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I just ran across this old shot of a fenced in pier in New Orleans from 2014 and decided to post it for Fence Friday... :)
It was suggested to me that this looked like a horse barn, but the spaces on the side are not really divided into stalls, and I'm puzzled by the large grooves in the concrete foundation. I have to wonder if anyone would go to this kind of expense for just hay storage.
photo rights reserved by Ben
Inside the Šarena Džamija, a richly decorated space unfolds where color, form, and symmetry come together. The large chandelier hangs at the center, catching the light as it gently spreads across the painted walls. Floral motifs, geometric patterns, and small landscape scenes fill the interior, giving each wall its own character without disturbing the sense of calm. Balconies and arches divide the space in a natural way, reinforcing the sense of balance. As daylight filters inside, warm tones slowly come to life, revealing details that might otherwise go unnoticed. Everything feels carefully composed, with attention to rhythm and repetition. The mosque was originally built in the 15th century and later received its distinctive painted decoration. Despite its age, the space feels alive and welcoming — a place where history, craftsmanship, and everyday life come together effortlessly.
Inside the Šarena Džamija, light and color shape a calm and balanced interior. Painted walls, gentle patterns, and soft daylight create a sense of harmony throughout the space. Built in the 15th century, the mosque remains a living place where history and daily life quietly come together.
Binnen in de Šarena Džamija ontvouwt zich een rijk gedecoreerde ruimte waarin kleur, vorm en symmetrie samenkomen. De grote kroonluchter hangt centraal en vangt het licht, dat zich zacht verspreidt over debeschilderde wanden. Bloemmotieven, geometrische patronen en kleine landschappen vullen het interieur en geven elke wand een eigen karakter, zonder de rust te verstoren. De balkons en bogen verdelen de ruimte op een natuurlijke manier en versterken het gevoel van evenwicht. Door het binnenvallende daglicht komen de warme tinten langzaam tot leven, waardoor details zichtbaar worden die je bij een snelle blik zou missen. Alles voelt zorgvuldig opgebouwd, met aandacht voor ritme en herhaling. De moskee werd oorspronkelijk gebouwd in de 15e eeuw en kreeg later haar kenmerkende beschilderingen. Ondanks haar leeftijd voelt de ruimte levend en toegankelijk — een plek waar geschiedenis, vakmanschap en dagelijks gebruik moeiteloos samenkomen.
Built in 1836, Passage Jouffroy is one of the most visited covered arcades in Paris. Situated on the Grands Boulevards next to the Passage des Panoramas, it owes its charm to its beautiful iron and glass architecture and its marble paving.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
This pavilion was built by Emperor Shah Jehan in 1663, who also built the Taj Mahal in Agra. It is reportedly called Naulakha because it cost 900,000 rupees to build, and the number 900,000 in Urdu language is "Nau Lakh." The Emperor spent time here when he was in Lahore, and was entertained from the large court yard that the structure overlooks.
For more detailed information on the Naulakha, please see: www.dawn.com/news/1195182
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
Another shot from the archive, still in La Defense this time another shot of La Pacific. I have to say this was one of my favourite parts of La Defense, an odd building really flat on one side, curved on the other with a gaping hole in the middle leading to a pedestrian walkway - still it captured my imagination.
Technical Details
Fuji XT-1
Fuji 18-135 @ 18mm
F16
30 seconds
ISO 200
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Los triángulos. Cientos, miles de piezas de hierro entrelazadas formando algo que ya no era puente sino geometría pura. Cada pieza sosteniendo a las demás en un equilibrio perfecto que nadie mira porque todos miran el río, la ciudad, el panorama. Pero yo miraba esto: el esqueleto dorado, la estructura que sostiene sin pedir nada. La belleza de lo funcional.
(De "Destilando la luz en Oporto" - jmsdbg.com/oporto)
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The triangles. Hundreds, thousands of iron pieces interwoven forming something that was no longer bridge but pure geometry. Each piece holding the others in perfect balance that nobody looks at because everyone looks at the river, the city, the view. But I looked at this: the golden skeleton, the structure that holds without asking for anything. The beauty of the functional.
(From "Distilling Light in Porto" - jmsdbg.com/oporto)
photo rights reserved by Ben
The Archaeological Park of Stobi is one of the most important archaeological sites in North Macedonia. Once a prosperous Roman city at the crossroads of major trade routes, Stobi flourished between the 1st century BC and the 6th century AD. Today, visitors can explore the remains of basilicas, Roman streets, elegant villas, and some of the finest early Christian mosaics in the Balkans. This photograph shows the beautifully preserved octagonal baptistery of the Episcopal Basilica. The richly decorated 5th-century mosaics, featuring birds, deer, fish, and intricate geometric patterns, symbolize themes of faith, life, and paradise. The marble columns once supported the roof above the baptismal font, where new Christians were baptized over fifteen centuries ago. The conservation of the baptistery and its magnificent mosaics has been supported by the U.S. Ambassadors Fund for Cultural Preservation, helping to preserve one of North Macedonia's most remarkable examples of early Christian art. During our visit, the archaeological park was almost deserted. The peaceful atmosphere made it easy to imagine life in this flourishing city during Late Antiquity. Stobi was undoubtedly one of the highlights of our journey through North Macedonia.
The octagonal baptistery of the Episcopal Basilica in Stobi, surrounded by beautifully preserved 5th-century mosaics depicting animals, birds and symbolic Christian motifs.
Het Archeologisch Park Stobi behoort tot de belangrijkste archeologische vindplaatsen van Noord-Macedonië. Ooit was Stobi een bloeiende Romeinse stad op het kruispunt van belangrijke handelsroutes. De stad beleefde haar hoogtepunt tussen de 1e eeuw v.Chr. en de 6e eeuw n.Chr.. Tegenwoordig zijn nog indrukwekkende resten te bewonderen van basilieken, Romeinse straten, villa's en enkele van de mooiste vroegchristelijke mozaïeken op de Balkan. Op deze foto is het prachtig bewaard gebleven achthoekige baptisterium van de Bisschopsbasiliek te zien. De rijk gedecoreerde mozaïeken uit de 5e eeuw, met afbeeldingen van vogels, herten, vissen en sierlijke geometrische patronen, behoren tot de fraaiste voorbeelden van vroegchristelijke mozaïekkunst in Noord-Macedonië. De marmeren zuilen droegen ooit het dak boven het doopbassin, waar ruim vijftien eeuwen geleden nieuwe christenen werden gedoopt. De restauratie en conservering van het baptisterium en de mozaïeken is mede mogelijk gemaakt door het U.S. Ambassadors Fund for Cultural Preservation, waardoor dit bijzondere erfgoed voor toekomstige generaties behouden blijft. Tijdens ons bezoek was het archeologische park vrijwel verlaten. De rust maakte het gemakkelijk om je voor te stellen hoe levendig deze stad ooit moet zijn geweest. Stobi was zonder twijfel één van de hoogtepunten van onze reis door Noord-Macedonië.
A fachada ocidental da Catedral de San Lorenzo, em Génova, Itália, é um exemplo notável da arquitetura de transição românico-gótica. A estrutura apresenta um paramento bicolor em faixas horizontais de mármore branco de Carrara e ardósia preta, simbolizando nobreza e prestígio cívico na arquitetura medieval lígure. Os três portais góticos, edificados no início do século XIII sob influência de mestres franceses, apresentam arquivoltas profundas e colunas polícromas. O tímpano do portal central destaca-se pela sua complexidade iconográfica, retratando o Cristo em Majestade e o martírio de São Lourenço sobre a grelha. A base da fachada é ladeada por leões de pedra, adicionados durante intervenções no século XIX. Esta fachada não apenas é um centro espiritual, mas também um testemunho tangível da prosperidade e influência cultural da antiga República Marítima de Génova.
The western façade of the San Lorenzo Cathedral in Genoa, Italy, is a notable example of Romanesque-Gothic transitional architecture. The structure features a bicolor horizontal striped pattern of Carrara white marble and black slate, symbolizing nobility and civic prestige in medieval Ligurian architecture. The three Gothic portals, built in the early 13th century under French masters' influence, feature deep archivolts and polychrome columns. The central portal's tympanum stands out for its iconographic complexity, depicting Christ in Majesty and the martyrdom of Saint Lawrence on the grill. The façade's base is flanked by stone lions, added during 19th-century interventions. This façade is not only a spiritual center but also a tangible testament to the prosperity and cultural influence of the ancient Maritime Republic of Genoa.
Badshahi Mosque is a vast structure covering 29,867.2 square meters (321, 488 square feet), and was built under the auspices of the 6th Mughal Emperor Aurangzeb in 1673. The mosque is considered one of the finer examples of Mughal architecture. Although the mosque was pillaged and abused under succeeding Sikh and British empires, the British did establish the Badshahi Mosque Authority to restore the mosque, which was taken over by Pakistan after its independence, and the restoration work was completed in 1960. Badshahi Mosque is a cultural icon of Pakistan, and has served as a location for state functions.
For more detailed information on Badshahi Mosque, see: www.newworldencyclopedia.org/entry/Badshahi_Mosque
For more information on Lahore, see: www.cnn.com/travel/article/pakistan-lahore-mughal-treasur...
captured in the hushed tranquility of an old monastery in palma’s calatrava district, this photograph tells a story of silent passage and timeless grace. the sun pierces through the intricately designed iron gate, scattering light into beams that stretch across the weathered hexagonal tiles, painting the floor with a mesmerizing dance of shadows. a lone figure, silhouetted against the brilliance of the gateway, ascends toward the light.
in this moment, the architecture and light become the storytellers. the patterns on the floor mirror the ornate gate, creating a visual rhythm, while the woman’s presence provides scale and humanity to the austere beauty of the monastery’s design. the space seems to breathe with history, as though echoing whispers from centuries past, yet remains grounded in the present by the figure who steps forward into the light.
A White Wagtail that erases all distance between itself and the street. The choice behind this shot comes from its total identification with the asphalt: the plumage turns into texture, the body becomes one with the urban stone. Yet, this is a deceptive invisibility, a purely aesthetic surrender. Beneath that perfect camouflage beats a vigilant soul that reverses the roles: you think you are watching her, but she is the one watching you.
In photographing this contemporary building, I wanted to isolate and emphasize the sensual curvature of its metallic facade against the dark backdrop. By choosing a low angle and tight framing, my intention was to transform this architectural element into something more abstract and sculptural rather than simply documenting the building as a whole. The black and white treatment was essential to my vision – it strips away the distraction of color and highlights the interplay of light across the panels' surfaces and edges.
I was particularly drawn to the repetitive pattern of the metal panels and how they follow the organic curve of the structure, creating a rhythm of light and shadow. Some panels feature perforations that add subtle texture variations to the otherwise sleek surface. By composing the image with the curve dominating the frame against the deep black background, I aimed to create a sense of scale that feels simultaneously massive and intimate.
This photograph represents my ongoing fascination with how modern architecture can create forms that seem to defy conventional structural expectations – appearing both solid and fluid at the same time. I wanted the viewer to experience the tactile quality of this facade and appreciate the precision engineering behind such seemingly effortless curves.
from above, they become ants in a world they did not design, their orange vests small flames against concrete certainty. yellow cables snake through shadows like veins of possibility, connecting what was to what will be. in this geometry of progress, human hands still matter most. we build cathedrals from steel and glass, but it is the workers who breathe life into our dreams. every structure is a prayer written in sweat and precision.
Looking east along an interior corridor at The Well in downtown Toronto. Brick and stone façades frame the space beneath a geometric glass canopy, while warm interior lighting contrasts with cool daylight filtering through the angled skylight above.
he sits where light fractures into patterns, where shadow becomes architecture. the hat shields more than his face - it holds the weight of thoughts we cannot see. concrete steps become a throne for contemplation, each line of light a question mark across his silence. in this intersection of elegance and emptiness, he writes poetry with his stillness. sometimes the most profound conversations are the ones we have with ourselves.
I was immediately drawn to the repeating diamond pattern on this building facade. Looking up, I positioned my camera to capture just the pattern itself, removing any context that would identify the structure.
Working in black and white helped emphasize the strong contrast between the white panels and the dark shadows they create. I love how the diagonal arrangement creates this sense of movement across the frame, almost like a visual rhythm.
What I find fascinating about architectural photography is finding these moments where function becomes pure form. By focusing tightly on just this section, a practical building element transforms into something more abstract - a study in repetition and light.
The clean, high-contrast look gives it an almost graphic quality, like something designed on paper rather than built in the real world. Sometimes the most interesting architectural photos aren't of the entire building, but of the thoughtful details most people walk right past.
photo rights reserved by Ben
Inside the Šarena Džamija, a richly decorated space unfolds where color, form, and symmetry come together. The large chandelier hangs at the center of the hall, catching the light as it gently spreads across the painted walls. Floral motifs, geometric patterns, and refined decorative elements fill the interior, giving each wall its own rhythm without creating visual noise. The balconies and arches structure the space, creating a sense of balance and order. In the background, a volunteer stands by the window, small in scale compared to the richness of the architecture — a subtle reminder that this place is still in use today. The daylight filtering inside brings the warm tones to life, revealing details that might otherwise go unnoticed. The mosque was originally built in the 15th century and later richly painted. Despite its age, the space feels open and welcoming — a place where history, craftsmanship, and everyday life come together naturally.
Inside the Šarena Džamija, color, light, and symmetry come together in a richly decorated space. The central chandelier, painted walls, and balanced arches create a calm and harmonious atmosphere. Built in the 15th century, the mosque remains a living place where history and daily life meet.
Binnen in de Šarena Džamija ontvouwt zich een rijk gedecoreerde ruimte waarin kleur, vorm en symmetrie samenkomen. De grote kroonluchter hangt centraal in de zaal en vangt het licht, dat zich zacht verspreidt over de beschilderde wanden. Bloemmotieven, geometrische patronen en verfijnde decoraties vullen het interieur en geven elke wand een eigen ritme, zonder dat het onrustig wordt. De balkons enbogen structureren de ruimte en zorgen voor een gevoel van evenwicht en orde. Op de achtergrond staat een vrijwilliger bij het raam, klein in verhouding tot de rijkdom van de architectuur — een subtiele herinnering dat deze plek nog altijd in gebruik is. Het daglicht dat naar binnen valt, brengt de warme kleuren tot leven en legt details bloot die anders gemakkelijk over het hoofd worden gezien. De moskee werd oorspronkelijk gebouwd in de 15e eeuw en later rijk beschilderd. Ondanks haar leeftijd voelt de ruimte open en toegankelijk: een plek waar geschiedenis, vakmanschap en dagelijks leven op een vanzelfsprekende manier samenkomen.
This image is part of a series to show certainties.
But also, to show the ambiguities of foundational idealogy and tones inside of black and white. This series is not as much about tonality available on the monochromatic palette.
But rather, my friend, the separation of the superfluous from those important things we hold as true, reverent, inspirational,
and essential as guides, exhortation and favor.
This photographic series uses my likeness in different scenes to show, amplify, and witness themes of captivity, deliverance, wilderness, and restoration. Still images captured from places to reflect a narrative of these themes to exhibit completeness and process for ideation, development and implementation for carriage of ideas into a two-dimensional representation of photography as graphic, and graphic as the invitation for art.
In addition, this series will use still images to reveal, unveil, and demonstrate the uncompromising inner-workings, of an inner-life, as work for interpretative viewing, commentary, and collaboration.
Before healing happens, a brokenness must overcome us to pursue every shattered piece made whole, again.
To receive a healing, with greater drive and impetus to experience restoration from what was stolen.
Grey.
in the heart of the hofgarten, where history and elegance whisper through arcades and sunlight draws perfect shapes on ancient walls, a man stands—lost. not in the grandeur around him, not in the poetry of the past, but in the label of his beer bottle. delphi, prophecy, philosophy? none of it matters. right now, the real mystery is in his hands.
hofgarten, munich
Every year, I take a few shots of our Lantana blooms because it's hard not to. This is probably my favorite one so far... :)
A good weekend to you!
he wasn’t posing.
he was just running – and the light didn’t care who he was.
i had the camera low.
the lines were waiting.
the shadow arrived first.
and then he came –
in the middle of the beat.
O Jardim de Santa Bárbara, em Braga, Portugal, é um emblemático espaço verde público classificado como Bem Cultural de Interesse Municipal desde 2018, adjacente à ala medieval do Paço Episcopal Bracarense. Concebido em 1955 por José Cardoso da Silva, o jardim destaca-se pelos canteiros geométricos, com flores sazonais que criam padrões coloridos contrastantes com a arquitetura medieval do paço, cujos muros em granito e ameias são vestígios da antiga fortificação da cidade. No centro, encontra-se uma fonte do século XVII proveniente do antigo Convento dos Remédios, encimada pela estátua de Santa Bárbara, que empresta o nome ao jardim. Este espaço, de organização formal e inspiração renascentista convida à contemplação e ao lazer, articulando o património arquitetónico com a gestão dos espaços verdes urbanos, sendo um ponto de interesse turístico e cultural de destaque.
The Santa Bárbara Garden in Braga, Portugal, is an iconic public green space classified as a Cultural Asset of Municipal Interest since 2018, adjacent to the medieval wing of the Episcopal Palace of Braga. Designed in 1955 by José Cardoso da Silva, the garden stands out for its geometric flower beds, with seasonal flowers that create colorful patterns contrasting with the medieval architecture of the palace, whose granite walls and battlements are remnants of the city's ancient fortifications. In the center is a 17th-century fountain from the former Convento dos Remédios, topped by a statue of Santa Bárbara, after whom the garden is named. This space, with its formal layout and Renaissance inspiration invites contemplation and leisure, linking architectural heritage with the management of urban green spaces, and is a prominent tourist and cultural attraction.
fluorescent lights hum softly. green dots flicker like distant stars. arrows on the floor point somewhere, but there’s no one left to follow them. the city is right above, yet it feels far away.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Diwan-e-Aam was built by Emperor Shah Jehan and was a public gallery where the emperor would interact with his common subjects, and receive their petitions and address their issues.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
in madrid, the streets tell their own stories. here, color cuts through shadow like a defiant streak of life. a construction worker pauses, wrapped in neon, his silhouette carved sharp against the playful panels of yellow, blue, and orange. a man walks by, cane tapping softly, swallowed by shadow but not erased. the city moves, quietly chaotic, the hum of work and the poetry of ordinary people set against a canvas of bold light and darker corners.
vibrant, raw, and layered with contrast—this is madrid in a moment, caught between bright optimism and quiet mystery.
Lahore Fort started life as a defensive wall on the banks of River Ravi by the earliest settlers who founded Lahore. It was attacked, damaged, demolished, and rebuilt into various structures several times over, until it acquired its present general form under Emperor Akbar in 1566. Succeeding emperors, Sikh conquerors, and British colonists used the fort as the seat of their governance, and added their architectural influences to the citadel to give it its present configuration.
Diwan-e-Khass was built by Emperor Shah Jehan and was the equivalent of contemporary cabinet rooms where Mughal Emperors held meetings with their ministers, governors, and other noblemen who helped them rule the empire.
For more detailed information on Lahore Fort, please see: sites.ualberta.ca/~rnoor/lahore_fort.html, and
- Dandelion (Taraxacum officinale) -
A dandelion globe holds a small galaxy of parachutes, each silver filament catching sun as if stitched with sparks; the geometry is tender and precise, a breath away from flight, and the green world blurs behind it while this bright little universe waits for a wish to turn into weather.
the narrow passage felt colder, the walls pale and lifeless, adorned only with the hum of air conditioners clinging to their corners. the late afternoon light slashed through the scene, casting long, deliberate shadows down the damp, uneven stairs. she ran up, focused, her steps quick and sure. her shadow, larger than life, raced ahead, mimicking her movement in a quiet duet with the walls. the puddles below reflected faint glimmers of the world above, while the textures of the city whispered stories of wear and resilience. there was no sound but her rhythm, no moment but this one—just light, shadow, and the climb.
in the winter silence of magaluf, the lively chaos of summer fades into geometric stillness. this hotel, now in its off-season slumber, transforms into a study in symmetry. balconies once brimming with life become a surreal grid of repetition, broken only by the shadows that shift with the sun’s rhythm. it's a reminder of how places breathe differently when left to rest.
Badshahi Mosque is a vast structure covering 29,867.2 square meters (321, 488 square feet), and was built under the auspices of the 6th Mughal Emperor Aurangzeb in 1673. The mosque is considered one of the finer examples of Mughal architecture. Although the mosque was pillaged and abused under succeeding Sikh and British empires, the British did establish the Badshahi Mosque Authority to restore the mosque, which was taken over by Pakistan after its independence, and the restoration work was completed in 1960. Badshahi Mosque is a cultural icon of Pakistan, and has served as a location for state functions.
For more detailed information on Badshahi Mosque, see: www.newworldencyclopedia.org/entry/Badshahi_Mosque
For more information on Lahore, see: www.cnn.com/travel/article/pakistan-lahore-mughal-treasur...
Plafond de style "artesonado" - Inaugurée en 1357 par Samuel Halevi Abulafia, trésorier de Pierre le Cruel, cette synagogue est transformée en église lors de l'expulsion des juifs d'Espagne en 1492.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.
Built in the 1880s, "Park Lodge" is a very grand asymmetrical Victorian mansion situated in the finest section of the inner northern Melbourne suburb of Moonee Ponds.
Built of polychromatic bricks, "Park Lodge" has a wonderful verandah and balcony adorned with elegant cast iron lacework. The roof is made of slate tiles with metal capping. The brown and yellow bricks are constructed in a profusion of geometric designs, which even make the wall treatment a great feature. Even the chimney is built of polychromatic bricks. Perhaps its most outstanding features are the distinctive French inspired Second Empire mansard roofed central tower which bears "Park Lodge's" name in a cartouche over the upper floor windows. This feature makes the property stand out for miles around.
Sadly, the original grounds of "Park Lodge" have been lost in the years since it was built, no doubt a victim to the Melbourne property bust of the 1890s. The widening of the road onto which it faces has also encroached upon its boundaries as has the widened railway line. Nevertheless, the current owners have made the most of the space they do have, planting a formal Victorian style garden in keeping with the house's age. It features a range of topiaries and small hedges. The whole garden is enclosed by an ornate wrought iron fence.
Moonee Ponds, like its neighbouring boroughs of Ascot Vale and Essendon, was etablished in the late 1880s and early 1890s. However, unlike its neighbours, it was an area of affluence and therefore only had middle-class, upper middle-class and some very wealthy citizens. Built in the most affluent area of Moonee Ponds, this mansion would have suited a large, wealthy Victorian family of some importance and would have required a small retinue of servants to maintain. Today it is still mantained as a private residence.