If there’s one thing you can guarantee about 18th century towers, it is that they will be described using words and phrases that were just as fashionable as the buildings themselves. A tower will always be ‘lofty’ and it will almost certainly ‘command rich and extensive views’. Severndroog Castle was built in 1784 and early descriptions follow this unwritten rule. The panorama today is even richer than it was when the tower was built, with two centuries of London development on show.
Writing in Tatler magazine in 1961 the writer, and champion of the British countryside, Ronald Blythe, questioned why follies were common in the countryside, but seldom found in the city. Long before the ‘concrete and glass’ that constituted the cities in Blythe’s mind, costly and extravagant ornamental structures could be found on the streets of the capital. These were the triumphal arches built to celebrate the coronation of a new monarch.
James Wyatt produced plans for a ‘Saxon Hexagon Tower’ for the 6th Earl of Coventry in the last years of the 18th century. After his death in 1809 it was sold and over the following centuries it became the home of a printing workshop, a retreat for members of the pre-Raphaelite Brotherhood and a farmhouse. In 1974 it became the centrepiece of a country park, and it remains so today.
Born 200 years ago this month, on 8 February 1819, John Ruskin was a polymath; an artist, writer and critic who believed that culture should be available to all, not just the elite. As a new exhibition in London beautifully illustrates, Ruskin had strong opinions on most subjects. As he thought the architecture of Palladio ‘virtueless and despicable’, and the Houses of Parliament ‘effeminate and effortless’, we can probably assume that garden ornaments such as classical temples and gothic towers would not be his ‘thing’.