Clive Aslet

The Historic Houses Association can congratulate itself. This pressure group for country houses, founded in 1973, has proved to be one of the most effective lobbying organisations of our time. When it came into being, the future, according to the architectural historian John Cornforth, was ‘full of gloom’ for the country house. The Destruction of the Country House exhibition of 1974 revealed the extent of the crisis, which had set in a century earlier with the agricultural depression of the 1870s. That was when aristocrats who had previously relied on the income from their estates built their hopes on landing a transatlantic beauty with ‘plenty of tin’. The supply of heiresses dried up in about 1912, just before the first world war.

Looking around London on the eve of the millennium, it would have been difficult to think that the UK government had an adviser on architectural design. The 1990s had been a dismal decade. Yet such a body existed in the quaintly named Royal Fine Art Commission, refounded in 1924. The original Commission had been created as a way of giving Prince Albert, recently married to Queen Victoria, something to do – contriving the decorative scheme for the new Palace of Westminster. Fresco, the chosen medium, was not ideal in that damp position beside the Thames since the plaster took three years to dry; and the Duke of Wellington did not help the project by declaring he could not remember having met Blücher on the field of Waterloo, as depicted by Daniel Maclise.

Having lived in London for 35 years, I thought I knew its architectural highlights pretty well, but this book is a revelation. It shows an aspect of the city that I hardly realised existed. I had always believed that, in what must now be called the Downton years, Britain’s grandest families preferred to sacrifice their London palaces in order to hang onto their country seats. The French had their priorities the other way about, our attachment to rural life being one of the things that made us British. Devonshire House, on Piccadilly, which was demolished in the 1920s, along with so many other Georgian buidlings, symbolised this retreat from the capital.

The economy is in tatters, Europe in turmoil — but don’t worry: there is an antidote to the prevailing angst, and it’s provided by this book. It could be read simply as a close look at an undemonstrative corner of the English countryside, informed by the special understanding of a landowner, Jason Gathorne-Hardy, and an artist, Tessa Newcomb. But really it offers a philosophy. ‘Il faut cultiver notre jardin,’ said Voltaire. And that’s just what author and illustrator do here, both practically and imaginatively.   Each of the monthly chapters opens with a paragraph of ‘garden notes’, compiled from the diaries of working gardeners. So much for the practical side.