Sir George Staunton bought the Leigh Park estate in 1820, and set to work remodelling the house and ornamenting the park with an eclectic range of garden buildings. Many are sadly lost today, but a programme of restoration, in what is now Staunton Country Park, is bringing some of the survivors back to life. One of the loveliest of the garden ornaments is this exquisite little Shell-House.

Sir George (1781-1859) travelled to China as a child, and later became a great expert on the country during a career in the East India Service. In 1819 he bought the Leigh Park estate.

The house was then less than 20 years old, and had been extensively remodelled by local architect John Kent at the beginning of the century. The sales particulars described the surrounding park as a ‘perfect ferme ornée’, but its character would soon change as Sir George added ‘numerous objects of decoration and interest’.

The park became home to a Chinese Bridge, Chinese Summerhouse, Turkish Kiosk, and Obelisk, as well as classical temples, rustic shelters and bridges. An artificial lake had three islands – one housed the gardener, one was home to the swans, and the third had a sham fort (with the Chinese flag flown when Sir George was in residence). 

James King composed A Poem on Leigh Park in 1829 extolling the virtues of the spot. The Folly Flâneuse will give just a brief taste from the near 40 pages:

The glorious strife of Art and Nature see,
Within thy Paradise, most lovely Leigh,
An art that glows with every nameless grace,
And emulates the charms of Nature’s face,
An art, O Staunton, by thy genius fired,
By thee with sweet variety inspired…

In 1836 a detailed prose account of the house and park was published: Notices of the Leigh Park Estate tells us that the Shell House was built in 1828, and the design was based on a print of the ancient Chichester Market Cross. Sir George used the architect Lewis Vulliamy (1791-1871) for many of the parkland structures, and the Shell House is therefore attributed to him.

The building was covered in decorative panels of knapped and coursed flint, each filled with pebbles, and inside the walls were ‘encrusted with shells’. Despite Sir George’s connections with far-off lands, these were not exotic specimens shipped home to England, but the spoils of days on the beach at nearby Hayling Island. The Shell-House was used as a museum to house Sir George’s natural history collection. The Notices gave a complete list of the contents, but to summarise there was an extensive collection of minerals, ceramics including Roman pottery and ‘Wedgewood’s designs’, and a ‘small stuffed crocodile’.

Sir George died in 1859, and his obituary recognised his career in China and his subsequent service as a politician. But the writer felt that above all the local community would remember Sir George for ‘the fact of his beautiful gardens and grounds being open to the inspection of all applicants’.

In 1861 William Henry Stone, MP for Portsmouth, purchased the estate and built a new house. In the process of remodelling he demolished one of the landscape buildings, a temple which Staunton had built to house busts and dedications honouring his friends and family. A number of the inscribed plaques were removed to the Shell-House, and hence it became known as the ‘Staunton Memorial’.

Leigh Park was requisitioned for use by the Admiralty during the Second World War. In 1946 it was purchased by Portsmouth City Council as land for new housing and a public open space, and in 1959 the house (by then a Victorian replacement) was demolished. Leigh Park was renamed Staunton Country Park in 1987, and as in Sir George’s day visitors are once more welcome to enjoy the grounds.

A 1944 photograph of the Shell-House shows it was largely intact at that date, but as the century progressed vandalism became a major issue, and by the millennium the grade II* listed folly was looking ‘the worse for wear’. All but one of the wall plaques had disappeared, the shellwork was lost, and the roof had collapsed.

Happily, a £3.8 million investment by the Heritage Lottery Fund, Big Lottery Fund and Hampshire County Council has seen the Shell-House and other structures restored by an expert team, including Conservation Architect John Malaiperuman, who first introduced the Folly Flâneuse to this fascinating park.

The Shell-House’s lost lantern was rebuilt in reconstituted Portland Stone, with natural Portland Stone pinnacles, and the missing flint and pebbles have been restored with materials that match the originals.

In July 2021 the restored park was formally opened. There is an excellent Follies Trail, highlighting both extant and lost structures, including the Chinese Bridge and the Belvedere, pictured here.  https://www.stauntoncp.co.uk/en/hub/765

UPDATE APRIL 2022: The Folly Flâneuse is always pleased to receive feedback from readers who visit follies as a result of seeing them featured here. But she was particularly delighted to learn that a recent post had inspired something much more exciting than a day trip: Alan and Claire Terrill were so charmed by the recently restored Shell House that Claire challenged Alan to build a miniature version as a house for the family’s tortoises Diogenes, Loosestrife and Ephebe. Whilst the Shell House had an interior embellished with shells, Alan decided to put the his shell decoration on the outside, and when temporarily stumped by the construction of the roof, he turned to Jon Malaiperuman, conservation architect for the restoration of the Shell House, who was happy to help. Alan also decided to incorporate silhouettes of noble tortoises standing on pedestals in the blank arches on the sides, in the manner of the Temple of British Worthies at Stowe. As you can see, the tortoises are already very much at home.

For all the latest news visit the Friends of Staunton Park website https://foscp.co.uk

Thanks to Matthew Beckett for permission to use the photo of the Victorian mansion before demolition. His ‘Lost Heritage’ website records the lost houses of England and is well worth exploring http://www.lostheritage.org.uk

Thank you for reading. Do get in touch with any thoughts – there is a comments box at the foot of the page.

In 1752 Richard Trevor became the new Bishop of Durham. A perk of the post was two palaces: one in the city and a country seat at Auckland Castle, on the edge of the town of Bishop Auckland. In around 1760 he erected there this gorgeous gothic Deer House in the park at Auckland. As is so often the case with garden buildings, it combined the functional with the frivolous –  as well as sheltering the herd it also provided a banqueting room with extensive views and served as an eye-catcher in the park.

The Deer House was built on high ground above the River Gaunless, a tributary of the Wear, which meanders in an extremely pretty manner through the park (genuinely useless fact – Gaunless is apparently old Norse for useless). Trevor’s predecessor had already begun to remodel the park, a project that the new incumbent was happy to continue. Bishop Trevor (1707-1771) was a great builder, having remodelled his family seat at Glynde in East Sussex, and built a new church there.

At Auckland Castle he commissioned plans for entrances and garden buildings from the gentlemen-architects Richard Bentley and Sir Thomas Robinson, but the designer of the Deer House is thought, on stylistic grounds, to be Thomas Wright (1711-1786), the polymath who was born and died in County Durham. The Reverend James Raine, in his A brief historical account of the episcopal castle, or palace, of Auckland, published in 1852, gives the date as 1760. Raine also wrote that the ‘winter shelter’ was said to have cost £379, but sadly he gives no information on the architect. Other sources give the date as 1767, which may be when the works were completed.

The Deer Shelter, high on an eminence in the park, was thought ‘well plac’d’ by a visitor in 1766, and the grand scale of the building (‘very commodious’) was noted by another tourist in 1775 . The historian of Durham, William Hutchinson, described it in 1794 as a ‘well-fancied erection, in form of a cloister’. Sadly no accounts of enjoying a repast in the tower, with a vista across to the castle, have been found.

But half a century later fashions had changed, and the building failed to impress one visitor who though it ‘a piece of bad taste […] a sham with no reasonable motive’. Raine also expressed some doubt about the Deer Shelter: he thought it had a good effect from a distance, but did not stand up to closer scrutiny by an ‘architectural eye’. The Folly Flâneuse is firmly with the 18th century admirers.

There had been deer in the park at Auckland for centuries. The keeping of a herd fell in and out of fashion over the years, and the park needed to be restocked on a number of occasions. Bishop Trevor was seeking to increase the herd soon after arriving in Durham, and his steward was tasked to find an estate with deer to spare. But in 1856 The Gateshead Observer reported that the ‘episcopal deer’ had been sold by the ‘economical Church Commissioners’, and that some of them had already been shot & sent off to the London market. The paper was saddened by this move, writing that ‘the romance of the Church is fast disappearing’. A century later the now redundant Deer Shelter was taken into the care of the state to ensure its future was safe.

Early this century the Church Commissioners were once more criticised when they announced plans to sell off a number of Bishop’s Palaces, stating that they were too expensive to maintain, and unfit for 21st century episcopal life. Auckland Castle was on the list, and there was very vocal opposition, but a saviour was on hand in the form of Jonathan Ruffer, a hedge-fund manager. In 2012 he bought the estate and established a trust to save the castle and park, and to help reinvigorate the town of Bishop Auckland. Since that date Heritage Lottery Funding has enabled The Auckland Project to develop new museums and attractions, creating jobs and attracting visitors to the town.

The deer park is currently open for local visitors only. The Auckland Project is scheduled to reopen in June and should definitely be on your list of things to look forward to https://www.aucklandproject.org

And whilst discussing the follies of County Durham there is the excellent news that the updated The Buildings of England (Pevsner) volume on the county is published this month (March 2021). Fully updated by Martin Roberts, this will be a real treasure trove of information. And the icing on the cake? County Durham’s extraordinary eyecatcher, the Penshaw Monument, is on the cover.

You can find out more about the book here https://yalebooks.co.uk/display.asp?k=9780300225044 And the Paul Mellon Centre is hosting a virtual launch, details here https://www.paul-mellon-centre.ac.uk/whats-on/forthcoming/pevsner-county-durham

In 1987 Save Britain’s Heritage, the charity which campaigns to save historic buildings from needless destruction, published Pavilions in Peril, a report into the great number of garden buildings in Britain that faced an uncertain future. In drawing attention to historic buildings that are vacant and whose future is uncertain, the charity hoped to identify new owners able to repair and/or find a new use for the structures, thus securing their future. 33 years after that report was written The Folly Flâneuse is delighted to write that there have been some fabulous restorations (see link below to an earlier post), but read on for the not-so-good news…

The report’s author, Julia Abel Smith, researched 54 case studies, and sadly two of the featured structures have disappeared forever. The classical Temple to Pitt at Coleby Hall in Lincolnshire, was described in 1987 as being ‘a very sad sight’, and it was demolished in the 1990s. Although it looks fairly substantial in this postcard view, it was actually wood plastered to look like stone, and therefore less able to withstand the elements.

The Bark Temple at Exton in Leicestershire, a rustic wooden summerhouse which had been deteriorating for some years, finally collapsed in 1997. There will be more on this fascinating lost building in a forthcoming guest post.

Two years after the report was published SAVE introduced a Buildings at Risk Register, and two of the buildings featured in Pavilions in Peril remain on that list today.

Despite attempts to secure its future, the Umbrello, on the privately-owned Great Saxham estate in Suffolk, has spent 33 years in peril. It is of particular interest as not only is it an unusual design, but it is built of Coade Stone, the celebrated artificial stone developed by Mrs Coade at her factory in Lambeth. Originally constructed in the late 18th or early 19th century, its design is based on a Batty Langley pattern and a Historic England report of 2001 concluded that Great Saxham may not have been its first home. There’s a link to the full report below.

Near Chichester in Sussex, stands the derelict Racton Tower, which is also on SAVE’s Buildings at Risk Register. It was designed by Theodosius Keene for the 2nd Earl of Halifax and complete by around 1770. The hilltop folly (described by Horace Walpole as ‘a very ugly Tower’) was built to take advantage of extensive views across the downs to the Isle of Wight and beyond, and as an eye-catcher from Lord Halifax’s seat at Stansted House. In the year Pavilions in Peril was published it was bought by a private owner who planned to turn it into a private house. Planning permission was granted some years ago, but has since expired, and at the time of writing a new application, from the same very patient owner, is being considered by the South Downs National Park Planning Authority.

Other buildings featured in the report remain in need of rescue. In 1987 the Belvedere at Sketty, near Swansea, was unlisted and derelict. Probably designed by the architect William Jernegan in the early 19th century, the folly contains a lovely vaulted chamber with its roof supported by a single column (likely inspired by the nearby Chapter House at Margam).

The building has the inscription ESTO PERPETUO (May it stand forever), which is somewhat ironic given its current condition, although nicely relevant when one learns that when it was conveyed to Swansea City Council there was a covenant attached forbidding demolition. The house at Sketty was demolished in 1975 and the belvedere is now surrounded by the modern housing that was built in its park. In 2015 the cash-strapped Swansea Council sold the building at auction; the sum realised was reported to be £130,000. However plans to restore the (now grade II listed) folly as a dwelling have been scuppered by a colony of bats, and it remains boarded-up and neglected.

In Yorkshire the temple at Whitley Beaumont, near Huddersfield, was thought to have a bleak future as it had lost its roof, and the fine chamber beneath was filling with rubble. Happily it still stands, although it has continued to slowly deteriorate under the combined force of vandals, the elements, and total loss of raison d’être: the estate was requisitioned for mining during the Second World War and the mansion demolished in 1952 . Attributed to James Paine, the temple was probably constructed in the early 1750s when the Beaumont family’s mansion was being remodelled. A grand terrace walk, edged with flowering shrubs, terminated at the temple from which there were extensive views. In the 1770s the building was home to a telescope and visitors were invited to admire the distant views from the elevated site, which (as reputed of every prospect tower in Yorkshire) included a view to York Minster. When invited to admire the view one guest, clearly an old hand at dealing with the boasts of owners, announced that he could most certainly see the mighty church: experience had taught him that when he found his hosts ‘resolutely determined that I shall see a thing, I always see it immediately to save trouble.’ The temple now stands rather forlornly on the edge of a quarry, as a reminder of how great the estate once was.

If you are feeling a little despondent now, see last week’s post for the good news https://thefollyflaneuse.com/pavilions-in-peril-part-i-pavilions-preserved/

This is only a selection from the buildings featured in Pavilions in Peril, but it is still in print at the absolute bargain price of £5 and is well worth the investment. You can buy it and learn more about SAVE here https://www.savebritainsheritage.org/publications/publications-in-print/3 

For the full report on the Umbrella at Great Saxham follow this link https://research.historicengland.org.uk/Report.aspx?i=15025&ru=%2FResults.aspx%3Fp%3D549

Feedback is always welcome, please scroll down to find the comments section. Thank you for reading.

1814 saw the centenary of the ascension of the House of Hanover to the British throne. Although it was only a few years since George III had celebrated a reign of 50 years, it was decided that a grand national fête would be held in August to mark the occasion, an event which would also commemorate ‘General Peace’ and the anniversary of the ‘Glorious Battle of the Nile’.

The whole of the pageantry in St James’ Park was superintended by Sir William Congreve M.P.; his prowess developing rockets for warfare in the earlier years of the century presumably qualifying him to design the pyrotechnics. The centrepiece was a vast stage-set ‘castle’ which thanks to painted transparencies, lighting and fireworks dramatically transformed from a martial fortress into a Temple of Concord, illustrating Britain’s path from war to peace. The vignettes above illustrate the spectacles and festivities that drew huge crowds to the park.

Another showpiece was the ‘beautiful Chinese bridge’ that was built over the canal. On it was constructed an ‘elegant and lofty pagoda, consisting of seven pyramidal stories’. It was illuminated with gaslights and formed the centrepiece of a huge fireworks display ‘both fixed and missile.’ The canal was the scene of mock naval battles, and there were also pleasure craft in which the public could view the scene from the water. Bands played, and there were food stalls and magnificent marquees in which to dine. Such was the excitement around the celebrations that publishers took presses to the park to issue some prints on the spot.

Sadly timber buildings, fireworks and flaming gas lamps are not good companions, and as midnight approached the pagoda went up in flames, causing two deaths and a number of injuries to the men who were supervising the display. By the time the fire was extinguished the tower was reduced to only one storey and had become ‘a melancholy wreck of its former elegance’. Print makers were quick to issue a reworked view showing the conflagration.

The pagoda was not rebuilt, the bridge was taken down a few years later, and the temporary structures were largely forgotten until the late 1960s when the artist Barbara Jones was asked to design a mural for a new cafe in St. James’ Park. The Cake House, which replaced an earlier cafe of the same name, was designed by Eric Bedford of the Ministry of Public Buildings and Works, and the cafe deliberately echoed the shape of the marquees erected in 1814.

For the interior Jones created a design for a mural based on the history of the park, with the ornamental buildings of the Grand Jubilee playing a major part. Another of the themes was cows, which traditionally had been kept in the park to provide milk for visitors.

According to Building magazine the mural was executed in ceramic tiles by ‘Richard Parkinson Associates’, presumably the Richard Parkinson better known as a creator of ceramic figures in partnership with his wife, Susan. This company name appears only in this magazine feature of 1970, so the associates were probably Parkinson, Jones, and her assistant Tony Raymond. They were apparently credited in the cafe, but like the rest of the mural this is long gone. The thick file on the building of the cafe, now held in the National Archives, contains a memo which notes only that the interior wall is to be ‘finished in blue mosaic tiles’. No designer or contractor for this work is mentioned.

The refreshment pavilion was officially opened by Mary Wilson, wife of Prime Minister Harold, in February 1970 (apparently she took daily walks in the park whilst resident at No. 10). The blue and white tiles were accentuated by white pedestal tables and fashionable polypropylene stacking chairs in charcoal, light grey and deep blue. Featured in The Daily Mirror a few days after opening the mural was ignored, although the exterior (‘looks like a rather gay tent’) was admired. The queues for the new-fangled self-service system did not go down well, and the reviewer was not impressed by the ‘lukewarm’ soup, or indeed the gateau which was ‘a bit mushy’.

The Cake House survived for more years than the pagoda, but by the end of the 20th century it was considered outmoded with ‘insurmountable functional and structural issues’, and was demolished to make way for Inn the Park, which opened in 2004.

Building within a historic park has always led to criticism. In 1969, as the Cake House was under construction, the Architects’ Journal thought the structure ‘far too intrusive’ for its location in the gardens. In 1998 Sir Michael Hopkins designed its replacement, Inn the Park. The Architects’ Journal reported that it too was ‘wholly unsuited to the site’ but thirty years on, fashion being fickle, the old Cake House was now remembered with fondness for fitting into ‘the landscape as a folly or surprise’.

Big thanks to artist Ed Kluz whose recent show at the John Martin Gallery in London featured the Pagoda bridge and awakened my interest. Read more here https://www.jmlondon.com/exhibitions/facades-by-ed-kluz/

Barbara Jones’s series of designs for the Cake House mural can be seen at Neil Jennings Fine Art’s forthcoming show of works of art on paper by Twentieth Century British women artists at Fisher London, Grays Inn Road Wednesday 20th November- Saturday 30th November 11am-6pm (closed Sunday). For further information follow Neil on instagram @neiljenningsfineart or email neiljennings20@gmail.com

For more on the history of London’s public parks there’s a new show at the charming Garden Museum from 20 November 2019 https://gardenmuseum.org.uk/exhibitions/play-protest-and-pelicans-a-peoples-history-of-londons-royal-parks/

Inn the Park remains but is now a branch of the Benugo chain https://www.benugo.com/partnerships/public-spaces/parks/st-jamess