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| THE ATTINGHAM SUMMER SCHOOL An extract of a report sent us by Melanie Clifton-Harvey, a 2006 Decorative Arts Trust Attingham Scholar. In 1999, leaving my work as a stone conservator at Lincoln Cathedral in England, I moved to the United States. Since then I have worked with a number of historical societies and museums. I realized that I wanted to explore the development of the decorative arts in England and their effect on the colonies more thoroughly; and felt that the Attingham Summer School would be invaluable. A scholarship from the Decorative Arts Trust made my attendance possible.
The first week of the program centered around introductory lectures and gaining a basic but thorough understanding of the country house system, including British architecture, decorative arts and the houses and interiors we would visit. Our first two houses, Arundel and Uppark, were inspirational and eye-opening, We heard a talk on heraldry at Arundel Castle, the ancient home of the Duke and Duchess of Norfolk. Uppark was the scene of a terrible fire in the late 1980’s, and has been completely restored to reflect how the house looked the day before the fire. This is an unusual point on which to base a restoration; the tours include photographs of the rooms after the fire, showing just how much damage was caused. We had the privilege of being guided in part by Martin Drury, who had been part of the rescue effort. The emergency planning and procedures had been a successful joint effort between staff and Fire brigade members. Many objects were saved: a monumental task, as there are over 12,000 silver objects alone. The visitor center includes an exhibit surrounding the fire and the restoration efforts; and the suitability of this focus was a subject of much discussion on our journey home. Our stay at West Dean, the estate of the eccentric Edward James, is filled with astounding interior furnishings including tapestries, statuary and cases of stuffed birds; and was sharply contrasted by our walking tour of the Weald and Downland Museum. This living history and landscape museum, with its rolling hills and flocks of grazing sheep, combines multi-period cottages, houses and farm outbuildings from many areas.The chance to see how Britain’s vernacular architecture was developing alongside the Country House and its estate community was invaluable. It was truly wonderful to visit Standen, an Arts and Crafts landmark. Excitement about the introduction of electricity and the light bulb was not something I had considered before in historic interiors. Generally one visits Country Houses during the day, so never really gets a chance to understand how important the introduction of electricity was, from a lighting standpoint. We were able to see in situ William Morris artifacts under the bare light bulbs of the period, and to experience the pleasure people felt at the advent of the miraculous electric “night lights.” They closed the curtains for us, simulating night time, and let us wander through the property illuminated only by electric light. My favourite site was most definitely Brighton’s Royal Pavilion, an exotic Regency building with perhaps the most opulent interior of its day. We were permitted inside one of the “Onion” towers, to see the inscriptions and marks made by previous plasterers and carpenters, and treated to a very special reception in the fantastic kitchens. The second week was spent in the Nottingham area. We visited Broughton Castle, Kedleston Hall, Calke Abbey, Bolsover Castle, and the privately owned Flintham and Winkburn Halls. Following two days at Chatsworth House, we ended the week with a visit to Hardwick Hall and the partially-ruined Hardwick Old Hall.
For us “textilians” one of the joys of the Attingham Summer School is being able to experience the wonders of a state bed displayed with its full complement of curtains, like Calke Abbey’s pristine Chinese silk hangings. The textiles we had access to were of a phenomenal quality and condition. Along with interior furnishings of the houses, “below-stairs” fascinated me; and I gained a better understanding of this aspect of the houses. Peter Brears’ presentation on food preparation and the below stairs community was a highlight of the course. Peter was wonderful to listen to, when he spoke in the kitchens at Hardwick Hall. Many of the houses we visited had kitchen and downstairs rooms on display with equipment, clothing and other interpretive aids which helped to connect the owners with the servants and their duties. I learnt a great deal about the segregation, management, and hierarchy of the staff. The third week changes annually, and this year was based in Manchester. We visited Sudbury Hall, Biddulph Grange Gardens, and Dunham Massey; and privately-owned homes including Henbury Hall, an exact replica of the Villa Rotunda. Quarry Bank Mill, established in 1764 and expanded into the 1860’s, is the best preserved mill in the United Kingdom. Encompassing the industrial revolution’s technical engineering, it saw the spinning jenny, spinning mule, power loom, largest working water wheel of its time, and the only other water frame in England. I currently live in Lowell, Massachusetts, the first town built around the textile mills in the United States, and now a National Park. I was delighted by Quarry Bank. To actually see the machines running, and gain a real perspective on the noise, danger and hardships experienced by the majority, while studying the houses of the minority, was truly inspiring. Throughout the program we had lively discussions, as well as topical Mr. Melville particularly focused on Little Moreton Hall and Hardwick Hall. It was fascinating to see the steps taken to stabilize the long gallery at Little Moreton. Having settled for a few centuries, the Long gallery is no longer level. To prevent any further subsidence, a number of procedures have been carried out, including the addition of steel girders into what was initially a purely timber-framed building. My second favourite site was Little Moreton Hall. It is the most picturesque example of the Cheshire half-timbered building I have ever seen. To have our final evening there was perfect. A trio of Elizabethan costumed performers were on hand and we walked across the bridge into the courtyard with the sounds of the hurdy-gurdy and other early musical instruments. It was magical. Arriving there directly after hearing how virtually all the timber has had to be shorn up or assisted by metal, made it all even more impressive. The Long Gallery at Little Moreton is beautiful, and the curving of the timber framing from centuries of very little structural support is remarkable and almost sculptural. Throughout the journey we students would discuss the various interpretations and furnishing schemes we found. It was extremely interesting to be able to go behind the scenes and visit houses with a family still in residence. Here the owners give the tours and also work the gift shop and admissions desk. Other houses that we visited are completely private, and we were very privileged to be able to visit them, talk to the owners, and see how they interpret their own homes. A variety of interpretation issues came up. The question of what to conserve and what level to restore to was brought up. Building use also seemed to be a highly charged issue among the students at some of the properties. The incorporation of new and contemporary art into the decorative scheme and gardens at Chatsworth was a prime example. The new Duke of Devonshire is an avid collector of modern art and likes to display it among the collections. He has installed a modern piece in place of an old favourite. It was not a popular decision with all visitors and docents. The public reaction to change at any site is always fascinating to see, and I was interested in the reactions of my fellow scholars as we visited buildings and collections that most had only studied from afar. Having seen so many different house interpretations in such a short time has truly widened my perception of what constitutes the right approach. Each house has its own identity, and the best solution may be to allow that to shine through. From the fire ravaged Uppark where the story of the fire is very much in evidence, to Chatsworth where the new Duke and Duchess are actively collecting and displaying their finds, the Country House can be defined in many ways. I would like to thank everyone involved with the Decorative Arts Trust for their generous scholarship. As many who have attended Attingham before me have said, “it is a life changing experience!” We have just learned that Melanie has been admitted to Bard Graduate Center’s Master’s program in Decorative Arts, Design and Culture.
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