And to see Regency Bath brought to life by genuinely expert guides, Strictly Jane Austen is where you start. They also make a wonderful gift for the Janeite in your life. You'll find them at strictlyjaneausten.com and we will put a link in the show notes. And now on to today's subject, When we picture Jane Austen's world, most of us aren't actually picturing Hampshire in eighteen ten.

We're picturing a television program. We're picturing Colin Firth striding out of the lake at Lyme Park or Keira Knightley on a windswept crag, or a proposal in the pouring rain in front of a domed temple at Stourhead The great screen adaptations gave Austen's imagined places real addresses and actual houses and villages and gardens scattered across the English countryside that you can go and stand in front of. Today we're going to map them out where Longbourn really is.

Which great house makes the best Pemberley and how do you visit them yourself? My guide is the perfect person for this. Dr. Gabrielle Malcolm is an author and one of our leading experts on Jane Austen fan culture and literary tourism. She's the creative director at Strictly Jane Austen, and handily for us, she lives in Wiltshire, which is right near Bath, which happens to be where many of these great locations are.

So she can tell us not just where they are, but exactly how to go and see them. Gabrielle, welcome to the Anglotopia Podcast.

be my favorite of these episodes because I love visiting these places. I've been to Stourhead many times. So

You then had a version in the late nineteen sixties in which Polly Adams, who is the mother of Susannah Harker, she played Jane Bennet.

mother and daughter have been involved in the productions of Jane Austen's work for television. So there's very many sort of like connections and links in popular culture, which is very interesting to explore. And then in 1981, there was a version on the BBC of Pride and Prejudice, and all of those previous versions, what they had in common, was being very studio-bound.

So when you see the the backdrops, the sets beyond the windows, that kind of thing, you've got this very, very sort of like, you know, reasonably authentic, but what we would see now as somewhat kind of clumsy approach to this the sort of set design and set building. So I think that's that's a very important thing to recognise with

Particularly what happened with the 1995 adaptation, what the BBC was doing in the 1990s was very interesting because they had begun a mission to adapt as many classic novels and all of Shakespeare's plays that they could possibly do. The BBC had extremely big budgets internally throughout the 1980s and 1990s.

And this was a real heyday of their, you know, literary adaptations. It was something that, for example, I grew up at that period going to school. And what we did all the time as part of our studies was we watched all the episodes and all of the you know videotaped episodes of these costume dramas, of these historical and literary adaptations.

And like all of the BBC Shakespeare plays, you know, would be available for schools on VHS tape back in the day. So you could watch the play that you were studying. So I remember seeing all of them. So it's very, very it was very important to the BBC to make these kind of landmark series, which were very much part of the weekly viewing schedule and were always

program to be out on a Sunday afternoon, late afternoon, so when people had had their weekend, had had their Sunday lunch, would sit down to a period drama of some sort. So this was a very important period for the BBC and was all about this sense of you know how the license fee is used.

you know, by the BBC as paid for by the British public. So what's very important to realise is that that they employed Simon Langton as the director of the Pride and Prejudice in 1995. And previously he had been responsible for doing lots of very classic adaptations to the screen.

And he was behind things like the John le Carré adaptations for the BBC, which had starred Sir Alec Guinness. So these were very, very high profile directors, high profile actors, stars who were really, really important to the British public. And Andrew Davies had a great reputation for adapting children's novels and also classic literature.

For television. So he was that sort of writer and adapter who was he he was really good at at taking a 19th century novel and turning the chapters into episodes. And that's really where his kind of great gift came along with being able to handle Jane Austen. And he also adapted Tolstoy and Dickens and you know, famously kind of, you know, these rather raunchy adaptations.

of the series. So the whole idea was to shoot it on film and as Simon Langton told me when I interviewed him, to scout for all these amazing locations and not to rely on studios. So it was all about what he said was to throw open the drawing room doors to bring Jane Austen out into

countryside into the townscapes into the settings that would reflect most accurately the lives of her characters. So that was the real principle behind it. And that was why they went on these immense scouting expeditions to see all of these different locations for the houses. So they had to find a Longbourn, they had to find a Netherfield

They had to find Meryton and they of course had to find Pemberley because you know the the these properties in in particular in Pride and Prejudice are so emblematic of what the meaning of the novel is. You know, when you have Mrs. Bennet talking about all the local estates and the manor houses that can be rented if Lydia is to settle in that in their area, you know, she could have this place or this place.

but their attics are terrible and she's you know, they don't have enough, you know, enough of an aspect. So, you know, houses are so important in in the kind of language of Pride and Prejudice that I think that's where Davies and Langton decided on doing this with the material for nineteen ninety five to make it very much kind of out of the English countryside and in these historic buildings.

so it's got beautiful rolling hills around it and it's a lovely setting of it's a Georgian country house with earlier with earlier earlier parts to it, like a 17th century dovecut and a formal garden. And the gardens that you see the Bennet sisters in, and that you see, for example, Lady Catherine addressing Elizabeth, they're all at Luckington.

Court, so they found them all on site at the house. And what's very interesting about Luckington is that you can't visit it as a tourist, but it's been on the market for sale about three times in the last six years. And I don't know if it's actually been sold this time. The last time it was on the market was in December 2025, so not long ago.

And you can actually go to House and Garden magazine website, or you can go to the estate agent's website and see the inside of Luckington Court. So there's a there's a magazine article about it in House and Garden where they explore the the building and you can see the interiors. So they look slightly different from what was used by the BBC because they did use a combination of different places and different backgrounds.

drops but you can see that substantially it's got that kind of it's that lovely lovely kind of golden looking you know Cotswold stone house with the pillars at the front that we recognise with all the carriages riding up and the Bennet sisters going in and out. So it's very interesting to see how that house has become more and more famous if you like since the filming and

And particularly in the last sort of five or six years where fans have noticed that it's been on the market. And it started out at nine million and it then it was then reduced by a couple of million the second time it came on the market, and now the latest price for it last year was four million. And you get actually quite a lot for that. I checked up on the on the website.

And you get about eight bedrooms and like four bathrooms and some quite substantial land and surrounding cottages and things like that. So you can kind of have a bit of a sneak look at that one. So that's very interesting. Yes. I know.

As doing all the filming as Jane Bennet, and she took a lovely photograph of the interior of the house with its lovely sort of Georgian portico and front door and the light coming through it, and she keeps that picture by her bedside, so she doesn't mind people knowing that because it's very special to her. Because at the time she said, she said, I took this photograph at Luckington Court.

With that extraordinary light streaming through the beautiful Georgian hallway window. It captivated me and I felt signified something about that shoot in the late summer of 1994. So you can picture that of all of the cast in that lovely setting in the summer months. So not only was I carrying my baby Finley, who is now directing Pride and Prejudice sort of on stage at 30 years of age.

So he is now a theatre director in his own right, her son. But I felt it prestige the impact of that production and the baby to come. I keep it next to my bed. I remember talking to Alison Steadman, of course, Mrs. Bennet, about it in that hallway. It really was the most beautiful English summer, perfect. And the locations were the epitome of Englishness. I remember being swept up with that atmosphere which was so integral to realising Austen.

So vital to support her vision and tell her human stories. The beauty of film is that so much of the work is done for you in the accuracy of place and costume and hair, which was teased into the exact Regency requirements at 5 a.m. every morning. So she had to have all those beautiful ringlets done from like the crack of dawn. Andrew Davies took Austen out of the drawing room and into nature. It was a huge part of that production.

The Shires shone for us, so beautifully judged. The design team were the best. I remember walking into each scene and thinking, yes, this is how it feels to be in Regency, England. Half the work is done. Now just remember the words and don't bump into the furniture. So that was her recollection of being on set in those houses, in those beautiful houses. So the next house up the tier in

The Regency Society of Pride and Prejudice is of course Netherfield. Now, Netherfield is supposed to be a walk away across the fields from Longbourn. We all know Elizabeth does that walk and gets her petticoat inches deep in mud. Well, the Netherfield that they used for the filming was actually Edgcote House, which is in Northamptonshire.

So if Elizabeth was to try to walk from Longbourn to Netherfield in real life, it would it's about three hundred miles. So it would take her several days or a couple of train journeys at least. Now that's a beautiful Georgian house, bigger, grander, you know, along more splendid lines than Luckington, which is a great facsimile for for Longbourn.

So the Netherfield house of Mr. Bingley as the kind of newly rich young man renting his first country estate. And he's being advised by his friend Darcy, who's of course more old money. And Netherfield has to fulfill lots of different requirements. So they needed to be able to ah host a ball there. And one of the things that I remember the choreographer.

Telling me, all of the cast had to learn all the dance sequences. So they spent weeks doing that, and kind of and Susannah said it was a great bonding exercise for the cast because they all had to learn those formal Georgian dance sets. And one of the things that the choreographer and dance leader found she had to do was the the floors at Edgcote were really shiny with these really lovely polished wooden floors. and so

she actually poured Coca-Cola on the wooden floors to make them stickier so that the cast's shoes wouldn't slip. And then they obviously had to like buff it off afterwards. But you know, but like to pour Coca-Cola on the floor. And Edgcote House is very interesting. Again, you can't you can't go to Edgcote House because like Luckington, it's a private house, private building.

But that too has come on the market. So you can go to the estate agent's website and have a good nose around and look at Edgcote House as well. And it's a twenty five thousand nine hundred square feet Georgian mansion because, um, of course, it had been, you know

greatly kind of renovated and improved in the eighteenth century because it's got that beautiful landscaping and that's the kind of characteristic of the houses they had to look for. They had to look for landscape gardens and and sort of see where they could, you know, actually set things in nature as well. So the the Edgcote house has a great aspect and it looks great for Netherfield.

It's on the market at 45 million pounds plus. So offers above 45 million. Because unlike the Longbourn, Luckington, it's an entire estate with a farm with 31 houses and cottages and flats as part of the whole build all the buildings and the complex of of the whole estate. And it has formal gardens and pleasure grounds.

and a big lake. So it's very it's very much kind of in that sort of frame of being an aristocratic manor house and country estate. So so very much in that kind of range that probably Bingley it's the equivalent of where he he could have been living. So it's very interesting about that one. And then

The the the next the next tier up is of course Pemberley. So how do you create Pemberley? Well for the BBC production they use the exteriors of Lyme Park in Cheshire. And it's a very interesting case of using the exteriors of Lyme Park and interiors at Lacock.

and other places back in Wiltshire. And there was also there's also the Wilton House which is in Wiltshire and Sudbury Hall in Derbyshire. So the 1995 Pride and Prejudice was a combination of Lyme Park for the exteriors and Sudbury Hall for the interiors. So of course that Pemberley Lyme Park

Is actually open to the public. So and people go there to get married and to have their proposals outside of the Pemberley from the TV series. And it's owned by the National Trust, and you it's near Greater Manchester in Cheshire. So Stockport is probably the nearest place to it. And you can actually stay on the estate at Lyme Park. So you can stay in cottages.

So if you were to actually go and visit there for

the day out, something like that, then you could also stay bed and breakfast and places like that

on on the actual estate.

Is you see him diving into the lake, but you don't see him coming out. So that was something that Simon Langton reminded me about of how they shot it. So on the day of filming, the stunt man dove into the lake. So that's not Colin Firth going into that lake. Because they couldn't send the actor into the slightly smelly, stagnant lake.

on the Lyme Park estate. So the stunt man had to go in. And then you see Colin Firth swimming underwater. And those shots were filmed at the Elstree Studios outside London in the big tank, which is obviously used for lots of different types of filming. So big, big water tank, which they can film underwater. So you see him swimming underwater. Hence he gets the shirt wet

And then you see him walking back across the fields. Now, on the day of filming at Elstree, they did it obviously out of sequence. and Colin Firth surfaced from the tank and smashed his the bridge of his nose against the pool cover, which someone hadn't, they hadn't taken the pool cover off fully. And Simon Langton recalled saying, no, are we gonna have to recast Mr. Darcy if we've broken his nose?

So his first thought wasn't like, no, my poor actor. It was like, no, we're gonna have to recast Mr. Darcy. Unfortunately, as history went on to prove, Colin Firth was okay. He had a bruised nose, he had a slight injury, but he wasn't terribly badly injured. but but being quite a kind of you know ruthless director, Simon his first thought was like, no, we've got to get on with filming, what are we gonna do?

So there could have been a completely alternative, Mr. Darcy, if Colin Firth had really, you know, i injured himself very badly. So that's very it's and and that factor about the kind of like how iconic the lake has become is very interesting because you see him diving in but you don't you you see him when you think it's him swimming underwater in the lake, but it's not. He's in a water tank. And then you see him walking across the fields.

with his horse and in the wet shirt. And one of the things that Simon Langton said he had to be very careful about doing was showing Mr. Darcy handing the horse off to the groom. So they brought the one of the stump men riders in for him to be the servant to take the horse's harness. Because he said if he'd have just left his horse.

To roam and graze on the field, he said we'd have got letters. There's no question that the TV watching public in Britain would have written letters to the BBC to complain that Mr. Darcy didn't look after his horse properly after he'd been on a long ride. He didn't seat his horse, you see. We'd be absolutely up in arms about that. The British public. So that's very interesting. That combination of private estates.

private settings, you know, these places that are now on the market for millions of pounds, and a combination of the National Trust properties. So that's very interesting because they of course used the town of Lacock to double Meryton, the village that the Bennet's obviously live nearby. So a lot of Lacock is seen for the exteriors. And what's great about Lacock is you can go there, you can stay there

You can go and eat dinner in the Red Lion pub, which is the Meryton assembly rooms, where you see them all getting out of the carriages, going into the Red Lion pub, which for the Meryton dance where Lizzie first meets Darcy. So you can see all of that and you can experience the whole thing and walk up the High Street because the whole village alongside Lacock Abbey is like a National Trust protected property.

So lots of the cottages, all the houses, as well as Lacock Abbey, they're all part of the National Trust properties. So Lacock is this beautifully preserved village in Wiltshire. So you can visit Bath, you can go on to Lacock and walk in the footsteps of the Bennet family, and you could even try and take a sneaky peek at Luckington Court near Chippenham. Just maybe get drive down the road. Some people do get there and try and take a picture outside.

It has been known that

and I posted that up on social media and I said, Who could tell me the importance of this window? And

a couple of people knew, but it's yep,

change the view so you can see all the exterior projected onto this beautiful like white turntable in the camera obscura. So it's a great day out. And of course for any Harry Potter fans out there, all the cloisters of Lacock Abbey or the Hogwarts, you know,

interesting. I I agree. I I'm glad you asked that because I think the connection for that choice of Chatsworth in the film was that they could obtain that for filming a movie as opposed to that more extended

filming schedule of a television series of episodic series. So that I think it was a case of impact is everything. And whilst Lyme Park is beautiful and that arrests you and Lizzie realizes, you know, she could have been mistress of all of this, looking at a beautiful house in Cheshire, the Chatsworth estate

Is just like gob smashing. It is like one of the finest estates in the whole of England. And it's one of the oldest estates belonging to the Cavendish family, established in the 16th century in the Tudor period. And what's interesting about Chatsworth is

It's not National Trust property, it's its own giant trust and organization, which is still operated very closely by the Dukes of Devonshire, by the Cavendish family. So it's it's it's both remained as the family estate, which is quite unusual in in the English aristocracy for them to hold on to the to the family estates. But it's been open to the public for many, many years now.

And

of course, it has so many remarkable features that it is immediately that dramatic, impactful place that could be on screen Pemberley. And I think that's probably one of the main reasons why they opted for it. Because many historians have now said Chatsworth is too grand, even for Mr. Darcy. He it was the home of.

The 18th century top of the tree Cavendish family, Dukes of Devonshire. If you know the film The Duchess about Georgiana, Duchess of Devonshire,

And they had remained with that stability ever since the Tudor period. It was, of course, founded, the estate was really founded by the matriarch of the family, Bess of Hardwick, who started out from very, very humble origins on the kind of fringes of the Elizabethan court. And then she married her way up. And so she eventually became Countess of Shrewsbury.

and and then was the kind of founder of the the Cavendish family. She her second marriage, I think, was to was to a Cavendish and she was widowed four times. You know, she

he was in charge of her incarceration and Bess of Hardwick did a lot of embroidery with Mary Queen of Scots. They created some famous embroideries together.

think she just felt because she was called Elizabeth and the Queen was Elizabeth, it was like we're all Elizabeth together. And she loved a window. Yeah. Bess Bess loved the window. She was she was an absolute yes. Made windows fashionable and lots of chimneys and things like

and it's interesting that you that you mentioned that Chatsworth is too grand for Mr. Darcy because if you think about it, yeah, that's a house owned by Duke in real life. And Mr. Darcy is not doesn't even have a title. So no, yeah, like it almost seems like the yeah, it seems

His aunt has a title and

grand gardens and all those windows that Chatsworth has, you know, Chatsworth has the windows. And they were the family that I think embellished the outside of the window frames with gold leaf. So that as you approach the house, the outside of the house would glitter and sparkle, you know, as the sun hit it, you know.

they just recently re re gilded all the windows, so if you see it now you're gonna see it when it's perfect.

know and it's like, my goodness, and you see the the sheer scale and grandeur. As you see in the film, you know, when you know Darcy is there and you know and and so some of the exterior room interior rooms were used, but for the interior, many interiors of Pemberley for the two thousand and five film, they used Wilton House.

which is near Salisbury in Wiltshire. So if you come to Wiltshire, you can you can travel with Strictly Jane Austen and you can visit all these all these locations throughout the county in close vicinity to Bath. You know, it's you're you're you're a couple of hours away from Bath to to Salisbury, and along the way you can see all these places. Lacock, if you're lucky you can see Luckington

And then you can see Wilton House outside of of Salisbury. So Wiltshire is a great is a great kind of model, I think. Modern day Wiltshire is a good model for Regency, Hampshire, Northamptonshire, you know, all the different places that we're supposed to see these families coming from.

never been

was, I think, was that the Palmer family? they were very important because Lord Castlemaine was one of the family members who we who was sent on an embassy to Rome in the eighteenth century, and he he retained and kept safe the what's now called the Wilton Diptych, which is that

It's in the National Gallery, you can see it, it's beautifully preserved now. But that was the family that and it was called the Wilton Diptych 'cause it had been kept safe at Wilton House. So it's a 14th century painted panel with gilding of Richard II being presented to the Virgin Mary and the angels as a kind of legitimising his kingship. He was the he was the king, the young king of the peasants' revolt and that.

period in the fourteenth century. But yes, the Wilton House kept the diptych safe. So it wasn't burnt during the Reformation or, you know, destroyed by Oliver Cromwell. It was it was kept safe. So that's a very important location as well.

Arcadian fantasy landscape. And that

again, Stourhead is in Wiltshire, very near. So you can make Stourhead another stopping off point if you want to come to visit these locations. And Stourhead is Stourhead is really beloved of local people. For a lot of the time in England, I'm not gonna say we take them for granted, but if you live not to if you live close to stately home or castle.

Sometimes

you've not visited it in years and you kind of like say, yeah, it's there and it's never gonna go anywhere. But you know, maybe we'll go this summer, you know. So you sort of like, you know, you're a bit maybe a bit blase about stately homes, but Stourhead is different. Stourhead is really beloved by local people because of the gardens, because you can access the gardens really quite reasonably and cheaply. You know, it's it's a great day out. And they, as you say, they are

They're so lovely that you almost feel like it's not real. That you you see there's you can see the bridge across the water feature, and then the little temple, which is the little folly. There's nothing in it, it's just the little architectural folly that's just sitting there, which is where of course Darcy and Elizabeth have their encounter in the rain, like you say, and it becomes this.

very passionate, you know, where they almost kiss but then she rejects him and it's very you know, but it's and it's it's kind of again, it's kind of not what Pemberley would have had. You know, it wouldn't have been that that kind of, you know that was a very fashionable, very new thing from the eighteenth century. And it it's interesting that, you know

I don't I don't necessarily see the Darcy family as being the type that would build a folly and have that. But it it like the Chatsworth impact, I think using Stourhead as that location, it's all about the storytelling. It's all about that backdrop and giving you that sense of, you know, that kind of beautiful escapist quality.

Which was exactly the purpose of those sorts of of of gardens, those kind of gardens. It was entirely to kind of to to to get away from pollution and you know you know urban places and for the wealthy to be able to retreat into what what they thought of as nature, but was of course completely designed to within a you know, an inch of its life, you know, every tree, every

every every water feature, everything was designed, you know, to absolutely kind of, you know, the the the final inch, you know, they would move great trees, you know, great mature trees from one place to another because it spoiled the view. You know, so so it's like that kind of fantasy side of it. But the great thing about Stourhead Gardens is how now in their kind of modern iteration, they

contain so many interesting flora and trees that it's it's an absolute joy for people who you know who love gardens who love horticulture you know it's one of the attractions along with something like the Chelsea Flower Show you know Stourhead Gardens is one of the places to visit and especially in the autumn because when all the trees change

Is

it in like New England in Vermont in the autumn for Americans? So yeah. Yeah.

And that's why it's so well loved locally, that the the things that they they hold there and the the the ways that you can view it throughout the year. It's very, very popular.

They're absolutely granted, you know, they have known, you know, wealth and great privilege. But then Mrs. Dashwood has to she has to deal with the fact that they have to move to this cottage in Devon, owned by Sir John Middleton on the Barton estate. So one of her cousins grants her this cottage to live in.

And the thing that always makes me laugh, and the thing that I know Jane Austen is being ironic about is when they say they have to move to a five-bedroom cottage and they only have two servants. And I I know that because of Jane Austen's upbringing, you know, they had they had sir, they had farming labourers, they had, you know, they but the family in Austen's time, they did most of the work themselves, you know. She was the

daughter of a clergyman so she knew what it was like to have to be domesticated but this is the thing about the Dashwood is like Mrs. Dashwood is like what are we gonna do what are we gonna do we'll only have two servants and only five bedrooms it's like no so that always amused me but I think that what's really really interesting is that the Barton cottage that we see on screen

In the you know the Emma Thompson 1996 Sense and Sensibility that was chosen for the vistas that it offered, that it perfectly kind of embodied the idea of that sense of open space and that ability for particularly Marianne to be able to kind of range around.

And to be able to kind of do her sort of, you know, her walking thing and her obsessive, you know, obsessing about Willoughby thing, and to be able to kind of have that kind of have that adventurousness. You know, it was like, like Susannah was saying about the 1995 Pride and Prejudice, about throwing open the doors, you know, taking Jane Austen out into nature. And I think that definitely influenced the Ang Lee.

Emma Thompson interpretation of Sense and Sensibility. and that Barton cottage is is an 18th century stone cottage. So of course, as lived in by the Dashwoods, it would look look a lot newer than it does on screen, because of course it's you know very aged period house now, but back in back in Austen's day, it would have been quite a new build.

And that's one of the things to remember that there was actually a lot of building going on in the Georgian period. And cottages that we see as quaint and ramshackle and tumble down actually were brand new buildings and were, you know, were very nice, you know, very well-appointed buildings. But that that cottage is on the Flete estate in South Devon, and it is again a private

property it's not open to the public but people do make that pilgrimage to it it's it's very authentic unlike the Luckington courts the Stourheads the the other places this is very much in the heart of the Devon where the Dashwoods were were described as settling so it's on the on the estuary and it's very near to Plymouth

So that's, you know, that's the kind of main, you know, city and it's the huge, obviously the huge, you know, harbour and Plymouth is obviously has all of its Royal Naval connections and its incredible connections and history with like Francis Drake and, you know, or the the history of the English Royal Navy. And it's also near to a village called Newton Ferrers. So in that part of Devon, there's the Ferrers name.

Which is then of course you you you have that echoed with Edward Ferrars in in in the novel. So perhaps she was like looking for kind of Devonshire names in that way. But it's very similar. It's like, you know, the background with Edward Ferrars is very similar. The fact that he becomes enamoured of Lucy Steele. And that's during the time when he was residing in

her father's house as a student when he was studying. And that's very similar to how George Austen, Jane's father, had to operate and have students living, residing in the house in Hampshire, in Steventon. And sort of so he had to take in pupils, you know, the way that Edward is taken in, and then unfortunately becomes, you know.

creates an attachment to the terrible Lucy, whose whose name then becomes Lucy Ferrars because of course she marries the brother, which is Lucy Ferrars is a pun on Lucifer. So she is the devil. You know, Lucy Ferrars is the devil. And she is the devil to Elinor. She is terrible, but she but yes, so the Barton Cottage is very, very pretty, very beautiful, but of course, you know, i is a historic

building now and and sort of it it looks you know it looks obviously of the period but but I think the way that they dressed it the way that they had it and where it's situated in the in the landscape was very useful for the film for telling the story because of how often the characters have to make that trip to Barton Cottage, you know, the suitors of the Dashwood sisters.

They have to specifically make that trip. They have to ride along the estuary. And so they see them coming. You know, Margaret, who's like, you know, she's the lookout. She's there, kind of, you know, and she sees them coming. She sees the horse. So who is it? Is it Colonel Brandon? Is it Willoughby? Is it Edward? You know, there's all this like, who are we going to see next? So that's a great way of of establishing that kind of dramatic impact of how.

how the cottage is situated. I think that's very good. And just as a just as a little reminder, people can actually go and stay, you can stay nearby the Flete Estate. There's plenty of places in South Devon, so you can enjoy that countryside. But you could also stay on the Stourhead estate in Wiltshire. There are beautiful cottages there. And I went one year when it was near Christmas and they were all lit up. I took my children.

and it's lit up and it looks beautiful. And I thought, one of these years I'm gonna actually stay here at Christmas. So that's my ambition. My white

so to wrap things up then, what's which one of the all these places is your favorite location?

tour, stopping off at all the different places in Wiltshire to see Stourhead, to see Wilton House, and to if you if you're lucky, see Luckington, to see Longbourn.

I hope you have a wonderful trip over here.

I even though Chatsworth is a little harder to get to, I recommend people make make the visit because it's it's quite incredible.

we can make you very welcome and we can take you round and give you expert guides through Strictly Jane Austen to visit all these places and you need to really go by car, be driven, 'cause there's not very good public transport to get to these places. Yeah.

So, well, Gabrielle, this has been wonderful. I now have a very long list of houses to go to again and stand in front of, and much better idea how to actually get to them. So thank you so much for coming back on

And

our thanks again to today's sponsor, Strictly Jane Austen, who is creative director you've just been listening to. If this episode has you dreaming of an Austen pilgrimage, there's no better way to begin than one of their immersive guided tours of Jane Austen's bath complete with period costume and afternoon tea if you fancy the full experience. They also offer gift vouchers, which make a perfect present for the Austen lover in your life. Visit strictlyjaneausten.com to book or learn more, and the link is in our show notes.

If you enjoyed this episode, please subscribe, like, or comment and tell us which Austen location is at the top of your list to visit over on YouTube, Instagram, or Facebook. And if you love the Anglotopia podcast, please consider joining the Friends of Anglotopia Club, where you can get early access to new episodes and connect with other Britain enthusiasts. So join us next time as we continue exploring the people, places, and stories that make Britain's history and culture so endlessly fascinating to discover. Thank you again, Gabrielle.