Construction of the present house by Sir William Massingberd began in 1696. The house was extended in 1873 and 1896 with a two-storey extension in a matching style. The stables and coach houses were built by William Mieux Masingberd in 1735/6.
The musical Lushington family is associated with the house.
The gardens were in existence in the 18th century and restored to their present form in the 20th century. They include a kitchen garden and some fine trees, notably a Cedar of Lebanon planted in 1812.
The basement, ground floor and first floor of the house can be visited, and have interesting contents.
St Peter’s parish church stands just outside the gardens.
The house and garden are both well worth a visit. To avoid disappointment, check the house opening hours.
In 1433, Lord Cromwell, Treasurer of England, began replacing a small crenellated manor house with an impressive brick castle. The castle later passed to various other owners, notably Charles Brandon who turned it into a Tudor palace.
In 1643 large parts of the castle were destroyed or damaged during the Civil War. The Great Tower narrowly escsaped demolition after the King’s defeat, but was spared after repeated appeals.
In 1693 the last Earl of Lincoln died and the castle was inherited by the Fortesque family who never lived in it, allowing it to fall into a derelict and ruinous condition, with the ground floor used as a cattle shed. The Fortesque family sold the castle in 1910 to an American consortium, and the fireplaces were ripped out and sold separately to an American collector.
Following protests, Lord Curzon of Kedleston in dramatic circumstances bought the castle and recovered the fireplaces, which were reinstated. Lord Curzon had the castle restored to its present condition.
Adjoining the castle is a large church which is worth a visit, and also a row of almshouses.
It is possible to visit all the levels of the castle and the roof, from which there are fine views of the countryside. Each principal floor has a large, high room and various niches.
Paycocke’s is a surviving example of a Tudor merchant’s half-timbered house, standing on the main street of Coggeshall, Essex. Paycocke’s oldest part was owned by John Paycocke, a meat merchant. His son, Thomas, a prosperous cloth merchant, built the front main range as a showroom for his cloth business. In the 18th century, the property came into the hands of the Buxton family, who eventually sold it and moved to London. After numerous changes of ownership and increasing disrepair the house was about to be demolished when bought by Noel Buxton in 1904. Buxton had the house restored, and in 1924 it was donated to the National Trust.
The house is well worth a visit, as the wood carving on the frontage is outstanding, and there is also much carving and some interesting exhibits in the interior. The pleasant garden, whose design dates from the early 20th century, is worth a look. Note that entry to the garden and tea-shop is free, but there is a charge for entering the house. At the time of visiting (Aug. 2022) entry was by conducted tour only, and the last scheduled tour was at 2pm. The website says that advanced booking is advised.
If you arrive by car, with luck you should find free parking on the street near the house, or at the nearby Grange Barn (also NT, not seen).
If you have time, Coggeshall also boasts a clocktower, St.Peter ad Vincula church, The Woolpack Inn, St Nicholas’ Chapel and a host of old listed buildings.
The Hatchlands estate has passed through various hands. The present house is mostly as built in the 18th century for Admiral Boscawen and his wife. Boscawen died of a fever soon after his retirement, and his widow sold the house after a few years. The next owners, the Sumners, are responsible for the present parkland. The following owners, the Rendels, made some alterations and eventually presented the house to the National Trust in 1945. At this point the house was empty. After various tenancies, the house was offered to artist and collector Alec Cobbe with the suggestion that he fill it with his family’s collection of musical instruments, furniture and pictures.
The interior has been redecorated and now contains a collection of grand pianos and harpsicords, and a large number of pictures, as well as some casts of classical sculptures. All the instruments are kept in playable condition and there are occasional recitals. Guide leaflets for the pictures and instruments are available, and it would be worth taking round the (rather expensive) house guidebook rather than reading it afterwards.
In the grounds there are some walks and patches of woodland. There was no NT shop, seemingly a casualty of Covid19.
Croome largely represents the vision of a single man, George William, 6th Duke of Coventry. The site was originally boggy land. Lancelot ‘Capability’ Brown was responsible for the landscape and for the remodelling of the house – his first commission. Robert Adam designed a number of room interiors.
A walk (or route march) around the estate brings one past many features of this created landscape. First the church, constructed as an eyecatch after the previous church, judged too close to the house, was demolished. Then an ice house hidden in the wood. Then the walled garden, privately owned and only open at certain times. The Rotunda stands on a rise and forms a viewpoint for the house and several distant eye-catchers.
The house stands in the middle of the park. Nominally, all four floors are open to visitors but when I visited some rooms were closed for repairs and I did not get any guided tour to the top floor. The guidebook floor plan marks part of the Red House extension as open to visitors but the shortform leaflet didn’t and this wing was closed for repairs.
The rooms are mostly empty or used for exhibitions, the original furnishings and contents being elsewhere or lost in a warehouse fire. The Long Gallery has impressive plasterwork, apparently recently restored. The Dining Room plasterwork was colourised by the Kirshna movement when they were in occupation of the house. It looks great, but purists may not agree. Also in this room is a display of some of the Croome china, well worth seeing.
Above, the rooms mostly look unrestored. The Chinese Room has lost its plaster ceiling. Some fell down and the NT removed the rest for safety. Two rooms contain the last private owner’s bathroom fittings, retained by the NT as part of the ‘history of the house’. Personally I think they look awful and should go.
Moving on, a reconstructed Chinese bridge spans the river giving access to more parkland. A hard path leads on to the lake with various monuments, the Grotto with statue of Sabrina, and the Temple Greenhouse. Finally one returns to the church.
At the estate entrance are some black huts which house the reception, shop, and tea-room. The huts are one of the few remnants of RAF Defford, an airfield used during WWII for development work on radar. In another of the huts you will find a very interesting museum and exhibition of RAF Defford and its work.
The glory of Hidcote is the series of gardens, the house being small and not of particular interest.
I started my tour by heading for the kitchen garden, which as well as the inevitable vegetables contained some attractive swathes of tall flowers. The rest of the gardens follow Arts & Crafts principles, being arranged as formal garden ‘rooms’ near the house with a more naturalistic style in the outer reaches. The outer parts include a Great Lawn and a Long Walk.
The creator of the garden, Major Lawrence Johnson, acquired the house and estate in 1907. Johnson had a serious interest in plants and plant collecting.
The estate is well worth a visit if you are interested in gardens. It is possible to walk round everything in under 2 hours.
I first visited Dunster Castle some years ago but this account is from April 2019. Dunster Castle is a former motte and bailey castle, now a country house, in the village of Dunster, Somerset, England. The castle lies on the top of a steep hill called the Tor, and has been fortified since the late Anglo-Saxon period. After the Norman conquest of England in the 11th century, William de Mohun constructed a timber castle on the site as part of the pacification of Somerset. A stone shell keep was built on the motte by the start of the 12th century, and the castle survived a siege during the early years of the Anarchy. At the end of the 14th century the de Mohuns sold the castle to the Luttrell family, who continued to occupy the property until the late 20th century.
The castle was expanded several times by the Luttrell family during the 17th and 18th centuries; they built a large manor house within the Lower Ward of the castle in 1617, and this was extensively modernised, first during the 1680s and then during the 1760s. The medieval castle walls were mostly destroyed following the siege of Dunster Castle at the end of the English Civil War, when Parliament ordered the defences to be slighted to prevent their further use. In the 1860s and 1870s, the architect Anthony Salvin was employed to remodel the castle to fit Victorian tastes; this work extensively changed the appearance of Dunster to make it appear more Gothic and Picturesque.
Following the death of Alexander Luttrell in 1944, the family was unable to afford the death duties on his estate. The castle and surrounding lands were sold off to a property firm, the family continuing to live in the castle as tenants. The Luttrells bought back the castle in 1954, but in 1976 Colonel Walter Luttrell gave Dunster Castle and most of its contents to the National Trust, which operates it as a tourist attraction. It is a Grade I listed building and scheduled monument. (source: Wikipedia).
The interior of the house is interesting and various rooms on the ground and first floors can be seen. The gatehouse and other castle parts remain, but if you are expecting a medieval castle, look elsewhere!
The site has a number of pleasant walks curving around the hill. The top of the hill (above the house) is flat and laid as an open lawn. Below the hill is an old watermill to the south and the village of Dunster to the west. A folly tower tops a nearby hill to the north-east.
There are foot entrances from the village, but if arriving by car, the car park entrance is on the A39 north of the village.
The house is of medieval origin, remodelled in Tudor times by the Wake family and further modernised in the 18th and 19th centuries by the Elton family. The floor plan is somewhat irregular. The principal downstairs room is the double-height Great Hall. A fine staircase leads up to the Thackeray Room which commemorates the house’s literary connections. Also on this floor is the large State Room, now set up as a bedroom. Adjoining it is the restored Chapel, with a fine rectangular stained-glass window with reticulated tracery.
Downstairs on the east side of the screens passage is the Justice Room, originally a medieval buttery for beer butts, and now a museum room for a collection of colourful Nailsea glassware. From the screens passage, another passage leads to a triangular courtyard. beyond is the Old Kitchen, a much altered double height room now used as an exhibition space. The Old Kitchen predates the other parts of the house.
Outside, a steeply terraced garden with summerhouses rises behind the house to the wooded land beyond.
Mottisfont was originally an Augustinian priory. After the Dissolution the monastic buildings were largely dismantled or incorporated into a large Tudor mansion with two courtyards. Little now remains of the Tudor mansion. In the 18th century most of the Tudor buildings were demolished and a three-storey south front constructed, giving the building much of its present-day appearance. The Stables were rebuilt in 1836.
Successive owners made changes to the interior. in 1934 the house was bought by the Russells who repaired and modernised the house, changing the function and fittings of many of the rooms.
The principal rooms on the ground floor are open to visitors, and some upstairs rooms are open as exhibition spaces, and maids’ rooms can be seen on the attic level. The ground floor contains a collection of paintings, notably the Derek Hill collection. The Russells converted the original entrance hall into a grand saloon with spectacular trompe l’oeil murals by Rex Whistler.
At basement level, vaulted cellars and other features from the old priory can be seen. One cellar contains a poignant sculpture of estate workers disappearing into the wall, a reference to WWI.
Outside the house is a 20th century parterre. Further afield are a walled garden, a winter garden, the river and other features. The Trust manages an estate of over 1600 acres.
Mottisfont is well worth a visit, which could extend to over half a day.
Markers Cottage is a medieval cob house that retains many original features. Originally it had a hall open to the roof and a cross passage. Smoke blackened thatch can still be seen in the attic. A medieval wood partition has paintings on it, and upstairs a section of decorative plasterwork is preserved.
Later the cottage was given a first floor and sub-divided. The garden contains a charming cob summerhouse (a Millenium project).
The cottage is well worth a visit if you are in the area. I suggest you combine your visit with a visit to Clyston Mill in the same village of Broadclyst.
The discreet National Trust signs in the village will take you to the village car park. Look for the sign indicating how to walk to the cottage. There is no onward signage: essentially you walk to the far end of the car park, exit in the RH corner, turn left and proceed along the edge of the playing field till you reach a street with a yellow painted thatched cottage in it. You can drive to the cottage and park outside: exit the car park turning left, then right & right into Town End street. You should be able to park outside (except during the school run!).