Nina Campbell Announces Involvement in the Restoration of Historic Combermere Abbey’s North Wing

British interior designer Nina Campbell is pleased to announce her involvement in the exciting North Wing restoration project at Combermere Abbey.

Combermere Abbey is a former monastery, later a country house, on the Cheshire/Shropshire borders. The 18-month restoration project costing £2 million will restore the historic North Wing of the Abbey. Uninhabited since the early 1950s, beneath the North Wing’s gothic exterior cladding, the building had become structurally unstable, seriously endangering the rest of Combermere Abbey – one of only a few privately owned Grade I listed buildings.

Owned by Sarah Callander Beckett, work on restoring the Abbey has already begun and involves stripping the 900-year-old building back to the original medieval and Tudor frame before restoring it back to its beautiful gothic exterior.

Nina Campbell has been longstanding friends with Sarah Callander Beckett since they met in New York in the early 1980s. When Sarah originally took on Combermere Abbey Nina was invited to collaborate and design the interiors of Crossley cottage, one of the Combermere‘s holiday cottages. Collaborating with Sarah once again on this exciting and major restoration project, Nina will design the interiors of the North Wing when fully restored.

Restoration Of The Clock Tower And The Boathouse

At the extreme south-west of the main group of buildings which comprise Combermere Abbey is a long service block, which stretches from the north-east down to the south-west. It faces another block of similar length to the north, across a rectangular cobbled courtyard, with The Game Larder between the two, to the south-west. The block is single storey in the centre, rising to two stories at both ends, built of local brick under a slate roof. There have almost certainly been buildings of some kind on this site since early monastic times, but the present structure is probably around two centuries old at the most – albeit with mid-Twentieth century windows. The block is in an attractive setting; to the west it looks over the lawns which stretch down to the southern end of the mere, while to the south it faces the Abbey’s attractive kitchen gardens.

2015-10-14 16.08.15The service range from the south, seen across the kitchen garden, with the new estate office on the left and the clock tower behind it

2015-10-14 16.07.41Above and below: the estate office and clock tower after restoration

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2015-10-14 16.10.04The clock tower with the game larder to the left, inside the courtyard

At the south-west corner the building forms a very attractive eye-catcher, with a clock tower surmounted by a louvred, octagonal timber cupola to accommodate a bell. With its buttresses, arrow slits and lancet windows the tower can be described as gothic – probably the first instance of gothick revival architecture on the estate. It is a relatively modest and simple building, but very attractive – due in part to that simplicity, and its vernacular materials. It is Grade II listed.

In living memory the ground floor of this section was used as a boat store; it had two double doors facing south, which can be seen in the current design. This end of the building was in very poor repair until 2009, when the exterior was restored. The interior, with its exposed beams and, on the ground floor, much older-looking stone details (including a low, gothic doorway) was restored in 2011/2).

Inside, this building is thoroughly Twenty-first century, with a wealth of technology, as it is now the Estate office. With a single room on the ground floor together with a lobby, a toilet and a small kitchen (in the base of the clock tower), and a single room on the first floor, reached by a dog-leg stairway in the north-east corner. There is no accommodation in the clock tower either on the first or second floors.

Combermere_clocktowerThe clock tower from the west before restoration

The clock tower was added by the-then Baron Combermere (after 1827 the first Viscount Combermere) in 1815 or soon after as a celebration the great victory at the Battle of Waterloo of his some-time military commander, The Duke of Wellington. Many such edifices were created across the country to acknowledge the final defeat of Bonaparte. Thus it pre-dates his gothicisation of the Abbey by just a few years.

The four-faced clock was made by J B Joyce and Company of Whitchurch in Shropshire (the nearest town to the Abbey). It is said that the company began making clocks in 1690 but there is some dispute of this date. Certainly the business was well-established in large premises in the High Street in the town by 1790, and in 1834 they moved to a new and handsome red-brick building close to the town’s railway station. The firm specialised in large-face public clocks, and supplied most of the British railway companies, and exported their work all over the Empire. The firm was sold in 1964 and merged with a rival clock-maker in Derby. The Station Road premises have recently re-opened as an auction house.

1024px-Eastgate_clockThe famous Eastgate clock by J B Joyce in Chester city centre, made 1899

ShanghaiBundCustomsHouseThe customs house clock in Shanghai in Chine, made by J B Joyce of Whitchurch in 1927

Talking timber – and a fascinating chronology

Dendrochronology, as you doubtless know, is – put simply – the science of dating timber from the pattern of the original tree’s growth rings. It is a very valuable tool in historic architecture, as well as in dating paintings on board or with wooden stretchers. It is based on there being a data base of tree growth from authenticated samples, and at the time of writing, in the Northern hemisphere, that stretches back 13,900 years. Each ring indicates a period of growth (not necessarily just one year; in poor years several rings can merge together), and both the quality of the rings themselves and the gap between them varies according to meteorological conditions as they affected the growth.

It is thought that the Greek botanist Theophrastus, who lived between 371 and 287 BC was the first academic to comment on these rings, but it was Leonardo da Vinci who noted that the passage of time could be illustrated by the number of tree rings. The first scientific research on the subject was undertaken by two French botanists in 1737, Henri-Louis Duhamel du Monceau and Georges-Louis Leclerc de Buffon. Working in 1737 they knew that 1709 had been a very harsh year, and they saw the evidence of this in particularly dark rings, which helped further their thinking.

The American Alexander Twining and the Briton Charles Babbage furthered the science in the mid-Nineteenth century, with Babbage using the rings to date deposits in prehistoric peat bogs. A few years later Jacob Kuechler, a German, built up a data base of the age of oak trees (different types of trees show evidence of different rates of growth and some are easier to work with than others) as a record of the climate in Texas. A number of Russians, Dutchmen and more Germans took the science further forwards, and a laboratory of tree ring research was founded in Arizona in the first half of the Twentieth century by the astronomer A E Douglas. Towards the end of the last century computerisation of records moved the science forwards massively.

A E Douglas explaining dendrochronology on an impressively large sample


A ring sample bored from a piece of timber


Analysis of a core sample – from a medieval mill near Cromer in Norfolk

In 2003 a dendrochronological survey was undertaken at Combermere Abbey by R E Howard, Dr R R Laxton, and Dr C D Litton of the Centre for Archeology at the University of Nottingham. The survey was commissioned by English Heritage to provide information ahead of a scheme of repairs, and to understand the age of the timbers in the Library as well as the end of the North Wing. It provided crucial evidence of the importance of the Library within the house, as well as supported the application for an enabling development to save the North Wing. A total of ninety seven samples were taken and dated, and an earliest date of 1363 was found.

The dates of timbers always have to be treated with a certain caution as they may not be indicative of the date of the structure which surrounds it. As we know, timber – especially great lengths – were very valuable, and they were often re-used, so a beam might pre-date the room or building in which it sits by quite a long time. On the other hand, later timber might be inserted by way of repairs of an extension to the accommodation, so that the wood is in fact younger than the rest of the structure. In every case the building must be looked at in the round to give an accurate date, and any evidence of alteration must be taken into account. Where very similar dates are identified these worries can be set aside and it can be concluded that the work was undertaken contemporaneously.

The Library, on the first floor in the centre of the Abbey – once the Abbot’s Lodging – is the highest status room in the house, and probably the least changed, certainly from Tudor times. The timber work sits on a sandstone plinth which comprises the ground floor.

The Library has a later ceiling but was originally open to the hammer beam trusses of the roof. Before the fireplace was built there was a hearth in the centre of the room and a corresponding smoke hole in the roof. There was a raised dais at the north end indicative of a raised table for high status dining, with a canopy over. Pevsner suggested that the roof was mid-Fifteenth century, and that there was evidence of re-working, probably just before the Dissolution.

The other areas surveyed on the first floor were the room at the furthest north east corner – notated as Bedroom A (see plans below) – which would have abutted the Wellington wing after its erection ahead of The Iron Duke’s visit in 1820, and the adjoining room, the Oak Room. The room which in turn adjoins the Oak Room to the south, and looks over the lake – the Orange Room (so called because it was where King William III, William of Orange, slept ahead of embarking for Ireland and subsequently fighting The Battle of the Boyne) – was also surveyed.

                         Combermere library and north wing may 12 100         Combermere library and north wing may 12 081

Decayed Tudor timbers ahead of restoration in the North Wing (2013)

Overall the survey suggested that there had been programme of works in the Abbey at three distinct points in time; the early Sixteenth century, the mid-Sixteenth century, and the early Eighteenth century.

Samples were taken were from struts, trusses, purlins, rafters and beams in what was originally the exposed roof of the Library – thirty samples in all. The earliest ‘last measured ring’ dates were 1437, 1454, 1457, 1462, and 1465, but the majority of the Fifteenth century dates were from the 1470s and 1480s. The dates then leap forward in time to 1502 and 1544. The tie-beams in the roof all date the timber to 1544/5, which is of course when the wood was felled; it is unlikely that it was actually used in construction at that date as we shall see.

The surveyors concluded that the current roof beams in the Library were felled in 1502, putting it in the reign of Henry VII, and making Pevsner’s date too early. One piece of timber was older, but the assumption that it had either been in storage or was re-used, as it seems certain that all the construction work was undertaken at the same time. This discovery was fascinating, showing that a major programme of re-building had been undertaken during the tenure of Abbot John. This was probably essential work rather than improvements or aggrandisation as the Abbey was, as ever, in dire financial straits. Only six years previous, as a result of special pleading, Combermere was exempted from clerical taxation on account of its extreme poverty. If the Abbot had any inkling that his monastic house would exist for less than four decades from that point he might not have bothered, but Dissolution was utterly unimaginable at that point.

The dendrochronology showed that around the year 1564 there was another sequence of substantial work at the Abbey; in the Abbot’s Lodging roof, and the wall and floor timbers of both Bedroom A and the Oak Room. This is entirely consistent with what we know about Richard Cotton’s creation of a private residence from the central block of the Abbey. The estate was granted to Richard’s father, Sir George Cotton after its Dissolution in the summer of 1539, and the church and everything apart from the block which was domesticated was demolished. We do not know when that happened, but it is likely to have been sooner rather than later to avoid decay in the valuable building materials.

The report specifically makes the point that there was no ring dating from just after the Dissolution (the dates of 1544/5 for two timbers in the Abbot Lodging roof are not seen anywhere else). In fact this is not surprising; the Cottons were nouveau riche and did not have established family wealth to use in building their new seat. The Combermere estate seems to have been their only substantial asset, so it is probable that time was needed to amass rental income from the Combermere tenants before the house was begun. Sir George did not have long to enjoy his elevation to the gentry; he died in March 1545. He had however achieved what every Tudor gentleman aspired to – the creation of a landed dynasty.

Richard, his only son (there were four daughters) inherited Combermere and their other manors (including Wilkesley and Pulford). He was only five or six years old, so this is almost certainly a further reason why the re-building of the house was delayed. The boy may have been subject to a wardship. This would have been in the gift of the king, and King Henry VIII – who himself was in very poor health and had only two years to live – may have granted the wardship to Richard’s uncle, Sir Richard, as the family had been – and presumably still were – in high royal favour. This would have helped keep the Cotton wealth in the family; wardships were very vulnerable to rapacious financial management by unscrupulous custodians.

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Richard Cotton, son of Sir George Cotton, helpfully identified by his coat of arms; a portrait on board inserted into the hearth in The Library

Richard, who was to have fourteen children by three wives (the first, George – who was to inherit on Richard’s death in 1602 and live to be eighty seven – was born in 1560 when Richard was twenty or twenty one).

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Almost certainly George Cotton, son and heir of Richard cotton, again from a portrait in the fire surround in The Library

Obviously the building work took place over some years, and the timbers in the Orange Room show dates ranging from 1545 to 1580. The earlier date suggests that perhaps timber was being amassed for the construction only six years after the Dissolution. However, looking at those two dates, it is unlikely that the work took twenty five years; the later date may indicate repairs or updating. On the other hand, the plans for the house may well have evolved and this room could be later – though the overall shape of the finished house does not suggest this. A completion plaque on the house was dated 1563, but doubt has been cast on that for other reasons, and the timber dating shows that timbers were still being felled and used in 1564.

In the Orange Room the latest date discovered was 1542, but for technical reasons it is actually unlikely to have been felled before 1557. This suggests that it pre-dates the domesticated version of the Abbot’s Lodging. These dates come not from the main structural beams but from the panelling, and the conclusion is that the more substantial timberwork came from the same wood but was created at the same time. This fact contradicted earlier theories that the panelling was imported to the site, which was suggested because of its “plain, modernistic style” and “simple, unmoulded and undecorated form”.

One curious anomaly is that the three tie-beams have evidence of mortice joints in their side faces; that is to say, not where they were joined when in situ in the Abbey roof. The suggestion is that they were re-used, but this opinion seems in part to have been inspired by a desire to explain the delay in the building work commencing. It is more likely that the design of the structure was altered during the building work.

On the second floor, in the room to the north of the upper part of The Abbot’s Lodging (marked A8/10 on the plan), the ‘new’ timbers dated from between 1702 and – the majority – 1727. There is one date of 1669, but that seems to be anomalous as the dating chart is incomplete.

In Bedroom A both the wall joists and floor timbers show Tudor dates, ranging from 1513 to 1564, so this suggests that the room existed before the Dissolution and was altered in the 1560s re-building. The Oak Room has a single joist dating from 1522, but all the other samples dated uniformly from 1564. The range for The Orange Room is broader, spanning from 1449 to 1537, so this room can be assumed to be an entirely monastic creation, unaltered so far as its main timbers are concerned during the occupation of the Cottons.

The drawing and oil painting we have of the house close to the later date show the attic rooms under the three gables on the west face of the house, and they may have been enlarged to accommodate an increasing number of live-in domestic staff. It is of course possible that the images of the Abbey were commissioned after a programme of upgrading and perhaps extension, to document the newly-improved house.

The survey shows that while pre-mid-Sixteenth wood was still in place in the Abbey, no timbers were re-used from the pre-Dissolution structures, which further reinforces the theory that all the building materials from the other monastic buildings were disposed of after demolition during the 1539 – 1563 hiatus (again, doubtless, to raise capital).

Astonishingly it also shows that all the timber felled in the early Sixteenth century, without exception, came from trees which had grown very close to each other, but at quite a distance from the Abbey. All the timber came from the English East Midlands. This is difficult to understand; it is surprising that material closer to hand was passed over in favour of imported timber, but also, the cost of transportation – particularly of the very large beams – would have been great, and the logistical organisation of moving large and heavy tree trunk a considerable challenge. There is though a tiny hint in the report that, as a North West chronology continuum was unavailable when the survey was written, new testing might in fact contradict this find.

The report concludes that the timbers used in the two later building phases came from “a local north-west England source”, and the suggestion is that it was grown in Shropshire. This is less surprising than the East Midlands explanation, and if any further research showed that in fact the trees were felled on what was by then Cotton land no one would be particularly startled.

Although the dedication on the 1563 date plaque is written in such a way that it suggests that the building was already completed at that date, the dendrochronology may suggest that in fact it was a foundation stone. It is not impossible that the building of the private house at Combermere actually began in that year, almost a quarter of a century after the Cotton family was gifted the estate. As we have seen, by 1563/4 Richard had achieved his majority, was married and had become a father, and more than twenty years’ rents could have been aggregated from a substantial rent roll. The dendrochronology seems to confirm that the new Cotton mansion was begun when Richard was in his early twenties and – importantly – in full control of the now-worthwhile family finances.

Abbey plan 2 001Sketch plan of the Abbey, first floor

Abbey plan 3 001Sketch plan of the Abbey attic floor


The Abbey Stable Block – Curiously Not Gothic

Edward Blore was born in Derby in 1787, the son of an antiquarian. He trained as an engraver and illustrator of antiquarian subjects – a profession he remained in until early middle age.

In 1826, in his fortieth year, having created impressive illustrations of a number of English cathedrals and great houses, he was appointed surveyor to Westminster Abbey, and the following year he was engaged to furnish plans for the chancel fittings of Peterborough Cathedral.

Blore’s fastidiously detailed work at Westminster Abbey was much praised. It was said of the draughtmanship; “This was his great forte. He had studied and drawn detail so long and zealously that its design came quite naturally to him, and in this respect he was incomparably superior to his contemporaries”.

He obviously gained a considerable reputation in this ecclesiastical line because soon afterwards he was employed to restore Lambeth Palace, then in a state of near ruin. His work there included an innovation – the construction of a fire-proof room for the preservation of manuscripts and archives.

Over the following few years Blore metamorphosed into an architect – without any training or portfolio – and in 1847 he was commissioned to re-model Buckingham Palace for Queen Victoria and Prince Albert. He turned the C-shaped building in one with an enclosed central courtyard, much as we know it today (though King George V disliked it and had it further refined). At much the same time he enjoyed royal commissions to work on both Saint James’s Palace and Windsor Castle.

blorebuckThe entrance front of Buckingham Palace as designed by Edward Blore

bloreEdward Blore in late middle age

He was a close friend of the then-very fashionable author Sir Walter Scott, studied Scottish Baronial architecture with Scott, and went on to use it widely. Asked to design Prince Vorontsov’s massive palace at Alupka in the Crimea, he – schizophrenically – gave it a Scottish Baronial seawards façade, and a Moorish landwards face.

palaceAbove and below: The two contrasting facades of the palace Blore’s designed for Prince Vorontsov

palace 2That Crimean commission was atypical of Blore’s work as the vast majority of his commissions were across the British Empire – including the wonderfully inappropriately gothic Government House in Sydney. He was very much an establishment and imperial figure. He died in 1879 at the great age of ninety two, and is buried in Highgate Cemetery – in a plain and disappointingly unadventurous tomb.

All of which raises the fascinating question of how – and why – Edward Blore came to design the stable block at Combermere Abbey. Surely he was far too grand, and probably far too expensive, for such a modest commission?

The stables (which are now Grade II listed) were built in 1837 on or close to the site of the original Abbey farm, or grange. The range is about a thousand feet from the house, which seems like an inconveniently long way, and on slightly higher ground. They were built of local brick with stone detailing, under a slate roof. The plan is a long rectangle, more than three times longer than wide, running north east to south west. They included a number of staff cottages within the overall structure, which accommodated carriages as well as horses – enclosing a large, open cobbled courtyard.

Combermere glasshouse map 001A plan of the stable block in Edwardian times. It shows an absence of any buildings to the south-east of the main gate; this is correct – there is a wall but no structures.

A clue might lie in the year. Also in 1837 Blore was engaged to work on Crewe Hall, the home of Hungerford Crewe, the third Baron Crewe – who was a historian and aesthete, and went on to be a very enthusiastic and active fellow of both The Society of Antiquaries and The Royal Society.

Baron Crewe was one of the largest landowners ion Cheshire, with estates totalling more than ten thousand acres and bringing in £37,000 a year. He commissioned Blore to make alterations and enlargements to Crewe Hall, which was built between 1615 and 1634, at a total cost over five years of £30,000 – close to a year’s income for the Crewe estate (by way of comparison, in 1852 Victoria and Albert bought Balmoral Castle and fifty thousand acres for £32,000).

Baron Crewe’s brief to Blore was to make all the interiors more sympathetic to the external style of the original Jacobean house – most noticeably replacing the screens passage with an entrance hall, and covering over the central courtyard to create a single-storey hall. Blore also created a number of modernisations – including the installation of an innovative warm-air heating system.

Most interestingly for us, Blore added a centrepiece and a clock tower to the stables quadrangle and built a gate lodge. The original stables were very handsome. Built in red brick with a tiled roof, they were completed around 1636, and were contemporaneous with the house. The stable block was situated close to the house’s entrance front and at a right angle to it. It had, and still has, nine bays with an attic floor above.

Blore’s new centre-piece was a stone archway in the middle of the block, flanked by pilasters, with an ornamental stone balcony above, topped off by a tall brick and stone clock tower pierced by arrow slit windows, with a stone ogee cupola on top. To this day this confection looks like a slightly awkward addition.

pgds_20140828-210604_509px-crewe_halBlore’s new entrance and clock tower at Crewe Hall – hardly any distance from Combermere Abbey, and owned by an ex-soldier who Viscount Combermere doubtless knew well

Although everything else at Combermere Abbey was gothic by this period, the stable block which Edward Blore designed was neo-Jacobean, and not unlike the one at Crewe Hall – though less elaborate. It would not be at all surprising if Blore met Viscount Combermere while the former was at Crewe Hall – each would have known the other by reputation, in their different fields – and Combermere had asked the architect to build him a new stable block. It may have been socially embarrassing for Blore to refuse the request, and he may well have known that the fee could be earned easily and quickly.

One would have expected the block to be designed in the gothic style in concert with everything else at Combermere, but perhaps the Viscount failed to specify this, and perhaps Blore – or one of his assistants – rather dashed off a plan and elevations based on what was being worked on a dozen or so miles away at Crewe.

There would have been stables in use at the Abbey, in some form or other, for working horses across more than eight hundred years – from the creation of the Cistercian monastery at Combermere in 1133, right up to the post-War years in the middle of the Nineteenth century.

We know nothing about the use of horses at the Abbey before the Dissolution, though we do know that in 1309, during the reign of Edward II, one Richard of Fullshurst lead a band of aggrieved locals – who were probably owed money by the constantly-indebted Abbey – in a raid on the house, when goods to the value of £60 were stolen and three of the Abbey horses were killed.

After the Dissolution, when the wealthy and influential Cotton family were in possession of the estate, there would have been many horses in the stables (as well as hard-working horses stabled at the Abbey farm). Horses were vital for personal transport (for anyone of any wealth) as well as for senior servants out and about on Abbey business. In the Tilleman’s panoramic painting of the estate, created in the early Eighteenth century, we see a number of people on horse-back, mostly in two groups; one, including the then-master of the house, returning to the Abbey by what was then the main entrance, and a second, including a lady riding side-saddle, hunting deer.

2014-12-10 18.20.03From the Tillemans painting of the Abbey; above, horsemen approaching the house, and below, a hunting party on horse-back in pursuit of deer in the park

2014-12-10 18.16.23What may well have been the stables at that point are shown to the east of the house; a simple, timber-framed structure. A country house of this size would also have had tack stores, storage for fodder for the horses, and probably its own smith or metalworker, who had duties as a farrier.

The many men of the Cotton family who had military careers would have been expert horsemen, including of course the first Viscount Combermere, who made his name as a cavalry officer.

As early as 1859 the Abbey’s owner, the second Viscount Combermere, was offering his horses for sale, and in 1871 and 1882 further extensive sales of thoroughbreds and hunters were held. More on this can be read by clicking here.

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Sales particulars for the sale of horses from the second Viscount Combermere’s stables

In the late Nineteenth century the estate was leased to Elisabeth, Empress of Austria for two hunting seasons. We know that there were around three dozen horses which could be used for hunting in the Abbey stables (or elsewhere on the estate) at that point, but she augmented that number by bringing some of her own favourite hunters.

4540306081_06f02b3ffe_oAbove and below; photographs of Elisabeth, Empress of Austria sitting side-saddle on a hunter

1863-Empress-of-AustriaDespite the coming of the motor car there were horses at Combermere throughout the first half of the Twentieth century, many kept for hunting. After the death of Sir Kenneth Crossley in 1957 a small number of horses and ponies were kept in the stables for recreational use. A shed was built in the stable block to house tractors, and the carriage houses were used as garages for cars. The block boasted its own petrol pump for fuelling these cars. The original cobbled surface in the yard was concreted over, but fortunately it was possible to remove that and reveal the cobbles (complete with their drainage channels).

The stable block always included accommodation for staff, and they would have been very pleasant homes – fairly large, attractive, and, being south-east facing, very light.

In 1992, soon after Sir Kenneth Crossley’s great-granddaughter Sarah Callander Beckett took on the estate, it was decided to convert the block into a total of nine holiday cottages for short-term lets, sleeping, in all, up to forty nine people. By then the buildings were in a poor state of repair and mostly redundant, and this was to give the whole block a very worthwhile new lease of life – as well as providing a new source of revenue for the estate.

ST1 001

The stable block during restoration and conversion into luxurious holiday cottages

ST2 001

St4 001

ST5 001

ST6 001

ST7 001

St8 001

ST9 001

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St12 001

Scan 3 001

Prior to this date one cottage was still occupied, one had been vacated in the mid-Seventies, and one had been used by a tenant as a fish smokery for a while. Conversion work began in 1993, with the majority of the work being undertaken by a local building firm, Galliers and Son of Shrewsbury. They architects were Arrol and Snell, also from Shrewsbury, who have been associated with the Abbey for many years, and John Pidgeon of Shifnal in Shropshire was the quantity surveyors on the project. The conversion was completed the following year, each cottage was individually decorated, and a marketing operation was embarked upon immediately. The cottages are now very highly regarded and very popular. An upmarket wedding venue has now been created in the restored gardens behind the stable block, and the cottages are often taken en bloc by friends and family of the bride and groom.

The conversion of the block has won awards from the Country Landowners Association and the Rural Development Programme for England. The cottages themselves have won awards from Visit England, Green Tourism, Enjoy England, the Hudson Heritage Awards, and Marketing Cheshire – as well as the Visit England Gold award for self-catering, thus numbering the cottages among the very best in the England . They have frequently been the recipients of lavish praise in press reviews, both in print and online.

2015-10-14 15.55.50 Above and below; awards for the conversion of the stable block from national organisations

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RESTO stablesThe block from the park after restoration, looking from the south-east

2015-10-14 15.56.18The rear of the stable block, facing the southern end of The Walled Garden, looking to the south-east

2015-10-14 15.50.49Above and below; the cottage at the south-west corner of the block, seen from the park. The entrance arch is to the right

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2015-10-14 15.50.11The south-east corner of the main facade of the block, asymmetrical from the south-west corner

2015-10-14 15.49.26The north-eastern face of the block, from what is now the guests’ car park

2015-10-14 16.19.50Inside the stable courtyard, looking to the north-west

2015-10-14 16.18.48The north-west corner of the courtyard

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The carriages houses in the north-west range of the stable block

2015-10-14 16.17.59The south-west face


Above and below; cottage interiors after conversion