant comment sortir de la situation où il s’est mis, il implore la Vierge. Celle-ci menace le diable et le force ainsi à remettre le parchemin.
In the overmantel of the portal is a statue of the Virgin without a child. This statue escaped destruction in 1793, but the child Jesus she was carrying was broken. It is said that the sculptor used the wife of Saint Louis, Marguerite de Provence, as a model. The six large statues in the jambs, destroyed during the Revolution, were not restored in the 19th century during the major restoration by Eugène Viollet-le-Duc. The lower part of the tympanum, the lintel, represents scenes from the childhood of Christ. These sculptures are among the most beautiful works on this theme. They show the role of Mary in the childhood of Jesus. The four scenes depicted are the birth of Jesus in a humble cot, the offering in the temple in Jerusalem after Jesus' birth, the persecution of the children by King Herod and the flight into Egypt of Joseph and Mary to protect the Child.
The upper part of the tympanum shows the very popular Miracle of Theophilus, one of the 'Miracles of the Virgin' that the late Middle Ages were fond of. It is a 'Faustian' story from the Middle Ages. Theophilus, a cleric of the bishop of Adana in Asia Minor, was jealous of the latter. To supplant him, he sold his soul to the devil. The pact is written down on a parchment, which the devil takes away. With the devil's help, Theophilus succeeds in humiliating his bishop. But he repents and, not knowing how to get out of the situation in which he has placed himself, he implores the Virgin. She threatens the devil and forces him to hand over the parchment.
Kedleston Hall is a neo-classical manor house owned by the National Trust, and seat of the Curzon family, located in Kedleston, Derbyshire, approximately 4 miles (6 km) north-west of Derby. The medieval village of Kedleston was moved in 1759 by Nathaniel Curzon to make way for the manor.[2] All that remains of the original village is the 12th century All Saints Church, Kedleston.[3]
Background
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.[4]
The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in Kedleston since at least 1297, and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo.
At the time a relatively unknown architect, Robert Adam, was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with his designs that Adam was quickly put in charge of the construction of the new mansion.
On the death of Richard Curzon, 2nd Viscount Scarsdale in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.[5]
Exterior
Kedleston Hall was Brettingham's opportunity to prove himself capable of designing a house to rival Holkham Hall. The opportunity was taken from him by Robert Adam who completed the North front (above) much as Brettingham designed it, but with a more dramatic portico.
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The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, corps de logis, the largest block, contains the state rooms and was intended only for formal entertaining. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation.
Plans for two more pavilions (as the two smaller blocks are known), of identical size and similar appearance, were never executed. These further wings were intended to contain, in the south-east a music room, and in the southwest a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
The north front, approximately 117 yards [107 m] in length, is Palladian in character, dominated by a massive, six-columned Corinthian portico; however, the south front (illustrated right) is pure neoclassical Robert Adam. This garden facade is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief.
The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Hall
Marble Hall 1763, decoration completed in 1776-7
Entering the house through the great north portico on the piano nobile, one is confronted by the marble hall. Nikolaus Pevsner describes this as one of the most magnificent apartments of the 18th century in England.[6] It measures 67 feet (20 m) by 37 feet (11 m) in plan and is 40 feet (12 m) high.
Twenty fluted pink Nottingham alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. Niches in the walls contain casts of classical statuary by Matthew Brettingham the Younger and others;[6] above the niches are grisaille panels of Homeric subjects inspired by Palladio's illustration of the Temple of Mars. The stucco in the ceiling was created by Joseph Rose in the 1770s.[6]
The floor is of inlaid Italian marble. Matthew Paine's original designs for this room intended for it to be lit by conventional windows at the northern end, but Adam, warming to the Roman theme, did away with the distracting windows and lit the whole from the roof through innovative glass skylight.
The overmantels to the fireplaces are by Joseph Rose with firebaskets by Robert Adam.[6]
At Kedleston, the hall symbolises the atrium of the Roman villa and the adjoining saloon the vestibulum.
Saloon
The saloon
The saloon, contained behind the triumphal arch of the south front, like the marble hall rises the full height of the house, 62 feet (19 m) to the top of the dome, where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this circular room 42 feet (13 m) in width was completed in 1763.
The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns.[1] The paintings of ruins are by Gavin Hamilton and the grisaille panels have scenes of British worthies painted by John Biagio Rebecca.[6]
The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes.
From the saloon, the atmosphere of the 18th-century Grand Tour is continued throughout the remainder of the principal reception rooms of the piano nobile, though on a slightly more modest scale.
State bedroom
The "principal apartment", or State bedroom suite, contains fine furniture and paintings.
The state bed was constructed by James Gravenor of Derby.[7] The state bed posts are carved to represent palm tree trunks which soar up and break into flamboyant foliage at the top, sweeping in palm-fronds behind.[8]
Drawing room
Settee by John Linnell in the Drawing Room dated from around 1765.
The drawing room with huge alabaster Venetian window is 44 feet (13 m) by 28 feet (8.5 m) by 28 feet (8.5 m). The doorcase is also alabaster. The fireplace with a scene of virtue rewarded by honour and riches is flanked by large female figures sculpted by Michael Henry Spang.[6] The gilt sofas by John Linnell date from around 1765.[9] They were commissioned by the 1st Baron Scarsdale and supplied, together with a second pair of sofas to Kedleston in 1765.
Dining room
The dining room
The dining room, with its gigantic apse, has a ceiling that Adam based on the Domus Augustana in the Farnese Gardens. The apse contains curved tables designed by Adam in 1762[6] and a giant wine cooler. The ceiling contains panel paintings of the continents by Antonio Zucchi, the seasons by Gavin Hamilton and the centre is by George Morland. The original wall panels are by Francesco Zuccarelli, Frans Snyders, Claude and Giovanni Francesco Romanelli.
Music Room
The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. The marble chimneypiece is inlaid with Blue John. The pipe organ was second hand by John Snetzler with the case designed by Robert Adam and built by Robert Gravenor.[10] A second manual with Hautboy was added in 1824 by Alexander Buckingham.[11] The organ was restored in 1993 by Dominic Gwynn.
Library
The Library
The library contains a Roman doric doorcase leading to the Saloon. The bookcases were designed by Robert Adam[6] and built by James Gravenor of Derby.[12] The plaster ceiling is divided into octagonal patterns. The library desk was built in 1764 by James Gravenor. Wikipedia
Herstmonceux Castle, East Sussex
Grade l listed.
List Entry Number: 1272785
Listing NGR: TQ6463810388
Details
This list entry was subject to a Minor Amendment on 24/04/2020
TQ 61SW 13/406
HERSTMONCEUX HERSTMONCEUX PARK Herstmonceux Castle, with attached bridges to north and south and causeway with moat retaining walls to west.
GV I Castle/country house. c1441 (when licence to crenellate was granted) for Sir Roger Fiennes; further embellished mid C16 for Baroness and Lord Dacre; altered mid-late C17 for Lord Dacre; part demolished 1776-1777 for Robert Hare; restored and rebuilt early C20, mostly 1911-1912, for Lieutenant Colonel Claude Lowther and 1930s for Sir Paul Latham.
Red brick in English bond with some blue header diaper work; stone dressings; plain tile roofs. Square on plan with inner courtyard, this originally divided into four courts and containing Great Hall, but these and the internal walls of the castle demolished C18; south range and south ends of east and west ranges restored by Lowther, the remainder restored by Latham. Two storeys with attic and basement in parts; five x four wide bays with tapering polygonal towers at corners and between bays, taller at angles and centre. Built and restored in C15 style: exterior has one-light or two-light windows, some transomed; courtyard has more wider windows and some with cusped or round-headed lights; four-centred-arched or segmental-arched moulded or chamfered doorways with C20 studded board doors; tall plinth with moulded offset; moulded string below embattled parapet with roll moulded coping; rainwater pipes with decorative initialled heads; stacks with ribbed and corniced clustered flues; steeply-pitched roofs with roll-moulded coping, some with hipped ends.
South (entrance) elevation: three-storey central gate tower has tall recess containing wide, panelled door, window of two cusped, transomed lights above, and grooves for former drawbridge arms; on second floor two transomed windows of two round-headed lights flank coat of arms of Sir Roger Fiennes; flanking towers have gun ports at base, looped arrow slits, machicolated parapets with arrow slits to merlons, and towers rising above as drums. Projecting from gate tower is long bridge (mostly C20) of eight arches, that to centre wider and shallower, with cutwaters, stone parapet, and central corbelled embrasure with flanking tower buttresses.
North side: central gate towers formerly had rooms on lower floors, of which truncated walls and first-floor fireplace fragment remain; machicolated parapet; at left end of range C17 window openings with later eighteen-pane sashes. West side: attached causeway containing basement room and with three half-arched bridge on south side, walling returning as moat retaining walls; main range has a basement doorway with side-lights in chamfered embrasure.
East side: the second tower has C16 first-floor bow window; tall windows to central tower (which contains chapel); right half of range has older windows blocked and larger C17 replacement openings with later eighteen-pane sashes.
Courtyard: seven-bay arcade to north side and central corbelled stack with clock; three-bay 1930s Great Hall (now library) on west side with decorative tracery to windows and offset buttress; gable of former chapel on east side, has perpendicular tracery to window, a two-storey bay window and two crow-stepped gabled attic windows to its left; several doorways and a two-storey bay window to south side; hipped-roofed dormers; brick-lined well in south-west corner.
Interior: some original features survive, including fireplaces, privies, doorways, dungeon and brick-lined dovecote in south-east tower; other old features were brought in from elsewhere, including doors, fireplaces, panelling. In south range: porter's room has old fireplace and relocated linenfold door (found in cellar); reused traceried wood panelling in rebuilt dining room fireplace; stair hall has fine early C17 wooden stair (brought from Theobalds, Herts) with strapwork roundels between square vase balusters, elaborate relief decoration, and lion finials holding shields; at head of stair; elaborate doorcase of same period ribbed ceiling with pendant finials. Drummers Room has reused panelling, part dated 1697, with fluted pilasters and frieze and elaborately arcaded and fluted-pilastered overmantel. Green Room, on second floor, has restored fireplace with crests and beasts on hood; moulded beams and bosses; and reused traceried panel below courtyard window.
North range: very fine late C17 stair (brought from Wheatley Hall, Doncaster; possibly from the workshop of Grinling Gibbons) with baskets-of-flowers and pendant finials to newels, balustrades of open, leafy, scrollwork with flower roundels, and at head of stair two elaborately carved doorcases in similar style with shields in broken pediments. Former ball room has arched ceiling with decorative plasterwork; C17-style panelling; reused elaborately-decorated C17 wooden fireplace overmantel (from Madingley Hall, Cambs.) with two orders of caryatids and embossed panels.
East range: former chapel has reused C15 wooden screen (from France) set in west wall; former Drawing room has elaborate stone fireplace, 1930s in C16 style, and in ante room a reused richly decorated fireplace with griffins and portrait roundels. The C15 castle was well restored in the early C20 and the many fine features which were brought in at that time add to its importance.
Listing NGR: TQ6463810388
Sources
Books and journals
Calvert, D , The History of Herstmonceux Castle
Pevsner, N, Nairn, I, The Buildings of England: Sussex, (1965), 534-6
'Country Life' in 18 May, (1929), 702-709
'Country Life' in 7 December, (1935), 606-612
'Country Life' in 14 December, (1935)
Other
Register of Parks and Gardens of Special Historic Interest in England, Part 14 East Sussex,
historicengland.org.uk/listing/the-list/list-entry/1272785
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Before 1066 Herst (meaning forest or wood) was the name of a prominent local Anglo-Saxon family and ownership of the family's estate passed into the hands of the victorious Normans. In 1131 the manor and estates were transferred to Drogo de Monceux, a great grandson of William the Conqueror . Drogo's son Ingleram married Idonea de Herst, thus founding the Herstmonceux line.
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Herstmonceux Castle Gardens and Grounds is a 300 acre estate including woodland, formal themed gardens and of course a 15th century moated castle.
Made from red brick Herstmonceux Castle is one of the earliest examples of a brick built building in England.
Read more about the history here:-
The Great Hall
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
The Oak Staircase
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
...est surmontée d'un dais. Trois angelots souriants portent son nimbe. Elle est légèrement hanchée, le poids du corps portant sur une seule jambe.
ENGLISH :
The overmantel is occupied by the statue of the Golden Virgin, magnificent masterpiece of the thirteenth century. Dated 1288, 2.30 m high, the statue shows a crowned Virgin carrying the child Jesus, the gaze gently towards him. The head of the Virgin is surmounted by a canopy. Three smiling cherubs bear her nimbus. She is slightly swaying, body weight on one leg.
Also dating from the 18th century is this grand marble fireplace. It has a coat of arms on the extravagant overmantel, presumably those of the bishop of Worcester.
This is the panelled dining room at Newstead, another Victorian creation. The overmantel would certainly have been a conversation piece, with its rows of relief medieval figures. As is often the case, the dining room is a considerable distance away from the kitchen, and you suspect they hardly ever ate a meal that was still hot.
Linford Manor in Great Linford, Milton Keynes 27Mar21.
Grade II* listed.
Info from Historic England
Name: LINFORD MANOR
Designation Type: Listing
Grade: II*
List UID: 1125276
Country House now used as Arts Centre. c1720 remodelling of house of c1680 with later C18 S. wing. Dressed stone with slate roof, flanking chimneys, stone coped gables and moulded stone cornice. 3 storeys and cellar to main block, wings 2 storeys. West front has 5 bays, sash windows in architrave frames and central 6 panelled door with stone doorcase of fluted Corinthian pilasters, sections of entablature and broken segmental pediment with central coat of arms, approached by 3 moulded stone steps. 2-storey wings each side. Each wing has 2 bays of sash windows, LH wing has central door. East front 2 storeys with central stone pedimented door and tall semicircular arched stint window above, 2 sash windows each side, lower flanking wings each have 2 tall sashes. Interior staircase, panelling and chimneypieces of c1720 in main part of house. S. wing has ballroom of c1755 with enriched cornice and coved ceiling with plaster decoration, chimneypiece with elaborately carved overmantel framing portrait, and pedimented doorcase with carved frieze and console brackets. History: The house of c1680 built for Sir William Pritchard, a City merchant; remodelled by his great nephew Thomas Uthwatt c.1720. Ballroom added by his nephew Henry.
en.wikipedia.org/wiki/Lyme_Park
Lyme Park is a large estate located south of Disley, Cheshire. The estate is managed by the National Trust and consists of a mansion house surrounded by formal gardens, in a deer park in the Peak District National Park.[1] The house is the largest in Cheshire,[2] and is recorded in the National Heritage List for England as a designated Grade I listed building.[3]
The estate was granted to Sir Thomas Danyers in 1346 and passed to the Leghs of Lyme by marriage in 1388. It remained in the possession of the Legh family until 1946 when it was given to the National Trust. The house dates from the latter part of the 16th century. Modifications were made to it in the 1720s by Giacomo Leoni, who retained some of the Elizabethan features and added others, particularly the courtyard and the south range. It is difficult to classify Leoni's work at Lyme, as it contains elements of both Palladian and Baroque styles.[a] Further modifications were made by Lewis Wyatt in the 19th century, especially to the interior. Formal gardens were created and developed in the late 19th and early 20th centuries. The house, gardens and park have been used as locations for filming and they are open to the public. The Lyme Caxton Missal is on display in the Library.
History
The land now occupied by Lyme Park was granted to Piers Legh and his wife Margaret D'anyers, by letters patent dated January 4, 1398, by Richard II, son of the Black Prince. Margaret D'anyers' grandfather, Sir Thomas D'anyers, had taken part in retrieving the standard of the Black Prince at the Battle of Crécy in 1346, and was rewarded with annuity of 40 marks a year by the Black Prince, drawn on his Cheshire estate, and which could be exchanged for land of that value belonging to the Black Prince. Sir Thomas died in 1354, and the annuity passed to his nearest surviving kin, his granddaughter Margaret, who in 1388 married the first Piers Legh (Piers Legh I). Richard II favoured Piers and granted his family a coat of arms in 1397, and the estate of Lyme Handley in 1398 redeeming the annuity. However, Piers was executed two years later by Richard's rival for the throne, Henry Bolingbroke.[6]
When in 1415 Sir Piers Legh II was wounded in the Battle of Agincourt, his mastiff stood over and protected him for many hours through the battle. The mastiff was later returned to Legh's home and was the foundation of the Lyme Hall Mastiffs. They were bred at the hall and kept separate from other strains, figuring prominently in founding the modern breed. The strain died out around the beginning of the 20th century.[7][8]
The first record of a house on the site is in a manuscript folio dated 1465, but that house was demolished when construction of the present building began during the life of Piers Legh VII, in the middle of the 16th century.[5] This house, by an unknown designer, was L-shaped in plan with east and north ranges; piecemeal additions were made to it during the 17th century. In the 1720s Giacomo Leoni, an architect from Venice, added a south range to the house creating a courtyard plan, and made other changes.[3] While he retained some of its Elizabethan features, many of his changes were in a mixture of Palladian and Baroque styles.[2] During the latter part of the 18th century Piers Legh XIII bought most of the furniture which is in the house today. However, the family fortunes declined and the house began to deteriorate. In the early 19th century the estate was owned by Thomas Legh, who commissioned Lewis Wyatt to restore the house between 1816 and 1822. Wyatt's alterations were mainly to the interior, where he remodelled every room.[9] Leoni had intended to add a cupola to the south range but this never materialised.[10] Instead, Wyatt added a tower-like structure (a hamper) to provide bedrooms for the servants. He also added a one-storey block to the east range, containing a dining-room.[2] Later in the century William Legh, 1st Baron Newton, added stables and other buildings to the estate, and created the Dutch Garden.[9] Further alterations were made to the gardens by Thomas Legh, 2nd Baron Newton and his wife during the early 20th century.[11] In 1946 Richard Legh, 3rd Baron Newton, gave Lyme Park to the National Trust.[12]
House
The house is the largest in Cheshire, measuring overall 190 feet (58 m) by 130 feet (40 m) round a courtyard plan. The older part is built in coursed, squared buff sandstone rubble with sandstone dressings; the later work is in ashlar sandstone. The whole house has a roof of Welsh slates. The symmetrical north face is of 15 bays in three storeys; its central bay consists of a slightly protruding gateway. The arched doorway in this bay has Doric columns with a niche on each side. Above the doorway are three more Doric columns with a pediment, and above this are three further columns. Over all this are four further columns with an open pediment bearing an image of Minerva. The architectural historian Nikolaus Pevsner referred to this gateway as "the craziest Elizabethan frontispiece".[13] The endmost three bays on each side project slightly forwards. The ground floors of the three outer bays on each side are rusticated, and their upper storeys are divided by large Corinthian pilasters.[3] The west front is also in three storeys, with nine bays, the outer two bays on each side projecting forward. The ground floor is rusticated and the upper floors are smooth.[2]
North front of the house seen through the gateway
The symmetrical 15-bay three-storey south front overlooking the pond is the work of Leoni.[2] Although Leoni had been influenced by the works and principles of Palladio,[14] both Pevsner and the authors of the citation in the National Heritage List for England agree that the design of this front is more Baroque than Palladian.[2][3] The bottom storey is rusticated with arched windows, and the other storeys are smooth with rectangular windows. The middle three bays consist of a portico of which the lowest storey has three arches. Above this arise four giant fluted Ionic columns supporting a triangular pediment.[2][3] Standing on the pediment are three lead statues, of Neptune, Venus and Pan.[15] The pediment partly hides Wyatt's blind balustraded ashlar attic block. The other bays are separated by plain Ionic pilasters and the end three bays on each side protrude slightly.[2][3] The nine-bay three-storey east front is mostly Elizabethan in style and has Wyatt's single-storey extension protruding from its centre.[3] The courtyard was remodelled by Leoni, who gave it a rusticated cloister on all sides. Above the cloister the architecture differs on the four sides although all the windows on the first (piano nobile) floor have pediments. On the west side is a one-bay centrepiece with a window between two Doric pilasters; on the south and north are three windows with four similar pilasters; and on the east front is the grand entrance with a portal in a Tuscan aedicule.[2] This entrance is between the first and second storeys and is approached by symmetrical pairs of stairs with iron balusters,[3] which were made in 1734 by John Gardom of Baslow, Derbyshire.[16][b] In the centre of the courtyard is an Italian Renaissance well-head, surrounded by chequered pink and white stone, simulating marble.[10]
Interior
The Entrance Hall, which is in the east range, was remodelled by Leoni. It is asymmetrical and contains giant pilasters and a screen of three fluted Ionic columns. The doorway to the courtyard has an open pediment. A hinged picture can be swung out from the wall to reveal a squint looking into the Entrance Hall.[2] Also in the Entrance Hall are tapestries which were woven at Mortlake between 1623 and 1636. They were originally in the Leghs' London home in Belgrave Square and were moved to Lyme in 1903. In order to accommodate them, the interior decorator, Amadée Joubert, had to make alterations, including the removal of a tabernacle and cutting out four of the pilasters.[18] To the south of the Entrance Hall is the Library, and to the east is Wyatt's Dining Room, which has a stucco ceiling and a carved overmantel both in a late 17th-century style, as well as a frieze. The decoration of this room is considered to be a rare early example of the Wrenaissance style.[2]
To the north of the Entrance Hall are the two principal Elizabethan rooms, the Drawing Room and the Stag Parlour. The Drawing Room is panelled with intersecting arches above which is a marquetry frieze. The ceiling has studded bands, strapwork cartouches and a broad frieze. Over the fireplace is a large stone overmantel, which is decorated with pairs of atlantes and caryatids framing the arms of Elizabeth I.[2] The stained glass in this room includes medieval glass that was moved from the original Lyme Hall to Disley Church and returned to Lyme in 1835.[3] The Stag Parlour has a chimneypiece depicting an Elizabethan house and hunting scenes, and it includes the arms of James I. The other Elizabethan rooms in the house are the Stone Parlour on the ground floor, and the Long Gallery, which is on the top floor of the east range. The Long Gallery also has a chimneypiece with the arms of Elizabeth I. The Grand Staircase dates from the remodelling by Leoni and it has a Baroque ceiling.[2] The Saloon is on the first floor of the south range, behind the portico.[19] Its ceiling is decorated in rococo style,[20] and the room contains wooden carvings that have been attributed to Grinling Gibbons.[3][c] The Chapel, in the northeast corner of the ground floor, also contains detailed carvings.[2]
This missal had been owned by the Legh family since at least 1508. It is the only known nearly complete copy of the earliest edition of a missal according to the Sarum Rite still in existence. When the family moved from the house in 1946, the missal went with them, and was held for safe-keeping in the John Rylands Library in Manchester. In the late 2000s the National Trust acquired it, and it was decided to return it to Lyme Park. To celebrate this the décor of the library was restored to the way it had been during the 19th century. This included re-graining of its ceiling, reproducing velvet for the upholstery and curtains, and re-papering the room with replica wallpaper, based on its original design.[21]
Grounds
The house is surrounded by formal gardens of 6 hectares (15 acres) in a deer park of about 550 hectares (1,359 acres) which are listed at Grade II* in the National Register of Historic Parks and Gardens.[22][23] In the gardens and deer park are a number of structures.
Gardens
Dutch Garden
To the west of the house is the former mill pond. From the south side a lawn slopes down to another pond beyond which is a small ravine with a stone bridge, this area being known as Killtime. To the west of the lawn is the sunken Dutch Garden, which was created by William Legh. It consists of formal flower beds with a central fountain. To the west, south and east of the orangery are further formal flower gardens, including rose gardens.[11]
Deer park
The park was enclosed in the 14th century by Piers Legh I. In the 17th century Richard Legh planted avenues of sycamore and lime trees. Richard's son, Peter Legh XII carried out more extensive tree-planting in the park, giving it its current appearance.[11] Red deer descended from the original deer present when the park was enclosed graze in the grounds, as do Highland cattle. Formerly an unusual breed of wild white cattle with red ears grazed in the park but they became extinct in 1884.[24] Fallow deer and sheep also graze in the park.[12]
Structures
The Lantern
The most obvious structure in the park, other than the house, is a tower called the Cage which stands on a hill to the east of the approach road to the house (53.34453°N 2.05189°W). It was originally a hunting lodge and was later used as a park-keeper's cottage and as a lock-up for prisoners. The first structure on the site was built about 1580; this was taken down and rebuilt in 1737, possibly to a design by Leoni for Peter Legh X. The tower is built in buff sandstone rubble with ashlar sandstone dressings. It is square in plan, in three storeys, with attached small square towers surmounted by cupolas at the corners. The Cage is a Grade II* listed building.[25] Also in the park is the Paddock Cottage which was erected by Peter Legh IX and restored in the early 21st century. To the east of this are the remains of the Stag House (53.32211°N 2.05374°W).[11] To the left of the house in Lantern Wood is a belvedere known as the Lantern (53.33842°N 2.04333°W). It is built in sandstone and has three storeys and a spire; the lowest storey is square in plan while the other storeys and the spire are octagonal. The top storey and spire date from about 1580 and originally formed a bellcote on the north gatehouse. This was removed during the restoration of the house by Wyatt and rebuilt on the present site. It is a Grade II* listed building.[26]
Immediately to the northeast of the house is the Orangery which was designed in 1862 by Alfred Darbyshire.[2] The Orangery is joined to the house by a covered passage known as the Dark Passage. This was designed by Wyatt for Sir Thomas Legh in 1815 and is a Grade II listed building.[27] Further from the house, to the northeast of the orangery, are the stables (53.33912°N 2.05283°W). These are dated 1863 and were also designed by Darbyshire. They are built in sandstone on a courtyard plan and are listed at Grade II.[28] Other structures in the grounds listed at Grade II are the Pheasant House dating from about 1870,[29] an Italian white marble wellhead in the centre of the courtyard of the house dating from the 18th century and probably brought to the house from Venice in about 1900,[30] sandstone kennels in an H-plan dating from around 1870,[31] a pair of gardener's cottages dated 1871,[32] terrace revetment walls to the west of the house containing some 17th-century masonry with later repairs,[33] the lodge, gate piers and gates on Lyme Park Drive,[34] the forward gatepiers to Lyme Park Drive, dating from the late 17th century and moved to their present position about 1860,[35] the gate piers in Red Lane,[36] and the gate piers, gates and railings to the north of the north front of the house.[37]
Present day
Lyme Park is owned and administered by the National Trust. The house, garden and park are open to the public at advertised hours.[38] An entrance fee to the house and garden is payable by non-members of the National Trust, and additional fee is charged for parking.[39] In the grounds are shops, a refreshment kiosk, a coffee shop and a restaurant.[40] The Lyme Caxton Missal is on display in the library. Associated with it is an interactive audio-visual display with a touch-screen facility to enable pages of the book to be "turned", and chants from the missal to be sung as they would have been 500 years ago.[41] Events are held in the park.[42] The Bowmen of Lyme use the park for archery.[43]
Lyme Park and its hall have been used in several films and television programmes. The exterior of the hall was used as Pemberley, the seat of Mr Darcy, in the 1995 BBC adaptation of Jane Austen's novel Pride and Prejudice,[11] and as a location for the Red Dwarf episode "Timeslides".[44] It was also used as a location in the 2011 film The Awakening[45] and in the second series of The Village in 2014.
Sitting on the overmantel in the sitting room is this rather charming piece of pottery which presumably records the Crimean War of 1853-6, in which Britain and France joined ranks to expel the invading Russian forces from the Ottoman Empire. Here we have the Sultan on the left, Queen Victoria in the middle, by her mid 30s at this date, and Napoleon III on the right. The war was a protracted affair, with notable battles at Sevastopol, Inkerman and Balaclava and, of course, the doomed charge of the Light Brigade in 1854, immortalised by Tennyson. It was the first major war to be fully documented in reports and even photographs, so those at home were very aware of the suffering of the troops and the efforts of those such as Florence Nightingale to prevent far more soldiers dying from infection or starvation than in battle. Eventually the allies were victorious and the Russian empire was seriously weakened. It couldn’t happen nowadays of course…
To see the official National Trust website please click:-
www.nationaltrust.org.uk/gawthorpe-hall
en.wikipedia.org/wiki/Gawthorpe_Hall
Gawthorpe Hall is an Elizabethan country house on the banks of the River Calder, in the civil parish of Ightenhill in the Borough of Burnley, Lancashire, England. Its estate extends into Padiham, with the Stockbridge Drive entrance situated there. Since 1953 it has been designated a grade I listed building.[1] The hall is financed and run by the National Trust in partnership with Lancashire County Council.[2] In 2015 the Hall was given £500,000 funding from Lancashire County Council for vital restoration work needed on the south and west sides of the house.
History
Gawthorpe Hall's origins are in a pele tower, a strong fortification built by the Shuttleworths in the 14th century as a defence against invading Scots.[4] The Shuttleworths occupied Shuttleworth Hall near Hapton from the 12th century.[5] The Elizabethan house was dovetailed around the pele tower from plans drawn up by Richard Shuttleworth but carried out after his death by his brother the Reverend Lawrence Shuttleworth. The foundation stone was laid on 26 August 1600.[6] The architect is not recorded, but the house is generally attributed to Robert Smythson.[7]
In 1604 Richard Stone, from Carr House in Bretherton, imported Irish panel boards and timber and stored 1,000 pieces in the tithe barn at Hoole until they were needed.[8] The mottoes of the Kay-Shuttleworths are Prudentia et Justitia (Prudence and Justice – Shuttleworth) and Kynd Kynn Knawne Kepe (Kind Friends Know and Keep – Kay).[9] Mottoes are found in the front porch and around the top of the tower.[10] The initials KS, Kay-Shuttleworth occur in decoration throughout the house, on the front door and plaster roundels on the ceiling in the main dining room.
An early occupant was Colonel Richard Shuttleworth (MP), who inherited it in about 1607 from his uncle. Colonel Shuttleworth was High Sheriff of Lancashire for 1637, Member of Parliament for Preston (1640 to 1648 and 1654 to 1659) and commander of the Parliamentarian Army of the Blackburn Hundred during the Civil War. After his death Gawthorpe was leased to tenants, the Shuttleworths preferring to live at Forcett Hall near Richmond.
After Forcett was sold the Shuttleworths returned to Gawthorpe. In 1818 barrister, Robert Shuttleworth died and his daughter Janet inherited the estate at an early age. Her mother remarried and remained at Gawthorpe to protect her inheritance. In 1842 Janet married Sir James Kay of Rochdale, who adopted the surname Kay-Shuttleworth and commissioned Sir Charles Barry to carry out restoration and improvements to the house in the 1850s.[1] Sir James was made a baronet in 1849 and served as High Sheriff of Lancashire for 1864. Charlotte Brontë, a family friend visited the house. In 1953 Charles Kay-Shuttleworth, 4th Baron Shuttleworth, left Gawthorpe to live at Leck Hall near Kirby Lonsdale and in 1970, after the death of Rachel Kay-Shuttleworth, Gawthorpe was gifted to the National Trust.
The National Trust described the hall as "an Elizabethan gem in the heart of industrial Lancashire". Nicholas Cooper described the hall's plan as an early example in which the main stair is immediately accessible from the main entrance, a feature that became standard.[11] The hall has a collection of 17th and 18th century portraits on permanent loan from the National Portrait Gallery and is notable for its textiles, collected by the last resident family member Rachel Kay-Shuttleworth, about a fifth of which is on display.
House
Porch
The porch was rebuilt by Sir Charles Barry in 1851 who replaced the round-headed archway over the door with a four-centred arch on columns set on raised plinths and installed a three-light mullioned window above it to create a tile-floored vestibule. A stone plaque displaying the Shuttleworth, (three weaver's shuttles) Kay and Kay-Shuttleworths arms carved by Thomas Hurdeys in 1605 was retained. The Kay motto was inscribed on the outside of the door lintel and the Shuttleworth's on the inside.[12] The door's decorative ironwork was designed by Pugin and made by Hardman's of Birmingham in 1851 at a cost of £17 1s 6d. The interior is decorated with a carved stone panel bearing Sir James Kay-Shuttleworth's arms and two ceremonial sheriff's javelins and a black oak sword-chest dated to about 1500.[12]
Entrance hall
The entrance hall was extended at its east end and reordered when the 17th-century mezzanine bedroom, a low-ceilinged pantry and the buttery were removed in the 1850s. The fireplace's stone over-mantel was used in the vestibule. The fireplace was given a marble surround, incorporating family initials in 1856 and an iron grate with lions-head dampers was supplied in 1852.[13] A Renaissance-style panelled and arcaded openwork wooden screen was constructed in 1851 by William Horne. Oak panelling was installed framing two internal windows between which is a Jacobean panel and above it was a gallery for family portraits.[14]
An Edwardian photograph shows the hall with a billiard table, upholstered bobbin-turned chairs, two wicker chairs and a Glastonbury armchair. The entrance hall was converted into a kitchen in 1945. The archway blocked, the screen dismantled, panelling removed and an internal window made into a serving hatch. Only the fireplace and geometrical ceiling were left intact. The room was later made into a study. In 1986 the screen was reconstructed, surviving woodwork re-installed and missing pieces re-carved and some stonework was repaired.[15]
Portraits from the mid 17th century, include four on loan from the National Portrait Gallery, commemorating Roundheads imprisoned in Windsor Castle. There are portraits of Lord and Lady Derby, and of their contemporaries.[16] Furniture includes a hutch cupboard inlaid with holly and bog oak from 1630 on a late 17th-century cupboard, two panel-back carved armchairs and a blanket chest. An ornate eight-day bracket clock from about 1725 is signed by Louis Mynuel.[15]
Great Hall
The 17th century Great Hall was used for formal dinners, performing plays, music and dancing and from 1816 became the family dining room. It was refurnished after restoration by Barry in 1852. Its galleried entrance screen was built by Thomas Hurdeys, Hugh Sandes and Cornelius Towndley in 1604-05. Above its doorways is the date 1605 and the initials of Hugh Shuttleworth and his sons - Richard, Lawrence and Thomas. By 1850 the gallery was unsafe and shored up with pillars. An 18th-century over-mantel mirror, from the drawing room, was cut up to provide panels.[16] Barry's 1851 carved stone chimney piece is superimposed on a wider 17th-century fireplace with an elliptical arch. Its sides are concealed with oak panelling and wall benches. The over-mantel has the Kay-Shuttleworth coat of arms, flanked by shields of Shuttleworth, Kay, and their wives - Fleetwood Barton, Jane Kirke, Catherine Clark and Mary Holden. The cast-iron fire grate and andirons were made in 1852 and the encaustic tiles in 1880.[17]
Barry intended to retain its 1605 plaster ceiling but replaced it with a design reproducing the old pattern in an enriched form. In May 1852 red flock wallpaper designed to simulate 16th-century Italian velvets was supplied from J. G. Crace & Co. It survived until the 1960s and in 1987 new wallpaper was reprinted from the original "Rutland blocks", using distempered colours. Wool and silk brocade curtains by Crace have a pattern based on 15th-century Italian figured silk velvets devised by Pugin in 1844.
An 1850s Renaissance style trestle table was supplied by Crace. Two alabaster models by G Andreoni of Pisa representing the Baptistry and church of Santa Maria della Spina were purchased by Blanche Kay-Shuttleworth in about 1880. An oak dining table with turned legs was made in 1881 by Gillows of Lancaster and the twist-turned oak dining chairs may also be by them. A carved oak Charles II armchair is one of' a pair made in Yorkshire in 1808 with seat panels in petitpoint floral work. The trestle fire screen has an embroidered panel. The mid-19th-century Feraghan carpet is of the same date, style and manufacture as one shown in N. F. Green's 1884 watercolour.[18]
The hall contains portraits of Sir Thomas Aylesbury painted in about 1642 by William Dobson, James Harrington and Nathaniel Highmore.[19]
Drawing Room
Robert Shuttleworth changed the medieval "dyning chamber" into a drawing room retaining its Jacobean panelling and plasterwork. The Italian Renaissance-style inlaid panelling with arabesques in semicircular arcading by the craftsmen who made the entrance screen, was started in 1603 and took a year to complete. The panelling's cornice supports a frieze and ceiling by Francis and Thomas Gunby. The frieze's contains a grotesque in which human, half-human and animal figures are entwined with fruiting stems and foliage. The ceiling is decorated with vines and oak branches in the spaces between strapwork ribbing. The plaster work took five months to complete in 1605. The fireplace arch was renewed by Barry in 1851 retaining the l7th-century hearthstone and stone fender and has a cast-iron gothic fire grate, designed by Pugin. Its andirons have armorial plates and wrought brass finials.The overmantel is dated 1604 above the Shuttleworth arms.
Of the Victorian furnishings and decoration, the bright green curtains were replaced by silk and linen brocatelle, re-woven from a fragment of material found in the house, with a pattern of stylised pomegranates and pineapples. A mid-19th-century blue and red Mahal carpet produced by Ziegler & Co. is a replacement and a Shirvan hearthrug dates from the 19th century. Portraits of Sir Ughtred and Lady Kay-Shuttleworth from1884 are by John Collier.[20]
Garden and grounds
The small ornamental garden was laid out on a terrace overlooking the River Calder at the rear of the house by Charles Barry. The semicircular terrace wall is Grade II listed.[21] The course of the river was diverted away from Gawthorpe Hall in the 19th century because of pollution and again diverted to accommodate an open cast coal scheme north of the river in Padiham in the 1960s.[22]
Other listed buildings associated with the hall are the Great Barn (built 1602–04),[23] the old farmhouse (1605–06, now used as the estate offices),[24] the game larder,[25] the coach house (1870),[26] and the lodges and gateways on Habergham and Stockbridge drives (both c.1849).[27][28][29]
Burnley F.C. have trained at a centre in the grounds since the 1950s.[30]
Gawthorpe is one of the trailheads of the Brontë Way, a 43-mile (69 km) long-distance footpath that crosses the South Pennines to Haworth, continuing to Oakwell Hall, Birstall, West Yorkshire.[31]
Kedleston Hall is a neo-classical manor house owned by the National Trust, and seat of the Curzon family, located in Kedleston, Derbyshire, approximately 4 miles (6 km) north-west of Derby. The medieval village of Kedleston was moved in 1759 by Nathaniel Curzon to make way for the manor.[2] All that remains of the original village is the 12th century All Saints Church, Kedleston.[3]
Background
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.[4]
The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in Kedleston since at least 1297, and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo.
At the time a relatively unknown architect, Robert Adam, was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with his designs that Adam was quickly put in charge of the construction of the new mansion.
On the death of Richard Curzon, 2nd Viscount Scarsdale in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.[5]
Exterior
Kedleston Hall was Brettingham's opportunity to prove himself capable of designing a house to rival Holkham Hall. The opportunity was taken from him by Robert Adam who completed the North front (above) much as Brettingham designed it, but with a more dramatic portico.
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The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, corps de logis, the largest block, contains the state rooms and was intended only for formal entertaining. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation.
Plans for two more pavilions (as the two smaller blocks are known), of identical size and similar appearance, were never executed. These further wings were intended to contain, in the south-east a music room, and in the southwest a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
The north front, approximately 117 yards [107 m] in length, is Palladian in character, dominated by a massive, six-columned Corinthian portico; however, the south front (illustrated right) is pure neoclassical Robert Adam. This garden facade is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief.
The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Hall
Marble Hall 1763, decoration completed in 1776-7
Entering the house through the great north portico on the piano nobile, one is confronted by the marble hall. Nikolaus Pevsner describes this as one of the most magnificent apartments of the 18th century in England.[6] It measures 67 feet (20 m) by 37 feet (11 m) in plan and is 40 feet (12 m) high.
Twenty fluted pink Nottingham alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. Niches in the walls contain casts of classical statuary by Matthew Brettingham the Younger and others;[6] above the niches are grisaille panels of Homeric subjects inspired by Palladio's illustration of the Temple of Mars. The stucco in the ceiling was created by Joseph Rose in the 1770s.[6]
The floor is of inlaid Italian marble. Matthew Paine's original designs for this room intended for it to be lit by conventional windows at the northern end, but Adam, warming to the Roman theme, did away with the distracting windows and lit the whole from the roof through innovative glass skylight.
The overmantels to the fireplaces are by Joseph Rose with firebaskets by Robert Adam.[6]
At Kedleston, the hall symbolises the atrium of the Roman villa and the adjoining saloon the vestibulum.
Saloon
The saloon
The saloon, contained behind the triumphal arch of the south front, like the marble hall rises the full height of the house, 62 feet (19 m) to the top of the dome, where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this circular room 42 feet (13 m) in width was completed in 1763.
The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns.[1] The paintings of ruins are by Gavin Hamilton and the grisaille panels have scenes of British worthies painted by John Biagio Rebecca.[6]
The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes.
From the saloon, the atmosphere of the 18th-century Grand Tour is continued throughout the remainder of the principal reception rooms of the piano nobile, though on a slightly more modest scale.
State bedroom
The "principal apartment", or State bedroom suite, contains fine furniture and paintings.
The state bed was constructed by James Gravenor of Derby.[7] The state bed posts are carved to represent palm tree trunks which soar up and break into flamboyant foliage at the top, sweeping in palm-fronds behind.[8]
Drawing room
Settee by John Linnell in the Drawing Room dated from around 1765.
The drawing room with huge alabaster Venetian window is 44 feet (13 m) by 28 feet (8.5 m) by 28 feet (8.5 m). The doorcase is also alabaster. The fireplace with a scene of virtue rewarded by honour and riches is flanked by large female figures sculpted by Michael Henry Spang.[6] The gilt sofas by John Linnell date from around 1765.[9] They were commissioned by the 1st Baron Scarsdale and supplied, together with a second pair of sofas to Kedleston in 1765.
Dining room
The dining room
The dining room, with its gigantic apse, has a ceiling that Adam based on the Domus Augustana in the Farnese Gardens. The apse contains curved tables designed by Adam in 1762[6] and a giant wine cooler. The ceiling contains panel paintings of the continents by Antonio Zucchi, the seasons by Gavin Hamilton and the centre is by George Morland. The original wall panels are by Francesco Zuccarelli, Frans Snyders, Claude and Giovanni Francesco Romanelli.
Music Room
The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. The marble chimneypiece is inlaid with Blue John. The pipe organ was second hand by John Snetzler with the case designed by Robert Adam and built by Robert Gravenor.[10] A second manual with Hautboy was added in 1824 by Alexander Buckingham.[11] The organ was restored in 1993 by Dominic Gwynn.
Library
The Library
The library contains a Roman doric doorcase leading to the Saloon. The bookcases were designed by Robert Adam[6] and built by James Gravenor of Derby.[12] The plaster ceiling is divided into octagonal patterns. The library desk was built in 1764 by James Gravenor. Wikipedia
Tamworth Castle, Holloway, Tamworth, Staffordshire.
Late C11 motte and bailey castle with later additions.
Grade l listed.
The castle has been inhabited since the Norman conquest, with a break in the mid C19, when it was used in connection with the nearby mills (since demolished). It was bought by the local council in 1897 and opened to the public. King James I stayed at the castle; Sir Walter Scott referred to it in his poem Marmion.
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Tamworth Castle
Step back through almost 1000 years of history with a visit to Tamworth Castle. Uncover the secrets held within the chambers and hallways of this unique building and get a real sense of how the Saxons, Normans, Tudors and Victorians lived.
Enjoy a tour of the castle at your own leisure, or check the website for any events to get involved in. You will be able to explore all aspects of this ancient building and the people who have lived there. Regular Living History days bring the past to life by transporting visitors back to a different time period and you can even try your hand at some of the day-to-day tasks of previous castle households. There really is something for the whole family to enjoy.
New for 2021 - An interactive Anglo-Saxon exhibition - Battle & Tribute - which features a mead hall, unique touch-table game, immersive combat film and pieces from the Staffordshire Hoard. Also new - Tamworth AR Explorer - An Augmented Reality trail that brings history to life! Free to download on your smartphone from the app store.
Visitors can also explore the stunning surroundings of the Castle Grounds park with its magnificent raised flower beds and iconic bandstand. There are plenty more activities to keep you busy for a great day out, from river walks and picnics to cycle hire and tennis, as well as the brilliant adventure play area which is perfect for children who love climbing and tearing around!
www.visittamworth.co.uk/tamworth-castle
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TAMWORTH CASTLE, HOLLOWAY
Heritage Category: Listed Building
Grade: I
List Entry Number: 1197020
Details
TAMWORTH
SK2003NE HOLLOWAY 670-1/9/75 (East side) 11/05/50 Tamworth Castle (Formerly Listed as: TAMWORTH The Castle)
GV I
Castle, now museum. Late C11 motte and bailey castle; rebuilt C12,early C13 repairs or reconstruction; C12-C13 north wing, probably with 1st floor hall; early C15 hall range; C16 warder's lodge; early C17 south wing; c1800 alterations. Stone rubble with ashlar and brick with ashlar dressings; tile and flat lead roofs. Shell keep with north-east tower with warden's lodge to south, and later ranges forming H-plan house. Curtain walls have embattled parapets. Tower has battered base, flat buttresses and rounded turrets; C14 two-light traceried window and top window with label mould over 3 round-headed lights with transom. Warder's house to left has C14 pointed entrance in canted bay under gable; late C16 double-chamfered-mullioned windows of 3 and 4 lights. South wing has c1800 facade; ashlar; ground floor windows of 3 pointed lights; 5- and 7-light 1st floor windows with transoms, similar 3-light windows to 2nd floor. North range has 2 square projections forming bases of bay windows demolished c1800; 3-light transomed windows in splayed surrounds with brattishing; 6-light and 3-light windows above; similar windows to right, with French window, and to left, over corbelled base to oriel. Inner court has warder's lodge to south east: 2 storeys with attic; renewed double-chamfered-mullioned windows with leaded glazing; coped gable with kneelers. South range: brick with ashlar dressings; 2 storeys; 2-window range; quoins, plinth, platt bands and C19 embattled parapet; entrance to right in doorcase with 4-centred head, remains of paired pilasters to entablature with cresting and armorial panel; ground floor has 3-light windows with pegged casements; 1st floor 4-light transomed ovolo-mullioned windows; 2nd floor has 3-light double-chamfered-mullioned windows. Hall has brick plinth, exposed wall post and large C17 wood-mullioned and transomed windows with leaded glazing, forming glazed wall; stair turret to right has 2-light hollow-chamfered-mullioned windows; east end of north range mostly brick; blocked 1st floor door to west end.
INTERIOR: Hall has tie beam and double collar trusses with struts and wind braces, ovolo-mouldings with fillets to posts and soffits of trusses; enriched doorcases and fireplace with Mannerist detail, moved from house in Kent, c1822. Tudor-headed main entrance with studded door. Closed-well stair to north wing, which has 3 rooms with fireplace and doorcases from house in Kent. South wing has two 1st floor rooms with C17 panelling and contemporary fireplaces with pilasters and entablatures and enriched overmantels, one with flanking figures and relief carving of biblical scenes; armorial panels, c1800. Warder's house has similar 1st floor room with panelling and fireplace overmantel. Tower has stair with strapwork panels and top splat balusters; room with panelling and Tudor-arched fireplace. The castle has been inhabited since the Norman conquest, with a break in the mid C19, when it was used in connection with the nearby mills (dem); it was bought by the local council in 1897 and opened to the public. James I stayed at the castle; Sir Walter Scott referred to it in his poem Marmion. (Ballard E: Tamworth Castle Museum: Tamworth: 1987-; The Archaeological Journal: Meeson R: The Timber Frame of the Hall at Tamworth Castle, Staffs: London: 1983-; Buildings of England: Pevsner N: Staffordshire: London: 1974-: P. 277-8).
Listing NGR: SK2061303913
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 386500
Legacy System: LBS
Sources
Books and journals
Ballard, E , Tamworth Castle Museum, (1987)
Pevsner, N, The Buildings of England: Staffordshire, (1974), 277-8
'Archaeological Journal' in Archaeological Journal, (1983)
en.wikipedia.org/wiki/Lyme_Park
Lyme Park is a large estate located south of Disley, Cheshire. The estate is managed by the National Trust and consists of a mansion house surrounded by formal gardens, in a deer park in the Peak District National Park.[1] The house is the largest in Cheshire,[2] and is recorded in the National Heritage List for England as a designated Grade I listed building.[3]
The estate was granted to Sir Thomas Danyers in 1346 and passed to the Leghs of Lyme by marriage in 1388. It remained in the possession of the Legh family until 1946 when it was given to the National Trust. The house dates from the latter part of the 16th century. Modifications were made to it in the 1720s by Giacomo Leoni, who retained some of the Elizabethan features and added others, particularly the courtyard and the south range. It is difficult to classify Leoni's work at Lyme, as it contains elements of both Palladian and Baroque styles.[a] Further modifications were made by Lewis Wyatt in the 19th century, especially to the interior. Formal gardens were created and developed in the late 19th and early 20th centuries. The house, gardens and park have been used as locations for filming and they are open to the public. The Lyme Caxton Missal is on display in the Library.
History
The land now occupied by Lyme Park was granted to Piers Legh and his wife Margaret D'anyers, by letters patent dated January 4, 1398, by Richard II, son of the Black Prince. Margaret D'anyers' grandfather, Sir Thomas D'anyers, had taken part in retrieving the standard of the Black Prince at the Battle of Crécy in 1346, and was rewarded with annuity of 40 marks a year by the Black Prince, drawn on his Cheshire estate, and which could be exchanged for land of that value belonging to the Black Prince. Sir Thomas died in 1354, and the annuity passed to his nearest surviving kin, his granddaughter Margaret, who in 1388 married the first Piers Legh (Piers Legh I). Richard II favoured Piers and granted his family a coat of arms in 1397, and the estate of Lyme Handley in 1398 redeeming the annuity. However, Piers was executed two years later by Richard's rival for the throne, Henry Bolingbroke.[6]
When in 1415 Sir Piers Legh II was wounded in the Battle of Agincourt, his mastiff stood over and protected him for many hours through the battle. The mastiff was later returned to Legh's home and was the foundation of the Lyme Hall Mastiffs. They were bred at the hall and kept separate from other strains, figuring prominently in founding the modern breed. The strain died out around the beginning of the 20th century.[7][8]
The first record of a house on the site is in a manuscript folio dated 1465, but that house was demolished when construction of the present building began during the life of Piers Legh VII, in the middle of the 16th century.[5] This house, by an unknown designer, was L-shaped in plan with east and north ranges; piecemeal additions were made to it during the 17th century. In the 1720s Giacomo Leoni, an architect from Venice, added a south range to the house creating a courtyard plan, and made other changes.[3] While he retained some of its Elizabethan features, many of his changes were in a mixture of Palladian and Baroque styles.[2] During the latter part of the 18th century Piers Legh XIII bought most of the furniture which is in the house today. However, the family fortunes declined and the house began to deteriorate. In the early 19th century the estate was owned by Thomas Legh, who commissioned Lewis Wyatt to restore the house between 1816 and 1822. Wyatt's alterations were mainly to the interior, where he remodelled every room.[9] Leoni had intended to add a cupola to the south range but this never materialised.[10] Instead, Wyatt added a tower-like structure (a hamper) to provide bedrooms for the servants. He also added a one-storey block to the east range, containing a dining-room.[2] Later in the century William Legh, 1st Baron Newton, added stables and other buildings to the estate, and created the Dutch Garden.[9] Further alterations were made to the gardens by Thomas Legh, 2nd Baron Newton and his wife during the early 20th century.[11] In 1946 Richard Legh, 3rd Baron Newton, gave Lyme Park to the National Trust.[12]
House
The house is the largest in Cheshire, measuring overall 190 feet (58 m) by 130 feet (40 m) round a courtyard plan. The older part is built in coursed, squared buff sandstone rubble with sandstone dressings; the later work is in ashlar sandstone. The whole house has a roof of Welsh slates. The symmetrical north face is of 15 bays in three storeys; its central bay consists of a slightly protruding gateway. The arched doorway in this bay has Doric columns with a niche on each side. Above the doorway are three more Doric columns with a pediment, and above this are three further columns. Over all this are four further columns with an open pediment bearing an image of Minerva. The architectural historian Nikolaus Pevsner referred to this gateway as "the craziest Elizabethan frontispiece".[13] The endmost three bays on each side project slightly forwards. The ground floors of the three outer bays on each side are rusticated, and their upper storeys are divided by large Corinthian pilasters.[3] The west front is also in three storeys, with nine bays, the outer two bays on each side projecting forward. The ground floor is rusticated and the upper floors are smooth.[2]
North front of the house seen through the gateway
The symmetrical 15-bay three-storey south front overlooking the pond is the work of Leoni.[2] Although Leoni had been influenced by the works and principles of Palladio,[14] both Pevsner and the authors of the citation in the National Heritage List for England agree that the design of this front is more Baroque than Palladian.[2][3] The bottom storey is rusticated with arched windows, and the other storeys are smooth with rectangular windows. The middle three bays consist of a portico of which the lowest storey has three arches. Above this arise four giant fluted Ionic columns supporting a triangular pediment.[2][3] Standing on the pediment are three lead statues, of Neptune, Venus and Pan.[15] The pediment partly hides Wyatt's blind balustraded ashlar attic block. The other bays are separated by plain Ionic pilasters and the end three bays on each side protrude slightly.[2][3] The nine-bay three-storey east front is mostly Elizabethan in style and has Wyatt's single-storey extension protruding from its centre.[3] The courtyard was remodelled by Leoni, who gave it a rusticated cloister on all sides. Above the cloister the architecture differs on the four sides although all the windows on the first (piano nobile) floor have pediments. On the west side is a one-bay centrepiece with a window between two Doric pilasters; on the south and north are three windows with four similar pilasters; and on the east front is the grand entrance with a portal in a Tuscan aedicule.[2] This entrance is between the first and second storeys and is approached by symmetrical pairs of stairs with iron balusters,[3] which were made in 1734 by John Gardom of Baslow, Derbyshire.[16][b] In the centre of the courtyard is an Italian Renaissance well-head, surrounded by chequered pink and white stone, simulating marble.[10]
Interior
The Entrance Hall, which is in the east range, was remodelled by Leoni. It is asymmetrical and contains giant pilasters and a screen of three fluted Ionic columns. The doorway to the courtyard has an open pediment. A hinged picture can be swung out from the wall to reveal a squint looking into the Entrance Hall.[2] Also in the Entrance Hall are tapestries which were woven at Mortlake between 1623 and 1636. They were originally in the Leghs' London home in Belgrave Square and were moved to Lyme in 1903. In order to accommodate them, the interior decorator, Amadée Joubert, had to make alterations, including the removal of a tabernacle and cutting out four of the pilasters.[18] To the south of the Entrance Hall is the Library, and to the east is Wyatt's Dining Room, which has a stucco ceiling and a carved overmantel both in a late 17th-century style, as well as a frieze. The decoration of this room is considered to be a rare early example of the Wrenaissance style.[2]
To the north of the Entrance Hall are the two principal Elizabethan rooms, the Drawing Room and the Stag Parlour. The Drawing Room is panelled with intersecting arches above which is a marquetry frieze. The ceiling has studded bands, strapwork cartouches and a broad frieze. Over the fireplace is a large stone overmantel, which is decorated with pairs of atlantes and caryatids framing the arms of Elizabeth I.[2] The stained glass in this room includes medieval glass that was moved from the original Lyme Hall to Disley Church and returned to Lyme in 1835.[3] The Stag Parlour has a chimneypiece depicting an Elizabethan house and hunting scenes, and it includes the arms of James I. The other Elizabethan rooms in the house are the Stone Parlour on the ground floor, and the Long Gallery, which is on the top floor of the east range. The Long Gallery also has a chimneypiece with the arms of Elizabeth I. The Grand Staircase dates from the remodelling by Leoni and it has a Baroque ceiling.[2] The Saloon is on the first floor of the south range, behind the portico.[19] Its ceiling is decorated in rococo style,[20] and the room contains wooden carvings that have been attributed to Grinling Gibbons.[3][c] The Chapel, in the northeast corner of the ground floor, also contains detailed carvings.[2]
This missal had been owned by the Legh family since at least 1508. It is the only known nearly complete copy of the earliest edition of a missal according to the Sarum Rite still in existence. When the family moved from the house in 1946, the missal went with them, and was held for safe-keeping in the John Rylands Library in Manchester. In the late 2000s the National Trust acquired it, and it was decided to return it to Lyme Park. To celebrate this the décor of the library was restored to the way it had been during the 19th century. This included re-graining of its ceiling, reproducing velvet for the upholstery and curtains, and re-papering the room with replica wallpaper, based on its original design.[21]
Grounds
The house is surrounded by formal gardens of 6 hectares (15 acres) in a deer park of about 550 hectares (1,359 acres) which are listed at Grade II* in the National Register of Historic Parks and Gardens.[22][23] In the gardens and deer park are a number of structures.
Gardens
Dutch Garden
To the west of the house is the former mill pond. From the south side a lawn slopes down to another pond beyond which is a small ravine with a stone bridge, this area being known as Killtime. To the west of the lawn is the sunken Dutch Garden, which was created by William Legh. It consists of formal flower beds with a central fountain. To the west, south and east of the orangery are further formal flower gardens, including rose gardens.[11]
Deer park
The park was enclosed in the 14th century by Piers Legh I. In the 17th century Richard Legh planted avenues of sycamore and lime trees. Richard's son, Peter Legh XII carried out more extensive tree-planting in the park, giving it its current appearance.[11] Red deer descended from the original deer present when the park was enclosed graze in the grounds, as do Highland cattle. Formerly an unusual breed of wild white cattle with red ears grazed in the park but they became extinct in 1884.[24] Fallow deer and sheep also graze in the park.[12]
Structures
The Lantern
The most obvious structure in the park, other than the house, is a tower called the Cage which stands on a hill to the east of the approach road to the house (53.34453°N 2.05189°W). It was originally a hunting lodge and was later used as a park-keeper's cottage and as a lock-up for prisoners. The first structure on the site was built about 1580; this was taken down and rebuilt in 1737, possibly to a design by Leoni for Peter Legh X. The tower is built in buff sandstone rubble with ashlar sandstone dressings. It is square in plan, in three storeys, with attached small square towers surmounted by cupolas at the corners. The Cage is a Grade II* listed building.[25] Also in the park is the Paddock Cottage which was erected by Peter Legh IX and restored in the early 21st century. To the east of this are the remains of the Stag House (53.32211°N 2.05374°W).[11] To the left of the house in Lantern Wood is a belvedere known as the Lantern (53.33842°N 2.04333°W). It is built in sandstone and has three storeys and a spire; the lowest storey is square in plan while the other storeys and the spire are octagonal. The top storey and spire date from about 1580 and originally formed a bellcote on the north gatehouse. This was removed during the restoration of the house by Wyatt and rebuilt on the present site. It is a Grade II* listed building.[26]
Immediately to the northeast of the house is the Orangery which was designed in 1862 by Alfred Darbyshire.[2] The Orangery is joined to the house by a covered passage known as the Dark Passage. This was designed by Wyatt for Sir Thomas Legh in 1815 and is a Grade II listed building.[27] Further from the house, to the northeast of the orangery, are the stables (53.33912°N 2.05283°W). These are dated 1863 and were also designed by Darbyshire. They are built in sandstone on a courtyard plan and are listed at Grade II.[28] Other structures in the grounds listed at Grade II are the Pheasant House dating from about 1870,[29] an Italian white marble wellhead in the centre of the courtyard of the house dating from the 18th century and probably brought to the house from Venice in about 1900,[30] sandstone kennels in an H-plan dating from around 1870,[31] a pair of gardener's cottages dated 1871,[32] terrace revetment walls to the west of the house containing some 17th-century masonry with later repairs,[33] the lodge, gate piers and gates on Lyme Park Drive,[34] the forward gatepiers to Lyme Park Drive, dating from the late 17th century and moved to their present position about 1860,[35] the gate piers in Red Lane,[36] and the gate piers, gates and railings to the north of the north front of the house.[37]
Present day
Lyme Park is owned and administered by the National Trust. The house, garden and park are open to the public at advertised hours.[38] An entrance fee to the house and garden is payable by non-members of the National Trust, and additional fee is charged for parking.[39] In the grounds are shops, a refreshment kiosk, a coffee shop and a restaurant.[40] The Lyme Caxton Missal is on display in the library. Associated with it is an interactive audio-visual display with a touch-screen facility to enable pages of the book to be "turned", and chants from the missal to be sung as they would have been 500 years ago.[41] Events are held in the park.[42] The Bowmen of Lyme use the park for archery.[43]
Lyme Park and its hall have been used in several films and television programmes. The exterior of the hall was used as Pemberley, the seat of Mr Darcy, in the 1995 BBC adaptation of Jane Austen's novel Pride and Prejudice,[11] and as a location for the Red Dwarf episode "Timeslides".[44] It was also used as a location in the 2011 film The Awakening[45] and in the second series of The Village in 2014.
Bishops' House
Bishops' House is a half-timbered house in the Norton Lees district of the City of Sheffield, England. It was built c. 1500[1] and is located on the southern tip of Meersbrook Park. It is one of the three surviving timber-framed houses in the city (the others being the Old Queen's Head and Broom Hall).
It is known as Bishops' House because it was said to have been built for two brothers, John and Geoffrey Blythe, both of whom became Bishops. There is, however, no evidence that they ever lived in this house—the first known resident is William Blythe, a farmer and scythe manufacturer, who was living here in 1627.
Samuel Blyth was the last of the family to live in the house, dying in 1753, after which his sons sold the house to a William Shore. The Blyth family subsequently moved to Birmingham. Notable descendants were Benjamin Blyth, Sir Arthur Blyth and Benjamin Blyth II. The house was subsequently let to a tenant farmer and his labourer, at which point the house was sub-divided into two dwellings.
In 1886 ownership passed to the Corporation (Sheffield City Council) and various recreation department employees lived in the house until 1974.
It is a Grade II* listed building and has been open as a museum since 1976, following a renovation funded by English Heritage and Sheffield City Council. The Sheffield Galleries and Museums Trust managed the building for some years until April 2011, when management of public opening, on behalf of the building's owner Sheffield City Council, was conferred to the Friends of Bishops' House. The building is open to the public on Saturdays and Sundays between 10am and 4pm. In April 2012 Sheffield Galleries and Museums Trust stopped providing educational visits and the Friends of Bishops' House began opening the house to schools also. The displays in the house have had some recent small changes but are still curated by Museums Sheffield. The Friends of Bishops' House is a registered charity and limited company, run entirely by volunteers. The house contains exhibitions on life in the 16th and 17th centuries with two rooms decorated in Jacobean style.
The building is featured on the cover of local band Monkey Swallows the Universe's second album The Casket Letters.
en.wikipedia.org/wiki/Bishops%27_House
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Bishops House, Norton. Lees Land, Sheffield
Heritage Category: Listed Building
Grade: II*
List Entry Number: 1271162
Date first listed: 01-May-1952
List Entry Name: BISHOPS HOUSE
Statutory Address 1: BISHOPS HOUSE, NORTON LEES LANE
Details
SHEFFIELD
SK38SE NORTON LEES LANE 784-1/10/558 (North side) 01/05/52 Bishop's House
II*
Farmhouse, now museum. c1500, the west wing rebuilt c1550; floor inserted into open hall c1627; west wing extended and stone plinth inserted c1650. Altered c1753, restored c1886, restored and converted 1974-76. Timber-framing with rendered nogging, coursed rubble, squared dressed stone, with stone slate roof. Single side wall and gable stacks with double lozenge shaped flues, and single ridge stack, all C19. L-plan.
EXTERIOR: 2 storeys; 3 window range. South front, with herringbone framing, has to left a projecting gabled wing with coved eaves and C19 patterned bargeboard and finial. 6-light coved oriel window with wooden mullions and leaded glazing, and below it, a similar 6-light cross mullioned window. Hall range, to right, 6 bays, has 2 coved oriel windows, 3 and 2 lights. Below, 2 wood mullioned windows, 4 and 3 lights, flanked by single doors. Left return, to west, has to right 2 bays of close studding with diagonal braces. Single 3-light casement to left. Below, 2 mullioned windows, 2 and 3 lights, with drip moulds. To left, single bay stone addition has a 3-light stone mullioned window and below, a 2-light casement with drip mould and a C20 door. North side has projecting stone right wing with a single window to left between floors, and above, to left, a 2-light mullioned window and a single window. On the ground floor, a 2-light mullioned window. Left return has, to left, a single window. Range to left has herringbone framing and to left, a single window with wooden mullions and to right, a 3-light leaded window. Below, a blocked doorway flanked to left by a 2-light cross casement and to right by a plank door. East gable has herringbone framing and coved eaves, and a coved oriel window, 5 lights.
INTERIOR retains most of the timber framing. King post truss roof with single purlins, wind braces, and struts to the ridge. Stud partitions, one with arch braces, and wattle and daub infill to gable. Late C17 oak dogleg stair with splat balusters. Parlour has cross beam plaster ceiling and plain chamfered fireplace, c1627. Lower hall has moulded beams and joists and a panelled wall dated 1627. Plain stone fireplace, early C17. Chamber over parlour has cleft floorboards and moulded plaster frieze over fireplace, c1627. North chamber of west wing has fireplace with plaster overmantel c1650. Five fielded 6-panel doors and 3 plank doors.
HISTORICAL NOTE: from c1627 to 1753, the house belonged to the Blythe family, notable as large scale scythe manufacturers, and from the late C17 as Nonconformist ministers. The alterations between 1627 and c1650 were carried out by William Blythe and his son of the same name. This house is one of the 3 surviving timber-framed structures in Sheffield. (The Buildings of England: Pevsner N: Yorkshire: The West Riding: London: 1967-: 474; Bishop's House: Beswick Pauline: Sheffield: 1981-).
Listing NGR: SK3535683957
Sources
Books and journals
Beswick, P, Bishops House, (1981)
Pevsner, N, Radcliffe, E, The Buildings of England: Yorkshire: The West Riding, (1967), 474
historicengland.org.uk/listing/the-list/list-entry/127116...
britishlistedbuildings.co.uk/101271162-bishops-house-glea...
www.welcometosheffield.co.uk/content/attractions/bishops-...
www.ourfaveplaces.co.uk/where-to-go/bishops-house/
fusioncity.org.uk/sheffield-cultural-heritage/historic-bu...
www.examinerlive.co.uk/whats-on/whats-on-news/gallery/ins...
en.wikipedia.org/wiki/Knole_House
Knole House /noʊl.haʊs/ NT is an English country house in the civil parish of Sevenoaks in west Kent. Sevenoaks consists of the town itself and Knole Park, a 1,000-acre (4.0 km2) park, within which the house is situated. Knole is one of England's largest houses. It has been suggested that it was a calendar house, which had 365 rooms, 52 staircases, 12 entrances and seven courtyards, but this is a lovely story rather than actual fact. The house has grown and changed over hundreds of years of development and there is no evidence that it was designed as a calendar house.
It was constructed beginning in the late 15th century, with major additions in the 16th century. Its grade I listing reflects its mix of Elizabethan to late Stuart structures, particularly in the case of the central façade and state rooms. The surrounding deer park has also survived with few manmade changes in the 400 years since 1600. But, its formerly dense woodland has not fully recovered from the loss of more than 70% of its trees in the Great Storm of 1987.
History
The oldest parts of the house were built by Thomas Bourchier, Archbishop of Canterbury, between 1456 and 1486, on the site of an earlier house belonging to James Fiennes, first Lord Say(e) and Sele.[2] Fiennes was executed after the victory of Jack Cade's rebels at the Battle of Solefields. On Bourchier's death, the house was bequeathed to the See of Canterbury. Sir Thomas More appeared in revels there at the court of John Morton — the Archbishop's cognizance (motto) of Benedictus Deus appears above and to either side of a large late Tudor fireplace here.[3] In subsequent years it continued to be enlarged, as with the addition of a new large courtyard, now known as Green Court, and a new entrance tower. In 1538 the house was taken from Archbishop Thomas Cranmer by King Henry VIII along with Otford Palace.[4]
In 1566, during the reign of Queen Elizabeth I, it came into the possession of her cousin Thomas Sackville, whose descendants the Earls and Dukes of Dorset and Barons Sackville have lived there since 1603.[4] The chapel-room with its crypt seems to pre-date this period and has contemporary pews.[3] In 1606, Sackville, Lord High Treasurer to James VI and I, undertook extensive renovations to the state rooms at Knole in preparation for a possible visit by the King. In 2014, archaeologists found the oak beams beneath floors, particularly near fireplaces, had been scorched and carved with scratched "witch marks" to prevent witches and demons from coming down the chimney.[5]
The first lease was made on 1 February 1566, between Robert Dudley (Elizabeth's newly created Earl of Leicester) and Thomas Rolf. Under this the 'manor and mansion-house' of Knole and the park, with the deer, and also Panthurst Park and other lands, were demised to the latter for the term of ninety-nine years at a rent of £200. The landlord was to do all repairs, and reserved the very unusual right (to himself and his heirs and assigns) to occupy the mansion-house as often as he or they chose to do so, but this right did not extend to the gate-house, nor to certain other premises. The tenant was given power to alter or rebuild the mansion-house at his pleasure.[6] As Mr Rolf died very soon after this lease, the tenancy transferred to John Lennard (of Chevening) and his son Samson, Lord Dacre's son-in-law.
The Sackville descendants include writer Vita Sackville-West[2] (her Knole and the Sackvilles, published 1922, is regarded as a classic in the literature of English country houses). Her friend and lover Virginia Woolf wrote the novel Orlando, which drew on the history of the house and Sackville-West's ancestors. The Sackville family custom of following the Salic rules of primogeniture prevented Sackville-West from inheriting Knole upon the death of her father Lionel (1867–1930), the 3rd Lord Sackville; her father had bequeathed the estate to his brother Charles (1870–1962).[4]
The house ranks in the top five of England's largest houses, under any measure used.[7][not in citation given] The grounds present the largest remaining open space of Sevenoaks. This otherwise consists of a generally low-density provincial town, with the smaller, still mostly wooded Sevenoaks Common, and a relatively buffered sand and clay quarry in its north. Knole House is its only remaining manor as traditionally defined (that is with more than an acre of land).
Art and furnishings
The many state rooms open to the public contain a collection of 17th-century royal Stuart furniture, perquisites from the 6th Earl's service as Lord Chamberlain to William III in the royal court. These include three state beds, silver furniture (comprising a pair of torchieres, mirror and dressing table, being rare survivors of this type), outstanding tapestries and textiles, and the Knole Settee. The art collection includes portraits by Van Dyck, Gainsborough, Sir Peter Lely, Sir Godfrey Kneller and Sir Joshua Reynolds (the last being a personal friend of the 3rd Duke), and a copy of the Raphael Cartoons. Reynolds' portraits in the house include a late self-portrait in doctoral robes and depictions of Samuel Johnson, Oliver Goldsmith and Wang-y-tong, a Chinese page boy who was taken into the Sackville household. There are also survivals from the English Renaissance: an Italianate staircase of great delicacy and the vividly carved overmantel and fireplace in the Great Chamber. The 'Sackville leopards', holding heraldic shields in their paws and forming finials on the balusters of the principal stair (constructed 1605-8) of the house, are derived from the Sackville coat of arms.[2][4]
The organ, in the late medieval private chapel at Knole, is arguably the oldest playable organ in England. The organ has four ranks of oak pipes (Stopped Diapason 8, Principal 4, Twelfth 22/3 and Fifteenth 2) contained in a rectangular ornamented chest with the keyboard at the top. Its date of construction is not known, but an early guidebook refers to a marked date of 1623 (although no such date mark is still apparent) – a date in the 1620s has been suggested. The pitch of the organ is sharp (A460 Hz) and the foot-pumped bellows remain in working order.[8]
Uses
The house is mostly cared for and opened by the National Trust; however, the Trust owns only the house and an adjoining modest park – overall 52 acres (21 ha).[2] More than half the house has been kept by the Sackville-Wests: Lord Sackville, Robert Sackville-West, 7th Baron Sackville or his family trust own the remaining gardens and estate but permit commercialised access and certain charitable and sporting community events.[9]
The National Trust believe the mansion may well have been a calendar house, which had 365 rooms, 52 staircases, 12 entrances and 7 courtyards. While the number of rooms is approximately correct, the number of staircases has been reduced by internal renovations and changes.[9]
Gardens
Knole has a very large walled garden, at 26 acres (11 ha) (30 including the 'footprint' of the house).[2] It has the very unusual — and essentially medieval feature of a smaller walled garden inside the outer one (Hortus Conclusus). It contains many other features from earlier ages which have been taken out of most country-house gardens: various landscapers have been employed to elaborate the design of its large gardens with distinctive features. These features include clair-voies, a patte d'oie, two avenues, and bosquet hedges.[10]
Remainder of the Park
Overall the house is set in its 1,000-acre (4.0 km2) deer park. This has generally been kept in traditional condition; however, the controlled deer population do not have access to all parts. Due to the rich woodland, Knole Park is a Site of Special Scientific Interest.[10]
Uses in sport and media
The park hosts the annual Knole Run, a schools cross-country race.
It was the setting for the filming in January 1967 of the Beatles' videos that accompanied the release of "Penny Lane" and "Strawberry Fields Forever". The stone archway through which the four Beatles rode on horses can still be seen on the southeastern side of the Bird House, which itself is on the southeastern side of Knole House. The same visit to Knole Park inspired another Beatles song, "Being for the Benefit of Mr. Kite!," which John Lennon wrote after buying an 1843 poster in a nearby antiques shop that advertised Pablo Fanque's Circus Royal.[11]
Knole House also appears in the 2008 film, The Other Boleyn Girl,[12] along with nearby Penshurst Place and Dover Castle. It has been featured in several other films including Burke and Hare (2010),[13][14] Sherlock Holmes: A Game of Shadows[15] and Pirates of the Caribbean: On Stranger Tides.[16]
In January 2012, the National Trust launched an appeal for £2.7M to restore the house.
en.wikipedia.org/wiki/Knole_House
Knole House /noʊl.haʊs/ NT is an English country house in the civil parish of Sevenoaks in west Kent. Sevenoaks consists of the town itself and Knole Park, a 1,000-acre (4.0 km2) park, within which the house is situated. Knole is one of England's largest houses. It has been suggested that it was a calendar house, which had 365 rooms, 52 staircases, 12 entrances and seven courtyards, but this is a lovely story rather than actual fact. The house has grown and changed over hundreds of years of development and there is no evidence that it was designed as a calendar house.
It was constructed beginning in the late 15th century, with major additions in the 16th century. Its grade I listing reflects its mix of Elizabethan to late Stuart structures, particularly in the case of the central façade and state rooms. The surrounding deer park has also survived with few manmade changes in the 400 years since 1600. But, its formerly dense woodland has not fully recovered from the loss of more than 70% of its trees in the Great Storm of 1987.
History
The oldest parts of the house were built by Thomas Bourchier, Archbishop of Canterbury, between 1456 and 1486, on the site of an earlier house belonging to James Fiennes, first Lord Say(e) and Sele.[2] Fiennes was executed after the victory of Jack Cade's rebels at the Battle of Solefields. On Bourchier's death, the house was bequeathed to the See of Canterbury. Sir Thomas More appeared in revels there at the court of John Morton — the Archbishop's cognizance (motto) of Benedictus Deus appears above and to either side of a large late Tudor fireplace here.[3] In subsequent years it continued to be enlarged, as with the addition of a new large courtyard, now known as Green Court, and a new entrance tower. In 1538 the house was taken from Archbishop Thomas Cranmer by King Henry VIII along with Otford Palace.[4]
In 1566, during the reign of Queen Elizabeth I, it came into the possession of her cousin Thomas Sackville, whose descendants the Earls and Dukes of Dorset and Barons Sackville have lived there since 1603.[4] The chapel-room with its crypt seems to pre-date this period and has contemporary pews.[3] In 1606, Sackville, Lord High Treasurer to James VI and I, undertook extensive renovations to the state rooms at Knole in preparation for a possible visit by the King. In 2014, archaeologists found the oak beams beneath floors, particularly near fireplaces, had been scorched and carved with scratched "witch marks" to prevent witches and demons from coming down the chimney.[5]
The first lease was made on 1 February 1566, between Robert Dudley (Elizabeth's newly created Earl of Leicester) and Thomas Rolf. Under this the 'manor and mansion-house' of Knole and the park, with the deer, and also Panthurst Park and other lands, were demised to the latter for the term of ninety-nine years at a rent of £200. The landlord was to do all repairs, and reserved the very unusual right (to himself and his heirs and assigns) to occupy the mansion-house as often as he or they chose to do so, but this right did not extend to the gate-house, nor to certain other premises. The tenant was given power to alter or rebuild the mansion-house at his pleasure.[6] As Mr Rolf died very soon after this lease, the tenancy transferred to John Lennard (of Chevening) and his son Samson, Lord Dacre's son-in-law.
The Sackville descendants include writer Vita Sackville-West[2] (her Knole and the Sackvilles, published 1922, is regarded as a classic in the literature of English country houses). Her friend and lover Virginia Woolf wrote the novel Orlando, which drew on the history of the house and Sackville-West's ancestors. The Sackville family custom of following the Salic rules of primogeniture prevented Sackville-West from inheriting Knole upon the death of her father Lionel (1867–1930), the 3rd Lord Sackville; her father had bequeathed the estate to his brother Charles (1870–1962).[4]
The house ranks in the top five of England's largest houses, under any measure used.[7][not in citation given] The grounds present the largest remaining open space of Sevenoaks. This otherwise consists of a generally low-density provincial town, with the smaller, still mostly wooded Sevenoaks Common, and a relatively buffered sand and clay quarry in its north. Knole House is its only remaining manor as traditionally defined (that is with more than an acre of land).
Art and furnishings
The many state rooms open to the public contain a collection of 17th-century royal Stuart furniture, perquisites from the 6th Earl's service as Lord Chamberlain to William III in the royal court. These include three state beds, silver furniture (comprising a pair of torchieres, mirror and dressing table, being rare survivors of this type), outstanding tapestries and textiles, and the Knole Settee. The art collection includes portraits by Van Dyck, Gainsborough, Sir Peter Lely, Sir Godfrey Kneller and Sir Joshua Reynolds (the last being a personal friend of the 3rd Duke), and a copy of the Raphael Cartoons. Reynolds' portraits in the house include a late self-portrait in doctoral robes and depictions of Samuel Johnson, Oliver Goldsmith and Wang-y-tong, a Chinese page boy who was taken into the Sackville household. There are also survivals from the English Renaissance: an Italianate staircase of great delicacy and the vividly carved overmantel and fireplace in the Great Chamber. The 'Sackville leopards', holding heraldic shields in their paws and forming finials on the balusters of the principal stair (constructed 1605-8) of the house, are derived from the Sackville coat of arms.[2][4]
The organ, in the late medieval private chapel at Knole, is arguably the oldest playable organ in England. The organ has four ranks of oak pipes (Stopped Diapason 8, Principal 4, Twelfth 22/3 and Fifteenth 2) contained in a rectangular ornamented chest with the keyboard at the top. Its date of construction is not known, but an early guidebook refers to a marked date of 1623 (although no such date mark is still apparent) – a date in the 1620s has been suggested. The pitch of the organ is sharp (A460 Hz) and the foot-pumped bellows remain in working order.[8]
Uses
The house is mostly cared for and opened by the National Trust; however, the Trust owns only the house and an adjoining modest park – overall 52 acres (21 ha).[2] More than half the house has been kept by the Sackville-Wests: Lord Sackville, Robert Sackville-West, 7th Baron Sackville or his family trust own the remaining gardens and estate but permit commercialised access and certain charitable and sporting community events.[9]
The National Trust believe the mansion may well have been a calendar house, which had 365 rooms, 52 staircases, 12 entrances and 7 courtyards. While the number of rooms is approximately correct, the number of staircases has been reduced by internal renovations and changes.[9]
Gardens
Knole has a very large walled garden, at 26 acres (11 ha) (30 including the 'footprint' of the house).[2] It has the very unusual — and essentially medieval feature of a smaller walled garden inside the outer one (Hortus Conclusus). It contains many other features from earlier ages which have been taken out of most country-house gardens: various landscapers have been employed to elaborate the design of its large gardens with distinctive features. These features include clair-voies, a patte d'oie, two avenues, and bosquet hedges.[10]
Remainder of the Park
Overall the house is set in its 1,000-acre (4.0 km2) deer park. This has generally been kept in traditional condition; however, the controlled deer population do not have access to all parts. Due to the rich woodland, Knole Park is a Site of Special Scientific Interest.[10]
Uses in sport and media
The park hosts the annual Knole Run, a schools cross-country race.
It was the setting for the filming in January 1967 of the Beatles' videos that accompanied the release of "Penny Lane" and "Strawberry Fields Forever". The stone archway through which the four Beatles rode on horses can still be seen on the southeastern side of the Bird House, which itself is on the southeastern side of Knole House. The same visit to Knole Park inspired another Beatles song, "Being for the Benefit of Mr. Kite!," which John Lennon wrote after buying an 1843 poster in a nearby antiques shop that advertised Pablo Fanque's Circus Royal.[11]
Knole House also appears in the 2008 film, The Other Boleyn Girl,[12] along with nearby Penshurst Place and Dover Castle. It has been featured in several other films including Burke and Hare (2010),[13][14] Sherlock Holmes: A Game of Shadows[15] and Pirates of the Caribbean: On Stranger Tides.[16]
In January 2012, the National Trust launched an appeal for £2.7M to restore the house.
October 28th, 2012
Inside the magnificent Mark Twain House & Museum
"The library mantel is the focal point of the room where Clemens recited poetry, told stories and read excerpts from his new works to his family and friends. Sam and Livy purchased the large oak mantelpiece from Ayton Castle in Scotland specifically for their library. The Mitchell-Innes family crest appears on the overmantel, as well as the year '1874', an alteration made by Sam to reflect the year his family moved into their Hartford home. Sam also added a brass smoke shield with the inscription 'The ornament of a house is the friends who frequent it,' a quote from Ralph Waldo Emerson."
After the violent collapse of her fourth marriage, Bess of Hardwick fled from Chatsworth in 1584 to her family estate at Hardwick.
As a countess, she needed something grander than her father’s medieval manor house there. In its place, she began to build Hardwick Old Hall in 1587. On the upper floors, the two wings contained state rooms for formal entertaining, lit by tall windows which command bold views across the open landscape. Each suite of state rooms had its own great chamber. Although the Old Hall is open to the elements, many of the original plaster overmantels are still in place.
In 1590, before the Old Hall was complete, Bess started to build another house immediately beside this it – the New Hall – this time using a professional architect, Robert Smythson. Contrary to what might be expected, the Old Hall was not abandoned in favour of the new one: instead, the two were intended to complement each other, like two wings of one building.
Bess died in 1608, leaving her son William Cavendish in charge of Hardwick. He was the founder of the Cavendish family, Dukes of Devonshire, who are still based at the Chatsworth estate that Bess and his father had bought.
The dukes eventually came to prefer Chatsworth over Hardwick, and partially dismantled the Old Hall in the 1750s, which gradually became ruinous. Its open interior was planted with specimen trees in 1793.
Source: English Heritage
en.wikipedia.org/wiki/Knole_House
Knole House /noʊl.haʊs/ NT is an English country house in the civil parish of Sevenoaks in west Kent. Sevenoaks consists of the town itself and Knole Park, a 1,000-acre (4.0 km2) park, within which the house is situated. Knole is one of England's largest houses. It has been suggested that it was a calendar house, which had 365 rooms, 52 staircases, 12 entrances and seven courtyards, but this is a lovely story rather than actual fact. The house has grown and changed over hundreds of years of development and there is no evidence that it was designed as a calendar house.
It was constructed beginning in the late 15th century, with major additions in the 16th century. Its grade I listing reflects its mix of Elizabethan to late Stuart structures, particularly in the case of the central façade and state rooms. The surrounding deer park has also survived with few manmade changes in the 400 years since 1600. But, its formerly dense woodland has not fully recovered from the loss of more than 70% of its trees in the Great Storm of 1987.
History
The oldest parts of the house were built by Thomas Bourchier, Archbishop of Canterbury, between 1456 and 1486, on the site of an earlier house belonging to James Fiennes, first Lord Say(e) and Sele.[2] Fiennes was executed after the victory of Jack Cade's rebels at the Battle of Solefields. On Bourchier's death, the house was bequeathed to the See of Canterbury. Sir Thomas More appeared in revels there at the court of John Morton — the Archbishop's cognizance (motto) of Benedictus Deus appears above and to either side of a large late Tudor fireplace here.[3] In subsequent years it continued to be enlarged, as with the addition of a new large courtyard, now known as Green Court, and a new entrance tower. In 1538 the house was taken from Archbishop Thomas Cranmer by King Henry VIII along with Otford Palace.[4]
In 1566, during the reign of Queen Elizabeth I, it came into the possession of her cousin Thomas Sackville, whose descendants the Earls and Dukes of Dorset and Barons Sackville have lived there since 1603.[4] The chapel-room with its crypt seems to pre-date this period and has contemporary pews.[3] In 1606, Sackville, Lord High Treasurer to James VI and I, undertook extensive renovations to the state rooms at Knole in preparation for a possible visit by the King. In 2014, archaeologists found the oak beams beneath floors, particularly near fireplaces, had been scorched and carved with scratched "witch marks" to prevent witches and demons from coming down the chimney.[5]
The first lease was made on 1 February 1566, between Robert Dudley (Elizabeth's newly created Earl of Leicester) and Thomas Rolf. Under this the 'manor and mansion-house' of Knole and the park, with the deer, and also Panthurst Park and other lands, were demised to the latter for the term of ninety-nine years at a rent of £200. The landlord was to do all repairs, and reserved the very unusual right (to himself and his heirs and assigns) to occupy the mansion-house as often as he or they chose to do so, but this right did not extend to the gate-house, nor to certain other premises. The tenant was given power to alter or rebuild the mansion-house at his pleasure.[6] As Mr Rolf died very soon after this lease, the tenancy transferred to John Lennard (of Chevening) and his son Samson, Lord Dacre's son-in-law.
The Sackville descendants include writer Vita Sackville-West[2] (her Knole and the Sackvilles, published 1922, is regarded as a classic in the literature of English country houses). Her friend and lover Virginia Woolf wrote the novel Orlando, which drew on the history of the house and Sackville-West's ancestors. The Sackville family custom of following the Salic rules of primogeniture prevented Sackville-West from inheriting Knole upon the death of her father Lionel (1867–1930), the 3rd Lord Sackville; her father had bequeathed the estate to his brother Charles (1870–1962).[4]
The house ranks in the top five of England's largest houses, under any measure used.[7][not in citation given] The grounds present the largest remaining open space of Sevenoaks. This otherwise consists of a generally low-density provincial town, with the smaller, still mostly wooded Sevenoaks Common, and a relatively buffered sand and clay quarry in its north. Knole House is its only remaining manor as traditionally defined (that is with more than an acre of land).
Art and furnishings
The many state rooms open to the public contain a collection of 17th-century royal Stuart furniture, perquisites from the 6th Earl's service as Lord Chamberlain to William III in the royal court. These include three state beds, silver furniture (comprising a pair of torchieres, mirror and dressing table, being rare survivors of this type), outstanding tapestries and textiles, and the Knole Settee. The art collection includes portraits by Van Dyck, Gainsborough, Sir Peter Lely, Sir Godfrey Kneller and Sir Joshua Reynolds (the last being a personal friend of the 3rd Duke), and a copy of the Raphael Cartoons. Reynolds' portraits in the house include a late self-portrait in doctoral robes and depictions of Samuel Johnson, Oliver Goldsmith and Wang-y-tong, a Chinese page boy who was taken into the Sackville household. There are also survivals from the English Renaissance: an Italianate staircase of great delicacy and the vividly carved overmantel and fireplace in the Great Chamber. The 'Sackville leopards', holding heraldic shields in their paws and forming finials on the balusters of the principal stair (constructed 1605-8) of the house, are derived from the Sackville coat of arms.[2][4]
The organ, in the late medieval private chapel at Knole, is arguably the oldest playable organ in England. The organ has four ranks of oak pipes (Stopped Diapason 8, Principal 4, Twelfth 22/3 and Fifteenth 2) contained in a rectangular ornamented chest with the keyboard at the top. Its date of construction is not known, but an early guidebook refers to a marked date of 1623 (although no such date mark is still apparent) – a date in the 1620s has been suggested. The pitch of the organ is sharp (A460 Hz) and the foot-pumped bellows remain in working order.[8]
Uses
The house is mostly cared for and opened by the National Trust; however, the Trust owns only the house and an adjoining modest park – overall 52 acres (21 ha).[2] More than half the house has been kept by the Sackville-Wests: Lord Sackville, Robert Sackville-West, 7th Baron Sackville or his family trust own the remaining gardens and estate but permit commercialised access and certain charitable and sporting community events.[9]
The National Trust believe the mansion may well have been a calendar house, which had 365 rooms, 52 staircases, 12 entrances and 7 courtyards. While the number of rooms is approximately correct, the number of staircases has been reduced by internal renovations and changes.[9]
Gardens
Knole has a very large walled garden, at 26 acres (11 ha) (30 including the 'footprint' of the house).[2] It has the very unusual — and essentially medieval feature of a smaller walled garden inside the outer one (Hortus Conclusus). It contains many other features from earlier ages which have been taken out of most country-house gardens: various landscapers have been employed to elaborate the design of its large gardens with distinctive features. These features include clair-voies, a patte d'oie, two avenues, and bosquet hedges.[10]
Remainder of the Park
Overall the house is set in its 1,000-acre (4.0 km2) deer park. This has generally been kept in traditional condition; however, the controlled deer population do not have access to all parts. Due to the rich woodland, Knole Park is a Site of Special Scientific Interest.[10]
Uses in sport and media
The park hosts the annual Knole Run, a schools cross-country race.
It was the setting for the filming in January 1967 of the Beatles' videos that accompanied the release of "Penny Lane" and "Strawberry Fields Forever". The stone archway through which the four Beatles rode on horses can still be seen on the southeastern side of the Bird House, which itself is on the southeastern side of Knole House. The same visit to Knole Park inspired another Beatles song, "Being for the Benefit of Mr. Kite!," which John Lennon wrote after buying an 1843 poster in a nearby antiques shop that advertised Pablo Fanque's Circus Royal.[11]
Knole House also appears in the 2008 film, The Other Boleyn Girl,[12] along with nearby Penshurst Place and Dover Castle. It has been featured in several other films including Burke and Hare (2010),[13][14] Sherlock Holmes: A Game of Shadows[15] and Pirates of the Caribbean: On Stranger Tides.[16]
In January 2012, the National Trust launched an appeal for £2.7M to restore the house.
Burton Agnes Hall
The Queens Bedroom
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
Panel for overmantel, 1910
Frederick Hurten Rhead, American (born England),
1880-1942, designer and maker
Academy of Fine Arts, People's University, University City, MO, manufacturer
Glazed earthenware
This panel, and the one to the left, are Rhead's most sophisticated renderings of his preferred bird, the peacock. In 1911, they were installed in the Zanesville, OH, home of Levi Burgess (1881-1943), head's friend and colleague from the Weller Pottery. More than seventy-five years later, the panels were separated when the house was sold, remaining in private collections until they were reunited for this display.
This is the carved overmantel in the parlour, probably fitted in the 19th century when the owners at the time were endeavouring to restore its period style. All its furnishings had long since been sold, and English Heritage is slowly finding suitable pieces.
Stokesay Castle is quite simply the finest and best preserved fortified medieval manor house in England. Set in peaceful countryside near the Welsh border, the castle, timber-framed gatehouse and parish church form an unforgettably picturesque group.
Lawrence of Ludlow, a wealthy local wool-merchant wishing to set up as a country gentleman, bought the property in 1281, when the long Anglo-Welsh wars were ending. So it was safe to raise here one of the first fortified manor houses in England, 'builded like a castle' for effect but lit by large domestic-style windows. Extensive recent tree-ring dating confirms that Lawrence had completed virtually all of the still surviving house by 1291, using the same team of carpenters throughout: more remarkably, the dating also revealed that it has scarcely been altered since.
Stokesay's magnificent open hearthed great hall displays a fine timber roof, shuttered gable windows and a precipitous staircase, its treads cut from whole tree-trunks. It is flanked by the north tower, with an original medieval tiled floor and remains of wall painting, and a 'solar' or private apartment block, and beyond this the tall south tower - the most castle-like part of the house, self-contained and reached by a defensible stairway.
The solar block contains one of the few post-medieval alterations to the house, a fine panelled chamber. Its dominating feature is a fireplace with a richly carved overmantel, still bearing the traces of original painting in five colours. This was added in about 1641, at the same time as the truly delightful gatehouse: an example of the Marches style of lavishly showy timber-framing, bedecked with charming carvings of Adam and Eve.
A few years later, in 1645 Stokesay experienced its only known military encounter, surrendering without fighting to a Parliamentarian force. So the house remained undamaged, and sensitive conservation by Victorian owners and English Heritage have left it the medieval jewel which survives today.
The yellow and black building is the gatehouse to the castle.
Kedleston Hall is a neo-classical manor house owned by the National Trust, and seat of the Curzon family, located in Kedleston, Derbyshire, approximately 4 miles (6 km) north-west of Derby. The medieval village of Kedleston was moved in 1759 by Nathaniel Curzon to make way for the manor.[2] All that remains of the original village is the 12th century All Saints Church, Kedleston.[3]
Background
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.[4]
The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in Kedleston since at least 1297, and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo.
At the time a relatively unknown architect, Robert Adam, was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with his designs that Adam was quickly put in charge of the construction of the new mansion.
On the death of Richard Curzon, 2nd Viscount Scarsdale in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.[5]
Exterior
Kedleston Hall was Brettingham's opportunity to prove himself capable of designing a house to rival Holkham Hall. The opportunity was taken from him by Robert Adam who completed the North front (above) much as Brettingham designed it, but with a more dramatic portico.
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The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, corps de logis, the largest block, contains the state rooms and was intended only for formal entertaining. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation.
Plans for two more pavilions (as the two smaller blocks are known), of identical size and similar appearance, were never executed. These further wings were intended to contain, in the south-east a music room, and in the southwest a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.
The north front, approximately 117 yards [107 m] in length, is Palladian in character, dominated by a massive, six-columned Corinthian portico; however, the south front (illustrated right) is pure neoclassical Robert Adam. This garden facade is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief.
The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.
Hall
Marble Hall 1763, decoration completed in 1776-7
Entering the house through the great north portico on the piano nobile, one is confronted by the marble hall. Nikolaus Pevsner describes this as one of the most magnificent apartments of the 18th century in England.[6] It measures 67 feet (20 m) by 37 feet (11 m) in plan and is 40 feet (12 m) high.
Twenty fluted pink Nottingham alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. Niches in the walls contain casts of classical statuary by Matthew Brettingham the Younger and others;[6] above the niches are grisaille panels of Homeric subjects inspired by Palladio's illustration of the Temple of Mars. The stucco in the ceiling was created by Joseph Rose in the 1770s.[6]
The floor is of inlaid Italian marble. Matthew Paine's original designs for this room intended for it to be lit by conventional windows at the northern end, but Adam, warming to the Roman theme, did away with the distracting windows and lit the whole from the roof through innovative glass skylight.
The overmantels to the fireplaces are by Joseph Rose with firebaskets by Robert Adam.[6]
At Kedleston, the hall symbolises the atrium of the Roman villa and the adjoining saloon the vestibulum.
Saloon
The saloon
The saloon, contained behind the triumphal arch of the south front, like the marble hall rises the full height of the house, 62 feet (19 m) to the top of the dome, where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this circular room 42 feet (13 m) in width was completed in 1763.
The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns.[1] The paintings of ruins are by Gavin Hamilton and the grisaille panels have scenes of British worthies painted by John Biagio Rebecca.[6]
The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes.
From the saloon, the atmosphere of the 18th-century Grand Tour is continued throughout the remainder of the principal reception rooms of the piano nobile, though on a slightly more modest scale.
State bedroom
The "principal apartment", or State bedroom suite, contains fine furniture and paintings.
The state bed was constructed by James Gravenor of Derby.[7] The state bed posts are carved to represent palm tree trunks which soar up and break into flamboyant foliage at the top, sweeping in palm-fronds behind.[8]
Drawing room
Settee by John Linnell in the Drawing Room dated from around 1765.
The drawing room with huge alabaster Venetian window is 44 feet (13 m) by 28 feet (8.5 m) by 28 feet (8.5 m). The doorcase is also alabaster. The fireplace with a scene of virtue rewarded by honour and riches is flanked by large female figures sculpted by Michael Henry Spang.[6] The gilt sofas by John Linnell date from around 1765.[9] They were commissioned by the 1st Baron Scarsdale and supplied, together with a second pair of sofas to Kedleston in 1765.
Dining room
The dining room
The dining room, with its gigantic apse, has a ceiling that Adam based on the Domus Augustana in the Farnese Gardens. The apse contains curved tables designed by Adam in 1762[6] and a giant wine cooler. The ceiling contains panel paintings of the continents by Antonio Zucchi, the seasons by Gavin Hamilton and the centre is by George Morland. The original wall panels are by Francesco Zuccarelli, Frans Snyders, Claude and Giovanni Francesco Romanelli.
Music Room
The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. The marble chimneypiece is inlaid with Blue John. The pipe organ was second hand by John Snetzler with the case designed by Robert Adam and built by Robert Gravenor.[10] A second manual with Hautboy was added in 1824 by Alexander Buckingham.[11] The organ was restored in 1993 by Dominic Gwynn.
Library
The Library
The library contains a Roman doric doorcase leading to the Saloon. The bookcases were designed by Robert Adam[6] and built by James Gravenor of Derby.[12] The plaster ceiling is divided into octagonal patterns. The library desk was built in 1764 by James Gravenor. Wikipedia
en.wikipedia.org/wiki/Knole_House
Knole House /noʊl.haʊs/ NT is an English country house in the civil parish of Sevenoaks in west Kent. Sevenoaks consists of the town itself and Knole Park, a 1,000-acre (4.0 km2) park, within which the house is situated. Knole is one of England's largest houses. It has been suggested that it was a calendar house, which had 365 rooms, 52 staircases, 12 entrances and seven courtyards, but this is a lovely story rather than actual fact. The house has grown and changed over hundreds of years of development and there is no evidence that it was designed as a calendar house.
It was constructed beginning in the late 15th century, with major additions in the 16th century. Its grade I listing reflects its mix of Elizabethan to late Stuart structures, particularly in the case of the central façade and state rooms. The surrounding deer park has also survived with few manmade changes in the 400 years since 1600. But, its formerly dense woodland has not fully recovered from the loss of more than 70% of its trees in the Great Storm of 1987.
History
The oldest parts of the house were built by Thomas Bourchier, Archbishop of Canterbury, between 1456 and 1486, on the site of an earlier house belonging to James Fiennes, first Lord Say(e) and Sele.[2] Fiennes was executed after the victory of Jack Cade's rebels at the Battle of Solefields. On Bourchier's death, the house was bequeathed to the See of Canterbury. Sir Thomas More appeared in revels there at the court of John Morton — the Archbishop's cognizance (motto) of Benedictus Deus appears above and to either side of a large late Tudor fireplace here.[3] In subsequent years it continued to be enlarged, as with the addition of a new large courtyard, now known as Green Court, and a new entrance tower. In 1538 the house was taken from Archbishop Thomas Cranmer by King Henry VIII along with Otford Palace.[4]
In 1566, during the reign of Queen Elizabeth I, it came into the possession of her cousin Thomas Sackville, whose descendants the Earls and Dukes of Dorset and Barons Sackville have lived there since 1603.[4] The chapel-room with its crypt seems to pre-date this period and has contemporary pews.[3] In 1606, Sackville, Lord High Treasurer to James VI and I, undertook extensive renovations to the state rooms at Knole in preparation for a possible visit by the King. In 2014, archaeologists found the oak beams beneath floors, particularly near fireplaces, had been scorched and carved with scratched "witch marks" to prevent witches and demons from coming down the chimney.[5]
The first lease was made on 1 February 1566, between Robert Dudley (Elizabeth's newly created Earl of Leicester) and Thomas Rolf. Under this the 'manor and mansion-house' of Knole and the park, with the deer, and also Panthurst Park and other lands, were demised to the latter for the term of ninety-nine years at a rent of £200. The landlord was to do all repairs, and reserved the very unusual right (to himself and his heirs and assigns) to occupy the mansion-house as often as he or they chose to do so, but this right did not extend to the gate-house, nor to certain other premises. The tenant was given power to alter or rebuild the mansion-house at his pleasure.[6] As Mr Rolf died very soon after this lease, the tenancy transferred to John Lennard (of Chevening) and his son Samson, Lord Dacre's son-in-law.
The Sackville descendants include writer Vita Sackville-West[2] (her Knole and the Sackvilles, published 1922, is regarded as a classic in the literature of English country houses). Her friend and lover Virginia Woolf wrote the novel Orlando, which drew on the history of the house and Sackville-West's ancestors. The Sackville family custom of following the Salic rules of primogeniture prevented Sackville-West from inheriting Knole upon the death of her father Lionel (1867–1930), the 3rd Lord Sackville; her father had bequeathed the estate to his brother Charles (1870–1962).[4]
The house ranks in the top five of England's largest houses, under any measure used.[7][not in citation given] The grounds present the largest remaining open space of Sevenoaks. This otherwise consists of a generally low-density provincial town, with the smaller, still mostly wooded Sevenoaks Common, and a relatively buffered sand and clay quarry in its north. Knole House is its only remaining manor as traditionally defined (that is with more than an acre of land).
Art and furnishings
The many state rooms open to the public contain a collection of 17th-century royal Stuart furniture, perquisites from the 6th Earl's service as Lord Chamberlain to William III in the royal court. These include three state beds, silver furniture (comprising a pair of torchieres, mirror and dressing table, being rare survivors of this type), outstanding tapestries and textiles, and the Knole Settee. The art collection includes portraits by Van Dyck, Gainsborough, Sir Peter Lely, Sir Godfrey Kneller and Sir Joshua Reynolds (the last being a personal friend of the 3rd Duke), and a copy of the Raphael Cartoons. Reynolds' portraits in the house include a late self-portrait in doctoral robes and depictions of Samuel Johnson, Oliver Goldsmith and Wang-y-tong, a Chinese page boy who was taken into the Sackville household. There are also survivals from the English Renaissance: an Italianate staircase of great delicacy and the vividly carved overmantel and fireplace in the Great Chamber. The 'Sackville leopards', holding heraldic shields in their paws and forming finials on the balusters of the principal stair (constructed 1605-8) of the house, are derived from the Sackville coat of arms.[2][4]
The organ, in the late medieval private chapel at Knole, is arguably the oldest playable organ in England. The organ has four ranks of oak pipes (Stopped Diapason 8, Principal 4, Twelfth 22/3 and Fifteenth 2) contained in a rectangular ornamented chest with the keyboard at the top. Its date of construction is not known, but an early guidebook refers to a marked date of 1623 (although no such date mark is still apparent) – a date in the 1620s has been suggested. The pitch of the organ is sharp (A460 Hz) and the foot-pumped bellows remain in working order.[8]
Uses
The house is mostly cared for and opened by the National Trust; however, the Trust owns only the house and an adjoining modest park – overall 52 acres (21 ha).[2] More than half the house has been kept by the Sackville-Wests: Lord Sackville, Robert Sackville-West, 7th Baron Sackville or his family trust own the remaining gardens and estate but permit commercialised access and certain charitable and sporting community events.[9]
The National Trust believe the mansion may well have been a calendar house, which had 365 rooms, 52 staircases, 12 entrances and 7 courtyards. While the number of rooms is approximately correct, the number of staircases has been reduced by internal renovations and changes.[9]
Gardens
Knole has a very large walled garden, at 26 acres (11 ha) (30 including the 'footprint' of the house).[2] It has the very unusual — and essentially medieval feature of a smaller walled garden inside the outer one (Hortus Conclusus). It contains many other features from earlier ages which have been taken out of most country-house gardens: various landscapers have been employed to elaborate the design of its large gardens with distinctive features. These features include clair-voies, a patte d'oie, two avenues, and bosquet hedges.[10]
Remainder of the Park
Overall the house is set in its 1,000-acre (4.0 km2) deer park. This has generally been kept in traditional condition; however, the controlled deer population do not have access to all parts. Due to the rich woodland, Knole Park is a Site of Special Scientific Interest.[10]
Uses in sport and media
The park hosts the annual Knole Run, a schools cross-country race.
It was the setting for the filming in January 1967 of the Beatles' videos that accompanied the release of "Penny Lane" and "Strawberry Fields Forever". The stone archway through which the four Beatles rode on horses can still be seen on the southeastern side of the Bird House, which itself is on the southeastern side of Knole House. The same visit to Knole Park inspired another Beatles song, "Being for the Benefit of Mr. Kite!," which John Lennon wrote after buying an 1843 poster in a nearby antiques shop that advertised Pablo Fanque's Circus Royal.[11]
Knole House also appears in the 2008 film, The Other Boleyn Girl,[12] along with nearby Penshurst Place and Dover Castle. It has been featured in several other films including Burke and Hare (2010),[13][14] Sherlock Holmes: A Game of Shadows[15] and Pirates of the Caribbean: On Stranger Tides.[16]
In January 2012, the National Trust launched an appeal for £2.7M to restore the house.
Burton Agnes Hall
Burton Agnes Hall is an Elizabethan manor house in the village of Burton Agnes, between Driffield and Bridlington in the East Riding of Yorkshire. It was built by Sir Henry Griffith in 1601–10 to designs attributed to Robert Smythson.
The house retains a great deal of 17th-century fittings including plaster ceilings and an alabaster overmantel depicting the parable of the Ten Virgins.
The 1920s and 1930s saw much re-use of features from demolished historic buildings. The fireplace and its plaster overmantel came from a vintner’s shop in Stratford, the magnificent hall table was bought from Baddesley Clinton and some of the carved heads on the corbels supporting the roof beams are copied from originals in France.
Tamworth Castle, Holloway, Tamworth, Staffordshire.
Late C11 motte and bailey castle with later additions.
Grade l listed.
The castle has been inhabited since the Norman conquest, with a break in the mid C19, when it was used in connection with the nearby mills (since demolished). It was bought by the local council in 1897 and opened to the public. King James I stayed at the castle; Sir Walter Scott referred to it in his poem Marmion.
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Tamworth Castle
Step back through almost 1000 years of history with a visit to Tamworth Castle. Uncover the secrets held within the chambers and hallways of this unique building and get a real sense of how the Saxons, Normans, Tudors and Victorians lived.
Enjoy a tour of the castle at your own leisure, or check the website for any events to get involved in. You will be able to explore all aspects of this ancient building and the people who have lived there. Regular Living History days bring the past to life by transporting visitors back to a different time period and you can even try your hand at some of the day-to-day tasks of previous castle households. There really is something for the whole family to enjoy.
New for 2021 - An interactive Anglo-Saxon exhibition - Battle & Tribute - which features a mead hall, unique touch-table game, immersive combat film and pieces from the Staffordshire Hoard. Also new - Tamworth AR Explorer - An Augmented Reality trail that brings history to life! Free to download on your smartphone from the app store.
Visitors can also explore the stunning surroundings of the Castle Grounds park with its magnificent raised flower beds and iconic bandstand. There are plenty more activities to keep you busy for a great day out, from river walks and picnics to cycle hire and tennis, as well as the brilliant adventure play area which is perfect for children who love climbing and tearing around!
www.visittamworth.co.uk/tamworth-castle
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TAMWORTH CASTLE, HOLLOWAY
Heritage Category: Listed Building
Grade: I
List Entry Number: 1197020
Details
TAMWORTH
SK2003NE HOLLOWAY 670-1/9/75 (East side) 11/05/50 Tamworth Castle (Formerly Listed as: TAMWORTH The Castle)
GV I
Castle, now museum. Late C11 motte and bailey castle; rebuilt C12,early C13 repairs or reconstruction; C12-C13 north wing, probably with 1st floor hall; early C15 hall range; C16 warder's lodge; early C17 south wing; c1800 alterations. Stone rubble with ashlar and brick with ashlar dressings; tile and flat lead roofs. Shell keep with north-east tower with warden's lodge to south, and later ranges forming H-plan house. Curtain walls have embattled parapets. Tower has battered base, flat buttresses and rounded turrets; C14 two-light traceried window and top window with label mould over 3 round-headed lights with transom. Warder's house to left has C14 pointed entrance in canted bay under gable; late C16 double-chamfered-mullioned windows of 3 and 4 lights. South wing has c1800 facade; ashlar; ground floor windows of 3 pointed lights; 5- and 7-light 1st floor windows with transoms, similar 3-light windows to 2nd floor. North range has 2 square projections forming bases of bay windows demolished c1800; 3-light transomed windows in splayed surrounds with brattishing; 6-light and 3-light windows above; similar windows to right, with French window, and to left, over corbelled base to oriel. Inner court has warder's lodge to south east: 2 storeys with attic; renewed double-chamfered-mullioned windows with leaded glazing; coped gable with kneelers. South range: brick with ashlar dressings; 2 storeys; 2-window range; quoins, plinth, platt bands and C19 embattled parapet; entrance to right in doorcase with 4-centred head, remains of paired pilasters to entablature with cresting and armorial panel; ground floor has 3-light windows with pegged casements; 1st floor 4-light transomed ovolo-mullioned windows; 2nd floor has 3-light double-chamfered-mullioned windows. Hall has brick plinth, exposed wall post and large C17 wood-mullioned and transomed windows with leaded glazing, forming glazed wall; stair turret to right has 2-light hollow-chamfered-mullioned windows; east end of north range mostly brick; blocked 1st floor door to west end.
INTERIOR: Hall has tie beam and double collar trusses with struts and wind braces, ovolo-mouldings with fillets to posts and soffits of trusses; enriched doorcases and fireplace with Mannerist detail, moved from house in Kent, c1822. Tudor-headed main entrance with studded door. Closed-well stair to north wing, which has 3 rooms with fireplace and doorcases from house in Kent. South wing has two 1st floor rooms with C17 panelling and contemporary fireplaces with pilasters and entablatures and enriched overmantels, one with flanking figures and relief carving of biblical scenes; armorial panels, c1800. Warder's house has similar 1st floor room with panelling and fireplace overmantel. Tower has stair with strapwork panels and top splat balusters; room with panelling and Tudor-arched fireplace. The castle has been inhabited since the Norman conquest, with a break in the mid C19, when it was used in connection with the nearby mills (dem); it was bought by the local council in 1897 and opened to the public. James I stayed at the castle; Sir Walter Scott referred to it in his poem Marmion. (Ballard E: Tamworth Castle Museum: Tamworth: 1987-; The Archaeological Journal: Meeson R: The Timber Frame of the Hall at Tamworth Castle, Staffs: London: 1983-; Buildings of England: Pevsner N: Staffordshire: London: 1974-: P. 277-8).
Listing NGR: SK2061303913
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 386500
Legacy System: LBS
Sources
Books and journals
Ballard, E , Tamworth Castle Museum, (1987)
Pevsner, N, The Buildings of England: Staffordshire, (1974), 277-8
'Archaeological Journal' in Archaeological Journal, (1983)