Hardwick Hall

Hardwick Hall

Country house now owned by the National Trust. Built 1590–1597, probably by Robert Smythson, for Bess of Hardwick, with alterations in 1788. A service wing was added in 1860 by S. Rollinson of Chesterfield.

The building is constructed of sandstone ashlar with roofs hidden behind parapets. It follows an H-plan with double stepped extensions at each end. The structure has two storeys with three-storey towers, each set over a basement storey. It features a moulded plinth, moulded string courses between each floor, and a moulded eaves cornice. The openwork parapet and scrolled parapets enclose the initials ES.

The west elevation displays a symmetrical arrangement of 1-1-2-6-2-1-1 bays. The two outer bay parts project as towers. The central six bays have a flat-roofed colonnade on eight Tuscan Doric banded columns at ground floor level. Within this colonnade is a central doorway with moulded architrave and pair of doors, flanked on each side by three 3-light mullioned and transomed windows with ovolo mouldings and moulded sills on brackets. The two storeys above have the centre two bays advanced, with a chamfered corner to the upper storey. These contain two 4-light windows, flanked on each side by pairs of 3-light windows, with two transoms to the lower tier and three to the upper tier. The chamfered angles of the advanced bay have single light windows with three transoms. The projecting tower bays have pairs of 3-light windows placed close together, with one, two, three and two transoms from basement upwards. Similar 3-light windows appear on the return elevations. Extruded angle bays set back to the right also have similar 3-light windows. The tower bays to north and south repeat the elevations of those to the west, with symmetrical returns matching the east and west fronts. The east front is identical to the west except for the absence of the central doorway. A two-storey service range to the north, dating to around 1860 by S. Rollinson, features 3-light recessed and chamfered mullion windows and a balustraded parapet.

Interior

The plan is exceptional for its date, with the hall placed symmetrically and at right angles to the façade. The decoration is rich, contrasting with the severity of the exterior, and derives from Flemish pattern books and Serlio. The hall has a screen carved by William Griffin dividing off a lobby rather than the traditional passage. The screen features remarkably correct Roman Doric columns supporting a first floor gallery that provides access across the front of the house. A chimneypiece with strapwork and overmantel displays the Hardwick crest. Plasterwork is by Abraham Smith. The pantry lies to the south, with the buttery and kitchen to the north. The main staircase is to the south and the secondary staircase to the north, adjacent to the lower chapel, which was originally open through two storeys before conversion to the Steward's room around 1800. The main staircase is broad and shallow, with unadorned stone steps leading to the drawing room, which has plaster over-doors. The stairs continue to the state rooms.

The Long Gallery runs the full length of the east side for 166 feet. It has three huge bays and two large fireplaces on the back wall, probably by Thomas Accres and loosely based on Serlio designs, with coupled banded pilasters below and black columns above. In the middle are figures of Justice and Pity in oval frames surrounded by vigorous strapwork; these figures were added later. The frieze is by John Ballergon.

The High Great Chamber fills much of the west side of the house and features a coloured plaster frieze by Abraham Smith depicting forest scenes, with panelling throughout. The fireplace is attributed to Accres, with the Royal Arms by Smith above it, breaking into the frieze. The Withdrawing Room is in the centre of the west front and contains a large alabaster relief of Apollo and the Muses, brought to the house in the 19th century. To the north are two lower rooms: the Green Velvet Room has a fireplace with a central figure of Charity, carved and inlaid by Nayll, Mallery and Accres; the Blue Bedroom has an overmantel carved with the Marriage of Tobias, probably not original to the house. The back stairs descend to the Dining Room, which has an overmantel with strapwork and female nudes. The Cut Velvet Room has a strapwork overmantel with a relief of Ceres by Smith. The Chapel has a simple panelled screen. Other rooms contain similar Elizabethan chimneypieces as well as some early 18th-century panelling and decoration.