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Spacious, modern and full of light, our sea view suite is the ideal option for couples in love that want to experience luxury in Crete!
📷 @spyros / 👩 @foxyarchaeologist
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Lets Decorate:
Sink: Dictatorshop – Heritage – Sink – AV – [Mirrors Included] – [In Store NOW]
Lavatory: Dictatorshop – Heritage – Toilet – AV – [In Store NOW]
Bath: Dictatorshop – Heritage – Bathtub – AV – [In Store NOW]
Panelling: Dictatorshop – Louis – Wall Paneling Kit
Loo Roll: Salt & Pepper – Toilet Paper – Never Out of Stock [Pile 1]
Plant: Apple Fall – Aspidistra in Wicker Planter
Table: Aisling – Shawani
Chain: Saintstreet – Chains Decor
Makeup: Tentacio – Weekend Time – Makeup Set
Need to Know Stuff:
Dictatorshop:
The Heritage Sink comes in two versions:
[Ds] Heritage Sink Adult Vanilla with 115 animations
[Ds] Heritage Sink PG with 63 animations
The Heritage Sink is designed to add a touch of class and tradition to your bathroom or bedroom. Part of the Heritage range, this fascinating piece will be right at home in any spot that just needs a little bit of traditional elegance.
** Click the [Ds] logo button to access the texture change menu
** 5 metals, 10 woods, 10 marbles
** AVsitter engine – no poseballs, easy adjustment, experience enabled
** Auto Rezzing Props
** Copy/Mod/No Transfer
** Land Impact 6 (+1 each if included mirrors are used)
** Strong LOD
** Highly Detailed
** Original Mesh
** Original Hand Made Textures
** Matching items available – Bathtub, Sofa, Chair, Bench, Loveseat, Lounger, and much more!
[Ds] Heritage – Toilet
The Heritage Toilet comes in two versions:
[Ds] Heritage Toilet Adult Vanilla with 111 animations
[Ds] Heritage Toilet PG with 55 animations
The Heritage Toilet is designed to add a touch of class and tradition to your bathroom or bedroom. Part of the Heritage range, this fascinating piece will be right at home in any spot that just needs a little bit of traditional elegance.
** Click the [Ds] logo button to access the texture change menu
** 5 metals, 10 woods, 10 marbles
** AVsitter engine – no poseballs, easy adjustment, experience enabled
** Lid Opens and Closes, touch cistern for Flush sound
** Copy/Mod/No Transfer
** Land Impact 8
** Strong LOD
** Highly Detailed
** Original Mesh
** Original Hand Made Textures
** Matching items available – Bathtub, Sofa, Chair, Bench, Loveseat, Lounger, and much more!
Spacious interior - with side rails for for hanging carbonite blocks, chests and gun storage.
I had quite a dilemma here regarding the hatch. I could either have it proper shape - rectangular and long, but too narrow- or wide like here, but slightly trapezoidal.
Considering instructions are still in progress, would you like me to try rectangular but narrower approach too?
Not a cloud in the sky this morning... Not exactly what I wanted for this morning but I wasn't going to turn around because of it. Looks like Spring has finally sprung.
this photo was taken in summer, it shows a zebra in the Moscow zoo, calmly walking in its spacious aviary
The Motor Yacht Mauretania glides past the Angel's Gate Lighthouse (both of them classic beauties) in the Port of Los Angeles, southern California.
Following World War I, yachting became the pastime of many a proper gentleman. Mathis Yacht Building, later Trumpy & Sons, with John Trumpy, Sr. as head designer, built opulently styled motor yachts with spacious, comfortable interiors, all to the highest level, while still accommodating a complete wait staff and crew. With modern technology, clean, classic architectural lines, and elegant finishes, they quickly became the standard others emulated.
The ancient and imposing Church of All Saints, stands on rising ground within a spacious, open churchyard in the heart of the village. The core of the present church dates back to the 14th century and was probably based on the site of an earlier church. The church has an interesting architectural history having seen various additions and improvements made during the following six centuries. Its most unusual feature is the stonework of the east window which, according to Munro Cautley "is extraordinary, the tracery is not contained within an arch but the containing head is cusped itself. Inside is a two-centred scoinson arch and the deep splays are filled with blank arched panels." Also still intact are the original 14th century piscina, aumbrey, sedilia and font and stone angels bearing shields which support the western tower arch. In the second half of the 15th century, perpendicular aisles and clerestory, both battlemented, and the south porch were added, the latter still with its original gargoyles. The curch also still contains verious 15th century oak benches and pews, some carved with poppy heads and one bearing unusual pierced lettering to the back.
Vaulted ceilings and a staircase to nowhere arent the only perks of this quaint living space. It's located only yards from Arizona's scenic Salt river.
Checkered Tan House is a spacious summer residence with light colours. It's built on top of a creek and is surrounded by green, bright green and lime green foliage. A small patio is carved out in the rocks. Fully furnished of course.
This house has similarities both with one of my earliest builds Autumn Stream House and my box-shaped Coral House.
My aim was to keep the house simple, creating dynamics only with the combination of house bodies and windows. This makes a contrast to the green surroundings of the house.
Awoke to one of those beautiful autumn sunrise that only comes when the winds blow away one of those dreary, overcast and drizzling days. The Light dancing in the texture of the cool-swirled clouds is joyous to behold. This is my favorite season. Thanks be to God for the wonder of it all.
First full day of our Smoky Mountains photo adventure.
Tuckaleechee Caverns Townsend, Tennessee
Monday, August 19th, 2019
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“Spacious Mind: cultivating peace, presence and insight through drawing” (early mock-up with mostly FPO photos)
Weekend tent camping at Frozen Head State Park & Natural Area.
Frozen Head State Park
Wartburg, Tennessee
Friday, June 22nd, 2018
Der 1955 eröffnete Tierpark Berlin entstand aufgrund der Teilung Deutschlands nach dem Zweiten Weltkrieg. Der Zoologische Garten Berlin lag im britischen Sektor Berlins, daher fehlte Ost-Berlin eine eigene tiergärtnerische Einrichtung. Als geeignete Fläche wurde der Schlosspark Friedrichsfelde ausgewählt, weil dieser nach der Enteignung seiner Eigentümer nicht mehr gepflegt wurde. Der historische Teil des Tierparks wird durch das Schloss Friedrichsfelde und seine Gartenanlagen bestimmt. Der von Peter Joseph Lenné 1821 umgestaltete Landschaftspark diente als Basis für den Aufbau des Tierparks; er blieb weitgehend erhalten und wurde den Bedingungen eines zoologischen Parkes angepasst, denn der Berliner Tierpark ist vor allem eine Parkanlage. Breite Alleen, möglichst naturbelassene Waldbestände und großzügige Tieranlagen, die oft nur durch Wassergräben vom Besucher getrennt sind, prägen vor allem den alten Teil des Tierparks. Teich- und Wiesenanlagen erweitern den Park. Heute steht der Tierpark unter einer gemeinsamen Leitung mit dem bereits 1844 eröffneten Zoologischen Garten, dem ältesten noch bestehenden Zoo Deutschlands.
Quelle: Wikipedia.de
Opened in 1955, Berlin Tierpark (Animal Park) was created as a result of the division of Germany after the Second World War. The traditional Zoological Garden was located in the British sector of Berlin, so East Berlin lacked its own zoological garden. Friedrichsfelde Manor Park was chosen as a suitable area because it was no longer maintained after the expropriation of its owners. The historical part of the zoo is dominated by Friedrichsfelde Manor and its gardens. The landscape park, redesigned by Peter Joseph Lenné in 1821, served as the basis for the construction of the zoo; it was largely preserved and adapted to the conditions of a zoological park, because the Berlin Tierpark is primarily a park. Wide avenues, forest areas that are as natural as possible, and spacious animal facilities, often separated from the visitor only by moats, characterize above all the old part of the zoo. Ponds and meadows extend the park. Today, Berlin Tierpark is under the same management as the Zoological Garden, which was opened in 1844 and is the oldest zoo still existing in Germany.
Source: Wikipedia.de
Books have been written about Old Square in Birmingham. It was the best place to live in the late 17th early 18th Century, It was a square to rival some of the London Squares, spacious and elegant houses flanked a central garden. During the 19th century Birmingham had spread, the elite were moving out to Handsworth and a tide of slum dwellings grew up on the east side of the square. Then the Grand New Corporation Street was driven through wiping out the slums on the eastern side, new commercial buildings were built and during the early part of the 20th century the square was mainly retail. Lewis's backed onto it and the original road into the square "Minories" was reduced to a narrow thoroughfare between the two Lewis's blocks.
Now we come to the 1962 picture, the elegant gardens have been replaced by an underground lavatory, a group of red phone boxes provide communitcation and one of those much missed city maps is useful to consult. The north side is being re-developed and the Victorian buildings have been swept away, worse was to follow. Town planners hate people, they are untidy so let us rid the streets of them, the whole centre of the square was excavated and where these people sat was dropped about 25 feet to a sunken "urban space" with mal-nourished raised beds in the middle and shops around the edge, all connected by a web of subways. The road swept unbroken round this island, traffic fumes made the few garden seats an unpleasant place to sit and the small shops didn't pay, the new lavatories shut early therefore the subways soon began to be even more unpleasant. A complete and utter disaster. It looked good on the plan though...
Now we have the new version, pedestrians have returned to street level and very little traffic uses the roads apart from a constant stream of buses and they are getting cleaner, seats are at ground level again and a new relief sculpture by Keith Budd has been built on the end wall, not as good as the highly coloured mosaic in the old sunken garden but well, you can't have everything.
Sadly this end of Birmingham is no longer the principal retail area, since Lewis's closed and later the Bull Ring developed this once thriving part of town has declined. Unfortunately Birmingham's Law Courts are situated further down Corporation Street and their clients do add a slight air of menace to the area.
Jean Wilson Circa 1962
Copyright Geoff Dowling: All rights reserved
Caloola, Sunbury consists of buildings set in extensive grounds with plantings of mature trees and remnant farmland. Caloola commenced in 1864 as an Industrial School, was redeveloped in 1879 as a Lunatic Asylum, substantially enlarged in the period 1891 to 1914 and was maintained in use as a psychiatric hospital (1879-1968) and later a training centre for the intellectually disabled (1962-1992). Part of the site became a Victoria University campus from 1994 to 2011 and the remainder is in use by the Department of Education.
The Industrial School consisted of ten basalt buildings (nine extant), designed under the direction of Public Works Department Inspector General William Wardell and constructed in 1865-66, four workrooms, kitchen, hospital, basalt farm building, road and stone wall remnants which were used to house and train neglected children in the 1860s. Boys in the Sunbury Industrial School worked on the farm and in the tailoring and shoe-making workshops to maintain themselves whilst in the institution and were given some basic education. Major alterations were undertaken to the earlier basalt wards in the period 1908-12 when the buildings were linked.
The Industrial School at Sunbury is believed to be the earliest surviving example in Victoria; of the original twelve industrial schools: only one other, constructed in 1875-76, survives at North West Hospital, Parkville.
The purpose built Sunbury Lunatic Asylum, constructed mainly between 1892 and 1912, was designed and constructed mainly under the direction of the Chief Architect of the Victorian Public Works Department, George Watson. A site plan was prepared by the talented architect Henry Bastow in 1888. Its pavilion wards in brick with terra cotta roofing tiles conformed to international standards of asylum and hospital planning adopted in the later nineteenth century and were a departure from the single monolithic buildings constructed at Kew and Beechworth. Electric lighting was installed in the wards in 1905-6. A tramway was laid linking the rear of the wards with the kitchen (built 1906-7) in 1908. Telephone and fire alarm systems were installed to connect the 20 separate buildings of the asylum in 1911.
The landscape designed by prominent landscape designer Hugh Linaker dates principally from the inter-war period The landscape also includes mature trees , mainly pines, cypress, oaks and elms and the remains of a drystone perimeter wall and a later brick ha ha wall.
How is it significant?
Caloola is of historical, architectural, aesthetic, archaeological and social significance to the State of Victoria.
Why is it significant?
The Caloola complex is of historical significance for its demonstration of attitudes to child welfare and mental health in its early industrial school buildings and asylum buildings, airing courts and gardens. .
Caloola is historically significant for the former Industrial School buildings constructed mainly from 1865-66. The school operated from 1865 to 1879 as the first purpose-built Industrial School in Victoria. The buildings at Sunbury are demonstrative of the harsh conditions which characterised such schools for neglected or delinquent children. The former Industrial School hospital (1865) is amongst the earliest hospital buildings surviving in the state.
Caloola is of historical significance for its typical asylum landscaping and site planning, its airing courts (many of which retain early sunshades and privies) and a complete example of a sunken wall (or ha ha wall). Asylums were typically distant from population centres, with extensive grounds and ha ha walls to prevent escape.
Caloola is historically significant for its purpose built Sunbury Lunatic Asylum, constructed between 1892 and 1912. Caloola's large and architecturally impressive buildings in a curved detached pavilion arrangement demonstrate changes in the accommodation and treatment of mentally ill patients in the nineteenth century. The clear evidence of farming operations also demonstrates the policy of employing boys in industrial schools to train them in farm work and the later policy of involving physically able mentally ill patients in outdoor work.
Caloola is of historical significance for its physical fabric and spaces which demonstrate nineteenth century attitudes to the treatment of mental illness, including the padded cells, ripple iron cells and dormitory accommodation. The female refractory ward, originally designed for male criminally insane patients, demonstrates contemporary practices in dealing with female patients who were transferred from the general wards for disruptive behaviour.
The Caloola complex is of historical significance for their association with the talented Public Works Department architects from the 1860s, and particularly associated with Henry Bastow and Chief Architect George Watson, who were responsible for the design of the pavilion buildings from the 1890s to 1912. Its association with noted landscape designer, Hugh Linaker, who was responsible for the grounds from 1912, is also significant.
The Caloola site is of archaeological significance for its potential to contain historical archaeological features, deposits and relics that relate to the construction and use of the Industrial School and the Lunatic Asylum.
Caloola is of architectural significance for its institutional buildings of the 1860s and the 1890s. Its industrial school buildings of the 1860s are typical of the Public Works Department output of the 1860s, use local material, have simple classically derived detailing and gain much of their importance by the repetition of forms. Major alterations were undertaken to the earlier basalt wards in the period 1908-12 when the buildings were linked. The planning of these links is accomplished and contributed to the continuity of use of the site and represented changing attitudes to mental health.
The site at Sunbury is architecturally significant for its rare and intact examples of an industrial school and a late nineteenth century lunatic asylum. The site contains rare examples of hairpin fencing used to enclose airing courts for patients. Outdoor shelters or sunshades for patients are also uncommon in Victoria.
The Caloola complex is of architectural significance for its industrial school and asylum buildings. The earliest of the remaining buildings of the Sunbury Industrial School are architecturally significant as forming the earliest purpose built example of its type,. They are important for their bluestone construction and austere style which distinguished them from the later asylum buildings. The 1860s buildings which exhibit classically derived detailing are constructed of local basalt. The red brick and timber buildings of the principal phase of asylum expansion of 1891 to 1912 are of architectural significance for innovative design as a pavilion hospital grouping and include distinctive detailing.
Caloola is architecturally significant as a former lunatic asylum, one of several surviving in the state. It demonstrates typical characteristics such as formal planning, use of sunken walls (ha ha walls), airing courts and a diverse range of building types to cater for the patient and staff population. They gain their architectural significance from the unity of materials, overall cohesiveness of design, consistent and distinctive detailing (especially in the unusual use of buttresses and steep roofs in the former hospital wards), impressive site planning and spacious setting.
The Caloola complex is of aesthetic significance for the quality and range of its architecture and garden elements, consistent use of basalt, red brick and terra cotta tiles, its consistency of architectural styles and materials within the two major building phases, for its landscape planning and plantings and for its prominent siting on the hill with views to and from the site...(VHR)
Carl Jung
I am a firm believer in "disconnecting" from the Internet and technology every now and again. I find that I am enjoying that time away more and more.
Facebook? I'd would rather talk face-to-face. Twitter? This evening I sat on the patio and listened to the distinct songs of at least half a dozen different birds, and enjoyed every moment. Cell phone? I'm only sold on them for emergencies.
Maybe after six years, I am feeling a bit of a flickr burn-out. That said, I'm finding it impossible to keep up with my contacts the way I would like. I want to take the time to gaze at a photo and absorb everything that catches my eye while reading and thinking about the description or story. Oftentimes, I am so struck by a photograph that I could write a paragraph or three. Other times, I am just blown away and "Wow" is the first thing that flies from my fingertips.
My flickr-friends are a constant source of inspiration, and somebody always seems to make my day with a photo, story or comment. So many kind and talented people can be overwhelming.
Anyhoo... My name is Todd, and I am a recovering flickr addict. I am also a slow flickr-er and don't mean to offend anyone if I don't visit every day.
Happy flickr-ing, my friends!
Neko Case ~ ♫ Never Turn Your Back on Mother Earth ♪
Wednesday Evening Regatta
Lake Ontario | Charlotte Beach
August 10th, 2011
In the middle of the nature, you will find the perfect villa to relax yourself and enjoy spending time in Bali near Seminyak. This spacious villa is only about twenty minutes from Bali’s Ngurah Rai International Airport.
This two levels villa will be perfect up to 6 persons thanks to its three b...
Lanhydrock, near Bodmin, is a magnificent late Victorian country house with extensive servants quarters, gardens and a wooded estate.
It is the perfect country house and estate, with the feel of a wealthy but unpretentious family home. The kitchens, nurseries and servants' quarters offer a thrilling glimpse into life 'below stairs', while the spacious dining room and bedrooms are truly and deeply elegant.
The house is set in wooded parkland of 1,000 acres and encircled by a garden of rare shrubs and trees.
Follow in the footsteps of generations of the Robartes family, walking in the 17th-century Long Gallery among the rare book collection under the remarkable plasterwork ceiling. After a devastating fire in 1881 the house was refurbished in the high-Victorian style, with the latest mod cons.
Don't miss
* There are 50 rooms to explore – allow plenty of time!
* Play the Steinway piano in the Long Gallery
* Look out for the museum and second-hand bookshop
The gardens
The historical garden with its 30-acres of woodland was laid out back in 1857, but its present format was actually established later on in the Victorian period, and many of the plants are no more than 70 years old. However, a grand atmosphere permeates the entire setting and compliments the brilliant planting of more modern times.
Explore formal parterres of dazzling bedding plants and wander along paths that wind through a woodland landscape planted in a semi-formal Cornish fashion - rhododendrons and Himalayan magnolias lurching to their full-size in the fresh Cornish air. Because the grounds lie inland and rise up to 130-metres above sea level, the plants have to cope with harsher climates than the lush valley gardens of the south coast. In spite of this, Lanhydrock still puts on one of the county's most colourful spring shows, with over 120 species of cream and white magnolias featuring amongst a flurry of wild blooms that carpet the woodland.
Learn more about the history and the work involved to keep the magnificent gardens maintained via the new interpretation on permanent display in the garden's thatched cottage.
Take-in the sweeping views over the gardens and the valley landscape, and it's pretty obvious that this is prime garden for walkers. Not only is there 30-acres of formal and informal woodland to explore, but the garden opens onto an extensive network of footpaths zig-zagging through 900-acres of beautiful countryside.
And with so much space to roam, Lanhydrock makes a very family friendly day out. Whilst the fresh air and colourful surroundings will captivate the kids' imaginations and wear them out, the restaurant has a fantastic children's menu and there are excellent baby-changing facilities on-site.
(visitcornwall.com)
Lanhydrock House (kornisch Lannhydrek) ist ein Herrenhaus nahe der englischen Stadt Bodmin in Cornwall. Es liegt fast 13 Kilometer von der Südküste Cornwalls entfernt im waldreichen Tal des Flusses River Fowey, inmitten eines 367 Hektar großen Anwesens, das bis zu 130 Metern Höhe ansteigt.
Lanhydrock House ist von einem attraktiven formalen Garten und einem Landschaftspark umgeben. Der angrenzende Hügel ist mit ausgewählten Bäumen und Sträuchern bepflanzt. Viele Teile des heutigen Hauses sind viktorianischen Ursprungs, einige sind jedoch mehr als 200 Jahre älter, sie datieren etwa um das Jahr 1620.
Lanhydrock war bis 1539 ein klösterlicher Bauernhof im Besitz des Priorats von St Petroc in Bodmin. Nach der Auflösung der Klöster unter Heinrich VIII. erwarb im Jahr 1543 die benachbarte Familie Glynn das Landgut. Durch Heirat ging es später an die Familie Lyttelton, ebenfalls durch Heirat 1577 an die Familie Trenance über.
Im Jahr 1621 erwarb der Kaufmann und Geldverleiher Richard Robartes aus Truro das Landgut und begann Lanhydrock House zu erbauen. Unter ihm entstand der heutige Nordflügel des Herrenhauses aus grauem Granit. Schon 1626 lebte der 1621 zum Baronet, of Truro, und 1625 zum Baron Robartes aufgestiegene Richard Robartes auf Lanhydrock. Sein Sohn, John Robartes, 2. Baron Robartes, trat 1634 das Erbe des Vaters an. John Robartes, 2. Baron Robartes, der spätere 1. Earl of Radnor, war zu diesem Zeitpunkt Vorsitzender der Cornish Parliamentary Party („Kornische Parlamentspartei“) im britischen Oberhaus. Zu Repräsentationszwecken ließ er bis 1651 Lanhydrock House um drei weitere Flügel zu einem Karree um einen Innenhof erweitern und das Torhaus errichten. Der Baustil des Hauses entsprach anderen Landsitzen in der Umgebung wie Penheale House in Egloskerry oder Trewan nahe St Columb Major.
m Einzelnen ließ John Robartes ab 1634 zunächst einen Eingang im Haus seines Vaters einfügen, der heute zum Ladenbereich führt und über dem die Inschrift „1636: ILR: L“ (für „1636: John Lord Robartes: Lanhydrock“) angebracht ist. Von 1636 bis 1640 dauerten die Bauarbeiten am Westflügel, der Südflügel stammt aus dem Jahr 1642. Die Erweiterungsmaßnahmen endeten 1651 mit der Errichtung des Torhauses, das ursprünglich als Jagdhaus gedacht war. John Robartes hatte sich in den 1650er Jahren, der Regierungszeit des Lordprotektors Oliver Cromwell, nach Cornwall zurückgezogen, wo er 1664 die Genehmigung zur Einzäunung eines 340 Hektar großen Wildparks erhielt. Seit 1657 gab es Rotwild im Park von Lanhydrock. Nach Wiedererrichtung der Königsherrschaft 1660 wurde John Robartes unter Karl II. in den Privy Council (Kronrat) erhoben, im Jahr 1661 Lordsiegelbewahrer, ein Amt, das er bis 1673 innehatte, sowie 1679 Earl of Radnor und Lord President of the Council. 1684 schied er aus allen Ämtern aus.
Die Erben John Robartes’, Charles Robartes, 2. Earl of Radnor (1660–1723), und Henry Robartes, 3. Earl of Radnor (1695–1741), zogen andere Wohnorte Lanhydrock vor, so dass der Reisende John Loveday der Ältere (1711–1789), Philologe und Antiquar, im Jahr 1736 ein „äußerst baufälliges und absolut unmöbliertes“ Haus vorfand. Beide Robartes wurden jedoch wie schon John Robartes in der Familiengruft auf Lanhydrock beigesetzt. Der Antiquitätensammler und Naturforscher William Borlase schrieb 1758 über Lanhydrock, dass „alles im Haus verwahrlost und verfallen ist“. Die Urenkelin von John Robartes und Erbin von Lanhydrock, Mary Vere Robartes († 1758), hatte zuvor erwogen, das Haus abreißen zu lassen. Doch ihr ältester Sohn George Hunt (um 1720–1798) ließ bis 1788 nur Teile des Gebäudes wie die Hauskapelle und den Ostflügel abtragen, wodurch das heutige U-förmige Bauschema von Lanhydrock House entstand. Er ließ die Fassade rot streichen, um das Haus dem modischen Ziegelmauerwerk anzupassen, und das Innere unter anderem mit Chippendale-Tischen und Axminster-Teppichen neu einrichten.
George Hunt vermachte Lanhydrock 1798 seiner Nichte Anna Maria Hunt (1771–1861). Schon 1788 hatte sie das Herrenhaus und die zerstreuten Ländereien übernommen. Unterstützt wurde sie durch ihre Verwalter William und Alfred Jenkins. Anna Maria Hunt heiratete den Londoner Anwalt Charles Bagenal-Agar (1769–1811), aus deren Ehe drei Söhne hervorgingen, von denen nur Thomas James (1808–1882) nicht schon im Kindesalter verstarb. In der Zeit der Anna Maria Hunt, die sich oft auf Lanhydrock aufhielt, wurden zum Schutz der Bilder in der Galerie Rollos und Öfen eingebaut.
Auf Anraten seiner Mutter übernahm Thomas James Agar 1822 die Bestallung und das Wappen der Robartes und wurde 1869 als 1. Baron Robartes geadelt. Nach seiner Volljährigkeit 1829 übernahm er einen Teil der Verantwortung für Lanhydrock. Im Jahr 1858 erhielt der Architekt George Gilbert Scott (1811–1878) den Auftrag, Lanhydrock House instand zu setzen. Scott übertrug diese Aufgabe seinem ersten Assistenten Richard Coad (1825–1900). Die Reparaturarbeiten am Haus, die von 1857 bis 1864 andauerten, sollten 1407 Pfund, 4 Schilling und 6 Pence kosten. Neben der Instandsetzung wurden das Brauhaus in ein Billardzimmer umgebaut, Glasscheiben in die Fenster eingesetzt, eine neue Remise erbaut und neue Gartenanlagen nach Plänen von George Truefitt (1824–1902) angelegt.
Am 4. April 1881 zerstörte ein Großbrand den Südflügel und einen Teil des Westflügels von Lanhydrock House. Gegen 13 Uhr hatte ein frei liegender Holzbalken im Küchenschornstein Feuer gefangen. Der Einbruch des Westflügeldaches führte zum Verlust der historischen Stuckdecke. Nur der Nordflügel mit seiner 29 Meter langen Long Gallery aus dem 17. Jahrhundert und das Frontportal blieben intakt. Lord und Lady Robartes, die seit 1839 mit Thomas James verheiratete Juliana Pole-Carew (1812–1881), blieben unverletzt. Ihr Sohn Thomas Charles Agar-Robartes (1844–1930), am 5. April aus London angereist, telegrafierte noch am selben Tag seiner Frau Mary, geborene Dickinson (1853–1921): „Galerie gerettet. Nicht ganz so schlimm wie befürchtet.“
Nach dem Ableben seiner Mutter nur wenige Tage nach dem Großbrand ließ Thomas Charles das Herrenhaus von Lanhydrock wieder aufbauen. Die äußeren und inneren Mauern der zerstörten Gebäudeteile hatten dem Brand standgehalten. Für die Sanierung des Hauses wurde der inzwischen selbstständige Architekt Richard Coad beauftragt, der für den Wiederaufbau der Innenräume den schottischen Architekten James MacLaren (1853–1890) aus Glasgow als seinen Assistenten heranzog. Die Ausschreibung der Bauarbeiten gewann die Firma Thomas Lang & Sons aus Liskeard, der Kostenvoranschlag belief sich auf 19.406 Pfund. Während sich Coad der Außenarbeiten und technischen Angelegenheiten annahm, entwarf MacLaren unter anderem den Esssaal im Stil des Ästhetizismus, die elisabethanische Teak-Treppe und den Rokoko-Kamin im Gebetsraum.
Da die Kosten der Instandsetzung den Voranschlag bei weitem überschritten, sie beliefen sich schließlich auf 73.000 Pfund, entstanden Spannungen zwischen dem Auftraggeber und dem leitenden Architekten. Thomas Charles, nach dem Tod seines Vaters Thomas James 1882 der 2. Baron Robartes, hinterfragte bei Richard Coad Zahlungen in Höhe von 10.000 Pfund für die Heißwasserzufuhr, die Bleiverglasung und die brandsicheren Zimmerdecken. Auch zwischen Coad und MacLaren gab es 1884 Differenzen. Das führte dazu, dass der Auftrag für die Renovierung der kleinen Kirche neben dem Haus durch Lady Robartes 1886 an George Vialls und nicht an Richard Coad vergeben wurde.
Im Jahr 1885 wurde das Haus durch die Familie Agar-Robartes wieder bezogen. Gemeinsam mit seiner Frau Mary hatte der 2. Baron Robartes zwischen 1879 und 1895 zehn Kinder, von denen nur eines 1884 im Säuglingsalter starb. Durch das Fehlen männlicher Nachkommenschaft in der Familie Agar erbte Thomas Charles 1899 den Titel Viscount Clifden von Leopold Agar-Ellis (1829–1899), dem 5. Viscount Clifden. Die neun verbliebenen Kinder der Agar-Robartes’ wuchsen auf Lanhydrock auf. Der älteste Sohn, Thomas Charles Reginald Agar-Robartes (1880–1915), genannt Tommy, war in der Politik tätig, wo er durch die Liberale Partei unterstützt wurde. Er starb 1915 im Ersten Weltkrieg an einer Schussverletzung in der Schlacht bei Loos und Hulluch (Teil der Herbstschlacht bei La Bassée und Arras), an der er als Captain des I. Battalion Coldstream Guards (Infanterie) teilnahm. Als zweitältester Sohn von Thomas Charles erbte deshalb Francis Gerald Agar-Robartes (1883–1966) im Jahr 1930 die Titel Lord Robartes und Viscount Clifden sowie das Anwesen von Lanhydrock.
Francis Gerald, der 7. Viscount Clifden, blieb ebenso wie sechs seiner Geschwister kinderlos. Einzige Enkelin von Thomas Charles Agar-Robartes, dem 6. Viscount Clifden, war Rachel, Tochter von Arthur Victor Agar-Robartes (1887–1974), die nach dem Zweiten Weltkrieg in Afrika lebte. Mit dem Tod Arthur Victors 1974, ab dem Jahr 1966 der 8. Viscount Clifden, erlosch dieser Titel. Schon in den 1920er Jahren führte die unsichere Zukunft der Landwirtschaft zum Verkauf großer Landflächen der Familie. 1953 entschloss sich Francis Gerald Agar-Robartes, Lanhydrock House mitsamt 160 Hektar Land an den National Trust zu übereignen. Oliver Sylvain Baliol Brett (1881–1963), 3. Viscount Esher und Vorsitzender des National Trust Historic Building Committee (Ausschuss des National Trust für historische Bauten), bezeichnete 1953 das Haus als „Nebensächlichkeit“ im Vergleich zu den übernommenen umliegenden Landschaften.
Francis Gerald Agar-Robartes lebte gemeinsam mit seinen beiden unverheirateten Schwestern Everilda (1880–1969) und Violet (1888–1965) bis zu ihrem jeweiligen Tode auf Lanhydrock. Schon 1954 wurden die ersten sechs Räume des Hauses der Öffentlichkeit zugänglich gemacht. Die Besucherzahl stieg mittlerweile von alljährlich 85.000 Mitte der 1980er Jahre auf mehr als 200.000 Besucher zwanzig Jahre später.
Lanhydrock war 1996 der Hauptdrehort für den Film Twelfth Night, or What You Will. Regie führte Trevor Nunn, Hauptdarstellerin war Helena Bonham Carter als Olivia. Weiterhin dienten Haus und Garten als Drehort für die Rosamunde-Pilcher-Verfilmungen Klippen der Liebe (1999) und Im Zweifel für die Liebe (2009).
(Wikipedia)
Main rooms[edit]
The gatehouse is of 1406, and the block to its left, now the shop and cafe, has Gothic windows facing the moat. The main facade is medieval to the left, but in Elizabethan prodigy house style at the centre and right. The chapel is 14th-century Decorated Gothic, the other main rooms that are opened mainly Elizabethan. The great hall runs along the facade. Upstairs there is a long gallery overlooking the gardens at the rear.[4]
The best bedrooms have two very elaborate chimneypieces, in the Queen's Bedroom (used by Anne of Denmark) a stone one heavily decorated with ornament in a style "proclaiming the Renaissance but simultaneously revealing a still very imperfect comprehension of what it was all about". This was presumably the result of a local carver with access to an ornament pattern book such as those by Hans Vredeman de Vries; the two human heads still look distinctly medieval. The other chimneypiece, in the bedroom James I used, is at another stylistic extreme; a very polished and spacious stucco piece in a style comparable to that of the First School of Fontainebleau, and probably not made by English artists. The central medallion, with a mythological scene, is designed by Rosso Fiorentino, and also appears in the Palace of Fontainebleau. This is flanked by two large nude boys. The Italian artists of the Tudor court Henry VIII used at Nonsuch Palace have been suggested; the pieces were almost certainly made elsewhere and taken to Broughton.[5]
There are several fine plasterwork ceilings, the most spectacular in the Great Parlour on the first floor, and the Oak Room below it. There is 18th-century painted Chinese wallpaper of different tree, bird and flower designs in three bedrooms, in very good condition. At roof level there is a room believed to be that "with no ears", where the 1st viscount plotted with Parliamentary leaders in the years before the Civil War.[6] The gardens have long herbacious borders, at their best in summer.
Films and TVs[edit]
Parts of the films The Scarlet Pimpernel (1982), Oxford Blues (1984), Three Men and a Little Lady (1990), The Madness of King George (1994), Shakespeare in Love (1998), and Jane Eyre (2011) were shot in the castle. TV filming for parts of Elizabeth The Virgin Queen, Friends and Crocodiles, 1975 Morecambe and Wise Christmas Show, Hilary Mantel's Wolf Hall, and the titles of Noel's House Party also took place there. The castle has been used as the location for several other films and TV programmes[7] including an adaptation of Jane Eyre and
Concerts[edit]
In August 1981, the electric folk band Fairport Convention held their annual reunion concert at Broughton Castle, rather than the usual Cropredy location.[8] The concert was recorded, and released on the album Moat on the Ledge (1982).
Fiction[edit]
Published in April 2009, The Music Room is a novel by William Fiennes. This fictionalized memoir of his childhood and his epileptic brother is set in (the never identified) Broughton Castle. It has been described as "a beautiful poem of a tribute to his family, his parents, the magical, moated castle that was his home"
Wikipedia
[Hefei, Anhui, China] The spacious access hall of the Anhui cultural museum, a free-admission educational venue in the provincial capital Hefei, exhibiting modern architecture and pieces of the province's history and traditions.
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…we went upstairs into a spacious studio. The invigorating, nutty smell of
oil paint delighted my senses. It seemed as if I had stepped inside of the
painting. The enormous room dissolved the concentrated scent of oil paints and transformed into Asian perfume. Stepping inside an artist’s studio every time put me into the position of Alice in Wonderland. Surrounded by scattered paintings, brushes, pallets, paint tubes, roles of canvases, and sketch pads, I was searching for the special conversational piece. If I could only find the right piece, which would be the artist’s favorite, I knew it
would break the ice. The first painting that caught my attention put me suddenly under hypnosis and I don’t recall for how long I was staring at it, whether it was a minute or an hour. This is not, in any way, an exaggeration but a real-live experience.
Evidently, Jaisini noticed that I was trapped by one of his paintings and broke the silence.
-Do you like that piece, or are you looking for a starting point to criticize it?
However it is, I welcome your criticisms rather than flattery.
-Your painting develops in my mind like photosensitive paper in a developer. On second thought, I sense an aesthetic pleasure from just the color harmony, but I still need more time-I said.
-No problem, take your time while I finish a sketch.
I had to postpone the interview in order to get a better look at the painting
that captured me. The artist put on some classical music. I began taking notes about what I had seen while he was silently sketching. As time flew
by, it was getting dark outside and the music ended long ago. I glanced at
the watch and realized that 4 hours had already elapsed and I didn’t even start the interview.
Jaisini was still concentrating on his work and it was obvious that I should’ve called it a day. Setting the convenient time for tomorrow I left.
…we met at the café.
I could tell that Jaisini was in a good mood and the interview has a better chance today. Perhaps his work went well, I thought. Jaisini greeted me as someone he had already befriended….
…-Positively, the painting I was contemplating in your studio sticks to my mind
Jaisini answered;
-It happens to many. I like this cafe. It is always so picturesque. The people
here make it colorful. For example, do you see that waitress?
-The small blond in her late thirties?
-Yes, her name is Nancy. Three years ago she told me that she wanted to become famous and in her free time she writes a script for a movie, convincing me that it will be the first script of its kind, a love story based on
her memoir.
Jaisini smiled charmingly, adding: -Oh, no, I am not joking. I believe in her. Once I invited her to the studio, as
she seemed like such a peculiar person. I was just finishing my painting called “Organ Grinder”. She declared frankly and firmly: ”I want this picture. How much?”
I explained to her that I don’t sell paintings.
Then I experienced certain chemistry. When such a “simple” person, but still
the one who writes the script, says: “I want the “Organ Grinder”, it was the
strangest thing. I didn’t like the painting one bit and after that, all of a sudden, I started seeing it in a different light of something very pure and
divine. She wanted so badly to own the picture that she induced her desire on me. I think that to create this “divine” we have to get down with people, declass to become simple and understand art with awe. Even though Gleitzeit is not for regular people, it can be understood by a mailman who asked me for an autograph, by an immigrant who came to the US to earn
money, or by a priest from England who told me that this art is for intellectuals, not for ambitious people who say, “I understand this art while others don’t.”.
-Do you think that your pictures relate to people as if they are puzzles of human life?
-When a man is awake, a man is asleep; everything encloses. And when you enclose your line you create the reality in which the man truly exists not knowing that he is entrapped in a secluded world of his own doing which he cannot escape. The enclosed line may provoke the desire to breakout, to find an exit.
-The question arises, what is fine art now and who needs it? The elite?
-Yes, but people crave art too if a mailman asked me for my autograph on a postcard after I had to explain him about the picture he saw. Before I explained the painting the man felt scared of breaking his head over it. It is understandable when in schools art is taught as an entertainment, not as a psychological significance, a process of growth, a visualization of today’s reality, an analysis of social life and ancient history, or the world’s history that brought people to the technical progress.
- To build a family is more important for that man.
-Yes, he understands his purpose of trying to build a family of five with eighteen grandchildren. A man’s genetic structure is of a turtle’s and is directed to one, laying eggs by any means and returning in a year through six thousand miles across the ocean to lay eggs again at the same place. But pay attention that bravado of the civilized world brings a realization that everything is a sham. Real is what is encoded by nature; real is when you see a beautiful ocean, a beautiful sunrise, or the grace of a horse. This is real.
- Then what is fine art? Is fine beautiful or good?
-Beautiful. It began from nature, from the copying of beautiful bodies of people and horses…. My main direction in art is most progressive, to achieve in composition the grace of color combinations, an intellectual color climax, tone, contrast, and so on. The idea of the painting unites in itself everything we see in the real world, but in an intricate, puzzle-like concept.
-Art in America is a tendency for immediate recognition. The remembrance is strictly visual since there was no comprehension. First they want to see that it’s different. What about Gleitzeit, how do you see this visual effect expressed?
-A regular person, either a lady florist, my tennis partner, or a teenage cowboy comes to my studio and says: “I don’t understand this art and
I don’t want to see it, it’s not mine. When the lady florist starts seeing some figures in a painting, she shouts, “I see! Look! Look! I see it now!” like a child. A man denies what he doesn’t understand as an immediate reaction. An everyday man is brought up on the understanding of natural grace. He doesn’t assimilate it in an abstract
way. He sees an egg and a hen and points out which are the egg and the hen. In my picture he can’t say that this is an egg and this is a hen at first. Moreover, he can’t say what came first, the egg or the hen. He sees something very simple or very complicating. The man refuses to do an effort. Slowly, not even slowly, but pretty quickly the man can
transform if he learns.
-Do you want to change the process of art cognition? The judgment is not based on the appearance since ‘we’ve seen all there is to see’ with and without philosophy, like when they sell us Coca-Cola they tell us about the transcendental. We are understanding folks. Do you want this “flat” cognition to change?
- A man is looking for an escape. I try to attach him to a thread in the picture, which is twisted, to untangle it. What is next? Did he learn something? Yes, and he also begins to understand abstraction after the knot is undone. This is flexitime. Will the work turn blank? No, since it still has an idea. If it would be an automated drawing by a schoolchild that may look like something there is no concept. In my art you have an idea and mastership. The key is the artist’s mastership. A weak painting will not survive. What is left to the spectator is aesthetic pleasure and confidence.
-What if people ask you for a simpler art? Why do they have to untangle your art?
- I answer simply. It’s not my doing and decision. I didn’t decide it. The art critics said so, they who studied art all their life and read volumes of books. They say that they analyzed it and it has this and that meaning, non other. That an artist is a reflection of society.
- Do you consider yourself a reflection?
-No, I don’t. Philosophers try to understand what is art and life. I only
insist that grace will not diminish in value.
… and I caught myself on a thought that I wanted to know how the story with the scriptwriter waitress ended. If the painting is still in the artist’s holdings I would like to see it to know why she wanted it so badly. And I asked…From 48 hours of the Interview with Paul Jaisini in his New York studio