Leonardslee Lakes and Gardens

 

The name Leonardslee derives from the lea or valley of St Leonard's Forest, one of the ancient forests of the High Weald. In the Middle Ages the soil was too acidic for agriculture and so it remained as a natural woodland with wild animals and deer for the chase. There was extensive felling of the forest trees in the 16th and 17th centuries when the Weald became the centre of England's iron industry, producing cannon and cannonballs, firebacks, hinges, horseshoes and nails.

Most of the forest trees were felled for charcoal, which was used to reduce the ore and to generate heat to smelt it. The valley streams were dammed to provide a head of water that powered, via a water wheel, bellows that blasted air into the furnace, which was called Gosden furnace. A string of ponds was therefore created through a series of dams in the long, steep-sided valley to act as reservoirs; these would be drained as necessary to keep the flow of water going over the wheel. With the demise of the Wealden iron industry in the 17th century Gosden furnace was silenced, leaving behind the ponds, which later became a picturesque feature of the gardens, and allowing the woodlands to regenerate.

(Wikipedia)

The spectacular Great Bedchamber wasn’t for sleeping in but for the King to be dressed in public. In the Great Bedchamber the king might receive senior courtiers and ministers while dressing, a French royal custom, known as the levée. The King was attended by Gentlemen of the Bedchamber in this room, which is appropriately one of the most sumptuous in the Palace.

 

The Great Bedchamber was William III’s inner sanctum; access was strictly controlled by the Groom of the Stool. Those privileged to attend while the king was dressed were kept at a suitable distance behind a gilded rail.

 

Footstool

 

A set of beech and giltwood footstools with over upholstered seats. S-scroll shape legs at front and straight turned legs are the rear, all with feet of square fluted section joined by a serpentine X-frame stretcher.

 

•Provenance: Made c.1695-1705 and acquired by William III c. 1700.

•People Involved:

oCreator(s): English (nationality)

•Physical Properties:

oMedium and Techniques: Beechwood and gilded wood, fabric

beech; velvet; burlap

carved; gilded; upholstered; woven (gold)

oMeasurements: 47.0 x 63.5 x 49.5 cm (whole object)

  

Barometer

 

A free standing, portable barometer made c.1695-1705 contained in an ivory tapering tube with a screw-type portable cistern on a stand supported by four gilt bronze male terms. The dial at the top in three stages with inscriptions in English and French and in engraved gilt brass frames. Traces of the Royal Monogram “ЯWR” on each side.

 

•Provenance: Acquired by William III c. 1700. Daniel Quare made several clocks, watches and barometers for William III. He was a clockmaker and instrument maker who invented a repeating watch movement in 1680 and a portable barometer in 1695. He was a Quaker, born in Somerset c.1647, who became a Brother in the Clockmakers’ Company in London in 1671 and Master of the Company in 1708. Quare was offered but declined the Royal Warrant as a practicing Quaker he was unable to sign an oath of allegiance. Notwithstanding he was “free of the back stairs” at royal residences.

•People Involved:

oCreator(s): Daniel Quare (1649?-1724) (manufacturer); English (nationality)

oAcquirer(s): William III, King of Great Britain (1650-1702)

•Physical Properties:

oMedium and Techniques: Ivory, gilt metal, glass

ivory; animal materials; bronze; brass; glass (material)

turned; gilded; cast; engraved (incised)

oMeasurements: 95.0 × 11.0 cm (whole object)

  

Candlestand

 

Each with circular top with gadrooned edge, on a central tripartite shaft carved with scrolls, foliate and husks, the whole of the central shaft on three scrolled legs. The Pelletier family of carvers and gilders were of French origin and by 1682, Jean Pelletier had arrived in London. His workshop also comprised his two sons, Thomas and Rene. It was in all likelihood due to the patronage of the francophile Master of the Great Wardrobe, Ralph, Duke of Montagu, that the Pelletier family came to enjoy royal patronage. The candlestands, or torcheres, form part of the commission to furnish the King’s Apartments at Hampton Court Palace that Montagu obtained for Jean Pelletier. Between 1699 and 1702, furniture costing nearly £600 was delivered. A warrant dated October 25, 1701 included a quantity of tables and stands for “ye Drawing Room, Privy Chamber, Eating Room, Gallery, &c., at Hampton Court”, comprising “six pair of large stands at £30 p. pair”, ten of which survive [RCIN 1002.1-8 & RCIN 1015.1-2]. Within this set, one pair is of very slightly lesser quality in their carved detail [RCIN 1015]. A further four candlestands of more elaborate design were also supplied [RCIN 57029].

 

•Provenance: Supplied to William III, October 25, 1701; for the State Apartments, Hampton Court Palace.

•People Involved:

oCreator(s): Jean Pelletier (active c.1681-d. 1705) (furniture maker); English (nationality)

oAcquirer(s): William III, King of Great Britain (1650-1702)

•Physical Properties

oMedium and Techniques: Carved and gilded oak and lime wood

oak; limewood

carved; gilded

oMeasurements: 154.0 × 57.5 × 50.5 cm (whole object)

  

Fireback

 

Square fireback with arched crest. Central scene depicts a nude with a putto embracing a warrior in armor (Venus & Adonis?) with a dog. Surrounded by a thick border of fruit, flowers and shells, topped by a crown flanked by two dolphins.

 

•People Involved:

oCreator(s): English (nationality)

•Physical Properties:

oMedium and Techniques:

iron

cast

oMeasurements: 118.0 × 84.0 cm (whole object)

  

Pair of Firedogs

 

Pair of baluster-shaped, silver plated firedogs.

 

•People Involved:

oCreator(s): English (nationality)

•Physical Properties:

oMedium and Techniques:

metal

cast; silver plated

oMeasurements: 46.5 × 32.5 cm (whole object)

  

Fire Screen

 

A cheval firescreen on a gilded wood swivel stand with a carcase of oak. The upright rectangular frame has a panel of crimson velvet and silver galon borders. Pierced carved cresting with, in the center on either side, male and female masks flanked by foliate scrolling. The baluster shaped supports are surmounted by pineapple motifs and carved with floral and foliate motifs. The border at the base of the screen is also pierced and incorporates H-motifs and eagle heads. All mounted on square blocks decorated with pateræ and square section reeded s-scroll tripod feet.

 

•Provenance: R. Macquoid & R. Edwards in The Dictionary of English Furniture, London, 1927, vol. III, pp. 67 & 71 suggest that the fire screen is “strongly imbued with French influence”. Edwards & Jourdain suggest that the screen was made by John (Jean) Pelletier, a Huguenot French immigrant craftsman (Georgian Cabinet-Makers, London, 1944, p. 16 & fig. 4). Made c.1695-1705 and supplied to William III, c.1700, for Hampton Court Palace.

•People Involved:

oCreator(s): English (nationality)

Attributed to: Jean Pelletier (active c.1681-d. 1705) (furniture maker)

oAcquirer(s): William III, King of Great Britain (1650-1702)

•Physical Properties:

oMedium and Techniques: Carved and pierced giltwood, with velvet and woven silver (galon)

oak; velvet; metal

carved; pierced; gilded; woven (silver)

oMeasurements: 141.0 × 110.0 × 34.5 cm (whole object)

  

Mirror

 

An overmantle mirror made c.1695-1705 to fit arched gap above the chimney piece in the King’s Great Bedchamber at Hampton Court Palace. Palladian or Venetian style in three sections with a central arched section, flanked by upright rectangular sections, surrounded and divided by blue glass bands applied with white glass rosettes and attached to the wall with glass screws.

 

•Provenance: Supplied to William III for the Great Bedchamber, Hampton Court Palace, c.1700 by Garrett Johnson, glassmaker (most likely to be Gerrit Jensen). He submitted his invoice of c.1700, which included the following: “For a glass 48in. long 31in. broad Diamd Cutt round Ye Topps for Ye Grt Bed Chamb 40 : 00 : 00” Gerrit Jensen (active 1680-d.1715) was of Dutch or Flemish origin. He was known to be working in London from premises in St. Martin’s Lane by 1680 where he was known as a pre-eminent “Cabbinet maker and Glasse seller”. He was the only cabinetmaker working in England during this period known to have used metal inlays and elaborate “seaweed” or “arabesque” marquetry. His furniture reflects the fashionable French court styles of Pierre Golle, André Charles Boulle and Daniel Marot.

•People Involved:

oCreator(s): Gerrit Jensen (active 1680-d.1715) (manufacturer); English (nationality)

oCommissioner(s): William III, King of Great Britain (1650-1702)

•Physical Properties:

oMedium and Techniques: Cut and colored glass

reflective glass

cut

oMeasurements: 131.0 × 191.0 cm (whole object)

 

Guanyin, Goddess of Mercy

 

A Chinese white porcelain (blanc de Chine) figure of Guanyin, Goddess of Mercy made from 1660 to 1690. Hollow, with head and hands inserted. With downcast eyes and a benign expression, the deity stands on a hollow mound base with clouds. She has elongated ear lobes (as befits a Bodhisattva), and her hair is dressed in plaits and coiled on top, with a diadem bearing an image of Amitabha Buddha (celestial Buddha, often called the Buddha of infinite light) seated on a lotus. A mantle covering the head falls to the shoulders, and her long robes hang in folds across the chest below a chain necklace with a ruyi-head ornament; from the long sleeves project arms adorned with wrist bands, with hands clasped. Below is an under-robe falling to her projecting feet. The robes were later picked out in red, green and black pigments, now largely worn off, and the base and mantle in a greenish pigment with vestiges of gilding.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Dehua, Fujian Province [China] (porcelain manufacturer); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: White porcelain with remains of painting in colors and gilt added in Europe

porcelain

molded; painted

oMeasurements: 47.5 × 13.5 × 12.2 cm (whole object)

  

Guanyin, Goddess of Mercy

 

A Chinese white porcelain (blanc de Chine) figure of Guanyin, Goddess of Mercy made from 1660 to 1690. With downcast eyes and a benign expression, the deity stands on a hollow mound base with clouds. She has elongated ear lobes (as befits a Bodhisattva), and her hair is dressed in plaits and coiled on top, with a diadem in front now partly broken. A mantle covers the head and the long robes are open at the chest, revealing a necklace with a lotus ornament; the arms projecting from the long sleeves are adorned with wrist bands above the clasped hands. A long pendent jewel chain appears over an under-robe from which the feet protrude below. The figure was colored in Europe with red, green, black and gold pigments which are now largely worn away.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Dehua, Fujian Province [China] (porcelain manufacturer); Chinese (Nationality)

•Physical Properties:

oMedium and Techniques: White porcelain with remains of painting in colors and gilt added in Europe

porcelain

molded; painted

oMeasurements: 44.5 × 11.8 × 10.4 cm (whole object)

  

Four Vases

 

Four blue-and-white Ming porcelain vases made c.1635-45. Each of hexagonal baluster shape, the broad-shouldered body spreading towards the foot, short hexagonal neck, and recessed, unglazed, circular base. Painted in uneven violet blue round the body is a scene depicting four standard-bearers, an attendant with a fan, and an official, to whom a bearded figure offers a tray holding a vase containing three arrows (for the ancient Chinese game of pitchpot, touhu), among banana trees, with V-shaped grasses underfoot, views of distant mountain peaks and a city wall, and a scene-ending cliff swathed in mist. Round the shoulder is a frieze of “cloud-collar” panels with lotus plants in white reserve, and round the neck, a dentate border; above the foot, a band of stiff leaves.

 

Many jars of this type, with covers, were found in the “Hatcher” wreck of c.1643 in the South China Sea.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue

porcelain

painted

oMeasurements:

Height: 31.2 cm, 31.0 cm, 31.2 cm, 30.2 cm (whole object)

  

Pair of “Rolwagen” Vases

 

A pair of cylindrical porcelain vases made from 1645 to 1665 painted in underglaze blue and famille verte enamels. Each with open mouth constricted at the base of a short neck, with unglazed base; the neck of RCIN 1048.2 somewhat taller. Painted on one side is a bold, rampant dragon with two-horned blue head and green mane, red scaly body, yellow spine and claws outlined in black, with green whiskers and feet, among red, green and blue flames extending to the reverse, with a red sacred jewel. Round the neck are two flower sprays and a jewel.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and techniques: Porcelain painted in underglaze blue and famille verte enamels

porcelain; enamel

painted; blue underglazed

oMeasurements:

Height: 28.8 cm, 28.5 cm (whole object)

  

Pair of Bottles

 

A pair of porcelain bottles made from 1670 to1690, each with pear-shaped body and tall tapering neck; low foot. Painted in vivid green, bright blue, yellow, red and black enamels, with a design differing somewhat on the two pieces. Round the body in sketchy style is a water landscape with a red boat, rocky shores and a willow tree, a promontory with temple buildings and distant mountains, the water indicated by broad strokes of green outlined in black. Round the neck are red rings enclosing a band with a pendent jewel chain on either side, and a frieze of pointed leaves below; similar rings mark out an empty band above the foot.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Arita, Hizen province [Japan] (place of production)

oStyle of: Japanese; Kakiemon (style); Japan [Asia] (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in “Kakiemon-style” enamel colors

porcelain

painted

oMeasurements:

Height: 24.4 cm, 23.4 cm (whole object)

  

Vase

 

A Chinese porcelain vase made from 1650 to 1680 painted in underglaze blue. Of slender, baluster shape, with spreading foot, narrow, waisted neck and spreading lip, below which the mouth is slightly cupped; the recessed base glazed. Painted round the body are leafy scrolls, with blooms of peony and hibiscus; round the foot is a border of ill-defined dabs of blue; round the shoulder is a border of chevron pattern; and round the neck, two rows of leaf patterns.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue

porcelain

painted

oMeasurements: 22.2 × 8.5 cm (whole object)

  

Vase

 

A porcelain vase made from 1650 to 1680 painted in underglaze blue. Of slender, baluster shape, with spreading foot, narrow, waisted neck and spreading lip; the recessed base glazed. Painted round the body are leafy scrolls, with blooms of peony, hibiscus and convolvulus; round the foot is a border of ill-defined dabs of blue; round the shoulder is a border of chevron pattern; and round the neck, two rows of leaf patterns.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue

porcelain

painted

oMeasurements: 20.2 × 8.5 cm (whole object)

  

Pair of Flasks

 

Two Chinese porcelain flasks made from 1630 to 1650, with mounts from the 17th century, painted in underglaze blue with silver mounts. Each with flattened, pear-shaped body, tall, tapering, squared neck and rectangular, unglazed base with a mold line. The back is flat and the front face rounded, an unusual form apparently copied from “Spa water” glass bottles made for Spa, a town near Liège, in Belgium. On each flask, the upper part of the neck is encased in a square silver mount, perhaps of Dutch workmanship, chased with leafy pendants and one with a screw-threaded top with small silver cap, possibly a replacement. Painted on the front is a landscape with a European church, its steeple topped by a cross, with buildings and trees and a large cross standing in the foreground, a mountain peak visible beyond. On the reverse are two different flowering plants; on both faces of the necks, long leafy sprays; and along each side a band of rosettes. RCIN 1058.1 has lost its silver threaded screw-cap.

 

These flasks are among the earliest Chinese porcelains on which the Christian church and cross are represented. Certain square bottles after the form of contemporary ships’ flasks are painted with a similar large cross and with the instruments of the Passion.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue; silver mounts

porcelain; paint; silver

painted; blue underglazed

oMeasurements:

Height: (overall) 20.5 cm, 20.5 cm (whole object)

  

Pair of Vases with Covers

 

A pair of hexagonal porcelain jars with covers made from 1670 to 90. Each with six gently curved sides tapering to the foot, rounded shoulder and straight hexagonal neck, the flat base unglazed; the low, domed cover with projecting rim, unglazed infitting flange, and flat knob finial.

 

Painted in rich blue, green, red and brown enamels (without black or gold). On alternate sides appear a long-tailed, long-necked, brown-bodied bird perched on a flowering stem, and one of two other designs of tall flowering plants. Round the shoulder is a band of scrollwork in green on a red ground, interrupted at the corners, alternately, by quatrefoil panels displaying a bird with outstretched blue wings and fan-shaped green tail, and by blue blooms with red centers. Round the neck is a border of key-fret in red; the cover repeating the shoulder design.

 

The vases are identical in design but not a “matched pair”, unlike RCIN 1094 where one vase repeats the design of the other in reverse.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Arita, Hizen province [Japan] (place of production); Japan [Asia] (nationality)

oStyle of: Japanese; Kakiemon (style)

•Physical Properties:

oMedium and Techniques: Porcelain painted in “Kakiemon-style” enamel

porcelain

painted

oMeasurements:

Height: (overall) 31.5 cm, 31.5 cm, (jar only) 26.9 cm, 26.9 cm (whole object)

31.5 × 19.0 cm (whole object)

27.0 × 19.0 cm (excluding case, cover, etc):

  

Pair of Bottles

 

A pair of Ming white and blue porcelain bottles made from 1625 to 40. Each with globular body tapering into a tall neck, spreading towards the mouth; low foot and glazed base. Painted in violet blue round the body are floral sprays in a broad band divided by a formal central border, which is interrupted by four roundels containing rustic scenes: a peasant in a paddy field, a fisherman with a lobster pot, a farmer with a sheaf on his shoulder, and a scholar reclining with a book, enclosed within petal borders. Round the neck are four “tulip” motifs with blooms resembling pinks.

 

See also RCIN 1152.

 

The place of the bottles’ manufacture, at Jingdezhen, is indicated by a large sherd from a similar bottle also painted with “tulip” motifs, the same border below and similar roundels (disposed, however, in two bands round the body), which was excavated at Jingdezhen from the Shibaqiao kiln-site.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue

porcelain

painted

oMeasurements:

Height: 36.8 cm, 38.3 cm (whole object)

  

Beaker Vase

 

A porcelain beaker vase of Chinese gu form made from 1670 to 1690, the waisted cylinder spreading to a trumpet mouth, with inset foot and glazed base. Painted in blue are a border of knobbed scrollwork round the lower body, punctuated by rosettes and with a frieze of pointed petals below, partly in red enamel; also blue double rings round the foot and at the lip with a smaller petal frieze. Painted round the body, in red, yellow, green and greyish purple with black outlines, are flowering chrysanthemums with some gilt blooms growing among grasses, and on the reverse a flowering fruit tree.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Arita, Hizen province [Japan] (maker); Japan [Asia] (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue, enamels and gilt

porcelain

painted

oMeasurements: 42.2 × 21.1 cm (whole object)

  

Pair of Vases

 

A pair of Chinese porcelain beaker vases made from 1645 to 1665. Each cylindrical, of gu form, spreading towards the mouth and foot, with unglazed base. Painted round the sides of RCIN 1216.1 is a scene, with a woman in a green robe on a balustraded terrace addressed by a bearded figure with a staff who has a disc-like object suspended from his left hand, with a bounding dog and growing plants, and a budding tree in blue growing by a rock. Above are two lines from a poem:

 

“Since days of old matters of matrimony have been set by fate,

How can marriage be brought about by the biddings of the mind?”

 

The lines are found in the short story “Qian xiucai cuo zhan fenghuang chou” (“Scholar Qian Wrongly Takes the Phoenix Companion”, also known as “The Perfect Lady by Mistake”), taken from Xingshi hengyan (“Constant Words to Awaken the World”), a book of stories by Feng Menglong (1574–1646). This collection was first published in the seventh year of the Tianqi reign of the Ming dynasty (equivalent to 1627 in the Western calendar). In the story, a lazy and unsuitable bridegroom, Yan Jun, tries to trick a beautiful bride, Qiufang, into marrying him by sending his handsome and intelligent (but impoverished) cousin, “Scholar Qian”, in his place. The deception backfires, and Qiufang marries Scholar Qian instead, while the ugly Yan Jun is exposed for what he really is, a schemer and a cheat, and publicly disgraced. The image on the vase of the young beauty and the ugly man alludes to this story through the inscription.

 

RCIN 1216.2 is painted with two long-tailed birds perched on a drooping branch of a tree with red and blue flowers, by a stream with three swimming fish in red, under a large yellow moon. Above are two lines from a poem:

 

“The watchman calls the fifth watch; it is not quite dawn,

Moonlight shines on the myrtle blossom growing by the palace steps.”

 

The lines are the final two lines from the four-line poem “Zhi Yutang zuo” (“Composed While Serving at the Hall of Jade”) by Hong Zikui (1176-1236) of the Southern Song dynasty. The Jade Hall in the title of this poem was an alternative name for the Hanlin Academy, the highest seat of learning at the Chinese court. The poet Hong Zikui served as a high-ranking official in the Ministry of Justice, as well as being a member of the Hanlin Academy. In the poem, officials within the Academy are drafting memorials to the emperor. The two lines that appear on the vase vividly describe the scene before dawn, the opening of the palace gates and the submission of the edicts.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in underglaze blue and famille verte enamels

porcelain

painted

oMeasurements:

Height: 20.5 cm, 21.7 cm (whole object)

  

Pair of Vases

 

A pair of slender Chinese porcelain baluster vases made in the 17th century with mounts from the late 17th century, each with short neck and everted lip, spreading foot and unglazed base burnt orange; the porcelain roughly finished and the glaze uneven. RCIN 1214.1 is fitted at the lip with a European gilt-bronze band with a pierced scrollwork border, and rim intended to receive a cover (now lacking), with foliate clasps under the neck; and at the foot, a matching scrollwork band with foliate clasps around the foot (some missing). There is no evidence of similar additions to RCIN 1214.2.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Jingdezhen [Jiangxi Province, China] (place of production); Chinese (nationality); Europe (metalworker)

•Physical Properties:

oMedium and Techniques: Porcelain with deep purplish-blue glaze and gilt-bronze mounts

oporcelain; brass; gilt bronze

oMeasurements:

Height: (overall) 12.0 cm, 11.8 cm (whole object)

  

Pair of Bottles

 

Two small octagonal porcelain bottles made from 1680 to 1700. Each with pear-shaped body tapering into a tall slender neck; low hexagonal foot and glazed base. Elegantly painted in green, red and blue enamel with black outlines and gilding. Displayed across three faces is a chrysanthemum plant with a butterfly, and on the reverse side another flowering plant; at the neck are three pendent flower sprays with gilt borders, with a red ring below the lip.

 

Text adapted from Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen: Volume I.

 

•People Involved:

oCreator(s): Arita, Hizen province [Japan] (place of production); Japan [Asia] (nationality)

•Physical Properties:

oMedium and Techniques: Porcelain painted in Imari-style enamels and gilt

porcelain

painted

oMeasurements:

Height: 23.2 cm, 22.6 cm (whole object)

  

Elbow Chair

 

A beech and giltwood upholstered chair. Caned seat, loose cushion, loose crimson velvet covers trimmed with gold galloon. Legs plain at back, inverted S-shape at front with feet of square fluted section, serpentine X-frame stretcher and supports for upholstered arms.

 

•Provenance: Made c.1695-1705; and acquired by William III c. 1700.

•People Involved:

oCreator(s): English (nationality)

•Physical Properties:

oMedium and Techniques: Beechwood and gilded wood, fabric

beech; cane (plant material); grass; velvet; burlap

turned; carved; gilded; woven (gold); upholstered

oMeasurements: 120.0 × 68.0 × 84.0 cm (whole object)

Crested Fireback - Lopthura ignita

Name: Malayan crestless fireback (male)

Scientific: Lophura erythrophthalma

Malay: Ayam Merah Mata / Ayam Pegar Mata Merah / Merah Mata

Family: Phasianidae

IUCN Red List (v3.1, 2022): Critically Endangered

Gear: SONY α1 + SEL600F40GM

 

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The Pierhead Building near Roald Dahl Plass in Cardiff Bay.

  

The Pierhead Building (Welsh: Adeilad y Pierhead) is a Grade 1 listed building of the National Assembly for Wales in Cardiff Bay, Wales. It stands as one of the city of Cardiff's most familiar landmarks and was built in 1897 as the headquarters for the Bute Dock Company.

 

The clock on the building is unofficially known as the "Baby Big Ben" or the "Big Ben of Wales", and also serves as a Welsh history museum. The Pierhead Building is part of the estate of the National Assembly for Wales, which also includes the Senedd and Ty Hywel.

  

It is a Grade I listed building.

 

Pier Head Building, Butetown

 

Location

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

 

History

Built in 1896 by William Frame, assistant to William Burges as offices for the Cardiff Railway Company, sucessor to the Bute Dock Company. Medievalist style with strong influence of Burges (in contrast to the Classical dock offices at Barry) combining muscular Gothic and French Renaissance elements. 2-storeys; brightly constructed throughout in glazed terracotta, representing a fine example of the use of this material; abundant sculptural ornament and banding. Slate roofs; small-pane glazing, round headed to 1st floor and square headed below.

 

Interior

Entrance is onto square lobby, decoratively tiled and with panelled ceiling; round arched recesses to both sides with labels and nook shafts. This leads through to tall and grand hall; includes terrazzo floor, with central roundel repeating the company's motto and panelled ceiling. Church-like, double-arcaded hall of offices to rear through full height, moulded arch with foliage spandrels; terracotta detail includes twin pilasters between each arch, rising to carry the glazed clerestory roof along the central nave. The main stairwell leads off the front right hand corner of the entrance hall. The staircase is enriched by varied and colourful materials including granite treads, terracotta (stellar-section) balusters including enormous newels and green-glazed tile handrail; gilded Minton style tilework to dado (ca 1.8m high) - includes swagged band to top. The single-best room is the Port Manager's office on 1st floor with castellated and canopied 'medieval' chimneypiece with heavily foliated columns and herringbone tiled fireback; panelled ceiling with pendant to octagonal centrepiece. Round arch into corner tower bay in this office and that below. Crenellated and half-glazed partitions to 1st floor office corridors; panelled doors. Original ironwork spiral stairs inside clock-tower manufactured by St Pancras Ironwork Co, London; curved braces to treads.

 

Exterior

Design dominated by 2-stage clock tower at S end over main entrance; pyramidal roof and crenellated parapet with gargoyles. Clock faces recessed beneath semi-circular arches with fleuron panelled balconies; flanking lions heads and coats of arms. Splayed oriel over main entrance including crenellated transom and machicolated bracket base. Squat round arched entrance with deeply rounded jambs; battered bases to flanking octagonal and domed turrets. Panelled doors, half-glazed tympanum and swirling bands of foliage. Larger, Low Countries style, polygonal corner towers beyond, incorporated into main rooms and glazed to each face; pyramidal roof, gargoyles, colonnettes and foliage band between floors. 7-bay left hand side, the southernmost of which is taken up with exceptional chimney breast, heavily enriched with terracotta ornament including steam train and ship over the company's motto 'Wrth ddwr a than'; the whole set in a tiered frontispiece-like frame and topped by 3-linked chimney stacks; bronze commemorative plaque to base. Central 3-bays are divided by buttresses with polygonal faces and domed caps. Steep-hipped roof tower beyond over entrance inscribed Bute Docks Co. ; round arched with panelled surround; chimney stack and band of narrow round arched panels to top. Northernmost bay has bracketed gable-oriel with 3-light transomed window; gable has blind oculus and finials. Simpler right hand side with central 3-bays divided off as before; 2-windows near southern end are set in foliage surround. Plain N end.

 

Reason for Listing

Listed Grade I as a central and especially important building to the historical and visual dockscape of Cardiff; it is furthermore an exceptional Victorian building reflecting the confidence of the period in its flamboyant architectural detail, particularly in its use of terracotta.

 

References

M Parker and N Carter, Butetown, A Visitors Guide, 1989, p.5.

The Inner Harbour - An Historical Appraisal. An unpublished report prepared by The Survey of Cardiff for Cardiff Bay Development Corporation, March 1989, pp 103-4.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

South Front

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from near the Vine Walk.

Fireback Crayfish reside in a handful of first-order streams and seeps along the eastern bank of the Apalachicola River.

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

This impressive looking species is only found in the Thai-Malay Peninsula and Sumatra. We saw it a coup0le of times briefly in thick forest at Way Kambas National Park, South Sumatra. On the evening of the 11th September 2018 we found one roosting in a tall tree over the track we were walking along.

In Lichfield near and around Staffordshire County Council - Lichfield College.

 

This is the Staffordshire County Council building for Lichfield College and Library Services.

 

It includes Lichfield Library, Lichfield Record Office, The Friary Gallery, Library, Art & Archives Committee, Education Committee and Lichfield College.

 

Scaffolding on the end near St John Street.

 

Sign at the corner of St John Street and The Friary.

 

Grade II listed.

 

Lichfield College and Lichfield Library, Lichfield

 

LICHFIELD

 

SK1109SE THE FRIARY

1094-1/8/232 (South side)

05/02/52 Lichfield College and Lichfield

Library

(Formerly Listed as:

BIRMINGHAM ROAD

Lichfield Friary Grammar School for

Girls)

 

GV II

 

Part of Franciscan Friary, converted to house and then to

school. c1295, altered and extended to north, 1538, for

Gregory Stonynge; extended, 1921-8, by GC Lowbridge, County

Architect.

Ashlar and brick; tile roofs with brick stacks.

T-plan with end cross-wings, original building forming end and

cross-wing of arm to right.

Original building, known as the Bishop's Lodging, forms L-plan

with short wing. Mostly ashlar with some brick.

North wing: 2 storeys with attic; 3-window left return range.

2 offset ashlar and brick buttresses; 3 coped gables. Pointed

entrance to right end has single-chamfered arch. Tall stair

window to left end has leaded glazing, 3-light ovolo-mullioned

window to left; 1st floor has 2 mullioned and transomed

windows of 3 lights; attic has casement windows with iron

opening casements. Two C20 lateral stacks.

End has early brickwork with offset below timber-framed gable

with ogee bracing and brick infill, ashlar angle to right with

return raking buttress; small window high up to right projects

and has leaded glazing, gable has slanting window.

Right return has gabled wing to right of centre and right end

gable. Left end of ashlar with some brick; ground floor has

2-light casement and pegged cross casement both with timber

lintels and leaded glazing; 1st floor has 3 windows with

12-pane sashes.

Wing has much ashlar and brick patching, raised eaves and

diagonal buttresses; 2 windows to ground floor, one to 1st

floor, all with 12-pane sashes, attic has small-paned

casement; left return has blocked 1st floor round-headed light

with spandrels, and lateral stack; right return has large

brick section and eaves, 1st floor door to fire-escape with

rubbed brick flat arch, and lateral stack. Gabled right end

has signs of blocked openings and brick gable and angle

buttress; 1st floor door.

Rear elevation, south wing, of 2 storeys; 5-window range with

central 2-storey porch with chamfered angles and parapet; 3

offset buttresses.

Recessed entrance has steps up to recessed glazed and

fielded-panelled door. Windows have paired 18-pane horned

sashes, those to 1st floor with cornices and parapets, left

end window with inserted half-glazed door; window to right of

entrance has ex-situ gravestone of C14 or earlier below:

calvary cross fleury and worn inscription to Richard the

Merchant, found in 1746.

C20 range of brick with ashlar dressings. 2 storeys; gabled

centre with flanking 6- and 3-window ranges and wing to left

end. 3-light ovolo-mullioned-and-transomed windows; coped

gables. Centre has gabled buttresses and entrance with Tudor

head in architrave with label mould; flanking windows with

cornice above taken round base of canted oriel with vine and

grapes to base, 1:2:1-light window, flanking 3-light windows

and light above.

Range to right to front of old range; gabled centre has 1st

floor oriel. Range to left is symmetrical with 2 gabled

projections with oriels. Wing has gabled buttresses;

2:3:2-light windows and cusped panelling between floors;

7-window left return. Rear has hall wing with tall windows

with small-paned glazing and tall lateral stack; later

additions.

INTERIOR: old part has brick-vaulted cellars with ashlar

benches and shelves; C20 paired sashes to corridors and

staircase; ground floor room to wing has chamfered beams,

square panelling, corner fireplace with pilasters, frieze and

dentilled cornice; niche with shaped shelves and architrave;

attic with exposed trusses, north wing with curved principals.

C20 part has ex-situ C16 fireplace from panelled room, ashlar

with Tudor arch and lettering: GREGORY STONYNG to spandrels,

Delft tiles and cast iron fireback; late C20 alterations.

During the C18 the house was the home of Mrs Cobb and her

niece, friends of Dr Johnson, who often visited them.

(Buildings of England: Pevsner N: Staffordshire: London:

1974-: P.191-2; Mullins H: History of the Friary School:

Lichfield).

  

Listing NGR: SK1161509321

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from the Rockery

7D, 1/125, F-2.8, 300mm, ISO 1250

7:00 in the morning at the edge of the forest. Very dark. These guys feed at the edge of the forest daily. Start around 5:45 in the morning and are gone by 7:00.

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from near the Vine Walk.

4 kinds of Pheasants in a few hours at Phu Luang

Wildlife Sanctuary. 2017.07.23

Red Junglefowl 4, Silver Pheasant 3, Green peafowl 4, Siamese Fireback 7

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from the Rockery

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from the Rockery

Siamese Fireback

 

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

South Front

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from the Rockery

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

Siamese Fireback

The Pierhead Building near Roald Dahl Plass in Cardiff Bay.

  

The Pierhead Building (Welsh: Adeilad y Pierhead) is a Grade 1 listed building of the National Assembly for Wales in Cardiff Bay, Wales. It stands as one of the city of Cardiff's most familiar landmarks and was built in 1897 as the headquarters for the Bute Dock Company.

 

The clock on the building is unofficially known as the "Baby Big Ben" or the "Big Ben of Wales", and also serves as a Welsh history museum. The Pierhead Building is part of the estate of the National Assembly for Wales, which also includes the Senedd and Ty Hywel.

  

It is a Grade I listed building.

 

Pier Head Building, Butetown

 

Location

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

 

History

Built in 1896 by William Frame, assistant to William Burges as offices for the Cardiff Railway Company, sucessor to the Bute Dock Company. Medievalist style with strong influence of Burges (in contrast to the Classical dock offices at Barry) combining muscular Gothic and French Renaissance elements. 2-storeys; brightly constructed throughout in glazed terracotta, representing a fine example of the use of this material; abundant sculptural ornament and banding. Slate roofs; small-pane glazing, round headed to 1st floor and square headed below.

 

Interior

Entrance is onto square lobby, decoratively tiled and with panelled ceiling; round arched recesses to both sides with labels and nook shafts. This leads through to tall and grand hall; includes terrazzo floor, with central roundel repeating the company's motto and panelled ceiling. Church-like, double-arcaded hall of offices to rear through full height, moulded arch with foliage spandrels; terracotta detail includes twin pilasters between each arch, rising to carry the glazed clerestory roof along the central nave. The main stairwell leads off the front right hand corner of the entrance hall. The staircase is enriched by varied and colourful materials including granite treads, terracotta (stellar-section) balusters including enormous newels and green-glazed tile handrail; gilded Minton style tilework to dado (ca 1.8m high) - includes swagged band to top. The single-best room is the Port Manager's office on 1st floor with castellated and canopied 'medieval' chimneypiece with heavily foliated columns and herringbone tiled fireback; panelled ceiling with pendant to octagonal centrepiece. Round arch into corner tower bay in this office and that below. Crenellated and half-glazed partitions to 1st floor office corridors; panelled doors. Original ironwork spiral stairs inside clock-tower manufactured by St Pancras Ironwork Co, London; curved braces to treads.

 

Exterior

Design dominated by 2-stage clock tower at S end over main entrance; pyramidal roof and crenellated parapet with gargoyles. Clock faces recessed beneath semi-circular arches with fleuron panelled balconies; flanking lions heads and coats of arms. Splayed oriel over main entrance including crenellated transom and machicolated bracket base. Squat round arched entrance with deeply rounded jambs; battered bases to flanking octagonal and domed turrets. Panelled doors, half-glazed tympanum and swirling bands of foliage. Larger, Low Countries style, polygonal corner towers beyond, incorporated into main rooms and glazed to each face; pyramidal roof, gargoyles, colonnettes and foliage band between floors. 7-bay left hand side, the southernmost of which is taken up with exceptional chimney breast, heavily enriched with terracotta ornament including steam train and ship over the company's motto 'Wrth ddwr a than'; the whole set in a tiered frontispiece-like frame and topped by 3-linked chimney stacks; bronze commemorative plaque to base. Central 3-bays are divided by buttresses with polygonal faces and domed caps. Steep-hipped roof tower beyond over entrance inscribed Bute Docks Co. ; round arched with panelled surround; chimney stack and band of narrow round arched panels to top. Northernmost bay has bracketed gable-oriel with 3-light transomed window; gable has blind oculus and finials. Simpler right hand side with central 3-bays divided off as before; 2-windows near southern end are set in foliage surround. Plain N end.

 

Reason for Listing

Listed Grade I as a central and especially important building to the historical and visual dockscape of Cardiff; it is furthermore an exceptional Victorian building reflecting the confidence of the period in its flamboyant architectural detail, particularly in its use of terracotta.

 

References

M Parker and N Carter, Butetown, A Visitors Guide, 1989, p.5.

The Inner Harbour - An Historical Appraisal. An unpublished report prepared by The Survey of Cardiff for Cardiff Bay Development Corporation, March 1989, pp 103-4.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

weather vane

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

chimney

The Pierhead Building near Roald Dahl Plass in Cardiff Bay.

  

The Pierhead Building (Welsh: Adeilad y Pierhead) is a Grade 1 listed building of the National Assembly for Wales in Cardiff Bay, Wales. It stands as one of the city of Cardiff's most familiar landmarks and was built in 1897 as the headquarters for the Bute Dock Company.

 

The clock on the building is unofficially known as the "Baby Big Ben" or the "Big Ben of Wales", and also serves as a Welsh history museum. The Pierhead Building is part of the estate of the National Assembly for Wales, which also includes the Senedd and Ty Hywel.

  

It is a Grade I listed building.

 

Pier Head Building, Butetown

 

Location

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

 

History

Built in 1896 by William Frame, assistant to William Burges as offices for the Cardiff Railway Company, sucessor to the Bute Dock Company. Medievalist style with strong influence of Burges (in contrast to the Classical dock offices at Barry) combining muscular Gothic and French Renaissance elements. 2-storeys; brightly constructed throughout in glazed terracotta, representing a fine example of the use of this material; abundant sculptural ornament and banding. Slate roofs; small-pane glazing, round headed to 1st floor and square headed below.

 

Interior

Entrance is onto square lobby, decoratively tiled and with panelled ceiling; round arched recesses to both sides with labels and nook shafts. This leads through to tall and grand hall; includes terrazzo floor, with central roundel repeating the company's motto and panelled ceiling. Church-like, double-arcaded hall of offices to rear through full height, moulded arch with foliage spandrels; terracotta detail includes twin pilasters between each arch, rising to carry the glazed clerestory roof along the central nave. The main stairwell leads off the front right hand corner of the entrance hall. The staircase is enriched by varied and colourful materials including granite treads, terracotta (stellar-section) balusters including enormous newels and green-glazed tile handrail; gilded Minton style tilework to dado (ca 1.8m high) - includes swagged band to top. The single-best room is the Port Manager's office on 1st floor with castellated and canopied 'medieval' chimneypiece with heavily foliated columns and herringbone tiled fireback; panelled ceiling with pendant to octagonal centrepiece. Round arch into corner tower bay in this office and that below. Crenellated and half-glazed partitions to 1st floor office corridors; panelled doors. Original ironwork spiral stairs inside clock-tower manufactured by St Pancras Ironwork Co, London; curved braces to treads.

 

Exterior

Design dominated by 2-stage clock tower at S end over main entrance; pyramidal roof and crenellated parapet with gargoyles. Clock faces recessed beneath semi-circular arches with fleuron panelled balconies; flanking lions heads and coats of arms. Splayed oriel over main entrance including crenellated transom and machicolated bracket base. Squat round arched entrance with deeply rounded jambs; battered bases to flanking octagonal and domed turrets. Panelled doors, half-glazed tympanum and swirling bands of foliage. Larger, Low Countries style, polygonal corner towers beyond, incorporated into main rooms and glazed to each face; pyramidal roof, gargoyles, colonnettes and foliage band between floors. 7-bay left hand side, the southernmost of which is taken up with exceptional chimney breast, heavily enriched with terracotta ornament including steam train and ship over the company's motto 'Wrth ddwr a than'; the whole set in a tiered frontispiece-like frame and topped by 3-linked chimney stacks; bronze commemorative plaque to base. Central 3-bays are divided by buttresses with polygonal faces and domed caps. Steep-hipped roof tower beyond over entrance inscribed Bute Docks Co. ; round arched with panelled surround; chimney stack and band of narrow round arched panels to top. Northernmost bay has bracketed gable-oriel with 3-light transomed window; gable has blind oculus and finials. Simpler right hand side with central 3-bays divided off as before; 2-windows near southern end are set in foliage surround. Plain N end.

 

Reason for Listing

Listed Grade I as a central and especially important building to the historical and visual dockscape of Cardiff; it is furthermore an exceptional Victorian building reflecting the confidence of the period in its flamboyant architectural detail, particularly in its use of terracotta.

 

References

M Parker and N Carter, Butetown, A Visitors Guide, 1989, p.5.

The Inner Harbour - An Historical Appraisal. An unpublished report prepared by The Survey of Cardiff for Cardiff Bay Development Corporation, March 1989, pp 103-4.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

Taman Negara, Malaysia

 

Cropped

The male and the female were pretty tricky to capture as there moving about. I finally captured the male pausing for a split second, lol! But they were all so beautiful!

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from near the Lavender Court & Folly.

Siamese Fireback

 

Danum Valley, Sabah, Borneo, Malaysia. Male.

NEAR THREATENED

 

See the IUCN Red List of Threatened Species listing here: www.iucnredlist.org/species/22727431/94948930

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

South Front

 

Statue seen at the back of the house.

The interior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

   

The Boudoir - room closed off - used to temporarily store books.

 

Fireplace

Male (Malaysian) Crested Fireback. Photographed at Taman Negara National Park, Malaysia on 13 March 2016. A most glorious creature...

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

chimneys

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

South Front

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

South Front

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

stained glass window - looked better on the inside.

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

Seen from near the Lavender Court & Folly.

凤冠火背鹇 Crested fireback (Lophura ignita), Taman Negara National Park, Pahang, Malaysia

The Pierhead Building near Roald Dahl Plass in Cardiff Bay.

  

The Pierhead Building (Welsh: Adeilad y Pierhead) is a Grade 1 listed building of the National Assembly for Wales in Cardiff Bay, Wales. It stands as one of the city of Cardiff's most familiar landmarks and was built in 1897 as the headquarters for the Bute Dock Company.

 

The clock on the building is unofficially known as the "Baby Big Ben" or the "Big Ben of Wales", and also serves as a Welsh history museum. The Pierhead Building is part of the estate of the National Assembly for Wales, which also includes the Senedd and Ty Hywel.

  

It is a Grade I listed building.

 

Pier Head Building, Butetown

 

Location

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

 

History

Built in 1896 by William Frame, assistant to William Burges as offices for the Cardiff Railway Company, sucessor to the Bute Dock Company. Medievalist style with strong influence of Burges (in contrast to the Classical dock offices at Barry) combining muscular Gothic and French Renaissance elements. 2-storeys; brightly constructed throughout in glazed terracotta, representing a fine example of the use of this material; abundant sculptural ornament and banding. Slate roofs; small-pane glazing, round headed to 1st floor and square headed below.

 

Interior

Entrance is onto square lobby, decoratively tiled and with panelled ceiling; round arched recesses to both sides with labels and nook shafts. This leads through to tall and grand hall; includes terrazzo floor, with central roundel repeating the company's motto and panelled ceiling. Church-like, double-arcaded hall of offices to rear through full height, moulded arch with foliage spandrels; terracotta detail includes twin pilasters between each arch, rising to carry the glazed clerestory roof along the central nave. The main stairwell leads off the front right hand corner of the entrance hall. The staircase is enriched by varied and colourful materials including granite treads, terracotta (stellar-section) balusters including enormous newels and green-glazed tile handrail; gilded Minton style tilework to dado (ca 1.8m high) - includes swagged band to top. The single-best room is the Port Manager's office on 1st floor with castellated and canopied 'medieval' chimneypiece with heavily foliated columns and herringbone tiled fireback; panelled ceiling with pendant to octagonal centrepiece. Round arch into corner tower bay in this office and that below. Crenellated and half-glazed partitions to 1st floor office corridors; panelled doors. Original ironwork spiral stairs inside clock-tower manufactured by St Pancras Ironwork Co, London; curved braces to treads.

 

Exterior

Design dominated by 2-stage clock tower at S end over main entrance; pyramidal roof and crenellated parapet with gargoyles. Clock faces recessed beneath semi-circular arches with fleuron panelled balconies; flanking lions heads and coats of arms. Splayed oriel over main entrance including crenellated transom and machicolated bracket base. Squat round arched entrance with deeply rounded jambs; battered bases to flanking octagonal and domed turrets. Panelled doors, half-glazed tympanum and swirling bands of foliage. Larger, Low Countries style, polygonal corner towers beyond, incorporated into main rooms and glazed to each face; pyramidal roof, gargoyles, colonnettes and foliage band between floors. 7-bay left hand side, the southernmost of which is taken up with exceptional chimney breast, heavily enriched with terracotta ornament including steam train and ship over the company's motto 'Wrth ddwr a than'; the whole set in a tiered frontispiece-like frame and topped by 3-linked chimney stacks; bronze commemorative plaque to base. Central 3-bays are divided by buttresses with polygonal faces and domed caps. Steep-hipped roof tower beyond over entrance inscribed Bute Docks Co. ; round arched with panelled surround; chimney stack and band of narrow round arched panels to top. Northernmost bay has bracketed gable-oriel with 3-light transomed window; gable has blind oculus and finials. Simpler right hand side with central 3-bays divided off as before; 2-windows near southern end are set in foliage surround. Plain N end.

 

Reason for Listing

Listed Grade I as a central and especially important building to the historical and visual dockscape of Cardiff; it is furthermore an exceptional Victorian building reflecting the confidence of the period in its flamboyant architectural detail, particularly in its use of terracotta.

 

References

M Parker and N Carter, Butetown, A Visitors Guide, 1989, p.5.

The Inner Harbour - An Historical Appraisal. An unpublished report prepared by The Survey of Cardiff for Cardiff Bay Development Corporation, March 1989, pp 103-4.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

The Statue of Ivor Novello can be seen here with the Pierhead Building.

The exterior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Location

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

 

History

Built 1891-3 for John Cory, the well known local industrialist and philanthropist; the architects are said to be Habershon and Fawckner of Newport. There had been an Elizabethan house on the site, successively owned by the Button and Pryce Families. Dyffryn is principally renowned for its gardens, which were laid out for Reginald Cory (John's son) by Thomas Mawson, the internationally known and prolific garden designer; work began in 1904-5. After Cory's death Dyffryn was sold in 1937 and purchased by Sir Cennydd Traherne who leased the property to the County Council. Some internal alterations were carried out in conversion to a conference centre.

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

 

Exterior

Eclectic design derived from the French Renaissance and English Baroque styles, the former is particularly seen in the Mansard roof and some of the window treatment and the latter in the Great Hall block to the main facade. 2 storeys and attic; rendered elevations with freestone dressings. Hipped mansard slate roof with balustraded parapet over the main cornice; stone chimney stacks with bracketed cornices. The main front to N is dominated by the tall, square Hall block that projects to left of centre; this has balustraded parapet with urns and a pedimented front over a giant, 5-light, round-arched window enriched with keyblocked ornament. The symmetrical part of the design is that there are 3 storey 'towers' to centre and ends. Ground floor is advanced to right of the hall block with similar parapet and urns. Includes two, 5-light, bay windows, with similar glazing to that of the hall; between these is a similar 3-light window beside the present, round-arched, main entrance with spandrel ornament. In front of the hall block is a projecting lobby/porch and a porte-cochere onto the Carriage Court; this has paired Doric columns and a rusticated entrance surround. Glazing is mostly of horned sash type; the attic windows to the pedimented dormers are round-headed in a French manner; some heavily keystoned casement windows to ground floor left with voluted architraves. To right stone wall screens modernised part and the rear of the stable courtyard. 5-window left hand (E) side including shallow splayed bay. Symmetrical 13-bay garden front to S including projecting end 'towers' and broader projecting central bay, which is pedimented in a similar manner to that of the hall block; includes tripartite to 2nd floor and bay window below. The 'towers' have niches containing statues to ground floor. Midway between central and end bays are 2-storey splayed bays; these are linked to the central classical veranda which has paired Doric columns and balustraded parapet with ball finials. Modern extension to W and beyond that is the converted former stable courtyard with pyramidal clock-tower to S range, originally the coach-house; semi-circular windows to loft.

 

Reason for Listing

Graded II* for its exceptional interiors and also for the importance of its setting at the heart of Dyffryn Gardens.

 

References

Information from Mrs P Moore;

Mawson T (1926) The Art and Craft of Garden Making, 5th ed., p386.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Set within the large public grounds of Dyffryn Gardens; 2km to south of St Nicholas.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

chimneys

Siamese Fireback

 

Danum Valley Field Centre. Sabah (Borneo), Malasia.

Septiembre 2022.

 

The interior of Dyffryn House at Dyffryn Gardens.

 

It is in Dyffryn in the Vale of Glamorgan. Not too far from Cardiff. The gardens are owned by the National Trust. There is also a house on the site, that is undergoing refurbishment, it opens at midday (the parts that are open though).

  

Dyffryn House was first home to Admiral Sir Thomas Button in the 16th century. Then in the 18th century the Pryce family took ownership. The last family to live in the house was the Cory family from the late 19th century.

 

Bought by John Cory the house you see today is mostly his remodelling. John's only daughter Florence was the last of the family to live here, passing away in 1937.

 

The estate was bought by Sir Cennydd Traherne, a local land lower. This is when it began it's life as a training centre and then a conference centre.

 

The conference centre closed in 1998. For a brief period the house as due to become a hotel. Much of the damage was caused by this plan.

 

In 2013, 17 years after doors closed, the National Trust has reopened the house to keep the story going.

  

The house is Grade II* listed.

 

Dyffryn House, Wenvoe

 

Interior

Lavish interiors the main rooms of which are designed in a wide variety of styles in a manner often favoured by wealthy C19 owners. Some of the chimneypieces are said to have been brought from other houses. The single most important room is the Great Hall which echoes those of major C16 country houses (eg Hampton Court and Burghley) with its full height, mock hammerbeam roof and large end window. The walls are enriched with two tiers of pilasters carrying friezes, a dentilled cornice to top and corbelled round arches with gilded keystones below over a panelled dado. 5-bay implied double-hammerbeam roof which is herringbone-boarded. Grand timber chimneypiece with massive cornice carried by full height terms; stone fireplace surround and overmantel with Ionic columns flanking coat of arms. Enormous window to N end with coloured glass depicting Queen Elizabeth I; round-arched doorway below with double doors and marble columns. Splayed dais recess to W wall with coffered ceiling. At S end the minstrels gallery is carried on curved brackets and spans an open passage leading from the staircase hall giving access to the Great Hall and neighbouring rooms, the doorways to which are surmounted by large plaster relief 'tondi'. To the E of the Great Hall is the Billiard Room which has a dado, with integral bench seating, below a deep band of carved panelling in an exceptionally florid Renaissance manner; similar frieze and chimneypiece and a deeply panelled ceiling with ceiling bosses. The Orchid room to S has painted ceiling, Ionic columns and gilded surrounds to wall panelling. Immediately next door is the Rose Room which is in a broadly C18 French style (see especially the delicately painted ceiling with corner roundels and the gilded festoons to the beaded surrounds of the wall panelling). The fine marble chimneypiece however is more ca.1600 in style with tapered figural pilasters, Smythson-like bosses and strapwork surrounding an equestrian figure with a French inscription: "Dieu Benit La Zouche de Courson". To the W is the Tulip Room (now Dining room) with ribbed ceiling including Gothic foliate bosses; bowed W end backs onto the Bar while the N wall backs onto the wainscotted Staircase Hall which at its E end has wall-arcading in a similar manner to that of the Great Hall. Broad stairs with long flights; shaped tread ends and panelled newels with finials. 1st floor landing has paired marble columns and beyond that the stairs continue in a similar manner to 2nd floor. The Oak room opens off the Staircase Hall. This was formerly the dining room and has a panelled ceiling, wainscotting and mullioned and transomed windows all in a Tudor/Elizabethan manner; similar style inglenook-like fireplace with oval smoke window. The two remaining public rooms to W are the Bar and Lounge for the conference centre. The former has lightly ribbed ceiling but luxuriantly foliage encrusted marble chimneypiece in an C18 manner and reuses a remarkable French style 7-double branch chandelier; modern panelling. The lounge has unusual plaster ceiling with broad ribs and thistle, rose and daffodil ornament to square, diamond and lozenge shaped panels. Fine French chateau style marble chimneypiece with putti flanking round-arched fireplace containing Fleur-de-lis fireback.

   

The Story Rooms - fireplace

In Lichfield near and around Staffordshire County Council - Lichfield College.

 

This is the Staffordshire County Council building for Lichfield College and Library Services.

 

It includes Lichfield Library, Lichfield Record Office, The Friary Gallery, Library, Art & Archives Committee, Education Committee and Lichfield College.

 

Grade II listed.

 

Lichfield College and Lichfield Library, Lichfield

 

LICHFIELD

 

SK1109SE THE FRIARY

1094-1/8/232 (South side)

05/02/52 Lichfield College and Lichfield

Library

(Formerly Listed as:

BIRMINGHAM ROAD

Lichfield Friary Grammar School for

Girls)

 

GV II

 

Part of Franciscan Friary, converted to house and then to

school. c1295, altered and extended to north, 1538, for

Gregory Stonynge; extended, 1921-8, by GC Lowbridge, County

Architect.

Ashlar and brick; tile roofs with brick stacks.

T-plan with end cross-wings, original building forming end and

cross-wing of arm to right.

Original building, known as the Bishop's Lodging, forms L-plan

with short wing. Mostly ashlar with some brick.

North wing: 2 storeys with attic; 3-window left return range.

2 offset ashlar and brick buttresses; 3 coped gables. Pointed

entrance to right end has single-chamfered arch. Tall stair

window to left end has leaded glazing, 3-light ovolo-mullioned

window to left; 1st floor has 2 mullioned and transomed

windows of 3 lights; attic has casement windows with iron

opening casements. Two C20 lateral stacks.

End has early brickwork with offset below timber-framed gable

with ogee bracing and brick infill, ashlar angle to right with

return raking buttress; small window high up to right projects

and has leaded glazing, gable has slanting window.

Right return has gabled wing to right of centre and right end

gable. Left end of ashlar with some brick; ground floor has

2-light casement and pegged cross casement both with timber

lintels and leaded glazing; 1st floor has 3 windows with

12-pane sashes.

Wing has much ashlar and brick patching, raised eaves and

diagonal buttresses; 2 windows to ground floor, one to 1st

floor, all with 12-pane sashes, attic has small-paned

casement; left return has blocked 1st floor round-headed light

with spandrels, and lateral stack; right return has large

brick section and eaves, 1st floor door to fire-escape with

rubbed brick flat arch, and lateral stack. Gabled right end

has signs of blocked openings and brick gable and angle

buttress; 1st floor door.

Rear elevation, south wing, of 2 storeys; 5-window range with

central 2-storey porch with chamfered angles and parapet; 3

offset buttresses.

Recessed entrance has steps up to recessed glazed and

fielded-panelled door. Windows have paired 18-pane horned

sashes, those to 1st floor with cornices and parapets, left

end window with inserted half-glazed door; window to right of

entrance has ex-situ gravestone of C14 or earlier below:

calvary cross fleury and worn inscription to Richard the

Merchant, found in 1746.

C20 range of brick with ashlar dressings. 2 storeys; gabled

centre with flanking 6- and 3-window ranges and wing to left

end. 3-light ovolo-mullioned-and-transomed windows; coped

gables. Centre has gabled buttresses and entrance with Tudor

head in architrave with label mould; flanking windows with

cornice above taken round base of canted oriel with vine and

grapes to base, 1:2:1-light window, flanking 3-light windows

and light above.

Range to right to front of old range; gabled centre has 1st

floor oriel. Range to left is symmetrical with 2 gabled

projections with oriels. Wing has gabled buttresses;

2:3:2-light windows and cusped panelling between floors;

7-window left return. Rear has hall wing with tall windows

with small-paned glazing and tall lateral stack; later

additions.

INTERIOR: old part has brick-vaulted cellars with ashlar

benches and shelves; C20 paired sashes to corridors and

staircase; ground floor room to wing has chamfered beams,

square panelling, corner fireplace with pilasters, frieze and

dentilled cornice; niche with shaped shelves and architrave;

attic with exposed trusses, north wing with curved principals.

C20 part has ex-situ C16 fireplace from panelled room, ashlar

with Tudor arch and lettering: GREGORY STONYNG to spandrels,

Delft tiles and cast iron fireback; late C20 alterations.

During the C18 the house was the home of Mrs Cobb and her

niece, friends of Dr Johnson, who often visited them.

(Buildings of England: Pevsner N: Staffordshire: London:

1974-: P.191-2; Mullins H: History of the Friary School:

Lichfield).

  

Listing NGR: SK1161509321

The Pierhead Building near Roald Dahl Plass in Cardiff Bay.

  

The Pierhead Building (Welsh: Adeilad y Pierhead) is a Grade 1 listed building of the National Assembly for Wales in Cardiff Bay, Wales. It stands as one of the city of Cardiff's most familiar landmarks and was built in 1897 as the headquarters for the Bute Dock Company.

 

The clock on the building is unofficially known as the "Baby Big Ben" or the "Big Ben of Wales", and also serves as a Welsh history museum. The Pierhead Building is part of the estate of the National Assembly for Wales, which also includes the Senedd and Ty Hywel.

  

It is a Grade I listed building.

 

Pier Head Building, Butetown

 

Location

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

 

History

Built in 1896 by William Frame, assistant to William Burges as offices for the Cardiff Railway Company, sucessor to the Bute Dock Company. Medievalist style with strong influence of Burges (in contrast to the Classical dock offices at Barry) combining muscular Gothic and French Renaissance elements. 2-storeys; brightly constructed throughout in glazed terracotta, representing a fine example of the use of this material; abundant sculptural ornament and banding. Slate roofs; small-pane glazing, round headed to 1st floor and square headed below.

 

Interior

Entrance is onto square lobby, decoratively tiled and with panelled ceiling; round arched recesses to both sides with labels and nook shafts. This leads through to tall and grand hall; includes terrazzo floor, with central roundel repeating the company's motto and panelled ceiling. Church-like, double-arcaded hall of offices to rear through full height, moulded arch with foliage spandrels; terracotta detail includes twin pilasters between each arch, rising to carry the glazed clerestory roof along the central nave. The main stairwell leads off the front right hand corner of the entrance hall. The staircase is enriched by varied and colourful materials including granite treads, terracotta (stellar-section) balusters including enormous newels and green-glazed tile handrail; gilded Minton style tilework to dado (ca 1.8m high) - includes swagged band to top. The single-best room is the Port Manager's office on 1st floor with castellated and canopied 'medieval' chimneypiece with heavily foliated columns and herringbone tiled fireback; panelled ceiling with pendant to octagonal centrepiece. Round arch into corner tower bay in this office and that below. Crenellated and half-glazed partitions to 1st floor office corridors; panelled doors. Original ironwork spiral stairs inside clock-tower manufactured by St Pancras Ironwork Co, London; curved braces to treads.

 

Exterior

Design dominated by 2-stage clock tower at S end over main entrance; pyramidal roof and crenellated parapet with gargoyles. Clock faces recessed beneath semi-circular arches with fleuron panelled balconies; flanking lions heads and coats of arms. Splayed oriel over main entrance including crenellated transom and machicolated bracket base. Squat round arched entrance with deeply rounded jambs; battered bases to flanking octagonal and domed turrets. Panelled doors, half-glazed tympanum and swirling bands of foliage. Larger, Low Countries style, polygonal corner towers beyond, incorporated into main rooms and glazed to each face; pyramidal roof, gargoyles, colonnettes and foliage band between floors. 7-bay left hand side, the southernmost of which is taken up with exceptional chimney breast, heavily enriched with terracotta ornament including steam train and ship over the company's motto 'Wrth ddwr a than'; the whole set in a tiered frontispiece-like frame and topped by 3-linked chimney stacks; bronze commemorative plaque to base. Central 3-bays are divided by buttresses with polygonal faces and domed caps. Steep-hipped roof tower beyond over entrance inscribed Bute Docks Co. ; round arched with panelled surround; chimney stack and band of narrow round arched panels to top. Northernmost bay has bracketed gable-oriel with 3-light transomed window; gable has blind oculus and finials. Simpler right hand side with central 3-bays divided off as before; 2-windows near southern end are set in foliage surround. Plain N end.

 

Reason for Listing

Listed Grade I as a central and especially important building to the historical and visual dockscape of Cardiff; it is furthermore an exceptional Victorian building reflecting the confidence of the period in its flamboyant architectural detail, particularly in its use of terracotta.

 

References

M Parker and N Carter, Butetown, A Visitors Guide, 1989, p.5.

The Inner Harbour - An Historical Appraisal. An unpublished report prepared by The Survey of Cardiff for Cardiff Bay Development Corporation, March 1989, pp 103-4.

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

Notes:

 

Faces S across Cardiff Bay. To E of the Industrial and Maritime Museum, between entrances to Bute East and West Docks.

  

Source: Cadw

 

Listed building text is © Crown Copyright. Reproduced under licence.

  

clocks