The secrets of the real Downton Abbey: What it's really like to live at Highclere Castle today

Highclere is more than just the grand backdrop to Downton Abbey. Previously home to the 5th Earl of Carnarvon, who bankrolled the discovery of Tutankhamun’s tomb and helped spark Egyptomania, it now draws up to 1,200 visitors a day and even produces its own gin. And yet it remains a family home, layered with centuries of history and set in a Hampshire landscape that stretches even further into the past.

The Countess of Carnarvon – known as Lady Carnarvon, or Lady C to staff – documents the changing seasons and ongoing legacy of the site in her engrossing new book, A Year at Highclere: Secrets and stories from the real Downton Abbey. 

It spans everything from the area’s first Bronze Age settlements to centuries of architectural change – including medieval updates and Sir Charles Barry’s dramatic remodelling in the 1840s. You’ll also find thrilling tales of family members, numerous television and film appearances, and the mind-boggling statistics of castle life (250-300 rooms, 542 fire detectors, and no showers – only baths). 

Any given room can have a whole host of historic connections. Take Arundel Bedroom, named for the 4^th Earl’s mother, born at Arundel Castle; later used as a First World War operating theatre when Lady Almina Carnarvon offered Highclere as a convalescent hospital for the war effort; then hosting members of the Royal Family who stayed in 2003; even appearing as rebellious Lady Sybil’s bedchamber in Downton Abbey. 

Thanks to the magic of video calling, we join Lady Carnarvon in the Saloon at Highclere: one of its most impressive spaces, frequently featured in Downton. As Lady Carnarvon sits next to the fireplace, on a recently reupholstered pouffe in green velvet by Robert Kime, she tells us in her own words about life at Highclere Castle in the past and present, and why she doesn’t want it to feel like a museum…

Tell us about the reality of owning a historic house, and how you see your role in sharing its heritage with the public.

There’s a sort of informal trade union of historic house owners, where we can ask questions and share advice – sometimes on very practical matters, like tracking down a particular type of drainpipe. Each house, castle, or palace has its own character and strengths, and they welcome people in different ways – think of Cawdor Castle in Scotland or Blenheim Palace in Oxfordshire.

These places aren’t museums; they’re living heritage, shaped by the lives, tears, and laughter of those who have lived and worked there.In many palaces and houses – such as Versailles, for example – the aim is to highlight the things that bring us together, whether it’s music, art, or simply the shared human experience, which feels especially important in difficult times. Here at Highclere, we have treasures collected by the earls over the years, such as the extravagant leather wall hangings in the Saloon [brought from Córdoba, dating back to 1661].

What has it been like having Downton Abbey filmed at Highclere, and seeing the show’s success continue for so long?

On set, the crew focuses on clearing one area for filming, while the clutter of monitors and equipment means actors rarely notice what lies beyond, in the rest of the house.

People loved, and still love, the time period that Downton Abbey covers. Yet, none of us – not even Hugh Bonneville (Lord Grantham) or Gareth Neame (Executive Producer) thought that 15 years later, there would be such anticipation for the show and the new film, Downton Abbey: The Grand Finale. I hope people love it. I’ve read on the internet that some fans would also like to see the story of the young Dowager Countess (played by Maggie Smith). 

‘Given Highclere was chosen to be Downton, for the most part the chattels, i.e. the sofas, tables, works of art and paintings, should all remain in situ rather than being swapped in and out… [however] Various pieces of porcelain, china and glass were rented, which meant we could remove our more delicate Meissen, the Chinese vases and Napoleon’s desk to rooms not included in the filming agreement’
A Year at Highclere, Chapter 3: March

In your book, you talk about the restoration of a 19^th-century table that was accidentally damaged when used as an ironing board surface during filming. What do you have to consider when offering your home as a filming location?

You have to be amenable but realistic: set the hours and the days, and photograph what you’ve got and what might work for the production. Think about details, such as where people will park – a friend of mine had a crew who parked on her lawns and damaged them – and ask the crew to bring their own toilets, otherwise yours might break! 

Of course, accidents – like the table – do happen. It’s challenging and hard to find the correct craftsmen today who can restore pieces. Sometimes it can take months to find the right restorer!

You’ve worked a lot with your friend, interior designer Sarah Morris (of McWhirter Morris), on house renovations over the years. What can you tell us about the process? 

Highclere is on another scale – I describe it as a masculine house. The library, for example, is very different from the music room, so they each need a considered approach. 

I appreciate Sarah’s directness. We use a combination of what we like but what is fitting for working with a Grade I-listed home; this is not the place for small, flowery wallpaper. Under Sarah’s supervision, I’ve become bolder and more adventurous in my design choices. 

We worked together on renovation and redecoration projects at London Lodge and a grotto on the grounds, before I took on some cottage renovations of my own. I want the spaces to feel cosy and cheerful; we want tenants to stay long-term. 

I don’t have a CAD machine, so I rely on staff to help plan how rooms are used – where people might sit, where a bath should go, whether there’s enough storage, and whether doors function properly. For me, the kitchen and bathroom are the most important rooms: I enjoy cooking, and I see the bathroom as a personal haven and a place of refuge.

‘We thought that Herbert and Arundel bedrooms would create an appropriate suite of rooms for the Royal party, but that their existing colour scheme of shiny avocado green and cream [chosen by the land agent of the 6^th Earl, post-First World War]left something to be desired’
A Year at Highclere, Chapter 10: October

Can you tell us about some of the most remarkable artefacts at Highclere and why they’re significant?

Some of the artefacts at Highclere are household objects that have spoken to us over centuries, like a dish that’s 5,000 years old or a tiny shabti head representing Tutankhamun’s grandfather, whose tomb was robbed. These pieces could easily be in the Metropolitan Museum, MoMA or the Tate, but they remain here, telling their stories across time. 

You touch on some ghostly and mysterious events at Highclere in the book, too… what stories can you share about these unusual happenings?

We’ve had many ghost sightings at Highclere, and the 5^th Earl held several seances here. I find it all fascinating; I suppose we are all looking for something beyond ourselves. I hadn’t told many people that we’d previously had an Anglican monk visit to bless the castle and say prayers – now they can read all about it… I’ll wait for their reactions!

You have a Delftware-style Christmas decoration in your gift shop, made by a Dutch lady living in the local village. How important is it to you to involve local people in the castle’s story?

We thrive on the diversity of our staff – our differences are our strength. It’s so important to us to involve local people as much as possible; we work here, and we hope many of our team live on or near the estate. Historically, commuting only became common after the First World War, but before that, people lived close to their workplaces. 

We’re returning to what truly makes people happy: everyday interactions, even something as simple as a chat by the coffee machine. Our goal is to foster both work-life balance and genuine camaraderie.

What’s Christmas at Highclere like?

Christmas is all about being together with family and friends, and our traditions revolve around sitting by the fire, telling ghost stories, drinking and eating – it’s the camaraderie. We also want people to walk among the Christmas trees when it’s dark, with twinkling lights. Our decorations [over 10,000 baubles and tree decorations, and 2km of garlands] are different every year, with a different theme, such as Egyptian or medieval. 

Some visitors have added us to their own traditions – one particular family comes every year in early December, as part of their celebrations. We love being part of that!

A Year at Highclere is published by Century Books and available in hardback now. Downton Abbey: The Grand Finale was released in cinemas on 12^th September 2025. 

Images: © Highclere Castle LLP (17); © Carnival Film & Television Limited (5)