In the early 18th century Bramham Park, just south of Wetherby in West Yorkshire, was the seat of Robert Benson, 1st Baron Bingley. His laying-out of the park was summarised by Lady Oxford after her visit in 1745: ‘Lord Bingley has adorned a barren country in a most delightful manner with water and wood walks’. The next generation continued his work, and their additions included a little gothic temple which could be seen from different viewpoints in the gardens.

Benson died in 1731, and the title expired with him. Bramham passed to his daughter Harriet, and her husband George Fox, and the couple continued to improve the landscape. In the summer of 1750 the prolific diarist and traveller Bishop Pococke visited Bramham and wrote that there was a ‘Gothick building not quite finished’. The architect of the little temple is not known, but in fact all that Harriet and George really needed was a competent stonemason, for the design was taken directly from a recently published pattern book: Batty Langley’s Ancient Architecture of 1742.

Batty Langley (1696-1751) first dabbled in garden design before switching his focus to architecture. He was an excellent self-publicist, and confidently described his designs as ‘Exceeding every Thing thats Extant’. His brother Thomas supplied the engravings, but seems to have received little of the credit.

Pattern books were guides to the latest taste in architecture, with engraved designs that could be copied by gentlemen and their builders. Sometimes the plates just provided inspiration, and the plans could be tweaked to suit their purpose, but at Bramham however the design was followed very closely.

In the 19th and into the 20th century the building was surrounded by formal flower beds and statuary, as shown in this sketch and watercolour, and in the many postcards views that were printed.

In 1828 there was a devastating fire in the mansion at Bramham, and the house then stood empty for many years (although the gardens were maintained as the family continued to live nearby). In the first decades of the 20th century Col George and the Hon Mrs Lane Fox set to work to restore the house and grounds. They converted the Gothic Temple into a water tower, removing the original pointed roof, and fitting concrete beams on which the tank could sit under a flat roof.

In 1958 the next generation, Col ‘Joe’ and the Hon Mrs Lane Fox (the current owner’s grandparents), restored the interior plasterwork, with the support of the Historic Buildings Council and the expertise of the Plastering Instructors at Leeds College of Technology and Halifax Technical College. The Hon Mrs Lane Fox then commissioned the garden designer James Russell to lay out the grounds around the temple and the adjacent bowling green and dogs’ graves.

In recent years the present owner, Nick Lane Fox, has remodelled the area, and reopened views into the Black Fen parkland, as was originally suggested in John Wood’s 1728 design for the park. All but a couple of the best trees were removed, and the meadows replanted with traditional grasses and wildflowers. Nick is very pleased with the results (although not so keen on the days he had to spend digging out thistles), with the meadows now looking as ‘if they have been there forever’. He has plans to rebuild the roof to the original pointed design as soon as funds are available.

Almost certainly contemporary with the building at Bramham was the Gothic Temple at Davenport House in Shropshire, the seat of Sharington Davenport. The temple, based on the same Batty Langley design, is sadly long gone, but some years ago historian John Harris recognised the temple’s design source when examining a painting of Davenport House by Thomas Robins. Sharington Davenport was laying out his grounds at Davenport House in the same period that the Bramham temple was erected. 

Also based on Langley’s design is the frontage of an ornate cottage in County Kildare in Ireland. Lady Louisa Connolly added the gothic facade to an existing cottage in 1785, creating an eyecatcher from the river walk on her Castletown estate.

Touring Painshill in Surrey in 1761 Horace Walpole, aesthete and social commentator, noted ‘the Gothic building […] taken from Battey Langley’s book’. Unlike the Bramham or Castletown buildings, the Painshill temple is not a literal translation of any of Langley’s published designs, and it is not clear why Walpole made the connection. But it did give Walpole, who was no fan of Langley, an excuse for a moan: he thought the temple an ‘unmeaning edifice’ and objected to the use of the gothic style for a garden pavilion because, he opined, ‘the Goths never built summer-houses or temples’.

The gardens and landscape at Bramham can be explored, but prior arrangement is necessary as the park is sometimes closed for special events https://www.bramhampark.co.uk

Batty Langley Lodge at Castletown is available for holidays via the Irish Landmark Trust https://www.irishlandmark.com/property/batty-langley-lodge/

The temple at Painshill (GII*) is just one of the beautifully restored landscape ornaments in the park https://www.painshill.co.uk

The wonderful Robins painting of Davenport House is on long-tern loan to the Bath Preservation Trust and can be seen at their museum No 1 Royal Crescent in Bath https://no1royalcrescent.org.uk

You can find out more about Thomas Robins and his wonderful views of gardens in Cathryn Spence’s excellent and lavishly illustrated new book on his work: Nature’s Favourite Child: Thomas Robins and the Art of the Georgian Garden https://www.stephen-morris.co.uk

For more on Batty Langley see https://thegardenstrust.blog/2017/08/05/batty-goes-gothick/

Thank you for reading. If you would like to share any thoughts or further information please scroll down to the comments box at the foot of the page.

When the great folly builders of the 17th and 18th centuries were erecting statement buildings on the high points of their estates, they can little have known how useful they would be to the Board of Ordnance. The ‘Principal Triangulation of Britain’ was a trigonometric survey, begun in the late 18th century, which by determining precise coordinates of significant landmarks would enable highly accurate mapping. The main landmarks used were church spires, but ‘other remarkable objects’ were picked, and in the first decade of the 19th century over 50 towers, temples, obelisks, summer houses and follies made it into this category.

Were a convenient church spire not available, the surveyors would occasionally have to make do. Thus two of the more unusual locations were ‘Chimney on the north side of Mr. Evered’s House’, and the rather vague sounding ‘Clump of Trees near the Flying Bull Inn’. They must therefore have been delighted to find an elevated folly from which to carry out their measuring. Of the many landscape ornaments used as ‘stations and intersected objects’, some are very familiar and would be obvious choices if asked to suggest lofty towers: King Alfred’s Tower at Stourhead, Sturt’s Folly in Dorset, and Leith Hill Tower in Surrey to name a few. Obelisks were also favoured: Bramham in Yorkshire, the Frampton Obelisk in Dorset, and the now truncated Norris’s Obelisk in Surrey, are just three that feature in the report. The word ‘obelisk’ was often applied to any tall, thin structure at this date, and so the ‘Earl’s Mount Obelisk’ is actually Robert Adam’s lovely Brizlee Tower at Alnwick Castle in Northumberland (as featured here last week https://thefollyflaneuse.com/brizlee-tower-alnwick-northumberland/).

Most intriguing to The Folly Flâneuse was a structure listed as ‘Justice Waller’s Pleasure House’. The context suggested it was in eastern Lancashire, and a little help from a friend* established that the coordinates led to Clerk Hill, between Whalley and Wiswell. This was the seat of James Whalley (1748-1805), one time High Sheriff of the county of Lancaster and a Justice of the Peace – hence ‘Justice Waller’. The incorrect spelling of his name may have something to do with local pronunciation: Whalley is pronounced Wall-ey. One of the earliest writers to mention the pleasure house made the same error; passing by in 1792 the Hon. John Byng grumbled that Mr Waller had ‘with miserable intention, built some strange ruins on a hill-top’. But then Byng, the most curmudgeonly of travellers, was seldom impressed.

James Whalley (Sir James from 1797 when he inherited the baronetcy from his brother) probably built the gothic folly in the 1780s after he moved to the Clerk Hill estate. Set in its extensive deer park, the folly was comprised of a two storey octagonal central tower linked by walls to flanking towers, forming a symmetrical composition. The battlemented central tower had an upper room for picnics and for watching the hunt, and the outer towers could only be reached by walking along the connecting walls. The whole had panoramic views across the valley of the River Ribble to Pendle Hill. Local legend says that some of the stone was taken from old beacons that formerly stood on the site, and the elevated site would certainly seem appropriate.

The tower was still largely intact in 1944, although the roof and the floor of the upper room had collapsed. A few years later the folly disappeared in a rather dramatic fashion. Late in September 1948 the 510 Squadron of the Royal Engineers of the Territorial Army, with the permission off the landowner, blew up the structure because it had become ‘dangerous’. The local parish council was indignant, but the landowner was completely within his rights: the folly was not scheduled, and he argued that as it was not marked as an antiquity on the Ordnance Survey map, it could not be considered to be of historical importance. The 1st edition map shows the building as ‘Castle’ in a circular plantation called ‘Castle Wood’, and the central tower is shown as the triangulation point used by the surveyors some 50 years earlier. By the 20th century the sham castle had become known as the ‘Baby House Towers’, presumably because of its likeness to a toy fort.

There may be some good news. When follydom’s dapper duo Gwyn Headley and Wim Meulenkamp published Follies, Grottoes and Garden Buildings in 1999, they reported that the then owner of Castle Wood was slowly rebuilding the towers. Does anyone know if he finished?

UPDATE: thanks to the Whalley Local History Group for confirmation that the circular bases are extant on private land, but the towers were never completely rebuilt.

So the moral of this post is ‘never judge a book by its title’. Who would have thought that An Account Of The Trigonometrical Survey, carried on by Order of The Master General of His Majesty’s Ordnance, in the Years 1800, 1801, 1803, 1804, 1805, 1806, 1807, 1808, and 1809 could provide so much fascinating material?

*thank you Harry Beamish

The images are from the wonderful resource that is Lancashire County Council’s Red Rose Collection, which contains images of Lancashire people, places and events https://redrosecollections.lancashire.gov.uk/

Bramham Park, south of Wetherby and close to the Great North Road as it passes through Yorkshire, was built by Robert Benson, Lord Bingley, and completed in the early years of the 18th century. The estate has remained in the care of his descendants (with a couple of confusing name changes) ever since. In 1828, while the family were away at a funeral, fire broke out in the mansion causing serious damage to the fabric of the building. Happily, the quick actions of the servants and neighbours meant that some of the contents could be saved. Less fortunately, there was no money available to rebuild, so the house remained a ruin throughout the rest of the century.

Following the fire George Lane Fox, the then owner of Bramham Park, moved into the much smaller Bramham House in the nearby village of the same name. This remained his home until the grander Bowcliffe House, between the village and Bramham Park, came on the market following the death of its owner, John Smyth. He had died in 1840, and his executors were quick to announce that Bowcliffe House would come to the market ‘early in the spring’. The house was only a few decades old and the gardens, which had been laid out ‘with the utmost taste and judgement’, were home to thriving plantations as well as a Gothic hermitage and a Grecian temple (sadly lost). There were also rare trees and exotics ‘collected from all parts of the world’. By May 1841 George Lane Fox had become the owner and he moved the surviving furniture and paintings from Bramham Park into his new home – which was appropriate really as John Smyth had helped save the paintings from the fire.

The famed gardens at Bramham Park, created in the formal style popular in the early 18th century, were maintained during the family’s exile and continued to be used for fêtes champêtres ‘in a most magnificent style’, and for the annual agricultural show. In 1845 a new building joined the temples that decorated the park. This was The Museum, a curious structure combining classical and gothic elements, possibly using some masonry recycled from elsewhere*, and with a stone marked GLF 1845.

Although usually remembered as ‘The Gambler’ (for obvious reasons), George Lane Fox was also a cultured man. He had ‘with great taste’ and ‘immense outlay’ formed a collection which was to be housed in his new building. Sadly, he didn’t live to enjoy his museum as in 1848, soon after arranging the display of the collection, he died. His brief will left everything to his only son and there is no mention of the museum. In 1850 his heir offered the collection for sale with the household furniture (that is, the non-heirlooms) from Bramham House, which was to be let. The Museum was described in the sales particulars as ‘fitted up in compartments’ and ‘arranged and classified by a gentleman of eminent skill, from London’. The contents included ‘specimens of Birds, Fish, Reptiles, Fragments of Animals, Organic Remains, Minerals, Shells, Fossils, Coins, Armour, War Implements, and a great variety of Miscellaneous Articles, highly valuable to the Antiquarian’. The museum collection was offered for sale as one lot, and interested parties were requested to obtain a ticket from the auctioneer to allow access to view.

It seems a buyer was not found and Lane Fox’s son and heir, also George Lane Fox (‘The Squire’),  initially decided to keep The Museum intact. Probably as a result of the publicity caused by the proposed auction, there was considerable interest in viewing the collection. In September 1851 The Squire agreed to open the ‘grounds at Bramham Park and the museum [on] Monday the 22nd of September’. The visitors, or ‘excursionists’, as they were called, were from ‘the industrious classes of York, Leeds, &c’ and the Midland Railway Company offered low terms to convey them to Thorp Arch station, which had opened only a few years earlier. Tickets were available from the wonderfully succinct address of ‘Trip-manager’s office, Leeds.’

Seeing the treasures enjoyed by a wider audience may have been the impetus for George Lane Fox’s ‘munificent donation’ of the collection to the museum of the Leeds Philosophical Society. Opened on Park Row in 1821, the museum was supported by the local aristocracy, gentry and the burgeoning professional class of Leeds, reflecting that age’s desire to study and understand the natural world. The society’s annual report for the 1858-59 session notes that George Lane Fox was ‘foremost amongst the Benefactors to the Museum’, and had donated not only his entire collection but also the bespoke cabinets in which it was displayed.

The museum and its contents passed to the city of Leeds, for the benefit of the wider public, in 1921. Sadly, a bomb destroyed much of the museum fabric, collection and archive in March 1941, and the surviving artefacts were largely in storage until the opening of the new Leeds City Museum in Cookridge Street in 2008.

In the first decade of the 20th century, newly enriched by judicious marriage, another George Lane Fox (grandson of The Squire), began the process of rebuilding the hall at Bramham as the family home it remains today. In 1911 The Museum was included in a book on gardens in the north of England, by which time the enclosure around it, surrounded by the famous high Bramham hedges, had become a rose garden with a central statue of a satyr playing a flute.

A later generation removed the statue and planting to create a tennis court, with The Museum as its perfect pavilion. The current custodian of Bramham, Nick Lane Fox, has recently restored the structure and is developing plans for its garden.

* A trawl of the archives for further information on the construction will be a winter project for The Folly Flâneuse. Watch this space…

The gardens and pleasure grounds at Bramham, in which The Museum stands, are open by appointment. See the website for details https://www.bramhampark.co.uk

Thanks to Val Corbett for the wonderful photo http://www.valcorbettphotography.com