The theatrical allure of the historic gardens at Mapperton in winter

Buried deep in the beautiful Dorset countryside, the idyllic garden at Mapperton is one of the most atmospheric and delightful in Britain, laid out in a picturesque, steep-sided combe that wends its way into the surrounding landscape. Steeped in history – indeed, it was named Historic Houses Garden of the Year in 2020 – it has been created over many years. Its first design was in the 17th century, when the Tudor manor on the site was remodelled. Not much of the original garden remains, but the grass terracing that steps down into the valley from the house is thought to date back to this time, as is a stone summerhouse in the middle of the formal garden – and the intriguing traces of a historic parterre are just about visible on the croquet lawn in summer when the weather is very dry. The valley runs from north to south, with formal topiary petering out into a leafy arboretum, where a path invites you onwards to mingle with a mix of interesting trees, shrubs and spring bulbs.

The entrance into this garden is all part of the drama. Through an intimate courtyard at the front of the house, visitors emerge onto the large grassy plateau of the croquet lawn. It is not until they reach the other side of the house that the main expanse is revealed, stretched out in an elaborate linear motif down the valley. The bird’s-eye view from above is spectacular, but when you reach the valley floor, you understand the scale of some of the topiary. Looking back up, the prospect is equally impressive, the stone manor house sitting squarely on the top terrace, commanding the scene. The interplay of landscape, garden and architecture is perfectly balanced, and a sense of permanence and indomitability pervades the place.

The elaborate fountain court at the northern end of the valley was designed in the Twenties by Ethel Labouchere, who bought the house in 1919 from the Compton family. Created in memory of her husband, the garden was laid out in the Italianate style popularised by the designer Harold Peto, with elaborate topiary, a central pool, stone pergolas and local Blue Lias stone paving that contrasts with the honey-coloured Hamstone walls.

Ethel clearly enjoyed making and using the gardens. She commissioned two grottoes to be built into the banks of the valley through retaining walls, added a fireplace and chimney in the 17th-century summerhouse, and tended vegetable beds on either side of the existing pools in the lower garden, which was thought to have been created before the turn of the century. She also had a passion for bird and animal statuary, acquiring a collection that is still dotted through the grounds, now covered with a patina of moss and lichen. Most of the statues are made from cast concrete or reconstituted stone, which in the Twenties was the latest innovation in statuary and all the rage.

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Like many properties, during the Second World War, Mapperton went into decline and, by the time Ethel died in 1955, the gardens were also sliding into decay. After her death, Mapperton was bought by Victor Montagu, then Viscount Hinchingbrooke and later Earl of Sandwich, who brought his own ideas and sensibilities. In 1968, he added an orangery perched at the top of the fountain court, offering another wonderful view down the length of the garden. Built from Minster reconstituted stone, the orangery now looks authentically weathered and at one with its surroundings (so much so that many are fooled into thinking it is an original 17th-century feature). He also planted more yews in the lower area along the furthest pool. Clipped into simple rounded shapes, the yews are less formal here than in the fountain court, easing the transition into the arboretum beyond.