871 Best Sights in England

Mysterious and ancient, Stonehenge has baffled archaeologists, not to mention the general public, for centuries. One of England's most visited monuments (attracting more than a million visitors a year) and a UNESCO World Heritage site, the circle of giant stones standing starkly against the wide sweep of Salisbury Plain still has the capacity to fascinate and move those who view it. Unattractive visitor facilities have been removed to better establish the stones in their original context of grass fields, other nearby monuments, and their original processional approach, the Avenue. Although you can no longer enter the stone circle itself (except by special arrangement; check website for further information), you can roam free over the surrounding landscape with its Neolithic earthworks, some of which predate the stones. To best experience the awe and mystery of Stonehenge, visit the circle in the early morning or in the evening, when the crowds have dispersed.

Stonehenge was begun as early as 3000 BC with the construction of a circular earthwork enclosure. The nearby Cursus, long rectangular earthwork banks, was created some 500 years before. The stone circle itself was completed in stages, beginning around 2500 BC with the inner circle of bluestones, and it continued to be changed and in use until around 1600 BC. The early inner circle was later surrounded by an outer circle of 30 sarsen stones, huge sandstone blocks weighing up to 25 tons, which are believed to have originated from the Marlborough Downs. Within these two circles was a horseshoe-shape group of sarsen trilithons (two large vertical stones supporting a third stone laid horizontally across it); within that was another horseshoe-shape grouping of bluestones. The sarsens used in the trilithons averaged 45 tons. Many of the huge stones were brought here from great distances before the invention of the wheel, and it's not certain what ancient form of transportation was used to move them. Every time a reconstruction of the journey has been attempted, it has failed. The labor involved in quarrying, transporting, and carving these stones is astonishing, all the more so when you realize that it was accomplished about the same time as the construction of Egypt's major pyramids. 

Stonehenge (the name derives from the Saxon term for "hanging stones") has been excavated several times over the centuries, but the primary reason for its erection remains unknown. It's fairly certain that it was a religious site, and that worship here involved the cycles of the sun; the alignment of the stones on the axis of the midsummer sunrise and midwinter sunset makes this clear. When viewed from the center of the stone circle, the sun rises adjacent to the Heel Stone at midsummer and sets between the stones of the tallest trilithon at midwinter. The Druids certainly had nothing to do with the construction: the monument had already been in existence for nearly 2,000 years by the time they appeared. Some historians have maintained that Stonehenge was a kind of Neolithic computer, with a sophisticated astronomical purpose—an observatory of sorts—though evidence from excavations in the early 20th century shows that it had once been used as a burial ground. Another possibility is that this Neolithic village was home to those who performed the religious rites at Stonehenge, where people gathered from far and wide to feast and worship.

Without direct access to the stones, it is not possible to closely examine their prehistoric carvings, some of which show axes and daggers. Bring a pair of binoculars to help make out the details on the monoliths. To fully engage your imagination or to get that magical photo, it's worth exploring all aspects of the site, both near and far. You can download a helpful, free audio guide in advance or on-site. An informative visitor center is located 1½ miles away (access to the stone circle is via a frequent shuttle), with parking, a café, branded merchandise, and an exhibition of prehistoric objects found on-site. A dramatic display using time-lapse photography puts you (virtually) in the center of the circle as the seasons change. Next to the visitor center are some re-created Neolithic huts that show how the people who built and used Stonehenge might have lived.  Visits are by timed admission slots only; reserve ahead if possible. Last admission is two hours before closing.

This exquisite example of a Georgian garden was created for the Temple family by the most famous gardeners of the 18th century. Capability Brown, Charles Bridgeman, and William Kent all worked on the land to create 980 acres of trees, valleys, and meadows. More than 40 striking monuments, follies, and temples dot the landscape of lakes, rivers, and pleasant vistas. This is a historically important place, but it's not for those who want primarily a flower garden. Allow at least half a day to explore the grounds. Stowe House, at the center, is now a fancy school with some magnificently restored rooms. It's open for tours some afternoons, but the actual schedule is notoriously changeable, so do call ahead or check for more information. The gardens are about 3 miles northwest of Buckingham, which is 14 miles northwest of Aylesbury. You enter through the New Inn visitor center, where there are period parlor rooms to explore.

From the outside, this rococo mishmash of towers, crenellations, and white stucco is dazzling in its faux-medieval splendor. Its architect and owner, Sir Horace Walpole (1717–97), knew a thing or two about imaginative flights of fancy; the flamboyant son of the first British prime minister, Robert Walpole, he all but single-handedly invented the Gothic novel with The Castle of Otranto (1764).

Once you pass through Strawberry Hill's forbidding exterior, you'll experience an explosion of color and light, for Walpole boldly decided to take elements from the exteriors of Gothic cathedrals and move them inside. The detail is phenomenal, from the cavernous entrance hall with its vast Gothic trompe-l'oeil decorations, to the Great Parlour with its Renaissance stained glass, to the Gallery, where extraordinary fan vaulting is a replica of the vaults found in the Henry VII Chapel at Westminster Abbey. The gardens have been meticulously returned to their original 18th-century design, right down to a white marble loveseat sculpted into the shape of a shell. Opening days can vary, so call ahead to check times.

One of the grand showpieces of the Cotswolds, Sudeley Castle was the home and burial place of Catherine Parr (1512–48), Henry VIII's sixth and last wife, who outlived him by one year. Here Catherine undertook, in her later years, the education of the ill-fated Lady Jane Grey and the future queen, Princess Elizabeth. Sudeley, for good reason, has been called a woman's castle. The term "castle" is misleading, though, for it looks more like a Tudor-era palace, with a peaceful air that belies its turbulent history. In the 17th century Charles I took refuge here, causing Oliver Cromwell's army to besiege the castle. It remained in ruins until the Dent-Brocklehurst family stepped in with a 19th-century renovation.

The 14 acres of gardens, which include the roses of the Queen's Garden (best seen in June) and a Tudor knot garden, are the setting for Tudor fun days in summer. Inside the castle, visitors see the West Wing, with the Long Room where exhibitions illustrate the castle's history, and the East Wing, which contains the private apartments of Lady Ashcombe (the castle's longest-serving chatelaine), where you can see paintings by van Dyck, Rubens, Turner, and Reynolds. Art tours can also be booked in advance, and the adventure playground and Animal Ark exhibition are great fun for kids. The 17 holiday cottages in the grounds are available for self-catering stays. The castle is a mile southeast of Winchcombe.

In 1938, at the Tranmer House estate, a local archaeologist excavated a series of earth mounds and discovered a 7th-century burial ship, probably that of King Raedwald of East Anglia. A complete replica of the 90-foot-long ship stands in the visitor center, which has artifacts and displays about Anglo-Saxon society. Nothing can quite make up for the fact that the best finds from one of Britain's most significant archaeological sites have been moved to the British Museum in London, but it is, nonetheless, all quite fascinating. Trails around the 245-acre site explore the area along the River Deben.

There is no permanent collection at this offshoot of the London-based art galleries of the same name. Instead, it hosts challenging exhibitions of modern and contemporary art that change every couple of months. During development and expansion of the museum's original home—a handsome conversion of Albert Dock warehouses by the late James Stirling, one of Britain's leading 20th-century architects—it has been housed in the RIBA North building on Mann Island, just 425 meters away. Although the space is smaller, its two galleries are well worth visiting. 

The most spectacular branch of the renowned London gallery displays the work of artists who lived and worked in St. Ives, mostly from 1925 to 1975. The collection occupies a modernist building—a fantasia of seaside Art Deco–period architecture with panoramic views of the rippling ocean. Works of other international artists who influenced the St. Ives school—Picasso, Braque, and Mondrian among them—are exhibited alongside the local figures, and there are frequent exhibitions of contemporary art connected to West Cornwall. A four-story extension has significantly increased the exhibition space, and the rooftop restaurant provides excellent food and views.

This is London's most popular auditorium—most commonly known simply as Drury Lane—and almost its largest. Since World War II, its forte has been musicals (from My Fair Lady and South Pacific to Miss Saigon and Shrek), although playwright David Garrick, who managed the theater from 1747 to 1776, made its name by reviving the works of the by-then-obscure William Shakespeare. Drury Lane enjoys all the romantic accessories of a London theater: a history of fires (it burned down three times), riots (in 1737, when a posse of footmen demanded free admission), attempted regicides (George II in 1716, and his grandson George III in 1800), and even sightings of the most famous phantom of the West End, the Man in Grey (seen in the Circle during matinees). Seventy-five-minute dramatized tours, led by actors, take place daily.

One of the few places in Britain where you can bathe in natural hot-spring water, and in an open-air rooftop location as well, this striking complex designed by Nicholas Grimshaw consists of a Bath-stone building surrounded by a glass curtain wall. The only difficulty is in deciding where to spend more time during your two-hour spa session—in the sleekly luxurious, light-filled Minerva Bath, with its curves and gentle currents, or in the smaller, open-air rooftop pool for the unique sensation of bathing with views of Bath's operatic skyline (twilight is particularly atmospheric here). Two 18th-century thermal baths, the Cross Bath and the Hot Bath, are in use, too (the latter for spa treatments only). End your session in the third-floor café and restaurant.

It's essential to book spa treatments ahead of time (additional fee; 50-minute massage from £125, for example). Towels, robes, and slippers are available for rent. Note that changing rooms are gender-neutral. Weekdays are the quietest time to visit. You must be 16 to bathe here and 18 to book a spa treatment.

Although all that remains of the ruined cliff-top Tintagel Castle, legendary birthplace of King Arthur, is the outline of its walls, moats, and towers, it requires only a bit of imagination to conjure up a picture of Sir Lancelot and Sir Galahad riding out in search of the Holy Grail over the narrow causeway above the seething breakers. Archaeological evidence, however, suggests that the castle dates from much later—about 1150, when it was the stronghold of the earls of Cornwall. Long before that, Romans may have occupied the site. The earliest identified remains here are of Celtic (5th century AD) origin, and these may have some connection with the legendary Arthur.

Legends aside, nothing can detract from the castle ruins, dramatically set off by the wild, windswept Cornish coast, on an island joined to the mainland by a narrow isthmus, where paths lead down to the pebble beach and a cavern known as Merlin's Cave. Although a modern, elegant footbridge makes it easy enough to access Tintagel Castle from the mainland, exploring the site might still involve clambering over uneven surfaces and rocky terrain. Even on a summer's day, when people swarm over the battlements and a westerly Atlantic wind sweeps through Tintagel, you can feel the proximity of the distant past. Book ahead to guarantee a time slot and discounted ticket prices.

Torquay's chief attraction is Torre Abbey, surrounded by parkland but close to the seafront. The abbey itself, founded in 1196, was razed in 1539, though you can still see traces of the old construction. The mansion that now occupies the site was the home of the Cary family for nearly 300 years. It was later converted into a museum and art gallery, and the main building contains such artistic riches as Victorian sculptures, maritime paintings, Pre-Raphaelite window designs, and drawings by William Blake. There are plenty of family-friendly activities, including brass-rubbing. There's also a good café in the Spanish Barn.

This is officially the center of London: a plaque on the corner of the Strand and Charing Cross Road marks the spot from which distances on U.K. signposts are measured. (London's actual geographic center is a rather dull bench on the Victoria Embankment.) Medieval kings once kept their aviaries of hawks and falcons here; today the humbler gray pigeons flock en masse to the open spaces around the ornate fountains (feeding them is banned).

The square was designed in 1830 by John Nash, who envisaged a new public space with striking views of the Thames, the Houses of Parliament, and Buckingham Palace. Of those, only Parliament is still clearly visible from the square, but it remains an important spot for open-air concerts, political demonstrations, and national celebrations, such as New Year's Eve. Dominating the square is the 168-foot Nelson's Column, erected as a monument to the great admiral in 1843. Note that the lampposts on the south side, heading down Whitehall, are topped with ships—they all face Portsmouth, home of the British navy. The column is flanked on either side by enormous bronze lions. Climbing them is a very popular photo op, but be extremely careful, as there are no guardrails and it's a long fall onto concrete if you slip. Four plinths border the square; three contain militaristic statues, but one was left empty—it's now used for contemporary art installations, often with a wry and controversial edge. Surprisingly enough, given that this was a square built to honor British military victories, the lawn at the north side, by the National Gallery, contains a statue of George Washington—a gift from the state of Virginia in 1921.

At the southern point of the square is the equestrian statue of Charles I. After the Civil War and the king's execution, Oliver Cromwell, the antiroyalist leader, commissioned a brazier, John Rivett, to melt the statue down. The story goes that Rivett instead merely buried it in his garden. He made a fortune peddling knickknacks wrought, he claimed, from its metal, only to produce the statue miraculously unscathed after the restoration of the monarchy—and then made another fortune reselling it. In 1675 Charles II had it placed where it stands today, near the spot where his father was executed in 1649. Each year, on January 30, the day of the king's death, the Royal Stuart Society lays a wreath at the foot of the statue.

Every ornate detail commands attention at this extravagant, magnificently restored, 35-bedroom, Victorian–Gothic Revival mansion. In addition to splendid woodwork, stained glass, tiles, and original furniture and fabrics, the house contains the modern conveniences of the 1860s, such as a heated billiards table. The servants' quarters are equally absorbing. There's a restaurant and family play area, too. 

You can see the house, garden, and chapel at your own pace, or join a free tour of the gardens and grounds (11 am and 2 pm; no booking required). Arrive early in the day or in the early afternoon on weekdays to avoid the crowds—Monday and Tuesday are the quietest days. Tyntesfield is 7 miles southwest of Bristol; the daily bus service X6 is the most convenient public transport from the city. The house is a 15-minute walk from the bus stop.

These antique vessels, including a 19th-century steamer that is said to be the oldest working passenger ship in the world, run the length of Ullswater between Glenridding in the south and Pooley Bridge in the north, via Howtown on the eastern shore. It's a pleasant tour, especially if you combine it with a lakeside walk.

Laid out over 22 acres, these gardens contain more than 3,500 species of trees, plants, and shrubs. Thanks to a unique microclimate, subtropical flora from the Mediterranean, Antipodes, and South Africa flourish outdoors, with 272 varieties in bloom on New Year's Day. The impressive greenhouse includes banana trees and a waterfall; a café and children's playground; a gift shop selling plants and seeds; and a visitor center that puts the gardens into context. You can stay overnight on the grounds, in a three-bedroom Victorian cottage, in one of two luxury cabins, or in a small lodge. All lodgings include admission and after-hours access to the gardens.

This tiny basement establishment professes to be a museum but feels more like an art installation, with real historical and occult artifacts (the range of taxidermy is astonishing) displayed alongside satirical items like celebrity poops, all accompanied by serious handwritten description cards. It's a hoot, especially following a visit to the upstairs cocktail bar, which specializes in absinthe. The museum is sometimes hired out for private events, so check before you visit.

About 8 miles east of Greenhead, this archaeological site—which celebrated its 50th anniversary in 2020—holds the remains of eight successive Roman forts and civilian settlements, providing an intriguing look into the daily life of a military compound. Most of the visible remains date from the 2nd and 3rd centuries, and new excavations are constantly under way. A reconstructed Roman temple, house, and shop provide context, and the museum displays rare artifacts, such as a handful of extraordinary wooden tablets with messages about everything from household chores to military movements. A full-size reproduction of a section of the wall gives a sense of its sheer scale.

Many of the regal residences created by the Rothschild family throughout Europe are gone now, but this one is still a vision of the 19th century at its most sumptuous. G. H. Destailleur built the house in the 1880s for Baron Ferdinand de Rothschild in the style of a 16th-century French château, with perfectly balanced turrets and towers and walls of creamy stone. Although intended only for summer weekend house parties, it was lovingly furnished over 35 years with Savonnerie carpets; Sèvres porcelain; furniture made by Riesener for Marie Antoinette; and paintings by Guardi, Gainsborough, and Reynolds. The collection is brought into the 21st century by an extraordinary broken porcelain chandelier, by artist Ingo Maurer, located in the Blue Dining Room. The gardens are equally extraordinary, with an aviary, colorful plants, and winding trails that provide panoramic views. In the restaurant you can dine on English or French fare and order excellent Rothschild wines. Admission is by timed ticket; arrive early or book in advance. The annual Christmas fairs and light festivals held here are well worth seeing; check the website in advance for details.

With a superb display of British art and some outstanding Italian and Flemish works, this is one of the best British art collections outside London. Don't miss the unrivaled collection of paintings by 18th-century Liverpudlian equestrian artist George Stubbs or works by J. M. W. Turner, Claude Monet, Frederic Lord Leighton, and the Pre-Raphaelites. Modern artists are included, too, including one of David Hockney's typically Californian pool scenes. Other excellent exhibits showcase classical Greek and Roman sculptures as well as china, silver, and furniture that once adorned the mansions of Liverpool's industrial barons. There are temporary exhibitions, including those focusing on photography, and a dedicated children's art space. The café holds center stage in the airy lobby.

Attention all Muggles—this spectacular attraction just outside Watford immerses you in the magical world of Harry Potter for hours. From the Great Hall of Hogwarts, faithfully re-created, down to the finest detail, to "magical" paraphernalia beautifully displayed in the vast studio space, each section of this attraction showcases the real sets, props, and special effects used in the eight movies.

After entering the Great Hall, a fitting stage for costumes from each Hogwarts house, you can admire the intricacies of the huge Hogwarts Castle model, ride a broomstick, try butterbeer, explore the Forbidden Forest, and gaze through the shop windows of Diagon Alley. The Hogwarts Express section—at a faithfully reproduced Platform 9¾—allows you to walk through a carriage of the actual steam train and see what it's like to ride with Harry and the gang.

Tickets, pegged to a 30-minute arrival time slot, must be prebooked online. Slots fill up fast over summer and school holidays, so reserve well in advance. The attraction is a 20-minute drive from St. Albans. You can also get here by taking a 20-minute train ride from London's Euston station to Watford Junction, then a 15-minute shuttle-bus ride, free with a valid Studio Tour ticket; the shuttle runs every 30 minutes. Via car from London, use M1 and M25. Parking is free.

The vast bulk of this medieval castle rests on a cliff overlooking the Avon River and is considered "the fairest monument of ancient and chivalrous splendor, which yet remains uninjured by time," to use the words of Sir Walter Scott. Today, the company that runs the Madame Tussauds wax museums owns the castle, and it has become more theme park than an authentic heritage site, but it is still a lot of fun. Warwick’s two soaring towers, bristling with battlements, can be seen for miles: the 147-foot-high Caesar’s Tower, built in 1356, and the 128-foot-high Guy’s Tower, built in 1380.

Warwick Castle’s monumental walls enclose an impressive armory of medieval weapons, as well as staterooms with historic furnishings and paintings. Other exhibits explore the castle’s history through the ages, display the sights and sounds of a great medieval household as it prepares for an important battle, and tell the story of a princess’s fairy-tale wedding. Elsewhere, a working trebuchet, falconry displays, and rat-throwing (stuffed, not live) games add to the atmosphere. Below the castle, strutting peacocks patrol the 64 acres of grounds elegantly landscaped by Capability Brown in the 18th century. Each summer the castle also hosts one-off immersive experiences.

Arrive early to beat the crowds. If you book online in advance, you save 45% on ticket prices. Lavish medieval banquets take place throughout the year, and plenty of food stalls serve lunch. For the ultimate castle experience, you can "glamp" in a medieval tent, stay in a wooden lodge in the Knight’s Village, book one of the 60 medieval-style rooms at the Warwick Castle Hotel, or spend the night in a luxury suite in the 14th-century Caesar’s Tower.

This extraordinary small museum was built in tiny Compton in 1904 by the artist George Frederic Watts (1817–1904) to display his romantic, mystical paintings, which have been rediscovered in recent years, as his 1886 painting Hope was a favorite of Barack Obama. A marvelously higgledy-piggledy studio displays his sculptures, which are astonishing for their size and near-obsessive attention to detail. Some critics, though, contend that George's wife, artist Mary Seton Watts (1849–1938), eclipsed her husband. If you make the short walk to the Watts Memorial Chapel, you may agree. Designed by Mary, this tiny chapel is a masterpiece of Art Nouveau style, from the intricately carved redbrick exterior to the Mucha-esque painted interior. You could spend half an hour trying to decode the symbolism and allegory woven into the gilded walls. The museum, chapel, and other sights (including the Artists' Village in Limnerslease House with its artists in residence and contemporary gallery) are 3 miles west of Guildford.

One of the country's top family-friendly science centers provides a "hands-on, minds-on" multimedia exploration of science and technology in more than 200 interactive exhibits and activities spread over two floors. All About Us is dedicated to the inner workings of the human body, Animate It allows you to create your own animations, and a 3-D planetarium in a gleaming stainless-steel sphere takes you on a 30-minute voyage through the galaxy (bookable when you buy your ticket). It's all as instructive as it is entertaining. Allow at least three hours to see everything. Discounted late entry tickets are also available (after 3 pm).

More than 300 feet long and one of the largest and most impressive Neolithic chambered tombs in Britain (though only about 50 people are buried here), the barrow was built around 3650 BC. You can explore the site and enter the tomb, which was used as a burial chamber for more than 1,000 years before the main passage was filled in and the front entrance blocked with sarsen boulders around 2000 BC. It has an elevated position with a great view of Silbury Hill and the surrounding countryside.

Just 6 miles southwest of Ledbury, this cider mill is a fantastic way to get a taste (literally) of the drink Herefordshire is famous for. They've been making cider on this site since the late 19th century, and many of the ciders are familiar brands. Tours (offered daily at 11 am, 12:30 pm, 2 pm, and 3:30 pm; book by calling in advance) take about an hour and 20 minutes and conclude with a tasting of about five ciders. Stop at the very good on-site Scrumpy House restaurant to try one of the excellent pies; there's also a shop.

Plunging hundreds of feet into the sea, Dover's startingly white cliffs are a spectacular sight, and one of the most iconic symbols of England. The cliffs, which are composed mainly of chalk with slivers of flint, are eroding at a rather alarming rate: more than a foot (30 cm) a year on average. Because of this, you must be cautious when walking along the cliffs—experts recommend staying at least 20 feet from the edge. The cliffs stretch for around 8 miles altogether, but the most popular section to visit is the one managed by the National Trust, about 2 miles east of town. The visitor center has 5 miles of walking trails heading farther east to the 19th-century South Foreland Lighthouse and St. Margaret's Bay, with spectacular views along the way. There are also some lovely coastal walks to the west of Dover with good views of the cliffs, including Samphire Hoe, Folkestone East Cliff, and Warren Country Park. Signs will direct you from the roads to scenic spots.

This University of Manchester–owned art museum is beautifully—and uniquely—integrated into the surrounding parkland through its art garden, sculpture terrace, orchard garden, and landscape gallery. Some of the free events and activities take you into the park itself, including children's outdoor art clubs. The renowned collections inside the gallery embrace British watercolors, Old Master drawings, postimpressionist works, wallpapers, and an outstanding textile gallery befitting a city built on textile manufacturing. There's also a learning studio for families and a "café in the trees" overlooking the art garden, with a seasonal British menu.

From the 1880s onward, Cheltenham was at the forefront of the Arts and Crafts movement, and this is still demonstrated by the fine displays of William Morris textiles, furniture by Charles Voysey, and wood and metal pieces by Ernest Gimson at this eclectic museum and art gallery. Decorative arts, such as Chinese ceramics, are also well represented, and British artists, including Stanley Spencer, Vanessa Bell, and Jake and Dinos Chapman, make their mark. The Summerfield Galleries demonstrate life through the ages, and there's a children's gallery called World of Wonders. Exhibits on Cheltenham's history complete the picture; one is devoted to Edward Wilson, who traveled with Robert Scott to the Antarctic on Scott's ill-fated 1912 expedition. The on-site Wilson Kitchen is open for lunch, coffee, and cake.

This is considered to be one of the loveliest stately homes in England and, along with its grounds, a fine example of the English Palladian style. The seat of the earls of Pembroke since Tudor times, the south wing of the current building was rebuilt in the early 17th century by Isaac de Caus, with input from Inigo Jones, Ben Jonson's stage designer and the architect of London's Banqueting House. It was completed by James Webb, again with input from Jones, Webb's uncle-by-marriage, after the south wing was ravaged by fire in 1647. Most noteworthy are the seven state rooms in the south wing, among them the Single Cube Room (built as a perfect 30-foot cube) and one of the most extravagantly beautiful rooms in the history of interior decoration, the aptly named Double Cube Room. The name refers to its proportions (60 feet long by 30 feet wide and 30 feet high), evidence of Jones's classically inspired belief that beauty in architecture derives from harmony and balance. The room's headliner is the van Dyck portrait of the Pembroke family. Elsewhere at Wilton House, the art collection includes several other Old Master paintings, including works by Rembrandt and members of the Brueghel family. Another exhibition is devoted to Cecil Beaton's photo portraits of 20th-century notables and the current Lord Pembroke's collection of classic cars. Also of note are the 22 acres of lovely grounds, which have sweeping lawns dotted with towering oaks; the gardens; and the Palladian bridge crossing the small River Nadder, designed by the ninth earl after the Rialto Bridge in Venice. Some public rooms may be closed on some open days (check website), and there are one-hour guides tours Monday through Wednesday.

This small town, a few miles southwest of Rye, perches prettily atop its own small hill amid rolling farmland, and has a number of interesting attractions. There's the splendid (though damaged) church at its heart, built in the 14th century with stone from Normandy. The stained glass windows are particularly captivating, with renowned Scottish artist Douglas Strachan (1875–1950) creating an almost three-dimensional effect with his bold illustrations. Outside the church lies a grave with a much-quoted epitaph. English-Irish comedian Spike Milligan (of The Goon Show fame), who was buried here in 2002, requested that the words "I told you I was ill" be added to his gravestone. The diocese refused, but compromised by writing it in Irish instead. Walk around the graveyard and see if you can spot the headstone with the words: "Dúirt mé leat go raibh mé breoite."

Under the town's narrow streets are at least 56 medieval cellars, with some accessible by an interesting—if rather long—guided tour (£12) on various dates from April to October. A short walk from the town center is Winchelsea Beach, an attractive stretch of shingle coastline.