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Gardening – Spring
I wouldn’t say that the Winter has been particularly bad, looking back on my gardening diary we had 7ft snow drifts in 2014 in South Derbyshire but I do think it has been a long one. For the first time in 20 years we had snow early in December so after stop – start with the Gardening we are now getting some clearer, warmer days. This month sees the start of the “grow your own” season, again with many new varieties of vegetables. I can’t wait to start on my own allotment and I’ve already planted my potatoes and onion sets – but I also had great success with carrots so I’m going to try the heritage varieties. I sprayed less insecticide last year because of the companion planting I used (blackpepper mint and basil) to keep away greenfly and whitefly. Also another tip, using white alyssum (the summer bedding plant) planted in containers near plants or vegetables, thrips are attracted to the alyssum and not your plants or veg. Once the alyssum are swamped with thrips simply dispose of them in the green waste wheely bin.Look out for the N.G.S Open Garden booklets. The reason I love the open garden scheme is because these are “real” gardens that easily relate to our own gardens. So pick up a yellow booklet for dates and locations from any good plant nursery or garden centre and also look out for the yellow posters – the open gardens are a great source of inspiration. Allotment or Vegetable Patch: Still a good time to sow green manure Buy vegetable plug plants (approx Easter weekend onwards) Fertilise spring cabbage with a high nitrogen feed Plant new asparagus “crowns” Potatoes, shallots and onion sets should still be available to buy Feed fruit trees and bushes with sulphate of potash Crops to sow directly outside or under cloches are peas, mange tout, mixed salad leaves, radish, cauliflower, turnip, lettuce, carrots, beetroot, cabbage, Brussels, broad beans, leeks, rocket, Swiss chard and spinach. Also sow in your vegetable plot tagetes and poached egg plant to attract beneficial insects. In the Greenhouse: Protect any seedling from cold Water any seedling trays or pots with copper fungicide to help prevent damping off disease. Remember to increase ventilation on warm days If too hot, put up shading to protect plants Buy plug plants to grow on for pots, bedding displays and baskets. Sow French and runner beans in pots. Sow melons, cucumbers, marrows and courgettes in a heated propagator Check plants regularly for signs of pests or disease Plant tomatoes in grow bags or large pots. General Garden Maintenance: Repair or sow new lawns with grass seed. Apply moss killer to lawns – or sulphate of iron which is the active ingredient in moss killers. Rake out any dead grass from lawns. Start to feed the lawn with a suitable lawn fertiliser. Prune out any green shoots (reversion) off any variegated shrubs. Check that stakes are not rubbing against trees or tree ties are not too tight. Cut away any “suckers” growing around the base of trees and shrubs. Last month’s top shrubs forsythia and ribes (flowering currants) prune back after flowers have finished. Sprinkle a handful of sulphate of potash around tulips to improve flowering Sow sweet peas outside around the base of cane supports, obelisks or even try a hanging basket for them to trail down. Give camelias, rhododendrons, azaleas and pieris a good handful of ericaceous (acidic) fertiliser. Now is the ideal time to start to spray roses as a preventive for mildew, rust and blackspot. Keep topiary in check by giving a light clip now. Look out for new varieties of trees and shrubs this month but here are some that are old favourites. Japanese Maples: My most favourite of all shrubs, these stunning shrubs / trees are ideal in containers and make a great feature plant in the garden. The choice of varieties is vast, with red or green, finely cut or palmate leaf. Pick a variety like Acer Palmatum Sango Kaku and you also get colourful stems in winter. Acers like a moist but well drained, neutral to acid soil in a non exposed windy position. Despite what you read in some books, Acers with sensible care are easy to grow. My personal favourites are … Acer Palmatum `Sango Kaku` (coloured stems) , Acer Palmatum `Bloodgood` (the best upright red leaf maple) Acer Palmatum Dissectum `Greenlace` (very finely cut, green leaf maple), Acer Palmatum Dissectum `Garnet` (very finely cut, red leaf maple) and Acer Shirasawanum `Aureum` (bright yellow leafed maple). Spiraea x cinerea `Grefsheim`: or “bridal wreath” currently mine at home is full of flower bud so this will look fantastic at this time of year, long flower racemes of pure white hang down almost weeping. Very easy to grow it likes most soils in full sun to part shade. I wouldn’t recommend this for a pot but planted in a border or a informal hedge makes a good feature. The R.H.S has given this plant the Award of Garden Merit. Cercis chinensis `Avondale`: Might be a bit hard to find this one but worth hunting it out. This is a beautiful species which is native to China, Cercis chinensis ‘Avondale’ has bare stems which are studded with pretty, rich purple-pink flowers in late April or early May before the foliage emerges. This variety is grown mainly for it’s striking flowers but there is also Cercis canadensis `Forest Pansy`which has beautiful deep plum red leaves and new this year Cercis canadensis `Hearts of Gold` which has large bright yellow leaves. 00
Lost Houses of Repton Park
Sir Vauncey Harpur-Crewe of Calke, 10th Bt. was a true eccentric; unpredictable, obsessive and solitary. One of his pastimes was the catching of specimens various types of fauna and having them stuffed, mounted and parked in the great saloon at Calke Abbey. Smaller creatures, including butterflies he dried and pinned to boards. One summer morning in July 1893, he was spied, with his trusty gamekeeper and companion in all outdoor matters Ag Pegg, on the lawn of a villa on the Calke estate, south of Repton called Repton Park, set romantically amongst trees above a modest but beautiful lake. It was a good place to find the odd Fritillary. Unfortunately, the resident of the house, his cousin, John Edmund (Harpur-) Crewe did not view their intrusion with approval, he felt affronted and thought that common decency would suggest that the pair might have asked his consent, prior to appearing in front of the house in full cry after some hapless specimen of lepidoptery. A heated argument ensued, during which Sir Vauncey pointed out that John was his tenant and had no right to complain. The upshot was that poor John was summarily evicted (moving a short distance away to Bramcote House at Milford, on the Foremark estate), whilst the estate foreman was sent in to pull the house down. In a few years, dense bocage had taken over the site and it was as if the house had never been. It was like that, too, when Mick Stanley and I went there in 1981, in the process of compiling our two volume epic, The Derbyshire Country House. The land by then had become attached to the policies of Repton Hayes, a few hundred yards across the shallow vale, and the late Miss Theresa Woolley very kindly allowed us a visit. We had seen a small oil of the house when visiting Charles Harpur-Crewe at Calke earlier, hung between two of the windows of the saloon (which he kindly allowed me to photograph) and thought we ought to visit. We approached southwards along a delightful avenue of trees and thence into the woodland that surrounds the site and once surrounded the house. The site was featureless except for a single mullioned stone window at ground level, clearly part of a cellar, but 75 yards before encountering this we had passed a fairly substantial ruin of Keuper sandstone with a fine Jacobean classical arched entrance and more mullioned windows, left like a forlorn sentinel at the approach to the house. The house was Repton Park, formerly Repton Park Lodge, built on that part of the ancient Repton estate that had come to the Harpurs from the Fynderne family. Probably in the early years of the 17th century, about when the Swarkestone Stand was built, the first baronet, Sir Henry, built a hunting lodge here with a small separate stable block, recessed between two stubby wings. We only get confirmation of its existence in the hearth tax return for 1662, which records ‘Sir John Harpur Bart., his lodge…’ All we get from William Woolley in 1713, ‘Sir John Harpur has a very pretty park here’ – no mention of a lodge. Neither do we know exactly what the building looked like, but a lithograph of it after it was rebuilt in the Regency period shows that the stable block was castellated, and this suggests that the main house was also treated in this way. Indeed, Professor Mark Girouard has suggested that it may have been designed (if not built), like the Swarkestone Stand, by the architect of Bolsover Castle, John Smythson. Smythson was a master of the chivalric revival style, which emphasised details like battlements and towers. Thus the original house, probably a very modest 48 by 24 feet and two storeys high, may have resembled old Wingerworth, Highlow or Holme Hall, Bakewell and as a result, in its bosky setting must have look very romantic, as a lodge, like Wothorpe in Lincolnshire. Dr, Bigsby, the mid-19th century historian of Repton averred that the lodge was erected ‘…upon the foundations of an ancient structure that formed the manorial residence of the Finderne family…beneath the later fabric are extensive subterranean remains of the former edifice.’ In 1252 the manorial estate of Repton (excluding the Priory’s demesnes) had been split four ways, but most of it was either given to the Priory or came to the Crown, from which the Fyndernes of Findern bought it. They sold most of their estates to Sir Richard Harpur of Swarkestone in the 1550s and hence its descent to the Calke branch of the family. On a plan drawn by Samuel Wyatt (cousin of the architect, and a local surveyor) in 1762 the house appears as a rectangle with a narrower wing to the SW, probably a later addition to house the offices. The lake, bordered to the west by Hartshorne Road, was only of a modest size in 1762, but by 1800 had been considerably enlarged, probably as part of a deliberate exercise in landscaping, probably at the hands of the incomparable William Emes, who was working at Calke in the 1770s. The earliest view of the house, a lithograph from the lake taken in the later 1840s, is confirmed by a dreadfully faded Calotype photograph, possibly taken before 1851 by Canon Abney and W. H. Fox-Talbot on one of their tours by carriage from Markeaton Hall, the latter’s in-laws’ house. This shows a two and a half storey house with three bays facing north embellished with an outlandishly Gothic porch, complete with four crocketed pinnacles, and a five bay west front with towers at the angles. They are impossibly romantic towers too, not really octagonal, more square with chamfered angles, and the two that flanked the entrance opened into loggias at the foot. These towers were crenellated and the upper storey of the house defined by a sill band and a string course above, whilst the parapets were also embellished with crenelles The windows, however, where
Lost House – Derwent Hall
Architect Joseph Aloysius Hansom undertook the work of creating an Elysium amongst the dark hills above Derwent. Next time you turn on the tap, you might spare a thought for poor old Derwent Hall. This interesting and distinguished house disappeared slowly beneath the waters of Derwent Reservoir between summer 1943 and 1945, when the last vestiges of its half-demolished shell finally disappeared beneath the waters. The culprits were the combined water authorities of Derby, Nottingham, Leicester and Sheffield, eager to ensure uninterrupted clean water for their burgeoning populations, and the entire operation was nationalised in 1947. So what was lost? Essentially a typical upland Derbyshire stone built 16th or 17th century gabled country house much enlarged and equipped with all the latest comforts in the late 19th century, but none the less interesting for all that. Although Derwent was part of the extensive upland parish of Hathersage, the unforgiving terrain was not inductive to the accumulation of a landed estate and the site from late medieval time was a farm held by the Barber family. The father of Henry Balguy (pronounced ‘bawgee’), a younger son of the Balguys of Aston-in-Peak, bought some land at Derwent and later acquired more at Rowlee and Henry (1648-1685) combined the two to create a modest estate, acquiring Derwent Hall, then a moderate sized farm house taxed in 1670 on four hearths, in 1672. His son – another Henry – rebuilt the house some two decades later (it bore an entirely convincing date-stone of 1692), leaving an attractive small H-plan manor house of two storeys with gabled attics, built of coarse local Kinderscout grit with ashlar detailing: coped gables, four, six and eight light mullion-and-transomed windows with string courses over, and quoins at the angles, all under a stone slate roof. The central entrance had a round arched top with the date-stone and an armorial set above it, the string course dipping down above for emphasis. The east elevation was five bays, the two closest to the main front being full height and the three towards the north being lower with attics, representing service accommodation. In the early 19th century a pair of ten light matching windows were installed here. There was also a lower wing to the west and a stable block beyond, at right angles to the house, the whole ensemble being set on the lower slopes of the hill behind with parterres and terraces running down to the Derwent. A third Henry Balguy (1700-1770), having acquired by marriage extensive coal mining interests in the Alfreton area, sold up in 1767 and moved there, selling to the Bennet family, a numerous and well-off farming family in the Dark Peak. The purchaser’s son, John Bennet, acquired tapestries rescued from the fire that destroyed Lord Shrewsbury’s epic prodigy house, Worksop Manor and had them altered to fit Derwent’s parlour and dining room. In 1831, however, the estate was sold to John Read (1777-1862) initially as a summer retreat. He re-ordered the gardens as recorded in the lithograph by W L Walton. He sold it on in 1846 to the Newdigates of West Hallam Hall and Arbury (Warwickshire) who tenanted it as a farm. They too sold it on, in 1876, and this time the purchaser was Henry, 15th Duke of Norfolk, who vested it, as a coming-of-age present, to his younger son, Lord Edmund Bernard FitzAlan-Howard. Although the Howards were normally seated at Arundel, it must not be forgotten that they also owned Glossop Hall and the vast, if rather barren, hills that surrounded it; indeed the lad’s politician great uncle Edward, who lived there, was in 1869 created 1st Lord Howard of Glossop. Lord Edmund, as a FitzAlan-Howard, was a strong Catholic, and also a talented and energetic fellow. He immediately set about transforming the very modest old house into a considerable seat, employing the then doyen of Roman Catholic architects, Joseph Aloysius Hansom (of cab fame) to undertake the work of creating an Elysium amongst the dark hills above Derwent. The work began in 1878 and was completed in 1882. Although the original south front was kept, the remainder of the house was almost completely rebuilt, although with considerable tact. The two cross wings were extended back into the hillside, the main range was doubled in depth, and new service wing was added to the west and the stable range was re-ordered to create a courtyard around it. The East front was enlivened with two ground floor square bays and a large projecting bay containing a vast new drawing room with a canted end, beyond which was built a simple gothic domestic chapel, slightly higher than the house itself. Attic dormers were also added, and the interior acquired new oak panelling to match the old, along with a completely new and very fine oak staircase. The interior also gained an overmantel dated 1634 from old Norton Hall (replaced in 1796 and now in Sheffield). The gardens were completely re-arranged and the estate increased to 1,274 acres. The result was a house of some style and ambition, fitted with all modern conveniences, including home-produced gas and, after a decade or so, electric light installed by George Crompton of Stanton Hall, Stanton-by-Dale, a pioneer in this field. In 1921, Lord Edmund was appointed Lord Lieutenant of Ireland – the last person to hold that office and the first Catholic to do so since 1686 – and was ennobled as Viscount FitzAlan of Derwent in consequence. By the time he laid down office in 1922, as a result of the declaration of the Irish Free State, he had decided, with advancing years to live at Cumberland Lodge at Windsor, and the family just went to Derwent for part of the summer and the shooting season. Then, in 1920 the various local authorities determined to build a further series of reservoirs to alleviate an impending water shortage, and it soon became clear that the days of Derwent Hall were numbered. In 1920 the Norton Old
Lost Houses – Snelston Hall
Snelston was the most ambitious Gothic house in Derbyshire, renowned for its splendour, but also one of the more short-lived Derbyshire seats. The history of Snelston prior to 1813, when the builder of this prodigy house came on the scene, is excessively convoluted. In essence, there had been three separate manorial estates at the time of Domesday Book, all tenanted by the Montgomery family, usually associated with Cubley, nearby. Another portion was owned by the Abbey of Burton. At some stage the Montgomerys divided their holding into two unequal parts, called Upper Hall and Lower Hall, these later descending to the Brownes and the Dethicks. The two portions later by sale soldiered on under two upstart houses, the Doxeys and the Bowyers. In 1777, the Upper Hall and its estate was sold to Derby banker Thomas Evans (founder a few years later of Darley Abbey mills) whilst the Bowyers let Lower Hall, letting, with the result that in 1780 it was destroyed by fire. In 1821 a dispute broke out between the heirs of the Bowyers and the two daughters of Edmund Evans, installed in the Upper Hall by Thomas. In 1813, Sarah Evans, married John Harrison, a match that changed everything. In 1822 Harrison bought out his sister-in-law and then set about taking control of the Lower Hall estate, gaining full possession in 1826. John Harrison was a remarkable man. Born in 1782, he was the son of the first marriage of another John Harrison (1736-1808) who appears to have been the man who established the family fortune. His father had been a yeoman in the village of Normanton-by-Derby but who by his death on 3rd January 1808 had become a successful attorney, having set up in business in 1778, taking Samuel Richardson Radford into partnership in 1804. Where young John was educated is not clear, but he was called to the bar from the Inner Temple around 1804. In 1808 he was in Derby, taking over his father’s legal practice in St. Mary’s Gate and in 1822 entered into partnership with Benjamin Frear, retiring in 1825. Notably, two weeks before his own marriage, Harrison’s sister, Juliana, had married John Stanton, whose uncle, James, in turn had already married her elder sister Ann, twelve years before There is no doubt that Harrison was exceedingly wealthy, however, and soon he wanted a country seat. He had by 1817 acquired a modest estate at Littleover, and proceeded to draw up plans for a house there. To this end he employed Lewis Nockalls Cottingham (1787-1847) a London based architect who had set up on his own three years before. In all nine Greek revival designs were made, all for his Littleover Villa, the finished version being built as Littleover Grange, although re-instatement after a serious fire 25 years ago has changed it considerably. Yet he seems not to have been satisfied with his Regency suburban villa, and in 1822, Cottingham drew his first design for Upper Hall, Snelston, which was, once again, Greek revival. Harrison retired from practice in 1825 (he had clearly made a killing somewhere along the line) and having gained possession of the entire estate the following year, Cottingham was put to work yet again, producing a restrained effort in castellated Gothic, but essentially a Classical design dressed up with ‘old world’ detailing. This was quickly followed by a third, more thoroughgoing Gothic design, but a visit to Alton Towers, not far away across the Dove seems to have inspired Harrison to try and emulate the fast-rising Romantic skyline of Lord Shrewsbury’s House. Cottingham, whose strength lay in his understanding of Gothic in any case, did not fail him. The next design, which was indeed built, was a bravura display of high Gothic. The main (east) entrance front was given nine bays separated by buttresses running up to the parapet and ending in crocketed pinnacles, with paired lancet windows either side divided by transoms under hood moulds with foliate stops. The asymmetrical projecting portico was gabled, two storeys, with an arch beneath a battlemented oriel window. The south front was dominated by a wide full height canted bay in similar mode whilst behind arose a dominant baronial great hall, the west gable end window of which being impressively ecclesiastical, packed with heraldic stained glass and flanked by slim octagonal turrets, a high slate roof embellished with small cupolas and a forest of decorative chimney stacks beyond. The house’s main facade continued in similar mode ending in an octagonal three storey tower on the SW angle, and indeed, from the lake in the 350 acre park (also Cottingham’s work, inspired by Humphrey Repton) the silhouette was distinctly Alton Tower like and certainly impressive. Nor did he stint himself on the interiors, which were lavishly ornate yet at the same time unexpectedly delicate, especially in the arcading in the great hall and the filigree Gothic of the staircase. Cottingham designed everything himself, including much of the furniture, the designs for which are now in the collections at the V & A, donated by the late Col. Stanton. Much of this and other ornate timberwork was fabricated nearby at the hands of a much overlooked talent, Adam Bede of Norbury a craftsman of more than ordinary talent and whose name was the inspiration for a central character of George Eliot’s, who knew Bede from her childhood at Norbury, where her grandfather had been estate foreman and is believed to have had Bede as an apprentice. The entire project took about a decade, 1827-1837, but Cottingham continued to design estate cottages, model farm buildings and the stable block (on the site of the burnt out Lower Hall). The entire combination of house, contents, gardens, village and estate were essentially the creation of Harrison and his architect. Had the house survived, it would now be an ensemble of major national importance. Harrison was appointed to both the Staffordshire and Derbyshire bench and in 1833 served as High Sheriff of Derbyshire. He obtained a
Lost Houses – Crich Manor House
Crich is really rather a confusing place, not least in respect to its country houses. The descent of the manorial estate since Hubert Fitz Ralph, the Domesday proprietor has been something of a saga, and many of the subsequent lords were non-resident. This phenomenon certainly would have put paid to the original manor house, built, as one might reasonably expect, beside the church. Quite when it was built is not really known. Hubert was a tenant-in-chief of the Crown and was described in several documentary sources as ‘of Crich’ or ‘Lord of Crich’ which would suggest that he was probably seated there. There is, however, some room for doubt as he held 25 manorial estates in Derbyshire alone, of which only eight had recorded sub-tenants holding under him in 1086. Hubert’s father was a Norman called Ralph de Ryes, and a younger branch of the family were the Ryes of Whitwell. As there is a field to the NW of the church at Crich called Hall Croft, it would seem safe to conclude that this is where one of the FitzRalphs built their capital mansion, although it is not mentioned in any document until it had passed via an heiress in 1218 to Ralph de Frecheville. He certainly, therefore, lived at Crich, but his son, Anker, married the heiress of the much richer manor of Staveley and re-located thence. At this juncture, the house at Crich may have been used either as a dower house or by younger members of the family. Eventually, the Frechevilles decided they no longer needed the manorial estate and sold it to Roger Belers of Kirkby Park, Leicestershire (hence Kirkby Bellairs) around 1301. They were a branch of the Norman family of d’Albini, so were much out of the same mould as the FitzRalphs. They were also descendants of the FitzRalphs, as Alice de Wakebridge, Roger’s wife had Juliana, sister of a later Hubert FitzRalph of Crich for a mother. Although his son Sir Roger is also frequently described as ‘of Crich’, his brother Thomas seems to have been the one that lived in the manor house. Despite four wives, Sir Roger left only daughters, between whom the manor was split, but the elder, initially married to Sir Robert Swillington of Swillington, in Yorkshire, had a son, Sir Roger, who managed to re-unite the two halves of the patrimony. One of his two sons may have lived at Crich, but the family by and large remained in Yorkshire. Eventually, both died without have had children, and the estate passed by marriage to Sir John Gray of Ingleby, Lincolnshire from whom it came to Ralph, Lord Cromwell, Henry VI’s Treasurer, who already owned the South Wingfield estate. Thus Crich became for nearly 150 years, part of the extensive holdings of the Cromwells and their heirs the Talbots, Earls of Shrewsbury. It was without doubt from this point (1467) that the original manor house would have disappeared. The patrimony of the Shrewsburys was eventually split three ways amongst his daughters, on the death of the 6th Earl in 1616, Two thirds of the manorial estate were sold off by their descendants, a third in 1660 to a group of seven rich local farmers, and another third in 1710 to William Sudbury. From these, the manor was rapidly split into a number of small freeholds. Nevertheless, under the long sequence of absentee chief lords, there were families who held sub-tenancies of parts of the estate, Anthony Babington of Dethick (the plotter) being one. Just prior to his fall, trial and execution, probably in anticipation of the possibility of the plot to free Mary Stuart failing, he off-loaded some of the family holdings, including an estate at Crich, held under Lord Shrewsbury. So it was, that in 1584, John Clay, grandson of another John, who held a modest but lead-rich estate at Chappell in Crich, purchased this Babington tenancy, by this date a rich one, through the exploitation of its minerals. He twice married well, obtained a grant of arms at the Heralds’ Visitation of 1569 and died in 1632, by which time he had built himself a manor house, thought to be the one visible on the celebrated early 18th century panoramic painting bought by the late Col. Denys Bower of The Grove and now at Chiddingstone Castle in Kent. Here we see a stone built L-plan house of two storeys and attics, the gables being coped with ball finials on the kneelers. The windows are clearly mullioned and the house is set in a garden on the SW and a farmyard on the SE with a range of outbuildings to the north. It much resembles houses like Goss Hall in Ashover, Rowtor in Birchover or Allen Hill at Matlock. John Clay’s monument in Crich church establishes that his two sons William and Theophilus, died before him and his daughter Penelope married Thomas Brailsford of Seanor in Ault Hucknall, not far from Hardwick, who duly inherited what amounted to an extensive estate. One of their eight sons was duly named Theophilus after his uncle and the eldest John after old Clay himself. It seems unlikely that the Brailsfords altered the house and it was taxed on six hearths in 1670 when it appears to have been let to the Wood family, the Brailsfords being still ensconced at Seanor. Towards the end of the 17th century (certainly before 1712) it passed to the Flint family of Crich and they seem to have rebuilt the house fairly extensively. This seems to have taken the form of demolishing the cross wing and extending the hall range by three bays, but in a fashionable classical style, with vertical mullioned and transomed cross windows (later adapted as sashes). A new entrance was included where this new range joined the 16th century or early 17th century work, so that to the left there was this new two storey range, and to the right the old three bays, which included the original attics. Hence
