The Attingham Summer School is a renowned study course offered annually by the Attingham Trust, and this year I was privileged to attend as the 2024 Copland Foundation, Alex Copland Attingham Scholar. In July, I spent 16 days travelling across Britain with 39 other heritage professionals from diverse backgrounds and with a range of expertise, during what proved to be an intense but transformative learning experience. Together, we studied English country houses, their interiors, landscape settings, and their collections, under the tutelage of experts in an array of heritage fields. On applying for the course, my aims were: to expand my knowledge of the materials, manufacturing techniques, and degradation patterns of decorative arts and design objects; to further my knowledge of historic textiles and techniques for their conservation and display; to increase my understanding of the context, significance, and use of collections in their house setting; to observe how the preservation needs of the country house and its contents are balanced with public access; and to increase my professional network. From the moment I stepped through the hallowed halls of our first base, West Dean College, the course surpassed my expectations. My learning aims were exceeded as I attempted to digest an overwhelming amount of information throughout the tours, lectures, seminars, and informal discussions with tutors and fellow scholars provided by this truly immersive course.
Attingham Summer School students receiving an introduction to Hardwick Hall, Derbyshire. Charlotte Walker 2024
Of particular relevance for a museum-based conservator like me, was the unequalled exposure to the myriad collection items of various origins, ages, materials and manufacturing techniques afforded by the school. As Attingham scholars, we were shown the insides and undersides of collection items while learning about their history, significance, use and presentation. The generous access provided to private collections and behind the scenes areas, as well as to leading experts, allowed opportunities to delve deeply into several material types. For example, we gained an understanding of how plaster is made, its characteristics and uses, and observed evidence of its longevity at Old Hardwick House. Seminars on ceramics at both Longleat House and Firle Place gave us insights into the history, use and manufacture of this material, and its place in global power struggles, as well as intimate views of historic repair methods. We heard about the status, power, wealth, international trade and empire-building that contributed to material choices used in furniture manufacture and saw many examples of this in buildings and collections. An interactive seminar on textiles cemented our knowledge of the materials, manufacture, use and re-use of textiles we then examined in country houses such as Hardwick Hall, Parham House and Petworth House. An unexpected visit to the West Dean Tapestry Studio enabled us to appreciate the weaving techniques used to produce the numerous historical tapestries adorning country house walls, in a manufacturing process that has changed little over time. Furthermore, there were many opportunities to learn from the expertise of my fellow students, as the group held a wealth of knowledge about their own subject matters and collections. The depth of study afforded by the course and its attendees has contributed significantly to my understanding of the manufacturing processes and use of various material types.
Attingham Summer School students attending an interactive seminar with textile historian Annabel Westman. Charlotte Walker 2024
In addition to studying the built heritage of Britain’s country houses, their decorative treatments and contents, consisting of paintings, sculpture, furniture, ceramics, silver, textiles and other fine and decorative arts objects, I was pleasantly surprised at the plethora of library and archive collections we were able to examine and learn about, at locations such as Longleat House, West Dean, Petworth House and Lacock Abbey. I was also amazed to see the sheer number of natural sciences collections held in the country houses we visited, including taxidermy specimens, geological and paleontological collections, especially at Flintham Hall, Lacock Abbey and Chatsworth House. Throughout the School, I was also able to observe if, and how, the condition of various materials and object types has changed over long timeframes, to gain a better understanding of how they have been used, and to see a variety of degradation patterns caused by various agents of deterioration. This will help me to identify degradation to collection items in the course of my work. From the weathering of stone on buildings, to light-damaged timber veneers and textiles, crazing of timber and paint due to heat, holes in timber due to pests, through to worn patina from centuries of rubbing hands, I was able to view a vast array of deterioration patterns as well as an equally considerable number of collection items in very good condition considering their age and use. This has provided me with a greater awareness of how certain materials and object types degrade, which will inform my future work for exhibitions and outward loans when advising on light levels, display durations, and many other aspects of collection display.
The author on the ‘leads’ of Chatsworth House Theatre, looking out over the Joseph Paxton-designed ‘conservative wall’ and stables with their Elizabethan clock. Charlotte Walker 2024
Another highlight was the opportunity to view countless examples of conservation treatments throughout the course, and to discuss them with house staff, tutors and my fellow students. Our conversations often delved into the decision-making and ethical considerations such interventions necessitate, and it was fascinating to hear varied viewpoints on these often-fraught choices. As a conservator tasked with making treatment decisions in consultation with colleagues on a regular basis, I have no doubt that perspectives gained from discussions at the school will inform my future decision making. For example, restoration and conservation projects at Stowe House, including the return of the ‘Blue Room’ to its Victorian-era appearance, allowed opportunities for discussion around the ethics of such treatments, allowing us to learn from each other about differing approaches and decision-making frameworks. Other conservation projects examined include the previous treatment of The Portrait of Prince Henry Frederick Stuart hanging in the Great Hall at Parham House; the treatment of the ‘Beauty Room’ portrait paintings at Petworth House currently underway; the previous treatment of ‘The Pope’s Cabinet’ at Stourhead; and the testing that has been undertaken to determine original colours of the ‘Melbourne Cabinets’ at Firle Place. I was particularly interested to view the ‘Gideon Tapestries’ at Hardwick Hall, which have undergone a 24 year-long, award-winning conservation project, and discuss their current presentation with classmates. We were also able to view a marquetry conservation project in action at Longleat House while learning about marquetery materials, manufacture, deterioration, and the conservation techniques employed. Another outcome of examining earlier conservation treatments and historic repairs was the unintended chance to view how such treatments have fared over time, which will inevitably inform my future treatment decisions.
Scholars listen to a seminar on architectural drawings at Kingston Lacy in Dorset, presented by David Adshead, architectural historian and Co-Director of The Attingham Summer School. Charlotte Walker 2024
As a conservator often working on exhibitions projects, I am also passionate about the role conservation plays in finding the balance between the preservation of, and public access to, collections on display. I was keen to observe how this is achieved in the British country house and to learn new methods of facilitating these aims, which may be applied at Museums Victoria or outward loan venues. Upon visiting exhibitions, I am often found peering behind collection items to see how they are mounted, secured and supported for display, and the Summer School provided ample opportunity for this. I scrutinised a wide variety of mounting and display methods for a variety of object types that I could employ for the future display of collections. Also apparent was a plethora of security options in use, including movement and touch alarms, psychological and physical barriers, and a variety of ‘do not touch’ signs. I was able to discuss pest management techniques, environmental considerations, and lighting with house staff, and viewed countless examples of mitigation options. In many cases, it was comforting to see that Australian museums and English country Houses battle similar agents of deterioration and have common experiences in endeavouring to preserve collections on display while attempting to maintain the best possible visitor experience. The knowledge gained throughout the course relating to collections on display will be invaluable for my future work in the development of exhibitions.
‘Conservation in action’ interpretation signage at Hardwick Hall, with its distinctive jute flooring and one of the many wall-hung tapestries. Charlotte Walker 2024
The Attingham Summer School offered a unique and extensive course of study, facilitated not only by the physical country houses and their collections, but also by the wonderful lecturers, guides, house staff, tutors and my fellow students. In addition to being an incredible educational experience, the course was also tremendously enjoyable, and I am fortunate to count a class full of smart, inquisitive and generous heritage experts as my new friends and colleagues. I look forward to implementing the knowledge and skills that I have learnt, and to engaging in future research projects inspired by the course.
I would like to thank the Copland Foundation for generously supporting my attendance though the Copland Foundation, Alex Copland Scholarship, and would also like to acknowledge the support of my employer, Museums Victoria.