The Hall and attached stable block.

The Hall and attached stable block

Country house and stable block, now museum. The main building dates from circa 1660–1670, with substantial additions by George Devey from 1876–1883. The stable block is dated 1664.

Exterior

The house is constructed of red brick with vitrified brick diaper work. Sandstone quoins are flush to the ground floor and raised and chamfered to the first floor. A moulded first floor band and dentilled eaves cornice run across the façades. Plain tile hipped roofs carry two external brick stacks to the west and east sides, four ridge stacks to the main part, and six ridge stacks to the west wing. A balustraded parapet and central domed ashlar cupola with pilasters, pedimented windows, and a ball finial crown the composition. The plan is E-shaped, with two storeys and attics throughout.

The north elevation displays nine bays in a 1-3-1-3-1 arrangement, with strictly symmetrical design. A central two-storey porch of ashlar rises on six steps, featuring coupled columns and broken pediments on both floors in a Baroque composition. The carving here is by Sir William Wilson of Leicester. The three bays on each side have paired two-light mullioned windows with two transoms to the ground floor, flanked on each side by three-light mullioned and transomed windows. The first floor shows similar three-light windows either side of a paired window with semi-circular and oval motifs. The projecting outer bays contain paired two-light windows with two transoms on each floor. Nine pedimented roof dormers rise above the north front, the outer ones topped with segmental pediments.

The south elevation mirrors the north in its nine-bay arrangement of 1-3-1-3-1 bays, with bays one, five, and nine projecting slightly. The centre bay features a large round-arched doorway with stone steps and a mullioned window above, the window displaying semi-circular and oval motifs. A segmental pediment with carving by Sir William Wilson caps this composition. The three bays on each side have central paired two-light windows flanked on each side by two-light windows, all with two transoms. The outer bays repeat this paired two-light arrangement. Nine roof dormers mirror those on the north front. The west elevation contains four bays, nearly symmetrical in composition, with similar fenestration to the principal fronts.

The 19th-century east wing by George Devey extends the house in an irregular manner, descending in height with a square projecting end pavilion and curved wall beyond linking to the stable block. The wing displays eight bays in similar style with diaper work and mullioned and transomed windows. Three projecting two-storey square bays contain paired cross windows to each floor and cross windows in the return wall. A flight of balustraded stone steps occupies the angle where the wing meets the main building.

The stable block forms an L-range with the service wing. Its east elevation features a broad round-headed quoined carriage arch with a clock face above in an ashlar surround, topped by a cupola bell turret. A doorway with stone surround and flanking three-light mullioned windows stands to the left of the arch. To the right of the central arch are a two-light window, a single-light window, a doorway with stone surround and segmental pediment, another single-light window, and a further doorway with stone surround and single-light window. Two- and three-light windows light the upper storey, and a segmental arched opening adds further interest.

Interior

The interior was begun in 1670 and completed in 1691. The house underwent small alterations in the 18th and 19th centuries and underwent restoration from 1969–1971 by John Fowler.

The main entrance leads into a passage opening into the great hall. Salvin divided the passage from the hall circa 1850, copying the elaborate rusticated doorway from the west end of the hall for this division. The hall contains a broad bolection-moulded chimneypiece with coved acanthus cornice, matching the room's cornice.

The Great Staircase, dating to circa 1676, is a tour de force of craftsmanship, featuring a white-painted balustrade with luxuriantly carved foliage by Edward Pierce—among the finest staircases of its date in the country. The staircase hall is crowned by a rich plaster ceiling executed by James Pettifer in 1675, with paintings added by Laguerre in 1691.

The Saloon is accessed through a carved doorway attributed to Thomas Young. Its plaster ceiling was created by Bradbury and Pettifer in 1675 and features a shallow dome painted by Laguerre. Carved panelling of 1678 by Edward Pierce once surrounded the room but was altered circa 1736–1741 to accommodate portraits and was repainted in the 19th century. A mid-Victorian marble chimneypiece stands within.

The drawing room and library were united by Salvin circa 1853 and re-separated in 1969. The drawing room ceiling was executed by Bradbury and Pettifer and bears an early 18th-century painting on canvas. A sumptuous naturalistic carved overmantel by Grinling Gibbons dominates the space. The library ceiling was created by Mansfield in 1672 with a coved cornice similar to that in the hall. Mansfield may have executed only the cornice, as the ceiling otherwise follows the style of Bradbury and Pettifer and may have been added slightly later. Bookcases dating to circa 1700 feature fluted pilasters and modillion cornices.

On the upper floor, the Queens Room displays plasterwork by Mansfield and an alabaster chimneypiece and overmantel by Sir William Wilson, dated 1670. The Long Gallery, stretching the full length of the south front, is a notably conservative feature for its date (completed 1676). Its magnificent ceiling was created by Robert Bradbury, and its plain panelling was painted in the 19th century. The Upper Library was fitted out in the 1840s. Attic rooms contain some plain panelling, while the cupola features a circular staircase with barleysugar balusters and a moulded plaster ceiling.

Smaller rooms on the east side of the house contain plain raised and fielded panelling and various alterations by E. M. Barry, who worked on the house between 1869–1872 and designed the Secondary Staircase with robust proportions and a ramped hand-rail. George Devey worked on the house from circa 1872–1880. His east wing contains few interior features of special interest and has been converted into a Museum of Childhood.

The billiard room features early 20th-century plasterwork of incomplete execution, probably by W Romaine-Walker. The stable block, with its massive double purlin roof, now forms part of the museum.