grant by Henry VIII, Henry Tudor's son, to the 11th Baron Willoughby de Eresby was made in 1516, together with the hand in marriage of Maria de Salinas, a Spanish lady-in-waiting to Queen Catherine of Aragon. Their daughter Katherine inherited the title and estate on the death of her father in 1526, when she was aged just seven. In 1533, she became the fourth wife of Charles Brandon, 1st Duke of Suffolk, a close ally of Henry VIII. In 1539, Henry VIII granted Charles Suffolk the lands of the nearby suppressed Vaudey Abbey, founded in 1147, and he used its stone as building material for his new house. Suffolk set about extending and rebuilding his wife's house, and in only eighteen months it was ready for a visit in 1541 by King Henry, on his way to York to meet his nephew, James V of Scotland. In 1551, James's widow Mary of Guise also stayed at Grimsthorpe. The house stands on glacial till and it seems that the additions were hastily constructed. Substantial repairs were required later owing to the poor state of the foundations, but much of this Tudor house can still be seen today. During Mary's reign the castle's owners, Katherine Willoughby and her second husband, Richard Bertie, were forced to leave it owing to their Anglican views. On Elizabeth's succeeding to the throne, they returned with their daughter, Susan, and their new son Peregrine, later the 13th Baron. He became a soldier and spent much of his time away from Grimsthorpe. The Vanbrugh building By 1707, when Grimsthorpe was illustrated in Britannia Illustrata, the 15th Baron Willoughby de Eresby and 3rd Earl Lindsey had rebuilt the north front of Grimsthorpe in the classical style. However, in 1715, Robert Bertie, the 16th Baron Willoughby de Eresby, employed Sir John Vanbrugh to design a Baroque front to the house to celebrate his ennoblement as the first Duke of Ancaster and Kesteven. It is Vanbrugh's last masterpiece. He also prepared designs for the reconstruction of the other three ranges of the house, but they were not carried out. His proposed elevation for the south front was in the Palladian style, which was just coming into fashion, and is quite different from all of his built designs. Inside, the Vanbrugh hall is monumental with stone arcades all around at two levels. Arcaded screens at each end of the hall separate the