In the 1830s the house was remodelled by Edward Blore; the work included the addition of an extension and a frontage in Jacobean style, and joining the central block to the service wings.

The hall is built in brick with ashlar dressings and slate roofs, and is a Grade II* listed building.

It has a long entrance front consisting of a three-storey central block with lateral wings, each of which has two four-storey turrets.

Outside this on each side are two-storey service blocks that project forward, forming a three-sided entrance forecourt.

The earthworks of the previous hall and chapel and a deserted medieval village in the grounds are together designated as a scheduled ancient monument.

The house was two rooms deep, with a central entrance hall, and a corridor leading from each side.

[2] John Ward was the grandfather of William Davenport, who came to live at Capesthorne upon the death of his father in the late 1730s.

Between 1837 and 1839 Blore joined the lateral wings to the main part of the house by adding new rooms at the sides.

He also widened the wings, and built new stables and service courts to the north and south, creating a symmetrical structure.

The orangery was replaced with a large conservatory designed by Joseph Paxton, and this led directly to the family pew in the chapel.

He kept generally to Blore's plans, but gave the entrance front three shaped gables rather than the central attic.

Internally, Salvin changed the proportions of the storeys, making the ground floor ceilings higher.

Arthur Henry Davenport died in 1867 before the rebuilding had been completed, and the house passed to William Bromley-Davenport.

These are carried on Tuscan columns with circular panels in the spandrels, and keystones decorated with diamond rustication.

It has a panelled ceiling with pendants, and the windows contain 19th-century stained glass arranged by Willement, featuring the arms of the Davenport and Ward families.

The chimney piece was added by Salvin, and contains the figures of a caryatid and an Atlas that were formerly part of the reading desk of the two-decker pulpit in the chapel.

[8][9][10][11] The Sculpture Gallery, also by Blore, also has a panelled ceiling, and consists of a corridor along the sides of which are arched niches.

There is also the face of Charles James Fox by Joseph Nollekens, and a pair of Dancing Girls by Antonio Canova.

The room features a large fireplace with an overmantel in the early Renaissance style, numerous family portraits, and vases collected on the overseas trips.

[8][13] The Drawing Room, designed by Salvin, is on the garden front, and features a panelled ceiling with pendants, and a floral frieze.

In the room are twin fireplaces made from Coade stone, dated to 1789, which originally belonged to the family's house in Belgravia, London.

Both are carved, one depicting Faith, Hope and Charity, and the other the Aldobrandini Wedding, a famous ancient Roman painting.

The room contains a large fireplace in early Renaissance style, made from white and variegated marble, and containing the family arms.

The staircase has a wrought iron balustrade decorated with acanthus and roundels with the crests of the Bromleys and the Davenports.

The work includes the dates of its progress, and depicts, among other subjects, the Garden of Eden and Man's Fall from Paradise.

[20] The hall is surrounded by a landscaped park that includes woodland, parkland, lawns, lakes with a boat house, and an arboretum containing 18th-century maple trees.

[b] The doorway and the windows are round-headed, and around the top of the chapel is a cornice and a balustrade with square piers capped by swagged ball finials.

The reredos is in mosaic with an alabaster surround, it was made by Salviati and is loosely based on Giotto's Dormition.

[27] Although the earlier hall and chapel have long been demolished, earthworks remaining from them are still present, as are those of a nearby deserted medieval village.

They note "the thinness of the end parts and the hollowness of the sham towers" and state that the "back is without drama", and conclude that "it is a grand concept executed lamely".