In the middle of the eighteenth century William Aislabie began to create a landscape garden on the banks of the River Ure, near the village of Grewelthorpe. In contrast to his grand estate at Studley, a few miles away, there were few manicured lawns or geometric pools, and instead Hackfall was a ‘sequestered and most romantic place’. Dotted around the grounds were summerhouses and shelters, including a dramatic hilltop tower called Mowbray Castle.

Word soon spread that Hackfall was a place worth seeing, and early visitors recorded their admiration for the place: ‘never was there seen a finer assemblage of wild and variegated nature’ wrote a tourist in 1785. Although visitors frequently refer to the ‘imitations of ruins’ in the pleasure grounds (there’s also a sham-ruin banqueting house), the earliest specific reference by a visitor to ‘Mowbray Castle’ found to date is from the 1780s, which tallies with an account in the archive suggesting work was ongoing in 1778.

By 1801 the gardener, who gave tours of the grounds, estimated that around two hundred parties visited each season. The Yorkshire weather was not always kind, but it didn’t spoil the experience. In 1792 Lord Torrington found ‘so much to admire, so much to celebrate’, despite the rain falling ‘in buckets’. And in 1799 another tourist wrote that he knew of no other place that gave so much pleasure’ even though it ‘rained the whole time’.

When first built Mowbray Castle could be seen from almost every spot within the pleasure grounds, and its ‘isolated situation’ was described as having an ‘extremely happy effect’. William Gilpin, whose comments on landscape were widely-read, criticised the buildings at Hackfall, but few were in agreement. In 1796, the Duke of Rutland wrote that ‘We did not find any room for censure’.

A poem written in 1859 suggested that the castle was an ancient fortification:

Now turn thy steps towards the right,
And view that grand imposing sight –
Tis Mowbray Castle, in decay,
The relics of a bygone day.

But Georgian visitors recognised it as a sham, a ‘very excellent imitation of an ancient ruin’, and praised its natural appearance.

Aislabie’s descendants sold Hackfall to a timber merchant in 1933, and much of the woodland was felled. Happily, the folly survived this period of neglect (although the short section of wall with an arch seen in the early images is lost), and was consolidated as part of a masterplan to restore the pleasure grounds and buildings after Hackfall was purchased by the Woodland Trust in 1989 (with strong support from the Hackfall Trust and other local groups). Sadly the vistas to and from the castle are now largely lost because of tree growth.

Around the time the folly was under construction a boy was born who would grow to great fame as an artist: Joseph Mallord William Turner was born on 23 April 1775, 250 years ago this week. He visited Hackfall in 1816, and later worked up one of his sketches into a watercolour now in the Wallace Collection, London.

Hackfall is in the care of the Woodland Trust and is freely accessible to walkers.

J.M.W. Turner clearly admired follies – he painted/sketched the tower at Tabley in Cheshire, Cook’s Folly near Bristol and the Gibraltar Tower in Sussex amongst many others. Click the link in red for events planned to celebrate the 250th anniversary of Turner’s birth in 1775.

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Wandering in the glorious landscape that is Stourhead in Wiltshire there are vistas to grand classical temples and gothic monuments, but there is also a pastoral scene featuring a pretty little rustic cottage which has inspired artists – from painters to designers of tourist souvenirs – over the centuries.

Stourhead, one of the most famous landscape gardens in Britain, probably needs little introduction here, but in brief it was created by the Hoare family in the eighteenth century. A grand lake is crossed by an elegant bridge, and a walk around the water leads to features including a grotto and classical temples as well as offering vistas to gothic ornaments and a sun-topped obelisk.

The cottage has been described by many names since it was first constructed in the middle of the eighteenth century. There is a reference to Pantheon Cottage, and it is also mentioned as the Rustic Cottage or Arcadian Cottage. For many years it was called the Watch Cottage, most likely because it was home to a keeper, but it is now known as the Gothic Cottage. As the watercolour below shows, the picturesque little building was overgrown with creeping plants such as woodbine and clematis, commonly found in cottage gardens.

Around the turn of the nineteenth century the cottage was in frequent use as a summer retreat, with a comfortable sitting room for the ladies of the house. In this period the thatched roof was replaced with stone slates.

In 1946 the Hoare family gave the house and grounds to the National Trust, and the charity’s early guidebooks and maps called the rustic house the Watch Cottage.

The cottage was restored in 2007 and the roof covered with thatch to return it to its original appearance. The Folly Flâneuse dreams of living in such a rural retreat, but only after the crowds have gone home: in 2023-2024 over 370,000 visitors were able to wander around the lake and past the Gothic Cottage. But as an obsessive collector of all things folly, she can gaze upon it in various iterations from the comfort of her desk…

This little pottery model of the ‘Gothick Cottage’ was made for the National Trust by the Boncath Pottery in 1979. The design is by ‘Dorn Williams’ – Miss Dorn Williams produced other decorative and commemorative pieces for the National Trust.

In 1983 Ian Logan Ltd produced a series of tins featuring National Trust properties. Bill Dare produced the illustration used on this tin, which was ‘based on the Gothic Cottage, Stourhead’. Note that both the model above and this tin show the cottage with the slate roof that was in place at the time they were made.

Sometime towards the end of the 1980s the Flâneuse bought a ceramic model of the Gothic Cottage ‘in the tradition of the pastille burners made by the Staffordshire potters early in the nineteenth century’. It was made at the Gladstone Pottery Museum, Stoke on Trent, for a company called Recollections Ltd (the recollections of the Flâneuse stretch no further than that). Although the cottage is modelled with a thatched roof, this was acknowledged as artistic licence by the maker.

For more on Stourhead click here.

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