In the 1740s William Kent designed a new garden ornament for Thomas Coke of Holkham. An artificial hillock was constructed on which the temple was to stand, giving it the name the Seat on the Mount. The temple was later pulled down, but fragments of the four busts which once decorated it were salvaged, and incorporated into a cottage in a nearby village. The Flâneuse has written about follies built from the remnants of houses, but a cottage decorated with the remnants of a garden temple is something new.

The ‘New Mount’ at Holkham was constructed in 1742, and the Seat on the Mount the following year. The sculptor Peter Scheemakers provided the four figures, two female and two male, that decorate the front elevation. Coke (1697-1759), created Baron Lovell in 1728 and 1st Earl of Leicester in 1744, could visit the seat and from its elevated site he is said to have watched as his new house was constructed.

The architect Matthew Brettingham Senior, who had overseen building work at Holkham, produced a volume of views which included an engraving of the Seat on the Mount. His text tells us that the temple was home to a ‘small antique figure of the Nile’ and a ‘Coro Marino’ (Sea Chorus) of sea nymphs, centaurs and cupids in alto relievo. The figure of the Nile was added to the earl’s collection in 1752, and the bas-relief panel of sea creatures was bought by Coke in Rome in 1716, and was originally part of a sarcophagus. It was noticed by a visitor in 1767 who saw the summerhouse with an ‘ancient Bass-relief in the wall’.

It would seem likely that the Seat on the Mount was taken down when parts of the garden were remodelled in the late eighteenth century. The figure of the Nile had been moved into the house by 1817, and the summerhouse does not appear on nineteenth century Ordnance Survey maps. The art historian Adolf Michaelis complicates matters by mentioning the ‘Seat on the Mount’ in his Ancient Marbles in Great Britain, which was published in 1882. Perhaps he was using outdated information? What is certain is that by 1907 the heads from the Seat on the Mount had been used to embellish a simple cottage in nearby Burnham Overy Town (actually a village, but thus named to distinguish it from Burnham Overy Staithe).

How the figures came to be moved to Burnham Overy Town to decorate the little cottage remains another puzzle, and many passers-by must have wondered about the history of the carved heads.

One such curious tourist was the late follyphiliac Jeffrey Whitelaw, and in 1960 he wrote to Country Life magazine asking if anyone knew the origins of the statuary. Whitelaw questioned if the busts were artificial stone from the Pulham factory, but the mystery was solved a couple of weeks later when the Duke of Wellington replied via the magazine’s letters page. The Duke confirmed that the ‘canephoræ’ originally decorated the temple at Holkham. Arthur Wellesley, 7th Duke of Wellington (1885-1972) was an architect, and is of course famed in follydom as the designer of Lord Berners’ tower at Faringdon. Canephoræ are caryatids bearing a basket on their heads that serve as a capital (although strictly speaking canephoræ are female, and two of the figures here are male).

In the later years of the twentieth century the fragments were moved to new positions in the tiny front garden, where they remain today. The cottage is now called ‘The Images’ and can easily be seen from the road through the village, and here’s a rather appealing view of it by artist Richard Swallow.

Holkham may have lost the Seat on the Mount, but other fine garden buildings can still be seen including the Obelisk (see the plate above) and the Temple. The latter was built in 1734 after a sketch by William Kent.

And of course there is the mansion itself and the wonderful collection it holds. The statuette representing the River Nile and the bas-relief panel remain in the family collection (not currently on display), although the latter has fallen apart and is now incomplete.

Coincidentally (i.e. the Flâneuse is not on commission) the cottage is currently on the market. There’s more here. Everything you need to know about Holkham can be found on their website.

For information on sculpture at Holkham the Flâneuse is indebted to The Holkham Collection of Classical Sculpture by Elizabeth Angelicoussis.

Further information is always very welcome. You can get in touch via the comments box at the foot of the page (only your name will appear – your email address remains private). Thank you for reading.

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The Battle of Evesham took place on a site near the town in 1265, but it was several centuries later that two memorials to the hero of the hour, Simon de Montfort, Earl of Leicester, were erected. In 1842 Edward Rudge, a civic figure, botanist and antiquary built a tower and obelisk in the grounds of his home, and dedicated them to the battle and the earl.

Rudge (1763-1846) inherited the family seat in the abbey grounds at Evesham in 1790. In 1817 he completed work on a new house in the gothic style, which he called Abbey Manor House. In the gardens were fragments of Evesham Abbey (the bell tower that stands today was the only substantial survivor after the dissolution of the monasteries). Rudge had excavated the site, and ‘architectural and monumental remains of the great abbey’ were moved to his home for ‘safe preservation’.

The grounds of Abbey Manor House contained the site of the Battle of Evesham, and to commemorate this Rudge erected the tower and an obelisk. The tower was built in 1842, and the obelisk is said to have been erected in 1845 (unlike the tower it does not carry a date, and 1845 seems to be the date at which it was first mentioned in print). By the 1840s Rudge was an elderly man –  he died in September 1846 aged 83 – and it seems likely that his son, Edward John Rudge (1792-1861), also an antiquary, might have played a part.

A plaque on the tower is now badly eroded, but the inscription declares that:

THIS TOWER
WAS ERECTED IN THE YEAR MDCCCXLII
TO THE MEMORY OF
SIMON DE MONTFORT
EARL OF LEICESTER
THE FATHER AND FOUNDER OF
THE BRITISH HOUSE OF COMMONS
WHO WAS SLAIN AT THE BATTLE OF
EVESHAM IN THE YEAR MCCLXV

The attractive crenellated tower, on high ground overlooking the river Avon, was visible beyond the bounds of Rudge’s estate and within a couple of years a local historian wrote that ‘We need scarcely add that this conspicuous object forms an ornamental as well as praiseworthy feature in the surrounding landscape’. Presumably it was admired, for in 1866 it was described by the Cotswolds Naturalists Club as the ‘celebrated Leicester Tower’.

The obelisk commemorates the Battle of Evesham, and the four sides of the base feature a plaque with lines from Michael Drayton’s epic poem ‘Poly-Olbion’; an inscription announcing that this spot was the site of the battle (disputed by historians) and a carved panel of arms and armour with the word Victoria.

The fourth side has a wonderful bas-relief illustrating the moment in the battle when King Henry was not recognised, and was almost killed by royal forces. The obelisk stands in a small formal garden, and in the second half of 19th century was often visited by groups of historians and antiquarians. One member of the British Archaeological Society was not impressed when he visited in 1875: he dismissed the obelisk as ‘tastless’ and the decoration as ‘feeble’.

In around 1913 the tower featured as number 9 in the series of 50 ‘Battlefields of Britain’ cigarette cards issued with Smith’s ‘Studio’ Cigarettes.

As the cigarette card shows, by the early 19th century the tower was neglected and smothered with ivy. The Abbey Manor estate was renovated in the late 1990s, with the house being restored and new homes built in the grounds. The tower – by then listing noticeably – was straightened and stabilised for the developers, WeatherArk, and public access to the tower and obelisk was enabled via a concessionary footpath. Tower and obelisk are both listed at grade II.

Later generations of the Rudge family loaned many items connected to Evesham Abbey to the Almonry Museum, where they can still be seen today https://www.almonryevesham.org

Thank you for reading. Your thoughts, memories and further information are always welcome – scroll down to the foot of the page to comment.