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Witley Court was the home of the Foley family from 1655 for almost two centuries, this family’s wealth was founded on the iron industry. Originally Witley had been a medieval manor house but by the time the Foleys arrived it had become a substantial Jacobean mansion.

Beginning their business with the manufacture of nails, they gradually abandoned their industrial base which had brought them wealth and became landed aristocrats and politicians. In the early 18th century the house was enlarged for the 1st Baron Foley (1673–1733).

As so often happened with such families, by the early 19th century the family’s wealth had declined. However, through an advantageous marriage Thomas Foley VII (1780–1833) was able to commission John Nash to undertake ambitious alterations to Witley. Included among the changes were the addition of two massive porticos to the north and south fronts.

Witley Court and its estate was sold by the Foleys in 1833 to the trustees of William Ward (1817–85). Though young, William Ward was one of the richest men in England, and like the Foleys before him, his wealth came from industry; he was the owner of more than 200 Black Country coal mines. It was during this time, when William Ward was living at the family home of Himley Hall near Stourbridge, that Witley Court was let, and between 1843-6 was the home of Queen Adelaide, widow of King William IV.

By the 1850s Witley Court was at its peak of grandeur. William Ward had been given the title the 1st Earl of Dudley, and he commissioned the architect Samuel Daukes to remodel the house. Inspired by Osborne House on the Isle of Wight, the home of Queen Victoria and Prince Albert, Witley Court was remodelled in an ornate Italianate style. These alterations were largely complete by 1860. During the late 19th century lavish parties were held at Witley Court with the Prince of Wales (later King Edward VII) and his circle in regular attendance.

It was during this time that the ornate formal gardens were designed by William Andrews Nesfield, a leading garden designer of the day. Nesfield described the gardens at Witley Court as his ‘monster work’. His work included the grand formal parterres and the impressive Perseus and Andromeda fountain which was designed by James Forsyth. When playing, the main fountain can rise up to 100 feet.

The House was again sold in 1920; again it was bought by an industrialist, this time Sir Herbert Smith, a carpet manufacturer from Kidderminster. On the night of 7 September 1937, a fire began in the servants’ rooms in the south-east corner of the great house. A strong wind fanned the fire and it spread rapidly downwards into the reception rooms on the main floor. By the next day, much of the house was a smouldering shell.
The west side of the house was unaffected, but the then owner, Sir Herbert Smith, decided not to restore the damaged wing and put the estate up for sale. The house was never lived in again and much of the remainder worth salvaging was stripped and sold off.

Witley Court is now in the care of English Heritage who have undertaken restoration of the gardens including the south and east parterres. Of particular interest is the Perseus and Andromeda fountain which has been restored to working order.

The church is an amazing gem, tucked away in the Worcestershire countryside. More like a private chapel, it is and always has been the parish church.

There was a medieval church at the same general location, but in the 1730s Lady Foley wished to build a new church and petitioned for the demolition of the old one. This was granted and the new church was completed in 1735, but the status remained that of parish church. The new church is thought to have been designed by James Gibb, ostensibly to the same dimensions as the chapel he built at Cannons for the Duke of Chandos.

The church was initially a plain building inside and out, built of brick, and with the traditional box pews of the period. The main embellishment from the early period would have been the remarkable monument, in the south transept, to Lord Foley, who had died in 1733.

However, in 1747 the second Lord Foley purchased the interior fittings of the Cannons chapel and installed them in the church at Witley under the supervision of Gibb. In the case of the stucco decoration which covers the whole of the interior walls and ceiling, Lord Foley had castings made, and the decoration was then formed from papier mache rather than plaster. This was a new technique at the time, but had the benefit of a huge saving in weight, making it much easier to transport and install. The truly original items consist of the ceiling paintings by the Italian artist Bellucci, the stained glass windows, and the organ case. The organ, which would have been played by Handel at Cannons, was also transferred, but replaced in the 19th century. The original flat ceiling of the church still exists above the inserted barrel vault.

In detail, the paintings in the ceiling depict the following:
The large central panel is the Ascension of Christ, flanked by circular panels of the Nativity and the Lamentation. Smaller panels above the windows depict cherubs holding various objects associated with the Passion.

The windows are by Joshua Price of London, dated between 1719 and 1721, based on designs by Italian artist Francesco Sleter Link depicting scenes mainly from the New Testament, the odd one out being the Worshipping of the Golden Calf. They are done in a mixture of stained glass – mainly the clothing of individuals – and painted enamel on plain glass, and are considered the finest examples of the technique in the UK.

In the mid 19th century came the usual makeover of that period under the current owner of Witley Court, Lord Dudley. The baroque decoration was untouched, but the interior fittings were completely renewed, with finely decorated pews, carved pulpit and a new marble and carved wood font. The organ was completely renewed, but within the existing casing. The exterior of the church was clad in bath stone to match the alterations to the house which occurred at the same time.

The final additions were the Italian gilded mosaic reredos and the sanctuary lamps, gifted to the church by the second Countess Dudley in the early 20th century.

The church is justifiably Listed Grade I. It is open on most days of the year, normally with a steward in attendance – on the occasion of my visit a very informative lady, most appreciated.