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Our jeep had immediately stopped as soon as we heard calls from a langur just at the entrance of zone-B. We went a bit ahead and saw the langur, sitting on the apex of the tree staring at one corner. We realized there could be the presence of a predator somewhere around and most probably in the area where the langur was staring.
Excitement got increased when another langur joined. Peafowl was no more wandering on the ground, which had added additional chillness in our bones. Atmosphere was complete silent except the langur calls and only one bush was moving from which we had confirmed the predator had made a kill. We had set the camera settings ready and every gun was pointing towards the bush waiting for the big guy to come out. The excitement slowly got decreased along with the alarm calls. We suspect that the big cat might have seen our jeep and hence hesitant to come out. We went further ahead, stopped and waited but still there was no sign. We came to the same place after fifteen minutes with the same intensity and waited, keeping some distance from the place where we had halted earlier. However, excitement in everyone got reduced as soon as we saw a group of chitals. Everyone got settled down and were almost ready to move on. Just then I heard a typical sound coming from behind as if someone is practicing with nunchaku. The moment I turned around it was two male stags fighting with each other. Quickly turned around and positioned myself for the photoshoot.
Nature always gives you something, you just have to look around.
All my axis figures of WWII. Consists of:
1 Panzergrenadier
3 Wehrmacht
3 Waffen SS
1 Luftwaffe field division troop
2 Winter German troops
1 Fallschirmjäger
My last pictures were crappy :p
Symbolism has a way of manifesting itself in similar ways across cultures and across time. Whether it be the antique Platonic significance of a circle and a square, or the Axis Mundi of 20th century comparative mythology, there are shared beliefs and universal forms by which the highest ideas have been expressed throughout human history. The systematization of the Mughal Empire bleeding over into its most noteworthy architectural masterpieces is much the same manifestation which saw the creation and continual rebuilding of Forbidden City in Beijing more than two centuries prior. Long before the circle (representing heaven) and the square (representing the earth) were applied in the lofty dome atop the square plinth of the Rauza-I Munawwara, the two forms were merged in the square portico and circular rotunda of the Pantheon of Rome. While each of these storied landmarks are firmly rooted in their own historicity, it is less a coincidence that they should be so symbolically analogous and more a testament to the shared desire of humanity to achieve something greater and to imbue in its works a fundamental honesty of that shared desire.
Taj Mahal, if for no other reason than the aforementioned, succeeds on these fundamental fronts. Here, the timeless qualities of a desire to be more, to do more, and to share more, are coalesced in the unparalleled ensemble of the Jilaukhana, the Charbagh and the Chameli Farsh of Taj Mahal.
The Monumental Axis ("Eixo Monumental" in Portuguese) is a central avenue in Brasília's city design.
Native to Southeast Asia, the axis deer has been introduced to the US as a game animal. Large populations now exist in Hawaii and Texas
The chital (/tʃiːtəl/) or cheetal (Axis axis), also known as spotted deer or axis deer, is a species of deer that is native in the Indian subcontinent. The species was first described by German naturalist Johann Christian Polycarp Erxleben in 1777. A moderate-sized deer, male chital reach nearly 90 cm (35 in) and females 70 cm (28 in) at the shoulder. While males weigh 30–75 kg (66–165 lb), the lighter females weigh 25–45 kg (55–99 lb). The species is sexually dimorphic; males are larger than females, and antlers are present only on males. The upper parts are golden to rufous, completely covered in white spots. The abdomen, rump, throat, insides of legs, ears, and tail are all white. The antlers, three-pronged, are nearly 1 m (3.3 ft) long.
Source: Wikipedia (en.wikipedia.org/wiki/Chital)
Expo Axis is the main entrance of the 2010 Shanghai World Expo Park in China.
世博軸是中國2010年上海世界博覽會園區主入口，也是世博園區最大的單體項目，現為大型商業中心。
Some more Weird War II minifigs
This time it is the Axis powers that have attained elite weaponry and tactics...
Guns and Helmets by Brickarms
Gasmasks by MinifigCat
Helmet and Gasmask combo by Exobrick
The establishment of a central north-south axis through the entire city, with the palace at its center, immediately enshrined Forbidden City as the zenith of the imperial power structure. Along this axis, a strict procession begins with a series of gates just south of the city, known as Tian An Men (Gate of Heavenly Peace), Duan Men (Gate of Uprightness), and finally, Wu Men (Meridian Gate); the last of which pierces the walls of the city and is where this model begins. The layout within the Forbidden City is essentially divided into two parts, the imposing and majestic Outer Court (外廷) and the intimate and private Inner Court (内廷). The Outer Court is centered on and defined by three distinct courtyards, in accordance with the Qian trigram for heaven (☰). The first lies at the entrance through the Meridian Gate (午门) and is characterized by its five bridges over the meandering Golden Water River (金水河). The central axis continues through the Gate of Supreme Harmony (太和门) on to the second courtyard and the first full view of the Hall of Supreme Harmony (太和殿). This is the first of three halls built upon an enormous 工 shape marble terrace. The Hall of Supreme Harmony, together with the Hall of Central Harmony (中和殿) and Hall of Preserving Harmony (保和殿), are the central focus of the entire Imperial City and each served their own essential roles in imperial modus operandi.
The Inner Court then comprises the numerous palaces and precincts north of the Outer Court. The central axis continues through the Gate of Heavenly Purity (乾清门) to another set of three halls upon a second 工shape marble terrace. These halls are the Palace of Heavenly Purity (乾清宮), the Hall of Union (交泰殿), and the Palace of Earthly Tranquility (坤宁宫). These three smaller halls served as the official residences of the Emperor and Empress. Immediately north of the Inner Court’s three main halls lies the Imperial Garden (御花园) and, finally, the northern Gate of Divine Prowess (神武门).
The garage ominously glows from the moonlight as stars glow overhead. Taken at Gilman, the former town of the workers at the Eagle Mine. The town is at an elevation of 9000’ with a population of 350. It was the largest underground mill in the US until in 1984 when it was abandoned by order of the EPA due to toxic pollutants. Graffiti artist often use Gilman as a canvas for their artworks. These photos are part of the Gilman project, a two day photographic shoot of the town and mine site.
Je t'emmène dans mon monde où les nuages caressent les mille étoiles du ciel satiné, où la lune fait danser les ombres vertigineuses des ténèbres, où les corps subtils s'envolent et flottent dans la masse éthérique en attendant les doux rayons solaires qui déchireront la voute afin de les envelopper dans cette chaude embrassade salvatrice. Le Périple du Non-Être au Royaume Onirique de l'Être et du Paraître.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some Background:
The Ki-38 fighter was designed by the Tachikawa Aircraft Company Limited (立川飛行機株式会社, Tachikawa Hikōki Kabushiki Kaisha) near Tokyo, an aircraft manufacturer in the Empire of Japan, specializing primarily in aircraft for the Imperial Japanese Army Air Force. The Ki-38 prototype was produced in response to a December 1937 specification for a successor to the popular fixed-gear Nakajima Ki-27 Nate. The specification called for a top speed of 500 km/h (310 mph), a climb rate of 5,000 m (16,000 ft) in five minutes and a range of 800 km (500 mi). Maneuverability was to be at least as good as that of Ki-27.
When first flown in early January 1939, the Ki-38 prototype was a disappointment. Japanese test pilots complained that it was less maneuverable than the Ki-27 Nate and not much faster. Even though the competition was eventually won by the Ki-43, service trials determined the aircraft to hold sufficient promise to warrant further work, leading to the adoption of an expanded and strengthened wing and a more refined Mitsubishi Ha-102 (Army Type 100 1,050hp Air Cooled Radial) 14-cylinder air-cooled radial piston engine. During spring 1939, following the completion of further proving trials, an order for a pre-production batch of 25 aircraft was placed.
As a whole, the Ki-38 was an all-modern design consisting of all-metal skin and understructure construction with low-set monoplane wing appendages. The wings were straight in their general design with rounded tips and set well-forward of amidships. The engine was fitted to the extreme forward section of the fuselage in a traditional manner, powering a three-bladed propeller installation. Interestingly, the cockpit was also situated well-forward in the design, shortening the visual obstacle that was the engine compartment to some extent. However, views were still obstructed by the short engine housing to the front and the wings to the lower sides. The fuselage tapered at the rear to which a single vertical tail fin was affixed along with mid-mounted horizontal tailplanes. The undercarriage was retractable and of the "tail-dragger" arrangement consisting of two main single-wheeled landing gear legs and a fixed, diminutive tail wheel leg at the rear.
The series-production Ki-38-I was further modified to enhance its performance. These changes involved a major weight saving program, a slimmer and longer fuselage with bigger tail surfaces and a new, more streamlined bubble-style canopy that offered, even while bearing many struts, the pilot a very good all-round field of view.
In addition to good maneuverability, the Ki-38-I had a good top speed of more than 500 km/h (310 mph). The initial Ki-38 was armed with four 7.7 mm (0.303 in) Type 89 machine guns in the wings, but this soon turned out to be insufficient against armored Allied fighters and bombers. Quickly, the inner pair of weapons was, after just 50 aircraft, replaced with 12.7 mm (0.50 in) Ho-103 machine guns in the Ki-38-Ib (the initial version subsequently became the Ki-38-Ia), of which 75 were built. On board of the following Ki-38-Ic, the inner weapons were replaced with a pair of even heavier and more effective 20 mm (0.787 in) Ho-5 cannon, which required fairings for the ammunition under the wings and made this version easy to identify. The Ki-38-Ic became the most frequent variant, with 150 examples built.
All types also featured external hardpoints for a drop tank under the fuselage or a pair of bombs of up to 250 kg (550 lb) caliber under the wings. Late production aircraft were designated Ki-38-II. The pilot enjoyed a slightly taller canopy and a reflector gunsight in place of the earlier telescopic gunsight. The revised machines were also fitted with a 13 mm (0.51 in) armor plate for the pilot's head and back, and the aircraft's fuel tanks were coated in rubber to form a crude self-sealing tank. This was later replaced by a 3-layer rubber bladder, 8mm core construction, with 2mm oil-proof lamination. Some earlier aircraft were retrofitted with these elements, when available to the field workshops, and they dramatically improved the aircraft’s resilience to enemy fire. However, the bladder proved to be highly resistant only against light 7.7 mm (0.303 in) bullets but was not as effective against larger calibers. The Ki-38-II’s armament was the same as the Ki-38-Ic’s and 120 aircraft were built.
Ki-38 production started in November 1939 at the Tachikawa Hikoki KK and at the 1st Army Air Arsenal (Tachikawa Dai-Ichi Rikugun Kokusho) plants, also at Tachikawa. Although Tachikawa Hikoki successfully managed to enter into large-scale production of the Ki-38, the 1st Army Air Arsenal was less successful – hampered by a shortage of skilled workers, it was ordered to stop production after 49 Ki-38 were built, and Tachikawa ceased production of the Ki-38 altogether in favor of the Ki-43 in mid-1944.
Once it was identified and successfully distinguished from the IJA’s new Ki-43 “Oscar” and the IJN’s A6M “Zero” (Oscar), which both had very similar outlines, the Ki-38 received the Allied code name “Brad”. Even though it was not produced in the numbers of the Ki-43 or the A6M, the Ki-38 fought in China, Burma, the Malay Peninsula, New Guinea, the Philippines, South Pacific islands and the Japanese home islands. Like the Oscar and the Zero, the Ki-38 initially enjoyed air superiority in the skies of Malaya, Netherlands East Indies, Burma and New Guinea. This was partly due to the better performance of the Brad and partly due to the relatively small numbers of combat-ready Allied fighters, mostly the Curtiss P-36 Hawk, Curtiss P-40, Brewster Buffalo, Hawker Hurricane and Curtiss-Wright CW-21 in Asia and the Pacific during the first months of the war.
As the war progressed, however, the fighter suffered from the same weaknesses as its slower, fixed-gear Ki-27 "Nate" predecessor and the more advanced naval A6M Zero: light armor and less-than-effective self-sealing fuel tanks, which caused high casualties in combat. Its armament of four light machine guns also proved inadequate against the more heavily armored Allied aircraft. Both issues were more or less mended with improved versions, but the Ki-38 could never keep up with the enemy fighters’ development and potential. And as newer Allied aircraft were introduced, the Japanese were forced into a defensive war and most aircraft were flown by inexperienced pilots.
General characteristics:
Crew: 1
Length: 8.96 m (29 ft 4 in)
Wingspan: 10.54 m (34 ft 7 in)
Height: 3.03 m (9 ft 11 in)
Wing area: 17.32 m² (186.4 sq ft)
Empty weight: 2,158 kg (4,758 lb)
Gross weight: 2,693 kg (5,937 lb)
Max takeoff weight: 2,800 kg (6,173 lb)
Powerplant:
1× Mitsubishi Ha-102 14-cylinder air-cooled radial piston engine with 1,050hp (755 kW),
driving a 3-bladed variable-pitch propeller
Performance
Maximum speed: 509 km/h (316 mph, 275 kn)
Cruise speed: 450 km/h (280 mph, 240 kn)
Range: 600 km (370 mi, 320 nmi)
Service ceiling: 10,000 m (33,000 ft)
Time to altitude: 2,000 m (6,600 ft) in 3 minutes 24 seconds
Wing loading: 155.4 kg/m2 (31.8 lb/sq ft)
Power/mass: 0.182 hp/lb (0.299 kW/kg)
Armament:
2× 20 mm (0.787 in) Ho-5 cannon with 150 rpg
2× 7.7 mm (0.303 in) Type 89 machine guns with 500 rpg
2× underwing hardpoints for single 30 kg (66 lb) or 2 × 250 kg (550 lb) bombs
1× ventral hardpoint for a 200 l (53 US gal; 44 imp gal) drop tank
The kit and its assembly:
I always thought that the French Bloch MB 150 had some early WWII Japanese look to it, and with this idea I recently procured a relatively cheap Heller kit for this conversion project that would yield the purely fictional Tachikawa Ki-38 for the IJA – even though the Ki-38 existed as a Kawasaki project and eventually became the Ki-45, so that the 38 as kitai number was never actively used.
The Heller MB 150 is a vintage kit, and it is not a good one. You get raised panel lines, poor details (the engine is a joke) and mediocre fit. If you want a good MB 150 in 1:72, look IMHO elsewhere.
For the Ki-38 I wanted to retain most of the hull, the first basic change was the integration of a cowling from a Japanese Mitsubishi Ha-102 two-row radial (left over from an Airfix Ki-46 “Dinah”), which also received a new three-blade propeller with a different spinner on a metal axis inside. The engine also received some more interior details, even though the spinner blocks most sight.
The next, more radical move was to replace the MB 150’s spinal cockpit fairing with a bubble canopy and a lowered back – I found a very old and glue-tinted canopy from a Matchbox A6M in the spares box, and it turned out to be very suitable for the Ki-38. However, cleaning the clear piece was quite challenging, because all raised struts had to be sanded away to get rid of the old glue and paint residues, and re-polishing it back to a more or less translucent state took several turns with ever finer sandpaper, polishing paste and soft polishing mops on a mini drill. The spine was re-created with 2C-putty and the canopy was blended into it and into the fuselage with several PSR turns.
Inside, I used a different pilot figure (which would later be hard to see, though), added a fuel tank behind the seat with some supporting struts and inserted a piece of styrene sheet to separate the landing gear well from the cockpit – OOB it’s simply open.
The landing gear was basically taken OOB, I just replaced the original tail skid with a wheel and modified the wheels with hub covers, because the old kit wants you to push them onto long axis’ with knobs at their tips so that they remain turnable. Meh!
The fairings under the guns in the wings (barrels scratched from the MB 150’s OOB parts) are conformal underwing fuel tanks from a late Seafire (Special Hobby kit).
Painting and markings:
The initial plan was a simple green/grey IJA livery, but the model looked SO much like an A6M that I rather decided to give it a more elaborate paint scheme. I eventually found an interesting camouflage on a Mitsubishi Ki-51 “Sonia” attack plane, even though without indications concerning its unit, time frame or theater of operations (even though I assume that it was used in the China-Burma-India theater): an overall light grey base, onto which opaque green contrast fields/stripes had been added, and the remaining light grey upper areas were overpainted with thin sinuous lines of the same green. This was adapted onto the Ki-38 with a basis in Humbrol 167 (RAF Barley Grey) and FS 34102 (Humbrol 117) for the green cammo. I also wanted to weather the model considerably, as a measure to hide some hardware flaws, so that a partial “primer coat” with Aluminum (Revell 99) was added to several areas, to shine through later. The yellow ID markings on the wings’ leading edges were painted with Humbrol 69. The propeller blades were painted with Humbrol 180, the spinner in a slightly lighter mix of 180 and 160.
Interior surfaces were painted with a dull yellowish green, a mix of Revell 16 and 42, just the inside of the landing gear covers became grey as the outside, in a fashion very similar to early Ki-43s.
The decals came form various sources, including a Hasegawa Ki-61 sheet for the unit markings and some stencils and hinomaru in suitable sizes from a generic roundel sheet.
Some dry-brushing with light grey was done to emphasize edges and details, and some soot stains were added with graphite to the exhausts and the guns. Finally, the kit was sealed with matt acrylic varnish, some more dry-brushing with aluminum was done, esp. around the cockpit, and position lights were added with translucent paint.
An unexpected result – I was not prepared that the modified MB 150 looks THAT much like a Mitsubishi A6M or the Ki-43! There’s even an Fw 190-ish feel to it, from certain angles. O.K., the canopy actually comes from a Zero and the cowling looks very similar, too. But the overall similarity is baffling, just the tail is the most distinguishing feature! However, due to the poor basis and the almost blind canopy donor, the model is far from stellar or presentable – but some in-flight shots look pretty convincing, and even the camouflage appears to be quite effective over wooded terrain.
Renishaw Hall, Derbyshire.
Grade l listed.
South or Garden Front.
Asymmetrical, with eleven bays to the main ranges, and a five bay centre incorporating the remnants of the C17 gabled house.
The house was originally built in 1625 by George Sitwell (1601–1667), The Sitwell fortune was made as colliery owners and ironmasters from the 17th to the 20th centuries. Substantial alterations and the addition of the west and east ranges were made to the building for Sir Sitwell Sitwell, 1st Baronet (1769-1811) by Joseph Badger of Sheffield between 1793 and 1808.
The formal garden was laid out from 1879 by Sir George Sitwell (1860-1943).
The-principal flight of steps lies on the central axis to the garden, with the steps linking the first and second levels, and becoming wider as they descend. The piers support full size statues of Neptune and Diana, each with accompanying dog.
The steps, walls & statues are Grade ll listed.
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Renishaw Hall
Renishaw Hall is a country house in Renishaw in the parish of Eckington in Derbyshire, England. It is a Grade I listed building and has been the home of the Sitwell family for over 350 years. The hall is located south-east of Sheffield, and north of Renishaw village, which is north-east of Chesterfield.
History
The house was built in 1625 by George Sitwell (1601–67) who, in 1653, was High Sheriff of Derbyshire. The Sitwell fortune was made as colliery owners and ironmasters from the 17th to the 20th centuries.
Substantial alterations and the addition of the west and east ranges were made to the building for Sir Sitwell Sitwell by Joseph Badger of Sheffield between 1793 and 1808 and further alterations were made in 1908 by Sir Edwin Lutyens. Renishaw had two owners between 1862 (when Sir George Sitwell succeeded in his infancy) and 1965, when Sir Osbert Sitwell gave the house to his nephew, Sir Reresby Sitwell, 7th Baronet. He was the eldest son of Sir Sacheverell Sitwell brother of Edith and Osbert and owned the hall from 1965 until 2009 when he bequeathed it to his daughter, Alexandra Hayward. The house and estate are separated from the Renishaw baronetcy for the first time in the family's history. Sir George Sitwell lives at Weston Hall.
Architecture
The house was built in stages and has an irregular plan. It is constructed in ashlar and coursed rubble coal measures sandstone with crenellated parapets with pinnacles. It has pitched slate roofs.
Gardens
The gardens, including an Italianate garden laid out by Sir George Sitwell (1860–1943), are open to the public. The hall is open for groups by private arrangement. The park is listed in the Register of Parks and Gardens of Special Historic Interest in England as Grade II*.
The 1980 BBC adaptation of Pride and Prejudice used footage shot at Renishaw Hall. D. H. Lawrence is said to have used the local village of Eckington and Renishaw Hall as inspiration for his novel Lady Chatterley's Lover.
en.wikipedia.org/wiki/Renishaw_Hall
historicengland.org.uk/listing/the-list/list-entry/1054857
historicengland.org.uk/listing/the-list/list-entry/1000683
www.gardenvisit.com/gardens/renishaw_hall_garden
www.visitchesterfield.info/things-to-do/renishaw-hall-and...
www.kevinwgelder.com/renishaw-hall/
www.thegardeningwebsite.co.uk/renishaw-hall-and-gardens-c...
www.rhs.org.uk/gardens/GardenDetails/RENISHAW-HALL
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Renishaw Hall
Heritage Category: Park and Garden
Grade: II*
List Entry Number: 1000683
Location
The building or site itself may lie within the boundary of more than one authority.
County: Derbyshire
District: North East Derbyshire (District Authority)
Parish: Eckington
National Grid Reference: SK4345978378
Details
Gardens and a park of the late C19 and early C20 with C17 origins which were laid out by Sir George Sitwell.
HISTORIC DEVELOPMENT
The Sitwell family appear in records of 1301 when they were resident at Ridgeway, c 2km from Renishaw. The family settled in Stavely Netherthorpe in the earlier C16 and the site at Renishaw was acquired by Robert Sytwell in the mid C16 when he bought fields and common land. By 1600 it had become the family seat. The family acquired wealth through their ironworks which by the end of the C17 were the largest producers of iron nails in the world. The estate passed through marriage to the Hurt family who changed their name to Sitwell in 1777. Sir George Sitwell (1860-1943), fourth baronet, was responsible for the layout of the formal gardens and wrote On the Making of Gardens in 1909. The estate has remained in the Sitwell family since that time and is in private ownership (1998).
DESCRIPTION
LOCATION, AREA, BOUNDARIES, LANDFORM, SETTING
Renishaw Hall lies to the west of the village of Renishaw from which it is divided by a railway line. The village of Eckington lies to the north-west, there are open fields to the north-east and west, and an opencast mine to the south. To the north and west the boundary is formed by Staveley Lane, the B6053, and to the east by the A616. Fencing divides the south side of the park from an opencast mine. The c 100ha site is on land which falls to the east.
ENTRANCES AND APPROACHES
The main entrance is on the north-east side of the site where gates lead to a drive running south-west from the A616. Some 100m south-west of the entrance there is an early C19 lodge and entrance archway (listed grade II) which was designed by Sir Sitwell Sitwell and moved to this position in the mid C19. The drive turns north-west up a hill and continues westwards to the Hall and stables. An entrance with gates on the north side of the site runs south from the B6053. On the south-west side of the site there is an entrance from Staveley Lane from which a track leads north through Chesterfield Approach Plantation. The track continues north-east from the edge of the Plantation and from this point trees alongside it are the remains of an avenue shown on the large-scale OS map of 1875 which was probably part of a system of avenues shown on an C18 estate map.
PRINCIPAL BUILDING
Renishaw Hall (listed grade I) was built in c 1625 by George Sitwell as an H-plan house. The building was altered and extended 1793-1808 by Joseph Badger for Sitwell Sitwell, first baronet. Edwin Lutyens (1866-1944) was responsible for interior alterations in 1909. The Hall is in use as a private residence (1998).
Stables (listed grade II*) by Badger are ranged around a courtyard c 100m north-west of the Hall.
GARDENS AND PLEASURE GROUNDS
On the north side of the Hall there are lawns in an area shown on the C18 estate map as an enclosure. There are views north over parkland and agricultural land beyond. Formal gardens lie on the south side of the Hall axially aligned with its south front. They consist of rectangular compartments divided from one another by clipped hedges which are terraced down to the south in three stages, as well as occupying different levels as the land falls to the east. A terrace running along the front of the Hall overlooks a square lawn lined with topiary on the east and west sides which divides it from two smaller lawns called the First Candle on the west side and the Second Candle to the east. Each of these areas has a fountain, the appearance of which gave rise to the name. A bank divides the First Candle from an area of higher ground called Top Lawn where a lime avenue runs north/south along the length of the gardens. This is one of several avenues shown on the C18 estate map and probably represents one of the only surviving features of a layout instituted in c 1698 by George Sitwell which included walled orchards and yew hedges. To the west of the avenue, c 60m south-west of the Hall, there is a gothick temple (listed grade II) which was designed by Joseph Badger in the early C19 as an aviary and is now used as a pet cemetery (1998).
A second terraced walk lined with clipped hedges runs east/west across the garden, c 50m south of the Hall. At the east end the walk leads through a gateway into woodland called Broxhill Wood which is marked 'Little Old Orchard' on the C18 estate map. A classical temple of late C20 date lies c 120m south-east of the Hall in the woodland. The walk overlooks a central lawn with a circular swimming pool. In a compartment to the east called Lower Lawn there is a water garden which consists of a central sub-rectangular island with clipped hedges within a rectangular water-filled enclosure. On the west side of the swimming pool an enclosure with lawns is called the Buttress Garden for the buttressed wall which divides it from Top Lawn to the west. Clipped hedges divide these areas from a grass walk running along the top of a ha-ha, c 100m south of the Hall, which runs east/west across the bottom of the garden. This overlooks a central semicircular lawn divided from the park by railings. There are views to the south of the lakes and parkland.
The C18 map shows the Hall surrounded by gardens laid out in geometrical patterns with quartering paths, and the area south of these is marked 'Great Old Orchard'. The layout shown probably represents that instituted by George Sitwell in c 1698. The 1875 OS map shows that apart from a small area on the south-east side of the Hall, the formal gardens had been swept away, and a lawn, divided from the park by a ha-ha and flanked by the lime avenue, is shown on the south side of the Hall.
PARK
There is parkland on all sides of the Hall. To the north the land falls and the north-east part of the park is laid out as a golf course which was created in the early C20. Old Waterworks Plantation shelters part of the north-east boundary, and North Wood, which is to the west of the drive from Eckington, separates the golf course from parkland to the west. Some 350m west of the Hall is a set of walled paddocks, shown on the 1875 OS map, which probably originated as a stud farm and are now (1998) vineyards. Chesterfield Approach Plantation lies immediately south of the paddocks and in the area between this and the gardens there are the remains of at least one lime avenue, shown on the 1875 OS map, which survives from the formal layout shown on the C18 estate map and runs parallel to the avenue within the garden.
East and south of the Hall the land falls and in the valley there are two lakes. The northernmost is the smaller of the two, and the southern lake, which has an island near its south-east shore, is c 500m in length. Sir George Sitwell was MP for Scarborough and conceived of the scheme to construct the lakes as relief for the unemployed in his constituency and they were duly created by unemployed fishermen in the closing years of the C19. To the north of the lake is Renishaw Wood and Broxhill Wood, and along the east boundary Willowbed Plantation, designed to screen the railway and ironworks. The planting in this and possibly in other areas of the park was directed by William Milner who was employed by Sir George in 1890. The land rises up to the south and west from the lake with Halfmoon Plantation sheltering the south-east boundary. A patch of woodland on the sloping land c 800m south-west of the house is called Milner Plantation.
KITCHEN GARDEN
Some 200m south-west of the Hall are the remains of a kitchen garden. An orangery entered from the north side from a door with a pedimented doorcase is in ruinous condition (1998), as are the attached walls which have arched entrances. A tennis court lies south of the orangery. The 1875 OS map shows the garden with two compartments, the southern of which occupied the tennis court area. Another kitchen garden, also shown on the 1875 OS map, lies immediately west of the stable block. It is walled and has a number of free-standing glasshouses, some of which are probably of late C19 or early C20 date.
Legacy
The contents of this record have been generated from a legacy data system.
Legacy System number: 1674
Legacy System: Parks and Gardens
Sources
Books and journals
Jellicoe, G, Jellicoe, S (at al), The Oxford Companion to Gardens, (1986), 519-20
Sitwell, R, The Garden at Renishaw Hall, (c1995)
Sitwell, R, Renishaw Hall, (c1995)
Other
Country Life (14 May 1948), pp 506-11
Country Life, 162 (1 September 1977), pp 522-5
Country Life, 83 (7 May 1948), pp 476-80
Estate Map, probably early C18 (private collection)
OS 25" to 1 mile: 1st edition published 1875
OS 6" to 1 mile: 1st edition surveyed 1874-5