The third episode of a second series of ‘Grundy Goes’ produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy about the building that people have constructed over the centuries to help themselves work, live and enjoy themselves. In this episode John travels across the Northeast and North Yorkshire to find examples of the 18th centuries phenomenon of folly buildings and folly gardens. Over the course of the programme John explains who...

The third episode of a second series of ‘Grundy Goes’ produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy about the building that people have constructed over the centuries to help themselves work, live and enjoy themselves. In this episode John travels across the Northeast and North Yorkshire to find examples of the 18th centuries phenomenon of folly buildings and folly gardens. Over the course of the programme John explains who and why they were built and why they are a bit ‘crackers.’ Over a montage of John Grundy wearing various costumes and maps of the region the opening credits. Title: Grundy Goes… Crackers Using a large key presenter John Grundy enters Brizlee Tower built atop a hill overlooking Hulne Park, part of the estate belonging to the Duke of Northumberland near Alnwick in Northumberland. As he makes his way up the spiral staircase he talks about his own garden and how much he spends on it. Reaching the top and walking out onto a balcony he explains that from this position the Duke of Northumberland can look out across his estates. Over a montage of the tower John gives a history of it being built in the 18th century Gothic style, but he asks what is it for? Cutting between himself at the top of the tower and him dressed as a servant or butler at the base carrying a silver try with a decanter of whiskey, he explains it is a folly. A montage of another folly on the estate, Ratcheugh Observatory built along the edge of Ratcheugh Crag that is even odder than Brizlee Tower as it was deliberately designed to look like a ruin. Looking at the camera Butler John states ‘isn’t that crackers!’ Standing nearby John talks about architectural books that were published during the 18th century which containing drawing that would give both architects and landowners ideas for follies, both in their design as well as where to place them including in front of ‘disagreeable objects.’ At Barmoor Castle near Berwick-upon-Tweed John explains why the Sitwell family built a screen in front of a large pigsty. He goes onto explain that during the 18th and 19th centuries it was not uncommon for landowners to ‘tart up’ mundane buildings to look like something else, several examples are given including an estate cottage that looks like a temple. Returning to Hulne Park and the 13th century Hulne Priory John points out examples of changes that were made to one of the best-preserved friaries in England by the 1st Duke of Northumberland. A Gothic style entranceway, mock-Medieval statues and a summerhouse were added to help ‘beef up’ the places romantic association. Butler John opens a door to an outhouse and find John sitting on another addition, a mock-Medieval toilet. At Twizell Castle on the River Till at Tillmouth Park in Northumberland John wonders around the estate of Sir Francis Blake, pointing out many of its features explaining that while Sir Francis did have ambition, his estate never lived up to his dream and in many cases never finished. The castle itself is pointed out as the worst example and although forty- years in construction was never finished as Sir Francis went bankrupt. A montage of what remains of Sir Francis’s ‘Medieval fantasy’ takes the programme into a commercial break. Title: End of Part One Grundy Goes… Part Two Walking through the grounds of Studley Park near Ripon in North Yorkshire, John ask the questions why did these rich landowners spent so much money building follies? Standing nearby is Butler John who gives one reasons as charity, to help the poor by providing work. Over views of Sharp’s Folly at Whitton near Rothbury in Northumberland John explains that this was one of the stated reasons given by its builder Archdeacon Sharpe as he wanted to give work to local unemployed stonemasons. However, John explains that there are more complex reasons and begins to talk about how in the 18th centuries it was common for the rich to go on the Grand Tour which could last months if not years. The landscape around Rome was especially seen as desirable and over a painting from that era John talks about how it depicts a dreamlike landscape that landowners wanted to recreate with in gardens. A montage of classical statues and temples in the woodland setting of Studley Royal with John providing a history of the park’s development. Continuing to explore Studley Royal John also believes there were deeper reasons than taste and fashion. Over a montage of Georgian houses build around the region during the 18th centuries ‘age of reason’, John believes the rich were reacting to the settled and safe life they had built by wanting something that stirs the imaginations, something not rational like an artificial tunnel through which John walks and describes as emotionally un-nerving. He walks past a statue and looks around a grotto and explains that some of these follies could inspire genuine terror. Another point of view of John climbing Brizlee Tower, this time featuring John feeling scared and unsafe. He ends by saying that folly gardens were designed to make reason disappear for a while to be replaced with pure feeling. Beginning a tour of Studley Royal at the Octagon Tower John talks abouts its Classical and Gothic styling before moving on to look over and describe the Classical Roman Rotunda made in disguised wood followed by the Temple of Piety that mixes both Greek and Romano styles. What have these follies all have in common he asks John the Butler? He explains that during the 18th century there was a fascination with the past and of far-off romantic places and gardens such as the one at Studley Royal is a re-creation of these style. An argument breaks out between the two John’s with John the Butler becoming frustrated believing follies don’t matter and are nothing more than a big waste of money. John does agree to a point but believes just because something is pointless it doesn’t mean it doesn’t have value. Atop of Penshaw Hill John walks through the Penshaw Monument describing it as a recreated Greek temple. He provides a history of the structure and explains since it was built in 1854 people have been ‘taking the mickey’ out of it. For John the monument doesn’t have to do anything, for him it’s a symbol of home as it can be seen while driving along either the A1 motorway or the A19. John asks John the Butler if there any follies he does like? He replies those not done by rich and that can be enjoyed by everybody. A montage follows of some of his favourite follies beginning in the village of Branxton near Berwick-upon-Tweed and the Cement Menagerie of concrete figures and animals in the owner’s garden, really good fun and charming explains John the Butler. At Tweedmouth a two-storey house built by Berwick sculpture William Wilson that is ‘way over the top’ as it features three large busts and finally, above the entranceway of a building associated with Newcastle Cathedral The Vampire Rabbit. In Newcastle’s Chinatown John the Butler stands beside a telephone box build with Chinese style roof, ‘now that is crackers’ he says. Looking off camera John the Butler ask if there are any architectural follies John Grundy doesn’t like? A montage follows of several large modern office building built around the centre of Newcastle which John hate as they are unspeakably ugly and intrusive. Down on the Newcastle Quayside with the Baltic Flour Mill in the background, John the Butler and John Grundy look at some of the modern structures and sculptures that they believe stir the imagination and bring a bit of colour into life. The Baltic Chambers building on the corner of Broad Chare is their focus described as ‘way over the top but shows some imagination… a modern Brizlee Tower.’ The programme ends with two men looking up at Baltic Chambers toasting it with glasses of whiskey. Credit: Written and Presented by John Grundy Photography Mike Parker, Dave Dixon Sound Paul Graham Electrician Ken Hird Costume Tom Robson Graphics Alan Davidson Dubbing Mixer Charles Heath Editor Charles Slater Director / Producer Roger Burgess Title: © Tyne Tees Television 1998 End title: A Tyne Tees Television Production. © Tyne Tees Television MCMXVIII