We recently had a family outing at Felbrigg hall and here are some of my impressions. The site itself goes back much further than the building. Like many other place names in the east of England ‘Felbrigg’ is of Scandinavian origin, a relic of Viking evasions, meaning ‘plank bridge’. The Viking plank bridge, which has long since gone of course, probably crossed the marshy valley that the hall now overlooks.
The present Felbrigg hall was built circa 1620 concurrently with Blickling hall ten miles to the south, perhaps even sharing architects and resources. Compared to Blickling, Felbrigg was originally a very modest affair, consisting of little more than the basic banqueting hall design of medieval origin, along with some withdrawing rooms for the lord and lady. However, over the years Felbrigg has been added to time and again, and this explains its rambling diversity. It is an architectural accretion of many layers.
In contrast with Felbrigg, Blickling hall was conceived all of a piece. Once implemented its plan was so grand and coherent that few would dare to substantially alter it without fear of violating its original concept. The changes that were made in the eighteenth century by the Norwich architects Thomas Ivory and son (whose old Georgian home is a near neighbour of mine) to rationalize its relatively muddled north and west ranges simply reinforced its mathematically elemental plan. As one walks up the imposing lawn and yew boarded forecourt confronted by what the guide book calls a ‘a fantastic elaboration of skyline’, the aspect is so breath taking, dramatic and dominating that few would dare think that it could be bettered in its symmetry and perfection. The best side of Blickling openly boasts its grandeur and shouts “Don’t touch!” But the upshot is that once inside it is very easy to take on board its layout and it is difficult to get disoriented. The building, in spite of its size, alas, does not easily convey that ‘lost’ feeling. For those who like myself, enjoy a bit of mystery and feeling a little disoriented and challenged, Blickling’s layout is too easily understood.
Felbrigg couldn’t be more different. The approach from the visitor’s car park does no justice to the hall at all. At first I was left wondering if Felbrigg has any good sides to show off to the visitor. In the end I decided that the road curving round from the west to south sides showed the hall at its best and I guessed that this was the route by which guests were ushered into the grounds by the owners who, as was the wont of the landed gentry, did all they could to impress their connections by accentuating the drama of introducing them to their lands and premises.
Felbrigg has a charm that none of the grand stately homes can emulate. Once inside the rambling building I had some difficulty retaining a sense of direction and position. I felt a little defeated and I liked that feeling - it’s similar to the feeling one has in a challenging maze. Later the next day I tried retracing my steps round the building in my minds eye, but was unable to complete it correctly without consulting the plan in the guide. With its idiosyncratic history of extensions Felbrigg, if nothing else, is the most homely of all the stately homes I have so far visited. Felbrigg hall has an ‘open ended’ incomplete feel that allows further extension. In one sense the complexity and extendibility of its plan makes it much grander than is suggested by its physical dimension.
The present Felbrigg hall was built circa 1620 concurrently with Blickling hall ten miles to the south, perhaps even sharing architects and resources. Compared to Blickling, Felbrigg was originally a very modest affair, consisting of little more than the basic banqueting hall design of medieval origin, along with some withdrawing rooms for the lord and lady. However, over the years Felbrigg has been added to time and again, and this explains its rambling diversity. It is an architectural accretion of many layers.
In contrast with Felbrigg, Blickling hall was conceived all of a piece. Once implemented its plan was so grand and coherent that few would dare to substantially alter it without fear of violating its original concept. The changes that were made in the eighteenth century by the Norwich architects Thomas Ivory and son (whose old Georgian home is a near neighbour of mine) to rationalize its relatively muddled north and west ranges simply reinforced its mathematically elemental plan. As one walks up the imposing lawn and yew boarded forecourt confronted by what the guide book calls a ‘a fantastic elaboration of skyline’, the aspect is so breath taking, dramatic and dominating that few would dare think that it could be bettered in its symmetry and perfection. The best side of Blickling openly boasts its grandeur and shouts “Don’t touch!” But the upshot is that once inside it is very easy to take on board its layout and it is difficult to get disoriented. The building, in spite of its size, alas, does not easily convey that ‘lost’ feeling. For those who like myself, enjoy a bit of mystery and feeling a little disoriented and challenged, Blickling’s layout is too easily understood.
Felbrigg couldn’t be more different. The approach from the visitor’s car park does no justice to the hall at all. At first I was left wondering if Felbrigg has any good sides to show off to the visitor. In the end I decided that the road curving round from the west to south sides showed the hall at its best and I guessed that this was the route by which guests were ushered into the grounds by the owners who, as was the wont of the landed gentry, did all they could to impress their connections by accentuating the drama of introducing them to their lands and premises.
Felbrigg has a charm that none of the grand stately homes can emulate. Once inside the rambling building I had some difficulty retaining a sense of direction and position. I felt a little defeated and I liked that feeling - it’s similar to the feeling one has in a challenging maze. Later the next day I tried retracing my steps round the building in my minds eye, but was unable to complete it correctly without consulting the plan in the guide. With its idiosyncratic history of extensions Felbrigg, if nothing else, is the most homely of all the stately homes I have so far visited. Felbrigg hall has an ‘open ended’ incomplete feel that allows further extension. In one sense the complexity and extendibility of its plan makes it much grander than is suggested by its physical dimension.
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