Broadway Tower

Formerly known as Beacon Tower at the turn of the 19th Century, the origins of Broadway’s majestic tower has inspired many elaborate legends behind the purpose of it's construction. The story actually begins half a decade earlier with a fellow known as Sir George William - born to William Coventry as the second eldest son. After succeeding his father in the Earldom to become the Sixth Earl of Coventry in 1751, Sir George William ordered extensive work to be carried out on the dwindling Croome Estate he had recently inherited. It was here that he became acquainted with the great 18th Century landscape architect, Lancelot ‘Capability’ Brown, when he commissioned him to work on the designs for his estate. Remembered as 'England's greatest gardener', Capability Brown continued working at the Croome Estate for many years and was held in high esteem for his idealised flowing landscapes. Ten years later in 1761, Sir George William purchased an estate of land on a beacon hill overlooking Broadway, which became his Spring Hill estate. In the years following, he once again called upon Capability Brown's brilliant landscaping vision to design an ornamental folly that would sit on top of the hill. The wheels were set in motion to build a tower that would go on to spark many myths about its origin centuries later. Sir George William recruited the help of highly revered English architect, James Wyatt, to assist with the completion of the design and construction of the folly following Brown’s death in 1784. By 1799 the iconic Beacon Tower was completed - standing at an impressive height of 65 feet, 1,024 feet above sea level. The result was a mini-Saxon castle made up of three turrets, detailed with balconies and gargoyles that suggests a Norman influence in its design. Brown never did see the completed tower, but through Wyatt's designs and vision, his early achievements still live on. As such, Broadway Tower will always be remembered as Brown and Wyatt's combined brainchild. By as early as 1827, the Tower was now in poor condition. The windows were in such bad state that they flooded every time it rained, causing more damage to the walls. Gradually over decades of neglect the tower slowly deteriorated, leading to a total abandonment in 1864 - when Sir Thomas Phillipps moved out following a bitter fall out with his eldest daughter, Henrietta, and his son-in-law. Phillipps left the Tower and moved all of his possessions with him to Thirlestaine House in Cheltenham in a bid to stop Henrietta, who laid claim to Middle Hill, from inheriting his entire collection of literature too. From 1864 to Sir Thomas Phillipps' death in 1872, the tower was left empty and the condition declined even further. Unknown to Thomas Phillipps at the time, but this period of neglect would only be short-lived. In fact, a few short years later, Broadway Tower became associated with a profound new design movement, and a popular countryside retreat for influential pre-Raphaelite artists - and from there it's history takes a different turn. During the summer of 1876, the pioneer of the influential Arts & Crafts movement, William Morris, first became aware of Broadway when his old friend, Cormell Price, took a lease out on Broadway Tower. Morris, along with many other prominent pre-Raphaelite artists of the day, would frequent the Tower - using it as a countryside retreat to get away from the bustle of city life to breathe new inspiration into their work. Morris cherished the tranquillity of the views so much so, he often took his wife, Jane, and their daughters with him to enjoy the tranquillity. Little did anyone know at the time, but Morris' great affection for the Tower and other local historic monuments would convince him to start a major development in the preservation of British heritage. Concerned that the intricately beautiful church in Burford was being subject to what he called 'destructive restoration', it is believed Morris penned the letter in Broadway To