1 00:00:08,214 --> 00:00:10,656 JAMES GRASBY: Hello and welcome to the National Trust podcast. 2 00:00:11,117 --> 00:00:14,159 I'm James Grasby, a senior curator for the National Trust, 3 00:00:14,179 --> 00:00:17,903 and today I'm heading to one of England's most densely populated 4 00:00:17,943 --> 00:00:20,885 counties, to a little pocket of peace where you can find 5 00:00:20,986 --> 00:00:24,789 sanctuary in a garden of winding paths and lakeside walks. 6 00:00:25,390 --> 00:00:28,973 But go back in history. Claremont Landscape Garden was 7 00:00:29,033 --> 00:00:33,677 more a journey into a world of fantasy, hedonism and wild 8 00:00:33,817 --> 00:00:34,558 abandonment. 9 00:00:39,862 --> 00:00:42,623 Before I head to Surrey to discover more of Claremont's 10 00:00:42,683 --> 00:00:45,844 fascinating history, I thought I'd take you on a journey of 11 00:00:45,864 --> 00:00:50,085 escapism. To the world of TV and one of the hottest costume 12 00:00:50,125 --> 00:00:54,586 dramas. This is Bridgerton, set in Regency-era London. [Sound of 13 00:00:54,586 --> 00:00:56,386 Bridgerton - Courtesy of Netflix] 14 00:00:56,386 --> 00:01:00,930 Think lavish London dos. [Sound of Bridgerton - Courtesy of 15 00:01:00,930 --> 00:01:00,988 Netflix] 16 00:01:00,988 --> 00:01:05,989 Think scandal and love rivalry. And you get the picture. [ 17 00:01:05,989 --> 00:01:06,849 GENERIC: Sound of Bridgerton - Courtesy of Netflix] My mama had 18 00:01:06,849 --> 00:01:09,190 to stay home with her. Papa had to chaperone. 19 00:01:10,630 --> 00:01:13,312 I'm quite enjoying the fact that he is here. Mama would never 20 00:01:13,353 --> 00:01:17,096 allow me to wear a dress like this. Not yellow enough, I 21 00:01:17,116 --> 00:01:22,901 think. Mr Bridgeton. I believe you owe me a dance this eveing. 22 00:01:22,921 --> 00:01:25,864 And I have only one more space remaining on my card perhaps- 23 00:01:25,864 --> 00:01:31,088 how convenient! Penelope, I did not see you there. 24 00:01:31,088 --> 00:01:34,266 I'm afraid I cannot offer you that dance, Miss Cowper. I am to 25 00:01:34,326 --> 00:01:36,749 escort Miss Featherington to the floor. 26 00:01:37,490 --> 00:01:39,712 JAMES GRASBY: That scene was set at Vauxhall Pleasure Gardens, 27 00:01:39,932 --> 00:01:43,676 the outdoor entertainment venue of its day. Vauxhall was a 28 00:01:43,736 --> 00:01:46,639 public garden to be seen at. Claremont, where I'm headed 29 00:01:46,659 --> 00:01:50,964 tomorrow, was invitation only, but it was also a place to 30 00:01:51,024 --> 00:01:51,424 party. 31 00:02:06,622 --> 00:02:09,925 I've arrived after an evening watching Bridgerton. 32 00:02:12,767 --> 00:02:15,168 Leaving the busy road and with one or two rather noisy 33 00:02:15,289 --> 00:02:19,912 aircraft, I'm entering what looks to be a leafy paradise. 34 00:02:22,434 --> 00:02:25,296 Welcome to Claremont, the sign says. There is a pretty 35 00:02:25,976 --> 00:02:29,879 pavilion, which looks like the ticket office. It's even got a 36 00:02:29,979 --> 00:02:33,102 white dove on the roof. What could be more lovely? 37 00:02:34,006 --> 00:02:34,186 Hello. 38 00:02:34,506 --> 00:02:34,706 GENERIC: Hello. 39 00:02:34,947 --> 00:02:38,049 JAMES GRASBY: Good morning. I wonder if you could show me the 40 00:02:38,129 --> 00:02:39,810 way to my friend Rebecca Wallace. 41 00:02:39,950 --> 00:02:42,192 GENERIC: Follow me. She's over by the rowing boat. It's 42 00:02:42,192 --> 00:02:43,432 Charlotte and Victoria. 43 00:02:43,853 --> 00:02:45,794 JAMES GRASBY: Thank you very much indeed. Victoria and 44 00:02:45,874 --> 00:02:46,935 Charlotte, the rowing boat. 45 00:02:48,676 --> 00:02:52,699 This looks very promising. An arched opening in this leafy 46 00:02:52,779 --> 00:02:55,861 glade. And there is my friend, Rebecca. 47 00:02:56,541 --> 00:02:57,342 REBECCA WALLACE: Hello, James. 48 00:02:59,506 --> 00:03:01,147 JAMES GRASBY: What a beautiful morning. It's spring. 49 00:03:01,368 --> 00:03:03,549 REBECCA WALLACE: Look at the sunshine reflecting on the lake. 50 00:03:03,589 --> 00:03:06,071 And you've got the geese coming over to say hello as well. 51 00:03:06,331 --> 00:03:08,373 JAMES GRASBY: Behind you is a lake going off into the far 52 00:03:08,413 --> 00:03:13,117 distance. Pristine lawns and rising ground with trees and all 53 00:03:13,117 --> 00:03:16,680 the promise of temples and little bits and pieces. It's got 54 00:03:16,680 --> 00:03:17,640 a big story this place? 55 00:03:18,001 --> 00:03:21,263 REBECCA WALLACE: It has! It's arguably one of the most 56 00:03:21,463 --> 00:03:24,546 well-known gardens of its day. We're talking 300 years ago. 57 00:03:25,126 --> 00:03:28,910 It's monumental in terms of scale, ambition, in terms of the 58 00:03:29,030 --> 00:03:29,591 setting. 59 00:03:30,351 --> 00:03:31,993 JAMES GRASBY: I can resist it no longer. Let's go for a walk. 60 00:03:34,656 --> 00:03:37,539 What, to your mind, makes it so incredible and important? 61 00:03:37,879 --> 00:03:40,301 REBECCA WALLACE: It's a succession of very wealthy and 62 00:03:40,321 --> 00:03:44,746 influential owners. And they had the opportunity and the means to 63 00:03:44,786 --> 00:03:48,329 take on the very best garden designers of the era in the 18th 64 00:03:48,349 --> 00:03:48,790 century. 65 00:03:50,410 --> 00:03:52,012 JAMES GRASBY: Rebecca, it's taken my breath away. 66 00:03:52,372 --> 00:03:55,716 REBECCA WALLACE: We're walking along a path which was once the 67 00:03:55,756 --> 00:03:59,239 original Portsmouth Road. The road was relocated in the 18th 68 00:03:59,239 --> 00:04:03,063 century at great expense to ensure the privacy of the owners 69 00:04:03,063 --> 00:04:06,006 of Claremont and the fact they probably didn't want something 70 00:04:06,006 --> 00:04:08,348 to disturb the most magical landscape that you see around 71 00:04:08,348 --> 00:04:08,888 you today. 72 00:04:09,229 --> 00:04:13,173 JAMES GRASBY: That's a lovely idea, diverting a sort of HS2 so 73 00:04:13,173 --> 00:04:14,554 that you could build yourself a garden. 74 00:04:15,990 --> 00:04:17,631 REBECCA WALLACE: And it's incredible to think that the 75 00:04:17,991 --> 00:04:22,093 ability to do that, but also to make sure that the garden looks 76 00:04:22,473 --> 00:04:25,474 at its very finest. And you can see all these features as we're 77 00:04:25,514 --> 00:04:26,314 walking around. 78 00:04:26,334 --> 00:04:29,536 On the left-hand side across the lake, we've got the bell aisle, 79 00:04:29,576 --> 00:04:32,177 as it was called, with the building in the centre. 80 00:04:32,217 --> 00:04:35,578 That would originally have had a bridge to it. We'll be coming up 81 00:04:35,638 --> 00:04:36,739 shortly to the grotto. 82 00:04:37,259 --> 00:04:40,561 You know, all of these features that were so important to give a 83 00:04:40,621 --> 00:04:43,722 sense of surprise and joy and interest to people. 84 00:04:47,641 --> 00:04:51,966 What's really interesting about Claremont is the time that it's 85 00:04:52,046 --> 00:04:55,610 developed in the 18th century is exactly at the same time as 86 00:04:55,610 --> 00:04:59,375 there's a huge amount of social change in terms of expectation 87 00:04:59,435 --> 00:05:03,259 about what gardens should do and what they should offer, 88 00:05:03,560 --> 00:05:06,433 particularly in terms of entertainment. 89 00:05:06,813 --> 00:05:11,015 They are pleasure gardens rather than productive crop growing 90 00:05:11,075 --> 00:05:11,615 gardens. 91 00:05:11,675 --> 00:05:18,217 They are spaces to gather, to escape your troubles. 92 00:05:18,517 --> 00:05:22,018 Those that were very wealthy, it was becoming almost expected 93 00:05:22,038 --> 00:05:25,819 that you would have a pleasure ground, a pleasure garden like 94 00:05:25,859 --> 00:05:32,541 this to entertain, to host events, to stage large galas and 95 00:05:32,721 --> 00:05:35,314 to really impress your neighbours. 96 00:05:35,575 --> 00:05:39,381 It was very much about looking at what Duke of such and such 97 00:05:39,401 --> 00:05:41,645 had done and then try and copy it yourself. 98 00:05:43,781 --> 00:05:46,904 So we're going to continue around the garden. We met by the 99 00:05:46,984 --> 00:05:49,446 boats and the current garden entrance. 100 00:05:49,486 --> 00:05:52,428 That actually wasn't the original entrance that visitors 101 00:05:52,428 --> 00:05:55,030 to Claremont in the 18th century would have seen. We would have 102 00:05:55,030 --> 00:05:57,892 come from the other end of the garden, but we'll walk round and 103 00:05:57,993 --> 00:06:00,875 show you the moments of reveal and views that would have been 104 00:06:00,895 --> 00:06:01,495 intended. 105 00:06:01,615 --> 00:06:03,157 JAMES GRASBY: How lovely. Lead the way. 106 00:06:03,577 --> 00:06:03,877 REBECCA WALLACE: Will do! 107 00:06:03,957 --> 00:06:12,544 JAMES GRASBY: Rebecca, that was a brisk climb. I wasn't 108 00:06:12,544 --> 00:06:13,305 expecting that. 109 00:06:15,085 --> 00:06:18,550 This is the margins of the garden, but in the distance, I 110 00:06:18,550 --> 00:06:22,275 can see a four-square classical house, which I guess is 111 00:06:23,456 --> 00:06:23,857 Claremont? 112 00:06:25,649 --> 00:06:27,431 REBECCA WALLACE: This would have been the visitor entrance to the 113 00:06:27,431 --> 00:06:30,753 gardens. So you can get a sense here of how visitors would have 114 00:06:30,913 --> 00:06:35,117 walked from the house across the landscape and accessed the 115 00:06:35,137 --> 00:06:36,098 formal gardens. 116 00:06:36,498 --> 00:06:38,560 JAMES GRASBY: So Rebecca, as a visitor, I've arrived here. This 117 00:06:38,600 --> 00:06:40,881 was the entrance to the garden and there is the great house. 118 00:06:40,901 --> 00:06:42,243 But who was I coming to see? 119 00:06:42,983 --> 00:06:45,405 REBECCA WALLACE: Guests to Claremont in the 18th century 120 00:06:45,625 --> 00:06:48,448 were visiting the Duke and Duchess Of Newcastle. 121 00:06:48,768 --> 00:06:52,791 Thomas Pelham-Holles and his wife Henrietta lived here for 122 00:06:53,071 --> 00:06:59,037 about 40, 50 years. They were socially very well connected. 123 00:06:59,338 --> 00:07:03,182 He was a politician for over 30 years and prime minister twice 124 00:07:03,742 --> 00:07:07,226 and was hosting events here for the great and the good of the 125 00:07:07,246 --> 00:07:07,506 day. 126 00:07:07,587 --> 00:07:11,651 So we're talking politicians, nobility, dare I say royalty at 127 00:07:11,691 --> 00:07:15,615 times. He and his wife would host these large gatherings akin 128 00:07:15,635 --> 00:07:17,077 to fête champêtres. 129 00:07:17,849 --> 00:07:21,131 JAMES GRASBY: Fête champêtre, that has lovely resonances, 130 00:07:21,431 --> 00:07:24,814 fates and gardens, pleasure and fun outside. 131 00:07:25,154 --> 00:07:27,856 REBECCA WALLACE: And Claremont lends itself to that. And, you 132 00:07:27,896 --> 00:07:31,238 know, whether he's hosting a large party, a large fete or 133 00:07:31,318 --> 00:07:34,420 garden party, as we might call it today, or a small intimate 134 00:07:34,460 --> 00:07:38,843 gathering, the variety of entertainment on offer, the 135 00:07:39,043 --> 00:07:42,266 music that might be played, the games that might be played. 136 00:07:42,306 --> 00:07:45,608 There are moments around this garden where you could really do 137 00:07:45,908 --> 00:07:47,209 as your heart desires. 138 00:07:47,833 --> 00:07:50,275 JAMES GRASBY: Hundreds of people in glamorous outfits, music, 139 00:07:50,395 --> 00:07:52,436 jollity, drink, food, fun. 140 00:07:52,956 --> 00:07:55,478 REBECCA WALLACE: Places like Claremont were really incredibly 141 00:07:55,518 --> 00:07:57,780 important because they were places where people could 142 00:07:57,860 --> 00:08:01,742 network as well as socialise and be entertained. And it was 143 00:08:01,782 --> 00:08:05,105 incredibly important in terms of that ability to get on in 144 00:08:05,145 --> 00:08:05,685 society. 145 00:08:07,885 --> 00:08:10,608 DAVID COKE: Really ordinary people in smaller houses didn't 146 00:08:10,688 --> 00:08:14,931 socialise very much. There was a hole in the market. I'm David 147 00:08:14,991 --> 00:08:19,315 Coke and I'm a social historian specialising in the Georgian 148 00:08:19,375 --> 00:08:20,977 Pleasure Gardens of London. 149 00:08:22,341 --> 00:08:26,505 The trip to Vauxhall started usually with a trip over the 150 00:08:26,525 --> 00:08:30,630 river. It really represented a kind of separation from ordinary 151 00:08:30,690 --> 00:08:33,313 life in London, from your business, from your stresses and 152 00:08:33,373 --> 00:08:36,516 strains, from all your worries. And you would leave them behind, 153 00:08:36,836 --> 00:08:40,560 find Vauxhall Gardens. The first thing you'd notice would be the 154 00:08:40,580 --> 00:08:40,961 music. 155 00:08:44,421 --> 00:08:48,963 The bandstand was surrounded by things called supper boxes, 156 00:08:49,003 --> 00:08:53,045 which were a bit like theatre boxes, where people would go to 157 00:08:53,165 --> 00:08:54,065 have a bite to eat. 158 00:08:54,425 --> 00:08:58,267 When I say a bite, that's really what it was. The food was very 159 00:08:58,367 --> 00:09:02,349 sparse and extremely expensive. Sitting in your supper box, you 160 00:09:02,429 --> 00:09:06,491 could watch the other people going by, and one of the great 161 00:09:06,551 --> 00:09:11,693 joys of Vauxhall was to see the other people there. 162 00:09:12,341 --> 00:09:15,424 See who they were with, see what they were wearing, see how 163 00:09:15,464 --> 00:09:18,847 expensive they looked, and see who was rushing off one of the 164 00:09:18,867 --> 00:09:22,410 dark walks with somebody else so you would know who was pairing 165 00:09:22,430 --> 00:09:22,871 up with who. 166 00:09:23,851 --> 00:09:25,933 And that was all part of the gossip of the time. 167 00:09:27,775 --> 00:09:32,800 Later on, the entertainment became much more, I suppose, 168 00:09:32,840 --> 00:09:33,240 popular. 169 00:09:33,970 --> 00:09:36,053 There were things like tightrope dancers. 170 00:09:36,814 --> 00:09:41,542 An American brought his wild cats, lions, tigers, cheetahs, 171 00:09:41,622 --> 00:09:42,042 leopards. 172 00:09:42,223 --> 00:09:45,227 So he would take in a lamb or something like that or a small 173 00:09:45,327 --> 00:09:49,113 child and show them how well trained they were. 174 00:09:50,530 --> 00:09:54,156 I often get asked what it was like to be there. It's a 175 00:09:54,156 --> 00:09:56,460 difficult question to answer because there isn't anything 176 00:09:56,520 --> 00:10:00,807 like it in modern life. It's a sort of slightly strange 177 00:10:01,107 --> 00:10:04,653 offspring of the Buckingham Palace Garden Party and 178 00:10:04,693 --> 00:10:05,334 Glastonbury. 179 00:10:13,298 --> 00:10:15,220 JAMES GRASBY: Rebecca, you've brought me out of the wind into 180 00:10:15,280 --> 00:10:17,221 this lovely area of lawn. 181 00:10:17,582 --> 00:10:18,843 Claremont is full of surprises. 182 00:10:19,043 --> 00:10:21,205 REBECCA WALLACE: Claremont is full of these amazing surprises. 183 00:10:21,445 --> 00:10:23,967 And then we have a real showstopper to show you later. 184 00:10:23,967 --> 00:10:24,407 JAMES GRASBY: Have you? 185 00:10:24,548 --> 00:10:26,269 REBECCA WALLACE: But before that, I'd like to introduce 186 00:10:26,309 --> 00:10:28,311 Graham Alderton, our head gardener here. 187 00:10:28,531 --> 00:10:29,372 JAMES GRASBY: Graham, how do you do? 188 00:10:29,812 --> 00:10:30,533 GRAHAM ALDERTON: How do you do, James? 189 00:10:30,933 --> 00:10:33,035 JAMES GRASBY: You're the luckiest man alive. I am. It's 190 00:10:33,155 --> 00:10:33,735 beautiful. 191 00:10:34,276 --> 00:10:37,818 GRAHAM ALDERTON: Claremont is incredibly important. As it 192 00:10:37,938 --> 00:10:41,560 charts the history, the origins of the English landscape 193 00:10:41,580 --> 00:10:46,482 movement, we had four of the most influential designers 194 00:10:47,263 --> 00:10:49,044 leaving their mark on the landscape here. 195 00:10:49,264 --> 00:10:52,845 First of all, we have Vanbrugh. If you look behind you, you can 196 00:10:52,945 --> 00:10:57,292 see the Belvedere. And then the pleasure garden all comes out 197 00:10:57,472 --> 00:10:58,453 from this area. 198 00:10:58,974 --> 00:11:02,177 JAMES GRASBY: Wow. Graham, Claremont, you both have 199 00:11:02,197 --> 00:11:05,460 ambushed me again. That is extraordinary. I mean, the 200 00:11:05,460 --> 00:11:08,823 ground rises. That's about 150 metres, I guess, to the top, 201 00:11:09,343 --> 00:11:13,747 with beautiful symmetrical beech hedges, neatly clipped by your 202 00:11:13,827 --> 00:11:14,828 fair hands, I guess? 203 00:11:15,148 --> 00:11:19,032 GRAHAM ALDERTON: He builds this not long after he sells it to 204 00:11:19,873 --> 00:11:23,719 Thomas Pelham-Holles. Bridgeman came in just after Vanbrugh. 205 00:11:24,179 --> 00:11:28,482 Bridgeman puts in the pond, the amphitheatre, and a few walks so 206 00:11:28,622 --> 00:11:32,023 the Duke can get his daily exercise. William Kent then is 207 00:11:32,104 --> 00:11:32,564 brought in. 208 00:11:32,824 --> 00:11:36,566 Kent is very much the instigator of the English landscape 209 00:11:36,586 --> 00:11:36,946 movement. 210 00:11:37,326 --> 00:11:41,649 He gets rid of the formal lines. He introduces meandering walks, 211 00:11:41,889 --> 00:11:43,970 and he puts in small buildings. 212 00:11:44,722 --> 00:11:48,667 Then we have Capability Brown, who had a very light touch. The 213 00:11:48,727 --> 00:11:52,452 area around the current house, the only area where there's a 214 00:11:52,472 --> 00:11:56,076 Brownian landscape, big, wide, open vistas. 215 00:11:56,296 --> 00:11:58,459 JAMES GRASBY: You're in a long line, a long trajectory, of 216 00:11:58,479 --> 00:12:01,802 people who have loved this place, nurtured it. And also 217 00:12:01,942 --> 00:12:03,103 thought deeply about it. 218 00:12:03,703 --> 00:12:06,545 GRAHAM ALDERTON: To be able to work in the footsteps of 219 00:12:06,765 --> 00:12:12,048 Vanbrugh, Bridgeman, Kent and Brown is quite a rarity, but 220 00:12:12,248 --> 00:12:15,470 some of these designers worked at Stowe as well, which I 221 00:12:15,490 --> 00:12:16,770 understand you're familiar with? 222 00:12:16,930 --> 00:12:18,952 In fact, you were watching it yesterday, whilst you were 223 00:12:18,992 --> 00:12:20,953 watching an episode of Bridgerton. 224 00:12:21,213 --> 00:12:23,454 Bridgerton was actually filmed at Stowe. 225 00:12:26,347 --> 00:12:29,868 HANNAH GREIG: To be at Stowe to film the Vauxhall Gardens scenes 226 00:12:29,868 --> 00:12:33,250 for Bridgerton was just one of the most transporting and 227 00:12:33,270 --> 00:12:34,931 remarkable nights of my life. 228 00:12:37,692 --> 00:12:40,933 I'm Hannah Greig, Professor of history and a consultant to film 229 00:12:40,933 --> 00:12:41,514 and television. 230 00:12:43,358 --> 00:12:47,042 The gardens were just absolutely packed with supporting artists. 231 00:12:47,062 --> 00:12:50,205 It was full of colour and noise and drama. 232 00:12:51,246 --> 00:12:53,688 We had music and fireworks. 233 00:12:53,969 --> 00:12:57,352 There was dancing and you could get a sense of what it was like 234 00:12:57,392 --> 00:13:00,215 to be at a public pleasure garden in the 18th century. 235 00:13:00,836 --> 00:13:05,821 How thrilling and new, as if something incredible was just 236 00:13:05,861 --> 00:13:07,002 about to happen that night. 237 00:13:08,486 --> 00:13:11,928 I've always loved that sense of a closeness to the past, of 238 00:13:11,948 --> 00:13:15,089 visiting historic houses and thinking about who lived there 239 00:13:15,109 --> 00:13:18,891 or who visited there, who those ghosts were, what their stories 240 00:13:18,931 --> 00:13:22,052 were like, were they people like me or not, what were their lives 241 00:13:22,132 --> 00:13:22,472 like. 242 00:13:22,753 --> 00:13:26,774 And much of my academic historical research is based in 243 00:13:26,955 --> 00:13:29,176 archives, dealing with letters and diaries. 244 00:13:29,236 --> 00:13:32,417 It can sometimes feel slightly removed from the actual 245 00:13:32,457 --> 00:13:34,298 environments and locations and places. 246 00:13:35,314 --> 00:13:38,377 And then when I'm filming, it does almost feel like you're 247 00:13:38,377 --> 00:13:40,379 transplanted back into a different era. 248 00:13:40,659 --> 00:13:46,364 And it's exciting to see those locations brought to life in a 249 00:13:46,384 --> 00:13:48,126 way that's similar to the way in which they would have been 250 00:13:48,126 --> 00:13:49,127 experienced in the past. 251 00:13:55,133 --> 00:13:58,015 GRAHAM ALDERTON: Ok, well, if we all go up these steps, I'll 252 00:13:59,036 --> 00:14:00,658 introduce you to our showstopper. 253 00:14:02,130 --> 00:14:04,913 JAMES GRASBY: We're walking up really quite a steep flight of 254 00:14:04,953 --> 00:14:08,316 gravel steps. And there's a pristine, perfect line on the 255 00:14:08,316 --> 00:14:12,419 horizon. Could be a cliff edge that you're leading me to. 256 00:14:18,985 --> 00:14:24,230 What an absolutely sensational view. This is a great vantage 257 00:14:24,270 --> 00:14:27,893 point. And in front of us is your garden. 258 00:14:28,294 --> 00:14:28,634 GRAHAM ALDERTON: It is. 259 00:14:33,118 --> 00:14:35,861 JAMES GRASBY: Falling away down to the sparkly lake in the 260 00:14:35,901 --> 00:14:39,805 spring light is a series of terraces. We're above the 261 00:14:39,845 --> 00:14:40,425 amphitheatre. 262 00:14:43,608 --> 00:14:48,853 This is a terrific sight, isn't it? And very unexpected. Wow. 263 00:14:54,226 --> 00:14:56,947 Rebecca, it feels a bit like being in the upper circle of a 264 00:14:56,988 --> 00:14:58,228 huge theatre, doesn't it? 265 00:14:58,248 --> 00:15:00,289 REBECCA WALLACE: This is the prime view as you came from the 266 00:15:00,309 --> 00:15:03,811 house to see what you could go and explore. 267 00:15:03,811 --> 00:15:07,513 You can just tantalisingly see the island and the lake as it 268 00:15:07,533 --> 00:15:10,675 curves round and the paths that would take you across. But also 269 00:15:10,735 --> 00:15:12,816 really important to think about the wider views. 270 00:15:13,076 --> 00:15:16,098 Behind us, we've got amazing views of London, but also down 271 00:15:16,158 --> 00:15:18,479 into Surrey and to the other estates as well. 272 00:15:18,739 --> 00:15:21,221 So you are getting some of the prime views, not only of this 273 00:15:21,281 --> 00:15:24,843 garden, but also of the neighbourhood and what else was 274 00:15:24,883 --> 00:15:25,463 going on. 275 00:15:25,583 --> 00:15:28,125 So it was a real vantage point. You're absolutely right, that 276 00:15:28,165 --> 00:15:31,427 point about the upper circle, this was the prime spot to be 277 00:15:31,547 --> 00:15:31,708 in. 278 00:15:31,908 --> 00:15:34,510 JAMES GRASBY: You could keep an eye on developing relationships 279 00:15:34,610 --> 00:15:36,371 between new lovers. 280 00:15:36,571 --> 00:15:38,132 REBECCA WALLACE: Who's crossing the bridge together? Who's 281 00:15:38,232 --> 00:15:41,535 sailing on the lake? Who's maybe tucking themselves around a 282 00:15:41,555 --> 00:15:44,216 corner into an avenue of trees to make sure that they're not 283 00:15:44,316 --> 00:15:44,677 seen? 284 00:15:45,257 --> 00:15:47,159 JAMES GRASBY: Rebecca, it's a place designed for pleasure and 285 00:15:47,179 --> 00:15:50,641 parties. The Fête champêtre sounds stunning, and of course 286 00:15:50,641 --> 00:15:51,942 it would be a lovely thing to do it again. 287 00:15:52,490 --> 00:15:54,692 I mean, when was the last time a Fête champêtre happened here? 288 00:15:55,392 --> 00:15:56,513 REBECCA WALLACE: About 20 years ago. 289 00:15:57,034 --> 00:16:00,997 But actually, it was about 200 years before that that they 290 00:16:01,037 --> 00:16:02,378 probably stopped happening. 291 00:16:02,458 --> 00:16:05,901 So after the Duke and Duchess Of Newcastle sell the property, 292 00:16:06,321 --> 00:16:10,465 after a succession of owners, it then becomes owned by the royal 293 00:16:10,485 --> 00:16:10,825 family. 294 00:16:11,145 --> 00:16:14,848 Princess Charlotte and Leopold live here. Just behind me, 295 00:16:14,908 --> 00:16:16,850 actually, at the top of the amphitheatre, we have the 296 00:16:16,890 --> 00:16:21,414 remains, the foundations of a monument to Princess Charlotte. 297 00:16:25,234 --> 00:16:28,175 They were much celebrated, both as a couple, but particularly 298 00:16:28,255 --> 00:16:32,097 her as the only legitimate daughter of George IV The King. 299 00:16:34,898 --> 00:16:38,300 Her husband, Prince Leopold, erected a monument after her 300 00:16:38,380 --> 00:16:43,162 death, aged just 21, in childbirth in 1817. 301 00:16:44,830 --> 00:16:47,933 When she died, there was a public outpouring of grief. 302 00:16:48,513 --> 00:16:51,136 People were absolutely devastated for her and for the 303 00:16:51,176 --> 00:16:56,281 family. And so Leopold used a tea house structure to allow 304 00:16:56,381 --> 00:16:58,503 people to grieve and himself to grieve her. 305 00:17:00,044 --> 00:17:02,887 And it was really that moment that shifted people's 306 00:17:02,927 --> 00:17:04,228 perceptions of Claremont. 307 00:17:04,489 --> 00:17:08,312 And we see a period of time where the idea of partying here 308 00:17:08,332 --> 00:17:10,034 is not a priority. 309 00:17:10,998 --> 00:17:14,909 Royal families do live here and they do entertain, but not on 310 00:17:14,889 --> 00:17:16,212 the scale that we'd seen before. 311 00:17:21,802 --> 00:17:25,604 It was only after a period of renovation in the 20th century 312 00:17:25,644 --> 00:17:28,606 by the National Trust that the idea came to the Trust to 313 00:17:28,686 --> 00:17:32,538 celebrate this transformation of the garden with a series of Fête 314 00:17:32,538 --> 00:17:33,048 champêtres. 315 00:17:33,569 --> 00:17:36,170 That's not to say that the type of Fête champêtress didn't 316 00:17:36,230 --> 00:17:39,092 happen elsewhere in the country at other great gardens. And 317 00:17:39,092 --> 00:17:40,733 indeed, today they continue. 318 00:17:41,153 --> 00:17:44,295 Lots of country houses now will make a second income by hosting 319 00:17:44,315 --> 00:17:47,977 these amazing festivals, which are in many ways the modern day 320 00:17:48,017 --> 00:17:50,178 equivalent of a Fête champêtre. 321 00:17:51,082 --> 00:17:53,884 JAMES GRASBY: And there's a very, very real appetite here 322 00:17:53,984 --> 00:17:58,327 for increasingly giving pleasure and fun to visitors. 323 00:17:58,748 --> 00:18:00,569 REBECCA WALLACE: Absolutely. And I don't know if you noticed at 324 00:18:00,549 --> 00:18:03,431 the start when we met with the boats, the boats are all named 325 00:18:03,491 --> 00:18:04,992 after the royal family. 326 00:18:05,232 --> 00:18:06,033 JAMES GRASBY: Of course they are. 327 00:18:06,253 --> 00:18:09,175 REBECCA WALLACE: And so they are boats that, you know, people can 328 00:18:09,215 --> 00:18:12,117 enjoy on the lake. So it's tying that back into the history of 329 00:18:12,117 --> 00:18:15,880 the place, but also allowing people to enjoy the fun, the 330 00:18:15,940 --> 00:18:17,801 leisure, the pleasure of this garden. 331 00:18:20,266 --> 00:18:23,247 JAMES GRASBY: As I reluctantly head back to my car ahead of my 332 00:18:23,307 --> 00:18:26,228 journey home, I'm wondering whether I'll get back in time to 333 00:18:26,268 --> 00:18:29,329 squeeze in another episode of Bridgerton before I go to bed. 334 00:18:29,349 --> 00:18:32,189 That's the trouble with box sets! They are moreish! 335 00:18:33,110 --> 00:18:36,090 But having seen Claremont and all its beautiful features, and 336 00:18:36,130 --> 00:18:38,971 hearing how they would have been used for the ultimate garden 337 00:18:39,031 --> 00:18:42,972 party, it does make me wish we could travel back in time and 338 00:18:42,992 --> 00:18:45,913 experience a period in history for ourselves, to see what it 339 00:18:45,933 --> 00:18:48,274 was really like, even just for one day. 340 00:18:49,330 --> 00:18:52,631 Now, when I visit wonderful gardens and admire them for the 341 00:18:52,671 --> 00:18:56,633 vistas, the architectural features, the winding footpaths, 342 00:18:56,773 --> 00:19:00,794 those secret corners and shaded walkways, I shall imagine the 343 00:19:00,854 --> 00:19:05,156 setting as the backdrop to a great party, a Buckingham Palace 344 00:19:05,176 --> 00:19:07,117 Garden Party meeting Glastonbury. 345 00:19:08,097 --> 00:19:11,386 And as I'm watching the next episode of Bridgerton, I shall 346 00:19:11,426 --> 00:19:15,008 look past the lavish costumes and the dancing and the scandal 347 00:19:15,368 --> 00:19:20,410 a little and pay more attention to another star of the show, the 348 00:19:20,590 --> 00:19:21,030 setting. 349 00:19:32,040 --> 00:19:35,442 Thanks for listening to the National Trust podcast. And 350 00:19:35,482 --> 00:19:38,464 remember, if you've enjoyed this episode, you can find more audio 351 00:19:38,584 --> 00:19:40,426 programmes from the National Trust at 352 00:19:40,586 --> 00:19:46,309 nationaltrust.org.uk/podcasts. We'll be back soon with another 353 00:19:46,409 --> 00:19:50,012 episode. But for now, from me, James Grasby, goodbye.