LOCAL HISTORY
Towering 115ft above Scholes village on the second highest hill in Rotherham, Keppel’s Column is the tallest of several follies in and around the Wentworth Estate.
The 2nd Marquess of Rockingham, Charles
Watson-Wentworth, who owned Wentworth Woodhouse and the estate from the mid-1700s, originally commissioned the column as part of a pyramid of follies which stood as way-markers to indicate the sheer size of his vast estate. It was built between 1773-1780 by John Carr, the famous Georgian architect responsible for the Stable Block at Wentworth Woodhouse and nearby
“Carr’s new design
should have had a 30ft statue of Keppel on the top and carved ships at its base. But the column wasn’t completed as designed and what was eventually unveiled in 1780 was an oddly proportioned tower
”
follies such as Needle’s Eye. However, following the acquittal of the Marquess’ comrade and fellow Whig, Admiral Augustus Keppel from a court martial case in 1777, the original design was to be redeveloped as a monument to the Royal Navy officer. Such an overly elaborate and ostentatious show of friendship, but this is the same Marquess who had George Stubbs paint over 20 of his horses, including his prized Whistlejacket. No expense was usually ever spared, but for some reason the funding fell short with Keppel’s Column. Carr’s new design should have had a 30ft statue of Keppel on the top and carved ships at its base. But the column wasn’t completed as designed and what was eventually unveiled in 1780 was an oddly proportioned tower, its notorious bulge the result of an incorrect entasis. Over the years, this design flaw has become a local talking point and the 35m column can be seen from many viewpoints across the town. Before the 1960s, it was open to the public who could climb the 220 steps to the top if they dared. One such person who did was Nigel Simpson. “I remember visiting Keppel’s Column on a school trip. The door had to be unlocked by a big old key that looked like something from Harry
Photograph courtesy of Gerald Robinson
Potter. The thick door, reminiscent of a manor house or walled garden, didn’t lead to a secret garden but to solid stone steps leading in a spiral as far as one could see. As we embarked on this seemingly endless journey upwards there were times to catch your breath by an open slit that reminded me of an Archers window of older times. The thick and strong but hugging walls meant you could feel the air around you beginning to cool and apart from subdued, almost whispered chatter behind there was no sound from outside – not eerie but somehow peaceful and calming. “As we neared the top, the quick glances at the widening view reminded us how high we were going. But emerging on to the platform was almost submarine-like thanks to the awe-inspiring unrestricted view, different to any wide angle or panorama lens of today’s drone cameras. We could feel the breeze and detect a faint aroma of the meadows and farm crops way below. No one wanted to look down. I remember the personal, almost insular, view of the clear but very distant horizon as if there was no one there except me.” Jenny Lawless’ parents also dared to climb to the top of the column.
“Both my mum and dad, Rita and Colin Hewitt, now in their 80s, remember paying a penny as children and going up the Column during the 1940s and 50s. My dad says the halfway point was a good place to rest on the climb up via the many spiralling steps. But the view from the top was worth the climb – and the penny.”
The building fell into a hazardous state and was closed to the public and placed on Historic England’s at-risk register due to its critical condition. The council was given a grant from HE towards carrying out essential repair works but plans are now underway to restore this triumphal tower to its former glory. Along with replacing missing steps and strengthening the structure of the column, the plans will hopefully enable the viewing platform to be accessible again for future visitors to relive Nigel’s exhilarating experience at the top.
As part of the Collaborative Connections project, the focus group commissioned a light projection display by Matthew Rosier which reimagined Keppel’s Column as a giant grand entrance to Wentworth Woodhouse. Playing on the architectural style and scale of the monument, the display embraced the spirit of a folly – to surprise and delight – with Matthew filming local people appearing to walk past the column, the imagery of which was projected onto it.
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aroundtownmagazine.co.uk
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