ARTS & CRAFTS BUILDINGS IN THE ST CATHERlNES AREA

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2 ARTS & CRAFTS BUILDINGS IN THE ST CATHERlNES AREA In his ivy-mantled bedroom, dirty as he was from town. Ere he touched the wash-hand basin did he write a poem down "Little Switzerland in England" what could please a lady more Than to find her Surrey mansion had inspired "Excelsior"? The purpose of the Study Day is to consider the development of Arts and Crafts domestic architecture through the buildings in St Catherine's. The short extract from a poem found hand written between the pages of a book by Longfellow depicts in few words why Surrey and in particular the 'Little Switzerland' had such an appeal. This Study Day provides a rare opportunity to view a number of buildings that are not generally easily seen from the road. In addition to the many fine examples of Arts and Crafts architecture, the diversity of buildings in the area from other periods provides a 'snapshot' of the development of domestic architecture in Britain over the last 350 years. The visit is the result of a number of walks and lectures previously organised by the St Catherine's Village Association, together with historic research carried out by various members of the association. The aim of this group is to document the history of Guildown Road. The involvement of ACMS Recording Group in this research shows the benefits to be gained from collaborations with other local organisations, as has also been demonstrated at Blackheath and in Godalming with the Phillips Memorial Park. The period considered begins with the Queen Anne Revival, and then continues through the movements high point prior to the First World War, finally looking at examples of Arts and Crafts influenced buildings dating from the interwar period. Other areas of Guildford also have good examples of Arts and Crafts buildings, however what makes St Catherine's special is that it includes examples by some of the leading architects of the period. The reason for the quality of architectural design is not entirely coincidental, but is partly due to the influence of three generations of the Powell family and their support of Arts and Crafts design. Rectory Place, Portsmouth Norman Shaw Road Like many towns in Britain, the coming of the railway to Guildford in 1845, had a major influence on its development. The previously sleepy county town of Surrey provided the opportunity for many Londoners to escape the cities unhealthy environment, thus enabling them to enjoy Guildford's country location, whilst providing easy access to London. Located on the southerly slopes of the South Downs, St Catherine's outstanding

3 scenery resulted in it being selected as ideal for the middle class housing development. Soon substantial detached houses began appearing on the southerly slopes of the North Downs. As part of this development, Guildown Road was laid out by the surveyor Francis Peake, and the early buildings where built in the fashionable Gothic and Italianate styles such as Firbank, Hillside (1868). Guildown House, The Beeches (1868), Loquats, Westlands House and Westlands Villa. The first Arts and Crafts house to be built in St Catherine's was Piccards Rough, designed in 1878 by Richard Nonnan Shaw for Thomas Wilde Powell ( ). Following this, in the period leading up to the First World War, other houses were built in St Catherine's by some of the leading Arts and Crafts architects, such as Lutyen's, CFA Voysey, Charles Harrison Townsend, Hugh Thackeray Turner and John Be1cher. The Arts and Craft Movement had a worldwide impact resulting in many of the homes in St Catherine's being of international importance. After the First World War the Arts and Crafts style was continued in St Catherine's through the work of Thomas Wilde Powell's grandson, the architect Lawrence Powell, who designed a number of houses in Flower Walk. Also designed during the Inter War Period can be seen two examples of large speculative apartment block developments designed in a 'watered down' Arts and Crafts style. This illustrates the way the style entered the main stream of popular developer housing. As well as examples of houses by well known Arts and Crafts architects, there are also a number of good examples of houses designed by as yet unknown architects. Today's visit therefore provides fascinating insight to the research in progress, with the potential for further discovery. Little Croft Lutyens

4 THE POWELL FAMILY Many of the Arts and Crafts buildings in St Catherine's are associated with the three generations of the Powell family who lived in the area. Thomas Wilde Powell was born in in Leeds in 1818, the son of a bank manager; he was articled as a solicitor. Wilde Powell made his fortune working as a senior partner for stock broking company, Heseltine, Powell & Co. He was particularly noted for the role he played in saving several American railway companies from collapse. This necessitated him sailing to America and travelling on horseback to remote areas to pacify workers and reorganise the companies. Wilde Powell was an early member of the Society for the Protection of Ancient Buildings, and also took a keen interest in the Thomas Wilde Powell art and architecture of the Aesthetic Movement. It is therefore not surprising that in 1878, when he decided to move from London and build a new house in Guildford, he chose Norman Shaw, one the leading architects of the movement, to design his house. His decision may have also been influenced by his business partners elder brother, John Postle Heseltine, who in 1874, had commissioned Shaw to design his house and artist's studio at 196 Queen's Gate, London. Piccards Rough, Rear Elevation - Norman Shaw

5 Wilde Powell had a strong sense of social duty using his considerable wealth to support social causes. He was a generous benefactor to both the Guildford Institute and Royal Grammar School. Wilde Powell was the first Chairman of Surrey County Council and first Honorary Freeman of the Borough of Guildford. He was also one of the founding members of the Old Guildford Society. Shortly after completing Piccards Rough, in 1881, Wilde Powell commissioned the building of 14 workers cottages and a Working Men's Institute on the Portsmouth Road, near the junction with Sandy Lane. The cottages and club were carefully designed, with little expense spared, using traditional vernacular materials such as tile hanging and half timbering. The architect for the buildings is not known, although they are thought to be designed by one of Norman Shaw's pupils. Working Mens Institute Portsmouth Road 1881 Following this, Wilde Powell became concerned by threat of the spread of typical Victorian terraced houses to the south of Guildford towards St Catherine's. As a result he purchased land along the Portsmouth Road with the purpose carrying out more carefully considered, high quality development. The first part of this development was a pair of large townhouses, called Rectory Place, designed by Norman Shaw in The second part, also completed in 1883, was a detached house, designed by Shaw, called Hitherbury Place. A lodge building serving Hitherbury Place, was located at the entrance to Flower Walk, and is likely to have also been designed by Shaw. Wilde Powell had three sons and five daughters. In 1888, Wilde Powell's daughter, May, married the Arts and Crafts architect Hugh Thackeray Turner. Turner was Secretary of the SPAB, and was also in partnership with the architect Eustace Balfour. The partnership was struggling to become established and in 1894, Wilde Powell commissioned his son-in-law to design a four storey apartment block, called the Wycliffe Building, to provide working class housing. This type of working class apartment block had begun to be developed in London, but was very unusual in a small provincial town. The design of the building is considered to be one of the most innovative examples of social housing of the period and was also one of Turner's most important building, only rivalled by the design of his own house, Westbrook, Godalming. 4

6 The Wycliffe Building was followed by a further commission by Wilde Powell for a small detached cottage, called Mead Cottage, completed in This is a perfect example of an Art and Crafts cottage. It is also known that Wilde Powell commissioned a building in Littleton, south east of St Catherine's, to be used as a holiday home, for children from London. A building in the style of Turner exists in Littleton, however a definite connection has not yet been made. Thomas Wilde Powell died in 1897, however his children also provided Turner with a number of commissions to design new buildings. The finance for much of this building came : Tom the inheritance from Wilde Powell. He made generous settlements on each of children, particularly his daughters, who since the Married Women's Property Act of 1882, were allowed to own property in their own right. Wilde Powell gave the money to his children with the intension that it would be used for social causes and property development. The legacy of this money, continued to bring local and national benefit through the work ofwilde Powell's children and grandchildren, up until the 1970' s. The legacy was used for such diverse causes as building conservation, landscape conservation, housing, education, gardening, the National Art Collection Fund and motor racing. The most notable of Wilde Powell' s children was his daughter, Lady Christiana Herringham, ( ) who was married to the doctor Sir Wilmot Herrington. Wilmot was particularly noted for his work in treating the effects of poison gas on soldiers during the First World War. Christiana was an artist, copyist, patron of the arts and supporter of women's suf: Tage. In 1903, she founded the National Art Fund with three other members: Dugald Sutherland (Suthie) MacColl ( ), Roger Fry ( ) and Sir Claude Phillips ( ). Christiana substantial inheritance enabled her to respond to D S MacColl's call for a society dedicated to saving works of art for the nation by offering to give 200 to cover the initial expenses of setting it up. She served on the funds Executive Committee until 1924 and was instrumental in initiating the original framework for policies and working procedures, believing strongly that membership should be accessible to as many people as possible. She also suggested the fund's name. _~11..." Lady Christiana Herringham T Her sisters Eleanor Powell and Theodora Powell were early members of the National Art Fund. Theodora contributed to the appeal and a large legacy was left by her in In 1929 the year of Christiana's death, her brothers Herbert 5

7 and Charles Martin Powell continued the family tradition by donating 130 British watercolours to the nation through the Arts Fund and by leaving a bequest of etchings, which went to Somerville College, Oxford. In 1906 and 1911, Christiana travelled to Indian to make copies of Buddhist Cave paintings at Ajanta near Hyderbad. The copies were exhibited at the Crystal Palace in It is thought that one of her journeys to Indian were the inspiration to E. M. Forester's book, A Passage to Indian. In 1897, Christiana commissioned her brother-in-law, Turner to extend Piccards Cottage, situated at the entrance to Piccards Rough, to become her weekend cottage. This was the first of a number extensions designed by Turner which transformed the cottage into a substantial house. Turner's final building in Guildford, was the development of fifteen large three storey town houses, in Millmead, called The Court. These were completed in 1902 and commission by Wilde Powell's daughter Eleanor, a noted historian and teacher. The tradition of building in St Catherine's was continued by Wilde Powell' s grandson, the architect Lawrence Powell ( ). Lawrence's father, Herbert Powell MD, JP, had inherited Piccards Rough and continued Wilde Powell' s commitment to supporting the local community. Herbert Powell, was a Trustee of the Watts Gallery ( ) and also heavily involved in the Onslow Village Development. Lawrence Powell, was a partner in the architectural practice, Knapp Fisher, Powell & Russell. Notable local buildings designed by Lawrence include, the Sunken Gallery extension to the Watts Gallery, Compton Village Hall and houses in Onslow Village. In St Catherine's he designed a number of houses on the east side of Flower Walk. One of houses he designed for himself, which Lawrence Powell then became Guildford Rectory. Lawrence later owned Weir House, which is now owned by the National Trust. During the 1920's, when Piccards Rough became too large for his father, Lawrence designed a new house for him in Sandy Lane called Piccards Wood. Like his father and grandfather, Lawrence Powell devoted much of his life to public duty serving as Mayor of Guildford and Chairman of the Guildford Society. His greatest service to Guildford was furthering the cause of the building of Guildford Cathedral. As Mayor he represented the town at the stone laying ceremony and led the fund raising efforts through to completion. He designed and paid for the bronze doors to the west transept and through his connections with the carver Eric Gill produced the stunning crucificion.like his grandfather, Powell was made Freeman of the Borough of Guildford. 6

8 INDIVIDUAL BUILDINGS 1. Piccards Rough, Sandy Lane (1878-9) - Norman Shaw, Architect Large country house commissioned by Thomas Wilde Powell, and built by Frank Birch of Farnham. Perspective of the house was drawn by Mervyn Macartney. An important Norman Shaw house of the period, built of bargate stone and render. The design of the house differed from his more typical, half timbered and tile hanging, 'Old English' style of the period, used for Merrist Wood in The house included a substantial stable block and cottages. To the south, extensive gardens make use of the steeply sloping site and far reaching views towards Godalming. Close to the house, an outdoors dining area, roofed with Horsham stone slates, features terracotta work by Mary Watts. After the death of Thomas Wi1de Powell in 1897, the house was inherited by his son Herbert Powell MD JP. In the 1920s the house became the home of Sir Raymond Dermis the owner of Dermis Bros Ltd. In the 1955, the house was split into two separated dwellings by the demolition central section of the house. of the 2. Gardeners Cottage, Piccards Rough (1878-9) - Norman Shaw, Architect Detached gardeners cottage, to the west of Piccards Rough, built using bargate stone and render similar to the main house. Became a separate house when the Piccards Rough Estate was sub divided in The house incorporates part of the original garden to Piccards Rough, including the Japanese Garden, which contains terracotta seats made by Compton Pottery. 3. Piccards Cottage, Sandy Lane (1897 with later additions) - Hugh Thackeray Turner Small cottage owned by Thomas Wilde Powell's daughter, Christiana Herringham and extended in several phases by her brother in law, Hugh Thackeray Turner. The house eventually became a substantial house and is now sub-divided into three separate houses. The house gives the impression of several buildings that have evolved over time, which was a typical Turner architectural theme. The original cottage in the centre (possibly by Turner) is built in red brick and tile hanging. The extension to the east is finished with render and the stable/coach house to the west is built in brown bricks with tile hanging. The house features the early use of concrete for its first floor construction. This was construction method was often used by Turner. 7

9 The house is slightly haphazard in its layout, but features several good interiors by Turner. The garden slopes steeply away to the north, and its original layout is difficult to appreciate now that it is sub-divided. However, the garden retains a number of typical Turner designed features. These include bargate stone walls and steps, similar in design to his own house Westbrook, Godalming. A stone dovecote is designed in a Japanese style. A Blue Plaque denotes that Bernard Shaw rented the house from the Herringham's between 1900 and It was during this period that Shaw completed such works as, Fabianism and the Empire: A Manifesto, The Amiable Baskville and Man and Superman. Located in the garden is the remains of the rotating summer house used by Shaw for writing. Piccards Cottage - Hugh Thackeray Turner Bernard Shaw 4. Piecards Manor, Sandy Lane Bargate stone and timber frame farmhouse dating from the late sixteenth century with a Georgian added wing to the east and Victorian wing to the west. The farm is surrounded by a number of farm buildings and barns. The house provides an example of the type of vernacular building that inspired Arts and Crafts architects such as Norman Shaw, Lutyens and Hugh Thackeray Turner. During the 1930s, the house was bought by three wealthy sisters who developed Art and Craft style garden to the south and east of the house. an 8

10 5. The Valley, Portsmouth Road (1881) - Architect possibly a pupil of Norman Shaw A group of workers cottages and a working mans institute/reading room, commissioned by Thomas Wilde Powell. The buildings are designed to a very high standard using a variety of vernacular materials such as half timbering, tile hanging, and local red bricks. The architect is unknown, but buildings are in the style of Norman Shaw and they are thought to be by one of his pupils. A group of cottages in Merrow, designed by Ernest Newton, who was a pupil and assistant to Shaw between 1873 and 1879, shares a number similar features with The Valley, although any connection has not been confirmed. 6. Coombs Cottages (c1890) - Architect unknown The Valley Group of workers cottages commissioned by the Coombs family who owned the nearby Coombs Garage. The architect and exact date of construction is unknown, but they are designed to a high standard using a rich variety of vernacular details. Of particular note is the rendered decoration to the gables facing Chestnut Avenue, which is inspired by traditional pargeting render decoration used in the eastern counties. Coombs Cottages 9

11 7. St Catherine's Village Hall (1919) Although not an Arts and Crafts building, it was inspired by the movements ideals. The building consists of hospital huts which were originally located at Piccards Rough during the First World War. These huts were donated by the Powel! family for St Catherine's Women's Institute, on land donated by Mrs Maxwell of The Grange, Guildown Road. In 1949, the ownership was transferred to the local Women's Institute on the condition that it continued to be available "for the use of the inhabitants of St Catherine's, Guildford without distinction of political, religious or other opinions including use for meetings lectures and classes and for otherforms of recreation and leisure-time use with the object of improving the conditions of life for the said inhabitants. " 8. The Grange, Guildown Road (1902) - John Belcher, Architect John Be1cher was a very successful architect, best known for his large commercial and institutional buildings in London, which includes the Mappin and Webb Building, Victoria Street, Royal Insurance Building, Piccadilly, Institute of Chartered Accountants and Electra House the City of London. Outside London, his buildings include Coldchester Townhall and The Aston Memorial, Lancaster. Belcher served as President of the RIBA between 1904 and Despite his commercial success Belcher was also committed to the Arts and Crafts Movement and was one of the first members of the Art Workers Guild in The Grange - John Belcher The Grange, is a rare example of Belcher's domestic work, combining baroque classicism, with free form Arts and Crafts ideals. 9. Little Croft, Guildown Road (1899) - Sir Edwin Lutyens, Architect An unusual example of Edwin Lutyens work, showing his brief experimentation with the Art Nouveau style, very different from his more typical 'Surrey Style' buildings such as Munstead Wood and Orchards. It was built for Mrs Bowes Watson and was referred to as Braboeuf Castle with drawings for the garden held in the Jekyll collection in California. An unusual feature is the use of projecting turret windows to the front corners. Lutyens also used this feature in the design of The Ferry Inn, Scotland (1896), built for Princess Louise, The Pleasaunce, Overstrand, Norfolk, (1899) and Le Bois des Mouties, France (1898). The feature may have been influenced by Norman Shaw's 10

12 Swan House, Chelsea Embankment, built in 1877, and also the work of Charles Rennie Mackintosh. Due the steeply sloping site, the main entrance to the housed is on the first floor, with the central staircase acting as a key part of the internal circulation. This layout being similar to the arrangement of the Red House in Godalming, designed by Lutyens in During a Zeppelin raid on the 13th October 1915, a bomb landed in the garden, narrowly missing the house. The resultant crater is thought to be where the swimming pool is currently located. Next to the swimming pool is a terracotta memorial to the Zeppelin raid, design by Mary Watts. Little Croft Lutyens The Wakes, Guildown Road (1907) - Charles Harrison Townsend, Architect House designed by Townsend for Gilbert White, coroner for West Surrey and who was related to the naturalist, Dr Gilbert White, of Selbourne. The builder was R. Wood & Son of North Street, Guildford Townsend is best known for his works in London, including the Bishopsgate Institute (1893-4), Whitechape1 Art Gallery ( ), and Horniman Museum ( with further works in ). In the village of Blackheath, Surrey, Townsend designed a number of important Art and Crafts houses spanning the years between 1885 through to The only listed building at Blackheath by Townsend is the church ofst Martins (Grade 11). The Wakes, incorporates a number of Townsends design features such as the wide brick arch to the entrance, deep overhanging eaves and buttressing. The arrangement of the first floor balcony is similar to Cobbins, Blackheath (1909). Townsend's work was influenced by the American architect H H Richardson. 11

13 The Wakes - Charles Harrison Townsend The White House, Guildown Road (date unknown) - Architect Unknown Distinctive house designed in the style of Voysey. Built using rough cast render and plain clay tiles. 12. The Coachhouse, Upper Guildown Road (date unknown) - Architect Unknown An exemplary example of an Art and Crafts house designed by an unknown architect. The house features subtle tile hanging detailing and the use of buttressing floor level. at ground 13. Littleholme, Upper Guildown Rd (1907) C F A Voysey, Architect Littleholme was designed by Charles Francis Annesley Voysey for his builder George Muntzer ( ) and wife Kathleen ( ) who was a professional croquet player. George Muntzer's brother, Thomas Muntzer was a pupil of Voysey and carried out extensive work at Priors Field School, Godalming, although his life and career as an architect was cut short by his death at the age of just 22 years. It was their father Frederick Muntzer ( ) who started the building firm and ran the business from Chelsea and Farncombe. They also built for Voysey locally Greyfriars (Hogsback), New Place (Haslemere), Norney (Shackleford) and Vodin (Wo king). The house is a characteristic Voysey design, horizontally proportioned and finished with rough cast render and a clay peg tile roof. The front door is purposely plain and wide, with no embellishment to emphasis its purpose and welcoming image. At the rear the first floor open sleeping veranda has been enclosed in more recent years with windows. 12

14 The terraced garden was designed by Thomas Young of W oking and is featured in Gertrude Jekyll's book 'Gardens for Small Country Houses.' From the garden are magnificent views to the south and St Catherine's Chapel. Set into a garden wall is a carved stone caricature ofvoysey. 14. Gardens Cottage, Littlebolme, Upper Guildown Road (1907) - Charles Voysey, Similar in style to Littleholme. Of particular note is the design of the central chimney..' 13

15 15. Western Down, Guildown Road (pre WWI) - Edward Lunn, Architect An example of a pre World War One, Arts and Crafts influenced the local architect Edward Lunn, for the solicitor C J Barlow. house designed by Lunn originally trained with Henry Peake. In 1922, the practice became Hodgson and Lunn. 16. Hitherbury Place, Portsmouth Road (1883) - Norman Shaw, Architect Hitherbury Place (now Hitherbury House), a detached villa by Norman Shaw, commissioned by Thomas Wilde Powell. The design makes imaginative use of the steeply sloping site by locating the entrance door at first floor level, with the raised access from the Portsmouth Road, giving the impression of a castle drawbridge. The design features Shaw's characteristic use of club pattern tile hanging, tall chimneys (now removed) and horizontal bands of leaded light windows. At one point the house was owned by the gardener H Selfe Leonard, who owned nurseries in Guildford and Godalming. Leonard specialised in alpine and rock plants. In September, 1901, the garden at Hitherbury Place was featured in Country Life. Much of the original 3 to 4 acre garden has now been redeveloped and in , the house unsympathetically converted into offices. Hitherbury Place - Entrance Hitherbury Place tram Garden 17. Rectory Place, Portsmouth Road (1883) - Norman Shaw, Architect A pair of large semi-detached Wilde Powell. houses designed by Richard Norman Shaw for Thomas Powell's intention behind the development was to prevent the spread of mediocre Victorian terraced housing south of Guildford. 14

16 Designed in Shaw's 'Old English' style making use of club pattern tile hanging, similar to his design for Kate Greenaway's house (1884-5) in Hampstead. The projecting bay windows with horizontal bands of leaded light glass is particularly dramatic. In 1911, No 1 Rectory Place was extended by Ernest Newton. Rectory Place - Nonnan Shaw Chancer Court, Lawn Road (Interwar) - Unknown Architect A good, but unexceptional example of an interwar speculative apartment building. Similar examples can be seen in many towns. The building copies some of the stylistic ideas of the Arts and Crafts Architecture, lacks imagination and commitment. but Comparing Chaucer Court of the adjacent Rectory Place illustrates the differences in architectural quality. 19. Condor Court, Portsmouth Road (Interwar) - Unknown Architect Similar to Chaucer Court, Condor Court is an example of an interwar speculative apartment building. Although the building is competently designed and successful in its use, it lacks imagination and originality. Comparing Condor Court to the Wycliffe Building illustrates the differences III architectural quality. 15

17 20. The Wycliffe Building, Portsmouth Road (1894) - Hugh Thackeray Turner, The Wycliffe Building was designed as an experiment Turner, for his father in law, Thomas Wilde Powell. in working class housing, by The site was awkwardly shaped and steeply sloping, despite this challenge, the building is considered by Pevsner as one of the best examples of social housing in Europe at the time. The building was intended to create a community, with communal dining room, reading room and laundry facilities. The condition of tenancy was that occupants abstained ITom the consumption of alcohol. Externally it is built of local Bargate stone and is generally unadorned with the exception of the curved metal rainwater brackets. The entrance gives a fortress like impression, which is increased by the roughhewn stonework and corner tower at the south end. Internally, Pevsner was particularly impressed by sinuous handrail within the staircase towers. 21. The Court, Millmead (1902) - Hugh Thackeray Turner, Architect The Court was designed as a group of 15 three storey townhouses sister-in-law, Eleanor Powell. by Turner for his A restrained design which predates the work of Baillie Scott and others connected to the Garden City Movement. Typical of Tuners work it uses concrete for the floor construction, which on the second floor is extended outside to form the eaves. The Court - Hugh Thackeray Turner

18 22. Mead Cottage, MilImead (1895) - Hugh Thackeray Turner, Architect Turners last work for Thomas Wilde Powell. Subtle and unadorned design, it is a perfect example of an Art and Crafts cottage, sharing similarities with cottages by Ernest Gimson, Detmar Blow and Alfred Powell. Mead Cottage Hugh Thackeray 1895 Turner 23. St Nicholas Parish Hall, MilImead (1885) - Lower, Architect Example of the Queen Anne Revival style by local architect Lower. 24. Park Lodge, Flower Walk (cl 883) - Possibly Norman Shaw Lodge house in the style of Norman Shaw which originally served Hitherbury Place. The carved woodwork and tall chimneys are typical of Shaw's design. Park Lodge, Flower Walk 17

19 25. No 1 Flower Walk (1928) - Lawrence Powell, Architect Simple understated cottage, with painted weather boarded first floor. 26. Guildford Rectory, Flower Walk (1926) - Lawrence Powell, Architect Formerly called 'The Gate House', it was designed by Lawrence Powell as his own house. Subsequently became Guildford Rectory when Powell moved to Weir House. The design includes classical influences, combined with the used of local bricks and roof tiles. No I Flower Walk Lawrence PoweIl - I928 Guildford Rectory Lawrence PoweIl - I Oakwood House, Flower Walk (1920's) - possibly Lawrence Powell, Architect Substantial house which shares very similar details with the other houses in Flower Walk designed by Lawrence Powel!. 28. Ellen Trees, Flower Walk (1928) - Lawrence Powell, Architect House designed for Miss Corrie by Lawrence Powell in Mead House, Flower Walk (1920's) - Possibly Lawrence Powell Formerly Guildford Parsonage, the house shares similar details with other houses designed in Flower Walk by Lawrence Powel!. 30. Dunfold, Flower Walk (1902) - Unknown Architect Built within the former garden of Hitherbury Place, it is an example of an Arts and Crafts house designed by unknown architect. Note, the unusual first floor render texture finish. 18

20 ~\\ \\.1 { I KEY '~~ ~ 2. Gardeners Cottage ~~~\\ "\,~ ~),\ Q.~ 1. Piccards Piccards Rough..~". \\ \ ~ ~ \...;.;:<...' 3. Piccards Cottage ",,:.;->' \\~ J ~ 1\~ \\~ 5. The Valley! '?9L ( 12 \ -~ ~ <;>1 6. Coombs Cottages :::",. _)v~:''\\ \ ~O' % <~'-"':;:'_:--::::'\ \~ 4. Piccards Manor /. " \ <;)) \ \ \(') \ '%' \./ / \~ St Cathe' ne:s., ~ ~Q, "'\,.,/ ~ ~\~ ~ \ ~ \r 8. T?e Grange /;/, \c \1\ 1Q~ ~~ ~,~ \\ ~ ~ Village Hall l,lj \\ Yilla e' t-\, s: \~~ o..\v,~\&,\,,(f\i~ ~~ ~\..:::"'~: \\ I ~ } ~~ ~ ~ "~~~,,,r",\:-p~::j ~\\P~ \~., _,.-:"., \ 10. The Wakes 9. LIttle Croft.~ \../~ /; '> 08,..--:'.'\ 13 14" I The Mount \~"- ',,, "'\.~ ",r. \\ -v. 12 Th e Coac h House \\//.", ~'@'-.,/r"./,/ '\\'?I' \\\~/ ~----\\ \ \ 11. The White House.~ 11 p. ~~ College of Law \Y./(' ~ \\ _/! ~~(;I )~.. /.,\: 14. G.ardeners Cottage ~\ (' Cemetery -, ~ \ \ ~/\' ( 13. Littleholme (;I~ '<:'.:.:..:~':r.e ).~ ~\I.\ \I\II.\t\\I~I" Llttleholme -r/-- ~o..~~~?p\.:~:.\\p~3-~>,j1 ", -.. '-"""""-:---"" -::::/ '\ \;~....-: '~::.'._.._.-<f./'~~~q 15. ~estern Down ~~.:.. ' 1\ ~{r ".(" '\:: ~jl-_',g.~~.9_-:.~:::::._?"""..:-~ ~I' /. 16. HltherburyPlace /..- \ ~;; <"f '...,. '-'" ' \' _I '. '-I~), -'. -...;:, 'V ' ~\c:,~~. " 18 I \!:.!)\~" ". ~, -'.'. ectory /,-:7'.:::::.:::..:. O'jS-~/~W])',I f19\ ~..,. \-;..''/ 17 R PI St Catherine's )'\(1~,~~,,~,:;.al~\?,,: :?f-:~~:;)~.----~=--::~~:@ /<~<; -,j r 11.::,..:<:-..::-:::: )\~ --..:::::),L~;~~-:-. \. 18. Chaucer Court. It It\\\\III'\\\~' 'Ch ape I (;-1,/ ,.1 J \\, '\0\ «/ L c_ J r \[ '\ "@j~, ~~.a (23 21 ~ /~-- /- --:.;:. H' ', \'\... '- ---:.\~ '\ 19. Condor Court " \ -....,.c.../ ~_--.--::.~:..-::...@ BUry,,\~\e..r::;",;;d.' ~/ 21. TheCourt ),/' :..~./k?\-~~~ ~~\'f. ':::'-'%1~ ~.---:. /;:-::;.:' /::~/\\ /,.<-;> WycliffeBuilding Mea? Cottage. Wey '. Flower ":.<. I'Z- \\ 23. St Nlcholas Hall ~.Qr..t~l11?ut~1 -HtI,l.t.\J ) -24 (jn sn\3.\ O. '~.j:-\~ _.----:-:;~y-\\ 24. Park Lodge \ '.~ ~\,~jt!~~>;:"':;/ '>1'(',\-..;:.<---,,,--:.;:/\ ( \V' \ NoL GUIldford Flower Rectory Walk..- /, ~. \ \ ' " I,/ \:?:.:~:'~_:::~;.:::>-) <./._",\ \ I '(:~\\.._~\\ /~ \ 27. Oakwood House R d A281 ~.~.. -::'~'"/...,-/, ((>' \ ~;:" \ \ 28. ElIen Trees :,'..-:::-".~." '! (" \ I. It--:;l"\ 29. Mead House f {G oa.".:. \\ r \ Map of 8t Catherine's Arts & Crafts Walks 30. Dunford