Travelling between Leeds and Cornwall last week I decided to take a detour and visit one of the LAND sculptures created by Sir Antony Gormley for The Landmark Trust in celebration of its Fiftieth Anniversary.
From Renishaw Hall on the eighteenth of June we made our way to Stratford upon Avon where we checked in at our hotel in time to wash and brush up before heading on foot (only a few minutes distant) to the Royal Shakespeare Theatre by the River Avon. It was a lovely warm evening and there were lots of people about enjoying relaxing by the River and the Canal.
We were booked for supper at The Rooftop Restaurant followed by a performance of Shakespeare’s Henry IV Part Two by the Royal Shakespeare Company. This was no dull, boring history play rather it seemed to me dominated by comedy. Anthony Sher played Falstaff and the whole performance was being filmed and relayed simultaneously to a greater audience in cinemas throughout the country. This meant that the director, Greg Doran, came on stage at the beginning to introduce the play.
The Swans of Avon and Clopton Bridge from The Rooftop Restaurant
River Avon and Spire of Holy Trinity church from The Rooftop Restaurant
The Shakespeare Hotel – one time I stayed here
The Grammar School, Stratford upon Avon
The next morning after a leisurely breakfast and opportunity to take a walk in Stratford we headed off to nearby Compton Verney where we had a full programme of tours, a sandwich lunch and time also to walk in the park, visit the chapel and spend time (and money) in the attractive gift shop.
“10.30am Depart for Compton Verney. Set in a park designed by the ubiquitous ‘Capability’ Brown, this long-derelict house of the Willoughby de Broke family is now resurgent under the inspiration of the [Peter] Moore’s Foundation. The collections are numerous and varied. The morning will be given over to the current display of sculptures by Henry Moore and Auguste Rodin, while the afternoon will feature a guided tour of salient points of the main collection which encompasses British Portraits, Chinese Ceramics and Bronzes, British Folk Art and for Textile-buffs The Marx-Lambert Collection. You will be free to visit those parts of the collection which are your particular interest. www.comptonverney.org.uk” [Our Programme]
Moore – Rodin
Rodin’s Burghers of Calais
15 February 2014 to 31 August 2014
10th Anniversary Year – Moore Rodin at Compton Verney
This ground-breaking international exhibition compares the work of two giants of modern sculpture: Henry Moore and Auguste Rodin. This is the first exhibition to be devoted exclusively to these artists, with major works being displayed in our ‘Capability’ Brown landscape as well as in our exhibition spaces.
Fallen Caryatid by Rodin
Reclining Figure : Bunched by Henry Moore
In the grounds
Enjoy eleven large scale works which complement, challenge and create new perspectives to vistas ‘Capability’ Brown formed in the 1760s. Amongst these amazing pieces is one of Rodin’s most famous works, Monument to the Burghers of Calais (usually on display outside the Houses of Parliament), Moore’s magnificent monumental Three Piece Sculpture: Vertebrae and The Arch.
Rodin’s Walking Man on Column
Henry Moore Upright Motive No. 9 with Chapel
Inside the galleries
Gain an amazing insight into the works of these two artists. Explore the parallels between their treatment of the figure through a beautiful collection of drawings and models made for larger works. See a special display curated by Moore’s daughter Mary which reveals both artists as keen collectors of antiquities and found objects which profoundly influenced their work. The final treat is a display of rarely seen archival documents and photographs taken by Henry Moore revealing that … ‘as time has gone on, my admiration for Rodin has grown and grown’.
After our sandwich lunch I wandered round the grounds and visited the Capability Brown Chapel. This was built in 1776 as part of the relandscaping of the site and is one of the few surviving Georgian chapels in Britain, and one of the very few remaining architectural works by ‘Capability’ Brown. It is currently undergoing a restoration project and more funds are needed to support this work as it’s hoped to use the building in future for music and learning.
The Chapel Interior
And in the afternoon we had a tour of the permanent collection – British Portraits
and British Folk Art. Currently there is an exhibition of British Folk Art at Tate Britain and this will then come to Compton Verney from 27 September 2014 to 14 December 2014.
British Folk Art
And finally, the Marx-Lambert Collection.
“Enid Marx (1902-1998) was one of the brightest design stars to emerge from the Design School of London’s Royal College of Art (RCA) during the interwar years. She was an author and illustrator of children’s books, a book designer, a printmaker, a textile designer and a painter.
The Marx-Lambert collection at Compton Verney features both work produced by Marx and a large number of pieces of folk or popular art which were collected by Marx and her friend Margaret Lambert (1906-95). These then inspired Marx’s own work -sometimes directly, as seen in the pair of ceramic wall-mounted cornucopia cases which inspired her ‘Cornucopia’ textile design.”
Canal Art and Wallpaper
A wonderful trip full of interest and variety marred only by a 3 hour delay on the M1 due to a lorry on fire.
The above quotation is from ‘Scenes of Clerical Life : Mr Gilfil’s Love Story’ by George Eliot who based her fictional village of Knebley on the real life village of Astley. I wrote about my first visit to Astley here and this what I wrote there about the George Eliot connection :
“I first visited Astley in the mid-1990s when studying for a Masters degree in Victorian Studies. A ‘field trip’ to the places associated with George Eliot was planned and we spent the day visiting Coventry, Nuneaton, Arbury Hall and other places mentioned in her life and works including Astley church where we took in a view of the ruined castle. Astley Castle appeared in George Eliot’s story ‘Mr Gilfil’s Love Story’ as Knebley Abbey. The whole site is also part of the Arbury Estate, where George Eliot’s father, Robert Evans, was a farmer, surveyor and land agent and where the young Mary Ann Evans (GE’s real name) grew up.”
George Eliot’s parents were married in St Mary the Virgin, Astley parish church. “Robert Evans and Christina Pearson, were married in Astley Church in February 1813.” [Parish website]
Tile from the floor or “chequered pavement”
The church is open regularly to visitors on the first Saturday of the month from 10.30am until 2pm and also from 11am until 2pm on every Bank Holiday. (Always check the website if you do intend to visit though)
Staying at the Castle you are invited to call one of the churchwardens (numbers are given in the Information File) in order to arrange a personal tour. I decided to do this and at 10.30 the other Thursday met Judith who was able to show me changes that had taken place since my last visit and to explain lots of the features of the church. Here is how the Welcome Leaflet briefly describes the church and its ‘treasures’.
“We know that a church existed at Astley as early as 1285 because a priest was appointed in that year. However, what remains today contains part of the church that was built in 1343 together with some additions that were built in 1607/8.
The 1343 church was built in the form of a cross, with a central tower which had a lead covered spire. After dark a light was always shown from the spire which was known as “The Lantern of Arden”. The light was to guide travellers through the thick forest which surrounded the area in those days.
A Lantern in the Church
The Modern Lantern of Arden
“When artist Johnny White created Astley’s heritage feature, the new Lantern of Arden, he took his inspiration from the church. It is made of similar red sandstone. In the lantern’s windows, stainless steel panels mirror the ancient themes and history of the parish. Three queens and the castle are represented. Sir Henry Grey hiding in an oak tree and the Victorian author, George Eliot, can all be found on the lantern, made from the same red sandstone as the church.”[Source]
The church’s purpose was a chantry for Thomas Astley. here priests sang mass daily for both him and his family to aid their souls in purgatory. Over the years the church has passed ownership through Sir Richard Chamberlayne to the Newdegate family.
The main body of the church was about 30 m. long but by 1600 the tower had fallen down and the church was in a state of disrepair.
In 1607/8 the present tower and chancel were built, using some of the materials from the old church, at each end of the chancel of the earlier building.”
Stained Glass Windows
The east and north windows contain some 14th century stained glass whereas the south window is modern.
This dates from the 17th century and depicts the taking down of Our Lord from the cross. It was given to the church in 1905 by Sir Francis Newdegate.
A stone circular staircase leads up to the bells of which there are five. Four of these have an inscription showing that they were made in Leicester in 1607.
“With Coats of Arms in clusters on the painted roof” [‘Scenes of Clerical Life : Mr Gilfil’s Love Story’ by George Eliot]
This is made of oak and has twenty one shields connected with the church. It was extensively restored in 1876.
17th Century Wall Paintings
[“He that believeth and is baptized shall be saved; and he that believeth not shall be damned.” Mark Ch. 16 v. 16]
There are six on the south wall showing seven Bible passages, the Lord’s Prayer and the Creed.
14th Century Choir Stalls
There are two sets of nine and behind each stall is a painted panel. There are nine apostles on the north side and nine prophets on the south side.
The Original East Window
Now blocked, this window would have been at the end of the original church. It sits above the 17th century chancel arch. Some of the stained glass from this once magnificent window was moved and placed in the windows of the north side of the chancel and also in the tracery in some windows in the nave.
Interior view towards the Chancel
Interior view towards the rear and access to the church tower and bells
The Interpretation Trail Map
Amongst many generous donors towards the reconstruction of Astley Castle the Heritage Lottery Fund was one of the major ones; giving a grant of well over a million pounds to help the project on its way. HLF grants come with strings attached. So Astley Castle, quite rightly, enjoys many features and events not normally connected with Landmarks, in which the general public may be involved such as local school visits, open days and living history weekends. Public involvement has also included art exhibitions and a competition to design an Elizabethan knot garden in the grounds.
The Winning Knot Garden
One excellent result of the HLF involvement lead to the establishment of an Interpretation Trail on public footpaths through the area surrounding the castle (but keeping to the other side of the moat!). Information boards along the route explain the views and relate the history of the castle and its royal connections. Of course, I walked this trail many times in both directions. The views changed as the weather and light did throughout each day.
Let me take you along the trail. (Numbers refer back to the map above)
Astley Reading Room
1. At The Astley Reading Room two boards give a general introduction and explain the creation of Astley Castle as a ‘Landmark for the 21st Century’.
Astley Castle : South Elevation
2. Astley Castle : South Elevation. Staying at the castle; this is where I began the trail each time.
“This ancient structure still remains, and the grounds surrounding it being tastefully laid out and kept in good order.” (Smith’s “A new and complete history of the County of Warwickshire”, 1829)
From the Interpretation Panel
From here there’s an excellent view of Astley Church of St Mary the Virgin. [To be the subject of another post] Proceed through the churchyard to a rather muddy lane and panel 3.
Path through churchyard
Follow the Trails this way
The Astley Parish Walk shares this lane with the Trail
3. The New Garden. “Today the New Garden is used as pasture but the many lumps and bumps hint at significant buried archaeology, especially in this north-western corner” [Interpretation Board] In fact from this point we re-enter the Castle grounds and here are ancient fish pools and a man-made ‘Viewing Mound’.
The former Fish Ponds and Astley Church
The Viewing Mound topped by an ancient oak tree
“There can be no real doubt that the New Garden was designed as a garden for the adjacent castle and it was probably laid out with paths, raised-bed type planting, arbours, hedges, and seats, perhaps in the late 15th century. The viewing mount could date from this period too.”.
The area is labelled as New Garden on this estate map dated 1690.
4. Little Park and Shrubbery. Here we leave the meadow and pass through a gate into a small wood or copse now known as The Shrubbery. It contains the kind of cultivated shrubs popular in the 19th century and is only shown on maps as a separate area on maps of the late 19th century and after.
BCTV footpath through the Shrubbery
Just as building work on the castle began and continued from 2008 “volunteers from the British Trust for Conservation Volunteers (BCTV) worked tirelessly to clear fallen debris, self sown trees and invasive weeds along the footpaths, here in the Shrubbery and around the banks of the moat.”
The Moat contains water in places
5. East Elevation and The Plash. Emerging from the Shrubbery we gain another view of the Church and the Castle. The East Elevation is to all intents and purposes the Front and Entrance to the building. But looking in the opposite direction there’s a broad green meadow (The Plash) and the still waters of the Astley Pool fishing lake.
The East Elevation (Front) of Astley Castle
“The Old English plaesc, modernised as ‘plash’ means ‘a shallow piece of standing water, a marshy pool’ so this is likely to be an ancient natural feature, enhanced and adapted by the castle residents. … The Plash is dotted with trees, several of which are mature specimen trees – including a fine cedar tree.”
The Cedar Tree
The Plash and the Pool
6. Astley Pool and New Road. Our path takes us across The Plash to Astley Pool, a man-made lake. Although it may seem a typical 18th or 19th century creation it is first referred to in 1501. It is now a private fishing lake.
“The New Road was created to link the drive from Arbury Hall to a new access to Astley Castle. The first part of this was across the top of the pool dam and this would have provided a suitably attractive route up to the castle.”
7. Dark Lane and Castle Approach. The BTCV volunteers had been busy clearing the last lane that leads back to the village and the Castle. I was surprised to read in the interpretation notes that this lane was in fact a disused ‘holloway’. I have recently read Robert MacFarlane’s recent book “Holloway“. I had assumed that these features of the landscape only occurred in Dorset and the Downs of the South of England but here was one in the Midlands.
“‘Holloway – the hollow way. A sunken path, a deep and shady lane. A route that centuries of foot-fall, hoof-hit, wheel-roll and rain-run have harrowed into the land. A track worn down by the traffic of ages and the fretting of water, and in places reduced sixteen or eighteen feet beneath the level of the fields.’ “
And here we are back where we started at the approach to the castle. On the left is the Coach House like the Castle left to ruin but now repaired and water-tight although it has no use at the moment. Behind are the 18th century Gothick stables.
The Coach House
I return to the Castle to study the library and read more about ruins and the rich history of Astley and England.
Astley Castle and Elizabethan Knot Garden
“The Building Bears Strong Marks of the Ravages of Time and Presents an Extremely Picturesque Appearance” Britton’s “Beauties of England and Wales“.
The Stirling Prize is the most prestigious prize for British architecture awarded annually :
“to the architects of the building that has made the greatest contribution to the evolution of architecture over the past year. The prize is for the best building in the UK by RIBA chartered architects and International Fellows, or in the rest of the EU by an RIBA chartered architect.”
“The RIBA Stirling Prize was born in 1996 out of its predecessor The Building of the Year Award. The Building of the Year Award had been running since 1988 and the winner was chosen by the RIBA President from a handful of National Award winners. This was thought of as neither transparent nor democratic. The aim with the Stirling Prize was that the winner should be decided in an unbiased way, with different juries visiting the ‘midlist’ and shortlist.
The new prize was named after James Stirling, the great British architect who died in 1992. The aim was that the Stirling Prize would be for architecture what the Booker Prize was for literature, and a £20,000 cash prize for the winning architects made the prize covetable as well as prestigious.” [Source]
In 2012 I was fortunate enough to be invited by friends who are Patrons of The Landmark Trust to attend the celebration opening of Astley Castle in July 2012. Immediately on leaving the reception and arriving home I decided to book the castle for a week (Monday to Friday) in November 2013.
Here are some of the highlights and light effects from this unforgettable stay.
Arriving at Astley
Sunlight after the rain
Castle Visiting – Kenilworth Castle
Last week I had the great good luck to be invited to attend the Opening Day of The Landmark Trust’s latest holiday property. Dating back to the 12th century Astley Castle near Nuneaton in Warwickshire has proved to be the biggest challenge to Landmark, so far. It even proved to be a challenge right up to and including the Opening Weekend due to the waterlogged fields being unfit for visitors’ parking.
“[The Trust] was established to rescue historic and architecturally interesting buildings and their surroundings from neglect and, when restored, to give them new life by letting them as places to experience for holidays.” [From the Landmark Trust website]
In the case of Astley Castle a completely new building has been inserted sympathetically into the medieval ruin.
I first visited Astley in the mid-1990s when studying for a Masters degree in Victorian Studies. A ‘field trip’ to the places associated with George Eliot was planned and we spent the day visiting Coventry, Nuneaton, Arbury Hall and other places mentioned in her life and works including Astley church where we took in a view of the ruined castle. Astley Castle appeared in George Eliot’s story ‘Mr Gilfil’s Love Story’ as Knebley Abbey. The whole site is also part of the Arbury Estate, where George Eliot’s father, Robert Evans, was a farmer, surveyor and land agent and where the young Mary Ann Evans (GE’s real name) grew up.
The church of Astley St Mary in 2010
The church can be seen from one of the four bedrooms, July 2012
Since 2009 I have been following developments with great interest. On a visit to the Midlands that year I stopped by after browsing the secondhand book shelves at The Astley Book Farm to find the ruin being stabilised by scaffolding whilst awaiting the raising of sufficient funds to begin the huge task of bringing Astley Castle back to life again.
In October 2010 work was well under way when I visited with friends at the invitation of The Landmark Trust and we were given a guided tour of the work so far.
But in August 2011 on the next visit, amazingly, we were invited to climb to the top of the scaffolding and viewing the ongoing work from above – fluorescent jackets and hard hats compulsory!
The day also included a lunch with Landmark’s Director at the time, Peter Pearce. The lunch actually took place in the first floor sitting, dining room, kitchen.
Alongside the work on the castle improvements were being made to the area around which now include public footpaths with information boards dotted along way and landscape features including a viewing mound and fish ponds and a lake.
An Elizabethan knot garden of flowers and herbs has been planted near the castle.
Hooray for Astley! Hooray for Landmark Trust! Hooray for my Landmark Patron friends! Can’t wait to experience a stay at the castle for myself but that won’t be until the end of next year – it’s getting booked up very fast!!
South of Bournville and a few miles west of Stratford and less than a mile from the River Avon, in the peaceful Warwickshire countryside, lies the little village of Binton. It is just a few houses (very nice ones, though!), farms and a church. There is no longer a pub and no railway station, shop or Post Office. The church is Victorian and dedicated to St Peter.
This quiet village seems an age away from the icy cold blasts of the Antarctic continent. Nevertheless here in Binton’s satisfying little church is a further link with a theme that seems to crop again and again during this centenary year of Captain Scott’s ill-fated expedition. This village was one of the last places visited by Scott before he set out for the Antarctic. The reason was that his brother-in-law, the Rev Lloyd Bruce, was rector of the parish.
My friend had discovered that the church contained a set of windows designed and manufactured by Charles Eamer Kempe in memory of the Expedition and illustrating stages of the journey.
There’s a small exhibition telling the Scott story and illustrated with photographs, commemorative stamps and other memorabilia.
My friend discovered the existence of the memorial window so near to Stratford in John Timpson’s ‘Timpson’s England : a look beyond the obvious’. She, like me, is always out to discover hidden gems and the unusual whenever she travels around Britain and abroad.