Category Archives: Country Houses

Leasowe Castle

Leasowe Castle, Cheshire

Leasowe Castle, Cheshire

One of the most distinctive places to stay on the Wirral is Leasowe Castle, which was in fact never a castle, though it has been put to many uses in its four-hundred-year history.

Leasowe Castle is identified with the “New Hall” built by Ferdinando, 5th Earl of Derby in 1593, the year of his accession to his title, possibly as a stand from which to watch horse-racing on the flat shore.

A datestone bearing the Stanleys’ triskelion, the three-legged symbol of the Manx kingdom, is now in the Williamson Museum & Art Gallery in Birkenhead.

Ferdinando, Earl of Derby’s original structure was an octagonal tower with walls three feet thick, to which were later added four square towers, possibly by William, 6th Earl, in the early seventeenth century.

By the late seventeenth century the building was derelict and known locally as “Mockbeggar Hall” and for much of the eighteenth century it was used as a farmhouse.

In 1802 was sold to Margaret Boole, “the kind old lady of Leasowe Castle”, which she had made a refuge for the victims of shipwrecks and wreckers on the Wirral coast.

She set up Dannet’s Rocket Apparatus on the shore in an attempt to prevent shipwrecks and the pernicious activities of the local wreckers, who would show false lights in an attempt to lure vessels ashore.

Margaret Boole died in 1826 as a result of a carriage accident, and the Castle passed to her daughter and heir, Mary Anne, the wife of Col Edward Cust.

Colonel Cust converted the Castle to a hotel with the intention of establishing a resort in the grounds, and when this ambitious project failed in 1843 he turned back it into a residence which he kept until his death.

Edward Cust added most of the features of the building as it now stands –

  • the perimeter wall and entrance gateway
  • the Battle Staircase, its 84 wrought-iron balusters each carrying a painted nameplate commemorating a British victory
  • the dining room panelled with wood ostensibly taken in 1839 from the original Star Chamber in the Exchequer Buildings of the Palace of Westminster
  • the supposedly haunted library fitted with oak timbers from the submerged forest at Moels

– and possibly the oak Canute’s Chair, now lost, which stood above the high-water line, carved with the motto “Sea come not hither nor wet the sole of my foot”.

One of Col Edward Cust’s successors sold the Castle in 1891 to the Leasowe Castle Hotel company.

The original Star Chamber panels are reported to have been sold in the contents sale which took place on September 16th-20th 1895: the existing ones may be reproductions.

In 1910 the Castle was bought by the Trustees of the Railway Convalescent Home and, apart from an interlude during the First World War when it housed German prisoners of war, it remained in their hands until 1970.

In 1982 it returned to hotel use: http://www.leasowecastle.com.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

Sitwell Sitwell

Renishaw Hall, Derbyshire:  east wing

Renishaw Hall, Derbyshire: east wing

The Sitwell family have lived at and owned Renishaw since the 1301. Of the owners who built and embellished Renishaw Hall, the one who aggrandised the house most was Sir Sitwell Sitwell.

The male line of the Sitwells ended with the death of the second of two bachelors in 1777 and the property, said to be worth half a million pounds, passed to a nephew in the female line, the lively, musical Francis Hurt of Mount Pleasant, Sheffield, who took the surname Sitwell.

It happened that Francis had already named his heir Sitwell Hurt, so that he duly became Sitwell Sitwell. (There was a younger son named Hurt Sitwell.)

Sitwell Sitwell, who inherited an income reputed to amount to £40,000 a year, immediately began extending the house with the help of the Sheffield architect, Joseph Badger, adding the pillars which widened the Jacobean hall, and in 1793 building the apsed dining-room extension with its chimneypiece by John Platt of Rotherham. Badger also constructed the Dairy, the Gothick Temple and other estate buildings.

In 1803 the east wing was begun, including the drawing room, which contains the earliest plasterwork attributed to Sir Francis Chantrey and a chimneypiece by Sir William Chambers, originally in the Albany, Piccadilly, which Sitwell Sitwell purchased from the Duke of York.

He erected the stables to the north-west of the house (also by Joseph Badger) to accommodate his racing stud, his hunters and the hounds which in November 1793 had famously chased and captured a “Royal Bengal Tiger” escaped from a nearby menagerie.

The Prince Regent visited Renishaw with his daughter, Princess Charlotte, in 1808 and made Sitwell Sitwell a baronet. The ballroom, which contains another of the Albany fireplaces, was completed for this occasion:  its ceiling is embellished with the Prince of Wales’ feathers.

Sir Sitwell Sitwell died, of gout or of its treatment, aged 41, in 1811.

Dames to the rescue

Sulgrave Manor, Northamptonshire

Sulgrave Manor, Northamptonshire

In the summer of 1914, as a great war approached, British, American and Canadian public figures were preoccupied with celebrating the centenary of the end of another war, the War of 1812, the last time that Britain and the United States were in conflict.

Peace Centenary Committees on both sides of the Atlantic resolved that commemoration of the signing of the Treaty of Ghent on Christmas Eve 1814 should include the purchase and restoration of George Washington’s ancestral home, Sulgrave Manor in Northamptonshire.

The manor house was built in the sixteenth century by Lawrence Washington, the great-great-great-great-great-grandfather of the first President of the United States of America.

Lawrence Washington’s grandson, also Lawrence, had a younger son, himself also Lawrence, whose son, Colonel John Washington, emigrated to Virginia: his great-grandson was George Washington, the first President.

Sulgrave Manor’s tenuous connection with international history saved the building, which had become dilapidated by the beginning of the twentieth century.

Eventually, after the end of the intervening Great War, Sulgrave Manor was opened by the Marquess of Cambridge, the brother of Queen Mary, in 1921 as a centre to commemorate and celebrate what a generation later we learned to call the special relationship between Great Britain and the United States.

The principal financial supporters of Sulgrave Manor are the members of the National Society of the Colonial Dames of America, all of whom descend from an ancestor “who came to reside in an American Colony before 1750, and whose services were rendered during the Colonial Period”: http://nscda.org/museums2/uk-sulgravemanor.html.

The manor is modest, partly Tudor and partly eighteenth-century. Much of the Tudor house had vanished, and to bring symmetry to its main front Sir Reginald Blomfield designed a convincing pastiche as a director’s house.

Lying in a quiet corner of Northamptonshire a few miles from the National Trust’s Canons Ashby [http://www.nationaltrust.org.uk/canons-ashby-house], Sulgrave Manor provides a rare opportunity to examine an unpretentious Tudor manor house, carefully conserved, which relates the vicissitudes of a landed English family whose descendant change the face of America: http://www.sulgravemanor.org.uk/pages/2/visiting_sulgrave_manor.asp.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

Mrs Ronnie

Polesden Lacey, Surrey:  detail

Polesden Lacey, Surrey: detail

Polesden Lacey is one of the National Trust’s most popular country houses, an idyllic place to visit, rich in the atmosphere of the age of Edwardian entertaining, and a commemoration of a gifted hostess.

Margaret Greville was the illegitimate daughter of a wealthy Edinburgh brewer, William McEwan, and a boarding-house landlady, Helen Anderson.  Her parents married when she was twenty-one and, carefully screening her origins, she rose without trace in English society to become the valued confidante of three kings, Edward VII, George V and George VI.  (The Prince of Wales, briefly King Edward VIII, thought her a “bore”, which she seems to have regarded as no great loss.)

A vital step in her ascent was her loving, childless marriage to Ronald Greville. They commissioned Charles Mewès and Arthur Davis, the architects of the Ritz Hotel, to redesign Polesden Lacey in 1906 but Ronald Greville died two years later.

As “Mrs Ronnie”, she entertained at Polesden Lacey and in London, travelled the world, and seemed to know almost everyone of significance in English high society.

Siân Evans’ biography, entitled Mrs Ronnie:  the society hostess who collected kings (National Trust 2013) shows how Margaret Greville used her father’s wealth and her husband’s status to impress the highest in the land.

She endeared herself to King Edward VII while he was still Prince of Wales:  she provided varied, interesting company, the standard of luxury to which he was accustomed, and consummate discretion:  “I don’t follow people into their bedrooms,” she said.  “It’s what they do outside them that’s important.”

After her father’s death in 1913, recognising that she had no family member to whom she could bequeath her substantial wealth, she intimated to King George V and Queen Mary that she would leave her estate to one of their descendants, with a presumption that it should go to their second son, then known as Prince Albert.

This may indicate why the prince brought his bride to Polesden Lacey for part of their honeymoon in 1923:  the thought may have crossed their royal minds that one day all this would be theirs.

Mrs Ronnie lived until 1942, sitting through the Blitz in her penthouse at the Dorchester, teasing her friends who cowered in the basement.  She was buried in the garden at Polesden Lacey near to the house.

Her will revealed that she had left Polesden Lacey to the National Trust, and among her many bequests she willed “with all my loving thoughts all my jewels and jewellery” to Queen Elizabeth.  The Queen took this surprise philosophically, writing to the King, “I am not sure that this isn’t a very good idea because it is a very difficult place to keep up, terribly expensive I believe and needing a millionaire owner”.

Among many other bequests, large and small, Mrs Ronnie left £20,000 to Princess Margaret and £10,000 to Osbert Sitwell.

Her net estate amounted to £1,505,120 5s 10d.

Ellys Manor House

Ellys Manor House, Great Ponton, Lincolnshire

Ellys Manor House, Great Ponton, Lincolnshire

Until a few years ago, most people would have walked or driven straight past Ellys Manor House without giving it more than a second glance. It’s a simple, beautiful vernacular house, distinguished by its crow-stepped gables, in the village of Great Ponton, off the A1 in Lincolnshire.

The crow-stepped gables are, in fact, the giveaway – indicating Dutch influence and high status in a building that dates from around 1520, though there is an older core within.

It was probably built by Anthony Ellys who, like his father, was a merchant of the Calais Staple, and was sufficiently prosperous to rebuild the tower of the adjacent parish church of the Holy Cross which bears his arms.

The manor house was altered – possibly reduced in size – in the seventeenth century,  again altered and extended c1826.

By the early twentieth century it had become two cottages, which were reunited in 1921 by the architect Wilfrid Bond and purchased by the Church Commissioners two years later for a rectory in place of what is now called Great Ponton House, built in 1826.

Small areas of the wall paintings in the east room were discovered in the 1930s, recorded by Dr E Clive Rouse, who returned after the full extent of the paintings had become apparent in 1957, and again in 1961 and 1971.

These paintings proved to be of incalculable importance, “the most complete, extensive and important domestic decoration of [its] date in the country”, described by Pevsner as “a rare English interpretation of French verdure tapestries”, consisting of stylised foliage, flowers, fruit and leaves.  There are groups of trees, their trunks coloured in balancing schemes, within what appears to be an architectural setting of columns, a frieze and some kind of base painted and lined to resemble wood, brick or masonry.  The frieze is decorated with elaborate scrolls, which may have once carried texts.  There are numerous animals – a peacock, deer, and a lion.

They have been gently and sensitively conserved, first by the 1930s rector and latterly by the current owners, Mr & Mrs Clive Taylor, who first opened the house to the public in 2008.

Ellys Manor House is open from Easter until 31st October daily except Tuesdays from 10am to 5pm. Last admission to the house is at 4.30pm:  http://www.ellysmanorhouse.com.

As the manor house is a private home, it may on occasions have to close without prior notice due to other commitments.  To avoid disappointment, please telephone first.

The 40-page, A4 handbook for the 2010 tour Country Houses of Lincolnshire, with text, photographs, maps, a chronology and a reading list, is available for purchase, price £7.50 including postage and packing.  It contains chapters on Boothby Pagnell Manor House, Ellys Manor House, Belton House, Grimsthorpe Castle, Fulbeck Hall, Fulbeck Manor, Leadenham House, Harlaxton Manor and Stoke Rochford Hall.  To view sample pages click here. To order a copy, please click here or, if you prefer, send a cheque, payable to Mike Higginbottom, to 63 Vivian Road, Sheffield, S5 6WJ.

The Yorkshire Lutyens 2

Sion Hill Hall, North Yorkshire

Sion Hill Hall, North Yorkshire

Sion Hill Hall has been described – convincingly but imprecisely – as “the last of the great country houses”.  It was built for Percy Stancliffe, the son of a wealthy brewer by one of Yorkshire’s foremost local architects, Walter H Brierley, in 1912-3. 

Walter Brierley (1862-1926) was a partner in the dominant York architectural practice which was begun in the eighteenth century by John Carr and had included in the intervening years such figures as J P Pritchett (1789-1868) and G T Andrews (1804-55, architect to the North Eastern Railway).

Like John Carr, Walter Brierley’s fame was limited because his work is concentrated in the North.  He built a rich collection of houses, churches and public buildings including a distinctive series of 1890s school buildings for the York School Board and the Principal’s House at the King’s Manor in York.  He restored Sledmere House after the major fire in 1911 and designed Welbeck Woodhouse, Nottinghamshire, which was built (1930-1) after his death.

At Sion Hill Hall there were temperamental clashes between the rich but parsimonious Percy Stancliffe and his perfectionist architect, whose belief that “cheap work is always there to remind and annoy us” did not encourage a quiet relationship.

Nevertheless, the resulting building made Brierley’s reputation as “the Lutyens of the North”, and its expansive horizontal façades, enlivened by generous hipped roofs and tall chimneys, have a strong air of assurance, with an ambitious classical doorcase, dated 1913, as an entrance and on the south-facing garden front, roundels and painted shutters.

In fact, the house is only one room deep, with connecting corridors the length of the north front and all the principal rooms facing the sunny south.  At the western end the corners are stepped, so that Percy Stancliffe’s study and his wife’s boudoir share the advantage of south- and west-facing windows.

(The real Edwin Lutyens, on one of his rare Northern commissions, took no nonsense from his rich Yorkshire client, whom he despised.)

Percy Stancliffe lived at Sion Hill House until his death in 1949.  It was eventually purchased in 1962 by a remarkable collector, Herbert W Mawer (1903-1982), who rose from humble origins, trained as a chef at the Royal Station Hotel in Hull and started his own model bakery, “Our Herbert’s”, at Stokesley in 1926.  The family business prospered enough for Herbert to retire in his forties with sufficient wealth to support a passion for antiques which had begun with the purchase of two candlesticks for £1 5s in Hull when he was eighteen.

In the late 1930s he bought Ayton Hall near Guisborough, but by the 1950s that modest Georgian house was too small to house his accumulating possessions.

Herbert Mawer chose, in the absence of an heir, to establish the H W Mawer Trust to administer Sion Hill Hall and the Mawer Collection, which has since his death been increased to include the remarkable pot that contained the Breckenbrough Hoard (discovered in 1985) and paintings by the identical twins Dorothy and Elizabeth Alderson (respectively 1900-1992 and 1900-1987), who were Herbert Mawer’s aunts.

The house is open for group visits by prior arrangement:  http://www.sionhillhall.co.uk.

 

King Ludwig’s legacy

Hohenschwangau (foreground) and Neuschwanstein (background), Bavaria, Germany

Hohenschwangau (foreground) and Neuschwanstein (background), Bavaria, Germany

Among the tourist highlights of Bavaria are the fascinating castles of Hohenschwangau and Neuschwanstein, the former built by King Maximilian II of Bavaria (1811-1864) and both vividly associated with his son, Ludwig II (1845-1886), who is an interesting, sad figure.

Hohenschwangau reminded me a great deal of Horace Walpole’s Strawberry Hill, whereas the vast, unfinished Neuschwanstein has the dark, dreamy Gothic quality of Pugin’s Alton Towers and Alton Castle, and Burges’ Cardiff Castle and Castell Coch.

Both sit high above the valley – Hohenschwangau beside the lake Alpsee on a prominent hill which is no great problem to surmount by stairs or a circuitous driveway;  Neuschwanstein high up the valley side.

There’s no easy way to Neuschwanstein:  the shuttle bus only runs in the summer;  the horse-drawn carriages are in heavy demand;  the line of least resistance is, paradoxically, to walk.  It took me over half an hour, with regular stops on the way.  Even the wheeled transport gives out well below the castle gatehouse.

Both castles operate a strict timed-ticket admission system, to the nearest five minutes, and there are no compromises for latecomers.  My guide at Hohenschwangau was audible, precise and unhurried.  Neuschwanstein was a very different matter.  When I arrived at the gatehouse there appeared to be a species of riot going on, which turned out to be a large group of Italian teenagers who stood between me and the gents, though not for long.

When we got inside we were herded round in a group of over forty, with a determined lady guide who did surprisingly well in the circumstances.  The traipse through a series of astonishing interiors, intricately decorated like a mad version of the Midland Grand Hotel at St Pancras, is crowded with swans (hence Neuschwanstein – new-swan-stone) at every turn.

There’s little wonder that Ludwig, a seriously damaged personality, brought up by distant parents, conflicted about his sexuality and his Roman Catholicism, introverted and reclusive and addicted to building using his own rather than the state’s financial resources yet deeply in debt, was eventually dethroned by despairing practical politicians.

His mysterious death four days after his deposition secured his place as a national hero.

Neuschwanstein was opened to the public six weeks after his death, and his castles, ironically, have become a significant source of prosperity to the surrounding district.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.

Theatre for heroes

Stanford Hall, Nottinghamshire:  theatre wing

Stanford Hall, Nottinghamshire: theatre wing

The Stanford Hall estate on the Nottinghamshire-Leicestershire border has been in limbo ever since the Co-operative College moved out in 2001.  Two developers have successively raised schemes to finance the restoration of the hall and its grounds by constructing houses and apartments in the park, and both have come to nothing.

Its long history is both complex and sensitive – owned by two successive gentry families, a Burton brewer, the eccentric furniture millionaire Sir Julien Cahn and latterly the College.  In particular, Sir Julien’s external additions – various sporting facilities and a fully-equipped private theatre – have been greatly valued by the local community during the years that the College ran the place.

In 2011 the 6th Duke of Westminster bought the Stanford Hall estate as a future base for the Defence and National Rehabilitation Centre, which supports members of the armed services and civilians as they recover from traumatic injuries.

This work currently takes place at the Defence Medical Rehabilitation Centre at Epsom, Surrey, but this facility is no longer capable of expansion, though the need continues to grow:  casualties now survive injuries which would have been beyond recovery even ten years ago.

Stanford Hall is considered ideal for this new purpose because of its Midlands location, its tranquil environment and the space for magnificent new facilities which need not overpower the historic landscape.

Members of the local community have expressed concern about the future of the Stanford Hall Theatre, which Sir Julien built in 1937 as a venue for his private conjuring shows.

There’s a potential conflict between the desire of local groups for access to the theatre such as they enjoyed in the days of the Co-operative College and the needs of the Defence and Rehabilitation Centre, which will make active use of the theatre and requires higher levels of security than were ever needed by the College.

The proposed physical alterations to the Theatre, primarily to provide level access for wheelchairs, seem relatively benign:  a wrap-around block will provide much better access to the auditorium, and Sir Julien’s top-floor bedroom suite for his private cricket team will be stripped out to reduce loading on the outer walls.  I can find no mention in the planning application of the bomb shelter beneath the auditorium rake.

The plans don’t appear to stretch to a full restoration of the theatre facilities and the Wurlitzer organ, and this has exercised a consortium of local amateur-dramatic societies:  http://www.independent.co.uk/arts-entertainment/theatre-dance/news/dukes-scheme-rings-down-the-curtain-8449399.html.

Let’s hope that the heroes and the thespians can live amicably together.

Sitwells at home

Renishaw Hall, Derbyshire:  south front

Renishaw Hall, Derbyshire: south front

Of all the eccentrics associated with Renishaw Hall, Derbyshire, Sir George Sitwell (1860-1943), whose legend was immortalised by his three famous children, Dame Edith (1887-1964), Sir Osbert (1892-1969) and Sir Sacheverell (1897-1988), is my favourite.

He appeared oddly myopic about the roots of his prosperity:  Evelyn Waugh describes him standing on the terrace at Renishaw gesticulating towards Barlborough across the “farms, cottages, villas, the railway, the colliery and the densely teeming streets” and remarking, “You see, there is no-one between us and the Locker Lampsons.”  His children, however, told of sitting in the quiet of a Renishaw evening, listening to a faint tapping below which came from the miners hewing the black wealth beneath their feet.

He had a toothbrush that played ‘Annie Laurie’, and a miniature revolver for shooting wasps.  He considered stencilling blue willow pattern on the white cows in the park, “to give distinction to the landscape”, but found it impractical.  His schemes for estate improvements were never ending.

He had a passion for gardening, and began altering the surroundings of Renishaw in 1887.  He also had a passion for local history, particularly when its minutiae illuminated the distant doings of his remote ancestors.  Sir Osbert said that his father was “adept at taking hold of the wrong end of a thousand sticks”;  John Pearson commented that “much of Sir George’s life was…spent correcting experts”.  He was particularly proud that he “captured a spirit at the headquarters of the Spiritualists, London, 1880”.

He passed on a considerable share of eccentricity to his children, some of it deliberately:  he advised Edith on one occasion that there was “nothing a young man likes so much as a girl who is good on the parallel bars”.  She it was who in her youth at Renishaw once disguised herself as an armchair, covered in a dustsheet, in order to be carried upstairs by her brothers to avoid an aunt.  Sir Osbert described himself as “educated during holidays from Eton”.

Sir George befriended the architect Sir Edwin Lutyens and brought him to Renishaw repeatedly:  Sir Reresby Sitwell describes Lutyens’ effect on his grandfather’s plans as “restraint rather than…guidance”.  It was on the Sunday morning of one of these weekend visits that Lutyens asked the butler, “Is Lady Ida down?”

From 1909 onwards Sir George became increasingly preoccupied with the restoration of the castle he purchased at Montegufoni in Tuscany, until eventually in 1925 he moved out there permanently, and handed over Renishaw to his eldest son, Osbert, and his other English estate, Weston Hall, Northamptonshire, to Sacheverell.

His nephew, the late Sir Reresby Sitwell (1927-2009), carried on the tradition of celebrating eccentricity, particularly the manifest oddities of his grandfather.

Castle for the weekend

Castell Coch, Tongwynlais, Cardiff:  Drawing Room chimneypiece

Castell Coch, Tongwynlais, Cardiff: Drawing Room chimneypiece

While William Burges was unhurriedly transforming Cardiff Castle for the 3rd Marquess of Bute, the question arose of what to do about the crumbling Castell Coch (the Red Castle), an outlying Bute property in Tongwynlais, north of the city centre.

Presenting William Burges with a medieval ruin inevitably led to a plan to rebuild it.  Presenting the Marquess of Bute with a project to rebuild a castle could have only one outcome.  He opened his cheque-book.

The result is a beguiling Victorian fantasy of medieval life and art, a wealthy magnate’s weekend retreat into a Gothic dream world.

Though the project was compromised by being brought to a conclusion after Burges’ death, it contains some of the finest examples of his design genius, such as Thomas Nicholls’ figures of the three Fates, Clotho spinning the thread of life, Lachesis measuring its length and Atropos with her shears.

Lord Bute’s bedroom is fairly spartan, but a spiral stair leads from it to Lady Bute’s bedroom, a huge vaulted space decorated with symbols of love.

And to ensure privacy, this High Victorian castle was fitted with a fully functioning drawbridge.

Castell Coch is administered by Cadw:  http://cadw.wales.gov.uk/daysout/castell-coch/?lang=en.

For details of Mike Higginbottom’s lecture Survivals & Revivals:  past views of English architecture, please click here.