周辺のスポット/アトラクション・トップ20

The Fane of Pastoral Poetry is a small octagonal temple of ashlar stone, four sides pierced by semi-circular headed arches. The building originally had a steeply domed roof it is now maintained as a roofless ruin. The temple was built by Gibbs in about 1726-7 on the site now occupied by Queen Caroline's Monument and was known as the Gibbs building. It was originally surrounded by the eight Rysbrack British Worthies. Plans were prepared by Borra to convert it to a Temple of Diana but this was never carried out. It was demolished and re-erected in a simpler form on its present site in the mid 1760's. Also known as the Belvedere and in the sale catalogues as the Egyptian Building. Small roofless structure 1727/3 by Gibbs, as The Belvedere. Re-erected on present site 1760's. Ashlar stone with moulded cornice. Octagonal, 4 sides pierced by semi-circular headed arches, with keyblocks, stepped architraves and impost mouldings. Blank oculi in angled faces. In a glade in the wood at the far end of the Grecian Valley is the small open-sided temple or belvedere designed by Gibbs for Lord Cobham, and first set up as part of the early, western phase of the garden in September 1729. It was originally known simply as ‘Gibbs’s Building’ and stood on a mound (accommodating an ice-house) in an almost exactly opposite relationship to the house, to the south-west, where it provided a viewpoint towards the Rotondo and the Queen’s Theatre, and housed the series of busts by Rysbrack (Bacon, Hampden, Locke, Milton, Newton, Shakespeare, Queen Elizabeth and William III) which were later transferred to the Temple of British Worthies in the Elysian Fields. Gibbs’s Building was repositioned by Earl Temple in the 1760s to frame a view of Wolfe’s Obelisk, which he had recently set up outside the gardens to the north, and was rechristened the Fane of Pastoral Poetry. The building also provided framed prospects over the surrounding park, reached via the shady groves of the Grecian Valley. Van Nost’s lead figure of Thalia, the Muse of Pastoral Poetry, was placed just to the north of it. The statue was one of his series of Apollo and the Nine Muses which was removed from the South Vista in the 1740s (see p. 24), but she no longer survives at Stowe. The four terms once outside the Fane are now at Port Lympne. Statue - Muse of Pastoral Poetry - was installed on Tuesday the 4th December 2018. This statue is a direct copy of the c18th lead statue of Heroic Poetry located on the Grenville Column which is attributed to van Nost. Originally (1720s) this statue was locatd on the south front parterre. Source: https://heritagerecords.nationaltrust.org.uk/HBSMR/MonRecord.aspx?uid=MNA130213

During his tenure as Head Gardener at Stowe, Brown created the Grecian Valley, a long sweeping view out across the landscape from the Temple of Concord and Victory. Within the valley, Brown carefully situated a series of statues, including the Circle of the Dancing Faun. The group of statues, with the Dancing Faun in the centre, represent the shepherds and shepherdesses from the nearby village of Dadford. Folklore says they came to Stowe and danced and played music with the faun when he came to life at night, before turning to stone again when the sun rose. Barry Smith, Head of Gardens and Estates at Stowe, explained that ‘The statues of the shepherds and shepherdess are painted in polychrome, whilst the faun is bare stone, to differentiate between real and mythical people.’ The Seeley guidebook from 1766-1798 noted about the figures ‘…The Circle of the Dancing Faun, surround with the statues of shepherds and shepherdesses…and every shepherd tells his tale, under the hawthorn in the dale…’. The sculptures in the Grecian valley did not, unfortunately, remain in their places for very long. Throughout the nineteenth century, the Buckingham family lost a vast amount of wealth, and so they began to sell off possessions. Lady Mary Arundell, the 1st Duke of Buckingham’s sister, recalled in a letter the removal of the Circle of the Dancing Faun, and the faun’s replacement with an urn, on 4 August 1813: ‘…the vase put up on the Pedestal where the statue stood surrounded by sundry gentlemen and ladies that [they] were pulling down when I was at Stowe…’ The restoration of the Grecian Valley has been underway for 25 years now. Two of the stone statues that formed part of the circle were returned to Stowe from the garden of a local house in 2008. The original dancing faun was never found again, so a mould was taken from a similar marble version at Hughenden Manor, another National Trust property in Buckinghamshire. The recent arrival of three more copies of the original statues, expertly recreated by Cliveden Conservation, complete the circle after 200 years of separation. Source: https://visitsoutheastengland.wordpress.com/2016/12/13/circle-of-the-dancing-faun-returns-to-stowe-after-200-year-absence/ /

Nice church good for a wonder to grave yard was closed due to downed trees

Beautiful place to walk around look out for the musket holes

I love his hidden treat, great spot for a picnic of the westher turns with four benches inside to take a pew.

The Battle of Edgecote Moor took place 6 miles (9.7 km) north east of Banbury, Oxfordshire, in what is now the civil parish of Chipping Warden and Edgcote, England on 26 July 1469 during the Wars of the Roses. The site of the battle was actually Danes Moor in Northamptonshire, at a crossing of a tributary of the River Cherwell. The battle saw supporters of Richard Neville, Earl of Warwick, defeat the forces of King Edward IV, leading to the king's capitulation soon afterwards.

Two statues of a seated shepherd and shepherdess returned to the Grecian Valley in 2007. They were donated by Barbara Edmundson from Castle House in Buckingham but had previously been housed at the Cobham Arms in Buckingham, having been sold from Stowe in the sale of 1921. The site in the Grecian Valley is thought to have been the location for the Dancing Faun, which Bevington suggests was moved here by 1751. An engraving by Thomas Rowlandson, thought to be of Stowe, shows a dancing faun surrounded by shepherds and shepherdesses, therefore the two figures were returned to the site based on this evidence. Archaeological excavations in 1994 unearthed a single mortared rubble stone base for a statue (155030), which may or may not have been that for the faun. However, the two returned statues were placed some 10 metres north of this base to form part of a circle of 5 statues (the number is somewhat conjectural and suggested by Parks and Gardens Curator Richard Wheeler). https://heritagerecords.nationaltrust.org.uk/HBSMR/MonRecord.aspx?uid=MNA148078

As Bevington reports, The Fane of Pastoral Poetry began its life with another name in another part of the garden -- as Gibbs' Building (named after its architect) on the border between Warden Hill Walk and the Home Park, where Queen Caroline's Monument now stands. From the late 1720s to the early 30s it was surrounded by half of the busts that now inhabit the Temple of British Worthies, and it was thus also known as the Temple of Worthies. Gilbert West celebrates it in his poem on Stowe. Bevington also reports that the Fane was moved to its present location at the northeast corner of the garden and of the Grecian Valley in 1764, and that a statue of the Muse of Pastoral Poetry, Thalia, was placed nearby to the north. The Survey claims that Thalia had a more prominent place inside. Restoration of the Fane, completed during summer 2002, included replacement of the roof, instalation of benches in the interior and herms at the four exterior corners, and limewashing of the structure. According to the Survey, about the same time that the Fane was altered and moved from the edge of the Home Park, a grouping of statues was placed just to the southwest of the site. The initial statue, of a faun, was joined by a group of statues of shepherds and shepherdesses that had previously surrounded the Queen's Pillar in the Queen's Theatre on the western edge of the South Front near the Rotunda. This collection, called the Circle of the Dancing Faun, remained until around 1800, and its thematic relationship to the Fane would have been inescapable. The National Trust began restoration of the Circle in 2009 with the replacement of two statues of a shepherd and a shepherdess..... http://faculty.bsc.edu/jtatter/fane.html

And he found a new jawbone of an ass, and put forth his hand, and took it, and slew a thousand men therewith’. -Book of Judges 15:15 Today the statue originally known as Samson and the Philistine is restored to the Grecian Valley, a landscape that was once enriched with acquaintances from the mythical antiquity of Hercules and the pastoral dream of the late eighteenth century. The tranquil pasture land, a testament to ‘Capability’ Brown who designed this, the first man-made valley in Britain, conceived its own world, and was based on its own ethos of creation: everything is possible. Lord Cobham, the owner of the estate at the time, interpreted this through a group of statues depicting the twelve labours of Hercules, to represent the notion of victory through physical combat, martial strength and patriotism. This iconography was a fashionable statement of support for the Glorious Revolution and Whig ideology. Now, the Grecian Valley is a place where Samson and the Philistine can be Hercules and Cacus, the former slaying the fire breathing giant; or indeed Cain and Abel, if the ass’s jaw is mistaken for a rib. Over time the statue has been named after all three, a journey now manifested in its single, still and silent form. All of these myths are reborn at Stowe today, proof that anything really is possible.

Canons Ashby Priory was an Augustinian priory at Canons Ashby, Northamptonshire, England. History The Priory was founded by Stephen la Leye on a site to the south of the present church between 1147 and 1151 in the reign of Henry II. In 1253 the Augustinians were granted a licence to dig the Norwell, which still exists north of the present church, to supply water to the priory. In 1537 after the Dissolution of the Monasteries the Crown granted the priory and its estates to Sir Francis Bryan,[1] a close ally of Henry VIII. Bryan held the estate for only about a year before selling it in 1538 to Sir John Cope,[1] a wealthy Banbury lawyer. Sir John's daughter Elizabeth inherited what is thought to have been the priory farmhouse [wrong – Wilkyns farm was part of John Dryden's inheritance. Copes Ashbie – across the road – was inherited by Elizabeth's brother, who died early leaving his sons as Wards of the Dryden family]. In 1551 she married John Dryden, who extended the building to form the earliest parts of Canons Ashby House. Part of the building survives: the Church of England parish church of St Mary dates from about 1250 and this, together with Canons Ashby House, is now owned by the National Trust. Its power and size can be judged by its outlying buildings which cover a large area of the surrounding countryside. The remains of the priory's hospitalium survive as the monastic building centred on the parish church of Maidford, about 5 miles (8 km) away. https://en.wikipedia.org/wiki/Canons_Ashby_Priory