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The visit to the National Trust property in Derbyshire, Kedleston Hall.
Kedleston Hall is a neo-classical manor house owned by the National Trust, and seat of the Curzon family, located in Kedleston, Derbyshire, approximately 4 miles (6 km) north-west of Derby. The medieval village of Kedleston was moved in 1759 by Nathaniel Curzon to make way for the manor. All that remains of the original village is the 12th century All Saints Church, Kedleston.
The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.
The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in Kedleston since at least 1297, and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo.
At the time a relatively unknown architect, Robert Adam, was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with his designs that Adam was quickly put in charge of the construction of the new mansion.
On the death of Richard Curzon, 2nd Viscount Scarsdale in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.
Grade I listed building
Details
SK 34 SW PARISH OF KEDLESTON KEDLESTON PARK 3/41 Kedleston Hall 25.9.51 GV I Large country house, set in large landscape park. 1758-65 by Matthew Brettingham, James Paine and Robert Adam. Interiors complete by the 1780s. Red brick faced in ashlar and render. Hipped Welsh slate roofs. Various brick stacks largely hidden within the roof wells. Main rectangular block with quadrant colonnades and rectangular pavilions following Palladio's Villa Mocenigo. Rusticated basement, piano nobile and attic storeys. Principal north front: Centre block of eleven bays. Hexastyle, giant Corinthian portico over a basement of five round arches. Three statues on the pediment. Double staircase. In the portico, central doorway flanked by niches with statues. Medallions above depicting vintage, pasturage, ploughing, and bear hunting, 1769 by William Collins. Dentilled cornice and blocking course. Three bays on either side of the portico with square sash windows to the basement, glazing bar sashes in pedimented aedicules above and rectangular attic windows with moulded surrounds. Quandrants on either side without an attic storey. The basement continues the round-arched arcade, with windows set in. Glazing bar sashes above, with balustrading below the sills as on the main block. The bays divided by Tuscan pilasters. Tripartite windows to the return walls. Linked to identical pavilions, lower than the main block but still with basement, piano nobile and attic storeys. The upper storeys are cement rendered. Five bays, with four attached Ionic columns supporting a pediment. Similar fenestration to main block but with plain surrounds. South front of 3-3-3 bays. The centre piece derived from the Arch of Constantine. Four detached Corinthian columns standing close to the antae and pilasters against the wall. Each column carrying its own piece of entablature with statues above, in front of an attic with the date 1765 inscribed. Shallow lead dome above. Double staircase with sharply curved flights. Central door- way with pedimented Corinthian aedicule, set within a blind round arch, and flanked by niches with statues and medallions above, as on the north front. Frieze of swags and medallions above. The outer bays are given similar but less grand treatment, to those on the main north front. The east and west elevations of 2-3-2 bays are treated more simply, with the central feature of a Venetian window. That on the west side was at an early date blocked. The south elevations of the pavilions are likewise treated in a plainer manner, the three centre bays advanced beneath a pediment. Interior: The main entrance is into the magnificent Marble Hall, about 67ft by 37ft, and 40ft high (taking in the attic storey). Two rows of giant Corinthian columns of pink Nottinghamshire alabaster. They were fluted in 1775, against the advice of Robert Adam. Frieze and coved ceiling with delicate stucco decoration by Joseph Rose to a design by George Richardson. Hoptonwood stone floor with inlay, designed by Adam. Around the walls are niches with casts of antique sculpture. Above are grisaille panels of Homeric subjects. Chimneypieces with elaborate over- mantles by Rose, incorporating painted roundels. Beyond, in the relationship of 'atrium' and 'Vestibulum', is the saloon, a full-height domed rotunda. Apsed niches in the corners filling the square outer walls. Coffered dome and central skylight. Pedimented doorcases with pilasters of blue scagliola. Frieze of anthemion and palmette. Painted panels of ruins, by Gavin Hamilton, and grisaille panels of scenes of British Worthies by J B Rebecca. In the niches are four cast iron vases on pedestals. Two of them are stoves. The Music Room has Ionic doorcases and delicate plaster ceiling designed by Adam. Marble chimneypiece inlaid with Blue John. The State Drawing Room, lit by a Venetian window to east. Corinthian order for the alabaster window and door surrounds. Chimneypiece with scene of virtue rewarded by honour and riches, by Spang. The Library with severe Roman Doric doorcase. Bookcases designed by Adam. Plaster ceiling divided into octagonal patterns. Triglyph frieze. Beyond the Saloon is the principal Dressing Room (also called the State Boudoir), preceeded by an anteroom, and the two divided by a tripartite screen with pierced segmental arch above the entablature. More delicate plaster ceiling. Chimneypiece brought from elsewhere c1908. Similar decoration in the State Bedroom with fine chimney- piece. Beyond is the Wardrobe (also called the Dressing Room) which communicates with the Dining Room. Apse at the west end, flanked by stucco medallions by William Collins. Ceiling with painted panels by Zucchi (continents), Hamilton (seasons) and Moorland (centre). Chimneypiece with termini caryatids by Spang. The Main Staircase is off the Marble Hall. Cantilvered stone staircase around a rectangular well. Carved tread ends, wrought iron balusters, delicate wreathed and ramped handrial. Stucco panels of 1924. The staircase leads up to the semi-state bedrooms with plain coved ceilings, dentil cornicing and plain marble chimneypieces. Some of the doors may be re-used from the earlier Hall. Three other staircases, of stone, cantilvered with stick balusters. Beneath the Marble Hall a low hall with two rows of stone columns, and two rows of iron columns inserted in 1806. The north west pavilion houses the kitchens and service rooms. The north east pavilion houses the family apartments.
Listing NGR: SK3127140296
Caesar's Hall
Was the everyday entrance to the central block and the family wing. There is bronzed plaster busts of Roman emperors in the niches.
The four wooden figures on the mantelpiece were by Michael Spang in 1758.
Taken on a day trip on 10th October 2014. For more information about Mottisfont, Visit www.nationaltrust.org.uk/mottisfont/
These photos were all taken at Greys Court National Trust Garden.
An intimate family home and peaceful estate set in the rolling hills of the Chilterns.
This picturesque 16th-century mansion and tranquil gardens were home to the Brunner family until recent years. The house exudes a welcoming atmosphere with a well-stocked kitchen and homely living rooms. The series of walled gardens is a colourful patchwork of interest set amid medieval ruins.
Other buildings from earlier eras include the Great Tower from the 12th century and a rare Tudor donkey wheel, in use until the early 20th century.
Belton House, Lincolnshire, 1685-88.
The National Trust.
The Saloon.
Side Table, c1880.
One of a pair of giltwood and marble side tables, English, probably constructed late 19th century incorporating some earlier mid 18th century elements.
Each with a grey marble rectangular top above a Vitruvian scroll frieze and held by a central eagle with wings spread and flanked by double S scroll tapering brackets. The eagle standing on a spreading plinth with applied anthemion and leaf scroll decoration.
The Borghese Gladiator.
Bronze on black marble base.
French or Italian, late 18th or 19th century.
A bronze statuette of a warrior in combat, mounted on a rectangular black marble base. After The Borghese Gladiator, a Hellenistic sculpture formerly in the Borghese collection and later acquired for The Louvre. The figure lunges forward, with his left arm thrust in the air, raising a round shield embossed with the head of Medusa. His right arm, sword in hand, thrusts backwards. The blade of the sword is missing but its handle is rendered in the shape of an eagle’s head. The head, torso, arms and legs have been sleeve joined.
Copies of The Borghese Gladiator proliferated within twenty years of the Ephesus marble being discovered at Nettuno in 1611. Charles I acquired a mould of it and commissioned Hubert le Seur to cast a bronze in 1629-30. Placed in the Privy Garden at St James’ Palace, le Seur’s bronze raised the profile of the sculpture and soon after casts began to appear in country houses across the country. A plaster cast was also sent by Velázquez to Philip IV of Spain.
The brothers have returned to Fountains Abbey - or could it be a group of schoolchildren following their teacher over the mill bridge...
Rhossili Bay on the Gower peninsula. The white building is called "The Old Rectory", it's a Nat. Trust cottage (complete with average view!).
The deer were not in evidence much this day, some rutting stags could be seen in the distance in other parts of the deer park. The Wrekin is in the background.
www.mosquedirectory.co.uk/mosques/england/london/waltham-...
Address: 324 Cann Hall Road, Cann Hall, Leytonstone, Waltham Forest, London, E11 3NW
Former: Colgrave Arms public house.
History
The pub has been around since 1860 which shows records from many government consensus, below shows an old picture taken in 1930 and the last one was taken in 2011
Treasurer's House, Minster Yard, York, c14-c18.
The National Trust.
Restored 1898-1900 by Temple Moore for Frank Green of Wakefield.
Side Cabinet - one of a pair.
Ebony, tortoiseshell, brass, gilt bronze.
France, c1860.
One of a pair of ebony, brass inlaid tortoiseshell and gilt brass mounted 'Boulle' side cabinets. Late 17th / early 18th century style, inlaid with première and contra partie 'Boulle' work, each cabinet with a pair of panelled cupboard doors, raised on a shaped plinth and turned feet, with arabesque scroll work and cast mounts.
This house was the residence of the treasurers of York Minster from 1100 until the office was abolished by Henry VIII. It belonged to 3 post-Reformation Archbishops of York, the last of whom, Thomas Young, rebuilt it. Further alterations were made in the early 17th century; the building fell into decline during the 19th century by which time Young’s mansion had been split into at least five separate properties. The present garden front with its classical central entrance bay dates from c.1630. It now contains the furniture collection of the wealthy industrialist and aesthete Frank Green, who restored and remodelled the building after acquiring it in 1897. Inside, Green’s architect, Temple Moore, created a huge hall out of the 2-storey central block with a half-timbered gallery supported by classical columns. There is an early 18th-century staircase that has been attributed to the joiner-architect William Thornton, who worked at Beningbrough.
20060911
march and protest against cuts to respite care in northamptonshire
market square to council offices, northampton uk
head&neck: health; healthcare; provision; service; change; effect; management
head&neck: one part of liquidiser's (ongoing) 'point of centre' project
point of centre: (documenting) aspects of life in (contemporary)northampton;
social / action research approach
liquidiser: an ‘agent’ (or agency); for change; for promotion; for facilitation; for publicatio
For our most recent uni project on physiognomy (basically portrait really)
I ended up approaching strangers on the street I felt looked untrustworthy and may normally avoid. I asked them if I could take a photo and took 1 shot of each.
I wanted to see if my assumption was changed in any way and similarities between each person.