| Painshill | |
|---|---|
 The Gothic Temple (upper left), Five Arch Bridge (lower right) and lake | |
  Location of Painshill in Surrey, England | |
| Location | Cobham, Surrey, England |
| Coordinates | 51°19′44″N0°25′46″W / 51.32889°N 0.42944°W /51.32889; -0.42944 |
| Created | 1738–1773 |
| Founder | Charles Hamilton |
| Owned by | Elmbridge Borough Council |
| Collections | John Bartram Heritage Collection |
| Website | www |
| Area | 212 acres (86 hectares)[a] |
| Official name | Painshill Park |
| Type | Grade I |
| Designated | 1 June 1984 |
| Reference no. | 1000125 |
Painshill (formallyPainshill Park) is a restored, 18th-century English park andlandscape garden inCobham, Surrey, England. It was created between 1738 and 1773 by the owner,Charles Hamilton, from an area ofheathland and woodland. Painshill is laid out as a series of scenes, crafted by combining architectural features with trees and shrubs, many of which are non-native species. Several of the survivingfollies arelisted in their own right, including the Gothic Tower, at the western end of the park, and the Gothic Temple, which overlooks the northern part of the lake. The Grotto, the largest in England,[3][4] is decorated withcrystalline mineral stones, includingquartz,feldspar andBlue John.
In designing Painshill, Hamilton was influenced by 17th-century landscape artists, whose works he had encountered onGrand Tours in continental Europe. Instead of trying to replicate specific artworks, Hamilton used the techniques of landscape painting to create scenes with contrasting emotional tones – from the solemnity of the darkevergreens surrounding the Mausoleum, to the brighter trees and flowers at the Temple of Bacchus. Advocates of thePicturesque were complimentary of Hamilton's work, particularly the hillier, western half of the park, whichHorace Walpole likened to a "kind of Alpine scene".[5] International visitors to the park and garden includedJohn Adams, the future American president, who wrote that "Paines Hill is the most striking piece of art that I have yet seen."[6]
Hamilton borrowed heavily to finance his work and was forced to sell Painshill in 1773. The estate passed through a series of private owners until the Second World War, when it was requisitioned for military use. In the late 1940s, it was divided intolots and parts were used for commercialforestry andpig farming. The architectural features began to decay and much of the land became overgrown. Concerns over the condition of the park were voiced in the following decades, leading to the purchase of over 150 acres (61 hectares) byElmbridge Borough Council in the late 1970s and early 1980s. In June 1984, around 212 acres (86 ha) of Hamilton's original estate was designated a Grade I Park and Garden on theregister of historic parks and gardens maintained byHistoric England.[1]
Restoration of Painshill began in the early 1980s, with the aim of reinstating Hamilton's original design wherever possible. Surviving architectural features, including the Gothic Temple and Ruined Abbey, were restored, and those that had disappeared completely, such as the Turkish Tent and the Hermitage, were reconstructed. The part of the park owned by the borough council was reopened to the public on summer weekends from mid-May 1989 and seven-days-a-week from April 1997. In January 1999, the park was awarded aEuropa Nostra medal for its "exemplary restoration",[7][8] and in May 2006, the plantation of non-native trees on the Chinese Peninsula was awarded "national collection status" by theNational Council for the Conservation of Plants and Gardens. Since 2000, Painshill has been used as afilming location for thefeature filmsDorian Gray andSuffragette and for thetelevision seriesBlack Mirror andBridgerton.
The earliest surviving record of Painshill is from 1548, when it appears asPayneshill in aLand Registry manuscript. The area may have been named after the Payne family, who owned part of the land in the late Middle Ages. A "Richard Payne" appears in the 1263assizes documents and the name "John Payne" can be found in localsubsidy rolls from 1332.[9] In the 16th century, the area surroundingPainshill House was recorded as the "Painshill common field" and "The Paynes Hawe".[10]
Painshill was originally part of the manor ofWalton-on-Thames, but had become separate by 1512, when a portion of the land was conveyed toRichard Foxe, thenBishop of Winchester. Foxe transferred his holding toCorpus Christi College, Oxford, which he founded in 1517.[10][11] In 1539,Henry VIII expanded theChase ofHampton Court, incorporating "parte of the Towne or Village of Cobham in the Countie of Surrie".[12] A survey of the chase from around 1540 identifies six areas within Painshill owned by theCrown, including the "Greate grove", of around 40 acres (16 hectares), and "hale hill", the future site of the Grotto.[10]
Henry VIII died in 1547 and Painshill was subsequently divided intoplots and leased. The two largest areas, the "Tenement at Payneshill" and the "Tenement at Coveham Bridge", became a single holding in 1570. Comprising around97+1⁄2 acres (39 ha), the united tenement forms the core of the land at Painshill owned byElmbridge Borough Council.[10] A survey of March 1649 suggests that part of the area was being used as arable farmland, although there were still significant areas of woodland.[13] There is also a record of awarren at Painshill in the 17th century.[14]
At the start of the 18th century, Painshill was divided between land leased from the Crown by Robert Gavell and afreehold property owned by the Smyther family.[13][15] Gabriel, Marquis du Quesne, bought the Smythers' land in around 1717, by which time it consisted of two or three farms. Du Quesne is thought to have built a house and laid out a small garden, but he was ruined as a result of the collapse of theSouth Sea Company in 1720 and he sold Painshill to William Bellamy in 1725.[13][15] Bellamy, a barrister at theInner Temple, also started to lease the land owned by the Crown, which had become available following the death of Gavell in 1724.[13][15]
Charles Hamilton was born in 1704 inDublin, the 9th son and 14th child ofJames Hamilton, 6th Earl of Abercorn.[16] In 1718, he became a pupil atWestminster School, where he was a contemporary ofJohn Petty, 1st Earl of Shelburne, the future owner ofBowood House.[17] He began studying atOxford University in 1720, where he formed friendships withHenry Hoare, who would later create the gardens atStourhead, Wiltshire, and the brothers Stephen Fox, the future 1st Earl of Ilchester, andHenry Fox, the future 1st Baron Holland. After gaining aBA in 1723, Hamilton set off on his firstGrand Tour in 1725 and, while in Rome, collected numerous artworks and became familiar with the landscape paintings ofClaude Lorrain,Nicolas Poussin andSalvator Rosa. He returned from Europe two years later and became the member of theIrish House of Commons forStrathbane.[16][18] During his second visit to Rome in 1732, Hamilton was introduced toGeorge Knapton, the artist and dealer, and his portrait was painted byAntonio David.[16][19]
Hamilton began to acquire property at Painshill in 1737, purchasing William Bellamy's freehold and lease from the Crown, and adding additional land to create an estate of more than 200 acres (81 ha).[13][16][a][b] He moved to Painshill in 1738 and began to create the park shortly afterwards. A map byJohn Rocque, dated 1744, indicates that the first part of the lake had been dug out and formal areas of planting at the Amphitheatre and Keyhole had been created.[20][c] In the mid-1740s, Hamilton began planting exotics, non-native species of trees and shrubs, some of which were supplied as seeds byJohn Bartram, an American horticulturalist.[21][22]
The earliest knownfolly to have been erected at Painshill was the Chinese Seat, described and sketched by Sophia Newdigate after a visit in August 1748. It is not mentioned in any subsequent first-hand account and Michael Symes, a garden historian, suggests that it was replaced by the Hermitage, first recorded in 1752.[23][24][25] The majority of the other architectural features were constructed in the late 1750s and early 1760s, although work on the Grotto continued until around 1770. Towards the end of the 1760s, Hamilton constructed abrickworks in the southern part of the park in an attempt to develop an income stream from his land; the scheme was a financial failure and he constructed the Ruined Abbey in 1772 to conceal the remains of the works.[26][27]
Although a relatively private person, Hamilton nevertheless entertained small parties of guests in the garden. On those occasions, refreshments were probably served in some of the follies, especially the Temple of Bacchus.[28] Painshill was also open to respectable visitors, not specifically invited by Hamilton, who were generally shown round by the head gardener for a tip after giving their names.[1][29] Among those to write about their experiences wereWilliam Gilpin, a leading advocate of thePicturesque, who considered Painshill "one of the most beautiful things of the kind I have seen",[30] andThomas Whately, the landscape garden author, who wrote that "a boldness of design, and a happiness of execution, attend the wonderful efforts which art has there made to rival nature."[31]Thomas Jefferson andJohn Adams, futureAmerican presidents, toured the garden in 1786, and Adams wrote in his diary that "Paines Hill is the most striking piece of art that I have yet seen."[6][32] Other international visitors included PrinceFranz of Anhalt-Dessau[33] and CountFerenc Széchényi, a Hungarian statesman and founder of theNational Museum ofBudapest.[34] Views from Painshill were painted on some pieces of theFrog Service commissioned byCatherine the Great of Russia fromWedgwood.[35][36][37] In the early 19th century,Jane Austen andJohn Claudius Loudon visited the garden.[38][39]
Although Hamilton had received an income while working as Clerk Comptroller toFrederick, Prince of Wales, between 1738 and 1747,[16][40] he also borrowed money from Henry Hoare and Henry Fox to finance the work at Painshill. The repayment of these loans became due in 1773 and Hamilton was forced to sell the estate to Benjamin Bond Hopkins.[26][36][d] In around 1778, Bond Hopkins commissionedRichard Jupp to build a new mansion to the south of Hamilton's residence, which became the site of the stables.[41][42] Bond Hopkins continued to invest in the park, constructing the Bath House and a boat house, as well as planting new trees.[26][e] He died in 1794 and, three years later, thetrustees of his estate sold Painshill toRobert Hibbert, a merchant.[26][44]
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Following Hamilton's departure in 1773, the subsequent owners had continued to allow visits to the park by members of the public. However, this access was withdrawn byWilliam Moffat, who purchased Painshill from Robert Hibbert in around 1801.[26][44] Moffat sold the estate in 1805 toHenry Luttrell, 2nd Earl of Carhampton, who moved to the property fromCobham Park. Luttrell was responsible for planting additional trees in several areas, including the Vineyard, the Amphitheatre and along the boundaries of the estate. He also planted anoak tree near the Grotto to commemorate theBattle of Waterloo[26] and commissioned the construction of the Ice House.[45] He died in 1821, but his widow continued to live at Painshill until her death in 1831, when it was sold to William Cooper.[46][47]
Cooper commissionedDecimus Burton to make alterations to Painshill House, reconfiguring the interior, so that the east-facing portico became the main entrance.[46] Cooper also installed the Grade II-listed Waterwheel, manufactured by Bramah, to raise water from theRiver Mole to the lake.[48][49] Cooper died in 1840,[50] but his widow, Harriet, continued to live at Painshill until her death in 1863.[51][52] The next owner was Charles Leaf, who bought the property nine years later and commissionedNorman Shaw to make further alterations to Painshill House. Leaf, who sold the estate to Alexander Cushney in 1887,[51] was responsible for renting Painshill Cottage toMatthew Arnold from 1873.[53][54] Arnold, a poet and cultural critic, lived in the cottage until his death in 1888.[55][56]
Alexander Cushney died in 1903, but his widow, Alice, remained at Painshill and married Charles Combe, who owned Cobham Court.[57] The Combes were responsible for starting a commercialtimber plantation on the estate.[51] Charles Combe died in 1920,[58] but Alice Combe continued to live at Painshill until the start of the Second World War, when the park was requisitioned for theCanadian Army.[51][59]
By the late 1940s, many of the architectural features were in an advanced state of decay, and the garden was becoming overgrown.Osvald Sirén, a Swedish art historian, observed on a visit to Painshill in 1947 that the Grotto roof had fallen in and that the interior was "filled with rubbish".[60][f] Of the Mausoleum little more than the foundations remained, the Temple of Bacchus was in danger of collapse, and the Turkish Tent and the Hermitage "had disappeared".[60] The Waterwheel was still able to supply the lake with water, although the Cascade was no longer visible.[61] In Sirén's opinion, the Gothic Tower was the "best preserved of the architectural monuments", and he suggests that it might already have been subject to restoration work by the late 1940s".[60]
In 1948, 236 acres (96 ha) of Painshill were purchased from the trustees of the Combe estate by the Baroness de Veauce, who divided the land intolots and sold it to separate purchasers.[1][62][63] Commercial forestry continued and part of the park was used as apig farm.[51][59] In 1973, theGirl Guides Association opened the Heyswoodcampsite on land that had originally formed part of the park,[64] and in the mid-1970s, a fire gutted the interior of the Gothic Tower, destroying the roof and staircase.[65][g]
In the 1960s, concern about the state of the gardens at Painshill began to grow. A successful campaign was launched in the early 1970s to persuade theHistoric Buildings Council for England tolist the remaining buildings.[59]Elmbridge Borough Council purchased 47 acres (19 ha) in 1975 and secured a further 106 acres (43 ha) in 1981.[68][69] In acquiring the land, the council hoped to restore Painshill "as nearly as possible to Charles Hamilton's original design... for the benefit of the public and with the aim of making the Park a self-supporting enterprise."[68][70][h]
Painshill Park Trust was formed in 1981 to restore the park and gardens,[71] and was granted a 99-year lease on the land that the borough council had acquired.[72] Detailed botanical and archaeological surveys, as well as archive research, were undertaken to fully understand the layout of Hamilton's park and its subsequent development.[73][74] The information gathered was used to prepare a restoration masterplan, published in early 1984. The intention of the trust was to have undertaken all major capital works by 1994 and for the restoration programme to have concluded within 15 years.[71] The first project, the restoration of the Gothic Temple and the surrounding land, was completed in 1985.[59][75] Much of the early work was undertaken by participants in aManpower Services Commission scheme, students fromMerrist Wood Agricultural College and volunteers, including a group from theBritish Trust for Conservation Volunteers.[71] In June 1984, around 212 acres (86 ha) of Hamilton's original estate was designated a Grade I Park and Garden on theregister of historic parks and gardens maintained byHistoric England.[1]
Although an education programme for schoolchildren had been launched at Painshill in 1983,[76] the park was not opened to the public until mid-May 1989. Visiting hours were restricted to weekends during the summer months, and the lack of acar park prevented full-time opening.[77][78] Aplanning application for parking facilities was submitted in 1984, but local opposition delayed approval until April 1993, when an inspector from theDepartment of the Environment overruled the objectors.[79] National Lottery funding of £848,000 was secured in mid-1996 to construct the car park and visitor facilities,[80][81] and Painshill was opened seven-days-a-week from April 1997.[82] In early 1999, Painshill was awarded aEuropa Nostra medal for the "exemplary restoration from a state of extreme neglect, of a most important 18th-century landscape park and its extraordinary garden buildings."[7][8] Around 200,000 people visited Painshill annually by 2022.[83]
When Charles Hamilton purchased Painshill in 1737, much of the area was heathland with some areas of woodland. The park was created on two naturalterraces to the north of the River Mole,[84] where the acidic soil is primarily sandy with some clay, peat and silt.[85][i] Hamilton began by trying to increase thefertility of the land, growingturnips on which sheep could graze.[87] In a letter written in the 1760s, he describes howlawns were prepared byploughing four or five times, before each acre (0.4 ha) was sowed with "six Englishbushels [around 8 imperial gallons, 36 litres] of the cleanest hayseed I could get and ten pounds [4.5 kg] of fresh Dutchclover seed".[88][89][j]
Initially Hamilton was restricted to planting native trees, such as oak,elm,lime,beech,ash andchestnut, as well as naturalisedpines andcedars.[91] The Great Cedar, which he planted next to the lake, was around 130 ft tall (40 m) and 10 ft (3 m) in diameter in 2010, and is reputed to be the largest multi-stemmed cedar in Europe.[91][92] In the mid-1740s, he began planting "exotics", non-native species of trees and shrubs, and he received two consignments of seeds from John Bartram, a horticulturalist inPhiladelphia, in 1748 and 1756.[21][22] North American species that Hamilton planted includewhite oaks,tulip trees andNyssa species, which provided a vivid display ofautumn colour.[93] Hamilton also received plants from the Abbé Nolin, an adviser toLouis XV in Paris, who was able to source species from theFrench colonial empire.[1][94] The variety of trees was admired byKarl von Zinzendorf, a Saxon-Austriancivil servant who, after visiting Painshill in 1768, wrote that the park was "premièrement par le choix des arbres".[38][95]Horace Walpole also praised Hamilton's planting scheme, noting that the exotics, "contributed to the richness of colouring so peculiar to our modern landscape".[96]
Hamilton plantedshrubs in several parts of the park. They were used to screen unwanted views and to force paths to take circuitous routes, giving visitors the illusion of greater distance as they moved between different areas.[97] They also provided an appropriate setting for the follies, with darkerevergreens creating a solemn backdrop to the Mausoleum, while more decorative species were found around the Temple of Bacchus, whichJohn Parnell described as being "dressed and clumped with sweet trees and flowers".[97] Loudon wrote in 1838 thatwhitethorn hedging was used to separate Painshill House from the park, and he also noted that Hamilton had planted some of the firstazalea andRhododendron species to be imported to England.[38][98]
Bond Hopkins, who purchased Painshill in 1773, continued to plant new trees and also removed those that Hamilton had planted but that had not grown well. Luttrell, who owned the park between 1805 and his death in 1821, introduced more native species, overplanting the Vineyard with Scots pine and creating large areas of oak,sweet chestnut and beech.[26][51] The Coopers, who acquired Painshill in 1832, introduced several new exotics, includingWellingtonias,Monterey pines anddeodar cedars. In the early 20th century, Charles and Alice Combe planted additional exotics, but also introduced commercial forestry species, creating plantations oflarch,Norway spruce andDouglas fir.[51]
Detailed botanical research was undertaken at the start of the 1980s, after Painshill had been acquired by Elmbridge Borough Council. A historic tree survey took place in 1981–1982, during which the positions and ages of around 8000 plants were recorded.[73][99] Around 170 trees were identified that had been planted by Hamilton.[100] Restoration began with the clearance of 20th-century plantations, as well as areas ofscrub where species such asalder had self-seeded.[75][101] Several large trees were lost during thegreat storm of 1987, including a 200-year-old oak, which was felled by the high winds.[70][102] Arboreal restoration was focused on reintroducing species that Hamilton had used at Painshill, with two cedars imported fromPisa, Italy, and other plants provided by theRoyal Horticultural Society from itsnearby garden at Wisley.[103][104][105] In May 2006, the John Bartram Heritage Collection of exotics on the Chinese Peninsula was awarded "national collection status" by theNational Council for the Conservation of Plants and Gardens.[106][107][108]
Painshill (formally called Painshill Park[1][109]) is a Grade I-listed park and landscape garden, around 1 mile (1.6 km) west of the centre ofCobham, Surrey.[1][36][a] It is laid out as a 4-mile (6.4 km) circuit, which 18th-century visitors typical followed in a clockwise direction.[110] It was created as a combined park and garden: The garden, centred on the northern shore of the lake, was highly cultivated and was described by some contemporary writers as the "pleasure ground"; the park lay to the west and to the north, and contained areas of woodland, although parts were also grazed by sheep.[111] The two areas were complementary, asThomas Whately wrote in 1770: "park and gardens at Painshill... mutually contribute to the beauty of several landskips [landscapes]..."[112][113] An unusual feature is thatPainshill House, which is not in public ownership, is not at the centre of the park and garden, and its location provided a degree of privacy for the owners of the estate.[114][115]
Unlike contemporary gardens atStourhead andStowe,Charles Hamilton did not intend Painshill to have a single unifying theme or narrative.[3] Instead, as Stephanie Ross writes, Hamilton's garden offered "a series of engaging visual scenes with contrasting emotional tones and carefully composed visual surprises, but did not have a complex meaning that visitors were to puzzle out."[117] The use of illusion is a key aspect of the design, and the planting was arranged to subtly restrict views across the park, producing adistorted perspective to give the impression of greater distance and scale.[118] Ross cites the open-sided Gothic Temple as an example of a "managed surprise", from which the vista across the lake to the Five Arch Bridge and Turkish Tent opens up.[3][119] She also notes that Painshill, like many 18th-century landscape gardens, cannot be seen in full from a single viewpoint and as a result "the visitor lacks a 'mental map' or sense of the whole."[119]
The 17-acre (6.9 ha) lake is at the centre of the garden[111][120] and forms the setting for several of the follies, including the Gothic Temple and Grotto.[120] It was developed in several stages from an existing pond or gravel pit,[3][121] and the final part, the section in front of the Ruined Abbey, was not completed until the early 1770s.[26][27] The water surface is about 10 ft (3 m) above theRiver Mole and there is a retaining dam between the two.[76][122] The lake has a complex shape, which Michael Symes suggests was "ingeniously devised to furnish variety, illusion and surprise..."[118][120] Whately observes that the lake "is never seen at once; but by its form, the disposition of some islands, and by the trees in them and on the banks, it always seems larger than it is..."[123] The restoration programme included the removal of islands that had been added after Hamilton had sold the park.[76]
The Vineyard, adjacent to the Ruined Abbey at the eastern end of the lake, was planted in the mid-1740s.[124][k] For the first few years, productivity was low and so Hamilton recruited David Geneste, an experienced vine grower andHuguenot refugee fromClairac, France.[124][125] Geneste introduced better cultivation methods and the quality of the wine improved as a result. He continued to work at Painshill until 1757. The Vineyard declined thereafter,[126] and was overplanted withScots pine in the early 19th century.[26][l] Restoration was completed in 1992, when2+1⁄2 acres (1 ha) of new vines were planted, and the first fullgrape harvest took place in 1998.[128][129]
The Amphitheatre is a formal oval lawn surrounded by evergreen trees and shrubs. It was restored in the late 1980s with species recorded on a plan of a similar area atWorksop Manor, drawn byRobert Petre in the late 1730s.[130][131] It also features a maturecork oak that may have been planted after Hamilton had left Painshill.[130][132] TheSabine Group, byIvor Abrahams, is at the east end of the Amphitheatre and was unveiled in 1992. Sculpted inbronze, it depicts a young woman being abducted by a naked male, who is stepping over her protesting father.[130][133][134] The original sculpture in this location, a half-size reproduction inlead ofAbduction of a Sabine Woman byGiambologna, was removed from Painshill in the early 1950s, although sources disagree as to whether it was sold or stolen.[133][135][m]
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The Grade II*-listed Gothic Temple is a wooden structure, plastered to appear as if made of stone. It overlooks the western half of the lake and provides a panoramic view of the central part of the garden. The structure has ten sides, of which six are open, and the ceiling has afan vault.[130][138][139]Arthur Young, anagriculturist, wrote in 1768: "As the temple is on rising ground, and looks down upon the water, the beauty of the scene is greatly increased. In point of lightness, few buildings exceed this temple."[140] In contrastHorace Walpole was less complimentary, casting doubt on the structure's authenticity, writing in 1761: "The whole is an unmeaning edifice... The Goths never built summerhouses or temples in a garden."[141] The Gothic Temple was the first building at Painshill to be restored. When work started in 1983, it was supported byscaffolding and was close to collapse. The restoration, completed two years later, included the clearance of the hillside between the temple and the lake.[142][75]
The Grade II-listed Ruined Abbey, on the northern side of the lake, was the last building to be constructed at Painshill by Hamilton and is not part of the circuit. It was built to conceal the unsuccessful brickworks and was completed in the early 1770s.[143][144][145] Although it originally had a roof and a wall at the rear,[144] in its restored condition it consists of a brickfaçade, plastered to appear made of stone.[143]Tim Richardson observes that the abbey is "wholly unconvincing either as architecturalpastiche or as a genuine ruin", but concedes that it is "effective nevertheless in its stark, limewashed incongruity". He further comments that the structure is "perhaps best enjoyed romantically as a reflection in the stillness of the water."[145]
The Grade II-listed Chinese Bridge is one of three wooden bridges built by Hamilton at Painshill. Ronald Yee suggests that the designs may have been inspired byI quattro libri dell'architettura byAndrea Palladio, translated into English asThe Four Books of Architecture byIsaac Ware in 1738.[146][147] The Chinese Bridge links the Chinese Peninsula to Grotto Island. It has ninespans, is around 5 ft (1.5 m) wide and has a total length of around 72 ft (22 m).[148] The name is a misnomer, based on the false premise that thecross bracing supporting the handrails is an Oriental motif, when in fact it is aPalladian style. Symes suggests that the misunderstanding is a reflection of the mid-18th century fashion forchinoiserie and notes that similar structures were common in landscape gardens in England during this period.[121] The restoration of the Chinese Bridge was completed in 1988,[149][150] but the structure was closed in 2023 after concerns were raised over the stability of the supporting pillars.[151][152]
The Grade II-listed Grotto, on Grotto Island, was constructed in the 1760s by Joseph Lane[153][154][155] and is the largest in England.[155][4] It consists of an entrance arch and a 60 ft-long (18 m) tunnel passageway, leading to a main chamber which is around 36 ft (11 m) in diameter.[4][156] The walls are built of brick and the roof istimber, but the exterior surfaces are covered withtufa limestone. The interior is decorated with a wide range ofcrystalline mineral stones, includingquartz,feldspar andBlue John.[155][156] The main chamber is primarily lit by openings onto the lake, with light reflecting off the water surface.[156][n]
Fredrik Magnus Piper, a Swedish architect who visited Painshill in 1779, described the interior of the Grotto as containing: "transparentspars,stalactites, crystallisations and the like, some descending from the vault in the form of hanging pyramids, chandeliers andbaldachins, some rising like pillars from the floor. These catch the sunbeams which are reflected from the surface of the water outside and break into the grotto."[158][159] Richardson notes that, compared with its contemporaries, the Grotto at Painshill is "fairly monochromatic, allows in lots of light, contains no shellwork and includes many more stalactites." He suggests that Hamilton and Lane intended to create "a geologically convincing scheme."[160]
By the time the borough council had bought Painshill in the late 1970s, the Grotto was derelict and its internal decoration had disappeared.[156] The roof is thought to have collapsed in the mid-1940s, after the leadflashing was sold to financeVE Day celebrations.[4][60] Restoration began in 1986[161] and was completed in 2013.[4]
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The timber Woollett Bridge links Grotto Island to the western bank of the lake and has a total length of around 50 ft (15 m).[148] First erected in the 1750s, it is named afterWilliam Woollett, whose engraving shows the structure in the 1760s.[147] It was built as a copy of atruss bridge over theCismon in northern Italy, designed by Palladio. The Woollett Bridge was replaced by a Chinese-style bridge in around 1770, but was reinstated to the original design in 2012.[147][148] During the2019–20 United Kingdom floods, the bridge was submerged on two occasions and the wood began to rot. A restoration project was launched and was completed in 2022.[162][163]
The Grade II-listed Mausoleum[164] was built overlooking ameander in the River Mole[165] and was designed to resemble a ruined Roman arch.[166] In Hamilton's time, therecesses in the walls were occupied by funeral urns, asarcophagus and other classical artifacts,[167] and the surrounding area was planted with dark-leaved evergreens, includingyews, to generate a sombre atmosphere.[71][97] Walpole was critical of the structure, which he described as acolumbarium, writing: "The Ruin... has great faults... The upper row of niches... are too high & in proportion more gothic than Roman. The tesselated [sic] pavement unluckily resembles a painted oil-cloth."[168] In the late 1980s, a partial restoration was undertaken to stabilise the remains of the Mausoleum and to relay the original floor, although the main arch span was not reconstructed.[169]
The Five Arch Bridge provides a focus for the views from the Gothic Temple and the Turkish Tent over the western part of the lake.[3][148] The design was based on a drawing by Palladio of the RomanPonte di Tiberio inRimini, Italy. The original bridge was constructed in wood, plastered to appear as if made of stone.[147] By the early 1980s, the structure had been replaced by an earthcauseway, but an archaeological investigation, undertaken when the water level in the lake was low, was able to identify and survey the foundations of the originalpiers.[170] In 2013, the bridge was reinstated in white concrete withcopings inPortland stone.[148]
The Cascade is thought to have been completed around 1760 and may have been built by Joseph Pickford, thestonemason who constructed the Grotto atClaremont. It was designed to conceal the pipework that fed water raised from the Mole into the lake.[171] Young wrote in 1768: "The water gushes in five or six streams, out of tufts of weeds, growing in the rock; really in the very taste of nature".[172] Symes suggests that although the Cascade at Painshill is a relatively early example, Hamilton may have drawn inspiration from similar features atVirginia Water and Stowe.[171]
The design of the first waterwheel to raise water from the Mole to the lake at Painshill is attributed byRichard Pococke, a clergyman and writer, to Hamilton personally. In atravelogue published in 1889, Pococke describes the wheel as having "four spiral square pipes from the radius to the center [sic]... it conveys the water to the axel where 'tis emptied, and the water is convey'd by pipes [to the lake]".[173] The wheel was replaced in 1770 by ahorse-operated pump, consisting of a series of 24-imperial-gallon (110 L) buckets attached to a looped chain.[174] This mechanism had been replaced by a new wheel by 1779, when Piper produced a detailed drawing.[175] A third wheel was purchased in the 1780s or early 1790s,[175] before the Waterwheel manufactured by Bramah was installed in the 1830s.[48][51][171] The 32 ft (9.8 m) diameterundershot wheel cost £800 (equivalent to £94,000 in 2023)[171] and is Grade II listed.[49] Restoration began in 1986 and was completed two years later. Although most of the mechanism had survived, the wheel had not turned since the mid-1950s and was badly rusted.[76][176]
The Hermitage was built to resemble atree house when viewed from the front and is elevated above the sloping ground below. It has athatched roof and is divided into a living room and bedroom.[23] It is thought to be one of the earliest follies at Painshill and is first recorded in 1752 byJoseph Spence.[23][24][o]John Parnell described the approach to the structure in 1763: "You strike into a wood of different firs, acacias, etc, and serpentining through it arrive at a hermitage formed to the front with the trunks of fir trees with their bark on, their branches making natural gothic windows."[178] Hamilton employed a man to live in the building as ahermit for a period of seven years, but he was dismissed three weeks later after visiting a local inn.[179][180] Although the ruins of the original structure were still present in 1897,[47] all traces had disappeared by the late 1940s.[60] The Hermitage was reinstated in 2004,[4] and a new hermit took up temporary residence that year.[181]
The 60 ft-tall (18 m) Gothic Tower is at the far western corner of the park and is Grade II* listed.[48][182] It is thought to have been inspired by abelvedere atClaremont, designed byJohn Vanbrugh in around 1716.[48][183][184] The four-storey brick building was originallylimewashed[183] and was used by Hamilton to display part of his collection of sculptures.[185] The tower was severely damaged by a fire in the mid-1970s, which destroyed the roof and staircase.[65][g] The restoration project, begun in 1986 and completed in 1989,[186][187] provided a tea room and exhibition space, as well as accommodation for a park ranger.[65][70]
The Temple of Bacchus was completed by October 1762. It was based on theMaison carrée atNîmes, France, and may have been designed byRobert Adam.[188][45] It was built withRoman Doric columns and was intended to display the statue ofBacchus that Hamilton purchased in Rome.[189] Whately described the temple and its setting in 1770 as "a scene polished to the highest degree of improvement".[190] The statue was sold toWilliam Beckford in 1792 and passed through several private owners before it was installed atAnglesey Abbey, Cambridgeshire, in 1928.[191] The columns and frieze were removed from the temple and were relocated to form a new porch at Painshill House in 1925, although the rest of the structure remained standing until the late 1940s.[192] A cast of the statue of Bacchus was installed at Painshill in 2008,[191][193] and the Temple of Bacchus was rebuilt in 2018.[194]
The Turkish Tent was installed at Painshill in around 1760. It was based on a design byHenry Keene and may have been inspired by a similar installation atVauxhall Gardens.[195][196]Clive Aslet and Nebahat Avcioğlu suggest that it represents the legendary Tent of Darius, in whichAlexander the Great supposedly freed the women and slaves ofDarius III afterdefeating the Persians in battle.[197][195] In contrast, Mavis Collier and David Wrightson argue that Hamilton was simply following a fashionable trend of erecting Oriental-style tents,[198] andAndrew Zega and Bernd H. Dams note that 18th-century landowners built these "inexpensive" structures "prolifically in their gardens, indiscriminately labeling them as Tartar, Turkish, Siamese or Chinese."[199]
Excavation work in 1985 revealed the brick floor of the first tent, from which dimensions could be calculated. It was not possible to reinstate the structure on its original site, which is mostly part of the Heyswood campsite, and so the replacement was erected to the south wholly on borough council land.[65] The current Turkish Tent is a 20 ft-tall (6.1 m) rigid structure, supported by a circular brick internal wall and metal stanchions.[200] The external parts of the new structure are made offibreglass, instead of the original painted canvas.[65][200]Christopher Thacker, a garden historian, suggests that the "'best' view" at Painshill could be obtained from the original site of the Turkish Tent "both outwards – to the south, beyond the Mole – and across the gardens..." and that Hamilton had intended to build himself a new mansion there.[201]
The Keyhole is a circular plantation of trees close to Painshill Park House. It consists of seven concentric rings of beeches and pines, and contrasts with the plantings of exotics elsewhere in the park.[20][202] It is shown on the map of Painshill dated 1744 byJohn Rocque, and Symes suggests that it may have been inspired by similar circular features at theVilla Ludovisi and theVilla di Castello in Italy.[20] Close by is theIce House, which was commissioned byHenry Luttrell.[45]
The Grade II-listed Walled Gardens, at the east end of the park, were built in 1756. They consist of three brick enclosures, arranged in an "L" shape. Primarily used as akitchen garden for herbs, fruit and vegetables, one of the enclosures contained a heatedgreenhouse, in whichpineapples were grown.[21][203]
The Visitor Centre was designed by the architectural firm,Feilden Clegg Bradley. The timber-clad building, which provides café facilities and a teaching area for schoolchildren, was completed in 2001.[45][204] Thefootbridge over the Mole, between the car park and the Visitor Centre, was completed in mid-July 1997 and includes adrawbridge section to close the park at night.[205] Designed by Kim Grady, it is built of tubular steel with splayed arches, one either side of the deck.[206] It has a total span of around 115 ft (35 m) and is 9.8 ft (3 m) wide.[148] It was part of a project funded by a National Lottery grant, that also included the construction of the ticket office.[81]
At the start of the 18th century, the majority of gardens in England were of the formalBaroque type, often focused on a rectangularparterre with areas of planting separated by evergreen hedging and gravel pathways.[207] However, the economic climate of the period meant that this style was becoming increasingly unsustainable. TheWar of the Spanish Succession and the collapse of theSouth Sea Company contributed to the strain on the finances of the British state and the aristocracy, and early inQueen Anne's reign,Henry Wise was instructed to reduce the cost of maintaining the royal gardens by two thirds.[208][209]Christopher Hussey, an architectural historian, writes that the emergence oflandscape gardens "seems to be traceable to the common English predilections for seeking to effect economies... and for sport." In particular he notes that the new style allowed the land to be laid out for horse riding and carriage driving, and that "providing a grand static view from a window or terrace" was a lesser priority.[208]
The change in garden design was also influenced by the evolution of political philosophies in Britain. As the importance of theroyal court diminished following theGlorious Revolution of 1688, landowners became more focused on developing their country estates.[210]Charles Hamilton was part of a circle ofPatriot Whigs connected toFrederick, Prince of Wales, many of whose members created landscape gardens in the early 18th century. This group includedRichard Temple, 1st Viscount Cobham (owner ofStowe),Francis North, 1st Earl of Guilford (owner ofWroxton Abbey) andGeorge Lyttelton, 1st Baron Lyttelton (owner ofHagley Hall).[211][p] They, like many other Whigs, sought to redevelop their Baroque gardens, which they believed were too closely associated with theabsolute monarchies of Europe.[210] AsAndrea Wulf, a historian of science, writes: "gardens like Painshill... allow you to experience, in its true glory, that revolutionary time when English gardeners dug up their topiary and planted a new world."[212]
Like many young aristocrats in the early 18th century, Hamilton visited continental Europe, embarking on twoGrand Tours in 1725–1727 and 1731–1734.[16][213] His ideas were shaped by the artworks that he encountered in Italy and by the landscapes ofClaude Lorraine,Nicolas andGaspard Poussin,[214] andSalvator Rosa in particular.[215][216] At Painshill, Stephanie Ross notes the similarities with paintings by Claude in the plan of the garden with the lake at its centre,[110] and Paula Deitz suggests that the "quiet aloofness" of the Temple of Bacchus echoes the style of the same artist.[217] H. F. Clark identifies Rosa's influence in the design of the Cascade, describing it as a "slice of the Alps... at the head of the lake", contrasting it to a similar feature that Hamilton designed atBowood, which he likens to "a picture by Gaspard Poussin."[218]
William Robertson, an Irish architect who visited Painshill in 1795, also acknowledges the influence of landscapes on the garden, writing: "Mr Hamilton studied painting for the express purpose of improving this place and such was his passion for planning and ornamenting that he expended the greater part of a fine property on this place."[219] Stephanie Ross argues that Hamilton did not set out to copy specific artworks,[220] but instead used the techniques of landscape painting to create the vistas and scenes at Painshill.[221]
The ideal of thePicturesque began to influence garden design in England from the 1730s onwards. A forerunner ofromanticism, it emphasised the importance of pictorial values in the creation and appreciation of artworks, buildings and landscapes, and challengedEnlightenment andrationalist views ofaesthetics.[222][223] One of its principal promoters,William Gilpin, defined Picturesque as "a term expressive of that peculiar kind of beauty, which is agreeable in a picture",[224] and proposed that landscape should be viewed in the same way as a painting, incorporating ruggedness, variety, and architectural elements.[225] Another advocate of the ideal,Uvedale Price, argued that the concept could be "applied to every object, and every kind of scenery, which has been or might be represented with good effect in painting."[226]
Hussey describes Painshill as a "proto-Picturesque garden",[227] and Hamilton's design of the Gothic Tower was certainly influenced by the work ofJohn Vanbrugh,[228] who was recognised by Price as one of the originators of the ideal.[229][q] Several leading proponents of the Picturesque were complimentary of Hamilton's park and of the western part in particular, whichHorace Walpole likens to a "kind of Alpine scene".[5] He continues, "the walks seem not designed, but cut through the woods of pines; and the style of the whole is so grand, and conducted with so serious an air of wild and uncultivated extent, that when you look down on this seeming forest, you are amazed to find it contains a very few acres."[232]
Hamilton may have been influenced by theferme ornée style, an early example of which was developed in the early 1730s byPhilip Southcote atWoburn Farm, also in northSurrey.[227][233] Whately visited the 150-acre (61 ha) farm in 1770, noting that around 35 acres (14 ha) were "adorned to the highest degree".[234] The concept of aferme ornée is described by Derek Clifford as "a genuine business-like farm, operating for profit as a farm... ornamented and equipped in such a way as to fulfil the function of a garden."[235][r]David Watkin, an architectural historian, writes of Woburn Farm that "Visitors were confronted with cattle, sheep and poultry to emphasise the modest pastoral charms of rural life."[236]Richard Pococke, the clergyman and writer, described Painshill in 1754 as a "most beautiful farm improvement",[3][173] and Hamilton's park shares some similarities with Woburn Farm, including its circuit, its indirect paths and the fact that it could not be seen in its entirety from a single viewpoint.[233][237]
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Several artists visited Painshill in the 18th century to draw and paint the garden. In the 1760s,William Woollett produced the engraving of the bridge that is now named after him, although the image may have been based on a sketch produced a few years before. Prints were distributed as part of a set, all by Woollett, entitledSix delightful Views of elegant Gardens.[238][239] The popularity of the engraving meant that unauthorised copies and inferior reproductions were made, one of which appeared as amirror image of the original in a collection of views of "jardins anglo-chinois" published byGeorges-Louis Le Rouge [fr] in Paris in the 1770s and early 1780s.[238] Woollett's engraving of the bridge is one of three images to appear on theFrog Service produced forCatherine the Great in 1773–74.[35]
Other British artists to depict Painshill includeGeorge Barret Sr. andSawrey Gilpin, who collaborated on an undated oil painting of the eastern end of the lake that shows the Vineyard and the Ruined Abbey.[240] A view across the western side of the lake, showing the Grotto and the Gothic Temple before 1773, is also attributed to Barret.[241] An oil painting of the Temple of Bacchus, dated to the 1760s, is attributed toWilliam Hannan who produced a series of landscapes of English country estates in the mid-18th century.[242]William Gilpin visited Painshill twice, in 1765 and 1772, on the latter occasion producing a sketchbook, which is at theSurrey History Centre, Woking.[243][244] A portrait of Benjamin Bond Hopkins at Painshill, byFrancis Wheatley and exhibited at theRoyal Academy in London in 1791, is at theFitzwilliam Museum, Cambridge.[245][246]
International artists visiting the park includedElias Martin, an engraver and landscape painter fromStockholm, who produced three sketches of views at Painshill in around 1770,[247] two of which were exhibited at the Royal Academy in 1777.[248] A sketchbook byFrançois-Joseph Bélanger, a French architect working in theNeoclassical style, contains several images of Painshill, and may have been produced over a series of visits starting in the late 1760s.[175][249]Henri Roland Lancelot Turpin de Crissé, a French aristocrat who fled theReign of Terror in 1793, produced eight drawings of Painshill before leaving England for Philadelphia in 1794.[250]Fredrik Magnus Piper, the designer ofHagaparken, a royal landscape park in Stockholm that also contains numerous follies, visited in 1779, producing a series of sketches.[175]
Painshill has been used as afilming location for several television series, includingThe Adventures of Robin Hood,[251]Vanity Fair,[252]Black Mirror,[253]Good Omens[254] andBridgerton.[255][256] The park was used as a substitute forHampstead Heath inDorian Gray, released in 2009,[257] and was used to film scenes forSuffragette, released in 2015.[258]
Media related toPainshill Park at Wikimedia Commons
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