1 The lodge is at the end of the former east drive to the house and a drawing for it, attributed to John Adey Repton, corresponds to the building as erected. The design was identified in 1973 by Nigel Temple and is in the RIBA Drawings Collection: catalogue volume O-R, p. 120.

2 Further examples of forecourt lodges, much humbler in scale than the great entrance gatehouses, were built at Stonor Park, Oxon., Newburgh Priory, Yorkshire, Lulworth Castle, Dorset and Longford Castle, Wilts.

3 A drawing of Campden House showing the original layout is in the British Museum. This is illustrated in Whitfield, C.A History of Chipping Campden (1958), pi. 18.Google Scholar

4 These paintings and engravings, though scattered throughout the country in private collections, have been brought together in John Harris’s invaluable study: The Artist and the Country House (1979).

5 See Country Life, 29 june 1907.

6 The views, by John Setterington, are illustrated in Harris, The Artist and the Country House, pis 196a-c.

7 John Cornforth in his article on Boughton in Country Life, 11 March 1971, conjectures that the entrance arch was built about 1723: ‘there are references to new lodges in the autumn of that year, and in December the great gates “at the new arch in the great court” were blown down’.

8 Noted by Kelsall, John clerk of the Bersham Furnace, in his diary after a journey near Mold in search of cordwood. Quoted by Edwards, IforDavies Brothers Gatesmiths (1977), p. 74.Google Scholar

9 There seems to have been a parallel dichotomy in the style of the Hall. The surviving main block is of a modest baroque but the flanking wings appear to have been Palladian. The ‘neat and sumptuous seat’ noted in 1726 may have been the baroque central block, and the plain but extensive wings may have been added between 1726 and 1741. A view of the house before it was reduced in size is given in Country Life, 30 July 1943.

10 Both estate maps and the watercolour reproduced in the Country Life article are in the possession of Mr Charles Wynne Eyton.

11 Loudon, J. C. attributes the layout to Switzer in his Encyclopaedia of Gardening (1822), p. 1248.Google Scholar Switzer’s remark was made in lchnographia Rustica (1718), 11, 144-45.

12 The architect is unrecorded but Hussey, Christophersuggests Leoni or Francis Smith as possible designers in his Country Life article, op. cit.Google Scholar

13 Harris, The Artist and the Country House, pi. 193.Google Scholar This painting, dated 1742-45 by John Harris, is wrongly captioned as Esher Place and 1 am grateful to Mr Harris for pointing this out to me. T wo of Kent’s garden buildings for Claremont are illustrated in Isaac Ware’s Designs of Inigo Jones and Others (n.d.), pis 40-41, and one of these appears on Rocque’s engraving of the grounds of 1738. The lodges have been incorrectly attributed, in the second, revised edition of The Buildings of England: Surrey, to Henry Holland who worked at Claremont much later (177174)-

14 See Country Life, I9june 1958.

15 Miller’s book established the building type by publishing six designs for park gate lodges. Batty Langley had earlier suggested a porter’s room in the ground plan of the ‘Dorick Gate’ in his The City and Country Builder’s and Workman’s Treasury of Designs of 1740 (pi. 22). John Carter’s later Builder’s Magazine, a monthly periodical first issued in 1774, included a ‘Plan and Elevation of a Design for an Entrance into a Gentleman’s Park’. Not specifically termed a lodge, the design, dated 1775, cleverly translates the St Paul’s, Covent Garden, portico into a triumphal arch with one-storey porter’s lodges sited on either side. This was the only lodge design Carter had to offer master builders and the type was not to be given full coverage in a pattern book until the publication of T. D. W. Dearn’s Designs for Lodges and Entrances of 1811.1 am grateful to Eileen Harris for suggesting the Builder’s Magazine as a possible source for lodge designs.

16 1948 edition, p. 150.