A baker’s dozen¹. That’s how many National Trust (NT) and English Heritage (EH) properties—spanning more than 4500 years of history—Steph and I visited recently during the course of a 10-day and 1337 mile holiday in the south of England. We stayed at a cottage in the New Forest, near the village of Beaulieu in Hampshire, almost 300 miles due south (as the crow flies) from where we live in North Tyneside, near Newcastle upon Tyne in the northeast of England, but almost 380 miles by road.

At the end of this piece I’ll also tell you all about that extraordinary close encounter that occurred on the last day.

We took two days each way, stopping off in Banbury, Oxfordshire on the way south, and Leek, in North Staffordshire (and my ‘home town’) returning north. And on each of these four days we visited one NT or EH property, and the other nine during six days in Hampshire. The round trip took in 19 non-metropolitan and metropolitan counties². And over the course of our break we managed to walk, on average, more than four miles each day.

Click on the map below to view the NT and EH icons for each of the 13 properties.

In this post I’ve made little attempt to provide a comprehensive description of each property. Rather I have selected a few highlights that caught my attention. But there are links to National Trust or English Heritage and other sites for each property where you can find much more detail. I have however included links to the photo albums I have created to display the many photos I took during this trip.

Nostell (photo album)
Looking for somewhere to visit, about half the distant to Banbury on the first day, I came across Nostell in the National Trust handbook. Located in West Yorkshire, a few miles south of the M62 (roughly between and south of Wakefield and Pontefract)  it was a convenient spot to break our journey after 110 miles on the road.

And we weren’t disappointed.

Dating from the 1730s, it was built, in Palladian style, for the Winn family who continued to live there until the property and contents were given to the National Trust in 1953.

Nostell is renowned for several treasures: an impressive doll’s house made for Susanna Winn and her sister in the 1730s; a fine collection of oil paintings including one by Pieter Brueghel the Younger, and a copy of a Holbein of the family of Sir Thomas Moore; and perhaps one of the finest collections of furniture designed and made by Thomas Chippendale.

The Nostell collection also includes a wooden clock, made in 1717, by John Harrison, the clock-making genius who made the world’s first marine chronometer.

We enjoyed a walk through the park (which covers more than 300 acres), around the lake and in the walled garden which had a stunning display of tulips.

Leaving Nostell by mid-afternoon, we headed south on the M1, M42, and M40 motorways to arrive at our Premier Inn for the night in Banbury, a distance of 142 miles.

Basildon Park (photo album)
After a satisfying Premier Inn full English breakfast (highly recommended!), we set off south again, covering the 53 miles in under 1½ hours, and crossing the lovely landscape of the Berkshire Downs close to Basildon Park which overlooks the River Thames near Pangbourne, west of Reading.

Basildon Park has had an interesting history. Built in the Palladian style and decorated inside by Robert Adam, between 1776 and 1783, it served as a convalescent hospital during WW1, a barracks for a US airborne division in WW2, and fell into disrepair thereafter. It was rescued by Lord and Lady Iliffe, who gave the property and estate to the National Trust in 1978.

Among the most impressive are the dining room, the octagonal room, and the extraordinary shell room. Much of the house has a homely feel, and apparently the Iliffe’s stipulated that each room should be displayed as though the family were still living there.

We also enjoyed a walk around the park of almost 5 miles, and came across the most wonderful display of bluebells I think I have ever seen. Unfortunately, the disease ‘ash dieback‘ has taken hold quite seriously across the estate.

Then we headed back to the A34 and south to the New Forest, and our ‘home’ for the next six nights.

The Vyne (photo album)
This is located in the north of Hampshire, a round trip of almost 120 miles from our accommodation near Beaulieu.

The Vyne, on the edge of Sherborne St John, is a Tudor mansion built for William, 1st Baron Sandys who was Lord Chamberlain to Henry VIII. At the time of the English Civil Wars in the 1640s, the Sandys family found themselves on the wrong, Royalist, side of the conflict, and they lost The Vyne which passed to the Chute (or Chewt) family. And there it remained until bequeathed to the National Trust in 1956.

The classical portico on the northwest face was added in 1654 by John Webb, a pupil of Inigo Jones.

Among the treasures of The Vyne are the Palladian staircase, in a classical Greek style added in the mid-18th century, the Oak Gallery (the most significant surviving Tudor room in the house), the Soho tapestries woven in the first two decades of the 18th century (and which had just been returned to The Vyne after years of conservation work), and the chapel, unchanged from its original Catholic origins, i.e. pre-Reformation.

Henry VIII visited The Vyne on several occasions with his first two wives, Catherine of Aragon and Anne Boleyn. All around the house Catherine’s pomegranate motif can be seen on many carvings.

There are good walking opportunities at The Vyne taking in the gardens, lake, woodland, and wetlands. We covered just over 3½ miles.

Sandham Memorial Chapel (photo album)
That same afternoon we traveled west from The Vyne to the village of Burghclere, about 17 miles, to view the Sandham Memorial Chapel.

Externally, the chapel, constructed in the 1920s, is nothing particularly special to look at. It was commissioned as a memorial to Mary Behrend’s brother, Lieutenant Henry Willoughby Sandham who died from an illness contracted in WW1.

Inside, however, is something quite altogether different. The walls are covered in a series of frescoes painted by the English artist, Sir Stanley Spencer, that were inspired by his own experiences during the war. The paintings took him six years to complete between 1926 and 1932.

These next images are courtesy of the National Trust.

The north wall paintings, and altar and east wall with THE RESURRECTION OF THE SOLDIERS by Stanley Spencer (1891- 1959) at Sandham Memorial Chapel, Burghclere, Hampshire. Artist’s work in copyright – further permission required

Oil painting on canvas, The Resurrection of the Soldiers by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1928/9. This picture is a reminder of the relationship between war, death and Christianity. The ‘Resurrection’ took Spencer nearly a year to complete. It dominates the Chapel and all the other scenes are subordinate too it. The picture is a reminder of the relationship between war, death and Christianity, not merely a convenient and familiar religious image behind the altar. The composition is based on a complex pattern of wooden crosses which was suggested to Spencer by his habit of squaring up the canvas in order to work out the design. As a living soldier hands in his rifle at the end of service, so a dead soldier carries his cross to Christ, who is seen in the middle distance receiving these crosses. Spencer’s idea was that the cross produces a different reaction in everybody.

Oil painting on canvas, Camp at Karasuli by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959). The canvas along the top of the North wall illustrates a camp in the early morning with men cooking breakfast or carrying stones for the Serres military road, which is winding through the background of the picture. The soldier in the extreme right is driving a stake into the ground, using sacking to deaden the sound – the figure is Spencer himself. Another man is collecting discarded newspaper (‘The Balkan News’). ‘Rubbish is always rubbish, however you collect it’, was Spencer’s terse comment after receiving a reprimand for not picking up paper in an orderly manner. Other incidents depicted in this canvas include a soldier washing an officer’s shirt and a dog foraging amongst empty tins of bully beef.

Oil painting on canvas, Map Reading by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1927/32. This scene which featured in the original 1923 sketches, shows soldiers taking a rest whilst in route-march, whilst the only officer in the whole scheme of paintings is depicted studding a large map from the back of his horse. Around him soldiers sleep upon the grass and harvest bilberries from the landscape. The bright, distinct flora along the roadside is analogous to that of `Convoy of Wounded?, a painting with which an elevated view point is also shared.

Oil painting on canvas, Map Reading by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1927/32. This scene which featured in the original 1923 sketches, shows soldiers taking a rest whilst in route-march, whilst the only officer in the whole scheme of paintings is depicted studding a large map from the back of his horse. Around him soldiers sleep upon the grass and harvest bilberries from the landscape. The bright, distinct flora along the roadside is analogous to that of `Convoy of Wounded?, a painting with which an elevated view point is also shared.

Oil painting on canvas, The Resurrection of the Soldiers by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1928/9. This picture is a reminder of the relationship between war, death and Christianity. The ‘Resurrection’ took Spencer nearly a year to complete. It dominates the Chapel and all the other scenes are subordinate too it. The picture is a reminder of the relationship between war, death and Christianity, not merely a convenient and familiar religious image behind the altar. The composition is based on a complex pattern of wooden crosses which was suggested to Spencer by his habit of squaring up the canvas in order to work out the design. As a living soldier hands in his rifle at the end of service, so a dead soldier carries his cross to Christ, who is seen in the middle distance receiving these crosses. Spencer’s idea was that the cross produces a different reaction in everybody.

Oil painting on canvas, The Resurrection of the Soldiers by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1928/9. This picture is a reminder of the relationship between war, death and Christianity. The ‘Resurrection’ took Spencer nearly a year to complete. It dominates the Chapel and all the other scenes are subordinate too it. The picture is a reminder of the relationship between war, death and Christianity, not merely a convenient and familiar religious image behind the altar. The composition is based on a complex pattern of wooden crosses which was suggested to Spencer by his habit of squaring up the canvas in order to work out the design. As a living soldier hands in his rifle at the end of service, so a dead soldier carries his cross to Christ, who is seen in the middle distance receiving these crosses. Spencer’s idea was that the cross produces a different reaction in everybody.

Oil painting on canvas, The Resurrection of the Soldiers by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1928/9. This picture is a reminder of the relationship between war, death and Christianity. The ‘Resurrection’ took Spencer nearly a year to complete. It dominates the Chapel and all the other scenes are subordinate too it. The picture is a reminder of the relationship between war, death and Christianity, not merely a convenient and familiar religious image behind the altar. The composition is based on a complex pattern of wooden crosses which was suggested to Spencer by his habit of squaring up the canvas in order to work out the design. As a living soldier hands in his rifle at the end of service, so a dead soldier carries his cross to Christ, who is seen in the middle distance receiving these crosses. Spencer’s idea was that the cross produces a different reaction in everybody.

Oil painting on canvas, Camp at Karasuli by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959). The canvas along the top of the North wall illustrates a camp in the early morning with men cooking breakfast or carrying stones for the Serres military road, which is winding through the background of the picture. The soldier in the extreme right is driving a stake into the ground, using sacking to deaden the sound – the figure is Spencer himself. Another man is collecting discarded newspaper (‘The Balkan News’). ‘Rubbish is always rubbish, however you collect it’, was Spencer’s terse comment after receiving a reprimand for not picking up paper in an orderly manner. Other incidents depicted in this canvas include a soldier washing an officer’s shirt and a dog foraging amongst empty tins of bully beef.

Oil painting on canvas, Riverbed at Todorovo, by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1930-1. The canvas runs along the top of the south wall showing soldiers, likely the 143rd Field Ambulance, RAMC, at recreation.The badges of the RAMC and the Berkshire Regiment (which Spencer later transferred to) are being made by a group of soldiers, whilst in the foreground men wash their clothes in the river. Aspects of the painting were established in the earlier paintings `Making a Red Cross? and `Scrubbing Clothes?.

Oil painting on canvas, Sorting and Moving Kitbags by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1927. Painted in Henry Lamb’s studio in Hampstead before the artist moved to Burghclere to work in the Chapel itself, the scene depicts a newly-arrived convoy in the background pointing out their kitbags to the hospital orderlies, who then would deliver the bags too the patients in their wards. The drab and limited range of colours, and the stark architecture again help to evoke a cold, cheerless institutional scene. Exhibited at Stanley Spencer’s first solo exhibition at the Goupil Gallery, London, in March 1927.

Oil painting on canvas, Map Reading by Sir Stanley Spencer, CBE, RA (Cookham 1891? Cliveden 1959), 1927/32. This scene which featured in the original 1923 sketches, shows soldiers taking a rest whilst in route-march, whilst the only officer in the whole scheme of paintings is depicted studding a large map from the back of his horse. Around him soldiers sleep upon the grass and harvest bilberries from the landscape. The bright, distinct flora along the roadside is analogous to that of `Convoy of Wounded?, a painting with which an elevated view point is also shared.

South Harting (West Sussex), Harting Down, and Uppark House and Garden (photo album)
On the Saturday we made the first of two forays into West Sussex, aiming for the village of South Harting, just east of Petersfield. Why? Well, there are two National Trust properties close by: Harting Down on the rolling chalk hills of the South Downs National Park; and Uppark House and garden. But, more importantly, South Harting is where some of Steph’s Legg ancestors come from. Her grandfather, Sidney Legg, was born there in 1893, and her mother Myrtle spent some years as a child living with her grandmother in ‘Rose Cottage, which we searched for but were unable to find.

Sidney’s father, Frederick (Steph’s great-grandfather, born 1858) was a gamekeeper, and it’s highly likely that he was the gamekeeper, or one of a group, working on the Uppark estate.

We drove up on to Harting Down, affording great views over the surrounding countryside, down into South Harting, enjoying a picnic lunch then driving on to Uppark, just a couple of miles further on.

Uppark is a late 17th century perched on the top of the down with marvellous views to the coast and even as far as The Solent and the Isle of Wight to the west on a clear day.

Only the ground floor and basement are open to the public. The Featherstonehaugh family that purchased the house in 1747 still has interest in upper floor apartments. No photography is permitted in the ground floor rooms. There are some real treasures there. But all was nearly lost in 1989 when a fire ravaged the building and destroying the upper floors. Much on the ground floor was rescued, however, and is on display today.

The dairy was not open during our visit, but the game larder (presumably where Steph’s great-grandfather spent much time) is now the tea room, and is (like the dairy) connected to the main house by a tunnel.

Another exquisite dolls’ house is on display in the basement, an equal of the one we saw at Nostell a few days before. These two dolls’ houses are certainly among the priceless treasures of the National Trust.

On the Sunday, we decided to make an easier day of it after so many days previously on the road, and spent time along the coast nearby at Lepe Country Park (with great views across to the Isle of Wight), and at King’s Hat and Hatchet Pond in the New Forest.

Mottisfont (photo album)
Mottisfont is an interesting house which shows its historical colors in different aspects of its architecture. It had been an Augustinian priory before the Reformation, and afterwards was given by Henry VIII to his Lord Chamberlain, Sir William Sandys (who we heard about at The Vyne).

It stands beside the River Test, a quintessential chalk stream full of trout, near Romsey, and west from Winchester.

It was during the 1930s that Mottisfont took its final turn, so to speak, with the arrival of Maud and Gilbert Russell, who completely refurbished the building, remodeling it in parts and exposing its medieval origins in some rooms. It came into the hands of the National Trust in 1957.

I suppose the pièce de résistance must be the Whistler Room, painted by renowned artist Rex Whistler over a period of several years. But not completed by the time he went to war (and was killed) in 1939. We’d seen work of his (much more vibrant) at Plas Newydd in Anglesey in 2017.

Hinton Ampner (photo album)
Overlooking the Hampshire countryside a few miles east of Winchester, Hinton Ampner is essentially a ‘modern’ house rebuilt from the charred ruins of a much older one that stood on the site until it was severely damaged by fire in 1960. It was originally a Georgian mansion built in 1793, remodeled  in the late Victorian period, and by 1936 had been ‘restored’ to its Georgian appearance by its last owner, Ralph Dutton, 8th Baron Sherborne. With no heirs, Hinton Ampner was bequeathed to the National Trust on his death in 1985.

There is a glorious view from the terrace.

Petworth House and Park (photo album)
Petworth, in West Sussex, is one of the National Trust’s jewels, and must also be one of its most-visited properties, conveniently located to London (about 52 miles southwest towards the coast).

For us it was 130 mile round-trip from our New Forest accommodation. But it was worth it, given the treasures on display and the extensive park and gardens to enjoy.

It’s a late 17th century house that underwent alterations in the 1870s.

But it’s perhaps best known for the treasures accumulated by George Wyndham, 3rd Earl of Egremont (1751-1837): paintings by Titian, Van Dyck, and many by Turner who was a frequent visitor to Petworth and on display today for everyone to enjoy, many in the Somerset Room. In fact, Petworth has one of the National Trust’s most extensive and, I guess, valuable collections. In the North Gallery there is also a large collection of ancient Greek and Roman marbles, as well as several that were contemporaneous with Wyndham’s occupancy of Petworth. I found that gallery rather overwhelming.

After our visit, I posted a tweet about the visit, and someone from the National Trust replied, asking which aspect had impressed me most. Not fair! There really is a cornucopia of artistic delights. But while the Somerset Room and its oils is predictably impressive, there are two other parts of the house which caught my attention.

First is the Grand Staircase, perhaps one of the best examples I have ever had chance to appreciate.

Then there is the Carved Room, with a large portrait of Henry VIII taking center stage, but surrounded throughout the room by wall carvings by the master craftsman, Grinling Gibbons (1648-1721). We had first appreciated his work at Sudbury Hall when we visited in 2017.

Portchester Castle (photo album)
On our last day in the south, we decided to venture much closer to home, as it were, taking in two English Heritage properties on the east side of Southampton.

At the head of Portsmouth Harbor, Portchester Castle has stood guard since the Romans erected the first walls between AD 285 and 290. In the post-Roman era it was occupied by the Saxons, but it came into its own after the Norman conquest of 1066, when a fortified keep was erected in the northwest corner of this extensive walled enclosure.

In the subsequent centuries it underwent extensive modifications under kings such as Richard II. In the 18th century it became a prison for French prisoners from the Caribbean captured during one of the interminable conflicts with France.

English Heritage has opened many parts of the keep, even with access to the roof from where there is a panoramic view over the castle and the harbor, all the way to the naval base (where both of the UK’s aircraft carriers were currently docked).

Portschester castle roman walls

Netley Abbey (photo album)
This is the most complete surviving Cistercian monastery in southern England, under four miles east from Southampton city center. I was quite surprised how much of the monastery is still standing. During the 16th century Reformation it was seized by the crown and parts were added to or converted to a residence. Some of those Tudor influences can be seen in some of the windows.

Stonehenge (photo album)
Just under 40 miles northwest from our New Forest accommodation, the ancient monument of Stonehenge still stands proudly overlooking Salisbury Plain after more than 4500 years.

The stone circle was constructed from huge sarsen sandstone blocks that were strewn over the chalk landscape after the last Ice Age, which were also used to create other stone circles like Avebury that we visited in 2016. Unlike Avebury however, the stones at Stonehenge were dressed. What is also remarkable about Stonehenge is the presence of the so-called bluestones that were quarried in the Preseli Hills of Pembrokeshire, some 140 miles to the west. How they were transported to Stonehenge, and more importantly perhaps, why they were even chosen is somewhat of a mystery to this day, even though Stonehenge and the surrounding landscape has undergone extensive archaeological research. Much more is known, but there are still issues to be uncovered.

Stonehenge is a World Heritage Site, receiving more than 1 million visitors a year. It wasn’t too busy during our visit, and I was able cleverly to use the stones themselves to block any ‘rogue’ tourists in my photos. Take a look at the album.

The line of midsummer sunrise and sunset.

This was my second visit to Stonehenge, after more than 60 years! Returning from a caravan holiday in the New Forest with my parents and elder brother Edgar, we stopped off at Stonehenge. Back in the day, complete and close-up access to the stones was permitted. No longer; they are behind a rope, but you can get as close as 5 meters, unless you subscribe to a sunset or sunrise special tour limited to about 20 persons.

From Stonehenge, we headed north towards Swindon, crossing the M4 and traversing the Cotswolds, and arriving at Birdlip Hill (with its panoramic view over the valley of the River Severn) for a late picnic lunch.

From there we headed north to Leek as I mentioned earlier for our final night away.

Quarry Bank (photo album)
After a pleasant overnight stay in Leek (and an early morning stroll around the center of the town when we bought a dozen oatcakes), we continued our journey north, just 25 miles to Quarry Bank on the outskirts of  Wilmslow and south of Manchester, where the National Trust cares for one of the most important relics of the Industrial Revolution, a cotton mill where machinery to spin and weave cotton can still be seen in action.

Built in the 1780s by Samuel Greg, who came to England at the age of 15 from Belfast in Northern Ireland, he chose the site for his mill along the banks of the River Bollin in a steep-sided valley, where the power of the river could be harnessed to turn the machines in the mill.

At nearby Styal, Greg built a small community of cottages for his workers. Greg and his wife were Unitarians. Even so, their ‘philanthropy’ smacks of a form of slavery since workers were tied to the mill though their housing and where they could spend their wages to buy food in the company shop.

The grounds (woods and gardens) are extensive and we must have walked almost 5 miles around the estate and mill. What was a little disconcerting to discover was the main runway for Manchester Airport just a short distance behind the trees at Styal, and to watch large jets gather speed as they lumbered into the air.

Inside the mill there’s much to observe. With just one or two of the looms in action, the noise was deafening. You can just imagine what a whole floor of these machines must have sounded like, how it affected the workers’ hearing, and what other accidents occurred as workers, even children worked around and under the machines and all their moving parts.

Anyway, our interesting visit to Quarry Bank was over all too soon, and we hit the road again to take us on the next and last stage of our journey (some ) north to Newcastle and home.

We covered a lot in miles, years, art, and culture. It was a great break, and nice to be able to get away, even for a short while, as the pandemic restrictions are eased.

The close encounter
Steph and I had completed our walk around the woods and gardens at Quarry Bank, and were making our way to the mill entrance over the bridge through a gate.

I was vaguely aware of another couple with a spaniel as we passed through the gate. And immediately afterwards, someone behind me—the man—called my name. Momentarily confused, I turned around but didn’t recognize him or his wife.

‘It’s Alan Brennan’, he said. And with that you could have knocked me down with a feather. I hadn’t seen him in 63 years! Let me explain.

I was born in Congleton in November 1948; Alan a year later in December 1949. We lived a few doors apart on Moody Street and were best friends. My family moved to Leek in April 1956, and I lost touch with Alan, although he has since reminded me that we did meet up in Congleton in May 1959 when I came over from Leek to take part in a village fête at Mossley just outside the town.

Here we are Coronation Day in June 1953. I’m on the extreme right, Alan on the left.

And from the late 1950s until the other day, we had never met since. After Steph and I visited Congleton in September 2013, Alan came across that blog post and got in touch by email. It was from my blog photos that he recognized me as our paths crossed at Quarry Bank.

What were the chances of that happening? I’m sure a clever mathematician could devise some formula or other. But it must be millions to one that we’d be in the same place at the same time after more than 60 years.

Me and Alan – after 63 years!

Steph, me, Alan, and Lyn

Unfortunately we couldn’t stay chatting for too long since Alan and Lyn were coming to the end of their visit to Quarry Bank, and we had to complete our tour of the mill. We also needed to get on the road before the afternoon traffic build-up around Manchester. After all, we still had almost 170 miles to cover, and as it turned out, a slower journey due to hold-ups on the motorway.

Meeting Alan and Lyn was undoubtedly the icing on the cake as far as our holiday was concerned. Certainly a close encounter of the most extraordinary kind!

¹ A baker’s dozen, i.e., a group of 13. A dozen plus one, from the former practice among bakers and other tradespeople of giving 13 items to the dozen as a safeguard against penalties for short weights and measures.

² Starting in North Tyneside (Tyne & Wear) where we now live, we traveled south through County Durham, North Yorkshire. West Yorkshire, South Yorkshire, Derbyshire, Nottinghamshire, Leicestershire, Warwickshire, Oxfordshire, Berkshire, Hampshire, West Sussex, Wiltshire, Gloucestershire, Worcestershire, West Midlands, Staffordshire, Cheshire, and Greater Manchester.