The sixth episode of the fourth series of ‘Grundy’s Wonders’ produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy. In this week’s editions John travels across the region to find the ultimate entranceways and to explain how over the centuries they have developed from being importance defensible structures to providing a way for the owner to show off their personal tastes and social status. An animation of a book with its pages...

The sixth episode of the fourth series of ‘Grundy’s Wonders’ produced by Tyne Tees Television and written and presented by architectural historian and broadcaster John Grundy. In this week’s editions John travels across the region to find the ultimate entranceways and to explain how over the centuries they have developed from being importance defensible structures to providing a way for the owner to show off their personal tastes and social status. An animation of a book with its pages turning revealing different buildings and architectural styles ending on presenter John Grundy holding the programmes title card. Title: Grundy’s Wonders A montage of various birds, including two Black swans, swimming in the moat that surrounds Markenfield Hall near Ripon in North Yorkshire. In voiceover presenter John Grundy explains that since the Middle Ages people have always been worried about letting the wrong type of person into their home and for this reason have spent a lot of money and effort in making their home entrances as well protected as possible. Standing near to the gatehouse John explains that while it may look like a castle, Markenfield Hall is in fact a manor house with a few extra featured added to stop the wrong people getting in. Making his way across the narrow bridge leading to the gatehouse John points out some of the manor houses security features including a high wall as well as the moat. Standing beside the gatehouse John explains why he loves the structure built with local stone using simple and attractive shapes and feeling absolutely right. Heading into the courtyard he talks about it as being one of the best-preserved Medieval manor houses in the country and points out many of its features. He goes onto talk about the Anglo-Scottish War of the 13th and 14th centuries and how landowner in the north applied to the King for what was called a Licence to Crenellate which allowed them to fortify their homes. Markenfield Hall licence was granted in 1310. Over views of windows and vine covered doorways John explains why the hall didn’t have a proper entrance into house from the ground floor. Two entrances that do go off the ground floor lead into heavy protected windowless basements. Walking into what was once the great hall John explains that for safety reason the main entrance lead into this room on the first floor. He points out the original door in the corner now blocked up and that the stone staircase are long gone. Coming to stand beside a church window John points out that Markenfield Hall is a very posh house but never had a posh entranceway because for the owners during the Middle Ages it was far more important to keep people out than letting them in. Over a montage of the exterior of Lumley Castle near Chester-le-Street in County Durham John points out for castles like this the ‘keeping people out’ function is the aspect that gets the greater emphasis. Describing Lumley Castle as one of the greatest castles in England he states that it was given a Licence to Crenellate in 1389 and is an absolute and complete 14th century castle. Standing in front of the strong and foreboding gatehouse John points out that it is just like Markenfield Hall in every way but one. As well as being able to keep people out the entrance was built for the owner to show off. Above it a decorative heraldic feature that while having no practical value demonstrates how the owner, Ralph Lumley was connected to other important and powerful families in the region as well as the King. Heading through the gatehouse into the castle courtyard John again explains how similar the layout of Lumley is to Markenfield with its great hall on the 1st floor. Providing details about how guests accessed it John arrives at the only way inside being a small door. Above the doorway built in 1577 by John Lord Lumby are sixteen heraldic shields that includes the noble houses he believed he was descending from. At the bottom beside the door a stone cared basin a feature John has never seen before. Heading through the doorway John is filmed at high-speed making his way through the castles interior towards the thing he believes turns this castle into a mansion. Appearing through a doorway at another very different entrance to the ones features previously and built by a descendant of John Lord Lumby, the 2nd Earl of Scarborough in the 18th century John points out the lack of defensible features as he walks over and stands on a balcony imagining the 2nd Earl and his family greeting guest here and welcoming them to their home. As John makes his way along The Drive towards Castle Howard in North Yorkshire, he passes The Obelisk talking about the 3rd Earl of Carlisle who commissioned the house and Sir John Vanbrugh who designed it. As he passes through several gates leading to the house, he stops at Carrmire Gate that looks like a castle with battlements and towers but without any defensible features. This gate, explains John, was not built for defensive reasons rather to impress the neighbours. Title: Grundy’s Wonders End of Part One Part Two Walking along a street of 1950s-built council houses in the Newcastle suburb of Kenton John explains that like the residence of Castle Howard homeowners here want exactly the same things; to keep the wrong people out, to provide a place to greet friends and finally be able to impress people. Over a montage John explains why he loves to see what people have done to improve their front doors and entranceways to give themselves a bit more status. Standing against a wall of a property with a porch added to it John talks about how a porch provide a space for homeowners to display their taste to the outside world. Another montage of porches on the estate with John also explaining that they can also be used to place thinks that would bring unhappiness if allowed inside such as wet or muddy shoes. Porches also provide two types of protection environmental and personal security. Walking along another street John explains that what homeowners want is a bit of status. Coming to stand beside them John points out that nothing gives status better than a nice set of gates and gate piers. Again, a montage of various iron gated driveways several garden gates around the Kenton estate. Standing beside one gatepost with the statue of a Bulldog atop of its John pulls a face similar to the dog explaining why he likes it the most. Strolling around the streets of his native Gosforth a suburb also in Newcastle, John attempts to look over hedges and fences to see what’s going on inside. He reminds the viewer of a previous programme in the series in which explained the joy of this little pastime of his. Leaning against a lamppost he talks about what people reveal about themselves through the way they treat their entrances. Continuing his ramble, he points out the many homeowners appear to choose to hideaway as much as possible behind hedges, fences and impenetrable gates. Sitting on a wall beside a building that has been converted into offices John points out the Georgian doorway which has been added, that while not original fits with the building it is apart of. Over a montage of examples John becomes critical of any entranceway that has been stuck on in a vague attempt to give the building a bit of class but without any understanding of what they are supposed to look like. Sitting on a bench in a park John flicks through an estate agencies brochures pointing out the properties inside which he hates as they cost a fortune and have not one ounce of architectural quality including with the design of their entranceways. Because of these points they will be crushed by this week’s ‘Grundy’s Great Boot of History’. An animation of a giant boot coming down on a waste bin in the park into which the estate agent’s brochures are tossed. Walking along St Nicholas Churchyard behind Newcastle Cathedral John complains that modern designs are not just inaccurate copies of the past, but a weedy, thin and unimaginative versions of classical styles. Explaining that inaccurate copies have always existed, good architects were able to do it in imaginative and highly personal ways. Now standing underneath the famous Vampire Rabbit of Newcastle John talks about why he like the entranceway as it is a mysterious and a bizarre copy of a classical design with the rabbit atop of it making it wild, but it certainly isn’t weedy. With regards this weeks ‘Grundy’s Wonder’ John provides details on why both Longhirst Hall near Morpeth in Northumberland and the parish church of St Giles in the village of Skelton near York in North Yorkshire were considered. However, returning to Castle Howard John wonders around the estate before arriving at what he describes as one of his favourite doorways in whole country, the Satyr gate leading into the rose garden something that is both bizarre and splendid. Over a montage of both the gate and Castle Howard itself John provides details on the work of Sir John Vanbrugh designing the house in the baroque style. Standing on the steps of the entranceway leading into Castle Howard itself John talks about the confidence of the owner not needing to emphasis it defences. Comparing his own entranceway and hall to the one on the other side of a glass door John steps inside the Great Hall and over a montage of its decorative interior describes it as an entranceway as the ultimate status symbol. Back outside again John gives this week’s ‘Grundy’s Wonder’ to Castle Howard. An animation of a fanfare of trumpets over the following title. Title: Grundy’s Wonders Over the closing credits a montage of some of the locations featured in this programme. Credit: Written and Presented by John Grundy Camera and Location Director Simon Elphinstone Sound Paul Graham, Andrew Bennett Lighting John Mason Production Manager Christine Stewart-Tilling Production Assistants Karen Sharp Graphics Dave Richardson Title Music John Cook Dubbing George Joisce Editor Mark Duncan Executive Producer Jane Bolesworth Series Producer Steve Robins Title: © Tyne Tees Television 2003 End title: A Tyne Tees Television production. Granada