Holkham Hall

Holkham Hall. The severely Palladian south facade with its Ionic portico is devoid of arms or motif; not even a blind window is allowed to break the void between the windows and roof-line, while the lower windows are mere piercings in the stark brickwork. The only hint of ornamentation is from the two terminating Venetian windows.

Holkham Hall (/ˈhoʊkəm/ or /ˈhɒlkəm/) is an 18th-century country house near the village of Holkham, Norfolk, England, constructed in the Neo-Palladian style for the 1st Earl of Leicester (of the fifth creation of the title) by the architect William Kent, aided by Lord Burlington.

Holkham Hall is one of England's finest examples of the Palladian revival style of architecture, and the severity of its design is closer to Palladio's ideals than many of the other numerous Palladian style houses of the period. The Holkham Estate was built up by Sir Edward Coke, the founder of his family's fortune. He bought Neales manor in 1609, though never lived there, and made many other purchases of land in Norfolk to endow to his six sons. His fourth son, John, inherited the land and married heiress Meriel Wheatley in 1612. They made Hill Hall their home, and by 1659, John had complete ownership of all three Holkham manors. It is the ancestral home of the Coke family, who became Earls of Leicester.

The interior of the hall is opulent, but by the standards of the day, simply decorated and furnished. Ornament is used with such restraint that it was possible to decorate both private and state rooms in the same style, without oppressing the former. The principal entrance is through the Marble Hall, which is in fact made of pink Derbyshire alabaster; this leads to the piano nobile, or the first floor, and state rooms. The most impressive of these rooms is the Saloon, which has walls lined with red velvet. Each of the major state rooms is symmetrical in its layout and design; in some rooms, false doors are necessary to fully achieve this balanced effect.

Architects and patron

Holkham Hall. Top right: one of the four identical secondary wings.

Holkham was built by Thomas Coke, 1st Earl of Leicester, who was born in 1697. A cultivated and wealthy man, Coke made the Grand Tour in his youth and was away from England for six years between 1712 and 1718. It is likely he met both Burlington—the aristocratic architect at the forefront of the Palladian revival movement in England—and William Kent in Italy in 1715, and that in the home of Palladianism the idea of the mansion at Holkham was conceived. Coke returned to England, not only with a newly acquired library, but also an art and sculpture collection with which to furnish his planned new mansion. However, after his return, he lived a feckless life, preoccupying himself with drinking, gambling and hunting, and being a leading supporter of cockfighting. He made a disastrous investment in the South Sea Company and when the South Sea Bubble burst in 1720, the resultant losses delayed the building of Coke's planned new country estate for over ten years. Coke, who had been made Earl of Leicester in 1744, died in 1759, five years before the completion of Holkham, having never fully recovered his financial losses. Coke’s wife, Margaret (1700–1775), would oversee the finishing and furnishing of the house.

Although Colen Campbell was employed by Thomas Coke in the early 1720s, the oldest existing working and construction plans for Holkham were drawn by Matthew Brettingham, under the supervision of Thomas Coke, in 1726. These followed the guidelines and ideals for the house as defined by Kent and Burlington. The Palladian revival style chosen was at this time making its return in England. The style made a brief appearance in England before the Civil War, when it was introduced by Inigo Jones. However, following the Restoration it was replaced in popular favour by the Baroque style. The "Palladian revival", popular in the 18th century, was loosely based on the appearance of the works of the 16th-century Italian architect Andrea Palladio. Burlington put together a collection of Palladio's drawings and published them in 1730. However the style did not adhere to Palladio's strict rules of proportion. It eventually evolved into what is generally referred to as Georgian, and neo-Georgian remains a popular and commonly-deployed style. It was the chosen style for numerous houses in both town and country, although Holkham is exceptional for both its severity of design and for drawing so heavily and so directly on Palladian examples.

Although Thomas Coke oversaw the project, he delegated the on-site architectural duties to the local Norfolk architect Matthew Brettingham, who was employed as the on-site clerk of works. Brettingham was already the estate architect, and was in receipt of £50 a year (about 9,000 pounds per year in 2025 terms) in return for "taking care of his Lordship's buildings". He was also influential in the design of the mansion, although he attributed the design of the Marble Hall to Coke himself. William Kent was mainly responsible for the interiors of the Southwest pavilion, or family wing block, particularly the Long Library. Kent produced a variety of alternative exteriors, suggesting a far richer decoration than Coke wanted. Brettingham described the building of Holkham as "the great work of [my life]", and when he published his "The Plans and Elevations of the late Earl of Leicester's House at Holkham", he immodestly described himself as sole architect, making no mention of Kent's involvement. However, in a later edition of the book, Brettingham's son admitted that "the general idea was first struck out by the Earls of Leicester and Burlington, assisted by Mr. William Kent".

In 1734, the first foundations were laid; however, building was to continue for thirty years, until the completion of the great house in 1764.

Design

Simplified, unscaled plan of the piano nobile at Holkham, showing the four symmetrical wings at each corner of the principal block. South is at the top of the plan. 'A' Marble Hall; 'B' The Saloon; 'C' Statue Gallery, with octagonal tribunes at each end; 'D' Dining room (the classical apse, gives access to the tortuous and discreet route by which the food reached the dining room from the distant kitchen), 'E' The South Portico; 'F' The Library in the self-contained family wing IV. 'L' Green State Bedroom; 'O' Chapel.

The Palladian style was admired by Whigs such as Thomas Coke, who sought to identify themselves with the Romans of antiquity. Kent was largely responsible for the external appearance of Holkham; he based his design on Palladio's unbuilt Villa Mocenigo, as it appears in I Quattro Libri dell'Architettura, but with modifications. The exact influences on the design of Lord Burlington and Coke has been much debated; writing in 1974, Rudolf Wittkower noted that "the history of Holkham has not yet been worked out in detail and Kent's debt to the two noblemen has not been solved". Wittkower pointed to Burlington's innovative design for the four wings at Tottenham House in Wiltshire as evidence of his influence at Holkham. However, John Harris writing in the 1990s, demonstrated that Burlington's designs for the Tottenham wings post-dated those of Kent's for Holkham. Examples of Burlington's style are nonetheless numerous; John Julius Norwich notes the Venetian windows, the general severity of the design, and the "stacatto treatment of the elevation(s)" as all characteristic of Burlington's designs at Chiswick and elsewhere. Timothy Mowl, in his biography of Kent published in 2006, suggests a greater role for Coke, working with Brettingham in the design of the central block, but firmly attributes the sole responsibility for the pavilions to Kent. Bill Wilson, reviewing the most recent evidence available when revising the Norfolk 2: North-West and South volume in the Pevsner Buildings of England series in 2002, suggests that Coke's input was central, "in consultation with Lord Burlington, employing first Brettingham as a draughtsman and supervisor, and later Kent in a more responsible role". In 1997 the Holkham archivist Christine Hiskey published a paper The Building of Holkham Hall: Newly Discovered Letters in the journal Architectural History, in which she outlined details of a cache of twelve letters from Coke to Brettingham covering the period 1734 to 1741. In the first letter Coke writes of having received Burlington's approval for "our whole design", indicating that the earliest plans for the central block, without the four flanking pavilions, were drawn up by Coke and Brettingham. Hiskey concludes that the two "worked closely together on the planning of the house, no less than its execution".

The authorship debate continues in the 21st century, stimulated in part by an important exhibition focussed on Kent, held in London and New York in 2013-2014.

The plans for Holkham were of a large central block of two floors only, containing on the piano nobile level a series of symmetrically balanced state rooms situated around two courtyards. No hint of these courtyards is given externally; they are intended for lighting rather than recreation or architectural value. This great central block is flanked by four smaller, rectangular blocks, or wings, that are linked to the main house not by long colonnades—as would have been the norm in Palladian architecture—but by short two-storey wings of only one bay.

Exterior

The north front

The external appearance of Holkham can best be described as a huge Roman palace. However, as with most architectural designs, it is never quite that simple. Holkham is a Palladian house, and yet even by Palladian standards the external appearance is austere and devoid of ornamentation. This can almost certainly be traced to Coke himself. The on-site, supervising architect, Matthew Brettingham, related that Coke required and demanded "commodiousness", which can be interpreted as comfort. Hence rooms that were adequately lit by one window, had only one, as a second might have improved the external appearance but could have made a room cold or draughty. As a result, the few windows on the piano nobile, although symmetrically placed and balanced, appear lost in a sea of brickwork; albeit these yellow bricks were cast as exact replicas of ancient Roman bricks expressly for Holkham. Coke had originally intended to face the house with Bath Stone. When this proved too expensive, Coke turned to his own brick manufactory. The effect has been subject to criticism; John Julius Norwich wrote of the "unhealthy liverish colour" of the façades, while Sacheverell Sitwell condemned the "ugly and mechanical rustication" and the "depressing white brick". Above the windows of the piano nobile, where on a true Palladian structure the windows of a mezzanine would be, there is nothing. The reason for this is the double height of the state rooms on the piano nobile; however, not even a blind window, such as those often seen in Palladio's own work, is permitted to alleviate the severity of the façade. On the ground floor, the rusticated walls are pierced by small windows more reminiscent of a prison than a grand house. One architectural commentator, Nigel Nicolson, has described the house as appearing as functional as a Prussian riding school.

The principal, or South façade, is 344 feet (104.9 m) in length (from each of the flanking wings to the other), its austerity relieved on the piano nobile level only by a great six-columned portico. Each end of the central block is terminated by a slight projection, containing a Venetian window surmounted by a single storey square tower and capped roof, similar to those employed by Inigo Jones at Wilton House nearly a century earlier. The one storey porch at the main north entrance was designed in the 1850s by Samuel Sanders Teulon, although stylistically it is indistinguishable from the 18th-century building.

The flanking wings contain service and secondary rooms—the family wing to the south-west; the guest wing to the north-west; the chapel wing to the south-east; and the kitchen wing to the north-east. Each wing's external appearance is identical: three bays, each separated from the other by a narrow recess in the elevation. Each bay is surmounted by an unadorned pediment. The composition of stone, recesses, varying pediments and chimneys of the four blocks is almost reminiscent of the English Baroque style in favour ten years earlier, employed at Seaton Delaval Hall by Sir John Vanbrugh. One of these wings, as at the later Kedleston Hall, was a self-contained country house to accommodate the family when the state rooms and central block were not in use.

Interior

Marble Hall

Inside the house, the Palladian form reaches a height and grandeur seldom seen in any other house in England. It has, in fact, been described as "the finest Palladian interior in England." The grandeur of the interior is obtained with an absence of excessive ornament, and reflects Kent's career-long taste for "the eloquence of a plain surface". Work on the interiors ran from 1739 to 1773. The first habitable rooms were in the family wing and were in use from 1740, the Long Library being the first major interior completed in 1741. Kent's design of the library was unusual in that it formed part of Coke's private, family, apartments in the south-west wing, rather then acting as one of the state rooms in the main block. Among the last to be completed and entirely under Lady Leicester's supervision is the chapel of 1760.

The house is entered through the Marble Hall (though the chief building fabric is in fact pink Derbyshire alabaster), modelled by Kent on a Roman basilica. The room is over 50 feet (15 m) from floor to ceiling and is dominated by the broad white marble flight of steps leading to the surrounding gallery, or peristyle: here alabaster clad Ionic columns support the coffered, gilded ceiling, copied from a design by Inigo Jones, inspired by the Pantheon in Rome. The fluted columns are thought to be replicas of those in the Temple of Fortuna Virilis, also in Rome. Around the hall are statues in niches; these are predominantly plaster copies of classical deities. Sacheverell Sitwell suggested that the Marble Hall's only rivals for grandeur in England were the halls at Kedleston and Syon, "the masterworks of Robert Adam", while Ralph Dutton posited Syon, and the Double Cube Room at Wilton House as its only competitors.

The hall's flight of steps lead to the piano nobile and state rooms. The grandest, the Saloon, is situated immediately behind the great portico, with its walls lined with patterned red caffoy (a mixture of wool, linen and silk) and a coffered, gilded ceiling. In this room hangs Rubens's Return from Egypt. On his Grand Tour, the Earl acquired a collection of Roman copies of Greek and Roman sculpture which is contained in the extensive Statue Gallery, which runs the full length of the house north to south.

View of the Green State bedroom

The North Dining Room, a cube room of 27 feet (8.2 m) has a dome and coffered niches and arches. A classical apse gives the room an almost temple air. A bust of Aelius Verus, set in a niche is matched by one of the goddess, Juno, and another pair depict Caracalla and Marcus Aurelius. Most of these examples were bought on Coke's grand tour and he juxtaposed "good" with "bad" examples as a mark of his erudition. Four doorcases with pediments give access, including from the kitchens and service areas of the house.

The Green State bedroom is the principal bedroom; it is decorated with paintings and tapestries, including works by Paul Saunders and George Smith Bradshaw. It is said that when Queen Mary visited, Gavin Hamilton's "lewd" depiction of Jupiter Caressing Juno "was considered unsuitable for that lady's eyes and was banished to the attics".

Each corner of the east side of the principal block contains a square salon lit by a huge Venetian window, one of them – the Landscape Room – hung with paintings by Claude Lorrain and Gaspar Poussin. All of the major state rooms have symmetrical walls, even where this involves matching real with false doors. The major rooms also have elaborate white and multi-coloured marble fireplaces, most with carvings and sculpture, mainly the work of Thomas Carter, though Joseph Pickford carved the fireplace in the Statue Gallery. Much of the furniture in the state rooms was also designed by William Kent, in a stately classicising baroque manner. So restrained, or in the words of James Lees-Milne, "chaste", is the interior decoration of the state rooms, that the smaller, more intimate rooms in the family's private south-west wing were decorated in similar vein, without being overpowering. The Long Library running the full length of the wing still contains the collection of books acquired by Thomas Coke on his Grand Tour through Italy, where he saw for the first time the Palladian villas which were to inspire Holkham. The Holkham library collection remains "one of the finest private libraries in England", although sales in the 19th and 20th centuries saw the disposal of some of its most rare and valuable works, such as the Codex Leicester which was sold in the 1980s and is now owned by Bill Gates. Holkham also holds a major private archive, containing over 100,000 documents dating from the 13th to the 21st centuries. The archive was refurbished in 2023.

Art collection

Main article: Art collections of Holkham Hall

Pictures in the Saloon

In addition to his acquisitions of statuary and antiquities, Coke's six-year Grand Tour enabled him to assemble one of the finest private art collections in the country. The collection, which remains substantially intact, includes works by Anthony van Dyck Peter Paul Rubens Claude Lorrain Gaspard Dughet and Canaletto. The number of landscapes by Lorrain is exceeded only by the Louvre's collection in Paris. The collection also held Titian's Venus and the Lute Player, until it was sold to the MET in New York in 1931. Simon Jenkins considered the assemblage of pictures in the Landscape Room to be "without equal in an English house". Items from the collection are frequently loaned to museums and galleries worldwide.

Grounds

Obelisk in Holkham Park 1730

Work to the designs of William Kent on the park commenced in 1729, several years before the house was constructed. This event was commemorated by the construction in 1730 of the obelisk, 80 ft (24 m) in height, standing on the highest point in the park. It is located over half a mile to the south and on axis with the centre of the house. An avenue of trees stretches over a mile south of the obelisk. Thousands of trees were planted on what had been windswept land; by 1770 the park covered 1,500 acres (6.1 km²).

Other garden buildings designed by Kent are, near the far end of the avenue the Triumphal Arch, designed around 1730 but completed up to two decades later, and the domed Doric Temple (1730–1735). Above the main entrance to the house within the Marble Hall is this inscription:

THIS SEAT, on an open barren Estate
Was planned, planted, built, decorated.
And inhabited the middle of the XVIIIth Century
By THO's COKE EARL of LEICESTER

Under Coke of Norfolk, the great-nephew and heir of the builder, extensive improvements were made to the park and by his death in 1842 it had grown to its present extent of over 3,000 acres (12 km²). As well as planting over a million trees on the estate Coke employed the architect Samuel Wyatt to design over 50 buildings, including a series of farm buildings and farmhouses in a simplified neo-classical style and, in the 1780s, the new walled kitchen gardens covering 6 acres (24,000 m²). The walled garden was restored between 2020-2022. His wife, "Mrs Coke", hired Humphry Repton who created a 'Red Book' full of landscape gardening ideas for Holkham. The gardens stand to the west of the lake and include: A fig house, a peach house, a vinery, and other greenhouses. Wyatt's designs culminated in c. 1790 with the Great Barn, located in the park half a mile south-east of the obelisk. The cost of each farm was in the region of £1,500 to £2,600: Lodge Farm, Castle Acre, cost £2,604 6s. 5d. in 1797–1800. The lake to the west of the house, originally a marshy inlet or creek off the North Sea, was created in 1801–1803 by the landscape gardener William Eames.

After his death, Coke was commemorated by the Leicester Monument, designed by William Donthorne and erected in 1845–1848 at a cost to the tenants of the estate of £4,000. The monument consists of a Corinthian column 120 ft (37 m) high, surmounted by a drum supporting a wheatsheaf and a plinth decorated with bas-reliefs carved by John Henning Jr. The corners of the plinth support sculptures of an ox, sheep, plough and seed-drill. Coke's work to increase farm yields had resulted in the rental income of the estate rising between 1776 and 1816 from £2,200 to £20,000, and had considerable influence on agricultural methods in Britain.

In 1850, Thomas Coke, 2nd Earl of Leicester, called in the architect William Burn to build new stables to the east of the house, in collaboration with W. A. Nesfield, who had designed the parterres. Work started at the same time on the terraces surrounding the house. This work continued until 1857 and included, to the south and on axis with the house, the monumental fountain of Saint George and the Dragon dated c. 1849–57 sculpted by Charles Raymond Smith. To the east of the house and overlooking the terrace, Burn designed the large stone orangery, with a three-bay pedimented centre and three-bay flanking wings. The orangery is now roofless and windowless.

The Holkham estate is listed at Grade I on the register of historic parks and gardens in England.

History

Cokes of Norfolk: 13th to the 20th centuries

The Triumphal Arch, entrance to “Giant Castle”

The Coke family is recorded as living in Norfolk in the early 13th century. The family's rise to wealth and prominence was driven by Edward Coke (1552 – 1634), who served as Solicitor General, Speaker of the House of Commons and Attorney General under both Elizabeth I and James VI and I. Edward Coke amassed extensive estates in Norfolk, and elsewhere in England, but the Holkham property was a later addition, acquired through marriage by his fourth son, John. The estates passed down through the family eventually descending to Thomas Coke, aged 10, on the death of his father in 1707. The creation of Holkham as a suitable home for him and for his descendants became his life's main work and the death of his childless son Edward in 1753 left Coke disappointed and disillusioned. One of his last letters was to Matthew Brettingham's son; "It is a melancholy thing to stand alone in one's own Country. I look around, not a house to be seen but my own. I am Giant, of Giant Castle, and have ate up all my neighbors-my nearest neighbour is the King of Denmark".

Coke was succeeded in 1759 by his nephew, Wenman (ca. 1717 – 1776). Wenman's son, Thomas (1754 – 1842) inherited Holkham in 1776, and following a parliamentary career of modest success, and a more renowned vocation as an agrarian reformer, became known as "Coke of Norfolk", and was made Earl of Leicester of the seventh creation in 1837. Coke was devoted to Holkham; although, like his predecessors and successors, he made few changes to the house, he instigated major improvements to the gardens, the park and, most importantly, to the wider estate, these last reportedly increasing the annual rent roll from just over £2,000 to over £20,000.

In the 20th century Holkham, and the Leicester earldom, were inherited by the 5th Earl's cousin, Anthony Coke (1909 – 1994), who lived in South Africa. The new earl decided against moving to England and sent his son Edward (1936 – 2015), to manage Holkham. Succeeding in 1994, the seventh earl is credited with reviving the Holkham estate.

Holkham today

The cost of the construction of Holkham is thought to have been in the region of £90,000. This vast sum nearly ruined the heirs of the 1st Earl, but, as a result, they were financially constrained from altering the house to suit later fashions. Thus, Holkham, "the supreme example of the neo-Palladian house", has remained almost untouched since its completion in 1764. The hall was given Grade I listed building status in 1951. While open to the public, it remains the family home of the Earls of Leicester of Holkham. The size of the wider estate has reduced from 40,000 acres in the mid-20th century, to 25,000 in the early 21st but remains a working country estate with over 200 full-time staff, making it the area's largest employer. The present earl, Thomas Coke, has sought to diversify the estate's income streams and lessen the dependence on agriculture by developing new ventures; Holkham Estates saw a turnover of £35m in 2017. A history of the house, written by the Holkham archivist, Christine Hiskey, and described by the earl as "arguably the most important, certainly the most authoritative, book ever written on Holkham" was published in 2016.

Gallery

• 
  The North Dining Room
• 
  View of the library
• 
  Holkham Lake
• 
  The Leicester Monument
• 
  Map of the estate from 1946

See also

• Art collections of Holkham Hall
• Noble Households – book with inventory of Holkham Hall of 1760

Sources

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• Chisholm, Hugh, ed. (1911). "Leicester, Thomas William Coke, Earl of" . Encyclopædia Britannica. Vol. 16 (11th ed.). Cambridge University Press. pp. 392–393.
• Clarke, Benjamin (1852). The British Gazetteer, Political, Commercial, Ecclesiastical, and Historical. Illustrated by a Full Set of Accurately Laid Down County Maps with All the Railways. H. G. Collins.
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• Girouard, Mark (1980). Life In The English Country House. Harmondsworth, UK: Penguin Books. ISBN 978-0-140-05406-4.
• Guinness, Desmond; Sadler, Julius Trousdale (1976). The Palladian Style in England, Ireland and America. London: Thames and Hudson. ISBN 978-0-500-34067-7.
• Harris, John (1995). The Palladian Revival: Lord Burlington, His Villa and Garden at Chiswick. New Haven, US and London: Yale University Press. ISBN 978-0-300-05983-0.
• Hassall, W. O. (1978). "Ilexes at Holkham". Garden History. 6 (1).
• Hiskey, Christine (1997). "The Building of Holkham Hall: Newly Discovered Letters" (PDF). Architectural History. 40.
• Colvin, Howard (1995). A Biographical Dictionary of British Architects 1600–1840 (3 ed.). New Haven, US and London: Yale University Press. ISBN 0-300-06091-2.
• Jackson-Stops, Gervase; Pipkin, James (1985). The Country House: A Grand Tour. London: National Trust & Weidenfeld and Nicolson.
• Jenkins, Simon (2003). England's Thousand Best Houses. London: Penguin Books. ISBN 978-0-713-99596-1.
• Jones, Nigel R. (2005). Architecture of England, Scotland and Wales. Greenwood Press. ISBN 0-313-31850-6.
• Lees-Milne, James (1953). The Age of Inigo Jones. London: B. T. Batsford.
• Lees-Milne, James (1986). The Earls of Creation. London: Century Hutchinson. ISBN 978-0-712-69464-3.
• Martins, Susanna Wade (1980). A Great Estate At Work: The Holkham Estate and its Inhabitants in the Nineteenth Century. Cambridge: Cambridge University Press. ISBN 0-521-22696-1.
• Montgomery-Massingberd, Hugh; Sykes, Christopher (1994). Great houses of England and Wales. London: Laurence King Publishing. ISBN 1-85669-053-9.
• Moore, Andrew (2017). "Thomas Coke in Turin". In Karin Wolfe; Paola Bianchi (eds.). Turin and the British in the Age of the Grand Tour. Cambridge: Cambridge University Press. ISBN 978-1-107-14770-6.
• Mowl, Timothy; Earnshaw, Brian (1985). Trumpet At A Distant Gate: The Lodge as Prelude to the Country House. London: Waterstone. ISBN 978-0-947-75205-7.
• Mowl, Timothy (2006). William Kent: Architect, Designer, Opportunist. London: Jonathan Cape. ISBN 978-0-224-07350-9.
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• Prior, Nick (2002). Museums and Modernity: Art Galleries and the Making of Modern Culture. Berg Publishers. ISBN 1-85973-508-8.
• Purcell, Mark (2019). The Country House Library. Yale University Press. ISBN 978-0-300-24868-5.
• Salmon, Frank (2015). "Thomas Coke and Holkham from 1718 to 1734: the early history" (PDF). Georgian Group. XXIII: 29–46.
• Salmon, Frank (2018). "The peer's "smooth piers": William Kent and Thomas Coke at work designing Holkham Hall in 1733-34" (PDF). Georgian Group. XXVI: 41–56.
• Sicca, Cinzia Maria (1986). "On William Kent's Roman Sources". Architectural History. 29.
• Sitwell, Sacheverell (1945). British Architects and Craftsmen. London: B. T. Batsford.
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• Wade Martins, Susanna (2009). Coke of Norfolk: 1754-1842. Woodbridge, Suffolk: The Boydell Press. ISBN 978-1-843-83531-8.
• Watkin, David (2005). A History of Western Architecture. Laurence King Publishing. ISBN 1-85669-459-3.
• Wilson, Michael I (1984). William Kent: Architect, Designer, Painter, Gardener, 1685–1748. Routledge. ISBN 0-7100-9983-5.
• Wilson, Richard; Mackley, Alan (2000). Creating Paradise: The Building of the English Country House 1660-1880. London and New York: Hambledon and London. ISBN 1-85285-252-6.
• Wittkower, Rudolf (1974). Palladio and English Palladianism. London: Thames and Hudson. OCLC 462688249.
• Worsley, Giles (2007). Inigo Jones and the European Classical Tradition. New Haven US and London: Yale University Press. ISBN 978-0-300-11729-5.

Further reading

• Angelicoussis, E. (2001). The Holkham collection of classical sculptures (Mainz)
• Brettingham, Matthew (1761). The Plans, Elevations and Sections, of Holkham in Norfolk. London: J. Haberkorn.
• Cornforth, John (200), Early Georgian Interiors. New Haven, CT.; London: Yale University Press for the Paul Mellon Centre for Studies in British Art, pp. 313–24 ISBN 978-0-30-010330-4 OCLC 938151474
• Cropplestone, Trewin (1963). World Architecture. London: Hamlyn.
• Halliday, E. E. (1967). Cultural History of England. London: Thames & Hudson.
• Hussey, Christopher (1955). English Country Houses: Early Georgian 1715–1760 London, Country Life. (Pages 131–146.)
• Hussey, Christopher (1967). English Gardens and Landscapes 1700–1750 London: Country Life. (Pages 45–6.)
• Murdoch, Tessa (ed.) (2006). Noble Households: Eighteenth-Century Inventories of Great English Houses. A Tribute to John Cornforth. Cambridge: John Adamson, pp. 207–31 ISBN 978-0-9524322-5-8 OCLC 78044620
• Robinson, John Martin (1983). Georgian Model Farms: A Study of Decorative and Model Farm Buildings in the Age of Improvement 1700–1846. Oxford: Oxford University Press. (Page 127.)
• Schmidt, Leo and others (2005). "Holkham". Munich; Berlin; London; New York: Prestel.

External links

• Holkham Hall Estate
• Holkham Hall entry from The DiCamillo Companion to British & Irish Country Houses
• Map sources for Holkham Hall