Summary
A rustic grotto with adjacent dark tunnel built in c1839 by the antiquarian William Stradling for his pleasure ground at Chilton Priory.
Reasons for Designation
The grotto and tunnel in the garden at Chilton Priory built in c1839 by the antiquarian William Stradling are listed at Grade II for the following principal reasons:
* Architectural interest: they are interesting and good quality early-C19 examples of a rustic grotto and 'dark' tunnel;
* Rarity: they are rare building types which have survived remarkably well;
* Group value: they form an interesting group with the Grade II listed Chilton Priory.
History
Chilton Priory was built in the 1830s, probably to designs by William Halliday, for the collector and antiquarian William Stradling, a descendant from the Stradling family who date back to the C14 . It comprised a castellated folly tower with observatory, standing in a small wooded pleasure ground, including a grotto and a 'dark' garden tunnel. The tower and the grounds were used to display Stradling’s collection of art and antiquities. The tower was constructed using a number of salvaged architectural and decorative features from nearby churches and archaeological sites, which he also displayed in the grounds. In 1839 Stradling published his 'Description of the Priory at Chilton-upon-Polden'. He describes the tower, mentions his grotto, and the extensive views of the landscape around Glastonbury seen from the observatory, including Hallswell Park with Robin Hood's Hut. The first edition OS published in 1886 shows the tower with its wooded pleasure ground, marked as 'Chilton Priory (Museum)'. Stradling lived nearby in the village at Tower House (qv) which was surrounded by a small park with a grotto and bridge (qv) and the Temple (qv). He was a Freemason, and in his book he states that the Refectory at the base of the Tower at Chilton Priory contains 'a black and white stone floor, bordered with blue similar to those at Freemasons' Lodges'. It is not known whether the room, which has a large fire place at one end, was ever used for Masonic rituals.
From 1909 until 1918 Chilton Priory was owned by Major Francis Kennedy, who in 1909-10 commissioned the architect, author and psychical researcher Frederick Bligh Bond (1864-1945) to build a large Tudor-Gothic-revival house attached to the north-east of the existing folly tower, matching its castellated design. The pleasure grounds were extended with a terrace and lawns to the north of the new house. Bligh Bond is best known for his ecclesiastical and domestic architecture and a number of his buildings are listed.
Shortly after the First World War, Chilton Priory was bought by John and Katharine Maltwood. In 1918 they commissioned Bligh Bond to extend the house further, and the pleasure grounds were further improved introducing a pond and a bridge, possibly replacing an earlier one. John Maltwood was former Managing Director of Oxo Ltd and had made a fortune during the First World War when the Oxo stock cubes became part of British soldiers' rations. His wife was the artist, collector and scholar Katharine Emma Maltwood (1878-1961). Her early work is mainly influenced by the Arts and Crafts Movement and the Continental Symbolist Movement. The Maltwood's travelled extensively and were particularly fascinated by the art and culture of ancient civilisations, including those of India, Japan, Egypt, North Africa, Palestine, Arabia, Indonesia, China, Vietnam and Korea. In the 1920s, whilst living at Chilton Priory, Katharine became increasingly interested in ancient mythology, religious mysticism, spirituality, theosophy and Eastern philosophy. This was mainly expressed in the study of medieval Arthurian legends, in particular that of the Holy Grail and its connection with the visit of Joseph of Arimethea to Glastonbury. Maltwood believed that Stradling's positioning of Chilton Priory on the early British pilgrimage route to Glastonbury was deliberate. In c1920 Katharine made the Grail Frieze which she placed in the garden at Chilton Priory.
The Maltwood's moved from Chilton Priory in 1935, and sold it in 1938. It subsequently had a number of different owners. In the summer of 2015, after the house had stood empty for some years, the estate was sold at auction and it is now in private ownership. There are currently plans to use the house and garden as a spiritual healing centre.
The grotto, with adjacent curved tunnel set into a narrow, deep path leading up to it, was built by William Stradling in c1839. It forms part of his wooded pleasure ground west of the folly tower at Chilton Priory, which he laid out on a slope behind a tall retaining wall running along the Bath Road forming its south boundary. In Stradling's ‘Description of the Priory of Chilton-Super-Polden’ published in 1839, he describes how the grotto, which he named Pocock’s Cell, was set beneath this ‘ancient’ road, "in memory of a most extraordinary character, who for many years resided in a cavern a quarter of a mile from this spot" He states that the grotto is "situated at the end of a long, deep, and narrow gulley, almost covered with briars: through which the stream runs that supplies Ford Mill". Stradling refers to Pocock as the Robin Hood of this part of the country, and recites an old rhyme:
“Rvnne mye boyes, rvnne, the moon shynes
bryte, Pocock’s yn hys cave, hys pvrsse ys lyte;
Bytte, whenne thee nygte ys mvrkye ande darke
Hee’s offe wythe hys steede, blythe as a larke.”
Details
A rustic grotto with adjacent dark tunnel built in c1839 by the antiquarian William Stradling for his pleasure ground at Chilton Priory.
MATERIALS: both are constructed in undressed and randomly coursed stone, and are covered with soil.
PLAN: the single cell grotto is almost circular in plan. The narrow tunnel makes a gentle curve following the meandering footpath.
EXTERIOR: the grotto has a Gothic-arched entrance giving access to small steps leading into the grotto. The wrought iron entrance gate, in poor condition, now stands against the wall inside the grotto. The tunnel entrances have Gothic style arches.
INTERIOR: inside the grotto and tunnel, the stonework is left untreated. The rear wall of the grotto contains three Gothic-arched niches and its domed ceiling contains a circular opening to allow light to enter. The inside of the tunnel is constructed in a Gothic-arched shape along its entire length.
