In the process of researching my latest writing project – a Gothic novel based in 1859 and set in a (fictional) grand house converted from a medieval monastery – I have been visiting settings akin to that in my story. Alongside reading various historic houses guidebooks, this has enabled me to visualise how a monastery would evolve into the Victorian House. As both an architect and writer, this evolution is particularly fascinating to me.

This meant that when I returned to my Midland roots for a weeks holiday, I was able to visit Newstead Abbey in Nottinghamshire and had a delightful day exploring.

Purchasing, and subsequently reading, the excellent history book ‘Newstead Abbey, A Nottinghamshire Country House: It’s owners and Architectural History. 1540-1931’ by Rosalys Coope and Pete Smith, I have a very useful understanding of the chronology of Newstead Abbey development. In summary (noting that redecoration and refurbishing would have taken place throughout the history of it’s habitation):

• 1100s founded as an Augustinian Monastery, with various stages of expansion and refurbishment.
• 1540 purchased by Sir John Byron and converted into a family home following the dissolution. Demolition of the church (with the exception of the grand west end which remains a stunning feature of the house to this day).
• The Fourth Sir John Byron made Baron (1^st Lord) in 1643 by King Charles 1^st. Carries out further building works, especially to the Grand Dining Room/ Salon.
• The Third Lord Byron (William), carried out major building works between 1679 – 1695 Most of this work has now been lost to later changes.
• Between 1695 and 1736, the fourth Lord Byron (another William) carried out similarly grand redevelopment works to bring the house up to ‘contemporary’ living standards.
• The Fifth Lord Byron (yet another William), brought Gothic Revival to Newstead (externally at least) in the mid-late 1700s with the construction of numerous garden structures (follies, stables and kennels, sluice gate) and alterations to the service wing.
• The Sixth Lord Byron (George, the poet), was limited by funding and his works are minimal, and he was forced to sell the estate in 1818.
• Thomas Wildman carried out a significant refurbishment and reconstruction between 181 and 1859.
• On his death, the Webb family purchased the estate and carried out their own high Victorian developments between 1860 and 1925.

I was fortunate that during a week of mixed weather at the start of April, I arrived in glorious sunshine which allowed me the opportunity for a coffee and sketch in the garden before I cracked on with my ‘research’. (During which time I was visited by the glorious peacock, who promptly left presumably disappointed that have nothing for him to eat).

I initially wandered past the house entrance, which given that the entrance is through the main house entrance on the front (West) elevation is a slightly embarrassing oversight (the entrance is not subtle, with a neo-gothic porch). In my defence, however, it wasn’t helped by the signage highlighting the shop, not the house. But, once inside passing under the vaulted porch and up through the stone steps into the great hall I was entranced.

I was met by an astonishingly helpful, welcoming, volunteer who was generous with her knowledge and her time. She was kind enough, on discovering my architectural background and interest in the former abbey, to open a few closed doors and show me old staircases that are tucked into the very fabric of the building or hidden behind later Victorian panelling. She highlighted the location of the guard-robe of the former abbot’s rooms, which was inaccessible but allowed me greater understanding of the architecture to the front of the house. Between her assistance and my thorough examinations, I managed to spend four hours absorbing the history.

The rooms accessible on the tour are furnished and decorated in the Victorian style as last occupied by the Webb family. There is a great range of artwork – many landscapes reflecting Newstead Abbey itself, which is a fascinating insight into the development of the house. The grandeur of ages past is clearly present, which obviously must acknowledge the social disparity in our history, but with it comes the craftsmanship.

Four ornately carved timber overmantels from the 1600s are on view above grand stone fireplace surrounds. Carved plaster lines many of the ceilings, except at ground floor where sweeping stones vaults of the original monastery have a simple magnificence. The sheer volume of the great hall and Salon (or great dining room), the dark timber ceiling and wall panelling.

The one exception to this ‘fully furnished’ principle, is Lord Byron’s dressing room. This has been fully stripped back – in the 60s I understand – with a view to refurbish and re-decorate it but has been left. The timber roof trusses, stone floor and masonry walls are all bare, which gives an interesting insight into the construction, showing the various ages of the materials and techniques. For me, it also added a sense of grounding, seeing the bare bones of the building.

Due to the evolution of the house over centuries, there are many changes in level, and corridors and sub-corridors (at times feeling a bit like a rabbit warren… I have to say that having the floor plans in the history book was very useful!) which will unfortunately make much of the house inaccessible to wheelchair users. Perhaps in the future there will be some means of providing 3d headsets to enable visual tours.

As part of the celebrations for the 200^th anniversary of Poet Lord Byron’s death (on this day, 19^th April, in 1824) there were additional exhibition pieces to discover.

New poetry inspired by objects in the house, commissioned from various local poets, is presented alongside the objects. These are reflections on the social and physical heritage of the house, sometimes (fairly) critiquing the unjust traditions of the past, sometimes celebrating the objects and social connections that they formed.

Alongside this, Byron’s own words are highlighted in small boards throughout the house. These are extracts of his poems, or letters which relate to Byron’s experience and inspiration at Newstead Abbey. It is an interesting note that Byron himself only lived at Newstead Abbey for 6 years between 1808 and 1814, with his poetry developing for publication (in Newark 1807) whilst he was living in Southwell (1803 – 08). Newstead’s influence on him has been carefully curated for this exhibition to highlight the importance of this, his family seat (in the Byron family for 280 years) on the poet. Without studying his full collection of works and any private records – letters, diaries etc. – it is hard to know if this is a fair representation. Regardless, it is always interesting to be able to see the relation between the writing and the place which inspired it.

Small white and gilt porcelain figurines created by Jemma Gowland are located throughout the house. Sometimes in natural positions – on shelves – and sometimes less obvious positions. Looking for them would have been an interesting study in itself, but was not high on my agenda so there are likely to have been many that I missed. Those that I did see were beautifully crafted.

Several videos explored the relationship between Newstead Abby on Lord Byron, other houses in the area which played host to the poet (including insight into his home in Southwell), and his relationship with Greece. These incorporated many personal reflections on connections with Byron and highlights the importance of his legacy. These provided a fascinating insight into the man, whom I have only a vague understanding of – perhaps as a bit of an excentric character with his romances, his travel and his poetry. I now have a greater appreciation of his politics, as a man who stood up for the underdog – standing up in court for the Luddites, and providing financial and in-person support for the Greek fight for independence. An interesting note was raised, that at his untimely death at the age of 38, he was still in his prime, with no subsequent actions/ decisions to tarnish this reputation.

I was also fortunate that most of the visitors during this school holiday period were outside completing the Easter Egg hunt, so there were relatively few people in the house.

As with most grand houses, the gardens include a parkland estate (dotted with the 5^th Lord Byron’s follies) and lakes, several walled gardens, and ornamental areas. I only spent a short time exploring on this visit, but enjoyed what I saw. I know some have concerns that the gardens are not as well looked after, especially the walled gardens, as they perhaps could be. I cannot comment (and certainly understand that financial constraints within the Council who own and manage the whole estate will play a considerable part), I simply enjoyed the sunshine, open air, and sound of the gushing water. So much, that I even paused on the stepping stones (and who doesn’t like a good stepping stone) to sketch part of the Japanese garden.

My one complaint would have been the prices. Paying £6.00 for parking as well as £12.00 for entry to the house. However, reviewing the fees for an equivalent National Trust Property (Anglesey Abbey), this is entirely comparable. Perhaps I felt this cost more, because I have the benefit of National Trust Membership.

There are any number of details that I would love to re-visit and sketch, and a return to Newstead, is certainly in my plans, though when is very much up for question. I would certainly recommend a visit to Newstead Abbey to anyone interested in any (or indeed all) of the following:  Victorian interior design; Medieval Architecture; the evolution of the country house – social and physical history; 6^th Lord Byron and his poetry. For those interested in learning the history, and indeed understanding the architecture and the social history of its development in more detail, the book is a must. Look out for my Goodreads review in the next few weeks.

I am certainly now better informed and more inspired to build my fictional manor house.