Discover the ‘Fantastical Beasts and Foliage’ Showcased in These Newly Unearthed Tudor Wall Paintings

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Created in the Grotesque style, the 16th-century images—revealed by renovations at a lodge in England—mimic historic textile designs

Eli Wizevich – History Correspondent

April 15, 2025 2:30 p.m.

Jen and Richard Arkell, owners of the Ashes, a charming guest house located along the scenic banks of the River Tees in northeastern England, recently uncovered fascinating historical artifacts during renovations. Their discoveries point to the Ashes’ significant past as a Tudor-era hunting lodge.

While renovating an upstairs room, the Arkells uncovered vibrant wall paintings that depict “fantastical beasts and greenery” from the 16th century. This revelation was noted in a statement released by Historic England, an organization committed to preserving the nation’s heritage.

The couple was taken aback by the striking Grotesque motifs, which include animal heads intertwined with clouds and various figures like hares and stylized human profiles. “Finding these stunning designs and faces in the peeling plaster was an unforgettable experience,” they expressed in the statement.

Previous discoveries of minor wall art in the lodge during the 1970s and later suggested limited coverage, but the latest findings indicate a much larger area was originally adorned with these designs. According to Myra Tolan-Smith, a listing advisor at Historic England, the combination of motifs is notably unique, even by broader national criteria.

The 16th-century wall paintings were executed using a fresco secco technique, where artists applied paints to dry plaster. Unlike traditional frescoes, where pigments penetrate wet plaster, this method produces more muted colors while reflecting a rustic charm, thought to be inspired by contemporary textile designs, as noted by Historic England.

“The asymmetrical and freehand nature of the designs really stands out; it’s quite beautiful,” commented Andrea Kirkham, a conservation expert engaged by the Arkells, speaking to the Guardian’s Mark Brown.

The subject matter of the paintings is often linked to hunting themes, yet their whimsical arrangement and Grotesque elements imply they were meant to entertain visitors to the lodge rather than simply serve a decorative purpose.

Historian Henry Peacham, active during this period, noted that such “unnatural or unorderly” designs existed “for delight’s sake, of men, beasts, birds, fishes, flowers … without rhyme or reason.” His remarks capture the essence of these artistic expressions.

In a study last year, researchers from Historic England employed dendrochronology to determine the age of the Ashes. Their findings revealed the timber used for construction was harvested in the winter of 1561-1562, placing the lodge’s establishment early in the reign of Queen Elizabeth I, who presided over England from 1558 to 1603.

This dating provides historians with valuable insights into when the wall paintings might have been created, reflecting the artistic values of the affluent class during the mid-16th century.

Documented for the first time in a will and inventory from 1592 belonging to William Simpson, who was the bailiff of the nearby Castle Sowerby, the lodge may have been home to the Simpson family, who likely commissioned the wall art.

As British heritage minister Baroness Twycross remarked, the paintings offer an enlightening glimpse into the Tudor era, presenting a vivid narrative that transcends what might be captured in mere written records.

Now protected under Grade II* status by Historic England, these artworks, along with the main lodge and associated agricultural structures, are safeguarded for future generations to explore.

“These murals provide insight into social history,” Kirkham added in her comments to the Guardian. “They reveal a great deal about the tastes, philosophies, and material choices of individuals from the period, along with the ways they sought to present themselves to the community.”

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www.smithsonianmag.com