C H A P T E R S I X

The Highest Point in the Park

Before 1750

‘The celebrated Brown’

‘A degree of grandeur and magnificence’

‘A more distinguishing character’

Another Wyatt

St Giles’ church

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‘The celebratedBrown’

When Viscountess Cobham moved to Stoke Park on the death

of her husband, she decided to make some improvements

and, in 1750, commissioned Brown to draw up a plan for

modernising the grounds. His original plan had been lost,

but John Penn described it as follows:

In this same year [1750] likewise, a plan for modernising Stoke was drawn

by another genius, the celebrated Brown, who had long consorted with

Lord Cobham, assisting him in the improvements at Stow. This plan,

having remained at the old house when in the possession of the present

owner, had, in common with that afterwards adopted, the object of pro-

ducing the appearance of a neutral river, by utilising five quadrangular

pieces of water, more suited to the taste of former times.

Stoke Park was one of ‘Capability’ Brown’s earliest commis-

sions, and his proposal of a Serpentine Lake was the fore-

runner of what became a typical Brown landscape. His use

of a series of existing fishponds to create a single lake

was repeated at Wimpole in 1767 and at Compton Verney

in 1768.

In 1760 Viscountess Cobham died, and, as she had no

heir, the estate was sold to the Hon. Thomas Penn, Lord

Proprietor of Pennsylvania, who was the oldest surviving son

of the Hon. William Penn, the founder of Pennsylvania.

Penn continued to carry out improvements to the estate.

However, nothing very radical was achieved before he died in

1775, to be succeeded by his son, John Penn, who was still

only fifteen.

Following the American War of Independence, the Penn

family lost its estates in Pennsylvania, but within the

compensation granted by the government John Penn began

substantial improvements to the estate. When he returned

to Stoke Park in 1788, the Old House was in such a state of

disrepair that most of it was demolished, leaving just a

single wing, rustic offices and the fruit gardens, with the

appearance of what Penn himself described as the villa rustica

and fructaria.

In 1789 (the year of the outbreak of the French

Revolution), the foundations were laid for a spacious new

house ‘nearly in the centre of the grounds, upon the situa-

tion several years before chosen by Mr Penn’. He had chosen

the location, presumably, because it was the highest point in

the park and therefore afforded the finest views.

The first building was a square block three storeys in

height. John Penn went to Rome and Florence in 1790 and

commissioned works by Grignion and Decure while, at the

same time, buying a number of old masters. Presumably, all

these were intended for the new house. He had already inher-

ited ‘a very great and eligant [sic]’ collection of paintings

from his father.

Penn commissioned Robert Naismith (c. 1745–93) as his

architect. A pupil of Robert Adam, Naismith had been

recommended by Sir George Howard of Stoke Place. Other

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Before 1750

As we shall see, 1750 is a key date in the development of Stoke

Park. Before then, the Old House had been completed in

1555 by Francis, Earl of Huntingdon, on the site of an earl-

ier house which had been crenellated – that is, built with bat-

tlements – under royal licence in 1331. In the 1580s and 90s

the house was owned, or more probably rented, by Queen

Elizabeth’s favourite, Sir Christopher Hatton, before passing

to the famous lawyer, Sir Edward Coke (commemorated by

the column in the park) in 1569. When Coke died in 1634

the house passed to Sir John Villiers, by this time Viscount

Purbeck, who had married Coke’s daughter. There seems to

have been some rebuilding of the house in the middle of the

17th century.

In 1729, Anne, Viscountess Cobham inherited Stoke Park

after her father, Edmund Halsey, bought it in 1724. During

the 1740s, her husband, Viscount Cobham, employed

Lancelot ‘Capability’ Brown at their house in Stowe, in north

Buckinghamshire.

For every client Humphry Repton kept a record in a bound Red Book detailing proposals for changes, maps, plans, drawings, watercolours, and before-and-after sketches. This is the view from the Mansion looking towards Windsor Castle.

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to Gray and suggested that Wyatt should design it.

For the Classic Ground, the area now occupied by the

Memorial Gardens, Repton suggested a walk connecting the

bridge, the church and the Old House.

The 1791 painting by Joseph Farington shows some of

Repton’s work. The tree on the left, which is approximately

where the blue cedar now stands in the Memorial Gardens,

is possibly the same one seen in the opposing view of the

Upper Lake and the Old Manor House in Repton’s moon-

light view.

Repton’s plans were modified and adapted. For example,

two of the main features in the east vista – the bridge and the

St Giles’ church from Repton’s Red Book.

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people’s views of Naismith were not as favourable and, when

he died in 1793, Penn commissioned James Wyatt

(1746–1813) possibly to complete the house, but certainly to

remodel and extend it. Wyatt added lower wings to the exist-

ing rectangular block and constructed a colonnade to link the

two. This work was completed by 1795.

The next person with a big reputation who was involved was

Humphry Repton, and as Penn himself said in 1790: ‘Mr

Repton … gave the general plan for the plantations which the

new situation of the house required.’

Repton began practising only in 1788, and Stoke Park was

therefore one of his early commissions. Nevertheless, he was

already adamant that the unity of the whole design was not

important.

‘A degree ofgrandeur and magnificence’

Repton said that

The character of Stoke Park both from the extent of the park and the

size of the house requires a degree of grandeur and magnificence in its

treatment, which from certain causes, are not always compatible with

picturesque effect.

Repton proposed:

View from the House south that the foreground should be lowered so as

to get a better view of the surface lake and that trees should be removed

from the Avenue to frame the view of Windsor Castle.

View to the west that the view of the alien corn lands should be exclu-

ded by a plantation and the creation of a ‘high polished garden scene’.

This garden was created and was later filled by John Penn with

busts and temples after the style of Mason. It was further

developed in the mid- and late-19th centuries.

View to the East that the wall around Stoke Poges Church should be

obscured by planting and that in the foreground should be more garden

similar to the view to the west.

In the approach to the house, the principal road would lead

naturally to it along a carefully planned route to ensure that

from the Bath Road, via the Lion Lodges, there was a glimpse

of the house. Repton noted that he did not like the position-

ing of the house. As a result, Wyatt designed a new one. The

approach from the Old House was not considered so impor-

tant, but nevertheless should offer a good view of the north

front of the new Mansion.

For the Pleasure Ground, Repton thought of a third lake

but rejected the idea in favour of a planted screen to block

out the view of the arable land.

For the churchyard, Repton proposed a Gothic memorial

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imagination, and was decorated with a series of grisaille

paintings by Robert Smirke (1752–1845) which were finished

in 1799 and were said to represent the principal epochs in the

history of letters and science.

Also dating from this period were the internal stair, with

its observatory above, as well as the two-storey portico on the

south side of the house. This two-storey portico was probably

influenced by Penn’s time in America, as it is a feature par-

ticularly associated with American classical houses. The lower

storey had a Greek Doric colonnade, the upper storey an

Ionic order.

All of this work was completed in the late 1790s. Further

additions were made in the first decade of the 19th century.

Wings to the south-east and south-west of the house were

built, linked by a Greek Doric colonnade along the south

side. The three-bay library was extended into the wings to

become a five-bay library, the end bays of which were semi-

circular and lit only from above. These wings, unlike those in

the north-east and north-west, contained principal rooms

such as the Great Breakfast Room and Dining Room, and

were approached through the Long Gallery.

The open areas on the east and west sides, lying between

the outstretching arms of the four wings, were partly enclosed

by open screens of Greek Doric columns supporting an

entablature. These framed the views of Gray’s monument and

the churches of Stoke Poges and Farnham. All four elevations

now contained an open colonnade as the central feature.

John Penn commissioned a marble relief of ‘The Landing

of Julius Caesar’ from John Deare (1759–98) in Rome in

about 1791. It was probably originally located in the Eating

Room. An article in Country Life in 1902 describes it being

located in the observatory. Later, sales particulars in 1957

described it in the south-west pavilion, and it is now located

in the stair hall of the Manor House.

Wyatt also carried out work in the park. After discussions

with John Penn and Humphry Repton, he designed the

Thomas Gray memorial and located it close to the church in

1799. The following year, the monument to Coke, again to

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sarcophagus – were added in 1798 and 1799.

Meanwhile, the erratic Wyatt (John Penn was one of the

few clients who managed to retain his attention over a long

period) carried on with a series of significant improvements.

His first attention was to build service wings to the north-east

and north-west of the house, linked by a single-storey Roman

Doric colonnade. The kitchens were put in at double height

in the north-east wing, extending through the basement and

ground storeys. The laundry was put in the west wing. He

united the three rooms along the south side of the ground

floor to form the library. The library was arranged after

Bacon’s threefold arrangement of reason, memory and

The Mansion from Repton’s Red Book.

A rather spooky view of the Mansion from the Red Book. Underneath was written:

Hard by your wood, now smiling as in scorn, Muttring his wayward fancies he would rove, Now drooping, woeful wan!

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This illustrates what was the North East Parlour, now the Centenary Room. Most of its original features including the fireplace, doors, cornice and windows have been saved, butthe windows look into another room and not the North Front portico.

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This is one of a series of watercolours of the interiors of Stoke Parkpainted in 1830, four years before John Penn’s death. This is theDining Room (now known as the Great Hall) showing the view to thepoet Gray’s memorial through what became the Orangery and at thetime was the outside of the building. The three doors, the niches andthe columns and frieze can still be seen today.

This illustrates the Banqueting Room. It also shows the view to the upper lake created by ‘Capability’ Brown in 1750 and the Repton bridge, designed in 1800. The monument to Gray is shown inthe distance.

This illustrates the Saloon, which was a double-height room on the South Front of the building overlooking the fountain and the view of the lower lake to Windsor Castle. Theroom was lost in the early part of the 20th century. The current Windsor bedroom is thelower half of this room.

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Another Wyatt

John Penn died in 1834 and ownership of Stoke Park passed

to his brother, Granville. Granville died ten years later and

his son, Granville John, inherited the estate. Unfortunately,

by this time the Penn fortune was dwindling and Granville

John felt he could not afford to carry on living in the

Mansion. He therefore moved to West End House and, after

overhauling the Mansion, offered it for rent. In 1848 the

estate was bought by Henry Labouchere (1798–1869), and he

employed Matthew Digby Wyatt (1820–77), a distant cousin

of James Wyatt.

During the 1850s Digby Wyatt, best-known for his work on

the 1851 Great Exhibition (Labouchere was one of the com-

missioners), organised a series of glazed enclosures, some of

which had the ridge and furrow glazing typical of the Crystal

Palace, the home of the Great Exhibition. The enclosures

were given floors of Minton tiles and the Dome was con-

structed along the lines of the monument to Baroness Eveline

de Rothschild in the Jewish cemetery in West Ham which

Wyatt had constructed.

Other works undertaken by Wyatt were the replacement of

his namesake’s simple blocking course at the parapet with

balustrades and cast iron panels, and the removal of the

upper part of the south portico. The moulded scrolls on

chimney stacks also probably date from this period. Many of

the principal rooms were redecorated and the interior of

the south-west pavilion was remodelled, with projections

being constructed on each side of the chimney piece, one to

house a wine cellar, the other to conceal a stair down to the

basement.

The Florist magazine wrote in 1853:

Several acres have been added to the pleasure grounds and laid out in

clumps of shrubs with grass vistas between them. Piruses have been

planted in several of these openings – P. pinsapo, P. nobilis, P. fraseri, P.

cephalonica, P. douglasi, P. patula, P. insignis and Abies menziesia and Cedrus deodar.

There is no mention of busts and urns, and it is possible that

Granville John had felt it necessary to sell them before the

sale to Labouchere.

In 1853 The Florist described the new terrace:

Round three sides of the mansion a grass terrace, between thirty and forty

feet width has been formed, with a walk in its centre fifteen feet wide,

terminated at each end by a flight of stone steps which leads to the adjoin-

ing pleasure grounds.

In the late 1850s Labouchere took his moveable collections to

his estate in Somerset, and in 1863 Stoke Park was bought by

the wealthy businessman Edward Coleman (1834–85).

During his ownership, the North Lodge with its associated

iron railing screen to the north was built, as well as

Monument Lodge to the west, Windsor Lodge to the south-

east and the Tradesmen’s Lodges which flank the present

main entrance.

Unfortunately, Coleman’s business interests collapsed,

forcing him into bankruptcy. The estate was put up for

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Wyatt’s design, was built as a Roman Doric column, 60 feet

in height and with a Coade Stone statue of Sir Edward Coke

modelled by John Charles Felix Rossi (1767–1839). Rossi

would later become a popular sculptor, but in his early career

he was employed by Coade.

In 1798 Wyatt had designed the south (Lion) Lodges and

in 1802 the Gothic vicarage. He was also slightly involved in

the construction of the bridge across the lake, although this

comment by the painter Farington suggests that it was mini-

mal and it was Repton who was responsible for the design:

Wyatt called on me – I mentioned Penn’s monument. He will consider it

on the road to Newmarket where he is going. Penn, he thinks, has been

cool towards him on acct of building a Bridge – with which in fact he had

nothing to do only measuring – he disapproved of the design of it and the

situation. He was only paid £10 or £11 [£1,100 or £1,200 in today’s

money] for measuring it.

‘A more distinguishing character’

By 1808 the main developments that John Penn had planned

had been completed. In his 1813 account, Penn writes of ‘the

removal of the road and removing the Entrance to a more

distant point’ on the east of the park. Apart from this, the

layout of the park remained virtually unchanged for 100

years. The house was also finished as far as Penn was con-

cerned, and he turned his attention to ‘a plan for giving a

more distinguishing character to the dressed part of the

grounds divided off from the park, long before, under the

direction and after the design of Repton’. He was referring to

the Pleasure Grounds on the west side of the house, and the

work included the interspersing of urns, busts and garden

seats among the trees. This was an attempt to recreate the

scene described in the poem ‘English Garden’ by the

Reverend William Mason, who had visited Stoke Park in 1792

and who had written to Penn about the planting around

Gray’s monument.

The idea was to isolate the Flower Garden from the gen-

eral scene, as laid out in Mason’s book of the English garden:

The Flower Garden being professedly a work of art will no more desire

to catch prospects beyond its own limits than it seeks to be seen from

without itself: the internal scenery, therefore, must consist of objects

adapted to a neighbouring eye, present it with graceful architectural

forms, and call to mind by their emblems the Virtues and Arts, that

deserve our cultivation or by their busts the names of men, who, by

cultivating these, have deserved our grateful remembrance.

Repton’s Red Book of 1795 shows the intended layout and was

used as the basis for work carried out between 1810 and 1813.

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House on the west side of the Mansion, and this was now con-

verted into a series of rooms. The kitchen was moved from

the north-east to the north-west pavilion and the ground

floor was raised by about three feet to give better headroom

in the basement kitchen below.

Further lodges were constructed, although the Lion

Lodges remained as the principal entrance to the park.

Extensions to the park made the former Monument Lodge

redundant, and it became known as Penn’s Folly. Farnham

Lodge was built instead to protect the western approach.

Gardening World of 1892 describes the pleasure grounds as

‘beautifully laid out with ornamental trees and shrubs … Fine

views are obtained here and there amongst the trees and form

a rustic house on one side of the pleasure grounds. A view of

Windsor Castle is obtained by means of a vista, trimmed on

purpose through the trees.’

And a year later, the Gardener’s Chronicle wrote:

Around the mansion the gardens were well and judiciously laid out and

planted, and time has allowed of the various trees to assume stately pro-

portions, and of the shrubberies in which the Rhododendrons,

Laurustinus, Portugal Laurels, and other bright green-leaved evergreens

predominate, to form the screens and shelters which the designer had in

view. Thus, even close to the house, many beautiful and secluded walks

appear where little of the surrounding gardens can be seen, except where

openings in the shrubs allow of the eye taking in some or other of the fine

conifers. Few views in gardens can excel some of those in the grounds of

Stoke Park. At the end of one of the walks near the mansion a noble

Araucaria imbricata of perfect shape, and about 50 feet in height, is visible,

backed by Cupressus Lawsoni and Abies, on each side and in front of the cen-

tral object being specimens of Libocedrus decurrens – that on the left-hand

straight and columnar, some 60 feet in height; that on the right more

oval in outline and slightly less in height. Winding beyond this fine

garden-group, the walk leading to higher ground discloses through a vista

in the trees, another fine view of Windsor Castle.

During Bryant’s ownership there were several developments

and improvements, including the replacement of the dome,

the creation of the sunken garden and the planting of many

trees and shrubs in the pleasure grounds. In 1911, by which

time Bryant was dead and Nick Jackson was still living in the

house, parts of the park and other packages of land were sold

for housing.

During the time that Jackson was running the Club there

were some alterations to the house, including the splitting of

the double-height first-floor saloon into two storeys by car-

rying the second floor through and installing additional win-

dows on the south elevation to light the second-floor rooms.

An additional staircase between the first and second floors

was also constructed.

St Giles’ church

A striking feature of the Stoke Park Club estate is St Giles’

church, which nestles beyond the lake close to the Manor

House. In all seasons and in all weathers it enhances the view

and ambience of the golf course.

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auction in 1882 and 1884 and finally sold to Wilberforce

Bryant, chairman of the Bryant & May match firm, in 1887.

He embarked on a number of alterations.

The central stair and the adjoining Eating Room to the

east were united, allowing the rebuilt staircase to be enlarged

and extended. A gallery at second-floor level was built across

the upper part of the original stairhall. Digby Wyatt’s

fernery, which had used his cousin’s recessed colonnade on

the north elevation, was fully enclosed to provide additional

accommodation, while the Billiard Room to the west of the

entrance was doubled in length. Digby Wyatt had also

enclosed his cousin’s open colonnade to form the Palm

The painter, Joseph Farington, wrote in his diary on 14 January 1799: ‘Mr Penn spoke to me about painting views of Stoke, as, the Monument being up, the place appears finished.’He had already painted the Mansion which showed some of James Wyatt’s and Humphry Repton’s work.

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Another view of the Mansion by Farington. He wrote in his diary on 20 November 1799: ‘Mr Penn called, daily more in love with his house etc at Stoke.’

How old is the church? Like many very old buildings,

sections of it were built at different times with differing

influences and styles. Part of the chancel wall and window

date from Saxon times. The pillars, another part of the

chancel and part of the tower can be traced to 1086 AD,

i.e. Norman times. The nave, reconstructed on the Norman

pillars, was built about 1220 AD in the Early Gothic period,

and finally, the Hastings chapel was built in about 1558, the

Tudor period.

The front of the porch at the entrance of the church was

constructed out of two great oak timbers over 700 years ago.

Inside, the nave was the subject of considerable renovation at

the end of the 19th century when the plaster was stripped off

the walls and the flat ceiling removed. This opened out the

roof, revealing its heavy beams and timbers.

In the south aisle is a double piscina and aumbry (or

ambry, i.e. a locker). These probably belonged to the chantry

founded in 1338 by Sir John de Molyns. An order of the

time instructed churches to install piscinas, one for the

ceremonial altar vessels. However, few churches obeyed this

order and, as a result, St Giles’ piscina is a rare example.

In the chancel wall, the tomb on the left side is that of Sir

John de Molyns, who was Marshal of the King’s Falcons and

Supervisor of the King’s Castles. The tomb is in the form of

an Easter Sepulchre, and was used to typify the burial and

resurrection of Christ. As the church booklet says:

It was probably used in the late middle ages to re-tell the story of

Christ’s Death and Resurrection. On Good Friday the Priest would

take the cross from the altar, wrap it in black cloth and lay it on the

tomb. There it would remain throughout Good Friday and Holy

Saturday as a sign that Jesus died and was buried. On Easter Day when

the people came into the Church they found the tomb empty and the

cross back on the altar surrounded by lighted candles. It was a sign

that Christ is risen from the dead and a reminder for everybody that

His way of life, the way of love, cannot be defeated.

The doorway from the chancel, built in the 15th century,

opens into a cloister which connects the church with a vestry

which was built in 1907. In the east of the sanctuary, the

lancet window is a fine example of modern stained-glass

workmanship. On the other side of the sanctuary is another

piscina. The Norman window in the north wall of the chan-

cel was restored in 1947 by Mrs Henry Allhusen, ‘In memory

of the fallen of the Allied Nations in the War 1939–1945’.

The small square window going through to the inner north

wall of the chancel, close to the piscina, was possibly used by

a priest in the sacristy to keep a watch on the altar while he

was waiting for his turn of duty, or it might have been the

window of a hermit’s cell, giving a view of the altar.

The tower – the ‘ivy-mantled tower’ of Gray’s ‘Elegy’ – has

lost its ivy, as it was threatening the structure. Originally the

bells were rung from the floor of the tower, but John Penn

turned this area into a Manor House pew in 1800 and the

bells are now rung from a higher storey.

The Hastings chapel, of red brick and with stone

mullioned windows, is the first part of the church seen by a

visitor coming up the path. The chapel was built in 1558 for

the inmates of the nearby almshouse. On the south wall is

a mural monument dating back to the early 18th century

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with cherubs’ heads above and skulls below. There is no

inscription to say what it is supposed to commemorate. To

incorporate the chapel into the church, the south chancel

walk was removed in the late 18th century, and in 1946

restoration work was carried out thanks to the generosity of

Colonel Wallace Devereux in memory of his son, killed in

action for the RAF in 1944. The new work comprises an altar

table with a simple reredos (an ornamental screen). The new

central light in the window above is the crucifixion in stained

glass. Over to the east window is a tester (canopy) with a blue

ceiling powdered with gold stars. The whole is a near-perfect

restoration of a chapel of the Tudor period.

The Manor House enjoys its own private entrance to the

church through the passage or ‘cloister’ opposite the porch.

The church booklet explains the details of the cloister:

This cloister – panelled with oak and lit by four indifferent painted

windows – leads into a low hall, or vestibule, formerly the freehold of the

owner of the Manor House. In this vestibule, there is some old glass of

considerable interest. Four of the windows were till lately filled with

Flemish glass, placed there by the late Edward Coleman, Esq., and

evidently made for windows of larger size. These windows were sold by the

owner of the Manor House in 1929. The remaining glass was brought,

according to tradition from the Manor House, on its partial destruction

in 1790. It displays the arms of Roger Manners (son of Dorothy Vernon,

of Haddon Hall, who – as the story runs – eloped with Sir John Manners

in 1558, and so brought Haddon into the family of the Duke of Rutland);

of John Fortescue (the daughter of Dorothy Vernon and John Manners

married Sir Francis Fortescue); of Sir Walter Mildmay, the founder of

Emmanuel College, Cambridge, from which proceeded John Harvard,

the founder, in his turn, of Harvard College in America; and of the

families of Ducie and Pipe.

There are a number of memorials, though there are now

none of the significant people buried in the churchyard, such

as the founder, de Molyns, the first Earl of Huntingdon,

Lord Hastings of Loughborough, the Clarges family, Lady

Cobham, and the Huguenot Dean of Windsor, Dr Gregory

Hascard.

Within the altar rails are three brasses. The oldest, on the

north side, is to Sir William de Moleyns, killed in 1425 at the

siege of Orléans, and his wife, Dame Margaret. On the south

side is the slab where the effigy of their daughter, Alianore,

used to be.

The third brass is to Edward Hampden, his wife and

daughters. Edward was of the same family as John Hampden,

famous for resisting the King’s illegal Ship Money tax.

Earlier, Mistress Isabel Hampden of Stoke Poges was accused

with her family of being ‘Popish recusants’, and their house

was searched for compromising documents.

On the north wall of the chancel is a tablet in memory of

the 48 Stoke Poges men who died in action in the First World

War. In the west window is incorporated what is known as the

‘Bicycle Window’, so named because the figure bestrides a

contrivance which looks like the ancient hobby-horse, which

he is pushing with one foot while blowing a trumpet. This

is designed as a memorial to those who fell in the Second

World War.

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An engraving at the time of Humphry Repton showing the Mansion, St Giles’ church, the Gray Memorial, the Coke Monument and the Manor House.

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The Bryants created a Japanese Garden. Here it is in summer. And in winter.

C H A P T E R S E V E N

‘Now, Pa, don’t be cross!’

Sport mad

The Corinthians

Tennis

The exploding popularity of golf

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The South Terrace at the beginning of the 20th century.