August 9, 2023 • 20 mins
Join a tour of a garden designed for pleasure, as we relive its party heyday.
Claremont in Surrey once played host to events described as the lovechild of a festival and a palace garden party. Presenter James Grasby uncovers the best spots, the shenanigans they elicited, and the most incredible views reminiscent of scenes from hit Netflix drama, Bridgerton.
Production
Host: James Grasby
Producer: Claire Hickinbotham
Sound editor: Jesus Gomez
Discover more
Find out more about Claremont Landscape Garden and download a map to follow the route taken by James and Curator Rebecca Wallis: nationaltrust.org.uk/visit/surrey/claremont-landscape-garden
Discover National Trust places used for Film and TV: nationaltrust.org.uk/discover/film-tv
With thanks to Author David Coke and Hannah Greig, Professor of History at Royal Holloway, University of London.
Follow the National Trust Podcast on your favourite podcast app. If you'd like to get in touch with feedback, or have a story connected with the National Trust, you can contact us at podcasts@nationaltrust.org.uk
Claremont in Surrey once played host to events described as the lovechild of a festival and a palace garden party. Presenter James Grasby uncovers the best spots, the shenanigans they elicited, and the most incredible views reminiscent of scenes from hit Netflix drama, Bridgerton.
Production
Host: James Grasby
Producer: Claire Hickinbotham
Sound editor: Jesus Gomez
Discover more
Find out more about Claremont Landscape Garden and download a map to follow the route taken by James and Curator Rebecca Wallis: nationaltrust.org.uk/visit/surrey/claremont-landscape-garden
Discover National Trust places used for Film and TV: nationaltrust.org.uk/discover/film-tv
With thanks to Author David Coke and Hannah Greig, Professor of History at Royal Holloway, University of London.
Follow the National Trust Podcast on your favourite podcast app. If you'd like to get in touch with feedback, or have a story connected with the National Trust, you can contact us at podcasts@nationaltrust.org.uk
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
JAMES GRASBY (00:08):
Hello and welcome to the National Trust podcast.
I'm James Grasby, a seniorcurator for the National Trust,
and today I'm heading to one ofEngland's most densely populated
counties, to a little pocket ofpeace where you can find
sanctuary in a garden of windingpaths and lakeside walks.
But go back in history.Claremont Landscape Garden was
(00:29):
more a journey into a world offantasy, hedonism and wild
abandonment.
Before I head to Surrey todiscover more of Claremont's
fascinating history, I thoughtI'd take you on a journey of
escapism. To the world of TV andone of the hottest costume
(00:50):
dramas. This is Bridgerton, setin Regency-era London. [Sound of
Bridgerton - Courtesy ofNetflix]
Think lavish London dos. [Soundof Bridgerton - Courtesy of
Netflix]
Think scandal and love rivalry.And you get the picture. [
GENERIC (01:05):
Sound of Bridgerton - Courtesy of Netflix] My mama had
to stay home with her. Papa hadto chaperone.
I'm quite enjoying the fact thathe is here. Mama would never
allow me to wear a dress likethis. Not yellow enough, I
think. Mr Bridgeton. I believeyou owe me a dance this eveing.
And I have only one more spaceremaining on my card perhaps-
how convenient! Penelope, I didnot see you there.
(01:31):
I'm afraid I cannot offer youthat dance, Miss Cowper. I am to
escort Miss Featherington to thefloor.
JAMES GRASBY (01:37):
That scene was set at Vauxhall Pleasure Gardens,
the outdoor entertainment venueof its day. Vauxhall was a
public garden to be seen at.Claremont, where I'm headed
tomorrow, was invitation only,but it was also a place to
party.
(02:06):
I've arrived after an eveningwatching Bridgerton.
Leaving the busy road and withone or two rather noisy
aircraft, I'm entering whatlooks to be a leafy paradise.
Welcome to Claremont, the signsays. There is a pretty
pavilion, which looks like theticket office. It's even got a
(02:29):
white dove on the roof. Whatcould be more lovely?
Hello.
GENERIC (02:34):
Hello.
JAMES GRASBY (02:34):
Good morning. I wonder if you could show me the
way to my friend RebeccaWallace.
GENERIC (02:39):
Follow me. She's over by the rowing boat. It's
Charlotte and Victoria.
JAMES GRASBY (02:43):
Thank you very much indeed. Victoria and
Charlotte, the rowing boat.
This looks very promising. Anarched opening in this leafy
glade. And there is my friend,Rebecca.
REBECCA WALLACE (02:56):
Hello, James.
JAMES GRASBY (02:59):
What a beautiful morning. It's spring.
REBECCA WALLACE (03:01):
Look at the sunshine reflecting on the lake.
And you've got the geese comingover to say hello as well.
JAMES GRASBY (03:06):
Behind you is a lake going off into the far
distance. Pristine lawns andrising ground with trees and all
the promise of temples andlittle bits and pieces. It's got
a big story this place?
REBECCA WALLACE (03:18):
It has! It's arguably one of the most
well-known gardens of its day.We're talking 300 years ago.
It's monumental in terms ofscale, ambition, in terms of the
setting.
JAMES GRASBY (03:30):
I can resist it no longer. Let's go for a walk.
What, to your mind, makes it soincredible and important?
REBECCA WALLACE (03:37):
It's a succession of very wealthy and
influential owners. And they hadthe opportunity and the means to
take on the very best gardendesigners of the era in the 18th
century.
JAMES GRASBY (03:50):
Rebecca, it's taken my breath away.
REBECCA WALLACE (03:52):
We're walking along a path which was once the
original Portsmouth Road. Theroad was relocated in the 18th
century at great expense toensure the privacy of the owners
of Claremont and the fact theyprobably didn't want something
to disturb the most magicallandscape that you see around
you today.
JAMES GRASBY (04:09):
That's a lovely idea, diverting a sort of HS2 so
that you could build yourself agarden.
REBECCA WALLACE (04:15):
And it's incredible to think that the
ability to do that, but also tomake sure that the garden looks
at its very finest. And you cansee all these features as we're
walking around.
On the left-hand side across thelake, we've got the bell aisle,
as it was called, with thebuilding in the centre.
That would originally have had abridge to it. We'll be coming up
shortly to the grotto.
(04:37):
You know, all of these featuresthat were so important to give a
sense of surprise and joy andinterest to people.
What's really interesting aboutClaremont is the time that it's
developed in the 18th century isexactly at the same time as
there's a huge amount of socialchange in terms of expectation
(04:59):
about what gardens should do andwhat they should offer,
particularly in terms ofentertainment.
They are pleasure gardens ratherthan productive crop growing
gardens.
They are spaces to gather, toescape your troubles.
Those that were very wealthy, itwas becoming almost expected
(05:22):
that you would have a pleasureground, a pleasure garden like
this to entertain, to hostevents, to stage large galas and
to really impress yourneighbours.
It was very much about lookingat what Duke of such and such
had done and then try and copyit yourself.
(05:43):
So we're going to continuearound the garden. We met by the
boats and the current gardenentrance.
That actually wasn't theoriginal entrance that visitors
to Claremont in the 18th centurywould have seen. We would have
come from the other end of thegarden, but we'll walk round and
show you the moments of revealand views that would have been
intended.
JAMES GRASBY (06:01):
How lovely. Lead the way.
REBECCA WALLACE (06:03):
Will do!
JAMES GRASBY (06:03):
Rebecca, that was a brisk climb. I wasn't
expecting that.
This is the margins of thegarden, but in the distance, I
can see a four-square classicalhouse, which I guess is
Claremont?
REBECCA WALLACE (06:25):
This would have been the visitor entrance to the
gardens. So you can get a sensehere of how visitors would have
walked from the house across thelandscape and accessed the
formal gardens.
JAMES GRASBY (06:36):
So Rebecca, as a visitor, I've arrived here. This
was the entrance to the gardenand there is the great house.
But who was I coming to see?
REBECCA WALLACE (06:42):
Guests to Claremont in the 18th century
were visiting the Duke andDuchess Of Newcastle.
Thomas Pelham-Holles and hiswife Henrietta lived here for
about 40, 50 years. They weresocially very well connected.
He was a politician for over 30years and prime minister twice
(07:03):
and was hosting events here forthe great and the good of the
day.
So we're talking politicians,nobility, dare I say royalty at
times. He and his wife wouldhost these large gatherings akin
to fête champêtres.
JAMES GRASBY (07:17):
Fête champêtre, that has lovely resonances,
fates and gardens, pleasure andfun outside.
REBECCA WALLACE (07:25):
And Claremont lends itself to that. And, you
know, whether he's hosting alarge party, a large fete or
garden party, as we might callit today, or a small intimate
gathering, the variety ofentertainment on offer, the
music that might be played, thegames that might be played.
There are moments around thisgarden where you could really do
(07:45):
as your heart desires.
JAMES GRASBY (07:47):
Hundreds of people in glamorous outfits, music,
jollity, drink, food, fun.
REBECCA WALLACE (07:52):
Places like Claremont were really incredibly
important because they wereplaces where people could
network as well as socialise andbe entertained. And it was
incredibly important in terms ofthat ability to get on in
society.
DAVID COKE (08:07):
Really ordinary people in smaller houses didn't
socialise very much. There was ahole in the market. I'm David
Coke and I'm a social historianspecialising in the Georgian
Pleasure Gardens of London.
The trip to Vauxhall startedusually with a trip over the
river. It really represented akind of separation from ordinary
(08:30):
life in London, from yourbusiness, from your stresses and
strains, from all your worries.And you would leave them behind,
find Vauxhall Gardens. The firstthing you'd notice would be the
music.
The bandstand was surrounded bythings called supper boxes,
which were a bit like theatreboxes, where people would go to
(08:53):
have a bite to eat.
When I say a bite, that's reallywhat it was. The food was very
sparse and extremely expensive.Sitting in your supper box, you
could watch the other peoplegoing by, and one of the great
joys of Vauxhall was to see theother people there.
See who they were with, see whatthey were wearing, see how
(09:15):
expensive they looked, and seewho was rushing off one of the
dark walks with somebody else soyou would know who was pairing
up with who.
And that was all part of thegossip of the time.
Later on, the entertainmentbecame much more, I suppose,
popular.
There were things like tightropedancers.
(09:36):
An American brought his wildcats, lions, tigers, cheetahs,
leopards.
So he would take in a lamb orsomething like that or a small
child and show them how welltrained they were.
I often get asked what it waslike to be there. It's a
difficult question to answerbecause there isn't anything
like it in modern life. It's asort of slightly strange
(10:01):
offspring of the BuckinghamPalace Garden Party and
Glastonbury.
JAMES GRASBY (10:13):
Rebecca, you've brought me out of the wind into
this lovely area of lawn.
Claremont is full of surprises.
REBECCA WALLACE (10:19):
Claremont is full of these amazing surprises.
And then we have a realshowstopper to show you later.
JAMES GRASBY (10:23):
Have you?
REBECCA WALLACE (10:24):
But before that, I'd like to introduce
Graham Alderton, our headgardener here.
JAMES GRASBY (10:28):
Graham, how do you do?
GRAHAM ALDERTON (10:29):
How do you do, James?
JAMES GRASBY (10:30):
You're the luckiest man alive. I am. It's
beautiful.
GRAHAM ALDERTON (10:34):
Claremont is incredibly important. As it
charts the history, the originsof the English landscape
movement, we had four of themost influential designers
leaving their mark on thelandscape here.
First of all, we have Vanbrugh.If you look behind you, you can
see the Belvedere. And then thepleasure garden all comes out
(10:57):
from this area.
JAMES GRASBY (10:58):
Wow. Graham, Claremont, you both have
ambushed me again. That isextraordinary. I mean, the
ground rises. That's about 150metres, I guess, to the top,
with beautiful symmetrical beechhedges, neatly clipped by your
fair hands, I guess?
GRAHAM ALDERTON (11:15):
He builds this not long after he sells it to
Thomas Pelham-Holles. Bridgemancame in just after Vanbrugh.
Bridgeman puts in the pond, theamphitheatre, and a few walks so
the Duke can get his dailyexercise. William Kent then is
brought in.
Kent is very much the instigatorof the English landscape
(11:36):
movement.
He gets rid of the formal lines.He introduces meandering walks,
and he puts in small buildings.
Then we have Capability Brown,who had a very light touch. The
area around the current house,the only area where there's a
Brownian landscape, big, wide,open vistas.
JAMES GRASBY (11:56):
You're in a long line, a long trajectory, of
people who have loved thisplace, nurtured it. And also
thought deeply about it.
GRAHAM ALDERTON (12:03):
To be able to work in the footsteps of
Vanbrugh, Bridgeman, Kent andBrown is quite a rarity, but
some of these designers workedat Stowe as well, which I
understand you're familiar with?
In fact, you were watching ityesterday, whilst you were
watching an episode ofBridgerton.
Bridgerton was actually filmedat Stowe.
HANNAH GREIG (12:26):
To be at Stowe to film the Vauxhall Gardens scenes
for Bridgerton was just one ofthe most transporting and
remarkable nights of my life.
I'm Hannah Greig, Professor ofhistory and a consultant to film
and television.
The gardens were just absolutelypacked with supporting artists.
(12:47):
It was full of colour and noiseand drama.
We had music and fireworks.
There was dancing and you couldget a sense of what it was like
to be at a public pleasuregarden in the 18th century.
How thrilling and new, as ifsomething incredible was just
about to happen that night.
(13:08):
I've always loved that sense ofa closeness to the past, of
visiting historic houses andthinking about who lived there
or who visited there, who thoseghosts were, what their stories
were like, were they people likeme or not, what were their lives
like.
And much of my academichistorical research is based in
archives, dealing with lettersand diaries.
(13:29):
It can sometimes feel slightlyremoved from the actual
environments and locations andplaces.
And then when I'm filming, itdoes almost feel like you're
transplanted back into adifferent era.
And it's exciting to see thoselocations brought to life in a
way that's similar to the way inwhich they would have been
experienced in the past.
GRAHAM ALDERTON (13:55):
Ok, well, if we all go up these steps, I'll
introduce you to ourshowstopper.
JAMES GRASBY (14:02):
We're walking up really quite a steep flight of
gravel steps. And there's apristine, perfect line on the
horizon. Could be a cliff edgethat you're leading me to.
What an absolutely sensationalview. This is a great vantage
(14:24):
point. And in front of us isyour garden.
GRAHAM ALDERTON (14:28):
It is.
JAMES GRASBY (14:33):
Falling away down to the sparkly lake in the
spring light is a series ofterraces. We're above the
amphitheatre.
This is a terrific sight, isn'tit? And very unexpected. Wow.
(14:54):
Rebecca, it feels a bit likebeing in the upper circle of a
huge theatre, doesn't it?
REBECCA WALLACE (14:58):
This is the prime view as you came from the
house to see what you could goand explore.
You can just tantalisingly seethe island and the lake as it
curves round and the paths thatwould take you across. But also
really important to think aboutthe wider views.
Behind us, we've got amazingviews of London, but also down
into Surrey and to the otherestates as well.
(15:18):
So you are getting some of theprime views, not only of this
garden, but also of theneighbourhood and what else was
going on.
So it was a real vantage point.You're absolutely right, that
point about the upper circle,this was the prime spot to be
in.
JAMES GRASBY (15:31):
You could keep an eye on developing relationships
between new lovers.
REBECCA WALLACE (15:36):
Who's crossing the bridge together? Who's
sailing on the lake? Who's maybetucking themselves around a
corner into an avenue of treesto make sure that they're not
seen?
JAMES GRASBY (15:45):
Rebecca, it's a place designed for pleasure and
parties. The Fête champêtresounds stunning, and of course
it would be a lovely thing to doit again.
I mean, when was the last time aFête champêtre happened here?
REBECCA WALLACE (15:55):
About 20 years ago.
But actually, it was about 200years before that that they
probably stopped happening.
So after the Duke and Duchess OfNewcastle sell the property,
after a succession of owners, itthen becomes owned by the royal
family.
Princess Charlotte and Leopoldlive here. Just behind me,
actually, at the top of theamphitheatre, we have the
(16:16):
remains, the foundations of amonument to Princess Charlotte.
They were much celebrated, bothas a couple, but particularly
her as the only legitimatedaughter of George IV The King.
Her husband, Prince Leopold,erected a monument after her
(16:38):
death, aged just 21, inchildbirth in 1817.
When she died, there was apublic outpouring of grief.
People were absolutelydevastated for her and for the
family. And so Leopold used atea house structure to allow
people to grieve and himself togrieve her.
(17:00):
And it was really that momentthat shifted people's
perceptions of Claremont.
And we see a period of timewhere the idea of partying here
is not a priority.
Royal families do live here andthey do entertain, but not on
the scale that we'd seen before.
(17:21):
It was only after a period ofrenovation in the 20th century
by the National Trust that theidea came to the Trust to
celebrate this transformation ofthe garden with a series of Fête
champêtres.
That's not to say that the typeof Fête champêtress didn't
happen elsewhere in the countryat other great gardens. And
indeed, today they continue.
Lots of country houses now willmake a second income by hosting
(17:44):
these amazing festivals, whichare in many ways the modern day
equivalent of a Fête champêtre.
JAMES GRASBY (17:51):
And there's a very, very real appetite here
for increasingly giving pleasureand fun to visitors.
REBECCA WALLACE (17:58):
Absolutely. And I don't know if you noticed at
the start when we met with theboats, the boats are all named
after the royal family.
JAMES GRASBY (18:05):
Of course they are.
REBECCA WALLACE (18:06):
And so they are boats that, you know, people can
enjoy on the lake. So it's tyingthat back into the history of
the place, but also allowingpeople to enjoy the fun, the
leisure, the pleasure of thisgarden.
JAMES GRASBY (18:20):
As I reluctantly head back to my car ahead of my
journey home, I'm wonderingwhether I'll get back in time to
squeeze in another episode ofBridgerton before I go to bed.
That's the trouble with boxsets! They are moreish!
But having seen Claremont andall its beautiful features, and
hearing how they would have beenused for the ultimate garden
party, it does make me wish wecould travel back in time and
(18:42):
experience a period in historyfor ourselves, to see what it
was really like, even just forone day.
Now, when I visit wonderfulgardens and admire them for the
vistas, the architecturalfeatures, the winding footpaths,
those secret corners and shadedwalkways, I shall imagine the
setting as the backdrop to agreat party, a Buckingham Palace
(19:05):
Garden Party meetingGlastonbury.
And as I'm watching the nextepisode of Bridgerton, I shall
look past the lavish costumesand the dancing and the scandal
a little and pay more attentionto another star of the show, the
setting.
(19:32):
Thanks for listening to theNational Trust podcast. And
remember, if you've enjoyed thisepisode, you can find more audio
programmes from the NationalTrust at
nationaltrust.org.uk/podcasts.We'll be back soon with another
episode. But for now, from me,James Grasby, goodbye.
Hello and welcome to the National Trust podcast.
I'm James Grasby, a seniorcurator for the National Trust,
and today I'm heading to one ofEngland's most densely populated
counties, to a little pocket ofpeace where you can find
sanctuary in a garden of windingpaths and lakeside walks.
But go back in history.Claremont Landscape Garden was
(00:29):
more a journey into a world offantasy, hedonism and wild
abandonment.
Before I head to Surrey todiscover more of Claremont's
fascinating history, I thoughtI'd take you on a journey of
escapism. To the world of TV andone of the hottest costume
(00:50):
dramas. This is Bridgerton, setin Regency-era London. [Sound of
Bridgerton - Courtesy ofNetflix]
Think lavish London dos. [Soundof Bridgerton - Courtesy of
Netflix]
Think scandal and love rivalry.And you get the picture. [
GENERIC (01:05):
Sound of Bridgerton - Courtesy of Netflix] My mama had
to stay home with her. Papa hadto chaperone.
I'm quite enjoying the fact thathe is here. Mama would never
allow me to wear a dress likethis. Not yellow enough, I
think. Mr Bridgeton. I believeyou owe me a dance this eveing.
And I have only one more spaceremaining on my card perhaps-
how convenient! Penelope, I didnot see you there.
(01:31):
I'm afraid I cannot offer youthat dance, Miss Cowper. I am to
escort Miss Featherington to thefloor.
JAMES GRASBY (01:37):
That scene was set at Vauxhall Pleasure Gardens,
the outdoor entertainment venueof its day. Vauxhall was a
public garden to be seen at.Claremont, where I'm headed
tomorrow, was invitation only,but it was also a place to
party.
(02:06):
I've arrived after an eveningwatching Bridgerton.
Leaving the busy road and withone or two rather noisy
aircraft, I'm entering whatlooks to be a leafy paradise.
Welcome to Claremont, the signsays. There is a pretty
pavilion, which looks like theticket office. It's even got a
(02:29):
white dove on the roof. Whatcould be more lovely?
Hello.
GENERIC (02:34):
Hello.
JAMES GRASBY (02:34):
Good morning. I wonder if you could show me the
way to my friend RebeccaWallace.
GENERIC (02:39):
Follow me. She's over by the rowing boat. It's
Charlotte and Victoria.
JAMES GRASBY (02:43):
Thank you very much indeed. Victoria and
Charlotte, the rowing boat.
This looks very promising. Anarched opening in this leafy
glade. And there is my friend,Rebecca.
REBECCA WALLACE (02:56):
Hello, James.
JAMES GRASBY (02:59):
What a beautiful morning. It's spring.
REBECCA WALLACE (03:01):
Look at the sunshine reflecting on the lake.
And you've got the geese comingover to say hello as well.
JAMES GRASBY (03:06):
Behind you is a lake going off into the far
distance. Pristine lawns andrising ground with trees and all
the promise of temples andlittle bits and pieces. It's got
a big story this place?
REBECCA WALLACE (03:18):
It has! It's arguably one of the most
well-known gardens of its day.We're talking 300 years ago.
It's monumental in terms ofscale, ambition, in terms of the
setting.
JAMES GRASBY (03:30):
I can resist it no longer. Let's go for a walk.
What, to your mind, makes it soincredible and important?
REBECCA WALLACE (03:37):
It's a succession of very wealthy and
influential owners. And they hadthe opportunity and the means to
take on the very best gardendesigners of the era in the 18th
century.
JAMES GRASBY (03:50):
Rebecca, it's taken my breath away.
REBECCA WALLACE (03:52):
We're walking along a path which was once the
original Portsmouth Road. Theroad was relocated in the 18th
century at great expense toensure the privacy of the owners
of Claremont and the fact theyprobably didn't want something
to disturb the most magicallandscape that you see around
you today.
JAMES GRASBY (04:09):
That's a lovely idea, diverting a sort of HS2 so
that you could build yourself agarden.
REBECCA WALLACE (04:15):
And it's incredible to think that the
ability to do that, but also tomake sure that the garden looks
at its very finest. And you cansee all these features as we're
walking around.
On the left-hand side across thelake, we've got the bell aisle,
as it was called, with thebuilding in the centre.
That would originally have had abridge to it. We'll be coming up
shortly to the grotto.
(04:37):
You know, all of these featuresthat were so important to give a
sense of surprise and joy andinterest to people.
What's really interesting aboutClaremont is the time that it's
developed in the 18th century isexactly at the same time as
there's a huge amount of socialchange in terms of expectation
(04:59):
about what gardens should do andwhat they should offer,
particularly in terms ofentertainment.
They are pleasure gardens ratherthan productive crop growing
gardens.
They are spaces to gather, toescape your troubles.
Those that were very wealthy, itwas becoming almost expected
(05:22):
that you would have a pleasureground, a pleasure garden like
this to entertain, to hostevents, to stage large galas and
to really impress yourneighbours.
It was very much about lookingat what Duke of such and such
had done and then try and copyit yourself.
(05:43):
So we're going to continuearound the garden. We met by the
boats and the current gardenentrance.
That actually wasn't theoriginal entrance that visitors
to Claremont in the 18th centurywould have seen. We would have
come from the other end of thegarden, but we'll walk round and
show you the moments of revealand views that would have been
intended.
JAMES GRASBY (06:01):
How lovely. Lead the way.
REBECCA WALLACE (06:03):
Will do!
JAMES GRASBY (06:03):
Rebecca, that was a brisk climb. I wasn't
expecting that.
This is the margins of thegarden, but in the distance, I
can see a four-square classicalhouse, which I guess is
Claremont?
REBECCA WALLACE (06:25):
This would have been the visitor entrance to the
gardens. So you can get a sensehere of how visitors would have
walked from the house across thelandscape and accessed the
formal gardens.
JAMES GRASBY (06:36):
So Rebecca, as a visitor, I've arrived here. This
was the entrance to the gardenand there is the great house.
But who was I coming to see?
REBECCA WALLACE (06:42):
Guests to Claremont in the 18th century
were visiting the Duke andDuchess Of Newcastle.
Thomas Pelham-Holles and hiswife Henrietta lived here for
about 40, 50 years. They weresocially very well connected.
He was a politician for over 30years and prime minister twice
(07:03):
and was hosting events here forthe great and the good of the
day.
So we're talking politicians,nobility, dare I say royalty at
times. He and his wife wouldhost these large gatherings akin
to fête champêtres.
JAMES GRASBY (07:17):
Fête champêtre, that has lovely resonances,
fates and gardens, pleasure andfun outside.
REBECCA WALLACE (07:25):
And Claremont lends itself to that. And, you
know, whether he's hosting alarge party, a large fete or
garden party, as we might callit today, or a small intimate
gathering, the variety ofentertainment on offer, the
music that might be played, thegames that might be played.
There are moments around thisgarden where you could really do
(07:45):
as your heart desires.
JAMES GRASBY (07:47):
Hundreds of people in glamorous outfits, music,
jollity, drink, food, fun.
REBECCA WALLACE (07:52):
Places like Claremont were really incredibly
important because they wereplaces where people could
network as well as socialise andbe entertained. And it was
incredibly important in terms ofthat ability to get on in
society.
DAVID COKE (08:07):
Really ordinary people in smaller houses didn't
socialise very much. There was ahole in the market. I'm David
Coke and I'm a social historianspecialising in the Georgian
Pleasure Gardens of London.
The trip to Vauxhall startedusually with a trip over the
river. It really represented akind of separation from ordinary
(08:30):
life in London, from yourbusiness, from your stresses and
strains, from all your worries.And you would leave them behind,
find Vauxhall Gardens. The firstthing you'd notice would be the
music.
The bandstand was surrounded bythings called supper boxes,
which were a bit like theatreboxes, where people would go to
(08:53):
have a bite to eat.
When I say a bite, that's reallywhat it was. The food was very
sparse and extremely expensive.Sitting in your supper box, you
could watch the other peoplegoing by, and one of the great
joys of Vauxhall was to see theother people there.
See who they were with, see whatthey were wearing, see how
(09:15):
expensive they looked, and seewho was rushing off one of the
dark walks with somebody else soyou would know who was pairing
up with who.
And that was all part of thegossip of the time.
Later on, the entertainmentbecame much more, I suppose,
popular.
There were things like tightropedancers.
(09:36):
An American brought his wildcats, lions, tigers, cheetahs,
leopards.
So he would take in a lamb orsomething like that or a small
child and show them how welltrained they were.
I often get asked what it waslike to be there. It's a
difficult question to answerbecause there isn't anything
like it in modern life. It's asort of slightly strange
(10:01):
offspring of the BuckinghamPalace Garden Party and
Glastonbury.
JAMES GRASBY (10:13):
Rebecca, you've brought me out of the wind into
this lovely area of lawn.
Claremont is full of surprises.
REBECCA WALLACE (10:19):
Claremont is full of these amazing surprises.
And then we have a realshowstopper to show you later.
JAMES GRASBY (10:23):
Have you?
REBECCA WALLACE (10:24):
But before that, I'd like to introduce
Graham Alderton, our headgardener here.
JAMES GRASBY (10:28):
Graham, how do you do?
GRAHAM ALDERTON (10:29):
How do you do, James?
JAMES GRASBY (10:30):
You're the luckiest man alive. I am. It's
beautiful.
GRAHAM ALDERTON (10:34):
Claremont is incredibly important. As it
charts the history, the originsof the English landscape
movement, we had four of themost influential designers
leaving their mark on thelandscape here.
First of all, we have Vanbrugh.If you look behind you, you can
see the Belvedere. And then thepleasure garden all comes out
(10:57):
from this area.
JAMES GRASBY (10:58):
Wow. Graham, Claremont, you both have
ambushed me again. That isextraordinary. I mean, the
ground rises. That's about 150metres, I guess, to the top,
with beautiful symmetrical beechhedges, neatly clipped by your
fair hands, I guess?
GRAHAM ALDERTON (11:15):
He builds this not long after he sells it to
Thomas Pelham-Holles. Bridgemancame in just after Vanbrugh.
Bridgeman puts in the pond, theamphitheatre, and a few walks so
the Duke can get his dailyexercise. William Kent then is
brought in.
Kent is very much the instigatorof the English landscape
(11:36):
movement.
He gets rid of the formal lines.He introduces meandering walks,
and he puts in small buildings.
Then we have Capability Brown,who had a very light touch. The
area around the current house,the only area where there's a
Brownian landscape, big, wide,open vistas.
JAMES GRASBY (11:56):
You're in a long line, a long trajectory, of
people who have loved thisplace, nurtured it. And also
thought deeply about it.
GRAHAM ALDERTON (12:03):
To be able to work in the footsteps of
Vanbrugh, Bridgeman, Kent andBrown is quite a rarity, but
some of these designers workedat Stowe as well, which I
understand you're familiar with?
In fact, you were watching ityesterday, whilst you were
watching an episode ofBridgerton.
Bridgerton was actually filmedat Stowe.
HANNAH GREIG (12:26):
To be at Stowe to film the Vauxhall Gardens scenes
for Bridgerton was just one ofthe most transporting and
remarkable nights of my life.
I'm Hannah Greig, Professor ofhistory and a consultant to film
and television.
The gardens were just absolutelypacked with supporting artists.
(12:47):
It was full of colour and noiseand drama.
We had music and fireworks.
There was dancing and you couldget a sense of what it was like
to be at a public pleasuregarden in the 18th century.
How thrilling and new, as ifsomething incredible was just
about to happen that night.
(13:08):
I've always loved that sense ofa closeness to the past, of
visiting historic houses andthinking about who lived there
or who visited there, who thoseghosts were, what their stories
were like, were they people likeme or not, what were their lives
like.
And much of my academichistorical research is based in
archives, dealing with lettersand diaries.
(13:29):
It can sometimes feel slightlyremoved from the actual
environments and locations andplaces.
And then when I'm filming, itdoes almost feel like you're
transplanted back into adifferent era.
And it's exciting to see thoselocations brought to life in a
way that's similar to the way inwhich they would have been
experienced in the past.
GRAHAM ALDERTON (13:55):
Ok, well, if we all go up these steps, I'll
introduce you to ourshowstopper.
JAMES GRASBY (14:02):
We're walking up really quite a steep flight of
gravel steps. And there's apristine, perfect line on the
horizon. Could be a cliff edgethat you're leading me to.
What an absolutely sensationalview. This is a great vantage
(14:24):
point. And in front of us isyour garden.
GRAHAM ALDERTON (14:28):
It is.
JAMES GRASBY (14:33):
Falling away down to the sparkly lake in the
spring light is a series ofterraces. We're above the
amphitheatre.
This is a terrific sight, isn'tit? And very unexpected. Wow.
(14:54):
Rebecca, it feels a bit likebeing in the upper circle of a
huge theatre, doesn't it?
REBECCA WALLACE (14:58):
This is the prime view as you came from the
house to see what you could goand explore.
You can just tantalisingly seethe island and the lake as it
curves round and the paths thatwould take you across. But also
really important to think aboutthe wider views.
Behind us, we've got amazingviews of London, but also down
into Surrey and to the otherestates as well.
(15:18):
So you are getting some of theprime views, not only of this
garden, but also of theneighbourhood and what else was
going on.
So it was a real vantage point.You're absolutely right, that
point about the upper circle,this was the prime spot to be
in.
JAMES GRASBY (15:31):
You could keep an eye on developing relationships
between new lovers.
REBECCA WALLACE (15:36):
Who's crossing the bridge together? Who's
sailing on the lake? Who's maybetucking themselves around a
corner into an avenue of treesto make sure that they're not
seen?
JAMES GRASBY (15:45):
Rebecca, it's a place designed for pleasure and
parties. The Fête champêtresounds stunning, and of course
it would be a lovely thing to doit again.
I mean, when was the last time aFête champêtre happened here?
REBECCA WALLACE (15:55):
About 20 years ago.
But actually, it was about 200years before that that they
probably stopped happening.
So after the Duke and Duchess OfNewcastle sell the property,
after a succession of owners, itthen becomes owned by the royal
family.
Princess Charlotte and Leopoldlive here. Just behind me,
actually, at the top of theamphitheatre, we have the
(16:16):
remains, the foundations of amonument to Princess Charlotte.
They were much celebrated, bothas a couple, but particularly
her as the only legitimatedaughter of George IV The King.
Her husband, Prince Leopold,erected a monument after her
(16:38):
death, aged just 21, inchildbirth in 1817.
When she died, there was apublic outpouring of grief.
People were absolutelydevastated for her and for the
family. And so Leopold used atea house structure to allow
people to grieve and himself togrieve her.
(17:00):
And it was really that momentthat shifted people's
perceptions of Claremont.
And we see a period of timewhere the idea of partying here
is not a priority.
Royal families do live here andthey do entertain, but not on
the scale that we'd seen before.
(17:21):
It was only after a period ofrenovation in the 20th century
by the National Trust that theidea came to the Trust to
celebrate this transformation ofthe garden with a series of Fête
champêtres.
That's not to say that the typeof Fête champêtress didn't
happen elsewhere in the countryat other great gardens. And
indeed, today they continue.
Lots of country houses now willmake a second income by hosting
(17:44):
these amazing festivals, whichare in many ways the modern day
equivalent of a Fête champêtre.
JAMES GRASBY (17:51):
And there's a very, very real appetite here
for increasingly giving pleasureand fun to visitors.
REBECCA WALLACE (17:58):
Absolutely. And I don't know if you noticed at
the start when we met with theboats, the boats are all named
after the royal family.
JAMES GRASBY (18:05):
Of course they are.
REBECCA WALLACE (18:06):
And so they are boats that, you know, people can
enjoy on the lake. So it's tyingthat back into the history of
the place, but also allowingpeople to enjoy the fun, the
leisure, the pleasure of thisgarden.
JAMES GRASBY (18:20):
As I reluctantly head back to my car ahead of my
journey home, I'm wonderingwhether I'll get back in time to
squeeze in another episode ofBridgerton before I go to bed.
That's the trouble with boxsets! They are moreish!
But having seen Claremont andall its beautiful features, and
hearing how they would have beenused for the ultimate garden
party, it does make me wish wecould travel back in time and
(18:42):
experience a period in historyfor ourselves, to see what it
was really like, even just forone day.
Now, when I visit wonderfulgardens and admire them for the
vistas, the architecturalfeatures, the winding footpaths,
those secret corners and shadedwalkways, I shall imagine the
setting as the backdrop to agreat party, a Buckingham Palace
(19:05):
Garden Party meetingGlastonbury.
And as I'm watching the nextepisode of Bridgerton, I shall
look past the lavish costumesand the dancing and the scandal
a little and pay more attentionto another star of the show, the
setting.
(19:32):
Thanks for listening to theNational Trust podcast. And
remember, if you've enjoyed thisepisode, you can find more audio
programmes from the NationalTrust at
nationaltrust.org.uk/podcasts.We'll be back soon with another
episode. But for now, from me,James Grasby, goodbye.
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