Rodney Harrison is Professor of Heritage Studies at the UCL Institute of Archaeology. He has experience working in, teaching and researching natural and cultural heritage conservation, management and preservation in the UK, Europe, Australia, North America and South America. His research has been funded by AHRC/UKRI, GCRF, British Academy, Wenner-Gren Foundation, Australian Research Council, Australian Institute of Aboriginal and Torres Strait Islander Studies and the European Commission. Rodney was Principal Investigator and led both the Diversity theme and the Heritage Futures research programme. Rodney Harrison is (co)author or (co)editor of 17 books and guest edited journal volumes and over 80 peer reviewed journal articles and book chapters. Some of these have been translated into Chinese, Italian, Polish and Portuguese language versions.

The AHRC Heritage Priority Area team – led by Heritage Leadership Fellow Professor Rodney Harrison, and based at the UCL Institute of Archaeology – worked with the Arts and Humanities Research Council (AHRC), the heritage research community, and heritage partner organisations, from 2017 to 2020 to draw together and stimulate the development of a wide range of research across the arts and humanities which contributed towards understanding heritage. During the project, the team aimed to support the interconnections between research, policy and practice, both in the UK and internationally. They also took on an expansive view of heritage, documented in this website, and worked towards encouraging and stimulating work that highlighted intersections between natural and cultural heritage, and key global challenges. Their vision of heritage is not so much about the past, but rather one which considers heritage to be about assembling and building futures out of those pasts in the present. They aim to bring different disciplines together to consider how heritage might contribute to key global challenges and use our three years of funding to explore how to better connect academics, practitioners and public in new, exciting and innovative ways. The website archives a programme of events and activities, complimented by videos and other sources, as well as research and leadership activities engaging with their own specific set of research themes.

Heritage Help has been created by the JCNAS (Joint Committee of the National Amenity Societies), with the support of HistoricEngland, to offer information and advice on matters related to the management and protection of local historic environments. The JCNAS (Joint Committee of the National Amenity Societies) brings together a group of national societies interested in the historic environment of England and Wales. Seven bodies form its core membership: the Ancient Monuments Society, Council for British Archaeology, Garden History Society, Georgian Group, Society for the Protection of Ancient Buildings (SPAB), Twentieth Century Society and Victorian Society. All are national, voluntary sector organisations. These societies are described in planning acts, government circulars and other guidance documents as 'The National Amenity Societies'. Together these societies represent many thousands of members who care about all aspects of the historic environment. Through this membership of enthusiasts, and the work of the professional staff in individual organisations, the JCNAS exists to promote understanding, appreciation and care of historic buildings, sites and landscapes. The core membership of the JCNAS works closely with a range of other organisations that share a concern for the historic environment. These include public-sector bodies such as Cadw and Historic England, organisations representing professional memberships such as the Institute for Historic Building Conservation, private owner-organisations such as the Historic Houses Association, as well as voluntary sector bodies with specialist interests such as the Association of Small Historic Towns and Villages (ASHTAV) and Public Monuments and Sculpture Association (PMSA). Links to all JCNAS members and associated organisations can be found in the Heritage Help directory. The core member-organisations of the JCNAS have a statutory position in the planning process as advisers on certain types of application. Additionally, each organisation is involved with activities such as advice-giving, campaigning, education and training, as well as offering a range of activities and events for members.

The Princess of Wales, born Catherine Elizabeth Middleton, married Prince William, The Prince of Wales, at Westminster Abbey on 29 April 2011. Their Royal Highnesses have three children, Prince George, Princess Charlotte and Prince Louis. The family's official residence is Kensington Palace. As well as undertaking royal duties in support of The King, both in the UK and overseas, Her Royal Highness devotes her time to supporting a number of charitable causes and organisations, several of which are centred around providing children with the best possible start in life. The Princess of Wales became a member of the Royal Family in 2011, upon her marriage to Prince William. Since that time, she has taken on Royal duties in support of The Queen, and now The King, through engagements at home and overseas, alongside a portfolio of charitable work and patronages. Following the death of Her Majesty The Queen, The King announced in his address to the Nation and Commonwealth that his eldest son will now be known as The Prince of Wales, and his wife will be The Princess of Wales. Through her work over the past decade The Princess of Wales has seen first-hand how some of today’s hardest social challenges have their roots in the earliest years of a person’s life. The Princess is committed to raising awareness of the importance of early childhood experiences and of collaborative action in order to improve outcomes across society. In March 2018, Her Royal Highness convened a steering group to look at what could be done to bring about long-lasting change to the lives of children, by focussing on their earliest stage of life from pre-birth to 5 years of age. The steering group's recommendations, on behalf of The Princess, have formed the basis of The Royal Foundation's strategy for developing her work in this area in years to come. In January 2020, The Princess launched ‘5 Big Questions on the Under Fives’ – a landmark survey which aimed to start a nationwide conversation on early childhood. The findings of the survey were unveiled later that year, alongside in-depth qualitative and ethnographic research conducted by Ipsos MORI. In June 2021, Her Royal Highness highlighted her dedication to the cause by launching The Royal Foundation Centre for Early Childhood, which will drive awareness of and action on the extraordinary impact of the early years, in order to transform society for generations to come. In February 2022, Her Royal Highness visited Denmark to learn about the Danish approach to early childhood development and to explore how The Centre for Early Childhood can take learnings from this world-leading work. As part of Her Royal Highness's work around early childhood, The Princess of Wales is a committed champion of issues related to children’s mental health and emotional wellbeing. Her Royal Highness has worked to bring wider public attention to the fact that issues facing children today such as addiction, poverty, abuse, neglect, loss and illness of family members, can have a long-lasting and traumatic impact if left unsupported. Moreover, academic research has shown conclusively that early childhood trauma will affect mental health long into adulthood, with significant costs to individuals, their families, society and the economy. The Princess of Wales is Patron of a number of organisations which have close association with her specific charitable interests, and where she feels her support can make a difference. These broadly reflect her desire to help the most vulnerable children, young people and their families, as well as to promote opportunities though sport and the outdoors, and showcasing national institutions which reflect her love of the visual arts. As their Royal Patron, Her Royal Highness will support their key projects and initiatives, spotlight their work through her programme of official engagements and where appropriate by convening organisations to work in support of each other. The Princess of Wales, like her husband, also directs her own philanthropic work through The Royal Foundation. The Foundation develops programmes and charitable projects based on the interests of Their Royal Highnesses by working with organisations which are already making a proven impact in their respective fields. The Royal Foundation mobilises leaders, businesses and people so that together we can address society’s greatest challenges. The organisation’s work is built on world-class research, long-term partnerships, and measurable, scalable impact.

Royal Botanic Gardens Kew is a place where you can discover the world of science behind our botanical collections, with over 50,000 living plants to be found across our UNESCO World Heritage site. Our mission at Royal Botanic Gardens Kew is to understand and protect plants and fungi, for the wellbeing of people and the future of all life on Earth. Earth is the only planet in the universe that we know for certain supports life. Yet that life is in crisis. The unprecedented rate of degradation means we are living through an age of extinction. We know the next decade is critical to reverse this trend. Our aspiration at Royal Botanic Gardens Kew is to end the extinction crisis and help create a world where nature is protected, valued and managed sustainably. Our scientists will identify and strive to protect species of plants and fungi globally, as well as revealing those that could be new sources of food, medicine, fuel or materials. We will promote and provide access to knowledge, ideas and beautiful gardens that motivate individuals to be advocates for nature. The world needs brilliant scientists and horticulturists. We commit to training students from the UK and around the world. Royal Botanic Gardens, Kew is a public body and charity with global collections and influence. We must be for everyone, disseminating our knowledge and collections both physically and digitally for global benefit. We will speak with confidence and prominence to advocate policies aligned with our mission. We will be an exemplar of environmental responsibility in all that we do, including by exceeding net-zero carbon emissions to become Climate Positive by 2030.

The Goodwood Estate is in the heart of West Sussex and is home to the world-famous Festival of Speed, Goodwood Revival and Glorious Goodwood. Goodwood House and Estate have been a family's home for over 300 years, and there can be few places as beautiful. The history began with the first Duke of Richmond, illegitimate son of Charles II by his French mistress, Louise de Kérouaille, when originally rented Goodwood to enjoy the fox hunting with the nearby Charlton Hunt, then the most fashionable hunt in the country. In 1697, he bought the house, built in 1616-17 by the 9th Earl of Northumberland - known as the ‘Wizard Earl’ - whose main home was at Petworth. There is evidence that a house had existed at Goodwood as early as 1570. Colen Campbell’s floorplan of 1724 shows the small Jacobean house with gabled ends and, later, sash windows, which must have been added by the first or second Duke. The second Duke of Richmond employed Matthew Brettingham to enlarge the house to the south, with a pedimented front based on William Kent’s Devonshire House in Piccadilly. This was unfinished when the Duke died in 1750, so it was left to Sir William Chambers to complete the interiors. His son, the third Duke of Richmond, employed a young James Wyatt to remodel and extend the north wing (now mainly demolished) in 1771. This included the Tapestry Drawing Room, which was decorated in 1776-7. In 1791, the family’s main seat, Richmond House in Whitehall, London, burnt down. Much of the great art collection was saved, and James Wyatt added two great wings to showcase it, taking advantage of the sweeping views across the park. To give unity to the two new wings and Brettingham’s south wing, Wyatt added copper-domed turrets framing each façade. When the third Duke died in 1806 he left massive debts, so the wing containing the Ballroom was only completed in 1836, when the fifth Duke of Richmond inherited the Scottish properties of his maternal uncle, the last Duke of Gordon. When the tenth Duke and Duchess of Richmond moved into the house in the late 1960s, the north wing was riddled with dry rot. The decision was taken to demolish the wing but preserve the Tapestry Drawing Room. During this period, the external colonnade and modern kitchens were added to the rear of the house. In 1994 the Duke’s son and daughter-in-law, the eleventh Duke and Duchess of Richmond, moved into the house and completed an extensive refurbishment programme, restoring the rooms to their original Georgian glory. Nowadays, Goodwood is England’s greatest sporting estate. Seat of the Dukes of Richmond for over three centuries, the family has always welcomed their friends and guests to share in their love of sport. Horseracing, motor racing, golf, flying, shooting and cricket have all been introduced by enthusiastic family members since the first Duke came to Goodwood in 1697. Within its 12,000 acres, Goodwood is home to one of the largest lowland organic farms in England, a famous Battle of Britain airfield, a celebrated racecourse, a historic motor circuit, two golf courses and one of the oldest cricket grounds in the country, all centred around Goodwood House with its magnificent Regency interiors.

Saving Castles, where a castle is only as good as the ground it stands on! They are saving castles one project at a time, in the hope that by building a global community, many people can help them do their job! The castles of Europe are unlike any other. They range from fancy, to small and simple; but they all have one thing in common: every castle has a story behind it that makes it so special! Some people have dreamt since they were kids, about owning their own personal castle or château with cobblestone streets leading up to the gates. For others, inheriting property is just an expectation-a family tradition passed down through generations for centuries. And then there’s those who contribute to projects for these majestic structures because of the beauty or history within them, no matter how old or new…all kinds come together under the banner of “Saving Castles.” We all will be saving history as Guardians of the Saving Castle Foundation. When you become involved in the preservation and protection of these historic buildings, it’s more than just your support that saves them – their transformation will impact all who visit! Savings Castles Foundation hopes to bring life back into history by giving contributors, partners and visitors first-hand experiences with historic castles, châteaus, manors, events, artifacts, and more! Their projects are reviewed by experts, then chosen because they deserve and need more public attention. If you want to get involved, there are lots of different ways to join in! Project Guardians, Defenders and Saviours are key supporters that often have the opportunity to become intimately involved with restoring their chosen castle. This is a hugely important role, which enables these monuments of history to stay standing for future generations and visitors alike! Guardians play an integral part in saving Castles from destruction or deterioration by funding necessary repairs that can’t be done on their own as volunteers. They have several contribution levels and all include some wonderful gifts from their online shop in appreciation. The Volunteer Program offers challenging alternative opportunities. The Saving Castles staff place individuals who wish to contribute their time and expertise as part of a project. Volunteers in this program work with their staff members on both short-term or long-term projects, bringing the necessary knowledge base that is desperately needed for specific areas such as restoration, construction, remodelling, archaeology, engineering, fund-raising, event planning, website work, etc. The volunteer positions change from helping out at one event to becoming an important member of the team working alongside them in different parts of the world. They want to create inspiring member experiences that bring the story of Europe’s history alive by selecting historic buildings and sites that need expert care, so that in turn they can be enjoyed by future generations. Building on their work with heritage experts, they’ve partnered up with local organizations around the world who share this passion and interest in preserving history – it’s a way to give back what was once taken away from them without forgetting where you came from!

Gone are the days when people learned about history simply from reading books. People are increasingly looking for experiences that bring history to life in an engaging way and nothing beats standing on the spot where history happened. English Heritage wants to create inspiring visitor experiences that bring the story of England to life. They ensure that their historic sites and artefacts are expertly cared for, so that they can be enjoyed by future generations From small beginnings towards the end of the 19th century, the collection of historic places now managed by English Heritage has grown to over 400, inspired by a determination to put England's heritage ahead of private interest. The extraordinary collection of buildings and monuments now in the care of English Heritage began to be amassed in 1882. At that stage heritage was the responsibility of the Office of Works, the government department responsible for architecture and building. In 1913 an Act of Parliament was passed that gave the Office new powers. These were essentially to make a collection of all the greatest sites and buildings that told the story of Britain. At that stage these were regarded as being prehistoric and medieval remains - country houses and industrial sites were then not really seen as heritage. After the Second World War the Ministry of Works (as it had become) started to be interested in buildings other than castles, abbeys and manor houses. Its first industrial sites were acquired and in 1949 it acquired its first country house, Audley End in Essex. The Ministry had its sights set on a number of other big houses, but the Treasury was very nervous. The government felt it was one thing to take on old castles and abbeys, but quite another to look after, and maintain, huge roofed buildings full of works of art. After some debate it was decided that it would be financially more sustainable if the National Trust took on the country houses and that the Ministry of Works confined itself to the older monuments. This ruling, though disappointing to the men at the Ministry, did not stop them collecting and huge numbers of historic sites, as windmills, iron works and Georgian villas were added to the collection. By 1970 the English part of the collection alone stood at 300 sites visited by more than 5.5m people: it was by far the largest visitor attraction business in the country. Many of the sites now had museums and shops selling souvenirs and it was possible to buy a season ticket and visit the Ministry's sites across the country for free. In 1983 what had effectively become the English national heritage collection was transferred to a new body set up by Mrs Thatcher's government. It was called the Historic Buildings and Monuments Commission. Its name was not thought to be very snappy by its first Chairman, Lord Montagu of Beaulieu, and so it was re-christened English Heritage. Under Lord Montagu's inspired leadership English Heritage did two jobs: it cared for the National Heritage Collection and it ran the national system of heritage protection, including listing buildings, dealing with planning issues and giving grants. By 1933 there were 273 sites in the collection including Stonehenge, Rievaulx Abbey, Carisbrooke Castle and Richborough Roman Fort. Preservation of these important places was, of course, the primary objective, but telling their stories was almost as important. All these places were open to the public and had guidebooks and explanatory signs. Some also sold postcards and even had tea shops. Over a period of a decade or more, the collection became better run, better displayed and the old season ticket was transformed into a membership scheme. Lord Montagu and his successor as chairman, Sir Jocelyn Stevens, began to collect more buildings, now including country houses, such as Brodsworth Hall. Membership grew, visitor numbers increased, and people enjoyed the collections more than ever before. In fact, by the mid-2000s, income from the collection was beginning to make a contribution to their maintenance and conservation. In 2011, for the first time, the national heritage collection made an operational surplus. In other words, instead of costing money to open it to the public, a small surplus was made. Thanks to these successes, the government agreed that it would provide £80m to English Heritage if it transferred the national heritage collection to a charitable trust. This happened on 1 April 2015 when the old English Heritage separated into two parts: a charity that looks after the collections, and Historic England that champions the nation's wider heritage, running the listing system, dealing with planning matters and giving grants. English Heritage offers a hands-on experience that will inspire and entertain people of all ages. Their work is informed by enduring values of authenticity, quality, imagination, responsibility and fun. Their vision is that people will experience the story of England where it really happened. They seek to be true to the story of the places and artefacts that they look after and present. They do not exaggerate or make things up for entertainment's sake. Instead, through careful research, they separate fact from fiction and bring fascinating truth to light. They pursue the highest standards in all their work, from the service they provide to their visitors to the quality of their communications, from the way their events are run to the standard of their conservation work. They seek to be imaginative in the way that history is brought to life, thinking creatively, using the most effective means, surprising and delighting people. They want each experience to be vivid, alive and unforgettable. English Heritage wants people to enjoy their time with them. That doesn't mean they are frivolous or superficial. They want to provide experiences that elicit emotion as well as stimulate the mind. They aim to entertain, as well as inspire!

Born and raised in England, Penelope Chilvers originally trained as a painter at the Byam Shaw School of Art in London, and was granted a scholarship from the Spanish Ministry of Culture, to complete an MA at Complutense University in Madrid. Her love affair with Spain and local craftsmanship began long before. As a child, she spent every school holiday in the province of Girona, where she first came across rustic, handmade alpargatas. She has been trying to make the perfect raw edged, bullhide moccasin that only exists in her childhood memories ever since! Penelope lived for a few years in the city of Barcelona, as a painter and designer, where she collaborated with artists and artisans. She worked with woodturners, designed for the textile industry and worked on interesting projects e.g. the restoration of the Picasso Museum. While living in Barcelona, she enjoyed riding in her lunch break in the national park of Collserola in the hills above the city, wearing traditional Spanish riding boots. She pursued the idea of bringing the Spanish riding boot to England and commissioned a small number of traditional artisans in the hills of Spain to make the perfect equestrian boot – our Long Tassel boot - to her own specifications. This boot remains a firm favourite in the collection, most famously worn back in 2004 by Prince William’s then girlfriend, Kate Middleton. Kate, the Duchess of Cambridge, continues to wear her boots to this day, most recently on a royal engagement in County Durham to visit Manor Farm. Having returned to the UK, Penelope began to work from her kitchen table, selling over 100 pairs of the Long Tassel Boot in a short space of time to a leading fashion boutique in Notting Hill, called The Cross. From that moment on, she got to work, designing her first comprehensive collection to launch at Paris Fashion Week in 2004. The collection has since grown to include iconic styles, such as the Incredible Boot, our highly sought after après ski boot, the crepe soled Neon Safari boot and a solid offer of Goodyear welted outdoor boots and footwear for experience and adventure.

Set in the heart of the historic Rother valley landscape, with spiral staircases, battlements and a portcullis, 14th century Bodiam Castle is one of Britain's most picturesque and romantic ancient monuments. One of the most famous and evocative castles in Britain, Bodiam was built in 1385 as both a defence and a comfortable home. The exterior is virtually complete and the ramparts rise dramatically above the moat. Enough of the interior survives to give an impression of castle life. There are spiral staircases and battlements to explore, and wonderful views of the Rother Valley from the top of the towers. In the impressive gatehouse is the castle's original wooden portcullis, an extremely rare example of its kind.

Windsor Castle has been the home of British kings and queens for almost 1,000 years. It is an official residence of Queen Elizabeth II, whose standard flies from the Round Tower when Her Majesty is in residence. The Queen spends most of her private weekends at Windsor Castle and takes up official residence for a month over Easter, known as 'Easter Court'. The Queen is also at Windsor for one week each June, while attending Royal Ascot and the service of the Order of the Garter at St George’s Chapel. Windsor Castle is still very much a working royal palace and is regularly used for ceremonial and State occasions, including official visits from overseas Heads of State. St George’s Hall makes a spectacular setting for a State Banquet, when a table seating 160 guests is decorated with porcelain and silver-gilt from the Royal Collection. While it was William the Conqueror who first built the castle, he didn’t live in the castle, it was used as a defensive base at the time. The Castle has been enlarged and restructured by different kings and queens during their reigns. Find out more about who built the Castle. The first king to use Windsor Castle as a residence was Henry I. Henry’s marriage to Adela, the daughter of Godfrey of Louvain, took place in the Castle in 1121. The first Plantagenet king, Henry II, lived at Windsor and built extensively there between 1165 and 1179. Windsor was also one of the favourite residences of Henry III, and he invested heavily in the royal accommodation at the Castle during his reign from 1216. It was Edward III who left the greatest impression on Windsor in the 14th-century. Windsor was the intended centre of his court and government, and the seat of the newly founded Order of the Garter.

Alnwick Castle has over 950 years of history to discover, and the origins of the Castle date back to the Norman period. Since 1309, its story has been intertwined with that of the Percy family, a family with a history as illustrious as the castle’s own. The second largest inhabited castle in the UK, Alnwick has served as a military outpost, a teaching college, a refuge for evacuees, a film set, and not least as a family home. Delve deeper into this extraordinary history and travel through the centuries of this living, evolving castle. In 1309, Henry Percy, great-great grandfather of Hotspur, purchased a typical Norman-style castle of motte and bailey form. In the following 40 years he and his son converted it into a mighty border fortress. They added towers and guerites around its curtain walls with a strong gatehouse at the entrance and a concealed postern gate to the rear. The gateway to the keep was strengthened with the addition of two massive octagonal towers. Stone figures were added to the tops of the battlements, as was fashionable at that time, either for ornament, or to confuse attackers. This was a medieval device that the 1st Duchess was to copy to excess in the more fanciful mid-18th century castle restoration. Early in the 16th century, the castle was assessed and written off in defensive terms as not liable to abide the force of any shot or to hold out any time if it should be assaulted. In 1567, the 7th Earl employed George Clarkson to survey the castle and his northern estates. His detailed account, together with the plans drawn by Treswell in 1608, enable us to be quite accurate about how the castle looked and what the buildings were used for during this period. Clarkson also describes the condition of the buildings, mentioning that the Ravine Tower was "so rente that it is mooche like to fall", as indeed it did later in the 17th century. Clarkson describes the corner tower in the inner bailey as having no back to it, being two storeys and only as high as the battlements, and being used for storing hay. By 1608, Treswell shows it as three storeys high with a stone back. Perhaps this reflects the creation of the Record Tower between 1567 and 1608. During the 17th century, the castle fell into disrepair, both through neglect because the Percy family was mainly resident in the south, and through damages done in wartime. The best visual evidence for the appearance of the castle at this date is a painting by Peter Hartover (fl.1674-1690), which depicts the ruinous chapel and trees growing out of the stonework. Transforming the castle from a decaying garrison fortress to a palace was conceived in a high gothick style to the designs of the architects Daniel Garrett, James Paine and Robert Adam in the 1760s. Work on the parklands carried on in tandem. Weirs were built on the River Aln to slow the water flow with the effect of enhancing the landscape and providing a reflective surface for the newly restored castle. The 4th Duke disliked the ‘fairytale gothick’ style and inconvenience of the castle created by the restoration undertaken a century previously. He employed the architect Anthony Salvin to restore a more authentic medieval border fortress appearance to the exterior. For the state apartments, however, Algernon chose the lavish style of an Italianate palazzo. Improvements were made across the castle site exploiting new technologies of the Victorian age. By the time Hugh Percy entered the dukedom in 1940, the large team of live-in domestic servants he had known as a boy was no longer in existence. This left vast areas of the castle unused and unoccupied. These provided facilities, first for the accommodation of Alnwick Teacher Training College, and then, from 1981, for St Cloud State University students from Minnesota in the United States. The Duke and his family share their home with Estates Office staff, American students from St Cloud State University residential programme and the general public. Recent years have witnessed an extensive programme of conservation, repair and refurbishment to the fabric of the building, both exterior and interior. Roof leads have been replaced; essential masonry repair and re-pointing has been undertaken, as well as conservation work and refurbishment of the interiors. Such works both preserve the castle and continue its development. Alnwick Castle contains an extraordinary and unusual survival in the 21st century of a collection and archive remaining in a property owned by the same family for over 700 years. A small professional team manages the Northumberland Collection and Archive; no public funding is received towards its conservation and preservation. Alnwick Castle most recently featured in Transformers: The Last Knight, and as the magnificent Brancaster Castle in Downton Abbey's 2015 and 2016 Christmas specials. Having already featured as Hogwarts in the first two Harry Potter films, as well as appearing in Elizabeth and Robin Hood: Prince of Thieves, among others, the castle is no stranger to film crews!

Founded as a Cistercian monastery in the 12th Century, Rufford Abbey came into being about the same time that Robin Hood may have roamed nearby Sherwood Forest. When Henry VIII closed the English abbeys, its buildings, watermills, fields and farms were granted to George Talbot, the Earl of Shrewsbury. Later, it passed by marriage to the Yorkshire Savile family, and grew from a hunting lodge into a magnificent country house. On the eve of World War II, Rufford Abbey was sold, and passed through the hands of various owners. Requisioned for wartime use, it housed cavalry offices, a tank regiment and later Italian prisoners of war. Stripped of its fine interiors, furnishings and land, by the late 1950s it languished. Wartime damage, coal mining subsidence and neglect left the Abbey and its grounds in a sorry state. In 1957 Nottinghamshire County Council bought the house and the remains of its gardens, later opening them as a country park. Though sadly, most of the building had to be demolished, the original abbey undercroft, the Jacobean wing and many historic garden features remain for today's visitors to explore. The area surrounding Rufford has been inhabited since prehistoric times. At Creswell Crags - a limestone gorge near Worksop- a discovery centre tells the story of Ice Age hunters who sheltered in its caves 40,000 years ago. Local forests of oak, birch and lime were first partly cleared by Neolithic people. However, areas of ancient oak and birch woodland still remain. Three miles away at Sherwood Forest Country Park you can walk in Birklands and Bilhaugh. Pollen analysis shows that they were woodland right back to the Ice Age. By the time of the Romans (around 120 AD), we have mention of a Roman settlement near Ruchford, Rutherford or Runford. The town of Southwell, not many miles east of Rufford, had a Roman villa. You can still see part of its mosaic floor under a pew in Southwell Minster. It's believed that a Roman road passed through the area from Oxton, north of Nottingham, to Blyth in what is now south Yorkshire. The name “Rufford” comes from the Old English or Saxon and means “rough ford." Though it's often assumed this is the ford that modern cars now splash through on Rufford Lane, in fact it was probably another ford to the east of the present day park. Old estate maps show a watermil there, on the stream which was later dammed to become Rufford Lake. The first recorded owner of Rugforde or Rumforde, according to the Domesday Book, was "Ulf, son of Suertebrand" - a Saxon chieftain. But everything changed when the Normans invaded England. King William the Conqueror gave Ulf’s estate to his nephew, Gilbert de Gant (Gilbert of Ghent.) The grandson of Gilbert de Gant, (confusingly, also called Gilbert) was Earl of Lincoln. He gave land at Rufford to the Cistercian order of monks in 1146. In the middle ages, it was believed that prayers would help the souls of the dead to reach Heaven. So giving land and gifts to a monastery was a kind of spiritual insurance policy! The Cistercian order was a spartan and austere order. St Bernard of Clairvaux was one of their founding fathers. The movement started in Citeaux in France, and spread all over Europe. Fountains Abbey and Rievaulx Abbey in Yorkshire are two of the best known Cistercian monasteries in England. Their ruins can still be visited today. Twelve Monks from Rievaulx Abbey - led by an abbot called Gamellus - travelled down to Nottinghamshire to create a "daughter house" on their newly acquired land. They immediately set to work creating an abbey church, and probably diverting local watercourses for the water they would need for mills, washing and fulling cloth. The Cistercians believed in making or growing almost everything they needed to survive. In 1156 Rufford received its official blessing from Pope Adrian IV, and various charters in the following years saw the abbey expand its land. It is said that the villagers of Rufford, Cratley, Grimston and Inkersall were evicted to make way for the abbeys farming activities. Some were probably resettled in a new village called Wellow, just outside the abbey estate. Medieval records relate that there were frequent disputes between the Abbot of Rufford and the men of Wellow, usually over the rights to wood from a local forest. It is thought that the construction of permanent stone buildings of Rufford Abbey was well underway by the 1160s, although work may well have continued on and off for almost a century. Local craftsmen and stone were both used to construct the building. Find out more about the life of the monks who lived at Rufford in our on-site exhibits. When Henry VIII famously broke away from the Church of Rome in 1530, he was eager to stake his claim to the assets of the great Catholic religious orders. One of these was Rufford, which by 1534 was worth £176. In 1536 he appointed the Commissioners Legh and Layton to find sufficient evidence to allow him to close down the abbey. Among the "disgraceful offences" they found at Rufford was the claim that the abbey possessed some of the Virgin Mary's milk. They also alleged that the Abbot, Thomas of Doncaster, had broken his vows of chastity with at least two married and four single women, and claimed that six of the other monks were of "disgraceful character." Following this a Royal Commission closed Rufford Abbey and the lands were granted to George Talbot, 4th Earl of Shrewsbury. It was while owned by the 6th Earl, another George Talbot, that the transformation of the old abbey into a fine country house first began and under the guidance of the 7th Earl new wings were added onto the north and south ends of the lay brothers’ wing of the old abbey, forming some of the country house we still see today. In 1626 the Rufford estate passed to Sir George Savile and his first wife, Lady Mary, who was a sister to the 7th and 8th Earls of Shrewsbury. The Saviles were a long-established and landed family whose seat was Thornhill Hall near Huddersfield in West Yorkshire. The family supported the Royalists during the English Civil War, living up to their family motto to “Fear God and Honour the King” and Charles I visited Rufford in July 1642, shortly before raising his standard at Nottingham on August 22nd, which signalled the start of the war. The family prospered under the restoration of the monarchy and continued to enhance and develop the estate. Throughout the 18th and 19th Centuries, the grounds were continually expanded and developed. In 1750, for example, the 8th Baronet dammed the stream to the north and created the lake. Not only did this enhance the grounds, it also provided power for his new corn mill, now known as Rufford Mill. In 1837 the eminent Victorian architect Anthony Salvin was hired to undertake a thorough re-design of the house, much of which can be seen today. Rufford made rough-cut wooden coffins for the dead of the First World War, but this war also heralded the beginning of the end for many large country estates, and Rufford was no exception. The estate suffered from rising taxes and wages and reduced income from farm rents, so that by 1938, the trustees of the young 3rd Baron were forced to sell the estate. The estate, house and contents were eventually taken over by the Army in 1939 during the Second World War and the Leicestershire Yeomanry, 6th Cavalry Brigade were stationed there, arriving as horse-mounted troops, and leaving as motorised artillery. About 20 army huts were constructed and these later housed Italian prisoners of war. By 1949 the house was in a poor state of repair and the Government announced that in the event of demolition, the 12th Century parts of the abbey, including the crypt, must be preserved at all costs. In 1952 Nottinghamshire County Council decided to purchase the Abbey and about 130 acres of land around the house and in 1956, despite some public outcry, a necessary controlled demolition of the Abbey’s upper floors, the 17th Century north wing and the 18th Century east wing was started and completed two years later. In 1969 a park ranger service was set up and the site officially designated a Country Park. After years of neglect the future was finally looking brighter for Rufford Abbey.

The Tower of London, founded by William the Conqueror in 1066, is one of the world’s most famous fortresses, and one of Britain’s most visited historic sites. Despite a grim reputation for a place of torture and death, there are so many more stories to be told about the Tower. This powerful and enduring symbol of the Norman Conquest has been enjoyed as a royal palace, served as an armoury and even housed a zoo! An intriguing cast of characters have played their part: including the dastardly jewel-thief Colonel Blood, tragic Lady Jane Grey and maverick zookeeper Albert Cops. The Tower of London played an important role in the First and Second World Wars. From training WWI recruits in the Tower moat including the Royal Fusiliers (whose headquarters and museum still exists at the Tower of London today), to guarding the infamous Nazi prisoner of war Rudolph Hess, during each devastating conflict the Tower returned to its former role as a military store, barracks and prison. And it became, once again, a grim place of execution for enemies of the state. A total of 12 spies were executed behind the Tower's walls. In 2014 and again in 2018, The Tower of London commemorated the centenary of WWI with two major installations. In 2014, ‘Blood Swept Lands and Seas of Red’ marked Britain’s first full day of involvement in the war by filling the moat with 888,246 ceramic poppies while in 2018, ‘Beyond the Deepening Shadows: The Tower Remembers’ saw the moat filled with thousands of flames that commemorated those who lost their lives. Within days of Britain's announcement to enter WWI, young men who worked near the Tower in the City answered the call to enlist. Some formed volunteer brigades with friends or work colleagues. 1300 men who worked for city firms joined the City of London Battalion, pictured here in the Tower moat, waiting to swear the oath of allegiance. By the turn of the 20th Century the Tower of London was seen as a tourist attraction, but the Tower never formally dissolved its function as a garrison, prison and execution site. The fortress actively carried out all three roles during the war, even as it remained open to visitors.

The Blaenavon World Heritage Centre is situated within the former St. Peter’s Church School which was founded in 1816 by Sarah Hopkins to provide free education for children whose parents worked for the Blaenavon Company. Like its historic predecessor, learning lies at the very heart of the World Heritage Centre. The Blaenavon World Heritage Centre aims to create a world-class learning resource helping people to understand the Outstanding Universal Value of the Blaenavon Industrial Landscape World Heritage Site. It aims to become a centre for education of the sciences, technology, engineering, maths, innovation and development, using the story of Blaenavon’s Industrial Landscape. It will provide access for all to a wide range of learning opportunities, both formal and informal, and will inspire people to relate to their place in the global culture. Blaenavon’s Industrial landscape became a World Heritage Site in December 2000. It is a landscape shaped by human hand, dating from the early days of the Industrial Revolution - a significant stage in human evolution, when the iron and coal industries of South Wales were of global importance. The Blaenavon Industrial Landscape is an important place of study of the Industrial Revolution. It is an ideal venue for schools studying changes in people’s daily lives in the 19th century, as well as changes that happened in Wales, Britain and the wider world between 1760 and 1914. It provides an excellent case-study for students studying urban decline and economic regeneration. The Blaenavon World Heritage Centre was established to provide a focal reference point to the area’s rich industrial legacy, telling the story of the people who have shaped this landscape from the earliest days of the Industrial Revolution to the present day using a range of media including film, audio, graphics and interactive displays. The Blaenavon World Heritage Centre currently houses a resource room with items covering a wide range of topics relevant to the Blaenavon World Heritage Site. There is an interactive display in the main exhibition space, with touch screens hosting both adult and child-friendly programs to explore key information relevant to the World Heritage Site. A new Victorian replica classroom and learning facility has recently been created in the World Heritage Centre with costumes, slates, and other props and toys of a 19th century Schoolroom. The Centre also has many educational resources, covering the history through time of the Blaenavon Industrial Landscape. The Blaenavon World Heritage Centre works in close partnership with learning staff at Big Pit National Coal Museum, Blaenavon Ironworks and Natural Resources Wales to deliver education across the World Heritage Site. The Blaenavon World Heritage Centre is a logical starting point for visits into the Blaenavon Industrial Landscape. The former heavy industries left their mark on the environment, which is full of hidden treasures, making it an ideal location for outdoor educational visits that can be facilitated by staff. In order to maximise the educational benefit of a visit, we recommend that you take advantage of one or more organised activities or workshops led by an experienced education officer. Blaenavon’s Industrial landscape became a World Heritage Site in December 2000. It is a landscape shaped by human hand, dating from the early days of the Industrial Revolution - a significant stage in human evolution, when the iron and coal industries of South Wales were of global importance. The Blaenavon Industrial Landscape is an important place of study of the Industrial Revolution and is an ideal venue for schools studying changes in people’s daily lives in the 19th century and changes that happened in Wales, Britain and the wider world between 1760 and 1914. It is also an excellent case-study for students of urban decline and economic regeneration. The Blaenavon World Heritage Site now boasts three visitor attractions which offer full-time, dedicated educational services: The Blaenavon World Heritage Centre is based in the former St Peter’s School founded in 1816 to educate the ironworker’s children. Now it offers an overview of the World Heritage Site and offers educational workshops for all age groups, focusing on the lives of local people from the early Celts through to modern days. It is also the starting point for a number of outdoor activities. Big Pit National Coal Museum offers guided underground tours conducted by former coal miners. The restored pithead baths features displays and interactive exhibitions enabling visitors to learn about the history of coal mining, and the people who lived and worked in coal mining communities in Wales. Blaenavon Ironworks is the most significant historical feature within the Blaenavon Industrial Landscape. Today you can view the extensive remains of the blast furnaces, cast houses and iconic water-balance tower, and gain a fascinating insight into the social history of the Industrial Revolution at the reconstructed company ‘truck’ shop, 19th century workers’ cottages and the newly interpreted cast houses.

A World Heritage Site, Stonehenge and its surrounding prehistoric monuments remain powerful witnesses to the people of the Neolithic and Bronze Ages who created them. Stonehenge has inspired people to study and interpret it for centuries, yet many questions remain to be answered – about who built it, when, and why. Find out about its archaeology and history here. Stonehenge is perhaps the world’s most famous prehistoric monument. It was built in several stages: the first monument was an early henge monument, built about 5,000 years ago, and the unique stone circle was erected in the late Neolithic period about 2500 BC. In the early Bronze Age many burial mounds were built nearby. Today, together with Avebury, Stonehenge forms the heart of a World Heritage Site, with a unique concentration of prehistoric monuments. The earliest structures known in the immediate area are four or five pits, three of which appear to have held large pine ‘totem-pole like’ posts erected in the Mesolithic period, between 8500 and 7000 BC. It is not known how these posts relate to the later monument of Stonehenge. At this time, when much of the rest of southern England was largely covered by woodland, the chalk downland in the area of Stonehenge may have been an unusually open landscape. It is possible that this is why it became the site of an early Neolithic monument complex. This complex included the causewayed enclosure at Robin Hood’s Ball, two cursus monuments or rectangular earthworks (the Greater, or Stonehenge, and Lesser Cursus), and several long barrows, all dating from the centuries around 3500 BC. The presence of these monuments probably influenced the later location of Stonehenge. It is possible that features such as the Heel Stone and the low mound known as the North Barrow were early components of Stonehenge, but the earliest known major event was the construction of a circular ditch with an inner and outer bank, built about 3000 BC. This enclosed an area about 100 metres in diameter, and had two entrances. It was an early form of henge monument. Within the bank and ditch were possibly some timber structures and set just inside the bank were 56 pits, known as the Aubrey Holes. There has been much debate about what stood in these holes: the consensus for many years has been that they held upright timber posts, but recently the idea has re-emerged that some of them may have held stones. Within and around the Aubrey Holes, and also in the ditch, people buried cremations. About 64 cremations have been found, and perhaps as many as 150 individuals were originally buried at Stonehenge, making it the largest late Neolithic cemetery in the British Isles. In about 2500 BC the stones were set up in the centre of the monument. Two types of stone are used at Stonehenge – the larger sarsens and the smaller ‘bluestones’. The sarsens were erected in two concentric arrangements – an inner horseshoe and an outer circle – and the bluestones were set up between them in a double arc. Probably at the same time that the stones were being set up in the centre of the monument, the sarsens close to the entrance were raised, together with the four Station Stones on the periphery. About 200 or 300 years later the central bluestones were rearranged to form a circle and inner oval (which was again later altered to form a horseshoe). The earthwork Avenue was also built at this time, connecting Stonehenge with the river Avon. One of the last prehistoric activities at Stonehenge was the digging around the stone settings of two rings of concentric pits, the so-called Y and Z holes, radiocarbon dated by antlers within them to between 1800 and 1500 BC. They may have been intended for a rearrangement of the stones that was never completed. The stone settings at Stonehenge were built at a time of great change in prehistory, just as new styles of ‘Beaker’ pottery and the knowledge of metalworking, together with a transition to the burial of individuals with grave goods, were arriving from the Continent. From about 2400 BC, well-furnished Beaker graves such as that of the Amesbury Archer are found nearby. In the early Bronze Age, one of the greatest concentrations of round barrows in Britain was built in the area around Stonehenge. Many barrow groups appear to have been deliberately located on hilltops visible from Stonehenge itself, such as those on King Barrow Ridge and the particularly rich burials at the Normanton Down cemetery. Four of the sarsens at Stonehenge were adorned with hundreds of carvings depicting axe-heads and a few daggers. They appear to be bronze axes of the Arreton Down type, dating from about 1750–1500 BC. Perhaps these axes were a symbol of power or status within early Bronze Age society, or were related in some way to nearby round barrow burials. From the middle Bronze Age, less communal effort went into the construction of ceremonial monuments such as Stonehenge and more on activities such as the creation of fields. In the Iron Age, probably about 700 BC, a major hillfort later known as Vespasian’s Camp was constructed 1¼ miles east of Stonehenge overlooking the river Avon. Stonehenge appears to have been frequently visited in the Roman period (from AD 43), since many Roman objects have been found there. Recent excavations raised the possibility that it was a place of ritual importance to Romano-British people. The small town of Amesbury is likely to have been established around the 6th century AD at a crossing point over the Avon. A decapitated man, possibly a criminal, was buried at Stonehenge in the Saxon period. From this time on, sheep husbandry dominated the open downland around Stonehenge. The earliest surviving written references to Stonehenge date from the medieval period, and from the 14th century onwards there are increasing references to Stonehenge and drawings and paintings of it. Since 1897, when the Ministry of Defence bought a vast tract of land on Salisbury Plain for army training exercises, the activities of the military have had an impact on the area. Barracks, firing ranges, field hospitals, airfields and light railways were established. Some of these, such as the First World War Stonehenge airfield, have long since been demolished, but others, such as the Larkhill airfield sheds, still stand and are important in the history of early military aviation. Meanwhile, the introduction of turnpike roads and the railway to Salisbury brought many more visitors to Stonehenge. From the 1880s, various stones had been propped up with timber poles, but concern for the safety of visitors grew when an outer sarsen upright and its lintel fell in 1900. The then owner, Sir Edmund Antrobus, with the help of the Society of Antiquaries, organised the re-erection of the leaning tallest trilithon in 1901. This was the start of a sequence of campaigns to conserve and restore Stonehenge – the last stones were consolidated in 1964. The monument remained in private ownership until 1918 when Cecil Chubb, a local man who had purchased Stonehenge from the Atrobus family at an auction three years previously, gave it to the nation. Thereafter, the duty to conserve the monument fell to the state, today a role performed on its behalf by English Heritage. From 1927, the National Trust began to acquire the land around Stonehenge to preserve it and restore it to grassland. Large areas of the Stonehenge landscape are now in their ownership. More recent improvements to the landscape – including the removal of the old visitor facilities and the closure of the section of the old A344 that ran close to the stones – have begun the process of returning Stonehenge to an open grassland setting, but there is more that can be done. English Heritage welcomes government plans to invest in a tunnel, which would remove much of the busy A303 and help reconnect the monument to its ancient landscape.

Sir John Soane’s Museum is the extraordinary house and museum of the British architect Sir John Soane (1753-1837). On this page, discover the history of the Museum, its founder and its world class collections. Sir John Soane was one of the foremost architects of the Regency era, a Professor of Architecture at the Royal Academy, and a dedicated collector of paintings, sculpture, architectural fragments and models, books, drawings and furniture. Born in 1753, the fourth son of a bricklayer, his father’s professional links with architects and his own natural talent for drawing won him the opportunity to train as an architect. A talented and hard-working student, Soane was awarded the Royal Academy’s prestigious Gold Medal for Architecture, as a result receiving a bursary (funded by King George III) to undertake a Grand Tour of Europe. His travels to the ruins of Ancient Rome, Paestum and Pompeii would inspire his lifelong interest in Classical art and architecture. Soane’s inventive use of light, space and his experimentation with the forms of Classical architecture earned him great success as an architect. During his career he won numerous high-profile projects, including the Bank of England (where he was architect for 45 years) and Dulwich Picture Gallery, and created his own extraordinary home and Museum on Lincoln’s Inn Fields. His successes as an architect and his fascination with the history of architecture let to his appointment as Professor of Architecture at the Royal Academy in 1806. Already an enthusiastic collector, he began to repurpose his home at Lincoln’s Inn Fields as a Museum for students of architecture.

Yorkshire Sculpture Park (YSP) is the leading international centre for modern and contemporary sculpture which celebrates its 45th anniversary in 2022. It is an independent charitable trust (number 1067908) and registered museum situated in the 500-acre, 18th-century Bretton Hall estate in West Yorkshire. Founded in 1977 by Sir Peter Murray CBE, YSP was the first sculpture park in the UK, and is the largest of its kind in Europe, providing the only place in Europe to see Barbara Hepworth’s The Family of Man in its entirety alongside a significant collection of sculpture, including bronzes by Henry Moore, and site-specific works by Andy Goldsworthy, David Nash and James Turrell. YSP mounts a world-class, year-round temporary exhibitions programme including some of the world’s leading artists across six indoor galleries and outdoors. Recent highlights include exhibitions by Robert Indiana, Joana Vasconcelos, Akeela Bertram, Not Vital, KAWS, Bill Viola, Anthony Caro, Fiona Banner, Ai Weiwei, Kimsooja, Amar Kanwar, Yinka Shonibare MBE, Joan Miró and Jaume Plensa. More than 80 works on display across the estate include major sculptures by Phyllida Barlow, Ai Weiwei, Roger Hiorns, Sol LeWitt, Joan Miró, Dennis Oppenheim and Thomas J Price. 500 acres of fields, hills, woodland, lakes and formal gardens combine to create the stunning setting for Yorkshire Sculpture Park. These historic grounds were once part of the Bretton Estate, with a country manor at the centre. As well as housing hundreds of artworks, today the landscape is rich with the stories of Bretton’s former lives. The Domesday Book listed this land as 'waste' in 1086. In the centuries since, it became an aristocratic home. And each of those who inherited and worked on the estate left their mark. As beautiful as it may be, this landscape is not entirely natural. In fact, its previous owners had it carefully designed and managed to look 'natural'. Their architects, landscape designers and gardeners dug lakes, planted trees, built lodges. They also introduced extravagant, purely ornamental buildings – or follies. Among the wealthy landowners of 18th-century Britain, a folly was a fashionable status symbol, a display of excess. Many of these fascinating features and romantic relics remain today. Seek them out in the grounds, dotted among the artworks, wildlife and trees. YSP’s driving purpose for 45 years has been to ignite, nurture and sustain interest in and debate around contemporary art and sculpture, especially with those for whom art participation is not habitual or familiar. It enables open access to art, situations and ideas, and continues to re-evaluate and expand the approach to considering art’s role and relevance in society. Supporting 45,000 people each year through YSP’s learning programme, this innovative work develops ability, confidence and life aspiration in participants. YSP's core work is made possible by investment from Arts Council England, Wakefield Council, Liz and Terry Bramall Foundation and Sakurako and William Fisher through the Sakana Foundation.

The Scottish National Gallery displays some of the greatest art in the world, including masterpieces by Botticelli, Raphael, Titian, El Greco, Velázquez, Rembrandt, Vermeer, van Dyck, Tiepolo, Landseer, Gainsborough, Constable, Turner, and Angelica Kauffmann amongst many others. The most comprehensive part of the collection covers the history of Scottish painting – including Ramsay, Raeburn and Wilkie. The Scottish National Gallery comprises both the National Gallery Building and the Royal Scottish Academy Building. Both of these buildings, designed by William Henry Playfair, stand in the heart of Edinburgh.

Stirling Castle is a great symbol of Scottish independence & a source of national pride. Visitors can now step back into the sumptuous world of Stirling Castle’s royal court. Our £12 million project has returned the six apartments in the castle’s Renaissance palace to how they may have looked in the mid-16th century. A place of power, beauty and history, discover the favoured residence of Scotland's Kings and Queens! A great day out for all the family and simply unmissable! Stirling Castle was the key to the kingdom of Scotland, dominating a vast volcanic rock above the river Forth at the meeting point between Lowlands and Highlands. Its origins are ancient and over the centuries it grew into a great royal residence and a powerful stronghold. During the Wars of Independence, which were civil wars among the Scots as well as a struggle between Scotland and England, the castle changed hands eight times in 50 years. And it is no accident that famous battles such as Stirling Bridge and Bannockburn took place within sight of its walls. In times of peace Scottish royalty came to Stirling to enjoy its comforts, the superb hunting and to hold court – the castle was often the centre of government.

Located beside the Titanic Slipways, the Harland & Wolff Drawing Offices and Hamilton Graving Dock – the very place where Titanic was designed, built and launched, Titanic Belfast tells the story of Titanic from her conception, through her construction and launch, to her maiden voyage and subsequent place in history. Stimulating enquiry, encouraging independent and collaborative learning and awakening a genuine thirst for knowledge - Titanic Belfast is a unique learning resource for students of all ages. Titanic Belfast welcomes education visitors all year round for self-guided tours of the Titanic Experience. On arrival, you will be supported by a welcome host, who will set the scene and give you advice before you enter. Supported by our downloadable resources which cover the activities and themes you’ll find in the exhibition and how these link with curriculum targets in Northern Ireland and the Republic of Ireland, a self-guided tour allows you and your pupils to explore the sights, sounds and stories of Titanic Belfast at your own leisure.