Each year during the winter months, many historic buildings close their doors to visitors. Raby Castle is no exception and after a busy festive period, the castle closes before opening again in the spring.

Although the doors may be closed, this period is anything but quiet for the castle team, as work to care for and maintain the collection continues behind the scenes. Traditionally, these months see the winter deep clean with conservation work and collection checks taking place, as the castle prepares to welcome visitors in the year ahead.

This year sees a focus on Raby’s opulent Octagon Drawing Room, an elaborate Victorian confection of gilding, silk and glass influenced by French 17^th century design. Created in 1848 by Scottish Architect, William Burn for the 2^nd Duke and Duchess of Cleveland, the room would have made a bold statement that both impressed their visitors and demonstrated their wealth.

It is not hard to see why this room remains a firm favourite with visitors today. Look closely at the ornate ceiling and abundant symbolism can be discovered; the Duke’s monogram, family coat of arms and links with Royalty are all present, picked out in gleaming gilt. The height is accentuated by an enormous Victorian chandelier, painstakingly cleaned by the Raby custodian each winter, which is reflected in the in the two large gilt mirrors above the fireplaces, creating an infinity effect. Bold yellow silk wallcoverings, red and gold curtains and furniture pack a visual punch almost 175 years after completion, the colours still brilliant after a major a conservation project in the 1990s.

This winter, some of the furniture originally supplied for this room by the Bond Street company G. J. Morant has been returned to display after being rested for a couple of years. It is a reminder of how the room would have looked, and how it would have been used in the past. A drawing room (or withdrawing-room) was traditionally a more female domain, the space that women would ‘withdraw’ to after dinner when the men would remain at the table or retreat to a smoking room with port and cigars. The view that this was to spare the women from political debate is certainly ripe for challenge at Raby. The 19^th century visitors books, (housed in Raby archives) clearly show that guests to the castle that were vibrant and politically engaged, and both the Duke and the Duchess would have been prominent hosts. Standing in this room today, you can imagine the lively conversation in the candlelight, the sound of drinks being poured, and the warmth and smell of the wood fire from the two fireplaces.

The family entertained Royals, politicians, writers and artists through some fascinating periods of history. During the latter half of the 19^th century, guests included the Prime Ministers William Ewart Gladstone and Benjamin Disraeli – both leaders of different parties who visited the castle at different times.  If walls could only talk, what more could this room tell us?

If you enjoyed this blog you might be interested in reading about Raby’s Grand Entrance Hall 

In the early 18^th-century an almighty family feud almost destroyed one of Durham’s best-loved castles.

Christopher Vane, 1^st Baron Barnard of Raby Castle, was said to be a quiet, book-loving man who liked his estates to be run in good order. He married Lady Elizabeth Holles, the eldest daughter of Gilbert Holles, Earl of Clare. Elizabeth was a formidable character reputed to have an ‘ungovernable temper’.

In 1714, their eldest son Gilbert declared that he wished to marry Mary, the daughter of Guildford MP Morgan Randyll who was a wealthy “commoner”, and not a titled aristocrat.  Christopher and Elizabeth were furious and opposed the marriage. History lays the blame for this disagreement firmly at the feet of Elizabeth, who, as a rich heiress was said to be used to getting her own way.

To Gilbert’s horror, in protest against his marriage to Mary, his parents set about destroying his inheritance at Raby Castle.

Christopher paid his steward £50 to employ two-hundred workmen. In just a few days, the castle had been stripped of its lead, glass doors and furniture, and the floors were pulled up. The woodlands were cut down and many of the iconic Raby deer were slaughtered. Household goods were sold for whatever they would fetch, and the remains ended up on enormous bonfire.

Gilbert and Mary were not going to take the destruction of Raby Castle lying down, and successfully took Christopher and Elizabeth to Court of Chancery in the case of Vane vs Barnard.  Christopher and Elizabeth were ordered to cease the destruction and a rebuilding programme began.

Gilbert and Mary are understood to have had happy marriage, and the story of Christopher and Elizabeth’s disapproval slipped into local legend. Christopher almost vanishes into the background, whereas a furious Elizabeth was said to continue to torment her neighbours and became known locally as ‘The Old Hell Cat’. Stories of her fiery temperament continue to be told, and she is said to haunt the battlements of Raby Castle, pacing furiously back and forth, knitting with red-hot needles.

Read this and other myths and legends from County Durham in Visit County Durham’s Durham Stories online storybook.

If you enjoyed this legend, you can discover more tales inspired by Raby Castle from the winners of our 2020 Short Story Competition here 

With so many of our young visitors unable to travel to Raby during lockdown, we’ve decided to bring Raby to you.

Families love our Scavenger Hunt through the Deer Park and there’s always lots to see as you explore.

Download our Scavenger Hunt activity sheet and discover hidden treasures as you watch the video and explore the Park and Gardens at Raby Castle.

There are 20 things to spot – how many can you find?

Download Activity Sheet

The Twelve Days of Christmas have been celebrated since medieval times. In the 14^th century when Raby Castle was built, the Twelve Days began on Christmas Day itself, celebrating the birth of Christ, then would carry on until Twelfth Night on 5^th January – a huge celebration involving feasting, drinking and merrymaking which heralded the end of winter. Taking our inspiration from the 18^th century song, the Twelve Days of Christmas, we challenged the castle team to find a link with each of the gifts given over the 12-day period. Our daily celebration will provide a light-hearted glimpse of the stories of the people who have lived and worked at Raby Castle over the centuries.

A Partridge in a Pear Tree

On our first of the Twelve days of Christmas, we celebrate the gardens. Although we have not managed to photograph a partridge in our pear trees, our gardens team take great pride in the historic Raby fruit trees. Pictured here in autumn 2020 our espalier pear trees, planted on a sunny south facing wall at the bottom of the walled garden.

Raby has a long tradition of fruit growing and in the temperamental climate of the north-east, some surprising fruits have been grown. Pears and apples might be expected, and other historic fruit trees and bushes still thrive including the Raby redcurrant created by the Head Gardener in the 19^th century, and a white Ischia fig, brought to Raby from Italy by William Harry Lord Barnard (later the 3^rd Earl of Darlington), which can still be seen in its purpose-built fig house, just along from the pears.

Figs were not the only exotic fruit grown at Raby and heated walls and specialist structures have seen crops of peaches, grapes and even pineapples grown successfully.

The Raby gardens have a fascinating history  of their own. During the pandemic they have been a haven for so many visitors and when we were unable to open the castle, became a place of safe participation in events as varied as open-air cinema, yoga and a Halloween trail. The gardens are so well-loved that in 2021 we will be launching a new Garden Tour looking at the history, planting and future of this much-loved space. Sign up to our mailing list to be the first to hear when the tour is launched.

Two Turtle Doves

 

According to Thomas Bewick, author of A History of British Birds, first published in 1797 …

“The note of the Turtle Dove is singularly tender and plaintive: in addressing his mate, the male makes use of a variety of winning attitudes, cooing at the same time in the most gentle and soothing accents; on which account this bird has been represented in all ages as the most perfect emblem of connubial attachment and constancy”.

With such symbolism, what better gift could a true-love bring on the second day of Christmas?

The library at Raby Castle has copies of both volumes of Bewick’s work on British Birds and his earlier work on a History of Quadrupeds.  Born in 1753 in Northumberland, Bewick was a tearaway child who frequently played truant from school, preferring to spend his time in the great-outdoors and in observing and drawing wildlife. He trained as an engraver, temporarily leaving the north-east to seek his fortune in London but was soon drawn back to his childhood home, Cherryburn, now owned by the National Trust.

At a time when engraving on copper plates was more common, Bewick preferred to work on wooden blocks – pushing the boundaries of wood engraving to their very limits. His intricate, life-like prints include the full range of British birds, interspersed with bizarre scenes as varied as a child blowing soap bubbles from a clay pipe to a convict wrestling with a demon en-route to the gallows!

But birds were clearly his passion. In the introduction to Volume 1 of a History of British Birds, he writes ….  “In no part of the animal creation are the wisdom, the goodness, and the bounty of Providence displayed in a more lively manner, than in the structure, formation, and various endowments of the feathered tribes”.

Three French Hens

Today our glimpse of the Raby Collections is of a tiny brass model of three hens and a cockerel. Rather than of French origin, they are believed to have been made in Germany at some time before 1883. The only clue to manufacture being a little stamp reading “Geschutz” on the base – meaning ‘protected’ – a 19^th century copyright system used in Austria and Germany.

Our three German hens (and a cockerel) are kept in the Duke’s Study at Raby Castle which can be visited on our ‘Behind the Scenes Tours’.

The study was last used by the 10^th Lord Barnard and closed up when he died in 1964 . It has remained a time capsule ever since.  The little model was possibly a souvenir, collected by earlier generations. In the 1870s and 1880s the 4^th Duke and Duchess of Cleveland were known to have regularly visited Germany, enjoying the historic cities and taking health cures in spa towns in the company of German nobles such as the Prince de Schwartzenberg, the Queen of Saxony and the Prince and Princess Bismarck who also visited them at Raby Castle.

The Duke’s correspondence and memoirs were transcribed by the Duchess after his death and chart these and other journeys. The couple were clearly enthusiastic travellers and describe every aspect of their travels, from the landscapes they travelled through to the conversations they had with the people they met. German crafts and toys clearly made an impression on the Duke as he mentioned them in his writing. This tiny model – which he seems to have used as a paperweight – is one of a number of  items dating from the 19^th century that were made in Germany  – perhaps a small reminder of their travels when the couple returned home.

Four Colly (or Calling) Birds

Today often written as ‘Calling birds’, early versions of the Twelve Days of Christmas list this gift as four ‘Colly Birds’ – a Colly Bird being a bird as black as coal – our blackbird.

In the 19^th century, many wealthy collectors embracing new scientific research actively sought to acquire and display natural history specimens from the UK and further afield.

Raby was no exception and traces of these animal collections still survive at Raby Castle, including a case displaying a variety of birds of many colours – black birds included. Many of these specimens were believed to be collected by Elizabeth, 1^st Duchess of Cleveland  (1777-1861).

This summer, student Dorothea Fox from Durham University carried out an internship at Raby during which she researched Elizabeth’s ‘Museum of Natural History’.

Here she summarises her findings in her blog Whatever Happened to Raby’s ‘Museum of Natural History’? So, on this fourth day of Christmas, why not settle back with a cup of tea and a mince pie and discover more about this fascinating aspect of Raby’s past.

Five Gold Rings

Of course these glittering rings are copper, rather than gold, but they form part of Raby Castle’s pre-eminent  – and therefore gold-star collection of furnishings and furniture in the medieval kitchen. Built in the 14^th century and remaining in use until the 1950s the kitchen remains a firm favourite part of any visit to the castle.

Part of the appeal of the kitchen lies in the array of gleaming copper pots, pans, urns and especially our collection of moulds of all shapes and sizes.

Foods set in a mould have been popular culinary showpieces from the medieval period onwards, evolving over the centuries to include dishes, from jellies and  mousses to ice-cream and blancmanges. Often highly elaborate, these decorative delicacies could be sweet or savoury.

A handwritten recipe book in the Raby collection dating from the 1780s shows that variety of uses such moulds could be put to ….  “Oysters in a Green Mould” used veal, spinach juice and oysters set with gelatine, “A Newmarket Pudding” set lemons and cherries with breadcrumbs, eggs and sugar, and the book contains several recipes for “Iceland Moss Jelly”; a fortifying food for invalids considered especially suitable for anyone suffering from a sore throat or bronchitis.

The shapes of the moulds vary, from ornate castles with turrets and towers, to tiny individual flowers, and of course the variety of decorative ring moulds. Many of the moulds are marked with the stamp of the maker and also a mark denoting the owner – here seen as the C for the Cleveland under Ducal Coronet – a reminder that during this period Raby Castle was owed by the Duke of Cleveland whose cook might well take their own kitchenware when they travelled to other houses.

Cleaning the copper at Raby is an annual task embraced with gusto by our volunteer team. The annual cleaning takes place just before the castle opens for the season and is traditionally an opportunity to catch up as a team and enjoy one another’s company.

For many during 2020, volunteering was impossible and as we move towards 2021 we take the opportunity to wish all of our volunteers a happy, safe and healthy year.

Whilst the Covid restrictions may mean that the annual copper clean for 2021 has to be very different, we look forward to presenting visitors with the much-loved view of a gleaming historic kitchen.

Six Geese A Laying

Tucked away in one of the porcelain display cabinets at Raby are a pair of charming little double-handled beakers. One of which depicts a variety of birds and animals in a stylised landscape including a simple but rather sweet depiction of a goose.

During summer 2020 four postgraduate students from the School of Museum Studies at Leicester University carried out a ‘virtual’ research placement at Raby Castle, helping us to better understand our Chinese and Japanese ceramics. This little cup was studied by budding curator Manle Li s as part of this project and her conclusions were fascinating. After studying the painting and the shape of the cup (and particularly the handles) in detail, Manle concluded that it was in fact a European example and that the birds and animals weren’t quite a match for the Chinese painting style. Her online research led to other examples of 18^th century two handled cups of the Chinese style in collections of the British Museum and the V&A which were the same, distinct shape.

Raby Castle enjoys regularly hosting student placements and even during the challenges of 2020 found a way to continue this tradition virtually. Placements provide an opportunity for focused research into collections that have been given limited attention in the past. We would like to take this opportunity to thank ALL of the students that worked with us in 2020 and look forward to working with the next cohort in 2021.

Seven Swans a Swimming

It takes a bit of searching to see how these fine slip-on ladies’ mules relate to the gift given on the seventh day of Christmas …. Although to the wearer it would have been perfectly clear.

Viewed from above, each of these embroidered red velvet mules depicts (not seven, but..) two Swans a Swimming.

Swans have held deep and symbolic meaning in England since Roman times; featuring in classical myth and legend, fairy tales and folklore. The shape formed by the necks of two swans facing one another can be seen to form a heart and swans have come to symbolise love, strength and loyalty…. A perfect token to be sent by a true love.

These exquisite shoes were made in around 1670. The swans and other motifs were embroidered on to red velvet. We don’t know who they belonged to, but in the 1670s the castle had been owned for around 50 years by the Vane family. Perhaps it isn’t too great a flight of fancy to speculate that one possible contender was Elizabeth Holles who married Christopher Vane, the 1^st Baron Barnard in 1676 – exactly around the time these sentimental shoes were made.

Eight Maids a Milking

During the first UK lockdown, a number of our willing band of volunteers who so tirelessly support Raby worked with our Curator on a project to understand more about the people for whom Raby Castle has been their workplace.

Transcription and analysis of some of the records relating to Raby’s servants at various points from the 1890s to the 1920s is helping to build up a picture of how life changed for working people during decades that saw major advances in domestic technology, not to mention political change and war on a scale that had never been seen before.

One such role that can be traced from the records is that of the Dairymaid. In 1900 Raby Castle employed two dairymaids. Jane Metcalf and Cissie Glendinning. Jane was 1^st Dairymaid with an annual salary of £26 – slightly higher than the corresponding role of 1st Kitchenmaid. Cissie  was in training as 2^nd Dairymaid and earned £10 a year.

Research into the archives suggests that rather than going “a-milking” the two dairymaids would have collected milk and eggs daily from Raby’s Home Farm. Their job was then the regular production of dairy products for the family and servants hall; churning butter, separating cream and making different cheeses for the household.

Jane and Cissie would have been expected to keep the dairy spotlessly clean and hygienic – in the preceding decades, advances in the study of chemistry and microbiology had greatly improved understanding of the scientific basis for food hygiene. The works of scientists such as Louis Pasteur soon impacted in a domestic setting and the nation became obsessed with the previously hidden world of bacteria and germs.

Jane is known to still have been working for Raby in 1908 (as seen on the wage record pictured here), although Cissie had been replaced by Margaret Mason – both women on the same salaries as in 1900.

The project to transcribe the Raby servants records continues, so that in future we can build up a clear picture of the working life of the estate. Thank you to all of the volunteers who have been involved.

Nine Ladies Dancing

Ever since its earliest origins, Raby Castle has been a place where people have been welcomed for music, feasting and dancing. Generations of the household and their guests were entertained from the rare stone Minstrel’s Gallery in the Barons’ Hall and over the centuries, parties, balls and concerts have continued the tradition.

During the 19^th century, visitors staying at Raby were encouraged to write in the castle’s visitors book. These incredible books are now housed in the Raby archive and are filled with witty comments, jokes and poems about the hospitality received.

Many visitors chose to reflect on their stay through drawings or paintings rather than words. Here, the illustrator Richard Doyle who was a regular visitor to Raby Castle,  states his reason for visiting in 1869 as “to Dream of Raby in the Olden Time”. Taking up two full pages of the visitors book, Doyle fills the space with illustrations of card games, sumptuous meals and here, his imagining of ladies and gentlemen enjoying a square dance.

Ten Lords A Leaping

Raby Castle has been home to many Lords and is currently owned by the 12^th Lord Barnard. It is not really known why in The Twelve Days of Christmas the Lords are ‘A-Leaping’ but it certainly implies a degree of energy and progress; leaping forward or leaping into action.

Type the word ‘Leaping’ into the collections catalogue for Raby Castle and one item ‘leaps’ out. Earlier this year our Senior Guide Keith Simpson revealed that his favourite in the Raby collections is the 17^th Century masterpiece ‘Marcus Curtius Leaping into the Gulf’ by Luca Giordano.

On our tenth day of Christmas,  Keith shares his passion for the painting which is on display in the Dining Room at Raby Castle. Read more here.

Eleven Pipers Piping

Look up in the Small Drawing Room at Raby Castle and you will discover clues to the room’s past use.

Much of the architectural detail of this room dates from the mid-18^th century when architects James Paine and Daniel Garrett worked at Raby.

Musical instruments abound with pan-pipes, a horn and a lute. In the  late 19^th century, the 4^th Duchess of Cleveland tells us in her ‘Handbook of Raby Castle’ that the room was used for music … but only in the morning!

Other symbols on the ceiling reflect different interests of the couple, including commerce and outdoor leisure. The room is still filled with art and artefacts that reflect the interests of the family in years go by, and in particular a love of horses and a celebration of the prizewinning racehorses that were bred in the 18^th and 19^th centuries on the Raby Estate.

Twelve Drummers Drumming

 

Our last item in the Twelve Days of Christmas series is this impressive Regimental Drum of the South Durham Militia.

The Durham Militia was formed in 1759 by the 2^nd Earl of Darlington, owner of Raby Castle, after retiring from the army the previous year.

Initially made up of 369 Militiamen who met monthly for training – carrying out their normal lives in between. In times of emergency, the Militia would be deployed as regular soldiers.

The Regimental Band was an important part of military life and the Durham Militia is no exception. This beautifully painted bass drum dates from after 1853 when the Durham Militia divided into the North and South Durham Militia but this was not the end of the story.

When the county’s famous Durham Light Infantry was formed in 1881, the North and South Durham Militia became the 3^rd and 4^th Battalions. Later generations of the family went on to serve in the DLI and their uniforms form part of the collections of Raby Castle.

 

Visitors today might think of Raby Castle as a ‘museum’, but this is not the only time in its history where it has been considered as such. In the first half of the 19th century, Elizabeth (c.1777-1861)—the second wife to the 1st Duke of Cleveland (1766-1842)—compiled at Raby ‘a most curious Museum of Natural History, collected with much care, skill and attention’ [1]. This museum, however, was not to everybody’s taste. Nor did it survive beyond the mid-19th century.  During 2020, Raby intern Dorothea Fox has studied the collection at Raby Castle as part of her postgraduate studies at Durham University. Here she reflects on her findings and what they tell us about Raby’s past.

So what happened to Raby’s Museum of Natural History? It is likely that the collection of ‘museum’ objects was disassembled during restoration work between 1843-1850. After that time, the taxidermy and natural-history collection were moved from room to room until a suitable home could be found for them. The movement of these objects was recounted by the 4th Duchess of Cleveland in her Handbook to Raby Castle. This year marks the 150th anniversary since the publication of her guidebook—an important resource to understanding the history of the house.

The 1st Duchess’s museum was located in the Barons’ Hall. With dimensions of 132 feet by 36 feet by 32 feet, this was an impressive space in which to exhibit her natural-history collection. Not only that, but the space carried with it the powerful memories of former times. In many accounts, it is noteworthy for entertaining 700 knights and retainers of the Neville family at once, and for being the site where, on 13 November 1569, a great council of northern nobles decided upon an insurrection against the Crown—the fatal ‘Rising of the North’.

By the time of Raby Castle’s 1842 inventory, there is a sub-heading, ‘The Museum’, under the section on the Barons’ Hall. It is described as ‘consisting of various glazed cases of specimens of Natural History, Cabinets, Indian Curiosities, and Oriental Porcelain’.  An article from 1833, which featured in the American women’s magazine, Lady’s Book, sheds more light on the diverse objects:

‘The rough inmates of the forest, harmless as the fierce barons who once feasted beneath the fretted roof, are chained in mimic life to guard the doors. Handsome glass cabinets are arranged around the walls, enriched with all that mineralogy can yield, mingled with shells, fossils, bones, dried specimens of animal and vegetable life, works of art, and relics of the olden times. Several articles connected with the worship of the Catholic Church are here preserved. Amongst others, a curious cross, or rood, as it was anciently called, and a spoon set with precious stones, doubtless formerly used in the ceremony of consecration.’ [2]

While the author of this account is unknown, the castle and its museum were clearly deemed of interest to an American audience: whether as visitors or as readers of the magazine.

Displaying ‘natural’ matter alongside ‘cultural’ artefacts corresponds to the idea of the ‘cabinet of curiosity’. Across Early Modern Europe, collectors, curators and visitors were driven by inquisitiveness into objects that were rare and unexpected, producing eclectic wunderkammer—cabinets of wonders. While some private collectors like Duchess Elizabeth continued these practices, from the 18th-century ‘Enlightenment’ period there was a shift towards more narrowly-focused displays, paralleling the development of public museums and a division between the ‘arts’ and ‘sciences’.

But the cabinet of curiosity still presented a form of intellectual stimulation to those who were excluded from ‘academic’ study, particularly women. Processes of collecting and arranging nurtured their creativity, using the patterns and details of nature as a guide to aesthetic harmony. Moreover, it brought knowledge of science, archaeology, art and religion to bear on decorative practices, enabling women to engage with these subjects in a manner that was considered socially acceptable.

The Portfolio magazine praised Duchess Elizabeth for these wider implications of her museum:

‘[she] has devoted a great portion of her attention to Improvements both in the castle and grounds, and has gone to considerable expense and labour in the formation of a museum, which bids fair to rival any private collection this country has to boast.’ [3]

There was logic in her transformation of the Barons’ Hall into a display room—a museum. Since its inception, the room was a decidedly public space. As a ‘medieval hall’, it would have received guests and followers; a single, open room in which people ate, entertained and slept. From the late eighteenth century, the Romantic movement revived an interest in medieval halls, converting them to suit contemporary purposes. The nineteenth-century architect, Augustus Welby Pugin, was anxious to restore these ‘capacious’ spaces so that the aristocracy ‘might exercise the rights of hospitality to their fullest extent’: where noble and humbler visitors ‘partook of their share of bounty dealt to them by the almoner’. [4]

Within the Barons’ Hall, therefore, noble hosts were expected to perform public acts of generosity and chivalry. These behaviours were thus adapted to the circumstances of the 1st Duchess. She demonstrated aristocratic munificence by offering an abundant, multicultural cornucopia—her own miniature world in which the diverse relics of natural and human history were assembled and made visible under glass cases.

Not all visitors, however, approved of Duchess Elizabeth’s curatorial vision. In 1828, The Sporting Magazine cautiously remarked that ‘[the Barons’ Hall] is now filled with all the curiosities of the mineral, vegetable, and animal world; but on this subject I am silent.’ [5] Meanwhile, the historian-tourist William Howitt, in his Visits to Remarkable Places (1842), complained that:

‘this hall, which should only display massy furniture, suits of armour, and arms and banners properly disposed, is converted into a museum of stuffed birds, Indian dresses, and a heap of other things which may be better and more numerously seen elsewhere. In fact, any ordinary room of this many-roomed castle might have served this need.’ [6]

Howitt clearly believed that this space should have been treated with utmost veneration for its medieval origins; glass cabinets of birds, insects and shells seemed out of place. This may relate to the ‘professionalisation’ of history across the nineteenth century, during which the boundaries of ‘history’ were demarcated from other subjects, such as those that came to be classified as ‘science’.

It is not certain when the museum was dismantled, but, as mentioned above, it probably coincided with the architectural renovations of 1843-1850. Elizabeth’s successor, Catherine Lucy Wilhelmina, the 4th Duchess of Cleveland, documented her criticisms of the natural history collection in her Handbook to Raby Castle (1870)—a guide to the house, its history, its contents and its inhabitants. This is despite the fact that the 4th Duchess never saw the museum in its intended layout.

Throughout the Handbook, the author implies a curatorial conflict with her predecessor. While the 1st Duchess lavished care and attention on the objects she compiled—valued so highly, they were granted ‘museum’ status—the 4th viewed them as something of a burden. Her relationship with the natural-history objects, and her efforts in rearranging them outside of a ‘museum’ context, were partially recounted in the Handbook.

The natural-history collection posed a formidable problem: how could the 4th Duchess integrate these objects into the lived-in spaces of the castle? She made no attempt to re-establish the Baron’s Hall museum—a decision which seemed to correspond to her belief that ‘the chief interest of Raby consists in its bringing so visibly before one of the long-past ages of feudalism’.

Accordingly, the Handbook pays special attention to listing the ‘gallery of fifty-four portraits, consisting almost entirely of family pictures’ in the Barons’ Hall. This was a product of the 4th Duchess’s direct curatorial intervention: ‘I found almost all these pictures taken down and piled up against the sides of the room, and felt the task of re-hanging them rather a weighty responsibility.’

The 4th Duchess frowned upon the former arrangement of natural-history objects here, fashioning the Baron’s Hall into a ‘receptacle for all kinds of lumber’. She deplored the ‘old Duchess’ who ‘had even the common swans and foxes brought in to be stuffed’—native animals that possessed no value in peculiarity. She also ‘felt a positive regret at the money which … had been spent upon shells alone.’

In designating the 1st Duchess’s museum as ‘lumber’—cluttered odds and ends—the 4th separates herself from the then out-dated practice of the wunderkammer. In contrast, her priority for the Barons’ Hall was to draw attention towards its medieval connotations and its significance in the history of the family.

An assorted collection of natural and cultural objects might have appeared harmonious to Elizabeth, but in the eyes of Catherine it was a ‘great array’ of incongruous and indiscernible things—in stark contrast to her own vision for the Barons’ Hall.     Her Handbook can help to reveal to the afterlives of some of the natural-history objects once they had been removed from the Baron’s Hall. In what must have been a temporary measure, 51 cases of ‘preserved birds, animals and insects’ found their way into the Stucco Anteroom—a space that is minuscule in comparison with their previous home.

Unwilling to leave the anteroom ‘crammed with stuffed birds and beasts’, the 4th Duchess removed some to the Smoking Room, which they overflowed, and from there to ‘various remote and unfrequented parts of the castle’. In these dark and mysterious corners of the house, she left them ‘dwelling in strict retirement’. We also learn that during the time of the 2nd Duke, ‘three cartloads of spars and crystals’ were put into storage in the Bath House, situated about 800m south-west of the castle.

Other specimens and remains were simply given away: the 4th Duchess writes that she ‘was fortunate enough to dispose of [them] as presents to neighbouring amateurs.’

Not all of the animal, vegetable and mineral matter met the same fate. The Handbook mentions three stuffed creatures which its author managed to reconcile with her decorative arrangements for the Entrance Hall and Corridor: a platypus, a polar bear and a small crocodile. Some visitors may still remember the crocodile, which continued to inhabit the Entrance Hall into recent times.

The story of Raby’s ‘Museum of Natural History’, therefore, is the story of two women—the 1st and 4th Duchesses of Cleveland—who took vastly different stances on value of these objects. In their divergent ways, these women demonstrated their aesthetic and intellectual visions for the castle.

The precise whereabouts of the huge natural-history collection compiled by the 1st Duchess is still something of a mystery; although glimpses can be found in the castle collections today. Even more of a mystery is what actually constituted the ‘Museum of Natural History’: what exactly were all the specimens, artefacts and remains that were once displayed in the Baron’s Hall museum? To trace the lives of these objects, animals and specimens—where they came from, when and how they entered Raby’s collection, and what happened to them after the disbanding of the ‘museum’—would certainly be an exciting journey of discovery.

If you enjoy discovering the stories behind Raby Castle and its fascinating collections, a Raby Membership gives you free access to the Castle, Park and Gardens for 12 months.

Become a Raby Member

References:

[1]  Neale, J.P. (1818), Views of The Seats of Noblemen and Gentlemen, in England, Wales, Scotland, and Ireland, Vol. I., London: W.H. Reid, np.

[2]  ‘Raby Castle’, Lady’s Book, June 1833, p.280.

[3]  ‘Antiquities of Great Britain. No. II.’, The Portfolio of Amusement and Instruction in History, Science, Literature, the Fine Arts, &c., 14 October 1828, No.21, p.331.

[4]  Pugin, A.W. (1841), True Principles of Pointed or Christian Architecture, London: Henry G. Bohn, p.61.

[5]  ‘Nimrod’s Yorkshire Tour’, The Sporting Magazine, January 1828, Volume. 21, No. 71, p.203.

[6] Howitt, W. (1842), Visits to Remarkable Places: Old Halls, Battle Fields, and Scenes Illustrative of Striking Passages in History and Poetry: Chiefly in the Counties of Durham and Northumberland, London: Longman, Brown, Green, and Longmans, p.258.

 

 

Raby has gained a huge number of new Raby Membership holders this year, many of whom have taken the trouble to tell our team how much they have appreciated being able to access the outdoor spaces and enjoy nature at a time when everyone’s lives have been so restricted.

Peter and Elaine Gunton from Bishop Auckland became Raby Members for the first time earlier this year, just before the first lockdown. In a year of restriction and uncertainty, Raby has become the perfect retreat for them and they have visited most days, watching the seasons change. They spoke to us about what spending time at Raby means to them.   

Your Raby Membership has been well used this year – what’s the best thing about it?  

We’re outdoors people and we love the wildlife, the trees, the gardens, the whole place. Being able to come here with our dog, every day if we want to, has meant such a lot to us, especially this year. We use it at High Force too, which is another fabulous place. We’ve visited so regularly that we worked out it had paid for itself in the first week – we just wish we had done it years ago!   

 

Having watched the seasons change in the Park and Gardens, has any particular time of year stood out?  

Every day is different, and there’s always something new to see, whether it’s the light on the castle, the colour of the leaves, the flowers in the gardens or the wildlife, it’s never the same two days running.

 

Do you have a favourite spot? 

There’s a bench over the hill by the top pond where we like to sit and relax. It’s so peaceful there and it really clears your mind. We like chatting to people as they pass or just simply enjoying the view. We love the gardens too, they’re incredible. They keep on giving, day after day and we enjoy chatting to the gardeners, who do a fantastic job. In the gardens there’s a sheltered place to sit, looking down towards the fountain, where we can enjoy the view even on a wet day.   

 

Peter, your beautiful photos have been shared with hundreds of people through our social media channels. Do you have a favourite wildlife subject? 

The deer are a real favourite of mine. Sometimes I might catch the fallow deer playing or a red stag posing for the camera. I’ve really enjoyed photographing the swans and cygnets this year too. We’ve been watching the babies since they were little things on the lake and it’s been fascinating seeing them grow.  

 

 

Why has Raby been so important during lockdown?  

It’s been a lifeline and most importantly it has always felt safe. Even on days when the car park seems busy, the Park and Gardens feel quiet and there is plenty of space for everyone. The staff have been fantastic in that respect, making sure there is plenty of hand sanitiser available and all the necessary measures are in place.   

 

Is there anything that has really stood out during your visits?   

The people who work at Raby are incredible. They always have time for you and everyone is so pleasant and helpful. There’s such a lovely atmosphere both at Raby Castle and High Force and the staff can’t do enough for you. It really does make such a difference.

A Raby Membership  makes the perfect gift – or why not treat yourself to free admission for a whole year (excluding special events) plus 10% off in the Stables Shop, Cafe and Kiosk and 10% off at High Force Hotel and Kiosk.

Become a Raby Member

The River Tees has a reputation among anglers as some of the best wild Brown Trout water in the North of England. This was proven by the success of the Northern River Masters, held on the Estate in July 2020, which saw 501 Trout caught and released over two days during the competition.

Whilst wild Brown Trout are a regular sight on the Tees, another species of fish showing a resurgence is the Atlantic Salmon. Salmon are a
magnificent fish that are born in fresh water and migrate large distances out to sea, returning to the exact same stream that they were born in years later to restart the cycle.

Salmon have always been present in the River Tees but numbers had declined over recent decades, as they have throughout the world, due to commercial overfishing at sea, predation and rising sea temperatures. Other factors that have added to the decline of salmon in the Tees are industrial and agricultural pollution, The Tees Barrage and the construction of Cow Green Reservoir in the late 1960s, which reduced the availability of gravel essential for their spawning grounds. The Tees, however, is now a ‘healthy’ river that has been the focus of many environmental measures designed to protect and support the habitats and improve water quality.

The number of fish in rivers is generally measured by catch records or by fish counters. There is a fish counter in the Tees Barrage which provides some data but only covers part of the river and counters are notoriously temperamental meaning that some fish pass uncounted. With regards to catch records, fishermen generally like to catch fish and so will tend not to fish a river if they don’t believe they stand a chance of catching anything.

It has been said by anglers that there aren’t any Salmon in The Tees, this brought rise to an idea of a Salmon Angling Weekend which was supported by the Tees Rivers Trust and organised by Fly Fishing Yorkshire. 120 anglers descended on the River for the last weekend in October 2019 actively targeting Salmon. Whilst the numbers of fish caught were low, it was exciting to prove that there are indeed Salmon in the River Tees and the anglers certainly enjoyed the hospitality of the High Force Hotel which was used as a base for the competition.

This Salmon fishing season (which runs from 1st February to 31st October) has seen reports of Salmon being caught all along the Tees with a number of fish being landed on the Raby Estate water in Upper Teesdale, the largest of which weighed 15lbs.

No one knows why a Salmon will take a fly or lure, given that they do not feed in fresh water and only return to spawn, so to catch a Salmon is an incredibly exciting experience and this is why anglers spend a lot of time and money travelling the world to try and do so. The recent activity has proved beyond doubt that Salmon are back in the River Tees and anyone wishing to fish the Raby water can do so, in season, by purchasing a day ticket or season pass through the website.

Will Witchell, Rural Surveyor

October Half Term is the perfect time to pull on your coat, slip on your boots or wellies and head to Raby to crunch through the leaves and enjoy our wide open spaces. There’s so much to see and do while you’re here.

Scaries and Fairies Halloween Trail

Blow away the cobwebs on our family friendly Half Term trail in the Walled Gardens. Come and find the magical mythical creatures who have taken up residence in the gardens.

The trail is ideal for younger children, particularly those aged 11 and under. Dressing up is encouraged!

Admission to the trail is included in the price of a Park and Gardens (and Castle, Park and Gardens) ticket.

Buy your Park and Gardens ticket here.

Exploring the Castle

Raby Castle is one of the most impressive, intact medieval castles in the North of England. It was built in the 14th century by the powerful Nevill family and once would have been surrounded by a moat full of water, with a drawbridge across.

Look out for the original pieces of armour in the Grand Entrance Hall and discover the Old Kitchen, which was in continuous use for more than 600 years. Ask our knowledgeable guides to point out the special ledges and windows high up above the kitchen, where knights and soldiers once kept an eye out for danger.

The Castle will be open from Wednesday to Sunday during Half Term, before it closes for the season on November 1^st. Buy your Castle, Park and Gardens tickets here.

Spotting deer

Deer spotting is a favourite family pastime at any time of year – and especially in the autumn, during what’s known as the rutting season. If you’re lucky enough you might see two stags locking horns (rutting) amongst the trees.

We have large herds of both Red and Fallow deer. They’re easy to tell apart because the fallow deer are smaller, and some have spots. You can learn more about the deer before you visit by downloading our deer activity sheet.

Woodland Play Area

For those who still have some energy left after running around the Deer Park and exploring our Scaries and Fairies Trail, head to the Woodland Play Area for even more climbing and scrambling before refuelling at the Stables Café.

Café and Kiosk

Our Stables Café is open every day for grab and go food, Spooktacular snacks and hot and cold drinks. Our outdoor Refreshment Kiosk will also be open during Half Term serving the same menu as the café.

We look forward to welcoming you this Half Term for lots of outdoor family fun!

As we continue our Favourite Things series, Senior Guide Keith Simpson shares his fascination with one of the most dramatic paintings in the Castle, ‘Marcus Curtius Leaping into the Gulf’ by Luca Giordano.

This imposing piece of art takes pride of place in the dining room, where distinguished guests would have been entertained.

Keith says:

“What a painting! What is it all about? What relevance can it have today? Is it just some old painting by a long dead artist that is antique and antiquated.

I had no idea. My guidebook didn’t tell me much. I was clearly meant to be impressed, but why should I be? Why did it still have pride of place at one end of the Dining Room?

Lots of questions but what are the answers?

Luca Giordano was dead by 1705, so this is a pretty old painting. Born in 1634 in Naples, his career began with him learning his trade there in about 1650. In the 1670s to 1690 he worked in Florence. Between 1692 and 1702 he worked in Spain as a Court painter. From 1702 until his death he worked in Naples.

Marcus Curtius. A legend nothing more, but what a tale: after an earthquake in 362 BC a chasm opened up in the Roman Forum. The seers of Rome said it would never close unless Rome’s most precious thing was thrown into it. Marcus Curtius put on his armour, mounted his horse, drew his sword and declared “Rome can have no more precious thing than a brave citizen!” He then rode his horse into the abyss. The chasm closed, and Rome was saved. Hurrah!

What relevance does it have for a young gentleman doing the Grand Tour? It was about ancient Rome and all that was of interest to any Grand Tourist in the late 17th and early 18th Century.

What about now? Marcus Curtius gave his life to save Rome. The question in the last century, and this, is which of us would be prepared to do the same? Quite a daunting thought, and why this painting although old has a thought-provoking message for us right now.”

 

 

For more stories and photos of our team’s Favourite Things from the Raby Collections, follow us on Instagram and Facebook. 

Why not visit the Castle and discover your favourite things? The Castle is open to visitors Wednesday to Sunday throughout October. Tickets must be pre-booked and we are running morning and afternoon sessions to help us manage numbers safely. Book Castle, Park and Gardens tickets here

Read about Castle Custodian Alan’s Favourite Things in our blog