The Grange

Ramsgate, Kent


Augustus Pugin is regarded as one of Britain’s most influential architects and designers. The Grange was his family home.

2024 free public Open Days: 7-10 June13-16 September

  • CotCot
  • Fire or StoveFire or Stove
  • Open SpaceOpen Space
  • Logs availableLogs available
  • Parking AvailableParking Available
  • BathBath
  • DishwasherDishwasher
  • MicrowaveMicrowave
  • ShowerShower
  • Washing MachineWashing Machine

Beds 2 Twin, 2 Double

4 nights from
£1008 equivalent to £31.50 per person, per night

Augustus Pugin’s family home

Set in its own private garden, The Grange offers a retreat from the outside world, within the thriving town of Ramsgate.  To stay here, in the home Pugin designed for himself and his family, offers a unique chance to step into his colourful and idiosyncratic world. In his library, surrounded and sometimes interrupted by his large family, Pugin produced much of his finest work, working at prodigious speed as designs for the House of Lords and the Medieval Court at the Great Exhibition flowed effortlessly from his pen. He reserved some of his finest flourishes for his own home: some remain, others we have reinstated. The house has a private chapel and a tower, from whose roof Pugin trained his telescope on ships in distress (today’s Landmarkers can also climb out to watch more modern shipping from the freight ferry terminal, visible from the first floor and above).

We have returned most of the house to an appearance that Pugin himself would recognise, including the intricate, jewel-bright interiors (the north courtyard and a bedroom are presented as left by Edward Pugin, who lived at The Grange after his father’s death). Today, the house has regained the glowing vitality it enjoyed in the lifetime of its brilliant and mercurial designer. It offers a unique chance to step into the colourful and idiosyncratic world Augustus Pugin created for himself, to share the same merriment in the panelled dining-room and to sit, as he did, in the library, surrounded by walls painted with the names of his favourite people and places.


Augustus Pugin came to Ramsgate in 1843, in search of 'the delight of the sea with catholic architecture & a Library.' Here he built St Augustine’s Grange, to live out his ideal of life in the Middle Ages in a family home nestling in the shadow of a benevolent monastery next door, completed by his son Edward. The Grange reflects Pugin’s belief in the Gothic style as the only true Christian architecture (he was a fervent convert to Catholicism). Ramsgate is a thriving town with growing arts and local history activity and plenty of jaunty seaside architecture, much of it dating from the days when the harbour formed a busy embarkation point to defend the country against Napoleon. Ramsgate Sands, beside the harbour, are in the best English seaside tradition and there is also a small beach, reached by steps, directly below The Grange.

Visit the magnificent St Augustine's Church, the 'ideal Church' that Pugin built next door to his family home.

The restoration of The Grange was the subject of a Time Team TV special.

Drone footage

Floor Plan


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Map & local info

Set in its own large, private garden, The Grange offers a retreat from the outside world. Visit the magnificent St Augustine's Church, the 'ideal Church' that Pugin built next door to his family home.

Take a short walk from here into the centre of the seaside town of Ramsgate with its fine examples of historical architecture, its bustling harbour with a Maritime Museum and its popular sandy bay. Go underground to explore the secret network of wartime tunnels, which formed a town below Ramsgate itself.

Nearby in Margate is the award-winning Turner Contemporary which showcases contemporary and historical art in new and dynamic ways. Entry is free. 

The Montefiore Arms at 1 Trinity Place, Ramsgate, CT11 7HJ, has been feted by the Financial Times as offering some of the country's best cask beer selections. 

For more ideas and information on things to see and do during your stay at The Grange, take a look at our Pinterest page.

Please Note: The Landmark Trust does not take any responsibility and makes no warranties, representations or undertakings about the content of any website accessed by hypertext link. Links should not be taken as an endorsement of any kind. The Landmark Trust has no control over the availability of the linked pages.

Clear directions
Essential info
What you need to know about this building
  • No.
  • Directly from the main road.
  • Ramsgate – 1 mile.
  • No – but there is plenty of parking in the Royal Esplanade, a short walk from the property.
  • There is a gas fired central heating system and two open fires.
  • Logs may be purchased and delivered under a private arrangement. Further details will be provided with your booking confirmation.
  • To check up-to-date mobile network coverage in the area, visit* Due to the location and structure of many of our buildings, signal strength may differ to those indicated.
    * Links to other sites are provided for information purposes only.  We do not endorse any such websites and we are not responsible for the information, material, products or services contained on or accessible through those websites.  Your access and use of such websites remains solely at your own risk.  For further information, visit our website terms of use.
  • The kitchen is fully equipped with all plates, cutlery, fridge etc.
    There is also a gas cooker, dishwasher and a microwave.
  • There are two bathrooms, one with a free-standing shower unit and one with a bath. There are two additional wcs.
  • No.
  • There is an enclosed garden with an unfenced pond and a roof terrace. The Cartoon Room and certain rooms on the ground floor of the Grange are open for guided visits on Wednesday afternoons between 2p.m and 4p.m.  These tours are by appointment only through Catriona Blaker Tel: (01843) 596401.  The curator will escort the group within the house at all times. The viewable rooms are the hall, sitting room, dining room, library and chapel.
  • Yes,  but we would ask that care is taken in inclement weather and that children are supervised when on the roof.
  • No. At the moment, we have decided not to implement Wi-Fi in our buildings following a consultation with our customers. Many said that they would find it useful, but many also felt that it would somehow damage the experience of staying in a Landmark. As the responses were so split, and as we have so many other initiatives requiring funding, we have decided to put this on hold for the time being.
    Except at Llwyn Celyn Bunk House where a password is available in the property when you arrive.
Booking and Payment
  • If the weather is bad, please contact our booking office who will be able to tell you whether the Landmark is accessible. If the housekeeper can safely get to the building to prepare it then we consider that it is open and available for guests. However if we cannot undertake a changeover then we will do our utmost to transfer your stay to another Landmark, depending on what we have available. It may not be of a similar size or in the same part of the country as your original booking. If the building is accessible but the customer cannot travel due to poor weather in his/her local area then please be aware that Landmark will not provide a refund. However the customer may be able to claim on his/her own travel insurance. We recommend that all guests take out travel insurance when they first secure a booking.
  • We accept Maestro (if issued in the UK), Visa, MasterCard, direct transfer and sterling cheques drawn on a UK bank. Cheques should be made payable to the Landmark Trust except for Lundy stays and boat/helicopter tickets which should be payable to The Lundy Company Ltd. All payments must be in sterling.
  • The key arrangements will be included in the Further Infomation document which will be sent to you prior to your stay.
  • If your stay starts more than two months from the date you make the booking, you are required to pay a deposit of one third of the cost of your stay (or £100 per booking, if greater) at the time of booking. Camping on Lundy and The Bunk House at Llwyn Celyn must be paid for in full at the time of booking.
  • If you wish to cancel or change your booking, please contact our Booking Office on 01628 825925
  • At the moment we only accept payment in sterling.
  • Our housekeeper will leave the key in a suitable place, the details of which will be sent to you prior to your stay.
  • It depends. Some of our most popular Landmarks are booked up a long time in advance, but many can be booked at short notice. We will always have Landmarks free for the coming weekend so it’s always worth checking our availability list.
  • No, Landmarks are available to be booked for anyone.
  • No, all the information you need can be found on our website, although we’d like you to buy one anyway as it will be a pleasure to own!
Staying at a Landmark
  • Some of our Landmarks are suitable for people with disabilities or limited mobility. However, many Landmarks have steep or narrow staircases, uneven floors and thresholds, changes of level, low ceilings or beams, as well as indistinct colours on steps and in corridors. We recommend that you call Booking Enquiries on 01628 825925 if you would like to find out the suitability of a particular Landmark for anyone with a specific disability.  Further information on access when visiting Lundy can also be found here.
  • Yes, Landmarks are only available as self-catering accommodation. We do not offer bed and breakfast.
  • Landmark does not provide catering, but we can recommend Greycoat Lumleys who can arrange for expert and well-trained staff to cater for one evening or for your entire holiday. Their cooks and chefs are able to work with you to meet your specific requirements
  • You may bring up to two dogs to properties where dogs are allowed (please see specific property details for exemptions however dogs are not permitted on Lundy except assistance dogs). They must be kept off the furniture and under proper control. A charge of £20 per stay is made for each dog. Please contact booking enquiries if a registered assistance dog is supporting one of the guests, for which there is no charge.
  • Apart from two dogs (see above) no other pets are permitted.
  • Arrival is from 4pm and departure is by 10am.
  • We do not carry insurance for breakages. However we appreciate that accidents do sometimes happen. If you have a breakage during your stay, please let the housekeeper know and if appropriate we reserve the right to invoice you accordingly.
  • Yes, most of our Landmarks are perfect for children, with gardens to play in and secret places to discover. Our furniture is surprisingly robust and we positively encourage families to stay. However, some of our buildings may not be suitable for small children; for example, some of them have steep or uneven spiral staircases. We recommend that you call the Booking Enquiries team if you would like to find out the suitability of any of our Landmarks for young children.
  • Unfortunately, most of our Landmarks are not licensed for weddings. However, you may get married on Lundy.
  • All our larger Landmarks are perfect for gatherings of family or friends. You may invite an additional two guests to visit you during your stay, however they must not stay overnight. This is very important because our fire regulations specifically note the maximum number of people in any one building. In addition our properties are prepared, furnished and equipped for the number of people specified and greater numbers cause damage and excessive wear and tear to vulnerable buildings. Should this condition be ignored we shall make a retrospective charge per person per day (whether or not they stay overnight) for each guest over the permitted limit, the charge being pro-rated on the total cost of your booking.
  • We deliberately do not provide televisions and find that most people appreciate this.
  • One of the challenges of restoring unloved buildings is gaining access to them. We frequently have to negotiate rights with our neighbours and share tracks with them. In many cases tracks do not belong to us and we have no right to maintain them. Wherever possible we work with our neighbours to provide you with a good quality surface, but where this is a problem then you will be warned at the time of booking.
  • Yes, we have standard electricity sockets for UK appliances. If you are coming from outside the UK, you will need to bring your own adaptor plug(s). If you are visiting one of our European properties we have standard European electricity sockets. If you are visiting from the UK, you will need to bring your own adapter plug (s).
  • Landmark’s electrical systems have not been designed to provide continuous power from one socket over several hours.  If an ordinary socket is used to charge an electric vehicle, there is significant risk of an electrical fire and consequent danger to life.  Therefore, we are unable to allow electric vehicle charging from most of our Landmarks at present.

    We are working to provide Type 2 Electric Vehicle charge points at our properties where there is private parking.  Where this is available, please request this facility when booking the property to ensure the outlet is enabled on your arrival.  There is a small charge to cover the cost of electricity provided.  Please book this facility in advance.
  • No, we do not allow smoking in any Landmark.
  • Sometimes our kitchens and bathrooms have to be imaginatively fitted into the available space in buildings where before there were none, but they are all planned and equipped to a high and modern standard.
  • Yes, Landmarks are fully equipped with sheets and towels. All the beds are fully made up for your arrival. Except for the Llwyn Celyn Bunkhouse.
  • Yes, our kitchens are well equipped with cookers and fridges. There are freezers and dishwashers (in larger buildings) and, where space allows, microwaves as well as a wide and standard range of utensils. A full equipment list is available at time of booking.
  • Logs are provided at many of our Landmarks for an additional cost.
  • Mobile coverage varies. Some Landmarks have an excellent signal, but others have none at all. If you are concerned, you can check with the housekeeper before your arrival.
  • No. At the moment, we have decided not to implement Wi-Fi in our buildings following a consultation with our customers. Many said that they would find it useful, but many also felt that it would somehow damage the experience of staying in a Landmark. As the responses were so split, and as we have so many other initiatives requiring funding, we have decided to put this on hold for the time being.
    Except at Llwyn Celyn Bunk House where a password is available in the property when you arrive.
  • A welcome tray with tea and sugar awaits your arrival and you will find a pint of milk in the fridge. We also provide toilet rolls and a bar of soap per basin, but no other toiletries. Hairdryers are provided.

The house Augustus Pugin built for himself to live in

The Grange is important today because it is the house Augustus Pugin built for himself and his family. Listed Grade I, it was rescued from development by the Landmark Trust in 1997 with a grant from the Heritage Lottery Fund. The HLF provided a further grant for its repair and restoration (2004-6), with generous additional support from English Heritage, Thanet District Council, charitable trusts and many private individuals.

Augustus Welby Northmore Pugin (1812-52) was one of the most influential and prolific architects and designers of the 19th century. Only 40 years old when he died, Pugin spent his life trying to revive medieval Gothic architecture and design as the only fit architecture for a Christian society, part of a movement known as the Gothic Revival. He looked back wistfully and sometimes whimsically to medieval society, which he thought morally superior to the increasingly mechanised and secular society he saw around him. A devout convert to English Catholicism, Pugin built many churches, schools, convents, monasteries and country houses. He also designed the interiors for the Houses of Parliament. As a man, Pugin was passionate, intense, naïve, impatient, combative and funny. He worked ceaselessly to recreate, in his own life and works, the Gothic life that he idealised, supported by a loyal team of craftsmen and builders who translated into reality his countless designs.

Pugin built few domestic houses and the site in Ramsgate is particularly important because here he was building for himself, to create his ideal setting for his family. He wanted to bring Catholicism back to this part of Kent and so a church and monastery were also part of his plan, to recreate the medieval social structure that he so admired. Here he was able to build according to his own true principles, imposing ‘No features … which are not necessary for convenience, construction or propriety.’ Built of yellow stock brick and surrounded by walls of knapped flint, The Grange was not an inherently extravagant house despite the richness of its interiors. However, it is quietly revolutionary in the arrangement of rooms and their outward expression in architecture. Pugin was reacting against mainstream Classical architecture, which had been the most popular style for the past hundred years and which he considered pagan. Pugin’s starting point for The Grange was not outward symmetry but internal function - how he and his large family were to live in the house. Windows, roofs and chimneys were placed to suit life inside rather than external appearance. This cheerful and uncontrived asymmetry became and remains such a familiar feature of English domestic architecture that it is easy to forget how radical it was after the formal terraces of the 18th century. The principle it reflects, that form should follow function, remains central to much of today’s architecture.

Pugin bought the site on the West Cliff at Ramsgate in 1841. The house was built between 1843 and 1844 by his builder, George Myers. The original floor plan (now reinstated) was a distinctive ‘pinwheel’ arrangement: three principal ground floor rooms (the drawing room, library and dining room) grouped around a square entrance hall, with a corridor leading off to a small kitchen, a square tower (from which Pugin would watch for vessels in distress on the Goodwin Sands) and a private chapel. The house was designed to enjoy views of the sea and the monastic site next door from all angles and was richly wallpapered, painted and panelled. It was full of furniture to Pugin’s own designs and of the paintings and 'objets' that he collected avidly.

As his second wife Louisa died in 1844 just before the family moved into the house, it was only after his marriage to Jane Knill in 1848 that the house became the happy family home he dreamed of. Sadly, Pugin himself died in 1852, just two years after the interiors were completed, worn out by his pace of work and unbalanced and poisoned by the mercury prescribed to cure recurring eye inflammation.

After a decade away, Augustus’s eldest son Edward Pugin returned to live in the house in 1862 with his stepmother Jane and other family members. Edward too was an architect and became a substantial local figure in his own right. It was Edward who designed and built most of St. Augustine’s monastery and finished the church. He also altered his father’s house, adding the entrance corridor and the gate piers, extending the drawing room, adding a conservatory and making various extensions and changes to the internal layout to adapt it for mid-Victorian life. The house remained in family ownership until the death of Augustus’s last son Cuthbert in 1928, after which its contents were dispersed and it became a school run by the monks of St Augustine’s monastery next door. It passed into private ownership in the early 1990s, but sadly continued to deteriorate until it was put on the market again with talk of turning it into flats. By now, its importance was more widely recognised and the Heritage Lottery Fund stepped in to enable Landmark to acquire it.

Short history of The Grange

Read the full history album for The Grange
Volume I
Volume II.

Download the children's Explorer pack for The Grange


Detailed analysis by Landmark was to reveal more detail about the house in Augustus’s day than at any other period of its history – the building was successively stripped out for redecoration both by Pugin’s sons and later occupants, but traces of its original state remained concealed in its fabric. Pugin also left a great deal of documentary evidence. On the basis of all this analysis, Landmark gained permission to restore most of the building to its appearance in Augustus’s time in the 1840s, which is also considered the period of greatest significance for the building.

Most of the later changes have therefore been reversed, but the main gate, entrance courtyard and the bedroom refurbished by Edward for his stepmother are presented broadly as they would have been in his time. The roof, altered when replaced after a near-disastrous fire in 1904, has recovered its original steeply Gothic slopes.

The Cartoon Room, covered porch and north courtyard

This area was altered considerably by Edward Pugin, who used the room with the large oriel window in St Edward’s Presbytery next door as his studio. The courtyard remains much as Edward left it. Edward demolished a small gatehouse built by his father to the left of the porch and made a new, double-gated entrance with stone lion gateposts (Augustus Pugin used the small side entrance off Screaming Alley). Edward also added hips to the roofline of the Cartoon Room and inserted the dormer so that the building could be used as a stables and coach house, with accommodation for the groom. The covered walkway is also Edward Pugin’s work, though as you enter the house, you go through Augustus Pugin’s original small porch. Note the large front door, which is very typical of his work. Originally, it only had bolts on the inside so that it could only be opened from the inside – Pugin was extremely security conscious, as there was still considerable anti-Catholic feeling at the time.


This is the centre of the house, off which the main rooms open. It is an intimate, overlooked space, an echo of medieval halls or main living areas where everyone co-existed. It was very unusual in a house of this scale in the 1840s. In Augustus Pugin’s day there was a woodstove in the corner and a large statue of the Virgin Mary and Child on the wall - a bold and public statement of the family’s Catholic faith. He kept a chest of clothes in the hallway to give as charity, and a rack of favourite sou’westers and telescopes. The panelling is a reinstatement of the simple matchboarding used throughout the house. The stairwell is papered in the red and green version of the En Avant design, which Pugin designed for himself (En Avant was his family motto and means forward).

The striking diagonal design of the banisters was probably inspired by timber framing in northern France, which Pugin visited often. The small window on the stairs gives light into a secure internal room, perhaps a silver store and now a shower room. On the floor are original tiles designed by Pugin with his monogram AWP and family emblem, the black martlet. The doors to the library and sitting room have been returned to their original size and simple joinery.

Sitting room

This room has been returned to its original, 1840s dimensions, by removing a later flat-roofed extension. A watercolour done by Augustus Pugin in 1849 showed how the room appeared in his day, including use of the red and green En Avant paper. The panelled ceiling, painted over and stripped of its paper medallions at a later date, has been restored to match the library ceiling. The stained glass in the large stone window shows St Peter, the Isle of Thanet and the Blessed Virgin, and in the small window a panel dedicated to St Barbara, patron saint of architects. Based on careful paint analysis, the fireplace looks as it did in the 1840s. The original enamelled brass shields were lost long ago and we do not know the original designs, so those put up reflect the family nature of this room and show, from right, St Barbara’s shield, then the Pugin, Knill and Welby (Pugin’s mother’s family) arms. The motifs around the hearth opening (‘read, mark, learn, digest’) are at child’s eye height and include symbols for each of his children. The arch between drawing room and library was closed with a curtain, as Pugin hated slamming doors 'a door once made is bound to be opened and slammed.' The arch was later enlarged, but has been returned to its original dimensions. All the carpets in the house (except that in the nursery and Jane’s room) have been specially made, to evoke Pugin’s own designs.


This is a room of great significance, since it was here that Augustus Pugin worked, pouring out drawings based on his encyclopaedic knowledge of Gothic detail. With its original matchboarded panelling, it has a masculine, almost maritime feel. Here, Pugin designed the interiors of The House of Lords, singing snatches from operas or Gregorian chants as he worked at a desk in the bay window. His helper John Hardman Powell sat at the other window, both with good sea light streaming in through the lower lights. The stained glass in the upper lights in the bay shows SS Anselm, Augustine, Dunstan and Thomas à Becket, all of whom had local Kent associations. The west window has late medieval Flemish glass reset against a background of the AWP monogram and motto, En Avant. The fireplace has been returned to its original appearance. The enamelled shields replace lost originals but replicate the original designs, known from Pugin’s own drawing for them. They show, from left, St George’s cross, the arms of the See of Canterbury, the assumed arms of Edward the Confessor and the fleur de lys of France, for Pugin’s French origins and perhaps to show the historic links between the two countries.

Four large free-standing bookcases almost cover the walls, used by Pugin as open shelving for storing rolls of drawings and examples of carved stone etc. One section is cleverly hinged to allow the door from the hall to open – the original runner can still be seen in the floorboards. These have been reconstructed from shadows on the walls and Pugin’s letters. We also know, and have reinstated, the text friezes of quotations from the Old Testament Book of Proverbs in Vulgate Latin that ran round the shelves. The shields on the ceiling, whose paintwork is newly restored, show the Pugin martlet and the Knill lion, from the arms of Pugin’s third wife, Jane. The main cornice frieze bears the names of Pugin’s favourite people – saints, friends and clients - and places, to inspire him in his work. This was also a room for relaxation – Pugin would stand at the window with his friends, wielding telescopes as they commented on passing shipping and on rainy days Pugin played at storms here with his children.

Dining room

This was perhaps the grandest room in the house and Augustus Pugin hosted many a jovial dinner with his Ramsgate and London friends. The panelling is original and like all the panelling in the house had to be stripped of later paint before being re-stained to its original warm light brown shade.

All the panelling in the house is pine, but this stain made contemporaries think it was mahogany. The walls are hung with a bright pink, red and white version of the En Avant paper. The ceiling joists have their original painted decoration and have been stencilled between with a design using the AWP monogram and known from a letter. The fireplace shows Augustine, Pugin’s patron saint, as a bishop. The Latin text above is the opening of the Magnificat, Mary’s ‘song’ to her cousin Elizabeth as she tells her of the Annunciation: ‘For he that is mighty hath done to me great things and holy is his name.’ (Luke I, 49). The stained glass shows the arms of the Towers, Jane Knill, Pugin and the Welbys. Massive rising shutters were suspended below the floor when not in use here and in the library (all now in working order again) and also in the sitting room (now lost). The fireplace shields are replacements, showing from left the AWP monogram, Knill and Pugin arms impaled (both known from an early photo) and the Welby arms.

The corridors are papered with a ‘strapwork’ design, a paper that Pugin seems to have used off-the-peg. Scraps of it were found in many places, used by Pugin to paper the less public areas of the house. It too has been reproduced specially.


A private chapel would have been a common feature in medieval Catholic households but was very unusual for a house of this status in the 1840s. It was used by the Pugin family on a daily basis. The door, with its elaborate metalwork, is a very fine example of Pugin’s work. The original altar, whose proportions are replicated in today’s altar, was moved to the Pugin chantry chapel in the church next door in the 1930s. The ceiling decoration dates from the 1840s and the decoration around the east window has been recovered from beneath later paint. ‘Sancte Augustine Ora Pro Nobis’ means ‘Holy Augustine pray for us.’ The stained glass shows Pugin kneeling beneath St Augustine on the left and on the right, his second wife Louisa with his eldest daughter Anne and two more of their own children beneath St Gregory. Cuthbert and Edward are shown as boys in the south window, beneath their respective saints. Pugin always provided a small stove in the chapel in winter as he wrote ‘most people pray better when warm.’ The chapel was richly furnished with all necessary trappings. Today, it is kept as a simple space for prayer and quietude for those staying in the house.

The remaining rooms are only accessible to the general public on full open days. At other times, please respect the privacy of those staying in the house.

Kitchen, scullery and pantry

The kitchen was what we would call a breakfast room today and Pugin designed it so that the west front of his church was framed in its bay window – it was described as ‘the brightest of kitchens.’ Edward and then Cuthbert extended the kitchen, which has now been returned to its original size and the window put back in its first position. The doors are original; note the retainer for the heavy bar that sealed the kitchen from the main house at night. The large dresser dates from the 1840s and is the only piece of furniture original to the house. The hearth would have held a range similar to the one now there. The open roof timbers of the scullery next door show Pugin paid as much attention to the detail of the service areas as to the rest of the house. The outside door was the entrance most used for daily comings and goings. There is a small pantry beyond, built facing north for coolness.

First and second floors

There are four bedrooms: a guest room hung with green and yellow En Avant wallpaper; Jane’s Room, presented to evoke its appearance in the later 19th century; Pugin’s room hung with blue En Avant paper and the former nursery, papered with the strapwork design. The second floor is not furnished, nor open to visitors. There is a small room at the top of the tower, formerly the bedroom of Pugin’s assistant, John Hardman Powell.

Supporters of The Grange

We are hugely grateful to those who have already supported The Grange, including:

Patrons and other generous supporters:
Lord Blakenham, Sir Christopher and Lady Bland, The Hon Elizabeth Cayzer, Mrs C Crawford MBE, Mr R Eaton, Mr and Mrs A Froggatt, Mr A Jardine, Mr J Joll, Dr M Jones, Mr P Ruddock, Mr J Scott, Mr and Mrs G Symons

Mrs D Wray Bliss, Mr L Shirley, Mrs G Wells

Gifts in memory:
Mr G Evans, Mr R Quinn

Charitable Trusts and Foundations:  
Architectural Heritage Fund, Campaign for Real Ale (Kent), The Cayzer Trust Company Limited, Elizabeth Cayzer Charitable Trust, J Paul Getty Jnr Charitable Trust, H de C Hastings Trust, Rayne Foundation, Jonathan Vickers Charitable Settlement

Statutory Grants:



We would also like to thank those who have chosen to remain anonymous, and the many other donors who supported the appeal.

Availability & booking

Select a changeover day to start your booking...

What's a changeover day? and Why can't I select other dates?Explain MoreQuestion

A changeover day is a particular day of the week when holidays start and end at our properties. These tend to be on a Friday or a Monday but can sometimes vary. All stays run from one changeover day until another changeover day.